I love Emil Holmer’s nutty bright colored graffiti jungles.If you happen to be in Berlin, on Friday, 12th of March 2010 from 6 to 9 p.m., Galerie Michael Janssen will be presenting a selection of his recent paintings.
Bill Culbert’s work thoughtfully explores the perceptual interactions between light and the human eye. As a disciple of the mid-sixties British Experimentation movement, he utilizes discarded plastic goods and ready-made materials to construct the objects of his illumination. His photographs and sculptures have been exhibited over five decades, gaining wide recognition in New Zealand and Australia. He has been commissioned to do numerous public art works that emphasize light as a medium. Most recently. Culbert was included in a group show at Pace Wildenstein gallery along side some of the most well known light artists known today. Born in 1935 in Port Chalmers, New Zealand, he now lives between the South of France and London, England.
Tom Sanford just might be todays urban Norman Rockwell. Like the famed painter from the mid 1900’s Sanford is concerned with American culture. From paintings of famed rappers such as Tupac to history paintings featuring sleazy right wing radio hosts, Sanford documents, interprets and comments on the American psyche.
For his latest show opening this Saturday at Kravets|Wehby Sanford painted the famous, eccentric, historical, powerful and colorful residents of New York City that inspire him. Film maker Spike Lee, street artist Steven Powers, and even Mayor Bloomberg make appearances in paintings that shift from smooth graphic rendering to impasto patterning.
“I didn’t grow up in New York City but I moved here to attend Columbia at eighteen. I remember around that time my grandfather told me that “When you leave Broadway you’re camping out.” I have been here (pretty much) ever since, and I plan to stay. I relate to Dylan Ebdus in Lethem’s “The Fortress of Solitude.” I feel like I am missing it all, between my pathological devotion to my studio and my daddy duties I can go days without leaving home at all, and sometimes weeks without getting on the subway. But I need New York City. I feed of the culture. All the amazing people who inhabit this magical place, doing fantastic things. They create an energy, or perhaps an anxiety, that nourishes me and I must be close to the source. Hopefully I am contributing that energy as well.
For this show I made New York genre paintings, portraits and scenes of ordinary life in my city. The portraits are of some of the thousands of New Yorkers that make this place so rich. These are people that I associate very strongly with New York and the city’s culture. Some of them are people I have met, some I know, some I have just seen at a deli or on the street. –Tom Sanford
Pia Bramley uses ink wash to make impressionist drawings that are marvelous embodiments of the word Dreamy. But unlike surrealist artists, who consciously try to render a dreamscape and thereby make us think more about the idea of said painting being an interesting dream, Pia’s just make you feel like you’re dreaming when you look at her work. Which we could probably all agree is a real treat. If they look familiar, you might have seen them in the New York Times or on plates from Anthropologie.
Dutch artist Henriëtte van ’t Hoog’s installations look 3D, but are completely flat. She uses trompe l’oeil to give her work depth, designing space in a way so that our eye is fooled. To do so, she uses geometry and specifically placed and angled shapes, sometimes building out of the wall to create more complex structures. In an interview with Visual Discrepancies, van ’t Hoog describes why she makes her work. Not surprisingly, her explanation is light-hearted. She states:
…I have been poking around for a while hoping to make people aware of color and shape, and of non-existing space. In Joint I [above] transformed a little area into something new and unexpected, joking around with color and shape while not knowing where it would lead – just having fun, and working through ways that would perhaps mislead the audience.
van ’t Hoog’s color palette is light and very colorful, at times sickeningly so. She regularly uses day glo yellow and hot pinks, which vibrate against one another in industrial spaces and white walls of a gallery. Her installations are based on believability, meaning they must be precise; She paints crisp lines and plans the angles of extra walls and surfaces so that her work appears 3D at all viewpoints. Even though there is a lot of planning involved, van ’t Hoog wants to make it look effortless. It’s important to her that the viewer see something unexpected. Later with Visual Discrepancies, she says:
…I hope when people step inside this small space and see the play with the flat and the three-dimensional, the play with the perspective and the triangular objects and how a painted piece of paper is disturbing their expectation, together with the strength of the color, that their experience will hit the roof.
The work of Scott Young is a playful turn on food photography. His fruits and vegetables seem not so much delicious as rebellious. Young photographs various produce covered with studs usually found on clothing. He mixes the language of punk rock fashion with that of food photography to in a way that each undermines the other. The simple idea is strangely amusing. The disparate context of each crash together to create a new one that seems to somehow make sense in its own way.