Austrian artist Valentin Ruhry often plays with ideas of Minimalism and analog technologies, using light installations as a systematic approach which reveals a metaphor of interconnectedness, even when we do not see them present. In his 2013 exhibition Réclamer at Halle für Kunst & Medien in Graz, (then travelling to Österreich), Ruhry references advertising and promotional communication, using light boxes which generally house these messages. The exhibition’s title, Réclamer, comes from Latin and French, meaning to claim, to appeal, to call back. Ruhry, who was born in Graz, Austria and now lives and works in Vienna, used the empty light to represent a loss of function, “both through their components and in and of themselves.”
This type of installation investigates many of the themes present in Ruhry’s other works. When speaking with Jon Rathenberg’s Artist Interview Tumblr, Ruhry explains his fascination and his process, “I´m not a scientist nor have I ever been educated in mechanical engineering or whatever but I have always had a strong interest in technology. For me, a jet plane or a refrigerator is as fascinating and sometimes as miraculous as the power socket on your wall. Since I don’t understand much about the technical aspects of most of the equipment that surrounds me I study there aesthetic qualities. I try to highlight them by placing aesthetics or form before function.” (via likeafieldmouse and artistinterview)
Amy Boone-McCreesh’s sculptures and 2-D mixed-media works are both self-referential and highlight a larger aesthetic idea, which is the visual aspect of celebrations. For years, she’s explored the way in which different cultures commemorate events in their lives, particularly how they express it with decoration and objects. Now, with a new body of work, Boone-McCreesh goes beyond this initial inspiration and uses things she’s previously created as raw material for new pieces. They debuted at a recent two-person exhibition with artist Sarah Knobel entitled Anything Sacred at Hamiltonian Gallery in Washington, DC.
Anything Sacred is a birth of new from the old. Through digital manipulation, collage, printing, and reworking, I allow visual elements from an extant body of work to become new imagery printed on vinyl, paper, and custom fabric. The complex layering, stripping, and blending of the digital with the handmade gives birth to a new visual language.
In sampling my own imagery and re-contextualizing it in an immersive visual experience that is both cyclical and unifying, I am challenging traditional notions about value and pushing for a more complex, dynamic personal aesthetic. Simultaneously, my work in Anything Sacred continues to examine the use and meaning of decoration through formal arrangement and design.
You can view Anything Sacred now at Hamiltonian Gallery in Washington, DC until June 21 of this year. More shots of the candy-colored walls and lively work after the jump.
The prevalence of any technology forever alters the way we previously understood the world before it. Photography changed painting, audio recording changed our relationship to music, and the internet changed print media such as books and magazines. What is most often lost is the human touch, a closer connection from the source to the viewer or listener. Such is the story of courtroom sketch artist Gary Myrick, the focus of a documentary produced by Ramtid Nikzad of the New York Times as part of the Op-Doc series. A compelling figure who narrates the history of the tradition, Myrick Myrick explains the difference and importance of his craft, “Illustration is story-telling. The difference between the camera in the courtroom and an artist might be the difference between just a cold, dry, factual transcript as opposed to a novel.”
Beginning with Myrick explaining his work, the documentary covers the history of the medium, the advent and fall of courtroom photography, and the eventual decline of the courtroom sketch artist. “The artist at one time was the media,” says Myrick, relaying the history of artist documentarians, from war reporting through history to multi-tasking newspaper reporters who considered their drawings as important as their words. “When you funnel the story through a human being, its got a different quality than simply doing a mechanical recording of it,” says Myrick. “A lot of things going on about me are channeled through my heart, and my soul and my brain and my fingers…I like to convey just how it feels in that moment.”
