I’ve always been intrigued with the aesthetics and message of hippies. On one hand I like the positive message of taking care of our planet and spreading peace across the lands but I can’t say i’m a big fan of using patchouli oil as a replacement for showering or the patchwork corduroys. I couldn’t find much info on John Kilar’sWelcome Home series of photographs documenting a hippy gathering but they definitely stopped me in my tracks. I can’t tell if this is the United Nations meeting of hippies or their annual jamboree deep in the woods of Portland. I’d be lying if I didn’t admit that I’d love to be a fly on the yoga tent just to see what the hell was going on at this thing.
Within the setting of his captured vistas Vasilis Avramidis typically paints an arrangement of symbolic motifs, rendered in a way to be suggestive of neglect. These depicted scenes and objects are overgrown with moss and ivy, alluding to an overriding sense of decay that the paintings’ inhabitants desire to control and maintain. These characters are gardeners, keepers of sites, land and buildings. They are the caretakers.
The paintings express a repetition of varying hues of green, a reference to the duality between sickness and growth and how the land eventually reclaims everything that sits upon it. Objects being imbued with foliage confirm these concepts of the ongoing and endless conflict between the forces of destruction and the forces of philosophical cultivation. This force of nature against man-made structures and ideologies not only conveys a relentless struggle but also comments on the history of art and architecture being overwritten and unearthed with the passing of time.
Thanks again to everyone who came out to check out our booth at Pool. We were pleasantly surprised to see a number of buyers reppin’ the B/D gear! More shots of our booth and the lovely people who stopped by after the jump!
Swedish designers and architects have taken the fad of adult tree house building and made it extraordinarily Swedish in the best way possible at the Tree Hotel. Mirror houses, UFOs with star-print sheets, giant bird nests; these exist in real life. What a wonderful world.( via )
Artist Mark Dean Veca opened his new solo exhibit Made For You and Me at Cristin Tierney January 31st and is on view through March 9th. The title of the exhibit is a lyric from the Woodie Guthrie song This Land is Your Land. The song, originally expressing an anti-capitalist sensibility, has since often been appropriated to convey capitalist sentiments such as growth through consumption. Interestingly, Veca’s work often reverses this same process. He re-appropriates corporate images to comment on corruption, consumption, and a generally waning culture. Appropriately the gallery statement calls his work a kind of “Sinister Pop”. This is particularly evident in his piece titled Tailspin. The piece depicts the Exxon-Mobil Pegasus pointing down, blue on one side, red on the other, and spinning. Tailspin subtly references a society’s consumption dependent on energy resources that are exceedingly spinning out of control.
Here are a few images from a 2009 fashion shoot by Eric Nehr modeled directly after the works of Egon Schiele. For some reason, these snaps expose Schiele’s notorious vanity even further. But of course no one does self portraits like he did, with his writhing, angular paintings full of turn-of-the-century angst. A nice tribute. (via)
Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the “other” through the use of photography, video and performance. The photographic series considers men’s space (mardana) and women’s space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.
Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century. (via)
This is Psychic Owl, and (after the cut) his friends, Protection, Philistine Bear, Ancient Feud, and Laser Fox–an elite force of woodland creatures, and one aye- aye(?), here to protect the mountain ranges surrounding Denver. Really, I just wanted to highlight the enjoyment I get from artist Rob Mack’s titles and his beautiful mix of old world techniques plus laser vision.