Philadelphia-based Armando Veve‘s impressive body of work shows his ability, and eagerness, to explore several different drawing methods, from the naive to the refined. In doing so, he leaves no doubt to the viewer that he makes a choice, and executes that choice with clear intent. He doesn’t seem to have many limitations. He also dabbles in ceramics, curation, and digital abstractions. At this pace, his work will only get better and better, and endless gifts will be bestowed upon us just for looking.
The French digital painter Lostfish creates an uncomfortable yet irresistibly alluring landscape of feminine powers; her bashful, pink-cheeked subjects reign supreme, adorned in precious jewels and sparkling crowns. The artist’s characters are abuzz with their own fertility, as expressed by bouncing nude breasts and lush flowers that seem to spring up from underfoot; also pictured are rabbits and eggs, symbols art historically associated with breeding and copulation.
The artist, influenced in part by 19th century art, works within a Victorian sensibility, reveling in an innocent, doll-like vision of femininity; her subjects, pale skinned and with impossibly delicate figures, become queens, armed with crowns and tridents. Lostfish’s female characters also seem pious, divine even; a few wear dismembered hands as jewelry, reminiscent of religious icons like the hand of God or the hand of Fatima. White flowers with yellow centers, often symbolic of the Virgin Mary in Christian art, stand in the place of youthful, milky nipples.
Yet within Lostfish’s ethereal and seductive images, there seems to linger an ominous supernatural strength within womankind. Where the Victorian woman is domestic and obedient, Lostfish’s heroines roam like wood nymphs, emboldened by their own reproductive powers; in one image depicting a human fetus within a pink oval, a foreboding reptilian creature seems to invade the womb, its grotesque navel in full view. In one painting, doll faces emerge in a group of six from blood red roses, reminiscent of biblical devil. These tempting, enchanting women dress in excess, giving themselves over to material pleasures. In Lostfish’s gorgeous imaginings the female is both delicate and demure, ravenous and dangerous. Take a look. (via HiFructose)
Father John Misty performing at the FYF Fest August 2, 2012
Father John Misty, aka Josh Tillman left Fleet Foxes in January of 2012 to the disbelief of many fans, myself included. I personally thought he was crazy, I mean he’s been releasing excellent solo albums as J. Tilllman for years, but why would he leave such a successful band like Fleet Foxes? When I first heard his new record Fear Fun under the moniker Father John Misty, I knew why. The album which he produced with Jonathan Wilson is amazing from start to finish and is definitely one of my favorite records of the year. He for one has always stated that he was just a hired hand for Fleet Foxes and just learned the drum parts for their songs.
With his dry sense of humor and imposing stage presence, he stole the show from many an act he was performing with, he definitely stole the show at FYF Fest 2012. I remember Kevin Bronson from Buzz Bands LA telling me after his performance, “he’s like Dean Martin“, which I thought was a perfect compliment. The singer is just hilarious and can rival many a stand-up comic with his quick witted comebacks to any fan that makes a comment out loud while he’s performing.
His humor also extends to his website calling his upcoming tour dates, “Opportunities to Capture Cell Phone Footage of a Live Rock Show You Went To”. Yes, he’s heading back on the road in 2013 with some headline dates as well as support for The Walkmen, before heading to Australia. Tickets are available for all shows including his last show of the year on Dec. 29th at the El Rey Theatre in Los Angeles via Ticketmaster.
Also check out his video for “Hollywood Forever Cemetery Sings” which his website describes as the following, “In this 3 hour experimental film, Aubrey Plaza reprises her career-defining role as Duncan Splays, a retired bounty-hunter and casual naturalist.”
This exhibition themed around sex will definitely separate the prudes from the promiscuous. Aptly titled “Sex Monsters”, 10 different artists explore the topics of gender bending, prostitution, fetishism and vice. A combination of photography, illustration, collage and assemblage, we get the chance to view some light erotica while questioning our accepted norms of sexuality.
Explicit drawings of sexual acts, photos of exposed bodies or advertisements for sexual encounters ask us to consider what is “slutty”, “indecent”, or “perverted”. More than just a simple display of modern sexuality, “Sex Monsters” is an exhibition showing something other than the normal heterosexual depictions of sex we are surrounded by. Photos of large amounts of condoms, strip clubs, and rows of newspaper listings shows the extent of the sex industry and how easily mundane these things can become in a world over-saturated with suggestive innuendo.
Encompassing genres like Sexploitation, Pornography, Soft-core, BDSM, this exhibition is intended on titillating and exciting us viewers. Aimed at the inner voyeur in us all, “Sex Monsters” will most definitely capture your attention. Unfortunately the exhibition has just closed at No Romance galleries, but you can still satisfy your curiosity by looking up the artists involved in the privacy of your own home…. Mike Krim, Pietro Cocco, Jennifer Calandra, Lorenzo Fariello, Amy Hood, Jonathan Leder, Sean Maung, Chelsea Nyegaard, Robert Farber and Kilroy Savage. (via Huffington Post)
Korean artist Choi Xooang creates sculptures that you’d see in your nightmares. The grotesque artworks are made out of resin and shocking in the brutal ways that they manipulate the human body. Severed limbs, skin corsets, and people-made backpacks are all featured in these pale, hyperreal mutant characters. Although they feature exquisite craftsmanship (the life-like details are stunning), it’s hard to get away from subject matter.
His existentialist creatures, in the torments of their flesh and their contradictions, become our double dumb and clueless. The artist says that emotions are the only things given to a man or woman apart from their social status in the functioning of a capitalist society. Choi Xooang not only gives us his own feelings but attempts to retrieve a collective soul, a chart of all the sufferings and joys experienced by everyone.
We see these types of feelings represented; while there is pain, there is also sensuality between the characters, and even some eroticism shown throughout the strange hybrid people. With this, Choi communicates that pain and pleasure can walk a thin line. (Via Hi Fructose)
The songs are heartfelt and powerful with Lee’s fragile and beautiful voice as the centerpiece, and the recordings are an instantly engaging blend of high and low fidelity, mixing lush studio productions, featuring keys, guitar, violin and banjo, with clattering homemade percussion and found sounds. While the album is certainly Lee’s brainchild, the recordings are very much a collaborative effort featuring contributions by friends and others met along the way.
Mutual Benefit is currently on a US tour with European dates to follow. Check out his video for Advanced Falconry and then catch him live this Tuesday, January 28th at the Center for the Arts Eagle Rock in Los Angeles. He’ll also be playing some East Coast dates in early February before heading off to Europe.
Bernard Roig’s light sculptures capture a particular strain of ennui. While the idea of light tends to evoke a positive or uplifting feeling, Roig recontextualizes this element as a burden to his sculptures’ human subjects. Sometimes light crushes or imprisons this man, or seems to be a goal that will never be reached. The man is usually sculpted in white, brightening the effect of his subjects’ dissolution. Roig’s work addresses the boundary between the connect/disconnect of our culture’s relationship to light. “Today we are living in an atmosphere saturated with images, but the experience that they produce has a low intensity. Now it is ever more difficult to give meaning to an image. We are subjected to light, a light that dissolves the outlines of things, a white light within which everything fluctuates.”