Despite his immense talent, Myrick and so many other sketch artists are no longer able to work exclusively in the dying industry. Myrick poignantly notes, speaking more indicatively of so many industries that are being lost to the ease of technology, “I’m trying to draw to communicate to those that aren’t there, what it was like to be there. And maybe some of that has been getting lost.” (via juxtapoz and newyorktimes)
Dissolving Europe is the latest public art intervention series by Berlin-based street artist Vermibus. Using a hacked inter-rail ticket, he has been traveling Europe with an extensive set of billboard-lock keys, using them to illegally access print billboards and advertisement frames. Once opened, he uses various solvents and paints to alter the images, sometimes removing them entirely, and even cutting and pasting others. this process destroys and beautifies, blurring the already transgressive line of advert-hacking public art interventions. The artist states, “By using the advertising space and how the human figures are represented in that space, Vermibus is removing the masks that we wear and is criticizing advertisement which takes away a person’s identity to replace it by the one of the brand.”
Continued from his website, documenting the process, “Vermibus regularly collects advertising posters from the streets, using them in his studio as the base material for his work. There, a process of transformation begins. Using solvent, he brushes away the faces and flesh of the models appearing in the posters as well as brand logos. Once the transformation is complete, he then reintroduces the adverts back into their original context, hijacking the publicity, and its purpose.” (via lizartblog)
California-based artist Gregory Kloehn often repurposes the still completely-usable trash and street detritus that he finds in the streets. His ongoing project Homeless Homes takes this idea one step further, offering real aid by creating housing for the homeless in Oakland. Dubbed as “eclectic building materials for small but efficient mobile homes.” Kloehn and his volunteers recycle and reuse salvage to offer small, mobile house (they are on wheels), Mostly the size of a sofa or small room, these Homeless Homes offer a safe place and protection, and raise awareness to the needs of the homeless community. “Stuff people just throw away on the street can give someone a viable home,” Kloehn said in an interview with NBC News. “Does it have merit as a solution to homelessness? As far as giving people a shelter, yeah, definitely. Is it a solution to homelessness? It’s an answer. An attempt.”
Kloehn further describes his aims on the project’s website, “Our goal is to bring together imaginative people and discarded materials to make sturdy, innovative, mobile shelters for the homeless people. By sourcing our materials from illegal street dumping, commercial waste and excess household items, we strive to diminish money’s influence over the building process.”
Street art is well known for its finite lifespan and dependence on documentation for audiences outside of the immediate vicinity of the public work to experience it. French street artist FAREWELL typically creates accompanying videos along with his interventions, expertly documenting the entirety of his project from conception to execution. And Strip Box might be his best yet.
As seen in this poetic yet instructional video, FAREWELL creates a rather simple device (which the artist calls the “destructeur”) with wood, hardware and X-Acto blades. Executed in Paris, the destructeur is placed inside of a bus stop’s rotating advertisement, creating a self-shredding device when the ads rotate. Strip Box is not only ingeniously simple, but also strongly imagines a world where advertisements disrupt themselves. (via vandalog)
As natural gas reserves lessen and human population increases, many artists have taken the task of portraying dystopian versions of our world, visually demonstrating the costs of urban sprawl. Viennese-based photographer Hubert Blanz has taken the expansion of the world’s highways to their terrifying logical conclusion, offering a digitally collaged set of images which imagines the road systems stacked upon each other in endless repetition.
Offering visions of a planet covered by concrete and blacktop, there is a swirling, organized chaos found in the photos, one which mirrors the many present day megalopolis of the world. Displaying roads which lead to nowhere, but are expansions built upon assumptions of the future we are heading towards, the Hindelang, Germany-born Blanz explains his quixotic photoseries; “Roadshow is a series of images formed and built up from the digital recordings of pre-existing freeways networks, roads, bridges, and intersections. The images are both documentations of actual built spaces and the imaginary re-creation of potential new cities.” (via foxgrl)
Italian artist Enrico Ferrarini builds upon the famous art history of his country, quite literally, in his unique style which takes traditional sculpture to its digital conclusion. By carving and casting sculptures and then creating multiples of them, Ferrrani combined them, bring a glitched, modernly repetitive styling to time-honored sculpting methods.
The Moderna, Italy-born artist has studied at the Florence Academy of Fine Arts (where some of the most famous sculptures of all time, including Donatello and Michelangelo’s Davids reside), and employs methods of sculpture which are not typically learned by today’s artists. Perhaps that is why his work has a deeper resonance; employing the methods of the past to work with the styling of today. (via myampgoesto11)