Australian artist Rena Littleson’s “My 2 Cents” is a RENAFIED experience of the gambling world. A colorful and comical creation of paintings, installations, games, fashion, fun and fortune, inspired by the years that Rena worked as an artist for a poker machine company. Check out some of Rena’s earlier work here.
Artists Ralph Lagoi & Kate Lace’s recent series entitled “Love Land Invaders,” is a portfolio of fashion, art, and “luxurious pop” set in some of Japan’s extraordinary love hotels. I feel like I am peeping in on some superhero’s intimate moment!
Berkeley based artist Mel Davis has just opened her latest exhibition at Eleanor Harwood Gallery entitled Begin Here. From the press release: “With these new paintings, Mel Davis explores the polarities between the natural and the allegorical, the decorative and the expressive, the representational and the gestural. She is engaged in a conversation that exists between these states, measuring the gaps between thought and language, trying to expand on her diverse visual vocabulary. Integral in Davis’s new paintings is the notion of foliage as a connecting thread, both pictorial and metaphorical, describing a taut emotional and private landscape that illustrates the potency of variation. The works are engaged in a simple pared down composition but push an expansive, dramatic and romantic use of language. Always with the goal of achieving visual pleasure, the paintings are calculations of light shifts, the space that trees occupy, the reverie that happens when looking out a window, reminding us of our fragile coexistence with the natural world and its everlasting powers.” The show is on view through April 27th, 2013.
The exhibition “Baker’s Dozen” will be opening this Saturday, Sept. 19 at the Torrance Art Museum. The show is a really great survey of some of Los Angeles’s best & brightest contemporary artists- if you haven’t seen the works by the artists exhibiting here yet, you no doubt will soon–many of them have been making some waves around the So Cal art scene for a while. Don’t miss this show if you’re in the area! To give you a taste, I’ve included (no pun intended based in any way off the image above) selected works by my personal faves after the jump including Allison Schulnik, Tia Pulitzer, Jared Pankin, Aragna Ker and Mark Dutcher. The brilliant Eric Yahnker featured above. For the other half of the baker’s dozen, you’ll just have to check out the show yourself!
Brooklyn-based artist Elana Adler uses the traditional craft of an embroidery sampler to outline the crude things said to her by street harassers. The series is titled You Are My Duchess, and features small, decorative pieces of needlework (which historically feature bible stories or other imagery) that say some negative, disgusting things. Adler stores each saying in an elaborate frame, and writes in her artist statement:
This series of thirty-two (plus) samplers is intended to be provocative and evoke emotion. It is a contemporary feminist interpretation of women’s work and an objectification of my personal experience. Each captures a moment, giving these words a visual presence, a power, and a state of concreteness. These words were hurled casually and heard quickly but required hours of time-consuming, careful stitching.
The physically delicate, traditionally feminine, form of the piece engages the viewer and confronts him/ her with a sweetness that may mask its crassness and vulgarity.
She goes on to explain that the strength of this series comes in numbers. While you might read one and be amused, the more you read will change your response.
The inherent filth emerges. It is a beautification of an assault. Perhaps in the moment these statements are meant to compliment, but most don’t find vulgar, highly sexualized statements whispered or screamed at them by random strangers complimentary. Rather, they are an invasion of personal space. (Via Got a Girl Crush)
The new work from Australian photographer Jana Maré in a way presents different relationships. Maré’s nude body is found throughout a deteriorating house, interacting with various rooms and structures. The physical relationship expressed in the photos at once recalls the structure’s past incarnation as a home and emphasizes its current dilapidation. At the same time, though, Maré, in using her own body and refusing to use digital manipulation seems to have a nearly uneasy relationship with the camera and viewer – her posing a kind of performance that has been frozen.
Enrico Nagel‘s Secret Garden is a series of collage portraits. High fashion models are contrasted against a plain paperboard background. Each model’s face is replaced with a garish arrangement of flowers, jewels, and other ephemera. Nagel juxtaposes what he terms as the “artificial imagery” of the fashion world with the natural imagery of flowers. Each bloom seems like a nearly violent coup of the subject’s identity, the clothing being the only remnant of the former glossy fashion mag photo.