If you’re looking for a good reason to not take drugs then watch the video after the jump. I’m not really sure what we’re looking at but It’s either belongs in a museum or in a mental hospital. You be the judge.
I don’t know why I think Rachel Harrison’s sculptures are so funny- they’re such simple sculptures. Joke shop faux-appendage (silver wig, plastic nose), mundane commercial element (cardboard box, ladder) and rough-hewn painted (polystyrene?) form.
Old magazines and documents are given new life in Mark Powell’s work. Instead of using a blank piece of paper he incorporates a used surface with one of his drawings. This adds a bit of nostalgia and makes his sketches unique. He created a series of animal portraits on the covers of 1940’s National Geographic magazines. These were done in Powell’s ultra realistic style, where he used a common bic ballpoint pen to create dramatic renderings. In this instance, the wild animals offer the viewer a striking view of not only Powell’s expertise as a draftsman but a certain comfort level in seeing a familiar title.
A series of map drawings by the artist cleverly uses historical and literary figures. Mostly portraying old men, Powell fuses the lines on their faces perfectly with the map borders adding an interesting element. The idea itself preserves a time and place. Birds, insects and chimpanzees create another body of work that incorporates more reappropriation. The intricately drawn specimens appear on anatomy text book pages, old letter envelopes and historical editions. These are rendered with scientific precision similar to botanical studies. Their placement on the used surface opens up a collage sensibility.
Powell uses a tool that also holds historical significance. Before the bic biro pen was invented only cumbersome fountain pens were used. These were messy and inconvenient. A newspaper editor named Lazlo Biro noticed that newspaper inks dried quicker and with his brother Gyorgy, a chemist, created the first ballpoint writing pen. Because of the moving ball at the pen’s end the inks were allowed to dry making it easier to use. (via faithistorment)
Mark Hunter Brown is a truly dynamic individual. I have known Brown for the better part of a decade, and I am relatively positive that I will never meet another person quite like him. With each day functioning more like the next chapter in a bizarre novel, his zest for life is infectious. Luckily, Brown is also an amazing artist, and has managed to document his interests and experiences through countless drawings and paintings. Though he gains inspiration from his travels, the work is not limited to the places and people he has actually interacted with. Brown is also heavily influenced by the written historical accounts of different cultures and people, but the work is not about visually representing his source material. Instead, he chooses to focus on the importance of the moments recorded history has chosen to ignore. There is this dead zone in between the great scenes of history that also warrants consideration, and Brown is keenly aware of this. When asked why he is drawn to this type of situation Brown replied, “because life doesn’t look like a Delacroix painting – it’s just people walking around and eating sandwiches. These moments seem more real to me…they’re equally compelling.”
While these scenes are not infrequent in his work, Brown’s practice is not limited to this type of subject matter. There is far less literal material in Brown’s oeuvre, and his vivid imagination becomes readily apparent when looking at paintings of huge figurative fortresses or anthropomorphized coo-coo clocks snorting bones off of a table. When viewed in context these paintings start to function as some sort of bizarre allegory, but their meaning is never explicitly stated. There is such a rich diversity in the distinctive worlds that Brown creates, and no piece is less detailed than the last. Whether he is teaching at Columbia, backpacking through Morocco, or boar hunting with monks in the Italian countryside – the need to process the world into visually compelling images has remained consistent within Brown’s life. Lucky for us, his mind seems to function like an endless supply of Google image search results that I have no desire to stop looking at any time soon.
Columbus, Ohio based Illustrator, Adam Levene, graduated from Columbus College of Art and Design with a BFA, and attended Illustration Academy for an extended study. His illustrations have a very classic style to them with a very strong sense of narration. Out of everything of his work, I really enjoyed his portraitures. Not only is he consistently generous in story, but character as well.
Is that a plane? A bird? Or perhaps, a Cursor Kit? Nerd alert! Very little is known about this kite. It seems to be bringing the desktop of your computer outdoors (pfff, finally). Quad-line control, asymmetrical framing, nearly invisible hand-formed stainless fittings, and opposed-bow tensioning for the sail make this incredible kite look digitally pasted right into the sky. Read more to watch a video of it in motion.
Working with only “earth, fire and emotions,” Kathy Ruttenberg’s fairytale-like ceramic sculptures create a world that is immediately captivating, but the viewer might be surprised by what’s down the rabbit hole. Her violent and devastating visions are disturbingly peaceful, idyllic and sustainable. Erasing the boundary of the metaphorical and the literal, Ruttenberg’s world is filled with lush foliage, woodland creatures and puzzling, slightly grim yet open-ended reveries of gender relations. Men are always portrayed as animals in gentlemen’s clothing, and women are always well-groomed and dressed in rounded skirts. On one hand, men are literally animal-like savages, but at the same time they are native creatures of the woodlands and the earth itself, whereas the female figures are the outsiders, if not intruders. It is hard to tell if they are men masquerading as animals, or vice versa. Death, in works such as “The Moment After”, is the stark aftermath of failed love, but also an opportunity to blossom imaginatively and become one with earth.
See Kathy’s work in person in NYC at STUX gallery on view now until May 5th.
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