The artwork of Justin Bryan Nelson has this folk-like quality with minimum colors and symbolic imagery that not much is needed in the drawings to appreciate its symbolic and rather mysterious illustration. What I like about them, it’s just how delicately done the pencil and ink marks are on the illustrations but also how the artwork revolves around one main subject, without cluttering the audience.
Taylor McKimens is one of my favorite artists, ever since finding his comic book “The Drips,” his work has been on my radar. So, using my new blogging gig here at Beautiful/Decay as a good reason to see his studio – I went over to Taylor’s studio at Deitch Projects in New York. I had to ask the perfunctory question about what was happening with Deitch Projects, and he said things depended on several variables – and didn’t go into any details. His work in progress completely blew me out of the water, and I walked around with my mouth open like a tween at a Jonas Brothers concert.
No, I don’t just admire Jason Horowitz’s photos of renowned New York drag queen, Shi-Queeta Lee for her strikingly similar name to my own. These up close-n-personal, hyper-realistic shots elegantly straddle the realms of glamour and repulsion, real and ideal, portraiture and abstraction. His show opens at Curator’s Office February 20th.
Amy Ross, as she herself states, is quite interested in the idea of artists as “mad scientists”. She posts the question, “What would happen if the DNA sequence of a plant or mushroom were spliced with that of an animal?“. As she tries answering this question herself and to the viewers, her latest works titled, “Brother Wolf” addresses just that.
Pringle of Scotland has commissioned Glasgow-based artist David Shrigley to produce a corporate film. The 3-minute animation depicts the making of jumpers and cardigans over the past nearly 200 year history of the Scottish brand.
Tom Sanford had me over to his spacious basement studio in Tribeca this past Saturday. I became aware of Sanford’s work in 2008 when I saw his show “Mr. Hangover” at Leo Koenig, Inc. Tom’s main project is capturing our rapid-fire digital culture in the slow language of painting. If it’s in the news – it’s likely fodder for his paintings. When we watch TV, a pop star’s recent public tantrum is covered with the same attention as the death count in a war zone. Tom doesn’t try to adjust the playing field between pop culture and world events – he conflates them. But when that happens in a painting the dissonance is in your face in a way that it isn’t on TV. For instance, in a new large-scale painting, Bill Murray (as a red capped Steve Zissou from The Life Aquatic) is being held at gun point by pirates off the coast of Somalia. It’s inexplicably poignant – maybe because I care about the character from a movie? Sanford speaks eloquently about how painting is slow media, and how we’re all enmeshed in fast media – he has a sign up in his studio that sums it up as “The worse the better.”