Crazy Love is probably one of the more bizarre documentaries i’ve seen in a while. Here’s a great review of the film by Eric D. Snider.
Ideally, you would watch “Crazy Love” without knowing anything about it beyond what’s contained in these first few paragraphs. It is a documentary about two New Yorkers who met and fell in love in the 1950s, and the turbulence their relationship has endured since then. It’s a bizarre, riveting, and outrageously original story, and it’s 100 percent true. You’ll enjoy it more if you’re surprised by what happens, which you won’t be if you continue reading this review, or any other review or summary of the film, including the one-line plot outline at IMDb.com.
I would love to leave it at that, but it’s impossible to review the film without talking about some of its basic elements. And the fact is, despite knowing some of the story’s more jaw-dropping developments beforehand, I was still riveted and surprised by the movie. Reading a review won’t ruin it for you; you’ll just be slightly less flabbergasted when you see it.
“Crazy Love” does not mince words about its protagonists: These people are not right in the head, and their love for one another defies all reason. But then again, one is compelled to consider, doesn’t all love defy reason? Isn’t its irrationality part of what makes it true love?
(Here’s where you should stop reading and go see the film.)
Utilizing a multi-faceted approach to painting, Matt Phillips’ large-scale, oil and collage on canvas artworks reference op-art, pattern painting, mosaics and textiles. Phillips approaches his multilayered, dynamically textured, collage paintings as both object and illusion. Prismatic, lively and rhythmic, accessible cube-grids and diamond quilt-piece patterns are viewed through transparent cracks, sketchy loops and crooked squares. The artist’s intentional interruption of patterned space fractures his already frenetic compositions into kaleidoscopic abstractions. Plays on shape, color and movement result in paintings that are both formal and lyrical, quirky yet familiar. Originally from Roanoke, Virginia, Phillips received his degree in visual art and art history from Hampshire College, where he has taught as a visiting professor.
In Mario Wagner’s collage on canvas works, high contrast images of 1960s cool are layered onto large-scale vintage settings, tinted in lurid colors and populated by men in three piece suits and girls with shiny hair, clustered hands and disembodied eyes. Wagner draws from familiar Modernist techniques such as Dadaist collage and photomontage to create his paper collage and acrylic on canvas works. Created using ‘analog’ processes with scissor, glue and acrylic, Wagner’s surreal scenes of intrigue and glamour exude an underlying false sense of nostalgia for a bygone era of an overindulged society. Wagner, a German-born artist and illustrator, has been shown in numerous international exhibitions and his illustrations and artworks have been commissioned by Esquire, Playboy,Vanity Fair, and The New York Times Magazine.
Seth Curcio implements Xerox and laser copiers, billboard pasting, enamel paints, and screen prints — what he describes as “the accessible materials of mass commerce” — in the construction of his mid-sized collages on paper and wood. At first glance, Curcio’s pictures resemble familiar contemporary landscapes. But, on further inspection, a perplexing multiplicity imbues Curcio’s images with hallucinogenic static. Kaleidoscopic explosions splinter a high-rise building into a shadowy house of cards. At other times, patterns multiply like mushrooms within celestial landscapes that mirror both the surface of the moon and the interior of the Large Hadron Collider. Disquieting and complex, Curcio’s works resemble photo-real environments shredded and then pieced together from memory, an intricate mesh which captures the claustrophobic, endlessly reconstructed nature of our contemporary culture. Curcio worked as director of Redux Contemporary Art Center and is the founder of the art blog Dailyserving.com.
Whitney Hubbs‘s photographs, especially those featured in the series “To Fill the Unforgiving Moment,” seem to be infused with quiet suspense and mystery, while echoing a sense of deep loneliness (at least, for me).
Hubbs has exhibited her work all over California and Oregon, in addition to Germany and Scotland. She currently lives in Los Angeles, where, this fall, she will start the MFA program at UCLA.
Continuing today’s incidental perversion theme: An Art Service is a graphic design and Art Direction Company located in New York City, working mostly with artists (hence the name) in publications, branding and identity, and web design. Their work for Daddy magazine (published by Peres Projects) includes a puzzle on the front cover as well SPECIAL TEEN STICKERS. I really like how it’s photographed on quintessential pedophile plaid. Mmm mm mm.
Seems like we have a sexual theme going today on the blog so I thought i’d add another post to the mix by sharing this great interview with Italian photographer Manuel Vason on one of my favorite new art&design blogs Yatzer. The interview is a great read so make sure to give it a look.
Robert Gligorov’s work attempts to shock the viewer. Each piece tantalizes the imagination, awakening it from a state of lethargy. Confronting a society accustomed to sophisticated and extreme forms of visual communication, Gligorov amplifies the shock value of his work in order to compete with the deluge of images that cloud our visual field. Gligrov lives and works in Milan, Italy and is represented by Aeroplastics Contemporary in Belgium, and Galerie Pascal Vanhoecke in Paris. More images of his work after the jump.
Paul Graves’ work is lewd and provocative, but is really clean and “editorial” at the same time. When browsing his portfolio you’ll notice the often usage of a couple things: balloons, nudity as a costume, and mannequins. It seems he likes exploring human vice, which always makes for a good concept…and zentai (Youtube is currently down, but the video should be good so check back later to see it, haha)!