Here’s some thoughts from the artist about what inspires his work:
Nature is not evil, it´s ugly. That is why we have gardens. It´s like ok, but we can do it a little bit better by arranging everything. We are obsessed by Tetris, order and man-made systems.
Computers likes simple shapes, so do we. We make trees to planks and clay to bricks. Building cities, like with Lego. The animals think different, with their nests and Lodges.
Before nature was scary, then romantic. But now we feel sorry for it. But does it matter? Nature create shapes and we create shapes. Surely, we don´t want to be nature. I create shapes and so should you.
There’s something so simple, playful and childlike in Daniel Jensen’s work. I really like the above bust- I don’t know if it’s because the material calls to mind….well, poop frosted with Betty Crocker icing that makes me equally delighted and repulsed to eat it for some reason. It’s like a weird mini-wheat come to sad life.
Michael Caine’s current work situates American political figures, both past and present, in altered 18th century paintings and Christian religious kitsch, referencing scenes from Alice in Wonderland, Bambi, and the Wizard of Oz. Drawing on the lineage of political cartooning in these pictures, Caines treats Richard Nixon, JFK, and Carl Rove, among others, with surprising tenderness and humor.
Although he has been dead a few years, the enigmatic and masterfully talented Sigmar Polke (1941- 2010) is not soon to be forgotten. Largely evasive of being pin-pointed into any one area of craft, Polke was an exceptional postwar generation artist who crossed all genres and utilized his excessive wit and intelligence to comment on the world he lived in. The largest showing of his work to date is being presented at various museums in the world. Having just closed at the MoMA in New York, it will open up for exhibition at the Tate Modern in October 2014 before going to the Museum Ludwig in Germany in 2015.
“Sigmar Polke (German, 1941–2010) was one of the most voraciously experimental artists of the twentieth century. This retrospective is the first to encompass the unusually broad range of mediums he worked with during his five-decade career, including painting, photography, film, sculpture, drawing, printmaking, television, performance, and stained glass, as well as his constant, highly innovative blurring of the boundaries between these mediums. Masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next—he always eluded easy categorization.
Beneath Polke’s irreverent wit, promiscuous intelligence, and chance operations lay a deep skepticism of all authority—artistic, familial, religious, and governmental. It would be impossible to understand this attitude, and the creativity that grew out of it, without considering Polke’s biography and its setting in twentieth-century European history: in 1945, near the end of World War II, his family fled Silesia (in present-day Poland) for what would soon be Soviet-occupied East Germany, and then escaped again, this time to West Germany, in 1953. Polke grew up at a time when many Germans deflected blame for the atrocities of the Nazi period with the alibi “I didn’t see anything.”
Polke scrutinized the malleability of vision. Highly attuned to the differences between appearance and reality, he was wary of the notion that there might be one universal truth. His relentlessly inventive works, ranging in size from the intimacy of a notebook to monumental paintings, collapse conventional distinctions—between high culture and low, figuration and abstraction, the heroic and the banal—allowing flux, rather than stability, to prevail.”
Don’t forget to go to London and see it in person! It’s only a plane away!
I’m really into these TATE Britain Artist “Shots” lately. All under 5 minutes or less, they’re succinct little vignettes that are informative, yet still short and sweet. Here’s a bite of John Squire, an amazing musician and artist (from my hometown in England of Manchester) who was in the Stone Roses talking about Cy Twombly.
Igor Eskinja’s simplistic installations are elegant and optical illusory. Using basic and inexpensive materials such as tape, wires, and cords, Eskinja practices his art with precise measurements and an architectural eye. His work straddles the transition between 2D and 3D perception. He thoughtfully uses the space of the wall and floor of his installations, requiring viewers to stand at a particular angle in order to experience the effect given in these photos. The simplicity of his form and the perception between what is visible and not introduce space for interpretation and meaning. Oftentimes, after the installation is over, the work is thrown out due to the instability of his work, drawing attention to the impermanence of the forms he creates.
In a clash of culture, The Carter Family Portraits replaces famous artworks with famous people, specifically Beyonce and Jay-Z. The two are seen in iconic paintings like Grant Wood’s American Gothic or Girl with a Pearl Earring by Johannes Vermeer. The Tumblr gallery has a lot more to offer and extends to both classical and more contemporary works, which seems to say that the celebrity of Jay and Bey transcend all time.
The Photoshopped images are of varying quality (some look flawless while others need more work), with a general knowledge of art history represented (no deep cuts here). But, aside from this, when they “work,” these images are an amusing look at the combination of celebrities, the different forms that it takes, and what the mixture of high vs. low culture looks like. (Via It’s Nice That)