Saturday (tomorrow!), May 23rd, Scion and DailyServing.com, an online contemporary art publication, present 1000 DAYS, an exhibition celebrating the 1000th feature for the publication. DailyServing showcases some of the most innovative contemporary visual artists working today, and 1000 DAYS will present eight featured emerging artists whose work represents the graphic aesthetic and innovative artistic process for which the publication is known. The artists are as follows: Caleb Weintraub, Chris Scarborough, Christina Seely, Julie Henson, Michael Rea, Mark Mulroney, Matt Phillips, and Tivon Rice.
The exhibition launches tomorrow from 7-10 PM, but can be viewed until June 13th! Also, there will be complimentary valet parking and an open bar!
Scion Installation L.A.
3521 Helms Ave. (at National)
Culver City, CA 90232
For more information, click here.
Swiss/Danish art duo known simply as PUTPUT blurs the lines between photography, design, and conceptual art wonderfully. For their series of photographs titled Undress, PUTPUT isolates a daily dance. On the series, the duo comments:
” The ‘Undress’ series highlights an everyday choreography undertaken by the majority of people on a daily basis. The garment becomes central and embodies the movement.”
The photographs transform a mundane task into a beautiful flash of time. Undress further presents an especially intimate and unguarded moment with the attention of an abstract artist.
Enter the universe of Jonathan Beer. He paints surreal magic that explodes through your eyes into your subconcious realm. Jon creates “a cosmological system from the contents of [his] private mental universe – depicting mental processes constantly in transition; actions associated with cognition and memory. When working [he becomes] both cartographer and naturalist, exploring and documenting the dislocated, quasi-architectural planes of memory.”
The student artists Ayako Kanda and Mayuka Hayashi of Musashino Art University in Japan recently unveiled a series of portraits of X-Ray and CT images of embracing couples. One might expect images devoid of flesh, readable facial expressions, and color to read as clinical and sterile, but the photographs are strikingly human: “X-ray images usually show the finite nature of our bodies composed only of matter. But these couples’ portraits reveal a pulse that isn’t normally seen,” the artists explain.
Indeed, the images do convey ambiguous and subtle degrees of intimacy rarely seen photographically. The two individuals, positioned side by side, become hard to differentiate; the transparencies and densities of muscles and bones causes the two figures to fuse, touch, and pull apart in unexpected and haunting ways. While their bodies are flattened in space, forced to overlap, the bones themselves become separated by dark spaces, complicating the idea of what it means to be truly intimate.
The series also succeeds in conveying something more paradoxically permanent about intimate love. As mechanical process of photography and X-raying is offset by the delicacies of fingertips and craniums, the fragility and mortality of the human body is revealed. Yet the portraits, because they are X-rays and not typical fine art images, carry a forensic quality. Intentionally or not, they use a visual language normally associated with medicine and anthropology, and they are therefore poignantly removed from the confines of time and space, grounded only in relation to one another. Like two human artifacts, they invite viewers to dissect and analyze their bond. The couples appear as if held under a magnifying glass or fixed in stone, intwined in a decisive moment forever. Take a look. (via BUST, Spoon & Tomago, Daily Mail, and Bestposts)
Flowers made out of paper mache and Italian crepe create a beautiful aesthetic in the work of Tiffanie Turner. Her technique is presented in various petaled forms some which recall a state of purgatory. These are striking in their faded and withered state somewhere between life and death. They could be her most interesting work because the subjects are not traditionally beautiful and possess character. Through a delicate design they become a metaphor for life and speak about aging beauty. Besides dying flowers, Turner has created giant umbrella sized replicas of Dahlias, Marigolds and Chrysanthemums. These resemble not only the natural state of the subject itself but also hand hooked rugs. Their narrative takes on a more jovial tone celebrating the beauty of these vibrant buds. In larger pieces one can see the minute detailing and extreme care needed to create such an object.
Turner says her interest in the work stems from a lifelong obsession with floral and botanical drawings. Her process begins with a longing for the repetitive and a challenge to create pieces which explore scale. She is a licensed architect who lives in California with her family.
Macabre artist Jonathan Monaghan creates digital sculptures, prints, and animations that definitely puts us in a sense of discomfort. His clean, almost sterile use of style in detail, color, and light is both beautiful and extremely uncomfortable.
Renegades, a photographic series by Frank Marshal, captures the Heavy Metal subculture in Sub-Saharan Africa.
As we know, Heavy Metal audiences have traditionally been Caucasian and Eurocentric. All of these things, however, are not an obvious description of Sub-Saharan Africa. Marshall’s portraits offer a vision of an unlikely Heavy Metal subculture in Botswana, his subjects are an anomaly, a reaction to a strictly occidental genre. Marshall aptly labels his subjects as renegades, as he renders portraits of rebellious individuals who form part of “an ulterior, emergent rootedness where traditional identities and political histories in Botswana are subverted”. Furthermore, Marshal’s portraits break down established archetypes of ethnicity, cultural identity, and ideology. These individuals are on the fringe of a society that is already situated within the ‘geographical and ideological’ space of the Other, meaning that they are already viewed as exotic by the Occident.
The peculiar thing here is, that we see the ‘Other’ under an completely unpredictable light.
Tribe-like, Heavy Metal possesses an unconscious sense of brotherhood that transcends race and nationality in the context of Renegades. So too, Marshall’s renegades unpack popular stereotypes, transcending traditions, blurring the boundaries between liberty and fraternity, helping to delineate the power structures inherent to Heavy Metal, which may be misinterpreted as a trace of an oppressive past. This is in keeping with the extremism of Heavy Metal ideology, embracing anything that popular culture finds unacceptable.
(via Rooke Gallery)