Have you ever walked into a gallery or museum and wondered “How did they ever install that giant sculpture or painting?” Well WRAPIT-TAPEIT-WALKIT-PLACEIT comes to the rescue with a collection of amazing behind the scenes shots of gallery assistants and museum installers moving, assembling, and dissembling all your favorite works of art. Go through their deep archives or submit your own behind the scenes images and share what it takes to make art magic happen. (via)
Marc Owens designed the Avatar Machine, a system which replicates the aesthetics and visuals of third person gaming, allowing the user to view themselves as a virtual character in real space via a head mounted interface.
This unusual carnival certainly isn’t the kind you find at a kid’s party. For “Funland: Pleasures & Perils of the Erotic Fairground,” artistic duo Bompas & Parr show off a series of bold and whimsical installations at New York City’s Museum of Sex. Immersive artworks include “Jump for Joy,” a giant bouncy house composed of blow-up breasts and “Grope Mountain,” a rock wall featuring phalluses and vulvas. As visitors munch on tasty treats, they are invited into “The Tunnel of Love,” a maze that ultimately ends at the G-Spot, an erogenous zone in the vaginal canal discovered by Ernst Gräfenberg.
While this all may seem like fun and games, the exhibition also illustrates earnest cultural ideas. Here, the artists worked closely with Professor Vanessa Toulmin, the Director if the UK National Fairground Archive, to illustrate the historical associations between traveling fairgrounds and sexuality. Toulmin proposes that at the apex of the industrial revolution of the mid-19th century, carnivals began to emerge as sites for “immoral” behavior.
The St. Bartholomew fair, she notes, was singled out for its sensuous—and overtly erotic— atmosphere. In this uncanny universe of play and mischief, the puritan ideals of the upper classes were tossed to the wayside. The fast-paced amusement rides were quite the novelty at that time, and dark tunnels and cars allowed for discreet caresses to pass between lovers. Some fairgrounds even charged admittance for burlesque and strip-tease shows. Bompas & Parr’s “Funland” certainly captures both the thrilling and the farcical aspects of the carnival scene. Simultaneously amusing and disturbing, the exhibit engages both the mind and the body. The show is currently on view and will run through Spring 2015. (via Design Boom)
Using salvaged plaster lath, the wooden strips embedded in the construction of walls of old houses, Andy Vogt creates two and three dimensional sculptures and installations that explore the structural vernacular of our built environment and how we perceive it. Through the rules and methods of technical drawing and the vantage points of architectural model building Andy pursues concepts of mass, weight and space via material that has little integrity on it’s own.
Under the name Scorpion Dagger, British artist James Kerr creates digital gif collages, mainly from northern and early Renaissance paintings. Kerr combines this imagery with images from popular culture, resulting in absurd and humorous animations.
“What I hope people feel/experience when they see one of my GIFs is something of both an amused reaction, and that of wanting to look at art differently…I love looking at images and imagining them differently. Essentially, you know that question where people ask ‘What do you see in that painting?’ Well, this is kind of that but expressed through an animated GIF.” (via the daily dot)
Casa Tomada is a project of traveling installations started in 2007 by Colombian artist Rafael Gómezbarros in which giant sculptures of ants are fixed in swarms on buildings and structures. Self-described as “urban intervention” by Gómezbarros, the ants have been showcased in locations varying from London to Cuba with a very specific goal in mind: shedding light on immigration, forced displacement, and uprooting through historical points of departure for travelers and immigrants. The 2-foot ants themselves are crafted out of tree branches for legs and two joined skull casts made of fiberglass resin and fabric to make up the torso, making for a particularly morbid, visceral depiction of migrant workers in Latin America who are looked at as nothing more than vermin.
When placed on the facades of government buildings and blank gallery walls alike, the ants give off a chilling sense of foreboding and encroachment. By placing them in swarms, Gómezbarros makes the insects even more strikingly representative of the peasants displaced by war and strife in Gómezbarros’ native Colombia. The giant insects that make up Casa Tomada, which translates to Seized House, are certainly works that are bound to linger with viewers, whether in nightmares or otherwise.
Zach Johnsen‘s use of graphite and watercolor in his work such as Coffee Break, and many other pieces, is what really attracts me to his work. I like how he doesn’t use the watercolors in the most traditional style. The watercolor and graphite work well together and individually, and his subjects plus style just make me want to study all the details of his different pieces. Zach Johnsen also has a really interesting style and way of working because he uses coffee as a medium in a lot of his pieces which give them a really unique look and makes him stand out as a artist.
With a fabulous inaugural exhibition under his belt, Andres Guerrero prepares to unleash another round of seriously fly to look at pieces tonight @ Guerrero Gallery! Just look at this handsome lineup he’s assembled; Adam Wallacavage, Albert Reyes, Alexis Mackenzie, Andy Diaz Hope, Brian Cooper, Chris Yormick, Cody Hoyt, Cody Hudson (above), Frohawk Two-Feathers, Greg Lamarche, Jacob Whibley, James Hopkins, James Marshall, Jay Howell, Jon Bocksel, KC Ortiz, Kelsey Brookes, Michael Rea, Michael Swaney, Mike Davis, Ryan Jaenke, Scott Anderson, Ted Pushinsky. Preview images below…..