French artist Michael Schouflikir’s work revolves the daily struggles we have with technology & modern human condition. Basically, the condition of our machines and nature that becomes more and more machine-like. We’re beat out and attacked by overgrown plants, take escalators towards our certain future of decapitation, and develop USB flash drives as bones. But don’t we kind of like it?
To celebrate the city-wide museum show Pacific Standard Time: Art in L.A. 1945 – 1980, iconic west coast rapper Ice Cube takes a few moments to celebrate the life and work of legendary designers Charles and Ray Eames. Touring the home of Charles and Ray Eames, known as Case Study No. 8, Ice Cube explains how hip-hop mirrors the couple’s beautifully designed home as both make use of prefabricated pieces that fit together to form a whole. Who said rappers can’t like high end design? Watch the full video after the jump!
It’s funny how “facts” “evidence” and “reality” have a way of changing over time. How do they decide where the line between legal and illegal lies? Sometimes it’s anyone’s guess. Though probably money related. Rena Littleson’s The Truth About Drugs series of graphic illustrations explores these topics and more after the jump.
Lynda Benglis emerged decades ago as an artist breaking barriers and shifting paradigms. Pouring neon paints in exhibition spaces served not only as an action on the figure of the artist, but while these pieces created installations, the poured paint was also viewed and handled by Benglis as an object, and preserved as such. Years later her poured paint artworks are preserved and installed in their original format- which presents a transformative dynamic that the artist established.
Paint has historically been used to create imagery on a foundation- canvas, wood, paper, etc. In this common format the paint becomes an object of art only after joined with a substrate. Benglis was a forerunner in breaking away from this. Today there are a number of artists pushing forward on this notion, and breaking away further in the development of their bodies of work. Artists Linda Besemer, Margie Livingston, Ryan Peter Miller, Laura Moriarty, David Allan Peters and Leah Rosenberg all create works that demonstrate the vast spectrum with which paint as a medium has been torn from the substrate and presented conceptually and physically as a substance that can be molded.
Margie Livingston recently presented a new body of work in her solo exhibit “Objectified”at Luis De Jesus Gallery in Culver City. Having spent years casting and sculpting paint, Livingston’s portfolio demonstrates an evolved investigation into forms and space, substance and the function of the object. In her newest work she casts and sculpts acrylic paint alone into slabs that appear as wood planks, the patterning of hues reminiscent of wood grain. The wood-like planks, sheets and stumps are then used in the formation of minimalist sculpture.
For fans of pop-culture mash-ups, Rocky Davies has an amusing throwback for you. The artist takes iconic villains of the 1980’s and fuses them with the music of the same era. Its outcome is a bizarre series of fictional album covers. Using fonts and colors that are reminiscent of the time, Davies creates slick designs that channel a darker version of Lisa Frank art.
The stark black backgrounds give way to fluorescent accents, and nearly all of his designs feature his subjects wearing Wayfarer sunglasses. Looking impossibly cool, these characters intermingle with bold, geometric patterns and a lot of lens flare. Lyrics from songs like the Eurythmics’ Sweet Dreams (Are Made Of This)are designed around the floating head portraits and take on a new meaning.
Davies’ series comes at the right time. It’s no doubt nostalgic, and it speaks to those who were coming of age in the 80’s. There’s enough time between their popularity and present day for people to realize how borderline cheesy these things were. These fake album covers are both an homage and poke fun at an era of visual excess. (Via Brother Tedd)
Justin Bartlett is self proclaimed black ink warlock from the grim and frostbitten ravenrealm of Southern California who enjoys thee grimm riffs, vberkvlt metals, and other dark musick, times of solitude, skulls, and scotch. He’s done work for indie (and I mean indie) bands and record labels. Pretty awesome. Here’s a quote he leaves you with: “EMBRACE VISUAL HELL!!!”
Cinta Vidal Agulló‘s paintings depict a topsy turvy yet mundane world. There’s a dream-like quality to her work, like Alice falling down the rabbit hole and remarking on the various jars of marmalade. With a background in painting backdrops for the theater, Agullo excels and creating immersive worlds that, though they have an M.C. Escher-esque sense of physics, seem like they are a part of real life.
“With these un-gravity constructions, I want to show that we live in one world, but we live in it in very different ways – playing with everyday objects and spaces, placed in impossible ways to express that many times, the inner dimension of each one of us does not match the mental structures of those around us. The architectural spaces and day-to-day objects are part of a metaphor of how difficult it is to fit everything that shapes our daily space: our relationships, work, ambitions, and dreams.”
Agullo’s paintings are lushly illustrated like one of Graeme Base’s children’s books, almost playful in the way they explore the spatial and emotional connections between the tiny figures that inhabit them. Though they are definitely surreal, we’re invited to imagine how the different parts of each painting might fit together, like the puzzle pieces of our everyday lives.
What are the relationships between the people in her paintings? We can’t tell for certain, but it’s clear that the orbit around each other or, at the very least, they are neighbors in the same world — if not the same reality. (via Hi-Fructose)