Anton Gerasimenko‘s single paged web-works uses functionalities and traits of the internet browser in surprising ways. He turns the aesthetically mundane objects which are essential to any sort of online activity, tool bars and radio buttons, into subjects of these small sites. Each page has few to no links- when there are links, they transform the screen into a maze of pop ups, and when there are none the window seems to become a movie screen.
Damien Hirst’s exhibition at White Cube Sao Paolo, called Black Scalpel Cityscapes, is surprisingly compelling conceptually and technically intriguing. Hirst, though I’m sure I don’t really need to tell you this, reader, is a very divisive artist. His practice is a slippery one. It’s difficult to dismiss him, because he’s carved out a big space for himself in commercial galleries, but to some work, in example his spot paintings, feel a bit like an emperor wears no clothes scenario. It’s easy to argue that Hirst’s legacy is the success of his practice itself as a sort of art piece, and it would be true that he’s figured out some notable strategy for success, but whether it’s particularly honest or admirable is a question often dismissed by the powers that profit from Hirst or uphold his ideology.
In contrast to all this, Hirst’s most recent series is unexpectedly insightful. He recreates bird’s-eye view images of international cities using paint, surgical tools, and other industrial instruments. The materials for the Rio painting consist of Scalpel blades, skin graft blades, zips, stitching needles, aluminum filings, pins, stainless steel studs, fish hooks, steel wire cutting spool and gloss paint on canvas. On the White Cube website, Hirst’s statement reads:
Hirst investigates subjects pertaining to the sometimes-disquieting realities of modern life – surveillance, urbanisation, globalisation and the virtual nature of conflict – as well as elements relating to the universal human condition, such as our inability to arrest physical decay.
In the paintings, manmade features and natural elements such as buildings, rivers and roads are depicted in scalpels as well as razor blades, hooks, iron filings and safety-pins, all set against black backgrounds. For this exhibition, Hirst selected 17 cities, which are either sites of recent conflict, cities relating to the artist’s own life, or centres of economic, political or religious significance
What’s exciting about this series is that the themes Hirst claims to be examining are clear and his execution is effective. The paintings are visually impressive and also hold up conceptually, and most importantly, they tackle relevant political issues. Basically, it’s not bullshit. Congratulations, Damien Hirst. (Via The Fox is Black)
British set designer and artist Nicola Yeoman creates optical illusions via temporary installations. The complex arrangements use well-scoped vantage points and specifically-lit sets that conjure fantastical scenes. She uses both conventional and discarded objects in her work and places these objects in unexpected locations.
Yeoman combines moody lighting and a variety of textures to make her works appear simultaneously flat and three-dimensional. This is especially visible in her letter installations. The “D,” for instance, is crafted by negative space with chairs that occupy the foreground, middleground, and background. But, you wouldn’t necessarily realize it unless you looked closely – this photo is shot at just the right angle.
While some of Yeoman’s work is as specific as the alphabet, other installations are more mysterious. Outdoor scenes obscured by fog fill the composition, and paper planes and a silhouetted car on a journey into the unknown. Her work has the power to go in opposite directions – didactic and dreamy – and the well-thought compositions, allow her to take the viewer anywhere. (Via Yatzer)
While living in Germany for the past seven years, photographer Samaneh Khosravi noticed that there were many misconceptions within the Western understanding of Iranian culture. In a project titled “Among Women,” Khosravi seeks to shed new light on a lesser-known facet of modern Iran: its diverse women’s fashion and beauty scene. In the photos, Khosravi accompanies the women as they shop, socialize, and even visit with their plastic surgeons. The images were compiled into a book titled Among Women, which Khosravi describes below:
“This photo book documents the beauty ideals of today’s Iranian society, which are hardly known outside of Iran. It focuses on the young, confident Iranian women, who define their ideal of beauty with the interplay between modernity and tradition. More often, the simple beauticians are not enough for the young Iranians, and therefore the plastic surgeons need to lend a hand sometimes.” (Source)
In a world wherein the media is so often dominated by Western standards and perceptions, Khosravi’s project is important in providing us with an authentic glance into her culture—one that hasn’t been filtered through a Western lens. We see familiar images—the nail salons, the shopping arcade, the self-conscious glance in the mirror—but Khosravi’s candid style reveals a cultural distinctness in Iran’s approach to beauty, one that has its own nuances, such as the combination of traditional head scarves with modern makeup styles. “Iran is different,” she writes. “Iran is not only different from Germany, but also from the image presented by mainstream media” (Source).
