Artist and clothing designer Jerry Gretzinger reveals the process and philosophy behind his decades-long mapping project. Watch the full video after the jump.
Published in 1973, Arthur Tress‘ photo book, The Dream Collector, features visions of childhood dreams and nightmares. Tress began shooting these dream scenarios in the 1960s, first speaking with children about their dreams and nightmares, then staging an interpretation of the children’s visions via photography. During the 60s, staged photography was a rather new development within the photography medium; most photographers were taking shots on the streets. Over the next 20 years, Tress developed his trademark black and white, mythological, surreal photography. The Dream Collector collection represents Tress’ particular style while expressing “how the child’s creative imagination is constantly transforming his existence into magical symbols for unexpressed states of feeling or being.”
“The children would be asked means of acting out their visions or to suggest ways of making them into visual actualities,” Tress explains. “Often the location itself, such as an automobile graveyard or abandoned merry-go-round, would provide the possibility of dreamlike themes and spontaneous improvisation to the photographer and his subjects. In recreating these fantasies there is often a combination of actual dream, mythical archetypes, fairytale, horror movie, comic hook, and imaginative play. These inventions often reflect the child’s inner life, his hopes and fears…”
Japanese artist Yayoi Deki’s paintings and sculptures take you on a cartoon psychedelic voyage where everyone’s having an intense acid trip all at once forever for the rest of our lives.
Justin Hager’s art is all about curation of pop culture references, and it’s really damn punny! He uses mostly celebrity, television, and film material: Kanye and Beavis and Butthead become Yeezus and Butthead. Hager does a great job with quick witt and wordplay while keeping the right balance of contemporary pop-culture icons, and some well deserved recalls from the past. He’s in league with producers like Girl Talk – who managed to mix Missy Elliott with the Ramones – except Hager trades in visual material, instead of mashing up pop songs. Each one of his pieces is entertaining, and it takes firm willpower not to go ‘share’ crazy on his tumblr. Curation is key now that we have access to everything at a finger-swipe. Think of Hager’s artwork as creative recycling: instead of making more to add to the seemingly limitless pile of cultural products, he instead picks some pre-existing ones and creates something new and fun with them. It’s easy to love because it allows us to be nostalgic while also getting something fresh out of the material.
There’s not much to say that the artwork doesn’t say for itself, so take a look after the jump.
When two great artists come together with completely different styles, amazing things can happen. Artists Grady Gordon and Derek Albeck have come together to create a collaborative series in which Gordon starts one of their artworks, and Albeck will finish it. Both artists working in graphite, their work fits together naturally. However, there solo work provides a stark contrast to each other’s styles. Gordon often works in monotype, creating his pigment from ground up cow bones. His organic, abstract techniques could not be more different than his collaborator. Albeck’s work is exceptionally detailed, rendering photorealistic drawings with graphite. When you mix these two opposite methods of creating art together, the results are incredibly unique.
When Gordan and Albeck join forces, their work becomes a hybrid series of morphing, deformed faces that are not of this world. These highly expressive faces are missing many parts such as eyes, a nose, or a mouth at some times. Even the hand that is included in this series appears to have contorting fingers and twisted bones. The winding line work confuses our perception until we cannot tell which end is which, or even, which part is the inside or the outside of the head. You can see this captivating series at the exhibition Sometimes I See You Look At Me Like That at The Smoking Nun Gallery in San Francisco, Califonrnia. You don’t want to miss it, as it ends next month on July 17th.
No matter the type of installation Guiseppe Licari creates, he seeks to encourage direct public engagement in one way or another. For some of his work, he brings natural elements into the gallery space, while other work takes the form of public art. Obviously, most of Licari’s installations should be experienced firsthand, like his ongoing community dinner project Spaghetti Forever, an interactive swing-set Serial Swing, a mobile Illegal Busstop, or his education horticulture workshop, Hortus Publicus. Licari’s work is concerned with creating spaces of engagement that reference nature and the built environment. He lives and works in Rotterdam.