Dan Attoe has a new show up in Berlin at Peres Projects. The places in Attoe’s new work are psychologically pregnant. Some feature groups of people doing a focused activity together, like camping or going to a dirt track demolition derby. There’s enough detail that we can put ourselves into the places, and hear the moon crickets, or smell the b.o., beer, and car exhaust mixing into a sort of glorious perfume. Many artists are concerned with myth making, and that’s because we live on the Earth, but in a world. A world isn’t a physical thing – it’s a story we tell ourselves to make sense of our experience. Attoe’s newest work conjures places in order to get at the heart of that human story, and he’s weaving a spell of world-making as much as image-making here. All the images in this post are courtesy of Peres Projects. Dan’s show is up until November 5th.
Belonging to the genre of abstract expressionism, Kostas Seremetis uses recognizable imagery from comics, film, and life in new and evocative ways; juxtaposing shapes and colors to powerful effect. Kostas’ Ready…Set…Go!, a solo exhibition by Kostas will premiere on September 12th at Fourth Wall Project in Boston.
Owen Gildersleeve’s cut paper illustrations must take a million razor blades and lots of patience to create. From book covers to ads Owen swings his blade at cut paper with no fear creating ultra detailed imagery for you to feast your eyes on. The only question is whether his business cards are also hand cut one at a time. Now that would be intense!
Images and news of the Israel-Palestine conflict have been circulating media for a few weeks now. The photographs that emerge out of this war are tragic and graphic. A handful of Palestinian artists have been transforming images of smoke and fire from the attacks on Gaza into portraits that reveal the very real and human cost of these rocket explosions. By inscribing faces and bodies onto images of destruction, these artists are reminding people from all sides that war takes its toll on an individual, human level, a fact that is often erased when the media creates its narratives. These simple, yet powerful, illustrations give these Palestinian artists a voice that they might otherwise not be given, a voice that tells a different story than the ones represented in the original photographs. (via demilked)
Just in time for Valentine’s Day, we have stumbled across this bizarre series of graphic illustrations warning soldiers against the dangers of Venereal Disease. In a nationwide crusade aimed at changing a whole population’s sexual habits and attitudes, the American government enlisted the help of creative professionals. Artists, designers and ad-men teamed up to create these striking and very frank posters.
At a time when discussion of sexual activity was anything but frank, the VD posters of World War II addressed the topic directly using clinical language, ominous symbolic imagery, and jingoistic slogans to help enlisted men steer clear of sexually transmitted infections. While American sex-ed programs have taken many forms over the last hundred years, the military’s VD campaign left a unique trail of ephemera in its wake, featuring imagery that’s both gorgeous and deeply unsettling. (Source)
Found by Ryan Mungia in the National Archives and the National Library of Medicine, this series of posters caught his eye primarily because of their aesthetic, more so than the unusual subject matter. He describes them as
…reminiscent of film noir or B-movie posters from the ’40s, those pulpy-style poster designs, and they also reminded me of the Works Progress Administration artwork, which I love. (Source)
Using bold shapes and colors, the designs were a success in capturing people’s attention. Plastered all over the walls at bases and training facilities, they were sure to get people talking – during a time when sex, and certainly not sexual diseases, were discussed publicly. After a significant drop in VD by 1945, the need for the poster campaign no longer existed. Even though the campaign was a success, the message had quite shocking undertones. Mungia explains more:
Once I was looking at them as a whole, I started to see certain themes arise. Women are often portrayed in a negative light, and it surprised me how they used Nazi imagery or depictions of Hitler and Mussolini to drive their message home. There’s somewhat of a disparity in them because the posters are very attractive, but their messages are very dark. There’s one in particular of a woman who looks like a skeleton and is walking arm in arm with two Axis leaders, Hitler and Hirohito. I think it’s so interesting that they suggest that the Axis powers were behind venereal disease. (Source) (Via Collector’s Weekly)
Yup this video is as weird as the image above. If you’re a big fan of Mike Kelly, Ryan Trecartin, and alternative psychedelic music, New Zealand based Connan Mockasin just might be your favorite new band. Watch the full video after the jump.
Artist Gemis Luciani takes the term ‘marginal’ literally in his art work. His abstract compositions use regular magazines as a medium and material. Luciani folds the pages of the magazines in a way to only expose the margins. The simple method erases all text, layout and images. He deconstructs the magazine making the marginal central. Interestingly, the pieces often resemble a mix of minimalism and glitch art. His work walks the line of painting and sculpture.
Designer Armin Blasbichler‘s work is often jarring. His series ORSON, I’m Home strikes a special chord, though. The series is composed of three “dining sculptures” created primarily from the bodies of various farm animals. While we may be more accustomed to farm animals adorning plates on the furniture, seeing them as taxidermy furniture makes for a surreal juxtaposition. The furniture confronts its users with the consumption it usually facilitates. Interestingly, for the series Blasbichler features a quote from professor and writer Don Slater: “In talking of modern society as a consumer culture, people are not referring simply to a particular pattern of needs and objects […] but to a culture of consumption.”