Samsøn is proud to present Suzannah Sinclair’s 2nd solo exhibition with the gallery: “Tomorrow is Here” from March 26 – May 1st, 2010: Artist’s Reception Friday, March 26 / 6-8pm
The new ocean paintings are 8 x 11 inches; the size of a page from these same vintage men’s magazines devoid of figures.
“They are sometimes from advertisements trying to convey a warm easy feeling that embody the beauty and stillness that I find in the women I paint. I like the pairing of ‘Sister What a Good Time’: landscape, that insane feeling of getting lost in the depths of someone’s eyes or the blue depth of the ocean.”
The works will be installed in an environment complete with lamps, rugs, Bertoia benches and pots/planters with plants setting a stage for comfort, suggestion & space-time. A mirror can be part of a scene without the figure through reflection.
“I like the word ‘quietude’. Just saying…”
Suzannah Sinclair was born in Frankfurt, Germany in 1979 and currently resides in NY, NY
450 Harrison Ave. / 29 Thayer St. Boston, MA 02118
I’ve been an avid documentary film watcher for many years now. My favorite documentaries are obscure stories about everyday people doing extraordinary things. I always get excited to share these documentaries with friends but before I know it I forget the title. So in the spirit of archiving my findings I am creating a new category dedicated strictly to documentaries. Below is one of my most recent finds.
A Man Named Pearl tells the inspiring story of self-taught topiary artist Pearl Fryar, whose unlikely journey to national prominence began with a bigoted remark.
Beautiful/Decay has partnered with premiere artist portfolio building platform Made With Color to bring you some of the most exciting contemporary artists working today. Made With Color allows you to create a website that is professional and easy to use with just a few clicks and no coding. If that’s not enough all Made With Color sites are optimized for mobile and tablet viewing so you’re site looks perfect no matter how it’s being viewed. This week we are happy bring you the work of Portland based artist and Made With Color user Wendy Red Star.
Over the course of her practice, Wendy Red Star has worked within and between the mediums of photography, sculpture, installation, performance and design. Red Star’s multilayered work influences are drawn from her tribal background (Crow Nation), daily surroundings, aesthetic experiences, collected snapshots of moments of the past and present, and stories that are both real and imagined. Through her photographs and sculpture a new cosmos is built, simultaneously urban-rural and high-low, conveying ideas through representations created from suggested associations of seemingly diverse sites, objects and ideas. HUD houses, rez cars, three legged dogs, powwow culture, indigenous commoditization, and Red Star’s personal collection of memories growing up as a half-breed on the Crow Indian reservation are used to excite a response in a form that can be experienced by others.
The work represents an insider/outsider view that is rich with complexity and contradiction. Red Star’s unruly approach examines the consumptive exposure of a cross section of American cultures while also being a meditation on her own identity. Her works explore the intersection between life on the reservation and the world outside of that environment. Red Star thinks of herself as a cultural archivist speaking sincerely about the experience of being a Crow Indian in contemporary society.
Photographer Edo Bertoglio was a pioneer of his time. He became involved in the scene in downtown New York in the 80s during a time of energy, creativity and luxury, and captured intimate moments of celebrities, art stars and night owls involved in that scene. His new book New York Polaroids 1976-1989 is a collection of those times and showcases a candid side to many people not rarely seen, and used the Polaroid camera in a way not commonly used. Bertoglio frequented clubs like CBGB and Studio 54, and snapped images of Andy Warhol, Jean-Michel Basquiat, Grace Jones, Debbie Harry and Madonna. In fact, one image that Bertoglio had taken of Madonna was meant to be the cover for her Like A Virgin record, until the producers had a change of heart at the last moment.
He used the Polaroid SX70 because it was a portable, durable, instant camera, and meant that Bertoglio could easily travel at his will – from vacations to Greece or Porto Rico, to spontaneous motorcycle trips to Staten Island – and take photos easily. The native Swiss photographer has exploited the characteristics of the polaroid camera and used them as stylistic nuances. Blurs, light flares, and unexpected color spots become a feature of his work.
He infuses many of his polaroids with a distinctive pop quality, hyper-real, pre-digital, playing with an unmistakable intertwining of silhouettes and intense, lively, counterposed tones, faded mono- chrome atmospheres, clear-cut juxtapositions of subjects, forms and colors, close-ups and backgrounds. He has synthesized the narcissistic and decadent hue of his time.
His book is available to purchase here at Yard Press.
Melbourne based Joseph L. Griffiths’ drawings and mechanical installations seek to transcribe the living relationship between man and machine. The relentless accuracy of the drawings evoke the printed sheen of digital reproduction, simultaneously celebrating and denying the human touch. His interactive drawing machines propose a return to primitive technologies and encourage a reconnection to the natural and man -made worlds through manual crafts. Directly engaging the audience in the creative cycle, his work seeks to reevaluate the human position in the technological equation, and realize the potential for art to permeate everyday life. More images of the drawing machines and drawings after the jump.(via pulmonaire)
Canadian artist Andre Ethier‘s oil paintings are rich with all the messiness of life. He seems to find and expose more beauty and meaning from the unsavory elements of life than the average person does from generic blue skies and roses. I remember catching some of his works in person a few years ago and each one just glowed with so much power — hobos and monsters leering and searching from behind syrupy glazes. And Ethier’s quasi still lifes, well, they’re practically wall-mounted explosives. See what I mean after the jump.