It is Khosravi’s dream to disseminate this detailed perspective of Iran to the world. She is currently seeking support to publish her book with Kerber Verlag, which means it would reach a greater number of people. If you’re curious about Iran and you wish to support an image of the country that doesn’t fall under the umbrella of Western unilateralism, be sure to visit her crowdfunding page and help her reach her goal. The book is aimed for publication in October 2015. Visit Khosravi’s website, Facebook page, and Instagram to follow her progress and learn more.
Photographer Jeremy Kost isn’t ashamed of being under the influence of Warhol, a fellow Polaroider. Like Andy Warhol, Kost’s subjects often embody contrasts. His photographs are at once staged and candid, glamorous and gritty, confident and apprehensive. Kost’s photo-collages capture larger scenes by piecing together fragments of it – in a way a metaphor for Kost’s subjects, Warhol’s style, even post-modern identity.
Fittingly, Jeremy Kost explores lust in the ‘seven deadly sins’ themed Beautiful/Decay Book: 9 – check it out to see more work from Kost and other awesome artists.
In her recent work, the photographer Lisa Lindvay archives the indirect yet undeniable marks left on her family and their home by her mother’s mental illness. With the family landscape surviving as her constant foundation, she invites viewers into a claustrophobic space isolated from the perspective and normalcy of the outside world. Although we are given indicators of their location— McDonald’s bags, generic soda, a “Legalize Gay” wristband—the family appears as if entombed in a time capsule, each member left to fend for themselves since the onset of the matriarch’s illness.
The camera acts as an active character throughout the narrative, forcing intimacy when the closeness and comforts of family seem irrevocably fractured. Eye contact is avoided with all creatures and things aside from the lens itself, which somehow breaks boundaries and transcends each subject’s seemingly self-imposed solitude. Intimate and sensual moments— the applying of hair dye, half-nude lounging, naps with the loyal dog— are generously laid bare for the artist, providing viewers with intermittent flickers of hope.
In her still lifes, otherwise mundane or grotesque subjects are assigned deeper meanings. The artist worshipfully documents trash, each object appearing like a pitiful symbol of continuing life and hope amidst crippling circumstances. A jar of cheese puffs is seen from the floor and lit from an unknowable source, as if standing at the alter of some personal cathedral; an oily ring on a pizza box surrounds a golden mane like the halo of a forgotten saint. As the family faces an uncertain future, half-eaten pizza and dirty socks become the only reminder that time has not in fact stood still within the house; Lindvay captures each with beautifully archival rigor as if to denote days on the calendar. Take a look. (via Feature Shoot)
Illustrator Isobelle Ouzman upcycles would-be discarded books into sculptural works of art. She cuts back the pages and draws nature scenes that together, create an alluring new narrative. The primarily black-and-white images have spots of color added to them, and they hearken the viewer into this special place.Ouzman calls her creations Altered Books.
Using an X-acto knife, Micron pens, watercolor paint, and a lot of love, Ouzman breathes new life into these objects. “Every book that I alter was found by a dumpster in Seattle, a recycling bin, a thrift store, or was given to me by someone who no longer wants it,” she writes. “Rather than have these discarded books sit out in the rain or in some store to gather dust, I’m striving to make good use of them. I love books very much and would never carve into one that was valuable. I just want to give them a new life and a second chance to mean something again.”
Perhaps one of the best street-art interventions of the year comes at the very end. Daniel Siering and Mario Shu developed a unique strategy for their site-specific public project in Potsdam, Germany. By wrapping a tree and covering the wrapping with incredibly detailed spray-paint, the duo manages to perfectly capture a stunning sinhle-point perspective which gives the illusion that the tree is bisected, with the top half mysteriously floating above the fields and horizon in the background.
As this is a developing story, there are precious few pictures to properly show the project (including proper links to the artist, or previous works) but check out this video (which as of now has less than 300 hits) to see the simple yet effective trompe l’oeil the two artists created, and hope that the two release more pictures, and more fantastic public projects, in 2014. (via streetartutopia)