Currently running at the Susanne Vielmetter Los Angeles Projects is Wynne Greenwood ‘How We Pray’ exhibition.
In this exhibit, Greenwood constructs a women’s spa in the gallery to look at security, transformation and mythic interaction. The space of the spa is suggested with hand-dyed fabric flooring and video projection. The fabric floor extends upwards into space through three 3-D soft sculpture forms.
For the video “Pregnant Medusa,” Greenwood puts Medusa and Pebbles Flintstone into relationship to engage symbols and archetypes of woman behavior and being.
Forget hammocks, the NestRest from Dedon is the ultimate in hanging lounger capabilities, it’s like your own private oasis in the air. That is, if you’re lucky enough to have a tree in your backyard, or even a backyard.
One can possibly forgo hanging and simply set it out on grass with their standing version. Regardless, you wish you had one.
The Imaging Research Center has worked with architectural historians, cartographers, engineers, and ecologists to assess often unreliable eyewitness accounts and to recreate a “best guess” glimpse into the visualization of the capital city of Washington, DC as it was in 1814.
The video starts by showing a current map of the DC from the center of the district, which morphs into a topographic map circa 1791 showing a vast difference in land masses and width of the Potomac River.
IRC is dedicated to investigating new technologies and their use for interpreting and presenting content. Since its inception in 1987, artists and researchers across disciplines have collaborated in the IRC’s creative environment to develop new strategies and techniques in digital media.
The American psychedelic rock band Portugal. The Man’s new album ‘In the Mountain in the Cloud‘ will be released July 12, 2011 and the album cover art, posters and the artists behind them deserves a piece of the spotlight all it’s own. One of the artists in question is none other than lead vocalists John Gourley and the other, graphic designer Austin Sellers.
Like something out of a dream, the video for Mater Suspiria Vision’s ‘Seduction of the Armageddon Witches’ is haunting, surreal, visually jarring and steeped in symbolism.
The theme that unites the whole story is the duality of humans: femininity and masculinity. Inherently, the video explores how to get a foothold in this present time: restoring the importance of femininity in men, and the importance to women in a society governed by the largest patriarchy, the Catholic Church.
Director Diego Barrera explains “The apple brings to mind “Adam and Eve”. Rather than Satan’s temptation for knowledge, this symbol for me has a special meaning of purity. The woman, or the female side, emerges victorious at the end of the video, because she can “mix” with this purity. While the man, because of his violence, is not able to hold the apple in his hands and destroys it. Also this purity is related with the mankind approaching to their animal side.”
Mater Suspiria Vision’s music has mostly been released through Youtube and can be considered Trance/Visual.
Two solo exhibitions will be opening and running concurrently at the Copro Gallery starting June 11, 2011; Joe Ledbetter ‘INNARDS’ and Joe Vaux ‘My Brain Made Me Do It’.
Joe Ledbetter explains, “the goal of the show is to open up my work and ignore any restrictions. The theme of the show is that there is no theme. I want to reveal what’s been living inside me for the past year, and I’m ready to spew my guts all over the gallery.” Disregarding his past, Ledbetter says he has “erased any self-inflicted boundaries”. His most fun, colorful and impressive paintings to date are to be expected for this ambitious show.
Ledbetter’s work is influenced by classic animation, graphic design, and daily life. Light-hearted in its approach, he often combines cute and cuddly creatures with unfortunate — albeit humorous — situations, with a lean on the subversive and absurd.
Here are samples:
by Lorette C. Luzajic
Most people either love his work or hate it. Jean-Michel Basquiat’s strange and primitive medleys are either repulsive or compulsively compelling. I think he is a genius, but then, I’ve long held a maudlin fascination with the madness-creativity dichotomy.
There are a number of ways I relate to the work of Basquiat, including our mutual penchant for scribbling and collage and voodoo and the written word and layers of random and personal symbolisms. There is also the sheer enormity of the drive to create. (But for all this commonality, our work itself looks nothing alike.)
If you haven’t heard of Basquiat, the new Hatje Cantz book, Basquiat, edited by Sam Keller and Dieter Buchhart will fix you up fast. Over 300 full-colour illustrations bring alive the enigmatic painter’s massive body of work. The artist created thousands of oeuvres in his short life, which ended abruptly of drug overdose at the age of 27. The year was 1988.
Theories abound concerning what was behind the frenetic pastiche of drawings and word fragments that form Basquiat’s art. Was his work a statement of African-American protest against white mastery and cultural dominance? Was it an irreverent romp into surrealism, peppered with details culled from pop culture? The editors here skillfully pluck fine tidbits from an array of discourse to guide the reader from one insight to another. The sheer variety helps the uninitiated enter the work. It also gives further layers of depth to old fans, making this book essential for anyone’s art library.