“Most of my pieces are small sculptural objects often based on found natural materials. I like giving time to the inconspicuous things that surround us and often go unnoticed, paying attention to small details and the tactile quality of objects. Appropriating traditional craft techniques like weaving and crochet as a means of sculpture brings a contemplative element to the development of my work. I am interested in unusual combinations of materials, the experimentation with fragility and strength and the individual stories that evolve and shape themselves in the process of making.” – Susanna Bauer
Using narratives and visual genres found in art, combined with the clean aesthetics of design and contemporary product advertising, the work of Norah Stone is representative of a generation which has seen both art and design coexisting, flattened by the computer screen, and has no use for their separation. “The classic art vs. design question is something that comes up a lot in my daily life but I often find it to be a futile discussion, says the Minneapolis-based Stone, “I guess I just don’t think it’s important to set up boundaries just for the sake of boundaries.”
Norah Stone’s most-recent series, Artificial Utopias, creates thoroughly modern still life scenes, which despite their alluring hyppereal-quality (reminiscent of advertising and pictorial), the distinct sense of disconnect between these spotless digital worlds and our own is unsettling.
“In a culture where most of our daily routines and habits have been replaced by a digital screen, the scroll, the pixel, and the ability to retouch has ultimately changed our ideals of perfection….As I was working on this project I was thinking a lot about how growing up in the digital generation has subconsciously molded me to be attracted to a certain cleanliness that can only be achieved on screen. Artificial Utopias was a culmination of my own personal experience with the digital world and also the research I was doing on still lives. The super clean, almost surreal aesthetic came from trying to recreate the visceral experience that comes from staring at a screen for a long period of time.”
This play between perfection and illusion, the real and the empty, eventually manifested itself into twin video works as well. “In the video works (below) I was trying to recreate the process of eliminating imperfections through the clone stamp tool. In post production, I spent a lot of time retouching these photos to achieve the cleanliness of a stock photo. I wanted to capture the mundane process of retouching and erasing over and over again until you’re left with something completely different,” says Stone, who perhaps quite telling concludes, “or nothing at all.”
A little over a week ago, we featured an interview between James Jean and Jeff Staple. This week, check out another vid of Staple stirring up some insightful chatter with a talented artist.
NYC artist Jose Parla is known for bringing the most subtle graff references to his abstract expressionist paintings. Tags and drips meld seamlessly with texture and scale in his atmospheric work, eschewing the familiar graffiti-aesthetic-as-gimmick-syndrome.
Full interview after the jump.
Barry X Ball’s personally selected subjects all start their floating-head lives as plaster casts that eventually becoming impaled on some sort of suspended device. They’re scanned by 3D laser scanners then meticulously carved into portraitures that bear high resemblance to their subjects. One of such was Matthew Barney, whose head was installed on a 69 inch spike of plated gold. Hey guys…what do you say? Barneys instead of Jacks?
German based artist Brent Wadden has shown his psychedelic drawings and paintings all over the world, and with good reason. He also makes intense wall drawings and installation pieces that remind me a little of Andrew Shoultz’s work in all its expansive grandeur. Perfectly executed and beautiful in its simplicity, it’s the kind of art I love to stumble upon late at night when I should be sleeping.
Have you ever walked into a gallery or museum and wondered “How did they ever install that giant sculpture or painting?” Well WRAPIT-TAPEIT-WALKIT-PLACEIT comes to the rescue with a collection of amazing behind the scenes shots of gallery assistants and museum installers moving, assembling, and dissembling all your favorite works of art. Go through their deep archives or submit your own behind the scenes images and share what it takes to make art magic happen. (via)
“Some Pigeons are More Equal than Others” is a collaborative project from Berlin artists Julian Charriere (recent graduate of UDK in Berlin) and Julius von Bismarck (not-so-recent graduate of UDK in Berlin). The goal of the “Some Pigeons” project was to spray 35 pigeons with colorful dye using a “pigeon apparatus” that would not harm the birds. Well, they’ve accomplished their goal, and they’ve released a batch of unequal pigeons into various plazas in Copenhagen and, now, surrounding the current Venice Biennale. The pigeons almost look like rare, tropical birds, a nice switch-up from the usual. Check out more shots of the birds in action, below. (via)
Japanese artist Yoshihiko Satoh’s takes mass produced musical instruments and stretches, enlarges, manipulates, and contorts them into objects that unleash the energey residing in their function and shape.