These melting disco balls are the work of German collective Rotganzen. The installation, titled Quelle Fête, features scattered disco balls in various stages of melting. No longer operable or spinning, they lie lazily on the floor. Regarding the concept, Rotganzen says:
“Our conscious choice of the material and form contains a contrast to the message. It’s a reminder of the momentousness of glamour and swiftly passing glory. What once may have been a perfect shape takes on a new character and meaning. However, rather than a cynical take on reality, our intention is to offer a playful approach to observing our object of depiction.” [via]
Not only does Josh Reames write great reviews for New American Paintings and run an odd little basement gallery in Chicago (Manifest Exhibitions), but he makes great paintings too! I’ve personally seen his paintings come a long way in a very short time, and I hope you like them as much as I do. See this young Chicagoan under-compensate for his long-comings after the jump!
These photographs are images of a unique museum collection. The Museum of Broken Relationships originally began as a project in Croatia by Zagreb based artists Olinka Vištica and Dražen Grubišić now tours internationally. While many may destroy the painful mementos of a failed relationship, the museum seeks to transform the impulse into a creative one. The museum points out other rituals such as funerals, marriages, and even graduation farewells while break-up do not have a formal ceremony. In a way the museum offers one to assist with the emotional impact of an ended reltionship. For this reason, the museum encourages people to donate personal belongings to be exhibited as “their love legacy as a sort of a ritual, a solemn ceremony.”
Chilean artist Santiago Salvador Ascui paints melodic, colorful arrays of pattern-like assembled people. His careful lines, bright use of color, and charmingly hand painted perfection is reminiscent of work from the Mission School movement, specifically the paintings of Margaret Kilgallen and Chris Johanson. While having the playfulness of the “new folk” work of the 1990s, his work is also informed by a strict systematic structure. His pieces function almost as color studies, guiding the eye through the placement of hue, rather than, as most figurative paintings would, narrative. As he falls in and out of saturation, his work sometimes seems to mimic the cycle of the moon. He arranges his figures in sequences, perhaps forming the aesthetic of Josef Frank meets Josef Albers.
Though the work is aesthetically joyful and decorative, his use of repetition and unification through tonality also speaks to a certain aspect of conformity and monotony. He speaks about the work as a pictorial representation of consumer culture. During the digestion of each piece, the viewer cannot help but to see every figure as the same. The patterned pieces create a true sense of identity-less beings; as if to say that everyone is within the same cycle, drawn into the same pattern (if you will), and unlinked to any sense of individuality. However, Santiago Salvador Ascui’s work also draws an important question; when does the need to be different begin to silence the need to be the same? Despite the burden of a plastic society, perhaps the unification of all figures is actually, in a sense, a positive message. (Via The Jealous Curator and Artishock)
Multimedia artist Todd Baxter has created a retro futuristic image series inspired by narratives of science fiction utopia. Long fascinated with the technology and physics of the Space Race era, with “Project Astoria: Test 01,” Baxter tells a story that revolves around the experiences of children growing up in a an Earth-like world that has recently been colonized. Baxter’s wife, Aubrey Videtto, is writing the story that the two created together. They hope to collaborate with other artists for the project, including a graphic novelist and musician, to further execute their concepts and designs. Of this project, Baxter writes, “With Project Astoria, I wanted to play with that childlike hopefulness — that anticipation of humans finally mastering our existence and our technology. Especially as we were reaching such new and magical realities as landing on the moon, the late 60s was the perfect period, in my mind, to add in this alternate history where we all get together and say, ‘Hey! We could go colonize this other Earth-like place and really do it right this time. It could be perfect. Utopia!’ Of course, it doesn’t go perfectly, which is good. Otherwise, it wouldn’t make for a very fun story.”
Baxter’s process is quite involved, but it starts with him pulling out sketches for ideas he’s had. He then browses the images on his computer for environment and landscape images he’s shot, and begins to weave together these environments with Photoshop. Baxter then plans the next elements based on these general compositions, producing photo shoots of his subjects that he continues to compose and retouch with Videtto until each image is fully realized. The result is a playful narrative with an almost kitschy aesthetic, evocative of the likes of Wes Anderson. (via behance and bleek magazine)
Lots of cool stuff coming from Blake E. Marquis, a do-anything artist making his way out in NYC. Especially awesome typography, along with killer logo and typeface treatments. Throw in some eye-popping patterns, a super-sick silkscreen, a t-shirt, some posters for good measure, and we’re only beginning to touch the tip of the iceberg – this guy does a little bit of everything, and does it all really well.
Joe Diebes is one of those guys who is so smart you can feel the smartness coming off them in waves, like heat on blacktop. I don’t pretend to understand what he’s thinking, but like Potter Stewart explained hard core porno by saying “I know it when I see it,” it’s easy to see something intense happening in Diebes’ sound and video collage. He created a recording of a musician, the cellist Rubin Kodheli, and then sort of collaged it back together using a mathematical algorithm. One interesting conceptual aspect of this video, Scherzo, is that it never repeats. And I don’t mean that it doesn’t repeat in this little one minute snippet, I mean that if you played it for one hundred years and sat there – it wouldn’t repeat the same sequence twice. I told you, this guy’s smart. You can see Scherzo at Paul Rodgers 9w gallery until December 2nd, and at the Liverpool Biennial until November 28th.