Ever wonder why all the sound in movies sounds so crisp and clear? It’s because this guy spends months recording them one sound at a time.
Kate MccGwire‘s latest sculptures are exquisitely crafted and detailed. They have this almost mythical aura about them as the feathers are seen spread in many areas of the installation space. Titled, “Sluice”, the work consists of pigeon feathers, felt, glue and polystyrene that are cautiously put together forming many pigeon-like forms.
As the artist states, “I gather, collate, re-use, layer, peel, burn, reveal, locate, question, duplicate, play and photograph”.
Bernhard Martin’s very German ghostly expressionist/darkly humorous paintings.
The Skirball Cultural Center in Los Angeles has not one, but two very appealing magic-related exhibitions opening April 28. The first, Houdini: Art and Magic, travels to us from New York. Featuring tons of Houdini-ana, the exhibition looks not only at the historical Harry Houdini, but also at his enduring legacy. To that end, the exhibition includes a number of artworks by contemporary artists inspired by the Houdini legend, including such luminaries as Matthew Barney, Petah Coyne, Vik Muniz and Raymond Pettibon. The Skirball has created a second exhibition to give context to Houdini. This is called Masters of Illusion: Jewish Magicians of the Golden Age, and it focuses on Houdini’s predecessors, colleagues and competitors in both Europe and the US, focusing on the years 1875 to 1948. The exhibition examines more than 40 fascinating careers, largely forgotten, and contains many outstanding objects, all displayed in “period” environments meant to evoke vaudeville stages, Victorian magic parlors and the like. Both exhibitions feature vintage photography, gorgeous promotional ephemera, original props and costumes, and rare documents, and Masters of Illusion includes four renowned automata.
Monument for transition is a monument for the constant changes that the people of Moengo are subject to. It’s as well a monument for changes in the past as for changes that are happening on this very moment. It’s a monument for small changes, that are hardly noticable, and huge changes with great concequenses. It’s a monument for nature, that rapidly changes all unused objects into jungle by covering it with moss, bushes and tropical flowers. It’s a monument for Toyota, that changed the streetscape drastically by filling up the streets with their cars. And it’s a monument for the Chinese that came to Suriname and took over almost all of the supermarkets. It’s a monument for the enormous amount of schoolchildren that grow up in Moengo and are developping their talents and eventually might use these talents to make even more transitions to the town. But it’s also a monument for the enormous transition that took place after the civil war. A transition that is still having it’s effect on the people. And at last there are the transitions that are still to come. What transition will the current government bring? And what transition will take place after Suralco, the mining company where many Moengonese are employed, leaves the city? –Wouter Klein Velderman
Me Street has some super fun drawings for you. They are silly, goofy, not too fussy, and a bit perverted!
For her new installation “Stroke” at Jupiter Artland, Scottish artist Anya Gallaccio constructs a room made of dark chocolate, inviting visitors to lick the walls if they so dare. The richly aromatic work is designed in part to be a rare feminine space in an art world defined mostly by men. The artist, who has worked with red roses in the past, sees her unusual medium as one normally associated with the female; here, she brings the domestic out of the shadows and boldly into the public realm. The room itself is evocative of female sensual pleasure; painted in thick, gentle layers of sweetness, it is dark and cavernous, a space to be entered into.
Housing only a small bench, the piece maintains ambiguity, relying upon its inhabitants to draw meaning from the slights, smells, and tastes. The work is as much about fantasy and anticipation as it is the actual experience of sitting in a chocolate room, which the artist explains is not what one might expect. As time wears on, she expects that the sweet odor will turn sour; the chocolate, painted onto the walls with brushes, will oxidize. Bugs have already moved into the space.
Galloccio’s title “Stroke” alludes to the dual nature of the work; she explains that a “stroke” can describe a tragic and sudden heart attack as much as it can a soft caress. Ultimately, the impact of the work is in the hands of viewers, who may either choose to abandon social etiquette to indulge in a feast of licking or might simply sit in uncomfortable silence. Either way, it will be a sight to behold. (via Design Boom)