Joe Black’s Pop Art Portraits Created Out Of Thousands Of Small Items

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Joe Black is an artist who uses Pop Art against itself. Collecting iconic imagery (often choosing those which have already been famously exploited by other artists), Black creates large-scale hued portraits using copious amounts of consumer items. One of many artists using collected masses of materials into larger mosiac-style works, Black claims that he is open to using any material as long as it is small and plentiful (past pieces have used Lego pieces, toy soldiers, pins, ball bearings, badges) and relates to the source image. These images, which are best seen from a distance of fifty feet, offer a contextual surprise for viewers upon closer inspection.

Though trained as an artist and painter, Black claims to be uncomfortable labeling himself a professional artist, preferring to consider his work more based on image-making and craftsmanship. One such aspect is the time-consuming application of several thousand smaller pieces which make up his whole images, which Black hand-alters by using aerosol to add tones that give gentle gradients which become the lines and shading of the portrait.  (via u1u11)

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Toy Art: Artists Incorporate The Objects Of Our Youth

Hans Hemmert toy art

Hans Hemmert

Yoram Wolberger toy art

Yoram Wolberger

Urs Fischer

Urs Fischer

I have to confess I am easily drawn to works of art that resemble or depict toys and other childhood objects.  At face value these works are easy, as all of us have some form of relationship or pre-existing association with the referenced nostalgic icons.  In other words, the works naturally engage us and draw us in.  However, these works, specifically those featured here, use the familiar imagery to interject layers of conceptual content, moving far beyond catchy into heavier implications, through expert usage of scale, quantity and context.

Context is key in these pieces.  Maurizio Cattelan is a conceptual master of context, as demonstrated in his piece Daddy Daddy, which features a large drowned figure of Pinocchio floating face down in a pool inside the Guggenheim.  The result is ironic, tragic and flawless.    As well, the practice of significantly altering scale such as Jeff Koons‘ balloon animal sculptures, Urs Fischer‘s Untitled (Lamp/Bear) and Yoram Wolberger‘s life-size sculptures of toy and trophy figurines, allows the objects to become monolithic, dwarf us and alter our sense of reality.

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