Monday, September 17, 2012

Ciprian Muresan

Ciprian Muresan’s ‘Communism never happened’ describes the facets of a complex anachronism, a rapport between time and history where they accelerate and decelerate past each other, where the former hemorrhages and the latter is overabundant. It is the definitive answer to Winston Churchill’s observation that Eastern Europe has produced more history than it could consume, and it simultaneously states that Eastern Europe will never cease to aspire to a place in what it projects to be the grander, subtler map of things geopolitical. Its relationship to facts, statistics and painful recollections, replicates the relationship between communism, liberalism and the idea of historical catastrophe in the Eastern political imaginary. Bound up with the certainty that communism certainly happened, it mirrors the way in which post-communism and globalization endlessly complicate each other.
source: monumenttotransformation



Thursday, September 13, 2012

Paule Hammer

No doubt, Paule Hammer is a painter. Yet often, the two dimensions of a sheet of paper or canvas are insufficient to express his idiosyncratically enigmatic designs of the world.
If that is the case, he makes use of space: a wooden shack is packed with portraits of Elvis, Marilyn Monroe, Johnny Cash, Hannelore Kohl, the protagonists from Planet of The Apes. It is covered with the jackets and trousers awarded to honour glam-rockers and with mutant hub cap shields. Conceived as a gigantic 3-dimensional painting, Hammer called this installation Walhalla (2002). Although lacking gold leaf, it radiated with the power of religious icon painting.
source: Laden für Nichts


Saturday, September 8, 2012

Michael Berryhill

Michael Berryhill‘s paintings exude vibes of the surreal yet stoic variety. The unnerving echo of a pulse seems to beat under each still life. Mostly, we are presented with inexplicable assemblages of inanimate objects: some real, some abstract. The human consciousness at their core is hidden from view, but easily perceived. A book pretends it is just a book, a form does its best to appear form-ish– but we know better.

The objects Berryhill represents aren’t just visually pleasing, they’re relatable. You find yourself identifying with a draped piece of fabric, a blue polyhedron floating in pink mist. Though static, they manage to convey some element of the artist’s personality that’s just immediately likable. These paintings prove that anthropomorphism isn’t a quality reserved for talking animals and furniture with faces, it can be achieved subtly, graciously.
source: futureshipwreck

Monday, September 3, 2012

Shimon Minamikawa

Shimon Minamikawa’s confrontation with the persistent flicker of the television finds him equated as being just a viewer, effectively a bystander. These days it is known as desensitization, the withering of our emotional thresholds: what we once considered unacceptable is now digested in thirty-second soundbites during mealtimes. In his consideration of the events taking place in the interconnected world around him,
Minamikawa finds himself in the middle of the cacophony of media stimuli and its nulling effect, which is reflected in his use of color, brushstroke and technique. Faced with unfinished blotches, blot-like spots and meandering zigzag brush strokes in unused white space, it is clear that Minamikawa feels a sense of disconnect, desensitization and confusion in trying to make sense of the world that surrounds him.
source: tokyoartbeat

via: joshuaabelow

Friday, August 31, 2012

Lucy Fradkin

Lucy Fradkin‘s charming portraits have a folk sensibility. Depicted in colorful, detailed interiors and with particular attention paid to their clothing and accessories, her subjects are both distinct and serene. The artist creates her environments by collaging elements from vintage books, old catalogues and field guides.
Fradkin describes her work thus: “Inspired by Indian and Persian miniatures, the vanishing art of hand-painted signage and a variety of sacred and folk arts, I create portraits of diverse individuals. Following in the tradition of genre painters, I place figures, often women, in domestic settings. The figures are quiet and inactive, which contributes to the solemn and mysterious atmosphere of the scene.”
source: artsobserver


Sunday, August 19, 2012

Ginny Casey

Ginny Casey:
[F]rom off-kilter proportions to spatial tricks. I like when things are odd and a little improbable. I remember having this recurring sensation in my childhood where part of my hand was growing to an enormous mass.
It was out of control, completely disproportionate. Maybe I was having dreams about it. I still get this weird feeling when I think about it…I’ve also noticed there are a lot of paintings throughout art history with similar deformities. I’m sure I’ve been influenced by all of it.
source: twocoatsofpaint

Friday, August 17, 2012

Lee Lozano (November 5, 1930 – October 2, 1999)

Lee Lozano’s works bear traces of pop art, minimalism and conceptual art, the dominating trends of the 1960s. However, she expressed herself in an entirely unique style.
Originally, she worked with a figurative imagery dealing with aspects of the human body and the relationship between power, sexuality and violence. This figurative subject matter gradually developed into intensely powerful tool paintings. Eventually, her images became even more abstract – although still replete with stark ambiguities. Towards the end of the 1960s, she abandoned painting in favour of conceptual works, her so-called Language Pieces.
source: Moderna Museet, Stockholm