Dana Oldfather is an artist that currently works in Cleveland, Ohio. Her abstract paintings have this beautifully organic nature that it almost feels as if she painted from a bio-lab sample of a plant. Composed of oddly shapes, splashes and blobs of paint, her color scheme is very earthly and neutral and this helps set the tone in the painting.
She states about her work, “Each work is an attempt to elegantly express the embodiment of paradox; a physical manifestation of conflicting desires communicated in an abstract arrangement of forms.” She will be showing her work at William Rupnik Gallery in Cleveland, April 23 – May 9, titled We Are Mountains.
Spanish illustrator Irma Gruenholz constructs hand sculpted, three-dimensional scenes using clay. Her surreal compositions primarily involve portraits of rosy-cheeked humans coupled with fantastical characteristics. A woman, posed like a frog, captures small human flies with her long tongue. Another illustration features a woman catching small bits of light between two chopsticks. Gruenholz forms the clay into smooth, elegant figures that don’t immediately read as handmade – they look like they could’ve been digitally produced.
A lot of work goes into crafting these illustrations. Gruenholz individually creates each character each character and scene using sculpting tools and paint. They’re held in place by stands and posed correctly. Scenes are photographed and later edited to remove the supports and produce the illusion that they could possibly be real.
Born in New Zealand, Peter Dobill is a Brooklyn, NY based actionist who has performed across the country. He is the recent recipient of the 2008-2009 Franklin Furnace Fund for Performance Art Grant. For this four hour endurance piece titled “Receiver,” the artist is suspended in a pool of milk, while a bowl placed overhead drips a continuous stream of milk into his nose. By constructing extravagant sets in which to carry out his actions, Dobill seeks to add a visual component to the performances. Dude is wild.
Five months after being wed in Central Park, while most couples are settling into a new blissful life together, Angelo Merendino and his wife Jennifer received troubling news: Jennifer had breast cancer.
Of this diagnosis, and the journey that ensued, Angelo states, “With each challenge we grew closer. Words became less important. One night Jen had just been admitted to the hospital, her pain was out of control. She grabbed my arm, her eyes watering, ‘You have to look in my eyes, that’s the only way I can handle this pain.'”
Angelo took his wife’s request seriously and his photographs, collected here, document not just her struggle with cancer, but also a certain compassionate way of looking– a presence from behind the lens that is not exploiting nor agenda-driven. Each black and white image from Angelo shows the necessity of bearing witness or being a vulnerable presence that is sharing in the difficult and very human experience of love and loss.
Angelo additionally notes, “We loved each other with every bit of our souls. Jen taught me to love, to listen, to give and to believe in others and myself. I’ve never been as happy as I was during this time.”
For those of us touched by cancer, we can relate to Angelo’s statement — sickness is not just about the disease, it’s about relationships: how we deepen with one another by practicing empathy and how this feeling palpably echoes long after someone passes. Capturing this feeling in art, the way Angelo has, connects not just two people, but many millions more.
Craig Taylor’s fantastic macro photographs transport us into the world of insects showing us every hair, tiny pieces of pollen, water drops, dozens of eyeballs, and all sorts of other detail that we can’t see with the naked eye. Read about Craig’s process and what led him to this series here.
Today’s article is presented by the glossy tri-fold brochure printing experts, Next Day Flyers.
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.”
French photographer Pascal Pierrou takes interest in creating the ultimate ‘modern girl’ photo catalogue. Pierrou, a fashion photographer, is interested in showcasing alternative ‘feminine beauty’, the type that we are not really used to seeing in popular television or mass-produced advertisements. He primarily focuses on girls with short hair/no hair, tattoos, and piercings. While these women’s looks are not uncommon per se, Pierrou is looking to create a fashion-like photoshoot that shows off these women in a way that is uncommon and unexpected. For instance, his way of pairing a naked woman with a sword tells us that he is looking to show off a double-sided profile, one that shows off a rough edge, and another that features the soft lines of a slender and feminine naked body.
This idea of rough and soft lines is somewhat of a pattern amongst the photos on this series. These characteristics are indicative of what Pierrou thinks about today’s modern girl- often times, a woman that carries a powerful and tough, but ultimately soft appearance and character.
His inspiration for the series was Andy Warhols ‘Factory’ which was popular in the 60s in New York. Pierrou imagined people of a new factory, free women, feminists, artists that would exhibit their skin, hair, tattoos and words without being ashamed.
The late and great author Kurt Vonnegut was a visual artist, too. If you’re a fan of his writing, then you probably already knew that drawings by him appear in 1973’s Breakfast of Champions and that he illustrated the cover for Man Without a Country in 2005. But in the mid-1990’s, Vonnegut shipped his daughter Nanette a plethora of drawings. She kept them in her studio’s flatfiles (she’s a visual artist, too) until now, when the artwork was made into a book and is part of a touring exhibition titled Kurt Vonnegut Drawings. The book is published by Monacelli Press and features 145 selections of his work.
Playful line drawings are composed using pen and marker. The abstract and surreal works, in which things transform and morph to become something other than themselves, include fragments of the written word. One drawing includes a steep set of stair and muses, “There is a ceiling on human thoughts.” Other wordless works often include a minimalist portrait or figure. They are free-flowing images that feel like a stream of consciousness.
The published book includes essays written by his daughter and scholar (and Vonnegut friend) Peter Reed. He writes, “great value of this collection is that Vonnegut’s artwork gives us another perspective on his restless imagination and his creative genius. … There are constraints in writing that even the iconoclastic Vonnegut felt, but in his art he seems wholly uninhibited.” (Via Hyperallergic)