Mark Mulroney is currently showing new work at Mixed Greens in Chelsea. The exhibition, entitled We’re Never Getting Rescued With That Attitude, features paradisiacal scenery created with graphite and acrylic applied to both found book paper and carved wood panel, respectively. In addition to reading Gauguin’s letters from Tahiti, studying Tarzan imagery, and internalizing clichéd tropical sunsets, Mulroney investigated 30-years-worth of Playboy and Penthouse magazines in preparation for the show. Click past the jump for some installation views, and check it out in person before April 20th.
There’s always something more to be said in a failed romantic relationship. No matter who was right or wrong, time allows for reflection by both parties. But, more often than not, we don’t get the chance to say our peace. Photographer Jennifer McClure offers an intimate look at these types of situations in her series, You Who Never Arrived. She explores her past relationships by putting herself in front of the camera and reimagines the situations of former loves. McClure re-stages the events in hotels, using friends and acquaintances to play the part of beaus.
This series is no doubt an intimate one, as we see the photographer’s vulnerability on display. Her perception of the past was changed in this exercise, and she explains to Feature Shoot:
I thought I was going to find out what was wrong with all of the men I dated. I had assumed that I was ready for a grown-up relationship and that I simply wasn’t choosing well. After hearing what all of the stand-ins had to say about my actions and my behavior, I saw that I always ran away when things started to get serious. I was afraid to let anyone get too close, and I much preferred fantasy over reality. I always shot before the men arrived (when I was still right) and after they left (when I was so very wrong). The most devastating photos to me are the ones I shot the mornings after.
Since everything was shot in a hotel room, the sets were always a surprise, forcing the photographer to improvise in things like lighting and decor. Combined with the improv’d dialogue, these images feel like film stills. (Via Feature Shoot)
Well bless Saturn’s moon, if ain’t Mr. Roy G. Biv stoppin by to bend his multi-colored grin right on over the offices of Beautiful/Decay! And not one, but two heavenly bows of Indra gracing our window! We happened to notice this full bow, DOUBLE rainbow straight from our office window this eve, I swear! Ah, and then, it was gone….as Virginia Woolf once said, it was all just as ephemeral as a rainbow.
Photographer Will Adler‘s charm lies in his easy, laid back shooting style. Not all of his photos are entirely in focus; some are over exposed, others under exposed, but these imperfections relate his stories all the better. Adler also takes advantage of Santa Barbara, where he lives, by documenting surfers, the coastline, and hilly landscapes.
If you were ever a fan of Powell Peralta in the 80’s and 90’s then you know that Rodney Mullen was the king of freestyle skating. Hands down he was one of the most skilled skaters inventing tricks that left viewers scratching there heads in disbelief. Freestyle skating doesn’t get much hype these days but Kilian Martin is taking the torch and bringing freestyle back with a vengence. I don’t even know if there are names for half the tricks in the above vid! Amazing.
ps. I put Rodney’s part from Questionable after the jump for all you old schoolers. I
Designer and illustrator Allen Crawford has just released a beautifully illustrated and hand-lettered book version of Walt Whitman’s “Song of Myself,” an iconic poem included in the collection, Leaves of Grass. Inspired by his friend Matt Kish who illustrated each page of Moby Dick, Crawford completed this project over the course of 1 year in his basement. Crawford didn’t plan his illustrations for the poem he calls “an expression of primal joy”; he improvised each one by letting Whitman’s own words speak through him to create a tangible, visceral, and immediate visual interpretation of Whitman’s classic poem in keeping with the author’s sensibility. From Philadelphia, where Whitman spent his last decades, Crawford is intimately familiar with the settings and places Whitman describes in his work – this connection partly fuels Crawford’s affinity for the author’s writing. Because of Leaves of Grass’ status as a sacred American text that is inspired by Biblical verse, Crawford feels that a transcription of “Song of Myself” through illustrations and hand-lettering is fitting.
In his book’s introduction, Crawford writes, “I try to treat the poem as almost a landscape, in the sense that I’m exploring this unknown territory and I’m taking field notes from the mind of Whitman. He treats ‘Song of Myself’ as this broad, epic sweeping poem where he’s trying to include everything about American life he’s experienced. So it is a kind of landscape, a kind of world. It is a kind of continent in itself. And as you’re travelling through it, you have different impressions, your style will change, the type will change, sometimes the type will take the fore and you’ll get a very pictorial sort of a interpretation, or a symbolic one. Sometimes the image doesn’t necessarily jive, and isn’t depicting something that’s actually in the poem. I’m trying to provide a parallel narrative to Whitman’s in visual form.”
Wearing a bright orange dress and armed with scissors, German artist Nezaket Ekici is tethered to the ceiling of a room via her hair. Long ropes act as handcuffs and are tied to the ends of her long brown strands. The only way out? To cut the strings or hair. Her performance, titled Atropos, was first presented in 2006 and again in 2008. It used 100 ropes, 100 hairlines, and 100 pitons (a type of metal spike) and lasted one hour.
We see that during Atropos, strings and hair are cut and dangle over Ekici’s eyes and other pieces of rope. At its core, it’s the act of freeing oneself from the ties (literally) that bind. In a statement about the work, posted on the Celeste Network:
She carries out an act of the self-liberation, while she frees herself with the help of a sissle from long ropes fastened at the roof and to the hair. She cuts off a part of her hair and in this way dissociates herself from a piece of herself. This work can be seen as a vital discussion about the question on the sense of life, that is partly characterised by striving for freedom. Particularly, because hair can be considered as a symbol of life.
This piece’s title comes from the Greek myth of the Moirai who are the goddesses of fate. The statement further explains:
Atropos, who is one of them splits according to the myth the fate threads of the life with a sissle. The artist shows with the radical act of the hair-cut a way out. She takes fate into her own hands and frees herself, like Atropos did. At least the act of the cutting can be seen as an attempt of liberation in itself. (Via Sweet Station)
The incredibly detailed pen and ink illustrators of Toronto based artist Paul Jackson take on the form of animals and humans, with their insides ascending from their bodies. His rendering of skeletal structures of wolves, dinosaurs, and humans is anatomically something to be admired. His illustrations have a dark aura, as he portrays different animals with layers of organs erupting from their skin. We can see Jackson’s well-refined skill in the very believable texture of the fur, skin, and bone in his work. Each illustration remains very realistic, despite their mystical nature. His creatures are like spirit-animals that are attempting to rise out of their earthly shell, erupting out of their exteriors.
There is a strong element of life and death his Jackson’s work, as many of his drawings contain half living creature and half skeleton. Pushing this boundary of the living world even further, many of Jackson’s works contain a visible “glitch.” There is a disruption in the composition. A face slowly turns into waves of “white noise,” like a sound wave encountering interference. This interference literally blurs the line between a creature, like Jackson’s bear, that is alive, with one that is dead. The artist has created his work on a large and small scale, and even has many of them available as prints, t-shirts, and patches. Make sure to check out his website for more astonishing illustrations and a great time-lapse video of the artist in action.