Tokujin Yoshioka is one of the more famous contemporary artists today, even if his website’s bio modestly (or jokingly) claims “His works, which transcend the boundaries of product design, architecture, and exhibition installation, are highly evaluated also as art.” His current career retrospective at Museum of Contemporary Art Tokyo is titled Tokujin Yoshioka_Crystallize, a play on both the artist’s tendency to utilize both light and crystals in his work, as well as the idea of the alternate definition of crystallizing, meaning to give form to.
The exhibition, which is Yoshioka’s largest solo show to date, consists of well-known and previously un-shown pieces, though certainly centers around the immersive sculptural installation, Rainbow Church (pictured above). The installation is forty feet tall and consists of 500 light-refracting crystal prisms which project rainbow hues in the gallery space.
In a description of the piece for Fast Company, Margaret Rhodes describes the work, “The spare aesthetic doesn’t make it easily apparent, but Rainbow Church is influenced by an experience from his early 20s, when he visited Henri Matisse’s Rosaire Chapel in Vence, France. “I had a mysterious experience of being filled with overwhelming light and vibrant colors,” the artist says in a press release. “A dream to build architecture like this chapel came up to me strongly.” In a departure from the tangible materials he’s used in the past–foil for chairs, feathers for a snow-themed art installation–he’s building with light, the most ephemeral material of all.”
Other works also utilize the ethereal qualities of refraction, such as Ray of Light (below) also emits a rainbow glow, this time via a transparent crystal structure. The gallery walls are again activated by the light, as the gallery space is changed by the sculpture itself. (via designboom and fast company design)
If you haven’t heard of Henry Gunderson, you aren’t paying attention. The California young blood has experienced an extremely meteoric entrance into the public eye over the past two years. Gunderson, now in his second year at SFAI, secured his first solo exhibition, with FFDG of San Francisco, at the tender age of eighteen.
Vancouver-based photographer Dina Goldstein shoots for magazines and ad agencies around the world. Her series, In the Doll House, examines the less than perfect life of B and K. B is a super doll, the most successful doll in the world. Her partner K is grappling with his sexuality and finds himself in a loveless marriage. He struggles with his position in the household and faces his lack of authenticity.
Not only was Brad Elterman always present at the right time and the right place, but he also has a story to tell about every moment he captured with his camera. From nearly getting beaten up by Robert Plant’s roadies for getting a shot of the singer in his briefs playing soccer, to the moment Joan Jett flicked him off and thus allowed him to get one of the most quintessential late 1970’s images of rock n’ roll. He’s still shooting like crazy and if you follow him on Tumblr, where he’s quite the sensation, you can check out all of his great photos of yesterday as well as today. Brad Elterman’s photographs will also be on display at Kana Manglapus Gallery in Venice Beach from June 28th – September 10th.
Always psyched to see some new Mark Mulroney jams! Haven’t exactly heard of Charles Linder, but I must say, that installation is looking wild. Here’s a taste of both artists most recent exhibition endeavor, more after the jump…
Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg 2007
Nando Maphisa and Mpho Sibiya, Sasolburg, Johannesburg 2006
Busi Mdaki and Malesedi Nthute, Katlehong, Johannesburg 2007
Zanele Muholi, a South African activist and visual artist, explores and re-imagines the intimate portrayal of the lives of black lesbian women in South Africa.
Moreover, Being, the title of this collection, according to Muholi, aims to question the construction of sexuality “and then [the] deconstruct of ourselves […] in order to see the parts that make up [the] whole.”
Black women and sexuality, in conjunction, have always been topics of heated conversation, as it not only refers to sexuality, but also a matter of colonialism and white patriarchy.
The artist is concerned with her sexual identity coming off as ‘un-African’ – perhaps a product of years of stigmatization on behalf of white colonialist and patriarchal societies, deeming the black female sexual identity as one that is hyper-sexualized and strictly heterosexual- or even then, the image of a black female to “reproduce” heterosexuality and white patriarchy.
The sculptor Livio Scapella‘s shrouded figures seem to be in eternal conflict with their materiality, trapped like lost souls within the confines of stone. In this strange work, titled “Ghosts Underground,” the artist uses the aesthetic dialogue normally associated with classical Renaissance masters, establishing the suggestion of movement within the frozen busts; necks contort, and mouths hang open as if to speak. Visual weight is distributed uncomfortably, and like Michelangelo’s Prisoners, Scapella’s figures yearn for escape, gasp for air.
Like a moving, writhing funeral shroud, the fabric is rendered with the utmost delicacy and softness, affording the busts a ghostly significance, as if they were invisible men and women defined only by the cloth in which they are contained. Like those caught frantically between life and death, the haunting figures seemingly do battle with the elements of the natural world and its order. As they strain against stone, they are powerfully anchored by spectacular quartz and amethyst held steadfastly to their chest. Like an external representation of the soul or spiritual self, the burdensome yet magnificent gemstones lie cradled within the airy fabric above the heart.
In a particularly powerful diptych, the “white soul” sits beside the “black soul;” where the white soul rests, embracing her permanent and immobile fate, the black soul strives against eternity, his mouth open in a frightful scream. The male, art historically associated with the intellectual and rational, is in turmoil; the female, on the other hand, becomes unified with nature and with the elements from which she is constructed. Within each of us lies this powerful duality: will we succumb to death or will we struggle to escape it? Take a look. (via Hi Fructose and Juxtapoz)
Curiosity led photographer James Friedman to cut into his collection of golf balls to see what the cores looked like. To his surprise, he discovered that each golf ball contained a unique interiority, revealing elegant formal qualities and inspiring Friedman to become more enthusiastic about the possibilities of abstraction in his photography, especially as a corollary to his documentary work. His series, entitled Interior Design, captures these surprisingly colorful and distinctive golf ball guts, displaying the inner beauty contained within their homogenized white forms. Friedman has been fascinated with photography since he took his first self-portrait at 5 years old. He does not play golf. (via Lost at E Minor)