An excavation artist, if there ever was such a thing, Max Lamb creates beautiful works of art and furniture using Mother Nature as one of his tools. On a beach in Cornwall, England, Lamb uses primitive sand casting techniques to make his pieces. One of the earliest forms of casting, sand casting requires low-tech materials and systems. Attracted to this method, Lamb employed this simple technique to create the pewter stool depicted in the video. His knowledge of techniques, materials and his skill allow Lamb to explore method and medium in a unique way. There is a sense of adventure to Lamb’s work, which makes his process as interesting as the final product itself. His practice consists of an artistic honesty and respect for process that induces excitement and surprise. Watching Lamb excavate his pewter creation from the sand evokes a sense of wonder and an awareness of magic.
We continue our month long series of free outdoor screenings at Space 15Twenty this Wednesday, May 20th, with “Who the #$&% Is Jackson Pollock?”
The screenings are projected on the large outdoor screen located next to the Snack Bar. Seating is limited so arrive early to secure a chair, but if you get there late, no worries you can always sit on the floor or bring your own chair!
“Who the #$&% Is Jackson Pollock?” takes a more tongue-in-cheek look at the inner workings of the stuffy art elite than last week’s screening, “Basquiat.” “Who the…” is seen through the eyes of a beer-drinking, sailor-mouthed woman who may have accidentally purchased a Pollock from a thrift store- and the ridiculous rigamarole she must go through to have it verified.
Drinks, snacks and popcorn as usual are available at Snack Bar!
“Who the #$&% Is Jackson Pollock?”- Wed, May 20
1520 N. Cahuenga Blvd
Los Angeles, CA 90028
See more Beautiful/Decay Movie Times for the month of May after the jump!
Critical Objects is a personal initiative of Berlin-based graphic design firm, HelloMe. The project began as a series of explorations that thrive on not having any particular goal. The project consists of a series of objects that transcend a blurry line between artistic sculpture and functional furniture. The beauty of the project is that it remains unknown to the user if these things should really every be used, touched, sat on, or turned on… We have a small collection featured here, so be sure to check out the full series at Critical Objects.
Some pretty stark imagery from “Martyred Saints”, a series of photographs by Toby de Silva:
“…the Saints are displayed in a cathedral in Eastern Germany close to the Czech border and were acquired in the 17th century when there was a big trade in relics. They are said to be the remains of Martyred saints that were stored in the catacombs of Rome before being removed and traded. They were reassembled and dressed in their fine regalia and displayed in ornate cabinets.”
It must’ve been pretty dark in the “catacombs of Rome”. The photos are also fairly dark, not much to hold onto by way of background. But the blackness in each photo is balanced by Silva’s bright, clear lighting of his subjects and their jewels. (via)
Brittany App is a photographer, avid travellist and life catalyst. Although she hails from in and around the central coast of California, Brittany is always on the move whether it be by plane, boat or bicycle. This image maker is full of life and the vibrancy she exudes is reflected directly back into her images via the welcoming faces of the people she photographs, such as the faces shown here from her London series. You can follow Brittany’s latest photo-documentary project as she prepares for her coast-to-coast bicycle tour – scheduled for the fall – in effort to raise money for her favorite charity, Water Aid.
Sol Calero‘s work investigates the ancestral through a visual language which includes fabric constructions, found objects and images, archives, painting and drawing. Family clippings and photos overlap with house-plants and altered images of ancient ruins, tools for remembering and misremembering. Her recent project “Column Study” includes research into the origins of found West German ceramics, notated on their bases, which are assembled and disassembled, unclear if they constitute an ancient column discovered by archaeologists or a domesticated kitsch Brancusi sculpture. Her fabric works include capes used in abstract ritual performances and also wall pieces which operate in the vernacular of painting, often created with the discarded clothing of her family members. The work is often balanced between worlds, warm traditions with cold minimalism, personal narratives with pages torn from children’s craft books, the hot chaos of Venezuela with the cold European winter. Her project-based practice also includes running the gallery space Kinderhook & Caracas in Berlin with frequent collaborator Christopher Kline.
Jansson Stegner’s work could easily have turned into your typical figurative work but the strange elongation of the figures gives the work a bizarre psychological twist. It’s kind of a mix between Balthus and John Currin.