Dutch art collective WE MAKE CARPETS create a contemporary interpretation of the centuries-old medium of carpets but with the weaving method, materials, and patterns reflect the 21st century. At a distance, you simply see a decorative carpet. Closer inspection will, however, surprise you as WE MAKE CARPETS uses everyday items to create large carpets.
Products that normally have no value once they have been used, such as plastic forks, plasters, paving tiles, pasta, cotton balls and pegs are arranged in an inventive way to form a graphic pattern. WE MAKE CARPETS are inspired by the color, shape and possibilities of the discarded and cheap materials. The result is not just a decorative carpet, but an object that makes us think about the consumer society that produces these ‘weaving materials’.
Aaron Johnson’s sunny Brooklyn studio is full of riotous, colorfully undulating, larger-than-life monsters. He’s getting ready for a show that opens next week. Luckily, he had some paintings in progress so we can see how he puts his paint on. Known for making paintings that are both incredibly gorgeous and politically aggressive, Johnson continues to develop and has upped the ante with his new work. Now he’s including Old-Master appropriations, political satire, religious abominations, gender-benders, and personal references, all played out in monstrous iconography.
Huma Bhabha is not unlike a medieval alchemist, transmuting discarded materials into works of art—morphing civilization’s dusty detritus into works of stunning beauty. They freely collapse ideological mores, the annals of history, contemporary art, yet transcend concretized fact or fiction. Instead, they resurrect their charred faces, standing as relics from a near distant future, or war-ravaged effigies to a post-apocalyptic past. This practice of temporal and physical shape-shifting seems to be both esoteric and playful at once—Bhabha notes that “turning lead into gold, or at least trying…is more interesting than just using gold.” Her visceral effigies are perhaps best described as “anti-monuments;” her works, in their materiality, do not desire permanence—rather, Bhabha formalizes their very transience through her use of ephemeral, corruptible and humble materials.
Photographer Antoine Rose captures Miami’s beaches and its coastline in the series Up in the Air Miami. Shot from a bird’s eye view, umbrellas, beach goers, and yachts are miniaturized and abstracted, and look like tiny toys used in a diorama. The candy-colored images offer an unusual glimpse into a day on the water, as we see only a general depiction of the beach yet its captured on a large scale. We aren’t offered many details, but still, there is a lot of energy in these photographs. Rose communicates leisure, and minuscule figures evoke the famous French post-impressionist “bathers” series by Cezanne.
Emmanuel Fremin Gallery in New York City is exhibiting Rose’s works, and they describe how the extreme point of view affects what we’re seeing:
… people sharing common behaviors and exposing themselves like hedonistic herds. The stills of people swimming, surfing or just sitting down on their beach pads suggest a showcase or, given the distance, an Insectarium. One can even see a religious connotation: the bird’s eye view makes people seem insignificant dots in the infinite space of the universe, crushed by the immensity of the water field, recalling the biblical universal flood; seen from the sky, like through god’s eyes, people and nature coexist in harmonic or tense relationships. -Eduard Andrei
Miami isn’t the first or only place that Rose has photographed. Previous series of Up in the Air include the Hamptons, Long Island, and Wollman Skating Rink in New York City. To capture these images, he is situated outside of a helicopter that flies as low as 600 feet.
This is a two part documentary post. If you intrigued by lady gangsters, drugs, and Miami Vice these are the documentaries for you…
The cocaine trade of the 70s and 80s had an indelible impact on contemporary Miami. Smugglers and distributors forever changed a once sleepy retirement community into one of the world’s most glamorous hot spots, the epicenter of a $20 billion annual business fed by Colombia’s Medellin cartel. By the early 80s, Miami’s tripled homicide rate had made it the murder capital of the country, for which a Time cover story dubbed the city “Paradise Lost.” With COCAINE COWBOYS, filmmaker Billy Corben – whose first feature Raw Deal: A Question Of Consent, caused a sensation at the 2001 Sundance Film Festival – paints a dazzling portrait of a cultural explosion that still echoes as Hollywood myth, evidenced by the latest manifestation, NBC/Universal’s Miami Vice, opening July 28th. Composer of the original “Miami Vice” theme, Jan Hammer, provides the score.
