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Tricia Cline’s Porcelain Utopia

Tricia Cline’s delicate sculptures in porcelain reveal a world where the lines between animals, nature, and man are blurred.

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Adam Mars Creates All-Caps Slogans For The Lost MTV Generation


Adam Mars


gusford gallery

In “Once Upon a Time, We Weren’t Stalkers,” artist Adam Mars creates all-caps slogans for the lost MTV generation. Spraypainted in boldface, each piece could be read any number of ways. Is it tragic? Judgmental? Ironic? How many different ways can you read a phrase like “Gluten Free Cunnilingus”?

In the past, Mars has taken online concerns offline, painting “000,000,001 Views” on a brick wall. The meaning there is clear: The virtual has no context in the real life. A clipped “Good Lay Bad Texter” highlights skewed priorities, and “Your Sex Tapes Need Some Sriracha” is absurdity writ large.

Mars’s latest exhibit seems to take on a different tenor. Though just as cheeky as before, there’s also an underlying nostalgia and a critical eye toward modern predilections. “I Stand By My Uninformed Opinions,” one says mockingly, starkly painted in black on white. Another pronounces, “The Last Offline Lovers” on a speckled candy orange background. In blue, almost sadly: “Longing For Your Divorce.”

Written out in so many words, Mars’s words are a declaration. He’s the man holding cardboard next to the subway, saying, “Apocalypse Tomorrow – 3 PM!” It’s also hard to argue with his sharp-eyed truth. After all, some of us were the last offline lovers.

“Once Upon a Time, We Weren’t Stalkers” is on display until December 20, 2014 at Gusford Gallery in Los Angeles.

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Isak Applin

607b_1228688636607a_1228688636-copyMysterious scenes from Isak Applin.

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Awesome Video Of The Day: Anathema

Whoa… I’m not sure where to even start with this video. It’s totally bizarre, probably offensive to some, and plain old weird. Even the description for the video is strange… Read the creators description and watch the full video after the jump.

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Markus Hofer

Markus Hofer creates sculptures that which holds plenty of narrative energy. I would believe it if you told me even his business cards held concept behind them. Markus intervenes on the structure of basic objects, and transform them to become the representations of an idea. Though they wouldn’t look too different from their original form, they are tweaked just enough to get the point across.

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William Lamson

Picture 11

I know. Anyone can string banana-hostages to a perfectly innocent tree; the gesture is simple enough, but who ever would’ve thought to do this? The playfulness, exuberance and creativity in William Lamson’s little “interventions” make you reconsider space, how we interact with it, and how we see the world. I just imagine attempting to climb to the top of these slippery slapstick yellow rungs only to discover what I’m dealing with is not a playstructure tree but…bananas. And if that’s not enough, check out the vid after the jump that shows the artist in a Hell-raiser style mask, made entirely of bananas with dynamite wicks on the end. One by one he lights them, causing them to explode in Chiquita’s ultimate pimple/fruit popping extravaganza.

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Ben Sandler’s Humorous Freeze Frames

Paris based photographer Ben Sandler’s photography series feel like small freeze frame shots of instantaneous events. I love the architectural detail of each shot, its environment holding just as much weight as it’s action, and the humor behind the predicaments of each character.

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Antonia Gurkovska’s Trypophobia

Antonia Gurkovska just graduated from the MFA program at SAIC and already has already landed a solo exhibition in Chicago’s Kavi Gupta Gallery and is exhibiting in the Armory Show. She favors surfaces that are stapled and dripped, sticky, slippery and oozing, emulating dripping orifices; but they somehow remain extremely neat, hygienic, settling in even, grid-like formations. A variety of painting materials are layered thickly, then crudely sliced to reveal further layers beneath, so the paintings appear reductive rather than additive. Her bubble wrap pieces, neither sculpture nor painting, serve to both reiterate her aesthetic of ovular forms and invite a reversal of material reading, where the packaging product sheds its banal connotations and instead becomes a beautiful, bulging, golden grid.

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