Everyone gets annoyed by the bombardment of photos of babies on Facebook and other Social networking sites. It seems like parents want to document every smile, fall and giggle that their kids make. But what about the rest of us that don’t have kids? Well a few fun loving folks in NYC decided to fight fire with fire and create My Precious Roommate, a hilarious collection of photos taken by Molly (we only have her first name) of her roommate recreating the good, the bad, the cute, and the ugly baby photos that we all come across on Facebook. The images are somewhere between comedy skit, performance art, and too much time on their hands. We love them for their ingenuity and creative take on G rated imagery.
Artist Carson Davis Brown wants to disrupt the big box stores (think Walmart or Target), or “places of mass” as he calls them. Not by making a lot of noise or leaving the aisles in total disarray, but by creating site-specific installations titled Mass that feature carefully-selected and thoughtfully-arranged products. He’ll pick one color and group those objects into totem-like structures that line the shelves, create an island in the shoe aisle, or block an important door. They form visually-pleasing works of art that are documented via photographs.
It’s no surprise that these installations were made without the permission of the store; Brown takes things from all around and somehow arranges the displays without getting stopped by staff. They are then left until they are inevitably disassembled.
There’s an inherent beauty of these works, but a guilty pleasure that comes from enjoying them. Brown’s disruptions highlight just how massive these warehouse-type stores really are – just look at the range of products. This “convenience” has put many “mom and pop” shops out of business. So, these works are a small way of fighting back. But, at the same time, having to disassemble these displays must be done by the lowest level, least-well paid employees – the sales staff.
Last week we launched the Colt 45 + Beautiful/Decay Art “Works Every Time” Design Competition, and have been getting in some killer designs! You can visit the Gallery to check out a few of the latest. To refresh your memory, the winner gets a whopping $1000.45 (clever, right?) and, along with nine runners up, a gallery show curated at Synchronicity Gallery. This is a great opportunity to stuff your pockets with the green stuff as well as further your art careers, whether it’s your big break or a great exhibition for your resume. You can visit our Colt 45 + B/D microsite to find full details as well. The competition will be fierce- be sure to enter! April 15th deadline- read full rules, regulations and how to enter HERE!
Jimmy Nelson captures the last glimpses of dying tribes in Africa, Asia, South America, and Siberia.
The photos are part of Nelson’s series “Before They Pass Away,” a captivating set of photographs that beautifully capture the purity and authenticity of a dying culture.
The homogeneous characteristics of today’s digitalized world compelled him to document a timeless document of these tribes.
“In all this homogeneity, people no longer think that their ethnicity and authenticity is valuable. They think what’s valuable is what they see here,” he said, gesturing to the many indistinguishable laptops that sat on almost every table in the crowded cafe before pointing to his heart, “and not in here.”
Since 2009, the photographer has been traveling through the most remote areas of the world in order to capture the “pure beauty in their goals and family ties, [and] their belief in gods and nature.”
With genuine interest and purpose, Nelson embeds himself in the culture of these tribes without judgement. Whenever I see a project of this kind (one that captures the lives of non-western peoples), I feel as though the westerner capturing and creating a narrative based on what he sees, tends to have an air of superiority. In small ways, the images become these objects of amusement. Nelson, however, is appreciative of these cultures, not because they are exotic, but simply because they carry, through their rituals and social rules, an imminent duty to preserve and nurture their culture and social rituals in ways that are, in fact, absent in Western societies. (via huffpost)
Thank You Very Much, an artist collective out of Buenos Aires, looks like a really cool, ambitious group. Limiting access to different creative vehicles is never a good thing, and TYVM is definitely not trying to do so. Working with over 40 artists from around the world, they’ve got their hands in everything: production, exhibition, design/marketing, etc. Recently, co-director Luciano Podcaminsky staged in exhibition of five installation pieces at the Centro Cultural Recoleta in B.A. The show, which “mixes conceptual art with POP culture”, gives you a good idea of what the collective is interested in doing. Find more images and some words from Podcaminsky on the exhibit after the jump.
Shauna Richardson lives and works in the UK. She has coined the term Crochetdermy to describe her process of hand crocheting large animal sculptures. A 19th century art form is employed and specimens are created from scratch rather than being stuffed and mounted. The work puts a handcrafted spin on the art of taxidermy and comments on our relationship with the natural world. Recently she participated in the Lionheart Project in which: “…three giant lions, crocheted by hand by the artist…travelled the UK in a custom-built, mobile, glass case. These powerful sculptures reflect the region in both symbol and materials.”
Asuka Ohsawa masterfully uses gouache on paper to create a world rife with dichotomous flair. Long Japanese scroll paintings depict cute anthropomorphic animals frolicking the town in seeming innocence and naivete but upon closer inspection there is a child ready to detonate a bomb and a crowd ready to capture and devour. There is underlying tension in all her works, reflecting on ideals and grievences of family and home, social and cultural norms, sexual moires, and moral righteousness. Each character and its surrounding environment is tightly rendered and outlined in sharp and precise lines, executed in flattened perspectives and limited color palates.
Michael Willis‘ visual language doesn’t consist of any single point of reference. Rather, it is a syncretic blend of multiple styles and influences – a sort of hodgepodge of 60s psychedelia, 80s computer graphics, and a modern view of pop culture. Imagery sometimes includes figures that are in the American cultural unconscious – Frank from Blue Velvet, for example, makes an appearance in a drawing. But more often than not this outlook on pop culture, especially looking back towards the 60s and 70s, is expressed through the utilization of stock imagery of anonymous, yet clearly old, photographs of people from days of yore.