The New Yorker magazine artist Saul Steinberg (1914-1999) was one of America’s most beloved artists. He is renowned for the covers and drawings that appeared on and in the magazine for nearly six decades and for the drawings, paintings, prints, collages, and sculptures exhibited internationally in galleries and museums.
Steinberg’s art cannot be confined to a single category or movement. He was a modernist without portfolio, constantly crossing boundaries into uncharted visual territory.
You’ve seen his work before, you just don’t it yet. (You’ll find out soon enough.) Here are some examples of his work…
Untitled 1941 – Ink on paper
Perpetual wall calendar designed by Gideon Dagan. Setting the calendar is easy; you move the two magnetic balls to mark the date and month. This simple yet sleek calendar was made for the Museum of Modern Art, can be used year after year thus making it an eco-conscious. Its string-tethered gravity-defying ball is suspended in mid-air, and can be manually moved to mark each month. A second ball on the horizontal beam indicate the day.
Designer Gideon Dagan was born in Israel and is now based in Los Angeles, California. He has designed numerous industrial and consumer products including furniture, handheld computers, electronic instruments, and an award winning Virtual Reality Vest. Dagan’s work is noted for its contemporary, minimalist, and functional design. His work has been recognized with many patents and awards, both in the United States and abroad.
NIGEL COOKE EXHIBITION AT BLUM & POE
Nigel Cooke exhibition is currently showing at Blum & Poe till February 12, 2011. Cooke’s paintings, “hybrid theatrical spaces” as he has called them, often depict fantastic graffiti-strewn architecture and supernatural landscapes. Rendered in a naturalistic style that bounces back and forth between affirmation and complication of the canvas surface, Cooke’s paintings hover in the vicinity of landscape, still life, portraiture, and narrative tableau without ever touching down. His current paintings similarly flirt with and confound another painting tradition, the “figure in the landscape as allegory”.
Departure, Cooke’s monumental three-panel centerpiece is a self-aware take on the German artist Max Beckmann’s 1933-1935 triptych of the same title. In Beckmann’s painting, images of torture and brutality bookend a central panel in which a dignified family sails to salvation.
Talia Greene is a multi-media artist who incorporates photography, digital printing, drawing, and sewing in her work.
We are especially fond of her multi-media prints and her use of actual bees.
The series of prints called Colony, pairs altered portraits of 19th century Westerners with altered Orientalist postcards taken and traded by Westerners in the Colonial era. The themes of sensuality, concealment, and exposure, already implicit in Victorian and Orientalist imagery, are taken here to an absurd degree. The comparisons play with assumptions regarding the colonizer and subject. Here, the insects are the invaders, modestly cloaking the body of “Une Belle Morocain”, or burying a Victorian man in the chaotic swarm of his own beard.
The process involved in making these prints includes digital and manual means.The swarms are created by glueing flies directly onto a print of an antique photograph or postcard. The collage is then scanned, and reprinted. Many of the prints are composed of two prints with different surfaces to mimic Victorian cabinet cards or a page from an antique photo album.
Fantastic ad called Snickers ‘Game’ features Betty White playing football with the guys. There’s a twist. It’s absolutely hysterical!!
Now that’s advertising!
Light Guards: Manfred Kielnhofer’s Sculptural Lighting System
Designer Manfred Kielnhofer created these eery yet beautiful ‘Light Guards’, each a lamp sculpture, fabric draped over an invisible human-like shape.
Here we see Kleinhofer’s ‘Time Guard’ sculptures. What do the life-sized polyester figures represent? Are they supposed to inspire awe, compassion or fear?
Butt Johnson’s first solo show at CRG Gallery, The Name of the Rose, opens January 14 and runs through February 19, 2011. The show will feature drawings that fuse the idioms of old master drawings and engravings with a subject matter both contemporary and allegorical. In employing the visual language of engravings writ in the modern medium of ballpoint pen, Johnson generates a hybrid form of imagery, allowing the drawings to function as present-day artifacts from a bygone era.
The title of the show references Umberto Eco’s 1983 novel of the same name, and like Eco’s story of monks struggling through a semiotically enhanced medieval world, Johnson’s drawings can be looked at as a visual onion from which layers of associations can be peeled, deconstructed, and examined.
The Name of the Rose