Elisabeth Lecourt is a multidisciplinary artist who lives and works in London. Her newest body of work is entitled Les robes geographiques in which delicate dresses are constructed out of antique maps. In her own words the series acts as “a portrait of people through their clothes, like a blue-print of their soul.” Her bio explains the importance of the female figure in her art: “Sensitivity and vulnerability are the main subjects in the work of the artist…the feminine figure is seen like the spine of her house, like an essential component of this particular world.” (via)
Patrick Gries’ collection of skeletal photographs are part of his book, “Evolution,” that seeks to make the case for evolutionary theory in a way that has not yet been captured so eloquently through the medium of photography. The project spanned 6 months and involved Gries shooting the photographs of over 250 skeletons at The Museum of Natural History in Paris, as well as 4 other locations in France. These monochrome photographs of skeletons were shot with strong directional light and appear almost sculptural in their presentation, asking viewers to consider the boundaries of scientific study and aesthetic event.
In the book, Gries’ photographs are accompanied with text written by scientist, documentarian, and professor emeritus at Paris’ Museum of Natural History, Dr. Jean-Baptiste de Panafieu. This text describes the skeletons, suggesting how to understand them in the context of history and the patterns of evolution. “New forms have evolved from old ones. Stubby amphibian feet have been transformed into hooves, bird wings and whale flippers. Yet many of the bones in those original limbs have not changed their relationship to the rest. They have just been stretched, flattened or reduced to vestigial knobs. Along the paths of evolution, the vertebrate skeleton has been transformed into similar forms many times over — aardvarks in Africa and anteaters in South America.” You can purchase and see more photographs at Éditions Xavier Barral. (via unknown editors, ny times, and the guardian )
Though New York based artist, Kiki Smith, works with various kinds of materials, she is most widely known for her sculptures. Kiki works with many topics of which include shame, our relationship to nature, and she is even considered to be a feminist artist. But if you must define what she is “about,” I would say that she is very interested in humanity as natural creatures and our inner conflict with wanting to suppress natural urges. Even when crude, her craftsmanship exhibit so much beauty, that I am always consistently filled with feelings of whimsy.
Nicolas Holiber works in the middle of unwanted pieces of wood and thrown away shipping pallets. He also recycles feathers, nails and found objetcs. In his Brooklyn based studio, he creates instinctively from this magical chaos. The result is expressive, colorful mixed media sculptures representing portraits and busts of kings. One of the most emblematic ones, Goliath; from the famous tale David and Goliath is currently installed at Tribeca Park, in the heart of New York.
The sculptures come alive after being assembled, destructed and rebuilt. The process is the same each time, no exceptions. Nicolas Holiber creates from doing; with the intent of building beautiful things from a mess. Give him trash, reclaimed wood and a couple of nails and he will be able to come up with a bold, vibrant and stimulating piece of art. He will only be satisfied when he can look at the piece over and over without feeling the urge to retouch it. But beware, beautiful and finished doesn’t mean perfect. He doesn’t want anything to look too figurative. His work has to feel new and exciting. Otherwise, It just doesn’t work for him.
Until recently, the artist used to create for his own pleasure. He still does but he now shares his work by teaching sculpting classes, attending residencies (the next one is scheduled for Spring 2016 at Governor’s Island) and showing his work to the art scene.
Nicolas Holiber’s Goliath is at Tribeca Park, New York City until July 2015.
Trey Speegle just opened Good Luck With That, a solo show at Benrimon Contemporary in Manhattan. Speegle plays with familiar paint-by-number formulas in semi-abstract works full of color and personal significance. A few works in the show feature silhouetted horses among other elements that exist within a recognizable context, but the real star here is the artist’s subdued, flat application of color. The show will be up until October 20th, so if you’re out here, be sure to roll through.
I’m sure everyone is familiar with what’s going on with the political turmoil in Iran right now, and if you aren’t, there’s plenty to read about in the news. Here’s a video (it’s really quite beautiful) from Iranian Artists in Exile Youtube page. “… As you read these words, the people in Iran have taken to the streets in nationwide protests. Despite brutal government suppression tactics the Iranian people are courageously fighting for their rights. As antiriot police batons crush the bones of demonstrators whose only protest is election fraud, Iranians are screaming for the world to hear them: WE DENOUNCE MAHMOOD AHMADINEJAD!”
Spotted this giant New York-city-as-a-pizza (aptly titled “Pizzatopia”) by The Bruce High Quality Foundation as a piece for the VOLTA show somewhere on the internet and suddenly became very hungry. There’s more pictures of it after the jump just because I feel like I am eating it vicariously through blog text ingestion.