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I've been working a project for school that has something to do with postmodern life so I've been looking at artists that work with those themes.

Michael Wolf

from the series Transparent City









Transparent City Details

The artist went through his photographs from the project looking in the individual windows and enlarged some of the sections.

I like the surveillance, anonymity, and rigid structure of these pictures.

Darren Sylvester

Frightened of Something Happening, Frightened of Nothing Happening

2007

The Explanation Is Boring. It's Simple. I Don't Care
2006

Philip & Morris
2003


The Object Of Social Acceptance Is To Forfeit Individual Dreams
2003


Computers Never Tire
2002


Your First Love Is Your Last Love
2005


If All We Have Is Each Other, That's OK
2003


If It Hasn't Happened For You, Maybe It Never Will
2006


Do You Need A Meaning To Life When All You Want Is Not To Die?
2003

I am fascinated by the titles of these works. They remind me of Barara Kruger's work but I prefer the text in the title as opposed to being on the picture. These works not only use the visual language of advertising but the titles are like slogans as well. It's like someone broke up your daily routine with a piercing truism. Some of these are realy devastating.

Opening Ceremony Part 2

OMGZ I haven't updated in so long. Blogging is so much harder when you have a life. Ok so Peter Hujar at Matthew Marks. Peter Hujar part of that 70's and 80's downtown New York scene and he died of AIDS in 1987. His photos all have a strange, dark, beautiful quality. Everytime I see his pictures I want to throw some black and white film in a Hasselbald. Here are some of the works I know him by:

Candy Darling on her Deathbed, 1974



David Wojnarowicz, 1981



Daniel Schook Sucking Toe, 1981



Susan Sontag, 1975

The show I saw was made up of portraits of developmentally disabled children. The subject matter relates to his portraits of his friends who could were considered misfits in their time. The photos were shot in homes for disabled children and I got a sense that these homes were their own world. It becomes unclear how much the subjects or the photographer cause the feeling of things being slightly off.

Childern Playing by a Pool, Southbury, 1957

Children With Nun, Florence, 1958

Girl with Hand on Her Hip, Southbury, 1957



Children Playing, Florence, 1957



Boy Rubbing His Eye, Southbury, 1957

I always think of Peter Hujar as a ratty downtown punk but apparently he got pretty glossy at one point. From the Times in 2003:

Many of the portraits are of New York culture stars. Others are of types largely absent from Burckhardt’s bohemia and Johnson’s handwritten who’s who: transvestite performers, hustlers, street people. And interspersed among the living are the dead: photographs of desiccated corpses that Hujar shot in Sicilian catacombs. Bohemia had become, literally, the underground.

Hujar, a child of Ukrainian immigrants, raised in a broken and abusive home, was pretty much on his own by 16. He learned photography largely as an apprentice in the fashion industry. Through Richard Avedon, he landed steady gigs for Harper’s Bazaar, and opened studio of his own.

Then, in the early 70’s, he gave up commercial work to finish the portrait project.

Full Article HERE.

I wish I was landing steady gigs for Harper's Bazaar...

Opening Ceremony Part One

So this week was the beginning of the art season. I missed most of the downtown openings on Wednesday because I had class, but I hit Chelsea hard on Thursday. There were 1728347 shows opening that night and I managed to make it to 10. I'll do a separate post on each show.

Mark Bradford and Kara Walker at Sikkema Jenkins & Co.
These are two black artists that deal somewhat (Bradford) or explicitly (Walker) with racial issues in their work. Mark Bradford uses urban Los Angeles posters and signage to make abstract paintings. Kara Walker is know for disturbing work using silhouettes that depict the horrors of slavery. Both are established successful artists and the works in this exhibition were mostly similar to their previous work. Walker's work makes everyone uncomfortable including me but upon encountering her new cutout puppet video piece featuring master on slave violence, the first thing I thought was "Why is she still talking about this?" Maybe it's my upbringing but I can't understand how anyone could become so obsessed with the antebellum south. Her text paintings were more connected with the contemporary black experience and a few of them continue to haunt me. Here is some of the two artist's previous work that I like. Click to enlarge.

