At age 72, Mernet Larson is having her first solo show in new york right now. Her show Three Chapters is slated to be shown in three consecutive bodies of work– Heads and Bodies, Places, and Narratives. The first two have already come and gone, but if you’re in the NY area you should check out her Narratives chapter at the Johannes Vogt gallery before it gets taken down on the 27th . “These works navigate the divide between abstraction and representation with a form of geometric figuration that owes less to Cubo-Futurism than to de Chirico, architectural rendering and early Renaissance painting of the Sienese kind. They relish human connection and odd, stretched out, sometimes contradictory perspectival effects, often perpetuated by radical shifts in scale.” – New York Times (via)
Dominic Shepherd’s Paintings invites us into a time and place that is in-between, a place of mystery and the imagined. Calling to mind John Fowles’ ‘The Magus’, Shepherd envisions a place populated by magicians, solitary wanderers, messengers, lost poets, artists and musicians, a place that is between reality and sur-reality where the macabre and the frivolous walk hand in hand. This imagined place is prompted by Shepherd’s own immediate environment, where cottage and studio sit isolated in a clearing within dense Dorset woods. Stepping into these woods at night one feels simultaneously stimulated and threatened, but one is urged to embrace the shadows and the illusion that lie therein, where the fictive obfuscates truth.
At night, perhaps, such experience is appropriate, during the time of revelry and ritual, magic and intoxication. All take place beneath the cover of darkness. But at the hour of daybreak, as the morning star rises, thresholds other than night to day are broken. Reality returns and with it a wistful awareness of a loss of the other. The dreamlike and hallucinatory are overcome by a confrontation of the self where one can emerge enlightened as with St John of the Cross or fallen as with so many romantic heroes from throughout history. Indeed, Shepherd’s canvases might be populated by lost icons and anti-heroes such as Hesse, Redon, Shelley, Blake or Wagner or more contemporaneously Jack Kerouac, Keith Richards or Charles Manson. ‘The sleep of reason brings forth monsters’, cautioned Goya and Shepherd outlines that escapism, individualism and heroism, and the drives of the intuitive and the unconscious can bring egotism, destruction and excess as well as beauty, magic and discovery, thus simultaneously enticing and forewarning.
We’ve put it off for as long as possible but you can now follow me and see all the awesome, random, and random stuff I photograph all day long. I can’t promise a few occasional shots of the adorable B/D mascot Mr.Baxter but I’ll try to keep them to a minimum. What you can expect is lots of art, design, street art, studio visits and more. So jump on your phone, ipad, and any other Instagram compatible device and follow your favorite art publication at @beautifuldecayofficial !
…These visions were frozen in a time capsule on Gallifrey, only to be unearthed when the time and relative dimension in space felt right. Opened in 2012, the images resembled paintings like Michael Bevilacqua’s layered chrome and black attack, Chris Bors’s post-pop pseudo-propaganda, David Humphrey’s surreal suburban wet dreams, Ketta Ioannidou’s chaotic spiraling vegetation, Todd James’s bright cartoons from our Id, Allison Schulnik’s luscious thick impasto, Aaron Zimmerman intricate fever dreams and Jeremiah Teipen’s psychedelic sexual video.
NYC artistic heavyweight Chris Bors curated Spacegrass, a group show at Bloom Projects in New York (95 East 7th Street, downstairs) opening September 8th. The exhibition features works from a couple B/D favs including Allison Schulnik, Todd James, and Aaron Zimmerman. Check out some preview shots after the jump.
Italian photographer Giampaolo Sgura has put together a whimsical, colorful photo shoot for the December/January 2015 issue of Vogue Paris with supermodels posing as lifelike Barbie dolls trapped in commercial packaging. He has turned the idea of Prêt-à-porter into something quite literal – into a pre-packaged sartorial commodity that you can carry away. The idea of purchasing a look or an outfit from a catalog is now conceptualized as something that it has always been – a highly stylized and idealized situation amplifying our fantasies and desires.
Supermodels Magdalena Frackowiak and Elisabeth Erm take the place of childlike dolls, dressed up in highly fashionable clothes, surrounded by desirable products and placed in boxes labelled with luxury labels such as Dolce and Gabbana, Chanel, Valentino and Miu Miu. They seem to bring the concept of fashion full circle in that they are now animations of the thing they are selling. Fashion photography has always projected an idealized representation of how one could live in the clothes it markets, this time we are shown the truth of the illusion.
As Alfred Stieglitz once said,
In photography, there is a reality so subtle that it becomes more real than reality. (Source)
And that is exactly what Sgura’s photography is. It is so real it becomes surreal. It is a stark commentary of the commodification of fashion. He captures the reality of the representation of modern women in modern times – not just as consumers of fashion, but also as objects. (Via Design Boom)
Brett Wilkinson’s experiments in minimalism and geometry have led him to create Onesidezero, a collection of his latest works in illustration. Whimsical and playful, his style reflects the cheerful shapes and colors of childhood toys and coloring books. Not only does he specialize in prints, but his works are also featured on mugs, laptop skins, and wall vinyls. Wilkinson has also designed for Panasonic and the Big Chill Festival 2009, and created the cover for Digital Arts Magazine.
Aron Wiesenfeld’s moody paintings of young women in desolate, unfortunate circumstances are close to being beyond reproach. The figures in these works -usually young and female- are characterized by a certain hardiness. Despite their thin frames, there seemingly isn’t any malevolent force (weather, isolation, disaster, etc.) in the world that can bring them down. Where others might place less significant elements in a corner to fill a canvas, each of Wiesenfeld’s brushstrokes seem to have a purpose. Each mark on canvas contributes to a stronger emotional impression overall. And that’s really what makes these so great. Sure they’re gorgeously rendered, but these paintings’ potential for emotional impact is their greatest strength.