Saya Woolfalk draws from dreams and desires, imagining fantasy lands, such as in her recent 3D work, “No Place.” She worked with an anthropologist to create her utopia, “No Place,” to explore the nature of humans and their capabilities for the future.
No this image was not computer generated. The rainbow was manually made with 5,000 Pantone color chips glued onto wood boards. The project focused on promoting Pantone color guide books to art college students and faculty, and to convince them that Pantone has the most color selection for their printing guidance. To grab their attention, they re-created a rainbow (8 meter in length and height of 4.5 meters) consisting of Pantone color chips in the middle of college’s park. Pretty rad.
The architecture and Art team Snarkitecture have been in the art news lately for their installation at the entrance of the Design Miami Pavilion 2012. Dig is an earlier installation from the team featured here. Often mixing elements of architecture design, art, and performance, Dig was at once an installation and a performance.
The team filled the Storefront for Art and Architecture with solid architectural foam. The artists then excavated a network of tunnels through the foam and inhabited them for the following month. The performance was an artful investigation of contemporary architecture based on excavating rather than building, as well as building for necessity.
Beijing based fraternal pair Gao Brothers have been collaborating on nstallation, performance, sculpture, photography works and writing now for three decades and shocking museums around the world with their guerrilla tactic art, one such featuring an apologetic Chairman Mao on his knees with a detachable head. Exhibitions by the Gao brothers, whose work the authorities find politically challenging, have been shut down in the past, and their studio has been raided. So they keep the head of Mao hidden in a separate location — reuniting it with its body only on special occasions to show friends and colleagues. Normally, the body of the statue remains headless, unidentifiable and nonthreatening.
Caroline de Vries’ portrait photography is stunning. She experiments with the medium of photography as well as with the context and presentation. Through this exploration she encourages the viewer to construct links between subject and context. In “Unknown – Known” she assembles a “visual relationship” between two strangers by replicating the facial expression, position and facial features of a found portrait.
I have to admit, while the spectacle of animatronics is impressive, what struck me most about this video is the concept that the “perfect woman” not only exists, but can be created by a pair of two men….as a robot. Her purpose is for pleasing “every man, who could not find the perfect woman,” so she can “love them, understand them, while taking care of the housework.” Excuse me, but was this mindless, speechless robot-woman with unseeing plasticine-glazed eyes and pleasant vocal recognition (when spoken to) voice time warped from a futuristic 50’s, where men believed a dream woman should not actually have an opinion, but be extremely competent at massage and cooking delicious meals? Is this some kind of weird bogus Bill ‘n’ Ted time warp? (At least this robot won’t need to be medicated with speed to complete her tasks.)
Sculpture artist Johnston Foster’s new exhibit, Catch & Release, opens next Saturday, May 15th, at New York’s RARE gallery. Foster, whom we featured in Beautiful/Decay Issue Y, has always created incredible somethings from the populace’s discarded nothings, but in his new show Foster also focuses on creation as his subject matter. There’s a little something for everyone in Johnston Foster’s new show: sharks, tigers, hornets, unicorns and of course a pizza pie – masterfully sculpted from a myriad of materials: pvc, bicycle spokes, marbles and a kiddie pool, to name a few.
The show opens on Saturday May 15th with a reception from 6-8pm and runs through June 19th.