Mark Bradford


A Truly Rich Man is One Whose Children Run Into His Arms When His Hands
are Empty, 2008 Mixed media collage on canvas 102 x 144 inches


I WILL TONIGHT, 2008
Mixed media collage on canvas
102 x 144 inches


Kryptonite, 2006
mixed mediacollage on paper
249 x 301 cm


Los Moscos, 2004
Mixed media on canvas
125 x 190 1/2 inches









Kara Walker

Darkytown Rebellion, 2001 Installation view at Brent Sikkema, New York Projection, cut paper and adhesive on wall, 14 x 37 1/2 feet


Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart, 1994
Installation view at the Walker Art Center, Courtesy of Sikkema Jenkins & Co.
Photo by Gene Pittman

(detail)

(detail)


Cut, 1998

Actually I don't like these Kara Walker works at all. They make me want to throw up. Apparently earlier in her career she was boycotted by a group of older black artists. The most disturbing thing about these types of works are their life in the commercial gallery system. This is an oversimplification but basically rich white collectors buy this racist imagery and display it in their homes. There are many things that can be justified by the "It's art." response but if I walked into someone's home (regardless of their ethnicity) and saw a piece of art that featured/appropriated/created racist imagery, It would make me really uncomfortable and I would have a few questions. What attracted you to this work? Why do you want to live with this? Interestingly, aside from the video, the works at the Sikkema Jenkins & Co. were relatively tame. This could be a sign of the times and a need to sell.

Next, Peter Hujar at Matthew Marks Gallery.

Art in Argentina

I just got back from a trip to Argentina. I'm glad I was had opportunity to experience another culture and witness my sister's life as a college graduate seriously employed and living abroad. I also saw some great art. We went to a few art museums, the best of which was the Museo Nacional de Bellas Artes in Buenos Aires. The museum was showing works from the collection of the Museum of Contemporary Art of Castile and Leon in Spain. The first thing I saw upon entrance was a glowing LED animation by Julian Opie entitled "Keira Walking."

source: musac.es


Here is a video of some of his similar works:

In person the animation was dazzling. I love when the beauty of beautiful art is part of the meaning of the work. In this case the mesmerizing effect of the glimmering lights mirrors the experience of watching a certain kind of woman. The simple figures represent the signs, symbols, and language of fashion and movement. More works here and here.


I also enjoyed the work of Fernando Renes. My favorite:

More here.

I had heard of the artist Marcel Dzama but had never seen his work. The museum displayed a few of his absurd and hilarious drawings. My favorite:

(Click to view large)

The guard wouldn't let me take any more pictures and I can't find the others online but they were kind of like this:

More here.

There was a large room of the museum dedicated to classic and contemporary nudes. I saw a Gregory Crewdson print in person for the first time. It was the only photograph among the paintings. It was a little too painterly for me but it was certainly impressive.

Untitled (Mother Complex 2) (2001) Colour photograph. 121.92 x 152.4 cm

FYI Gregory Crewdson is a professor at Yale's art school and curated the Another Girl, Another Planet show I wrote about before. Also he was the judge for my school's freshman photography exhibition and I'm taking a digital photography course with the woman who does his printing and post-production. I LOVE SVA. More Crewdson here.

We visited a few galleries and the highlight for me were the paintings of Delia Ana Iglesias at Pabellon 4 Arte Contemporaneo. From the series "Creadores del universo":

Is that a Dragon Ball Z reference in the first painting? I enjoy the colors and negative space. Also the idea of two dandy-ish creators is interesting. Gay gods pondering polar bears. Shocking! These are also kind of absurd. Then again depictions of Christianity's story of creation are equally ridiculous. Maybe that's what Iglesias is implying. Her website. She has a blog here, translated here.

And I finally saw Blow-Up.

There was much less sex and much more photography and voyeurism than the trailer would have you believe.

It was a good trip for art. I was able to see some great things in person and discover a few new artists. In less than a week I will be returning to New York. School's starting and there will be an overwhelming amount of great shows opening this month. I am SO ready.

Karin Bubaš

Recently I began compulsively watching episodes of The Hills and was struck by the show's mastery of the fabrication of melodrama from commonplace situations. The whole production is so shiny I could not look away. Apparently I am not alone. I found these pastels by Karin Bubas while browsing art blogs today.

Lauren Crying, chalk pastel drawing, 9.5" × 12.5", 2009

Heidi Pouting, chalk pastel drawing, 9.5" × 12.5", 2009

Audrina with Tears, chalk pastel drawing, 9.5" × 12.5", 2009

Spencer, chalk pastel drawing, 9.5" × 12.5", 2009

Source here

One night I was so moved by the same moment depicted above (Heidi Pouting) that I took a photo for later use.

Heartbreaking.