Emily Malan‘s intimate style of photography gives her shots the illusion of being candid. You get the sense that you’ve come to know her subjects without ever meeting them. Her focus is on portraits, but she has her eye on the fashion industry; perhaps one day we’ll see her effortless photographs in fashion spreads in Vogue.
Liam Devowski lives and works in San Francisco as an Art Director at ad agency Mekanism. His bold colored messages and sharp imagery always have a way of looking at the bright side. One reoccurring motif in his work is the PBS logo with a single tear. This added design element playfully changes the meaning from “Public Broadcasting Service” to “Pretty Bummed and Sad”. Devowski takes pleasure in occasional sadness and uses it to fuel optimistic and enlivened design work.
Our planet is a truly magical work of art; complex, multifaceted and textural. Perhaps this is why Andy Warhol, a name that is unlikely to be associated with this topic, once said, “Land really is the best art.” Viewed in this simplistic yet profound light, land, or Earth, serves almost as found object in the implementation of Earthworks. In other instances land becomes the canvas, or the sculptural negative space for installation, or even a foundation and medium to explore sociocultural patterns.
Lita Albuquerque has used the earth and its materials for decades to create ephemeral and spiritually infused work. Her incorporation of performance, photography and installation creates multiple dimensions and lenses to experience our world, our relationship to earth and the stars, as well as their rhythms and cycles. The images featured here of her project Stellar Axis document an artistic expedition into Antarctica, which was the first and largest ephemeral work created on the continent. The installation of ninety-nine spheres across the icy landscape mimics the pattern of the ninety-nine Antarctic stars above- visually linking Earth to the cosmos.
Their fourth album, Adventures in Your Own Backyard was released earlier this year on Domino Records and now they are back to play the First Unitarian Church in Los Angeles this Wednesday, November 21st. I recently saw Lost in the Trees there and let me tell you it’s a wonderful place to see live music. Tickets are still available via Ticketfly and apparently if you bring some canned goods or non perishables to the show you’ll get a nifty Patrick Watson poster. Check out the video for Into Giants and I’ll see you at the show!
Deb Sokolow creates a vertiginous world of invented narratives. Her large-scale, ink on paper installations are hung in a kind of methodized-madness that call to mind police investigations bulletin boards, a mad scientist’s chaotic formulas and revelations, or the bedroom of an obsessive-compulsive conspiracy-obsessed fanatic. Sokolow leads viewers into the tangled web of an information-saturated schematic, leaving viewers at once disoriented and exhilarated. Sokolow talked to us about her creative process and sent us a bunch of behind-the-scenes shots, including her “research binders” detailing subjects such as “Ghosts, Email Scams, Pigeons & Squirrels.” Full interview after the jump.
For his recent show at Almine Rech GalleryDon Brown has produced his sculptures at a scale that is significantly larger than usual. Questions of scale are essential in the long process involved in the preparation of these works. The artist initially fashions a detailed clay maquette that will serve as the prototype for a much larger cast. Following enlargement and refining, the sculptures are then produced in either acrylic composite or bronze, but also, although rarely, in silver. The making takes several months, and the pieces are finally covered in a layer of gesso.
For years now Don Brown has been photographing his sculptures against a white background in daylight in order to document his work and bring out elements. By enlarging the prints, he gradually discovered in the flat representation of a volume a certain autonomy that is both powerful and subtle: “It’s as if everything is concentrated in a single view and the surface is uninterrupted” (D.B.).
London based photographer Julia Fullerton-Batten’s three part project centering around teenage girls tells the surreal story of the transition of teenage girls into womanhood. Each shot captures the lives and feelings of young girls as they change from relative innocence to a heightened awareness of their future adult life. For all of the images Batten chose to street cast girls for her models. Deliberately avoiding the use of professional models. Julia states that the slight awkwardness of her untrained models emphasizes the freshness and naturalness evident in her images.
Michael DeLucia draws with a scary talent for hand-rendering intense geometric grids and patterns. The Rochester born, Brooklyn-based artist (whose sculptures were previously featured here) creates drawings that reference shape, geometry and intersecting lines to create familiar and affecting moiré patterns. Utilizing carefully spaced lines, which intersect and diverge in different points, gives the work an almost meditative quality for the viewer, and more than likely for the artist during their creation.
Perhaps unsurprising when considering the strength of depth and field in the drawings, DeLucia has received more attention for his sculptural work than the works on paper, though both quite obviously inform each other. Several sculptural works (Partial Sphere and projectionfor example) echo the same skill and detailed work as the drawings, and exist as both independent and linked artworks. (via butdoesitfloat)