Ian Burns

Incorporating and sometimes generating sound and image, Ian Burns’ ‘meta-cinematic’ monuments invoke popular moving imagery and by extension the culture which produces them. Burns builds these audio- visual-sculptural forms in order to reveal the clichés of contemporary screen culture. Without ignoring the context of his own production, Burns’ critique of mindless images also extends to those contemporary art practices that similarly play upon the objects familiar to daily life. Comprised of found objects, each sculpture contains within it a unique narrative.
source: annaschwartzgallery

spencerbrownstonegallery


NewArtTV visits the Australian-born artist in his Long Island City studio.(07:10)
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Brooke Holloway

"My recent work deeply explores the meaning and social consequences of my sexuality, themes which continually inform my process. Visual references range from popular culture to pornography, childhood rhymes to dumb blonde jokes. There is a consistent dichotomy between the opposing ideas of social expectation versus social reality, one against the other. "
source: Brooke Holloway - artist statement

projectsgallery

Projects Gallery presents Fresh! 2010
co-curated by Brooke Holloway

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Lutz Mommartz. (German, born 1934)

Mommartz‘ Filme basieren jeweils auf einer einzigen Idee; die Wirkung, so meint Mommartz, sei dann nachhaltiger. Diese Ideen sind oft brillant, scharf und provokativ, doch ebenso oft verlieren sie in der Realisation manches von ihrer Radikalität. Obwohl Mommartz ein sehr bewußter
Filmemacher ist, vermitteln seine Filme vordergründig das Bild eines naiven Autors. Mommartz gelingt es, beide Züge in seinen Filmen zu vereinen. Er weiß um seinen enormen naiven Spieltrieb, bringt ihn unter rationale Kontrolle und setzt ihn so bewußt ein.
source: mommartzfilm (H.P. Kochenrath Film Jan. 69)



Weg zum Nachbarn - Way to the Neighbor (1968) (09:59)
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Die Treppe (1967) (06:31)
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Moma Collection : Lutz Mommartz.

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Jowhara AlSaud

Jowhara AlSaud treats photographs as a singular perspective of a split second in time, entirely subjective and hence impressionable. By etching these drawings back into film and printing them in a traditional darkroom, Al Saud seeks to demonstrate the photograph’s malleability as a medium, well before digital manipulation became so advanced and accessible.

Prevalent in AlSaud’s work is the language of the censor. Line drawings on the photograph omit faces and skin, keeping only the essentials while preserving the anonymity of the photograph’s subjects. Such an approach allows her the freedom to circumvent, and comment on, some of the cultural taboos associated with photography. Namely the stigma attached to bringing the “personal portrait”, commonly reserved for the private domestic space, into a public sphere.
source: edgeofarabia

witzenhausengallery

howardyezerskigallery

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João Louro

Joao Louro experiments in his work with ideas that relate to his two primal subjects: language and images. His primary interests are the reorganization of the visual world and of what visuality means, and language in all of its possibilities and aspects. Louro's works can be defined as following on the heels of 1970's conceptual art endeavours or minimalist practices in the theatrical sense. However, he defines himself in opposition to them and his relationship to the finished object is one that goes beyond art historical references. He refuses to be confined to a single medium; taking ideas as a starting point he uses painting, sculpture, photography, drawing, as well as film, selecting media as a conductor selects the musicians for his orchestra. A natural descendant of conceptual and minimal art, Joao Louro has sought to override the romantic paradigm using the importance and role of the viewer, who completes the work of art.
source: urbanfestival

Christopher Grimes Gallery.

cristinaguerra

galeriafernandosantos

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Daniel Bozhkov

Jennifer Dudley: For your work you’ve learned to pilot an aircraft, run a döner kabob stand, greet customers at a Wal-Mart, and bake simit bread, among other things. How does the training you undergo for your work compare to your formal artistic education?

Daniel Bozhkov: I like very much to be an apprentice. This process of learning, which reminds me of the very traditional course of learning I went through as an artist, always expands the possibility of what the work could be. By learning how to make simits, you meet a baker who will tell a story about something you’ve never heard before. Then you learn what movement of kneading the dough makes simits faster, and what makes simits sell better on the streets. It’s that kind of line of participation, but also an inquiry into the real, which is very important for me.
source: thehighlights


Eau d'Ernest (02:56)
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Bozhkov developed Eau dErnest with Ulrich Lang Fragrances, New York and the perfumer Virginia Bonofiglio. Dark, brooding notes of burnt woods and sensual musks evoke bold masculinity while top notes of anis and basil, highlighted with Italian bergamot, add freshness and youthful athleticism.

bashaprojects

balkansproject

arthousetexas

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Toby Christian

Coline Milliard : Do you see your work as a kind of critique of that super standardized framework for artwork, or is it more a kind of playful interaction with it?

