Different fragments of architectural photography create these Extracts of Local Distance, using a common focal point in the distance from their extensive perspective database, to unite them all. The images create a new architectural space found only in these composites, that would never exist in reality.
We have a lot of things to be thankful for but most of all we’re thankful for all our loyal B/D cult members all over the world who have backed us for so many years. Hope you all are having a great day with your families and loved ones.
Jered Sprecher makes paintings that do not fit neatly into any category. At first they look like geometric abstraction, but then you realize that there is something different about the surface, it’s brushy and the edges of the shapes aren’t dogmatically hard like other geometric paintings. In his broader body of work there are images peppered in among the abstract elements, but the images are sort of soft pictures with interruptions, like paintings based on a faded calendar that was exposed to too much light in a hallway. Sprecher’s paintings seem to accept the modern idea that paintings are things, that paintings are first and foremost flat sculpture. This train of thinking says illusions are a kind of deception, which they are. Modernism goes a little further by hinting that illusions are lies that are also moral defects. This aversion to illusion brought us abstract artists like the evangelical Donald Judd, the graceful openness of Helen Frankenthaler, and the philosophical diagrams of Peter Halley. Enjoying painting as a window into an illusory world is a “mistake” everyone made until the 1940s, when some smart people came along and told us to be careful about it. Modernists say any artwork that hides its true nature is a metaphor for misunderstanding life in a bigger way. Sprecher does not seem to completely buy the modernist talking points, and like a bad political surrogate goes off message on a Sunday talk show, saying “Yes, but… I always lie!”
You can see Sprecher’s newest work in his show I Always Lie at Jeff Bailey Gallery in Chelsea until March 23rd. Interview after the jump.
Bianca Stone’s poetry comics are funny, raw, and endearingly sad. Because You Love You Come Apart, her latest collection of surreal illustrations are born from and combined with her own original poetry, published by Factory Hollow, an indie press out of Hadley, MA.
Stone’s blunt tethering between youth and adulthood travels by waves of sorrow and astute blitheness into our darkest nights. For instance, her lines of poetry range from “The crazy, absent fathers, all breaking wind in a fire” to “but this is also your life made with your clumsy hands” and merge with a messy scratch of passionate drawings to gutturally expose a ripcord above our own tired hearts. With each image/text juxtaposition, the need to tug grows harder and tougher, encouraging more half-wounded narratives to release.
Uk based designer and illustrator Drew Turner’s illustrations look into our evolution through time and space. They depict the psychological differences found between ourselves and present day organisms. With a shroud of mystery over other lifeforms, they are a visual reflection of our greater ability to imagine and argue a question of thought towards an animal as a conscious being.
Photographer Rebecca Rütten is interested in the paintings from the Renaissance period and contemporary fast food culture like Taco Bell and McDonalds. You wouldn’t think that the two would intersect, but in Rütten’s series Contemporary Pieces, they do. The German artist combines elements of the traditional with greasy burgers and fries. ”I became enamored with the eroticism, presentation and charisma of paintings from the Renaissance Period. In the Late Renaissance, Italian and Dutch painters dealt with the middle and lower classes,” she writes in a statement about the work. To Rütten, fast food represents the two social groups. “To eat healthy is expensive,” she continues. “However, one can buy large amounts of food at a fast food restaurant for a comparatively low price.”
Rütten asked tattooed and pierced friends to model for her and recreate the poses of laborers, gypsies, and prostitutes in Caravaggio paintings. The exquisite and dramatic images are simultaneously beautiful and repulsive. For every flower or fancy goblet there are mounds of saturated fat. It’s not only a culture clash, but a fusion of foodstuffs associated with lower class and fine items for the upper crust of society. (Via iGNANT)
Back in March B/D teamed up with Toyota Prius to bring you the Future Perfect Project. Due to certain circumstances beyond our control we couldn’t consider submissions from international artists. However that didn’t stop hundreds of loyal international B/D readers to send in work. We figured that the only honorable way to approach the situation would be to feature all of these artists day by day in a short series. For day numero uno we bring to you Tom Dorkin, a 21 year old illustrator from London who is quite creative when it comes to showing off the natural detail in decay. Maybe the only way our future will be perfect is if we realize our commonality in being decaying mammals and that we must seize the day rather than waste away.