The paper cut pieces of Wendy Wallin Malinow reveal the deeper goings-on of animals. Malinow’s pieces are cut to expose an x-ray type view of various forest and ocean animals. In addition to the bone structure, a meal is visible inside each animal. While playful, there is also a sad quality to her work. Malinow’s work reveals the nourishment and effort to needed to survive as well as the violence at times inherent in that. A squirrel has ingested some acorn’s while a wolf seems to be filled with the ghost of a red riding hood.
For “Phonies,” the UK photographer Dan Rubin turns celebrity selfies into works of fine art. In his unusual street photographs, the smartphone itself stands in for the face of passersby, projecting the grins of social media-savvy stars like Kim Kardashian, James Franco, and Harry Styles. Rubin’s series is equal parts playful and scathing, capturing the narcissism of celebrity in the 21st century in such a way that highlights the anonymity of the digital age.
Within the medium of street photography, normally characterized by raw and gritty from-the-hip shots, Rubin replaces candid captures with shiny screens projecting perfectly made-up celebrity faces. In these clever doubles, these photographs of photographs, notions of identity are complicated. Our faces, especially in photographs, have the power to betray our innermost selves and to define our perceptions of that self; here, the subject’s visage is shown only to be a reflection of the media we consume. As we are continuously bombarded with social media, how do we shape our egos in relation to the rich and famous?
From images, we derive meaning. Flawlessly inserting the HTC One mini 2 phone into his compositions, the artist creates a hybrid human that is simultaneously a celebrity and just another face in the crowd. As we become more vain and the innocent selfie borders on arrogant self-indulgence, do we stifle our individuality? Here, the realm of social media is ambiguously seen, a powerful force that is both fun and disconcerting. Take a look.
AKA, the summation of my love affair with the internet. I saw this site on Rhizome.org 6 months ago, truly loved it for a day, forgot about it for a little bit, then wasn’t able to find it again and instantly regretted it (I remembered it as “MATHLAB” instead of “MATHWRATH”). Fortunately I was able to reunite with it yesterday when I saw it on VVork. I feel as if a part of my life has come full circle…
Beau Chamberlain employs acrylic on panel to produce utterly amazing atmospheres, blurring the line between fantasy and reality. Fragments of flora and fauna seem to mingle, burst, and soar in these imagined ecosystems.
Chamberlain lives and works in Brooklyn, New York.
Pavel Maria Smejkal lives and works in Slovakia. From 2009 to 2011 he created a series entitled Fatescapes in which the main subjects are removed from famous photographs and iconic images. What remains is the often eerie landscape in which the event unfolded. From Raising The Flag on Iwo Jima to Muhammad Ali vs. Sonny Liston, these strange images are inherently important and memorable even though the central focus has shifted. In his own words: “In Fatescapes, I remove (using a classic tool of digital work today Adobe Photoshop) the central motifs from historical documentary photographs and the main subject of these motifs, human bodies. I use images that have become our cultural heritage, constitute the memory of nations, serve as symbols or tools of propaganda, and exemplify a specific approach to photography as a document of the historical moment. I explore their purpose and function, and I ask about the future of this magic medium, and about human existence. Aware that their authenticity is not unquestionable, I return to these key images after they have been reinterpreted numerous times from various perspectives, and by manipulating their content I explore their purpose, function, and future.” (via)
This has to be my new anthem for waking up on Sunday mornings. What we have here is an animated, sci-fi hip-hop odyssey through the state of Arizona. It’s 100% handmade with colored pencils, pens & paper and totally wacky! Video by Sean Christensen, Music by Star Beav & Erocc’n (make sure to read the titles of the songs on the itunes page…trust me.) Watch the full video after the jump.
Philadelphia based artist Matthew Cox embroiders iconic characters, images and symbols on x-rays, creating moments of satire, dark comedy, and reflection. His work blends the universally known with notions of the seemingly the unknown, forming postmodern mash-ups and hinting at the absurd reality of the human condition. His work takes a chance on being highly referential using playful antics such as titles like “playboy” and “heartthrob” for works that portray faces of silly cartoon characters or ex-presidents. Cox’s work pulls his viewer in by creating fun in forging connection. But beyond the contextual discord, his work also takes on the impression of pastiche via the physical materiality of the work. While the hand craftsmanship of the stitches provokes feelings of comfort, nostalgia, and quaintness, the x-rays provide the opposing sense of sterility, coldness, and discomfort. This sort of push and pull between the ages, various levels of technologies and traditions, as well as reformatting iconographic persons, personas and ideologies, does indeed perfectly outline and reflect what it means to comprehend ones surroundings in the twenty-first century. While living within the age of the internet, where anything and everything can be within our disposal in the moment of desire, time does not seem to distinctly go forward or backward. We have been given the option to chose in which decade we’d like to exist in; we choose our music, our dress, our ideologies, our fantasies, all through a network of access to the past (and perhaps for the real techies the future), no matter how deluded it may be. But it is not just our own obsession with the internet, it is the universal obsession; it is the knowledge that our peers will understand which decade we refer to, and in that universal nod, knowledge and understanding, we are enabled to live timelessly. Matthew Cox has created a clever series of inherently postmodern works, using absurdity to reflect on modern reality. (via artfucksme)
RIP David Bowie, who was a postmodern trailblazer for us all.
What looks to be collages are actually gouache paintings by Oakland, CA based Kelly Allen. By combining graphic and natural imagery she forms explosive new forms. Animals, insects, plants, fruits, molecular structures, and colorful geometric elements are assembled into vibrant microcosms. In her own words the works are “…symbiotic accumulations inspired by the systems within nature, and the human experience of recognizing beauty and inventing meaning.”