Toby Christian : It's probably both... It's quite childish - or more childlike, hopefully. I was talking to someone the other day about being knowingly naive... My illusions are dead illusions, they are obviously not what they pretend to be. I mean, it's obvious that you can't squidge a wall. It's kind of going, why do you want it to be magic? Why would you want to be able to do this?
source: foldgallery

unrealisedprojects


aeroplastics

contemporaryartsociety

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Helena Wurzel

Helena Wurzel :
I use painting as a way to reinvent the world as I experience it. The people, places, and objects that I observe in my daily life are my largest source material. In this body of work I have focused on the ways in which figures occupy domestic space. The main characters in these paintings are my friends and myself. Whether the painting is a single portrait or a multi-figural composition, the figures tend to not face the viewer, but rather to each be in a contemplative state. In the more complex scenes, the different characters are in one another’s presence, yet each is somewhat absorbed in her own quiet moment of daily living.
source: russellprojects : Helena Wurzel -- Personal Statement

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Aaron Young

What Aaron Young’s work does is to make contemporary art accessible to all. You don’t have to know about Pollock or Duchamp or Frankenthaler to see that Young is a total badass. Young’s art engages with the language of street culture that we are all familiar with – motorcycles, parking meters, bikes, sunglasses, police lines, and bodybuilding. It’s an art of the street, taking what we see everyday and making it even more vibrant. In that way, he plugs into a long line of artists who have taken their work out of the gallery and into the street, and sometimes from the street and into the gallery.
source: thoughtcatalog - Jun. 2, 2010 by Madison Moore

gagosian

bortolamigallery


Aaron Young - Smoke Flows In All Directions (0:36)
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Go! Go! Go! - Marie Menken (1962-1964)

Marie Menken (1910-1970) is the unsung heroine of the American avant-garde cinema. A mentor, muse and major influence for such key experimental filmmakers as Kenneth Anger, Stan Brakhage, Jonas Mekas and Andy Warhol, Menken created an extraordinary body of exuberant and stunningly beautiful films shaped, above all, by her intuitive understanding of handheld cinematography.
source: The Harvard Film Archive


Marie Menken - Go Go Go (1964) 16mm, color, silent, (11:31)
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Taken from a moving vehicle, for much of the footage. The rest uses stationary frame, stop-motion. In the harbor sequence, I had to wait for the right amount of activity, to show effectively the boats darting about; some sequences took over an hour to shoot, and last perhaps a minute on the screen. The "strength and health" sequence was shot at a body beautiful convention. Various parts of the city of New York, the busy man's engrossment in his busy-ness, make up the major part of the film ... a tour-de-force on man's activities.

trailer "notes on Marie Menken" Martina Kudlácek

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Luke O'Sullivan

Growing up in and around Boston, (born in Jamaica Plain, and raised in Holliston MA.), Luke O’Sullivan has always had a curiosity about cities. He explains, “What you can see and what you can’t, or how sometimes they can look like a pop-up book. As a result, architectural and structural systems have been a primary source of inspiration for my work.” Through the application of screen-printed drawings on wood, metal, and other flat surfaces, he creates facades or facsimiles of familiar objects and structures. His work explores the relationships between occupied space, illusionary space, and the physics of drawing. According to O’Sullivan, “Three-dimensional drawing is the most accurate way of describing my work. The same way an animation brings a drawing to life, the screen printed drawings navigate and narrate the contours of the sculptures, transforming and characterizing the identity of each piece.”
source: arsenalarts

hifructose : an-interview-with-luke-osullivan

via: my love for you is a stampede of horses

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Ben Eine

A typography obsessive, Eine's fascinated by how "letters change shape when combined with other ones". His favourites being "e" and "m", his least "the letter 'o', because it needs to be a perfect circle or oval and it looks the most wrong if you don't get it right". Generally, though, each letter takes about one hour to create.

It was after years of "tagging" his own name across London that the alphabet project was accidentally conceived; fearing being caught without permission to paint "Eine" across four shutters, he left having painted just the two "e"s from his name, then, looking at a photo of them later, fell in love with how alone they looked "slightly abstract, slightly weird".
source: guardian - Imogen Carter 27 June 2010


theblackbookgallery

world-graffiti



Eine - Don't Panic Poster artist (06:28)
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Glenn Ligon

Glenn Ligon is known for his resonant works in multiple media that explore issues surrounding race, sexuality, representation and language. Ligon has said of his work that he wants to "make language into a physical thing, something that has real weight and force to it." To this end he frequently uses evocative text, quotations from culturally charged and historical relevant material by writers such as James Baldwin, Jean Genet and Zora Neale Hurston, both as a source of imagery and a means of addressing the politics of representation. He works in a variety of media, including painting, neon, installation, video and print. Throughout his oeuvre, Ligon's work surveys America's cultural legacies and situates them in contemporary life.
source: luhringaugustine

thomasdane

gregkucera



Artist Glenn Ligon discusses his exhibition Glenn Ligon: Day of Absence. Organized in 1997, the show featured works that explored group and individual identity in the context of social protest. (01:15)
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interviewmagazine : Glenn Ligon By Jason Moran

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