Tom Sachs sculpts truly elaborate masterpieces. In 2001, he recreated Le Corbusier’s 1952 Unité d’Habitation using only foamcore and a glue gun, and constructed a McDonald’s solely from plywood, glue, and assorted kitchen appliances. His attention to detail is mind-blowing. So intense.
British master jeweler Theo Fennell doesn’t just make your average ring. No, his company goes well beyond the typical diamond jewellery by creating accessories that feature doors and secret compartments engineered into them. They open to reveal tiny painted scenes and small treasures that are inspired by popular novels like The Secret Garden and The Wonderful Wizard of Oz.
Fennell and company’s gold rings have astounding and intricate details. Looking closely at their handiwork, you find things like: individual coins in a pot of gold; a rainbow that’s poking above the clouds; and a ring with a side door that unhinges to reveal a yellow-brick road. Of course, these things don’t come without a price – some of them cost around $30,000.
Fennell’s attitude towards his work is that it should be timeless, and so pairing it with classic literary interpretations makes sense. “Jewellry should be something talismanic and precious, beautifully made to last and not at the ephemeral whim of fashion: it should be truly owned,” he says. “Jewellery has that power – it is a very romantic, sexy and emotional thing.” (Via Demilked)
San Francisco Gallery The Popular Workshop recently opened a solo exhibition by Australian artist Ben Barretto entitled Self Help. From the press release: “Self Help continues Barretto’s ongoing exploration into recursion; with each of the series of works he presents ‘making’ themselves to some extent. That is, the chosen material and its inherent properties inform the process and drive the work into a constant loop of feedback.
Self Help presents iterations of this process over 3 different mediums, including hand woven tapestries made from used climbing rope, reconfigured nylon training pants and a set of oil paintings. Within each of these series, Barretto creates a system through which the material qualities of each medium are unbound and rebound into a continuous ongoing cycle, a cycle which sits in collaboration with the expressive additions of Barretto’s own hand, having these works sit somewhere between assemblage and action painting.” The show is on view through April 12, 2013.
Los Angeles Ben Bigelow is an extraordinary image-maker and narrator. His newest piece (cowboy and old-western influenced magic) debuts for the first time ever at the Videos Collide in Real 3D Space show tonight! Doors open at 8PM, show starts very promptly at 8:30PM. Bring your loved one, bring your arch-nemesis, your parents, your cyber crush, whoever it is, you’ll all walk out of it excited for the possibility of banishing YouTube and Vimeo and watching time-based art in REAL 3D SPACE.
Like how a lot of things “aren’t they way they used to be” these days, rave culture and visual cues that go along with it, aren’t the way they used to be (there’s a flyer from a more recent event after the jump). A one sentence summary of rave history: In the late 1980s, the word ‘rave’ was adopted to describe the subculture that grew out of the acid house movement. Activities were related to the party atmosphere of Ibiza, a Mediterranean island frequented by British and German youth on vacation.
What I think is awesome is that there are so many varieties of design approaches in these flyers- heavily illustrated, minimal typography, photographical. You can’t even tell that all these served the same purpose, whereas rave flyers today basically all look the same and probably use the same 10 steps in a Photoshop actions bundle (any readers have one?).Because they are minimal, they would have translated well to posters, banners, or even tees. I think the watering down of this scene could be comparable to the punk scene- degraded and chessified in both sound and visual design. I don’t know, this topic is definitely open to discussion- feel free to comment!
Daniel K Sparkes started his career in the British street art scene since the 2000s. His work is a juxtaposition of photographs, paintings and drawings that combined depict burlesque portraiture, illustrations and landscape. As if eaten alive, the portraits remain anonymous and faceless, yet there is plenty detail where the face or limbs should have been. These faceless and limbless portraitures are playful, disturbing and interesting, especially when done in large scale, as example of some of his murals.