Matt Lipps’ newest body of work HORIZON/S, flips the traditional mode of institutional curating on its head. In this series, Lipps appropriates content from a late 1950s arts and culture publication that promises to offer a curated selection of international culture that will add a sense of sophistication to anyone’s taste. From these images, Lipps’ playfully explores what happens to the meaning of certain objects and images when you remix them into new systems and catagories – altering both content and context. DailyServing’s founder Seth Curcio, recently spoke to the artist about the physical construction of his mysterious photographs, the ubiquity of images today, and how his own taste emerges from the appropriated pages of Horizon Magazine.
American artist Anne Lemanski creates quirky, conceptual sculptures of animals. She begins by creating a copper rod amateur which she then cuts, manipulates, and braises together to create what she refers to as a three dimensional line drawing. She then uses various materials, such as prints created from images of her own collages, leather, and vinyl. These works act as a further adaptation of her collage practice. Her sculpture aesthetic roots from images she has been familiar with for years. As the Alumna Artist-In-Residence at the McColl Center for Arts + Innocation in Charlotte, North Carolina, Anne Lemanski developed her practice between both her collage and sculptural elements, leading her to create her newest exhibition, Simulacra. As the artist moved between techniques of meditative cutting and pasting to the physicality of creating a structure, she began to realize that ultimately, despite the difference in the materiality of the work, what was creating was the simulation of animals. By creating a falsified “double” of something that is in fact real. Lemanski allows herself to enter the postmodern discourse of the notion of “simulacra,” a concept associated with French philosopher Jean Baudrillard. Within the philosopher’s work Simulacra and Simulation (1981),Baudrillard argues that by creating “copies,” society has replaced all meaning with mere symbols. Thus, the human experience has become hyper-real, as all meaning is just a simulation of what once was. Lemanski notes that her own practice replicates the same notion, as she creates the simulacrum of nature. She allows two dimensional imaging to become three dimensional. This process allows the viewer to then experience the simulated, while channeling the real.
Ever see something bizarre during your daily routine? It may make you laugh, cry, or make you scratch your head. Later in the day you try to tell friends about what you saw but somehow something gets lost in the translation. Patrick Tsai’s Modern Times series manages to capture those very moments for all of us to enjoy.
R. Nicholas Kuszyk and his gang of robots have been part of the B/D family since the beginning. You’re probably used to his massive murals painted all over the world but from time to time Mr. Kusyzk puts down the spray paint and paint brushes to do a bit of publishing. His new book Jammer Slammer is part robot comic book part epic futuristic philosophical musings.
Our good buddies at Narrow Books have teamed up with PEN Center USA to bring you this ongoing literary journal featuring sophisticated short fiction, travel essays, and poetry alongside cutting edge illustrations by Albert Reyes and B/D’s very own Lyndsey Lesh. Get both of their current releases here.
Illustration guru couple Easther Pearl Watson & Mark Todd recently handed over a small mountain of their zines, books, and stickers over to me. They have too many titles to list here so just head over to their shop and stock up now!
Petros Chrisostomou, a New York based photographer, plays with scale, mass-produced and ephemeral objects, and hand-crafted mini architectural models in order to challenge the viewer’s visual certainties, and visual signifiers of contemporary mass culture.
The multi-faceted works resemble lively assemblages of what seem to be large-scaled mundane objects in exaggerated interiors – some resembling wreckage, and others referencing the extravagance of a Rococo palace.
Christosomou’s photographs become the field for mixing the high- and the low-brow, mass culture and genre painting, the luxurious and the expendable, as indications of social class distinctions. At the same time, the relations between the real and the imaginary in his oeuvre are a commentary on the mediated images of contemporary mass media that distort the natural and immediate dimension of our relation to reality, determining, among other things, the conditions for viewing and receiving art.
The relevance of this body of work does not completely rely on its technical complexities, and cultural commentary, but also in its visual power. We know that the artist is not fabricating monumental sculptures resembling stiletto shoes, instead he is fabricating small-scaled architectural spaces- that play out with the objects, making them look bigger than they seem. It is important to notice, as curator Tina Pandi points out that “the alteration of scale and reversal of the relation between object and environment, between imaginary and real space.”
Since Japanese photographer Kimiko Yoshida “fled [her] homeland to escape the mortifying servitude and humiliating fate of Japanese women, she seeks to take a feminist stance in protest against contemporary cliches of seduction” and the general stereotyped portrayal of women-hood. Her self portraits transform and that to her is the ultimate value of work.