Lots of cool stuff coming from Blake E. Marquis, a do-anything artist making his way out in NYC. Especially awesome typography, along with killer logo and typeface treatments. Throw in some eye-popping patterns, a super-sick silkscreen, a t-shirt, some posters for good measure, and we’re only beginning to touch the tip of the iceberg – this guy does a little bit of everything, and does it all really well.
French artist Xavier Veilhan is staging a series of site-specific sculptural installations in various international, architecturally significant structures as part of a project entitled Architectones. To kick off the series, the artist is presenting works at the Richard Neutra VDL Research House in L.A. The works on view at the Neutra VDL Research House (exhibit closes September 16th) are inspired by modernity, Richard Neutra, and the house itself, where the artist stayed with his family while completing each piece in the show; an echo of Neutra’s family life. Curated by Francois Perrin, the exhibit features models of cars and boats, a metal flag, and more.
Over the next year, the VDL project will be followed by Pierre Koenig’s Case Study House #21 (1958); the roof of Le Corbusier’s Cité Radieuse, Marseille (1952), (set for spring 2013); St. Bernadette du Banlay Church (1966) by Claude Parent and Paul Virilio, Nevers, France; and the Melnikov House (1929) in Moscow. After the jump, more pictures of the show. (Photographs by Joshua White).
Four years ago, photographer Jamie Diamond bought a hyperrealistic doll known as a Reborn baby off eBay, and this purchase lead her to a project spanning nearly two years. Called Mother Love, the series blurs the lines between real and unreal, living and the inanimate.
To make this project possible, Diamond collaborated with an outsider art community called the Reborners. They’re a group of self-taught female artists who hand-make, collect, and interact with these dolls. They hold them, dress them, wash their hair, and take them for walks in the park. “After spending a year investigating and recording their practice,” Diamond writes in an artist statement, “I chose to become a Reborner to gain a better understanding of the community.” Diamond continues:
In Nine Months of Reborning, I reborned dolls and constructed a working nursery in my studio and on eBay, called the Bitten Apple Nursery. Before putting the dolls up for adoption on eBay, I photograph each one using a large format camera, the image becomes the remnant of this exchange.
Creating the dolls was a laborious process. Some required up to 80 individual layers of painting, veining, blushing mottling, and toning, cured with heat. Strands were individually attached to the scalp. The dolls were weighted properly so that they feel like a real baby when held in someone’s arms.
The Amy Project followed this construction. “I invited celebrated Artists from the community to individually interpret and idealize the same doll,” Diamond writes. “I then photograph each doll mimicking vernacular school portraits. Each of the dolls are unique to their maker’s hand, but share an uncanny similarity through their common origin.”
Diamond no longer calls herself a Reborner, and plans to sell the remaining dolls on eBay (although she might keep one for herself).
Working with the Reborn community has allowed me to explore the grey area between reality and artifice where relationships are constructed with inanimate objects, between human and doll, artist and artwork, uncanny and real. I have been engaged with this community now for four years and while working and learning from these women, I’ve become fascinated by the fiction and performance at the core of their practice and the art making that supports their fantasy. (Via Hyperallergic)
Molly Landreth’sA Portrait Of Queer life In America started as a simple self-portrait project in 2005 but has since expanded into a national archive and an international collaboration with the GLBT community. Molly’s goal with the series is to create images of her community that she can relate to and to tell new stories not typically represented in conversations about queer life.
Stemming from a desire to challenge the conventions of traditional portraiture, Bryan Drury has carefully selected affluent members of society to sit for him, and rather than acquiescing to expectations of flattery, he exploits the power of oil paint to describe their corporeal flaws as precisely as possible. Finding liberation in this reversal of patronage roles, Drury focuses on the organic quality of the flesh and shows the animalistic side of humans that we so commonly attempt to conceal. The works feature a single subject, executed with a painstaking degree of realism. The small-scale portraits capture the condescending and supercilious attitudes of the sitters, who gaze at the viewer with an air of disdain. Set against solid backgrounds, the sitters seem separated from the outside world, and their lifeless artificiality imbues the works with a sense of isolation. In an attempt to expose their vanity and the disconnect that exists between the corporeality of the body and the abstraction of identity, Drury meticulously renders facial details, paying special attention to imperfections and blemishes. His skillful use of light and shadow in portraits highlights the contours of the sitters’ faces, while the subtle glossy backgrounds further accentuate the tactile nature of the skin and hair.
I first encountered Russian artist Svetlana Petrova’s renderings of classic paintings, modified to include her very large, fat cat, a couple of years ago. I was pleasantly surprised to find the artist is still re-creating paintings, and that her work has recently become a part of a gallery show in Abingdon, England.
Petrova’s mother died in 2008, leaving her cat, Zarathustra, behind. She claims her mother spoiled the cat, contributing to Zarathustra’s large stature. Petrova was very depressed after her mother’s death and wasn’t able to make art until a friend suggested she create an art project using the cat, and thus, Fat Cat Art was born.
Petrova says, “I’m a professional artist, and I was fond of Internet memes, and I thought maybe I can make an Internet meme who would at the same time [be] a work of art. And I did this.” But her confidence in her work was at first met with some hesitation. “I thought that I could hold an exhibition, but gallery owners said: ‘This is not art, this is just cats.’ I asked: ‘Why is a shark in the formaldehyde art, but and a cat in a classic painting is not art?’ Nobody could give me an answer, and these people began to avoid me saying that I am mad.” Eventually, though, her cat art won the hearts of the gallery in the UK.
Petrova has been most recently inserting her cat into movies, and she welcomes suggestions for fat cat placements via her Twitter, or the project’s website, whose disclaimer reads: “We are real. All the artworks at this site are real. Nobody’s opinion about Us, Our art or this site will ever disturb Our suprematism.” (via archie mcphee and huffington post)
Justin Bartlett is self proclaimed black ink warlock from the grim and frostbitten ravenrealm of Southern California who enjoys thee grimm riffs, vberkvlt metals, and other dark musick, times of solitude, skulls, and scotch. He’s done work for indie (and I mean indie) bands and record labels. Pretty awesome. Here’s a quote he leaves you with: “EMBRACE VISUAL HELL!!!”