Swiss artist Tenko‘s work seems to represent a twisting, flawed humanity that we try to forget. Looking at his work I’m very conscious of the fact that my supposedly higher thoughts and feelings all rely on a system of organs, pumps, and fluids to exist and no amount of perfume is going hide the fact that we are simply beasts of flesh and bone. Maybe it’s all those perfectly modeled legs or even the grotesque facial expressions but I feel like I’m definitely gonna have to exfoliate tonight.
Melissa Murray is an artist from Brooklyn, NY. The themes in her paintings revolve aroud “images from past experiences or dreams.” Much of her work includes the metaphorical use of animals, which symbolize “sincerity in life, a seemingly degenerative trait in our current human consciousness. These creatures represent purity, and personify my dreams and fears for our collective future.”
Opening July 11th (6-8 PM) and concluding on August 29th, the group show spotlights 14 Los Angeles-based women who all share a certain maverick outlook and ballsy attitude that distinguish them at a time when their male counterparts continue to receive the lion’s share of the artworld’s attention.
It’s not new when artists try different techniques then combine them with more traditional ones. It only becomes more significant if new ground is broken in the process. In Rachel Wrigley’s case this is certainly true. Her paper sculptures created from pages taken from magazines are turned into organic forms which comment on the transience of nature. By utilizing a material which has already been used for another purpose Wrigley recycles an idea in a formal setting which speaks to several different notions. It reimagines the ready made image with hints of origami and paper cutting techniques taking on characteristics which resemble silhouettes of butterflies, snowflakes and flowers.
The recent work Wrigley has produced turns images of domestic spaces such as living rooms and windows into organic forms. It becomes a play off two sensibilities of idea and material which capture moments that reminisce a sliver of morning light streaming through the window blind highlighting only a portion of the room giving it a new and different perspective. These then become unique abstracted forms found and reimagined within the folds of a paper magazine. (via lustik)
There is something wrong in Jason Murphy’s portraits. He illustrates people who appear to have a few screws loose. Their often asymmetrical faces dawn either a look of certain absence or of urgent excitement. This is all contrasted of course by his beautiful, delicate mark-making that which feels so light, and feathery.
Filmmaker Sébastien Lifshitz began compiling vintage photographs of queer couples when he happened upon a photo album that he realized contained the life a lesbian couple. Intrigued by the visibility with which they claimed with these photographs, despite living in the early to mid 20th century, when homosexuality was less accepted and more hidden that it is now, Lifshitz filmed a documentary – Les Invisibles (2012) – chronicling the lives of LGBT couples born between the two World Wars. Lifshitz just released a companion photo book –The Invisibles: Vintage Portraits of Love and Pride – last month. These images capture a lifestyle that was largely invisible to the mainstream culture to which it belonged. Photography was a way for queer communities to be visible to each other and to document the lives they led, however invisible they were to the heteronormative culture of their time.
Of his collection, Lifshitz says, “I don’t know these people — they are anonymous to me. I can’t really even say that each person photographed into the book is gay, except when it’s obvious. What I like is that there are different levels of reading these photos — I would say three levels to be exact. The first one is the pictures of obviously gay single people or couples, the second is the pictures of people which can be seen as ‘undefined’ (we’re not sure) and the third level is the ones that are obviously not gay but playing with a gay attitude (cross-dresser, some ‘garçonnes,’ etc.). I love the ambiguity and diversity of these pictures. These photographs ask questions. I didn’t caption the photos because I don’t know quite anything about each of them (no name, no location mentioned most of the time). I wanted to expose them like the way I found them: without any information, like mysterious pictures.” (via brain pickings)
Architect Zaha Hadid‘s new office building in Moscow, known as the ‘dominion office building,’ is a big, bold, futuristic M.C. Escher. This building is one of the first structures constructed in the up and coming district of Yuzhnoportovy. The structure marks a distinct direction for the desired path of the neighborhood: a place for visionary thinking. The exterior of the building is sleek, shiny, clean and practical, yet, it’s slight asymmetry characterizes it as an entity that deserves attention. While the building itself is striking, it is the building’s interior that is truly remarkable.The lobby and staircases have been constructed in black and white, creating an art deco reminiscent feel, yet nothing about this building’s design seems taken from the past. When looking up through the structure, the geometric shapes create a design of almost painterly accord, creating a playfulness with space that borders on optical illusion. The staircases look like winding piano keys marching through open space. The presence of light is truly considered, making it the perfect environment for forward thinking and inspiration. The building is not just progressive in its aesthetic design — it has also been created in a way to encourage and make expansion for small businesses feasible within the same space. Along with focusing on helping pave the way for small business to expand, it also fosters collaboration between companies sharing the same space; there is a ground floor café next door to the terrace — creating a communal space for exchanging ideas and socializing. (Via Design Boom and Fubiz)