The songs are heartfelt and powerful with Lee’s fragile and beautiful voice as the centerpiece, and the recordings are an instantly engaging blend of high and low fidelity, mixing lush studio productions, featuring keys, guitar, violin and banjo, with clattering homemade percussion and found sounds. While the album is certainly Lee’s brainchild, the recordings are very much a collaborative effort featuring contributions by friends and others met along the way.
Mutual Benefit is currently on a US tour with European dates to follow. Check out his video for Advanced Falconry and then catch him live this Tuesday, January 28th at the Center for the Arts Eagle Rock in Los Angeles. He’ll also be playing some East Coast dates in early February before heading off to Europe.
Bernhard Bukard’s Curt Deck Chair is probably the coolest outdoor furniture we’ve seen in a while. On his site Bernard assures us that, “even though it looks dangerous it provides comfort seating and relaxing in every occasion. To achieve best stability, it needs to be leaned against walls or rails in a flat angle. The anti-slip coated stand provides safe grip on every surface.”
Seattle based illustrator Stacey Rozich’s work is littered with vibrant tribal patterns and drawings based on folklore. She brings an animated, lively, modern perspective to stories of myth. Her pattern work and line work are nothing short of exhilarating, playing reference to southwestern art, and tribal marks.
I love patterns, and I definitely get my fill through Daniel Brereton’s work. We are featuring yet another renaissance man who not only exhibits his lively work in galleries, but also works in music videos, apparel design, and etc.
There is something very interesting going on in Thomas Struth’s approach to photography. It is incredibly clinical. So crisp and clean that the environment captured within his camera almost appears staged, and yet at the same time more realistic than in reality.
Onania is an infected universe that has been accumulating character and detail since Jan Manski’s MA at Central Saint Martins in 2010. Onania’s development has been unrelentingly pervasive of Manski’s practice, appropriate to its nature as a diseased scourge.
Manski’s meticulous and total attention to minute detail has borne a product encased in the methodologies of this eminently inviting and hostile environment. Onania hosts an alternate reality and fertile breeding ground for mankind’s most despicable modern habits. Narcissism bred from frantic consumer culture is shown at its most destructive, with Onania’s inhabitants seeking its prime offering – unadulterated and uninterrupted pleasure.
Luis Camnitzer is a German-born Uruguayan artist who currently lives in New York. A conceptual artist, working mainly in printmaking, sculpture and installation, Camnitzer’s work explores subjects such as social injustice, repression and institutional critique. His work is often witty, if not biting, and generally has political undertones punctuated by the use of language.
With beginnings in the Conceptual tradition of the 1960s and 70s, much of Camnitzer’s earlier works are text-based. Though he has lived in New York for many years, Camnitzer’s work also deals largely with ideas tied to his native homeland. His Uruguayan Torture Series from the early 80s demonstrate his interest in social and political issues regarding an individual in society. Camnitzer juxtaposes images with text containing connotations of violence. Subtle, Camnitzer leaves the viewer to decide his or her role as a spectator to the “disappeared” in Latin America. Leftovers, 1970, consists of several boxes stacked against a gallery wall. Each individually bandaged and stained with red paint, the word “leftovers” is stenciled on the sides. The piece evokes the idea of dismembered body parts and the work as a whole represents the political turbulence and violence that was happening in Uruguay and other Latin American countries during that time.
Some have written about Camnitzer’s work as a kind of poetry whereby Camnitzer has explored the way words function visually rather than verbally. Though Camnitzer denies this interpretation, there is an undoubted rhythm to his work that feels like prose with or without the inclusion of text. His 2001-02 installation of real books cemented into place feels completely lyrical in nature. The books are fortified in place, protected for all time. This piece embodies the part pessimistic, part romantic aspect that runs through much of Camnitzer’s work.
We are enjoying some of New York based artist Austin Power’s recent work. His focus on the human expression, and his interest in wanting to fully understand another human being has us interact with his work by filling us up with empathy.