Award winning photographer Blake Little completely transforms the classic nude figure into a sleek, sticky, sculptural entity in his series Preservation. Little, known for his skills as a portrait photographer, captures each of his subjects after he pours gallons of honey onto their nude bodies. With its use of honey, this seductive and sticky-sweet series has a unifying element that breaks down the differences in the subjects. Little’s models are extremely diverse with a wide range of body types. However, the honey breaks down the unique and personal details of the person and allows them to become a more universal, timeless figure. They all adopt an ageless beauty that one might see in classic, Greek sculpture.
It is no coincidence that Little has chosen the title Preservationfor a series that takes contemporary subjects and gives them a more classic and traditional look. By transforming a unique body into an archetypal figure, they can withstand the test of time. They are now one of the unforgettable figures in art history such as Venus of Willendorf. Not only does this amazingly transformative honey preserve the importance of the figure, but also it allows the figures to look as if they have been literally preserved as they are encased in honey, not unlike the citizens of Pompeii preserved in ash.
The dripping, glossy texture is palpable in this incredibly intimate and tangible series. Preservation were on view at the Kopeinkin Gallery in Los Angeles from March 7th to April 18th, where the photographer is represented. Blake Little’s book Preservation, containing sixty-eight photographs of his honey-filled nudes, is also available. Here is an excerpt from the Forward of Little’s book, written by Kenneth Lapatin, Associate Curator of Antiquities at the Getty Museum.
Since its invention in the 1800s, photography has been employed as a key tool of archaelogy, caputuring images of not only finds, but also the very processes of recovery. Its capacity to record the details of perishable objects – to preserve them – is evident in historical photographs of now degraded artifacts and of excavation sties, many substantially transformed by the very act of digging them and scarcely recognizable today. But today we are also well aware that photography can be far from objective; that it can be manipulated; that it can create something entirely new, original, and surprising.
Ash Thayer photographs are the reflection of her life. Portraits, landscapes and places that represent the beginning of her life as a young woman braving the intense city of New York. ‘Kill City’ is her memoir through those years. It’s a compact diary comprised of photographs taken when she was living in the See Skwat squat after she got evicted from her first apartment in the city. The pictures are raw and incredibly emotional. It’s not a wish to uncover a way of living, it’s a desire to extract the beauty that lies inside the characters and scenes she witnessed.
At 19 years old, Ash Thayer found herself evicted. With no resources and no family, she found in a Lower East Side building a shelter, a roof to call home. She surrounded herself with a new family, punks surviving just liked her. Soon realizing that she was deeply touched by social activism and protest movements she took part in defending and documenting the subculture she was living in.
The subjects of her photographs are simple and honest. People from her daily life posing naturally under the dim lighting of the squat. There’s no intention in claiming a harsh living situation or showing off extreme conditions. In her pictures, the artist depicts vulnerable sincere souls supporting each other. “On the street [people saw us as] street hustlers, trouble makers, vandals—that just wasn’t really the case. We were hanging out, drinking and watching 90210 around one TV, like 15 of us”.
Ash Thayer’s photographs will be exhibited at Superchief Gallery in Los Angeles starting September 19th 2015. The ‘Kill City’ book is available for purchase here.
Society has long had a fascination with dolls and the creepy connotations that come along with them, with such horror films as Child’s Play confirming our worst nightmares. Photographer Annie Collinge is no exception. Her own uncomfortable feeling associated with dolls has created a bizarre fascination inspiring her series 5 Inches From Limbo, which includes photographs of dolls with their human counterparts. Collinge find vintage, strange looking dolls in thrift shops and flea markets, and finds a person in the flesh that resembles the doll. She even dresses her humans to mirror their doll, creating a surreal vision of a person alongside their miniature, porcelain self. Eerie as it may sound, her photographs are relentlessly intriguing while still holding an odd beauty.
Originally hailing from London, the artist had traveled to Manhattan when she found her first doll for the series. The inspiration came when she spotted a vintage doll that boar a surprising likeness to her Aunt Yolanda, outfit and all. After this encounter, she searched for interesting, antique dolls or people that look somewhat like dolls themselves to start the next pairing. She will then find a doll to match her subject, or dress a person to fit the part. Either way, each chosen person displays a striking resemblance to each unique doll, with cherub faces and big round eyes. You may be wondering where all of the dolls end up after the photograph is taken. Well, although a little disturbed by them, the artist keeps each and every one. Dolls often seem to hold a life of their own, and with the help of Collinge, her dolls have now transformed into real life human beings, however unnerving it may be. (via Featureshoot)