Gorgeous and evocative black and white photographs by Wooley & Sable.
Gorgeous and evocative black and white photographs by Wooley & Sable.
New York sculptor Thomas Doyle works in miniature, creating detailed scenes capturing specific moments in his tiny people’s lives. Some of these moments are rather mundane, while others are epically dramatic. What all these sculptures share however, is best put in Doyle’s words:
The pieces’ radically reduced scales evoke feelings of omnipotence—as well as the visceral sensation of unbidden memory recall. Hovering above the glass, the viewer approaches these worlds as an all-seeing eye, looking down upon landscapes that dwarf and threaten the figures within.
Conversely, the private intensity of moments rendered in such a small scale draws the viewer in, allowing for the intimacy one might feel peering into a museum display case or dollhouse. Though surrounded by chaos, hazard, and longing, the figures’ faces betray little emotion, inviting viewers to lose themselves in these crucibles—and in the jumble of feelings and memories they elicit.
American artist Jim Hodges has always had an innate ability to impress ideas of time into commonplace objects, whether using napkins for drawings, silk flowers pinned to walls or collections of broken mirrors. In his work, Untitled (2011), metaphors for nature are again followed by human involvement, allowing for reflection from the smallest material interactions.
Comprised of four boulders which are capped with stainless steel veneers in gold, pink, lavender and blue, Untitled finds each stone arranged into a circular environment that directly invokes the viewer’s sense of space. Light and reflection play a role in the viewing, as colors meld and give the stones a surprising airy and weightless quality. Untitled’s colors were inspired by Hodges’ travels to India, where Hodges was enamored by the intense use of color, as he describes, “this layering, layering, layering of material, to the point where what’s being covered, its identity, seemed to start being erased by the accumulation of color.”
Scale is equally important to Untitled, and speaks to themes of change and impermanence. The works are quite massive, with each boulder measuring close to six feet in height and collectively weighing almost 90,000 pounds. Collected in Massachusetts, before being brought to a fabricators in Upstate New York, the boulders were chosen specifically because they were carved and moved centuries ago by the glaciers which covered the North American continent. While the weightless quality is provided by the translucent hues, and the permanence of the heavy rocks is insinuated, Hodges deftly reminds us that nothing is immovable or permanent.
First displayed indoors at the Gladstone Gallery in New York City, the work was then moved to the Walker Art Center’s outdoor grounds to coincide with the Sculpture Garden’s anniversary, as well as an upcoming retrospective exhibition. Hodges retrospective, Give More Than You Take, is currently on view at the Dallas Museum of Art and extends through January 12th, 2014. The exhibition will then travel to join Untitled (2011) at the Walker Art Center. (via walker art center)
Back in March B/D teamed up with Toyota Prius to bring you the Future Perfect Project. Due to certain circumstances beyond our control we couldn’t consider submissions from international artists. However that didn’t stop hundreds of loyal international B/D readers to send in work. We figured that the only honorable way to approach the situation would be to feature all of these artists day by day in a short series. For day numero uno we bring to you Tom Dorkin, a 21 year old illustrator from London who is quite creative when it comes to showing off the natural detail in decay. Maybe the only way our future will be perfect is if we realize our commonality in being decaying mammals and that we must seize the day rather than waste away.
I’m digging these psychedelic, surreal collages by Emir Šehanović. Check out his face-melting constructions after the jump. Unfortunately, there isn’t much information out there about the artist, but perhaps we can entice him to drop by Beautiful/Decay to share a bit of his story?
Opening tomorrow, September 27, is Chinese artist and activist Ai Weiwei’s exhibition @Large in the former San Francisco Bay prison, Alcatraz Island. The sculpture, sound, and mixed media installations are staged in four locations throughout the space: the New Industries Building; a group of cells in A Block; the Hospital; and the Dining Hall. Ai’s work inside creates a dialogue about how we define liberty, justice, and individual rights.
In 2011, Ai was secretly detained by Chinese authorities for 81 days, and is still not permitted to travel outside of the country. He was unable to visit Alcatraz during the planning of the show and was developed in his studio with the help of the FOR-SITE Foundation.
There are a variety of pieces in @Large, including Trace, which is 176 portraits of political prisoners and exiles made from LEGO blocks. The impressive works began at Ai’s studio in Beijing and were completed in San Francisco by a team of 90 volunteers. Cheryl Haines, the exhibition’s curator told the San Francisco Chronicle, “I’m overwhelmed by how remarkable it looks. This is the face of the individual in the fight for freedom, but it’s also a collective statement and to see the density and quantity of people that are incorporated in this work, I find deeply moving.”
In addition to Trace, there are six other themes: With Wind, a giant traditional Chinese dragon kite; Refraction, stunning metal wings; Stay Tuned, sound installation that occupies 12 cells; Illumination, the sounds of Tibetan Buddhist and Native American chants; Blossom, fragile floral bouquets; and Yours Truly, where visitors can write postcards to prisoners. (Via FOR-SITE and Artnet)
French artist Frédéric Fontenoy is enamored with the human form. In his striking photography, he explores different representations of the body and eroticses, or ostracizes it’s different parts. In his new series Metamorphosis, he manipulates his photographic medium and produces images of bodies that are stretched, extended and disfigured. His snaps look like they are of weird aliens passing through earthly landscapes.
Being raised surrounded by artistic and political family members, Fontenoy quickly identified with a particular artist that he felt embodied his own ideals. Hans Bellmer’s The Anatomy of the Image, continues to be a major inspiration for the artist. Here he reflects on his own practice:
I always created erotic work, since I started taking pictures: first more intimate, then evolving into a more conceptual work, a photographic fiction, referring to our collective unconscious. The mindset of my photography is erotic, but a photo itself doesn’t have to arouse lust. (Source)
Throughout his 20-something year career of taking photos, Fontenoy not only works with different narratives that are connected to the body, he also includes himself in the situation and reflects on his own involvement as a fellow person. He sees the relevance of having himself somehow reflected in his images:
[The] crucial point of these “scenes of the darkroom”: the photographer is also in the frame, the main male character. Grand officer of these stagings, this double devilishly imaginative and wicked madness seems to make its most ambitious expression, which is Art. (Source)
(Via But Does It Float)