Even through a computer screen Tauba Auerbach‘s work is wonderfully confusing. To answer the question that you may likely be asking right now: Yes, these are paintings. Auerbach folds, rolls, crinkles, and otherwise manipulates the canvas prior to stretching it. She then sprays it with various colors of acrylic paint from different angles. The resulting paintings are definitely two-dimensional work. The process, though, produces an extremely realistic three-dimensional effect, as if the painting were indeed folded and wrinkled then lit by colored lights.
Peter Nitsch’s latest photographic series, “Shophouses,” documents Nitsch’s trip to Bangkok, where he became fascinated with the way in which many Southeast Asian city dwellers live; combining their work and living spaces. In this project, Nitsch explored the diverse cultural and social mix of a rapidly urbanizing Thailand, in order to uncover the basic human qualities that connect his subjects to his work’s viewers.
Seattle artist Robert Hardgrave creates swirling, abstract mixed media paintings. Sometimes a figure or structure will appear, but you can never be too sure of exactly what you’re looking at. Any element of order in each work is shrouded beyond most comprehension by beautiful chaos. Things are better off that way. And Hardgrave’s work is so textured and effortlessly intricate that all you want to do is swallow each painting whole. Who cares what a single brushstroke might mean? There’s too much going on not to take it all in at once. When you do get the chance to examine detail though, Hardgrave’s insane skill level is undeniable.
Nicolás Lamas’ work is created to contrast the perception that we have about what belongs to the natural order with dislocated structures that respond to the pressures and strains of contemporary culture. As part of this process, he builds fragmentations in the organization of scientific knowledge that result in hybrids that demonstrate an ongoing clash between nature and artifice, between reality and fiction.
Nicolás is primarily interested in exposing the artifice that is implicit in any system of representation of living forms, revealing–and not concealing–the falsehood inherent to the process of construction of knowledge in modern times and its utopias. Thus, he questions the logic and rational procedures that have always been applied to classification systems, including the management of collections at museums of natural history and their predecessors, the cabinets of curiosities.
Antonio Basoli was an Italian artist who lived between the 18th and 19th century, and was a man with a vision. He created this architectural alphabet engravings called Alfabeto Pittorico (Pictorial Alphabet). The images don’t just depict letters, but elaborate buildings that use letterforms as their structure. It includes every letter except for the j, because it doesn’t exist in the Italian alphabet. They called it i lunga and it’s written with an i.
Soft, monochromatic images are full of intricate details, and we’re able to see every brick of a building in addition to the billowing clouds in the background. With each letter, Basoli creates a different setting and mood. Some landscapes are tranquil and idyllic-looking, filled with lush vegetation. Others are war-torn, and we see giant cracks in the foundation of buildings. Whatever the occasion, each is its own story with a compelling narrative of men versus themselves and also versus nature. (Via Sploid)
A recent exhibition in Minneapolis investigates the inherent desire to organize and structure our world, and the ensuing clutter and confusion when we become increasingly influenced by the sprawling technologies we’ve invented to helps us. Eddie Perrote, Leanna Perry and Bill Rebholz conceived Scategoriesas a display to highlight ordered chaos. “We’ve enabled our minds to perceive more information, decrease our mental clutter and externalize our memories,” reads the press release, which explains why the exhibition feels a bit overrun, offering too much to process, even when the looking is enjoyable.
Each of the artists has one foot firmly planted in the design world, which is perhaps the ideal middle ground to view the changing landscapes of art and design, and how technology is rapidly altering them. The group explains, “Through organizing the brain we present windows into the cerebral wold of structure, chaos, habitual patterns, and seemingly infinite layers of content. It’s these informalities that create vivacious energy, and eccentricities that feed the visual cacophony of information ever gathering within our minds.”
The exhibition itself is presented with this visual cacophony in mind. Colorful, typography-inspired murals covering several walls, while the remaining white-walls are densely covered with 2 and 3-dimensional works. Recurring motifs, such as simplistic cloud shapes, puzzle pieces, mirrors and stairs connect their works; an unplanned phenomenon, which was not surprising considering their shared influences and interests, claims the group. Perrote, Perry and Rebholz even shared a specific color palette for the show, using the same magenta, teal, and yellow paints, both for visual cohesion and “to highlight the gap between colors that exist in reality and the RGB colorspace of computer screens” says Perrote.
At the heart of the exhibition is a paradox, highlighted by the significant gesture that each painting, drawing and screenprint was made by hand. Even in a time when we can create, share and store an unlimited amount of data, the information must still be processed slowly, through our hands, eyes and minds in order to be appreciated, an appreciation which is key to good design.
Scategories is currently on view at The Abstracted Gallery in Minneapolis, Minnesota. The closing reception will be Friday, April 11th, 2014, from 7 to 10 pm.
Star rain is a metasigil, a materialized digital wish, a artistic virus that wants to change the operating system of our reality. It is a creation myth that tries to exemplify that all come from the same source from the 5th dimension outside the barrier of space and time, where anything that can be imagined exists. By Charles Glaubitz.
If you follow B/D on a regular basis you know we’ve been long time fans of Skinner and his grotesque and monstrous world of zombie vikings, heavy metal soldiers, and gnarly warriors looking to rage on the closest village of innocent soft rock listening peasants. We’ve featured Skinner in Book 3 and countless times on our blog but our minds were completely blown when we stumbled across his latest collaboration with one of our favorite snowboard brands, CAPiTA Super Corporation! Not only are CAPiTA boards some of the best on the market but they feature some of the most brutal graphics available. Needless to say that if you’re part of the Cult of Decay you need to get rid of that tacky neon board from the 80’s and slash n’ burn in style with CAPiTA & Skinner.
If you’re still not convinced just head over to the CAPiTA site to check out some of the other boards that Skinner designed along the rest of CAPiTA’s range. Even if you’ve never snowboarded in your life you’ll love CAPiTA’s art direction as every page of their site is a spaced out, psychedelic, visual mind explosion- from the zombie astronaut team page , to the motion page where you can watch the CAPiTA team shred, kill, and destroy everything in its path. CAPiTA is definitely a kindred spirit of the Cult of Decay, if B/D were to start a snowboard company CAPiTA is what it would look like.