While the mechanics of pinball were developed by engineers, the illustrations were handled by graphic artists. This work included the back glass and the playing field of each machine. Curated by local collector, Mark Andresen, this exhibition features the work of acclaimed pinball machine artist, Dave Christensen. 11 pinball machines will display Christensen’s graphics as well as the original artwork used in fabrication and drawings for proposed and/or rejected versions and prototypes.
Chilean artist Don Lucho creates installations from found cardboard that simulate extraordinary scenes from everyday life. During a street fair in Santiago, Chile, Don Lucho crafted a fruit and vegetable stand, titled “El Puesto de Don Lucho,” stocked fully with items made of paper. He stayed there the entirety of the fair, acting just like another ordinary fruit stand.
“I sold a lot of cardboard fruits. The…reactions were different, some were angry because the fruit was fake, others thought it was a hidden camera show, other people laughed. A lot of people asked many questions like what is this fruit for or if there was real fruit inside the cardboard fruit? The real fruit sellers got very angry and started shouting: Stop buying cardboard fruit! It’s not real fruit!” (source)
Another one of his installations, “Casa de Carton,” depicts an entire apartment, kitchen, toilet and all, completely made of cardboard. With a skateboard leaning against the wall, clothes thrown about, and an unmade bed, the apartment, despite its paper construct, perfectly mimics a truly lived in environment. He has also created various installations that reproduce accidents. On the streets of Santiago, Chile, Lucho, along with collaborator Quillo, created a cardboard car crash, as well as a small air craft that looks as if it has fallen from the sky.
Don Lucho’s work aims to question materiality both is an artistic sense as well as a monetary one. Through imitating the real, using materials found on the street, Don Lucho provokes the viewer to assess what value truly is — what does it mean for an object to be worth something? His work falls in line with the postmodern notion of simulating the real, which in turn, become “signs” of the real. If his work can provoke emotions and thoughts just as the genuine objects could, then, what is the true difference? Does Lucho’s work prove that the simulated can be just as powerful as the authentic? Or, does it prove that the authentic no longer has such a individualized meaning, as the simulated actually deflates meaning of the real? (think Andy Warhol’s Death and Disaster Series). Lucho states, “the confusion people feel when they first encounter the scene makes them doubt what is real and what impact it should have one them.” (source)
Phillip Toledano is a photographer in every sense of the word, with an oeuvre that speaks incredible amounts about his interest and character. After our post recently about Nick Minton, I realized we hadn’t posted Toledano’s beautiful series titled ‘Days with My Father‘, which is also an incredible book. The project follows Toledano’s time spent with his father, and is chronicled with heart-warming/breaking words that bring the whole series to life. Please, take a moment out of your day to experience this series.
Designer Outmane Amahou‘s posters seem to need very few words accompanying them. This series is appropriately called Minimalist Art Movement Posters. Amahou glides through art history with a minimalist design style. Icons of art history’s various movements and schools stand elegantly alone at the center of each poster. Warhol’s soup can, Magrite’s pipe, Duchamp’s urinal all act as familiar symbols of their respective styles.
So, according to her Flickr page, Alena Beljakova is only 19 years old. Wow. That’s a pretty young age for someone capable of producing photos like these. Impressive. There’s a mysterious, cinematic quality to the Saint Petersburg photographer’s work, and I wasn’t exactly surprised to find that she’s a ruski. There must be something about Russia’s cold winters and massive, partially barren landscape that lends itself to art that is in touch with the dark intangibles of the world. Definitely gonna keep an eye on this one. (via)
The surrealist artist Cristina Burns creates tiny, magical worlds made of skulls, toys, and delightfully kitschy knickknacks; her series Through the Mirror appeals to the subconscious mind, inviting viewers to engage with seemingly disparate materials that together form a strangely cohesive narrative. Inspired in part by the Oniric movement, the bizarre and delightfully pink work allows viewers to make surprising associations within carefully constructed scenes; the familiar and the frightful work in tandem, frantically blurring the lines between fantasy and reality.
Burns’s images, imbued with the innocent connotations of budding flowers, baby deer figurines, and Victorian lace, introduce comically dark elements: a round eyeball, brains served on a platter with a fork. Together, the delightful and the dangerous work to create arrangements that might be viewed as manic and surreal altars to the dead. In one elegant image, a skeleton attracts the attentions of a large beetle, an insect often symbolic of decay, with the presence of budding funereal flowers and sweets.
The meticulous symmetry of Burns’s compositions heightens the idea of supernatural harmony between purity and sin, between life and death. Much of the work centers around a symbol of man and especially womankind’s fallenness: Eve or Snow White’s skull bites an apple, or a mermaid figurine peers woefully at a deteriorating skull at her feet. In this state of death and corruption, there exists too a powerful sense of play, as seen through delicate china mice, candy hearts, and Disney princess dolls. In this way, Burns’s imaginative and feminine dreamscapes capture the allure of mischief, for in our disobedience and fallenness lies a magical sort of madness and celebration.