KIM KEEVER’s large-scale photographs are created by meticulously constructing miniature topographies in a 200-gallon tank, which is then filled with water. These dioramas of fictitious environments are brought to life with colored lights and the dispersal of pigment, producing ephemeral atmospheres that he must quickly capture with his large-format camera.
I’m guessing that most readers of this blog are familiar with New York-based artist Cory Arcangel. He is, as far as I can tell, one of the more famous artists currently creating work in that bizarre intersection of technology, low-brow Internet culture, and art. And while I’m a fan of his work in general, I also realize his stuff can be rather hit or miss. So I was happy when I recently revisited his site and discovered his most recent work: Drei Klavierstücke op. 11, which I rather like. The piece is a recreation of Arnold Schoenberg’s composition of the same name, entirely constructed from amateur YouTube clips of cats playing piano.
On Arcangel’s page documenting the project, you can read more about his technical process (it involved audio analyzing software and custom perl scripts), as well as listen to a comparison of an original recording of the piece by Glenn Gould alongside Arcangel’s result. The second two parts of the video are after the jump.
Interesting take on the female form from Floti. Grainy neon colors flow through the figures as though you were looking at them through an infrared camera (except with more interesting color variation). With a glitchy, electronic vibe, these digital works nicely illustrate some of the darker, more ambiguous aspects of the Digital Age. I don’t want to say too much about this project, which seems to be in its infancy, but the source images are altered so heavily that it’s hard to contextualize all of the pictures, which allows for a nice exercise in attaching one’s own narratives and ideas to the works. Hope to see more of these mysterious ladies in the future. (via)
Argentina-native and -based artist Irana Douer‘s works are delightfully deceptive; often, simple lines and minimal color are combined to create works fraught with symbolism. Women are the stars of her productions. Many of her illustrations and sketches show hurt or sad, yet strong women.
Swiss-based freelance photographer Fabian Unternährer has posted a new series titled “Just Passangers.” This collection documents seemingly everyday moments, quirky and beautiful, in danger of going unnoticed.
When the photographer Julia Kozerski lost literally half her body weight, dropping from 338 to under 178 lbs, she cataloged her complex emotional reaction to her transformation in a series titled Half. In a jarring response to most weight loss media, the artist avoids the display of any cheerful confidence, forcing viewers to consider the murky and provocative intersections of body image and identity.
In each frame, the artist performs intimate rituals, using her form as an aesthetic means of translating her feelings about identity and metamorphosis. In Ruins No. 1 and No. 2, she treats her flesh as if it were the remains of an ancient monument or temple; her skin, colored by stretch marks and curvatures shot in vivid contrast, appears less like an emerging new shape than a worshipful testament to the body she once lived in. For Kozerski, her weight loss is complicated by the suggestion of a confused identity; as she navigates her “halved” body, we quietly mourn the loss of the other.
As the photographs courageously expose this sense of loss and confusion, they paradoxically serve as a forum for self-actualization. In exposing her deepest vulnerabilities, Kozerski surrenders herself to her transformation, allowing for a richer and gorgeously nuanced identity to emerge. Throughout the series, the artist’s emotional and physical bareness become increasingly related to this idea of selfhood re-discovered, a theme which is often explored through her erotic connection with her husband.
In “…or for Worse,” Kozerski is tragically shown to be too small for her wedding gown, but throughout the series, sexual barriers and insecurities fade. An image titled “Lovers Embrace,” for instance, presents the pained and uncertain subject laying beside her mate, their wedding bands providing a flicker of hope as they glisten in the evening light. Ultimately, the viewer bears witness to “Eclipse,” a shot in which husband and wife stand nude, embracing one another and visually condensed into one powerful and resilient figure. After weathering this complex emotional terrain with the artist, we are presented with an image simply titled “Self,” left breathless and in awe of the woman before us. (via CNN, Phototazo, and Jezebel)
Here’s some of artist Charles Clary‘s new pieces, some of which can be seen in at the Diana Lowenstein Fine Art Gallery in Miami Florida.
Hand cut piece of paper on panel with acrylic makes you appreciate clearly how much time, effort, and passion Charles has for his work.
Installation view Irreducible Complexity/ You and I and Irreducible Complexity/heart
The sculptural work of Andrea Haslerhas always created a dichotomous dynamic – push and pull, revulsion and attraction. The Zurich, Switzerland-born artist (previously featured here) has used her trademark visual medium of sculpted fiber-glass covered with wax to insinuate the human body, with equal parts inference to our insides as well as outsides.
Her newest work is title Embrace the Base, a commission for Greenham Common in Berkshire, England by New Greenham Arts. The site, which held the longest women’s protest against a site storing nuclear weapons in the early 1980’s, is rich with history and emotion. The larger pieces in Hasler’s commission recall the tents that these women protesters erected in their camp outside of the military base which now serves as a cultural meeting place.
“For the New Greenham Arts Exhibition, I have created a new sculptural body of work that takes Greenham Common’s history as a starting point, particularly with the Women’s Peace Camp with its tents situated on the site during this time. This new work also takes into account the historical perspective. as well as entwines with the recreational aspect of how Greenham Common as a site, is being used now, as well as the New Greenham Art gallery being located in the former American Army’s entertainment quarter. Metaphorically I am taking the notion of the tents which were on site during the Women’s Peace Camp, as the container for emotions, and “humanise” these elements to create emotional surfaces.
Hasler mentions that with Embrace the Base she is taking a political element as a starting point and then involving body politics. In Matriarch and Next of Kin, two tent forms, cloaked in skin-like covering, recall the tents that these protesters erected in the Women’s Peace Camp. While one tent is a full-sized replica, the other scaled down, and as the artist hints, most likely represents a mother and child relationship. Often working with skin as a loaded (and typically, simultaneously literal) metaphor, Hasler says, “It’s almost like I am taking the fabric of the tent, the sort of the nylon element of the tent, and I make the fabric, this skin layer as sort of the container for emotion, or sort of the container to hold emotion, as in the skin holding emotion.”