Funk upon a time, Brian Belott and Jesse Greenberg teamed up to create a two man show for Gallery Loyal in Sweden. I was wondering how to explain the work, but in the press release it says that “Not being able to pin down exactly what these objects are referring to is one of their powers,” so it’s better unexplained. I asked Brian about the power of not knowing and funkiness once, and he explained that working funky meant the difference between drawing inspiration from the sadness of the Blues, or the celebration of George Clinton and Parliment Funkadelic. The work in this show feels like a mash up between the ancient Egyptian religion, which at the time was thought to keep the sun rising, and today’s science fiction; a mythological range from prehistory to the future, it either expands time or contracts it depending on whether you like the Blues or P-Funk.
For a while now, Gerry Judah has produced extremely large-scale outdoor installations. And he’s become pretty good at it. Especially notable are his automobile-themed works, which suspend scale-sized model cars high in the air as part of whirling, vertigo-inducing sculpture work. Kinda like Steve Tobin’s work, except with horsepower. (via)
Diana Al-Hadid’s transfixing sculptures remind me of the point in the Neverending Story where the white light castle slowly begins to disintegrate from the Nothing, as well as the prison in Lord of the Rings Gandalf is kept in. I think it’s because her sculptures are somewhat mystical, doomed to deconstruct and somehow seem in the process of changing, growing, or collapsing- possible only in some sort of imagined fantasy space. Although here they are, despite all odds, as if teleported from a strange alternate universe of kings and mages and black wizards….
In Ben F Carney’s digital world objects fly through your body, gravity takes its toll in unperdictable ways, and human skin can be strectched, torn, pulled, and bent in every which way possible. Make sure to check out the video by Ben after the jump.
I love me a well designed show poster or flyers so stumbling onto the Portfolio of Jon Smith was a nice surprise. I first saw Jon’s work at the Renegade Craft Fair in SF and have visited his site several times to check out what he’s been up to. The color’s in these posters are strong and the typography is solid as a rock so check out Jon’s site, read his rant filled blog posts, and pick up a poster or two.
Meticulous attention to detail helps Zipora Fried transform ordinary objects into compelling works of art. I recently saw several sculptural pieces by Fried at the Greater New York 2010 exhibition at P.S.1 and thoroughly enjoyed her use of playfully poignant and enigmatic materials, along with her sustained focus on repetition. Arduous process? Yes. Emphatically handmade? Yes. Beautiful in it’s simplicity, yet endlessly complex? Yes, indeed.
How does our plastic/synthetic “throw away” culture affect not only our values, but also our environment? Walmart retail may seem cost effective and conservative, but in a glutton abundance, it’s possibly just as decadent as the upper echelons of collecting from the Renaissance or Baroque times. By placing disposal items such as Coors beer, shelves or detergent, and bargain bin t-shirts under a canopy of classically rich “painted” ceilings in her work, Jean Lowe cleverly examines these ironies and more.
Regarding this fiscal clashing, David Pagel suggests, “This compromise between high art and low culture suggests that splitting the difference between extremes creates a mutation both queasy and questionable.”
This is what makes each piece striking– Lowe is not just easily questioning consumerism’s role in art, but instead asking us to consider where art lives and who it lives for. It’s not just about “what” but “how” such blending or bleeding confuses, masks, or tempers our own sense of place and thought.