Jack Vanzet, an Australia-based designer, is not limited to just one look but an array of styles all equally beautifully mastered. The one common ground between these differing pieces is that each of these show great attention to the foundational design.
Julie Schenkelberg makes installations that look like domestic earthquakes. Her monumental pieces talk to us about the collective memory we share in objects and its inevitable disintegration. As most all domestic objects have some sort of function, their ubiquity–tables, chairs, lamps, plates, etc in every home– is a sign that our experience of the life is much more communal than individual, and likewise our memories. Julie takes the objects of our experience and compiles them into globs of memory, as they are probably situated in our own brains. But, like our own memories, she shows us these objects as broken and decaying in structures that look strong and sound but are, in the grand scheme of things, utterly tenuous. Her work is physical poetry at its best.
Kristian Burford’s art installations meditate on the postmortem state of sexual arousal without a partner present. Nestled in a messy realistic setting, each carefully constructed wax figure seems to sigh inward, recollecting him or herself after an erotic whim has been satiated. However, the intention does not stop there: it seethes and penetrates with primal implications. Encountering each diorama, our own interior worlds are challenged and heightened as we find ourselves cast to confront not so much nudity, but even more so, our own erotic inclinations as possible voyeurs.
For a trained architect, Alexandre Ciancio has taken an unexpected step in what to negate with his collage work series, Walkabout. By removing buildings, objects and landscape from the majority of his works, Ciancio manipulates the image so that the people photographed become objects themselves, a new visual architecture based on space, place and environment.
The Walkabout collages keep the black and white photographic qualities of an often wholesome, idealized past, and replace negative space with a soft pastel pallete, reminiscent of the same era. Depth is simultaneously given a flat quality, while figures are given a new background and environment, of their own creation. Ciancio poetically describes the series
“A walkabout, ie a multitude of people gathered in one place can be characterized by a container (location) and content (the crowd). With this definition it is thus possible to establish rules of the game: design images where all the spatial data are erased in favour of flat colours highlighting the different crowds and their relationship to space.
This rule is applied with six old black and white photographs, the various inhabitants of the images are highlighted by the lack of spatial information and the bright colours used to give depth to the images while giving them a degree of internal consistency .
These images are assembled diptych opponent whenever a frontal pose to pose in perspective. This dualism invites us into the image space and observe each of their people, their expressions, their eyes…” (via mutantspace and the jealous curator)
Marina Abramović is one of the most compelling artists of our time. Seductive, fearless and outrageous, she has been redefining what art is for nearly forty years. Using her own body as a vehicle, pushing herself beyond her physical and mental limits, and at times risking her life in the process, Marina creates performances that challenge, shock and move us. Through her and with her, boundaries are crossed, consciousness expanded — and art as we know it is reborn.
The feature-length documentary film Marina Abramovic The Artist Is Present follows the artist as she prepares for what may be the most challenging performance of her life — a new piece that will be the highlight of a major retrospective of her work, taking place this spring at The Museum of Modern Art in New York.
To be given a retrospective at one of the world’s premiere museums is, for any living artist, the most exhilarating sort of milestone. For Marina, it is far more — it is the chance to finally silence the question she has been hearing over and over again for four decades: “But why is this art?” At 63, she has lost patience with being branded “alternative.” That designation, she says, just gives people license to rip her off. What she wants now is for performance art to be legitimated. She is thinking of her legacy — and the MOMA show, as she well knows, can secure it once and for all. “It is,” she says simply, “the most important [show] of my life.””
View some of our favorite videos and interviews with Marina Abramovic after the jump.
Artist Patricia Piccinini has a very impressive and eclectic range of artistic talents. Her body of work includes drawings, installations, and even a giant hot-air balloon that has floated across Australia. Her astonishingly hyper-real sculptures, however, truly give you an image that you will not soon forget. Made from silicone, acrylic, and fiberglass, Patricia Piccinini forms creatures that appear to be somewhat human, but altogether alien. They seem to be alive, as they stare back at you with emotion-filled eyes. They exhibit traits of humans, like lifelike hair and fleshy skin, but are unmistakably not. It is as if they are hybrid animals living amongst us. Many of her sculptures include one of her hairless, mutated creatures alongside of what appears to be a real human. The dichotomy between this possible mutated creatures and a “human” is interesting, because neither one is actually real.
Patricia Piccinini’s work explores ethical issues surrounding cloning, DNA, and genetic mutation. Her shocking sculptures point a firm finger at human kind’s manipulation of nature and the possible consequences. The effect science has on the natural world and the creatures inhabiting it are a reoccurring theme in Piccinini’s work. We see her sculptures that look so realistic; it is as if these grotesque creatures really do exist. Portraying them with human-like features gives way to pity and empathy for the creatures. The artist’s incredibly intriguing work is one of unbelievable skill that holds a strong, often controversial, message on genetic alteration and mankind’s hand in nature.
Gorgeous gorgeous photography by Julian Goldstein that makes my feet itch for travel. Julian emphasizes the mystique of “unaltered subjects and settings while embracing their natural appeal” with these tiny glimpses of eastcoast idioms.