In the ‘Spin Series’ artist Paul Henry Ramirez addresses social and aesthetic issues with abstract paintings. Each painting is set on a turntable and the audience is invited to rotate the painting. Ramirez creates a collaborative relationship between viewer and artist by making his paintings interactive. This makes it possible for the viewer to find the ‘internal logics, tensions, and interactions that order the multiple parts of the constructed configurations’. I really enjoy the image of the painting as it is spinning, but also like the sexually implicit imagry that emerges from the paintings when they are static.
Donna Ruff lives and works in New York. With her local paper as a starting point, she makes intricate repetitive cuts until an elaborate pattern emerges. The result resembles ornamental doilies and other textiles. Because she is doing this to current newspapers one could read into the work as a comment on censorship and alteration of truth within national news. From her bio: “Using unconventional techniques to make densely patterned drawings that refer to calligraphy and natural forms, she finds beauty and inspiration in sacred texts such as the Torah and the Qur’an, but also in the New York Times and the Manhattan phone book; in cathedrals, mosques and synagogues, but also in the warehouses of Chicago and Brooklyn.” (via)
There’s something at once lighthearted and sad about Benoit Paillé‘s photographs in the series Jour du Déménagement (translates from French as “Moving Day”). Discarded furniture, boxes, mattresses and other household items sit in piles waiting to be picked up by the garbage truck. The photographs are taken in the dark, seemingly in the middle of the night, and the trash lit by a single bulb. Little attention is paid to garbage on the curb; at night while everyone is sleeping it’s completely forgotten. Regardless, items we’ve lived with often for years quietly sit there all night. The scene is reminiscent of food in the refrigerator, and wondering what happens when the door closes and the light goes out.
Katie Sims, born in 1988, is an emerging British artist gaining strong momentum in the art world– receiving the Jerwood Drawing Award and Richard Ford Award, Residency at the Museo del Prado, Madrid.
According to Pryle Behrman, Sims paintings “pay homage to masterpieces by Mantegna and Poussin, but deconstruct their studied, graceful air through the organic fluidity of her brushwork and the incongruous addition of geometric shapes that further undermine the compositional structure of her source images.”
Additionally, and on a purely guttural level, each piece is paradoxically busy in a faint and strange minimal manner that is truly difficult to execute with a certain consistent visual ease.
Corey as Dr. Frank-N-Furter, Divine Decadence, Henderson, NV
Chelsea as Columbia, Sins O’ The Flesh, Saugus, CA
Shannon as Magenta, Bawdy Caste, Half Moon Bay, CA
Shawn as Rocky, The Home of Happiness, Hawthorne, NJ
There are few movies with the same enduring legacy as The Rocky Horror Picture Show. Since the film came out in 1975, it has become both the longest-running theatrical release in the history of cinema, and more significantly, it has remained a cultural cornerstone for progressive politics and identities. This year, the film celebrated its 40th anniversary, and to this day people continue to bring the characters to life by recreating the costumes and set designs.
Lauren Everett is a Portland-based photographer who wanted to document the world of these dedicated fans. She started a project titled People Like Us, a series of portraits featuring cast members from around the United States in full costume. What makes these images unique is the fact that Everett has taken them out of the theater, portraying these playful and expressive characters in everyday environments. The result is an exploration of the way the movie’s themes of creativity and personal freedom translate into real-life functionality. In the following statement from the project’s website, Everett explains her perspectives on the film’s long-standing importance and relevance:
“It’s an environment where bold sexual innuendos and puns are used freely with an almost innocent humor. There’s a accepting ‘anything goes’ atmosphere, and a sense of being in a place where the rules of ‘out there’ don’t apply. For regulars and casual aficionados alike, Rocky Horror is a safe-haven where people of all persuasions can go to have a good time and be accepted as they are.” (Source)
Everett ran an Indiegogo campaign to put together a book of the portraits, which includes a preface by scholar Jeffrey Andrew Weinstock and short write-ups from the cast members. The book is available here, and you can see more previews after the jump.
Valerie Hegarty’s Alternative Histories was installed at the Brooklyn Museum in one of their Period Rooms. Hegarty’s site-specific installations toy with a viewer’s perception—they create the illusion that the process of destruction or decay has been accelerated and what we see are the remains of the real artwork.
Thomas Quinn is a Chicago designer who experiments with something called “anamorphic typography.” When viewed from a certain angle the text looks just right, but when one moves around the text morphs and warps.
Fanette Guiloud is also interested in anamorphic projection and used the method to create a series of photos titled Géométrie de l’impossible (Impossible Geometry). Only 22-years old, the illusion is impressively successful. Influenced by artists such as Felice Varini, Guilloud is certainly an artist to keep our eye on.
Creating installations that defy logic and inspire wonder South Korean artist Kyung Woo Han says of the work, “All the facts are relevant. People see what they want to see. One fact can be interpreted in several ways depend on our perceptions. In the opposite, two different facts can be looked the same. My work deals with perception and illusions. Everything we see or what we know is not absolute. I suggest various ways to perceive things with slightly different perspectives.”
Bizarre and beautiful describes the work of Barcelona based artist Esteve. Each art piece was created with much attention to detail and personal touch. Esteve’s work is almost like a puzzle which makes your wonder what message he is trying to send. Curiosity is what I feel when I see Esteve’s portrayal of humans and animals, but also excitement, because they are truly unique to see.
There’s been a lot of talk of 2012 being the “Year of the Infographic”: visual representations of data as aesthetically pleasing as they are informational. Chad Hagen welcomes us to “the world of fictional information” with illustrations that explore what we’ve come to accept as infographic staples — a visual key, multi-dimensional shapes, a vibrant color selection — with none of the facts. Without the burden of telling a story culled from factual data, various dimensions, planes and colors are free to tell whatever story they choose. (via)