Japanese artist Teppei Kaneuji’s assemblages of ready made objects could be described as ‘time based sculpture’, not only due to their process of making, but also because of the ideas he works with. In his White Discharge (Built-up Objects) series for example, objects are categorized by form and color, dismantled, and then piled up and connected to other objects, with white polyester resin poured gradually over the final construction. Kaneuji does not seek meaning the materials he selects or the forms he builds. Rather, he dislocates objects, depriving them of their original function and value as consumer goods. His method is rooted in his own physical senses and the rhythms of contemporary life as he experiences it; he compares his process to that of a music mix-tape, which links songs together using personal criteria.
(via junk culture)
Let’s hop into the mind of Washington DC based artist, Emily Hoxworth. At the core of each of Emily’s pieces, as she states on her portfolio site, is an interest in biology, but specifically the idea that the core of our biological purpose is to reproduce our genetic material. This greater purpose, Emily explains, is a starting point for her explorations which largely take the form of alternative, narrative, worlds. The imagery is a bizarre mashup of mythology, nature, and medical illustrations. The result – a kind of psychedelic series of landscapes and scenes that are very much alien, yet somehow familiar – I like to speculate that these images are akin to the scenery we might experience upon birth. A kind of visual experience that is forgotten upon arrival. Check out more of Emily’s work after the jump.
Ari Abramczyk is a Los Angeles based fashion photographer specializing in underwater photography. I love how Abramczyk creates an added layer of interest in her photos with vivid colors and light patterns. She really utilizes the unique qualities of water in her photos. Granted, all things underwater look pretty cool, Abramczyk just makes it cooler.
Photographer Endia Beal has created corporate-style portraits of white women with hairstyles often worn by black women for her series, “Can I Touch It?”. Beal was first inspired to do this project after interning in the IT department at Yale while she was there earning her M.F.A. At the time, Beal, who is tall and black, was sporting a large red afro. She stood out among her mostly shorter, white male colleagues, and one even mentioned to her that a rumor was circulating around the office that the men were curious about her hair and wanted to touch it. She eventually asked some of her male colleagues to touch her hair, and even pull it. A week later, she recorded their reactions. She wanted the men to experience something new, and they were admittedly uncomfortable.
She next sought out middle-aged women who work in the corporate world for “Can I Touch It?”. “I wanted people that had a certain idea of what you’re supposed to look like in the workspace, because it would be a challenge for them to understand what I experienced in that space…And to a degree, many young white women have shared that experience, but for older white women it’s an experience they haven’t necessarily had.”
“I said, ‘I am going to give you a black hairstyle,’ and they were like, ‘You’re going to give me cornrows?’ ” Beal recalls. “And I said, ‘No, we’re going to do finger waves.’ ‘Finger waves? What’s that? You mean from the ’20s?’ And I said, ‘These are a little bit different type of finger waves!’ ”
She says the women were excited to learn something new and to show off their hairstyles. Through this project, Beal hopes to start a conversation among people who come from various gender, race, and generational backgrounds, especially within the rigidity of a corporate environment. She is currently in North Carolina continuing this project, and is considering having the women enter and work at their offices with these new styles, after which she would record their experiences. (via slate)
When I first saw Jennifer Sullivan’s work I didn’t like it. But after looking at it for a few days it’s slowly growing on me. At first glance the paintings may seem naive and referencing the late 90’s craze of “bad painting” but I think there are some interesting things going on in the work that deserve a closer look.
Jered Sprecher says something about painting. As Sprecher speaks, just underneath my skin, the blood starts dancing. Pulsing its ruby hips along to a great horn section, a mildly panicked Bossa Nova heartbeat. This is circa 2001, and Jered is a year or two ahead of me at the college we were at, and he was thoughtful about painting. He thought about the surface, and he thought about abstraction. He thought about what painting meant to other people. On the other hand, my education was from the school of immaturity, famous for using the word vomit and bad jokes in poor taste. I learned from him, and began to look seriously at paintings as more than an image. Today, Jered’s paintings are even stronger evidence of his thoughtfulness and clarity of vision.
Sprecher’s new paintings combine abstraction with imagery. Some of the images are based on variations of a single photograph of three pigeons or doves. When painting, Sprecher worked on some of the pieces with a process of moving from top left to bottom right, the same method a dot matrix printer uses, and other paintings used a more intuitive method of layering paint. The human, the machine, the image, and the abstraction live together in this wor/k/ld.
Jered Sprecher has a solo show, Half Moon Maker, at Steven Zevitas Gallery in Boston. The show is up until May 10th, 2014. All photos courtesy of Steven Zevitas Gallery. Below you can find an interview with Jered about his newest paintings.
Pearl C. Hsiung creates really awesome Manga inspired cosmic scenes of fantasy worlds with enamel on canvas. Hsiung was born in Taiwan in 1973 and lives and works in Los Angeles. You can catch some of her work on display at the Steve Turner Contemporary art gallery from October 16-November 13, 2010. Check her out!