Lu Xinjian est un artiste chinois qui s’inspire de vues aériennes de grandes villes du monde pour en faire des peintures abstraites. Utilisant des images de Google Earth, ces oeuvres tirées d’une série appelée “City DNA” illustrent entre autres Paris, Milan ou Shanghai. Plus dans la suite.
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Après le focus Invisible Man, l’artiste chinois Liu Bolin présente actuellement une exposition de ses œuvres “Lost in Art” à la Eli Klein Gallery située à New York. Revenant sur ses peintures le camouflant au milieu de la photo, l’ensemble est dans la suite.
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Voici le travail du photographe Josh Adamski qui aime particulièrement composer des visuels surréalistes et colorés. Avec des choix de couleurs osés et contrastés, un sélection de ces nombreuses créations est à découvrir dans la suite de l’article.
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S’inspirant du solipsisme, concept philosophique selon lequel un sujet pense qu’il n’existe aucune réalité mise à part lui-même, ce trailer réalisé par Andrew Huang appelé “Solipsist” impressionne par des choix visuels colorés et intrigants. Prix spécial du Jury de Slamdance Film Festival.
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Four dynamic contemporary American artists
Now in its 76th year, the bi-annual compendium has gathered a new group of 51 contemporary artists to take over the museum through 27 May. While the focus on performance has become a central one in 2012, we found a group of four artists across different mediums—from sculpture, painting, film and living installation—each dynamic in their own right. Here, just a small selection of highlights from our walk through the Whitney Biennial.
The multi-faceted multi-media artist behind the lesbian zine FashionFashion and the “feminist queer artists’ collective” LTTR presents a set of characteristically contemplative wall-mounted sculptures. The conversation around gender identity can grow noisy, but Hardy manages to cut through the chatter with a genuine, thoughtful perspective addressing fashion advertising. Besides her installations, which combine flashy and everyday products, and accessories like hair extensions oddly plucked out of context, Hardy will stage a runway show 20 May.
Turn a corner on the third floor and Dawn Kasper’s lilting voice—along with the whirring of a spinning tennis racket on a motorized stand—carries through the hushed gallery. In the spirit of Marina Abramovic‘s seemingly hot-again performance stylings, the LA-based artist brings her Nomadic Studio Practice Experiment to the Whitney for the duration of the Biennial. Living, working and interacting with museum-goers for three months turns her creative process into a real-time, interactive installation.
The venerable underground filmmaker passed away in September 2011, and the Biennial pays tribute with a series of screenings of his lauded Weather Diaries. In characteristic revelatory fashion, Kuchar’s Hi-8 films document the mundanity and anticipation of his yearly trips to the El Reno motel in “tornado-alley” Oklahoma.
Nicole Eisenman’s installation dominates almost an entire room. The artist’s powerful and introspective portraits are deeply striking, instantly drawing the viewer in for a closer look. The work, which at times appears crude, instead offers deep insight into the human experience through shifting lines, wild expressive characters and a feeling of general chaos combined with melancholy detachment.
Voici cette vidéo d’animation d’Omer Ben David pour son projet de fin d’année à la Bezalel Art Academy. Envoutante, unique et très réussie autour des instants d’un vieux chat fatigué. Le rendu très intéressant utilise des effets rappelant la peinture. A découvrir dans la suite.
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James Roper est un artiste anglais à la fois illustrateur, peintre, ou encore sculpteur. Avec des choix de couleurs surprenants et des compositions impressionnantes, ce dernier nous plonge dans son univers unique et envoutant. Découvrez une série d’images dans la suite.
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Lift tickets, lodges and museums carry the artist’s abstract representations
Surveying more than two decades of work by contemporary artist Mark Grotjahn, the new exhibition at the Aspen Art Museum provides a comprehensive overview of his paintings, drawings, installations and sculptures. Known for his rigidly geometric Op Art-like compositions, which earned him the honor of exhibiting at the 2006 Whitney Biennial, in Aspen Grotjahn will also move beyond museum walls with a sculptural invasion spread across the four peaks of Snowmass Mountain.
A limited-edition ski pass bearing images of Grotjahn’s mask sculptures will sell from Aspen resorts this weekend, where skiers and riders can enjoy the public sculptures that have been erected around the mountain. Grotjahn’s ability to walk the line between representation and abstractions is something that really comes through in this sculptural series.
The sculptures themselves are made of primed cardboard that has been mounted on linen. The layered effect of the artist’s brush and palette knife creates the textures that define the mask sculptures. The pieces are featured on five different lift passes, and Grotjahn’s physical works be on display in the museum and surrounding areas through 22 April 2012.
Instinctual layered paintings driven by process
As soon as you enter Puerto Rican artist Angel Otero‘s Brooklyn work loft, the intense smell of paint nearly stops you at the door. Shelves housing copious tubes of oil paint and rows of Montana spray cans lining the back walls allude to the strong odor, but it’s the stacks of work drying on wooden pallets surrounding the space that are really the culprit. But the extraordinary aroma is actually the upshot to Otero’s distinct artistic technique, one which involves an extensive process of building up layers of paint on plexiglass before methodically scraping them off.
“I’ve always been intrigued by process,” says Otero. The artist, who received his MFA from the School of the Art Institute of Chicago, typically allows materials to inform his work. While there is substance to his paintings, he’s not driven by the challenge of depicting a personal narrative. Instead his work reflects his ambition in taking painting to another level and his ability to work successfully off of sheer impulse.
“The process kind of starts with usually me painting on plexiglass,” he says. “After I do the painting, I cover it with more oil paint, the whole thing. And then I do more layers of oil paint. Then eventually it goes to the floor and I cover it with a black color, a pigment of oil paint. The pigment of black is the most rubberish one. Pigments come from rocks, so that means they are all different types of materials which dry differently toward the different oil mediums. Black is the one that when it’s dry, stays the most malleable. So the last layer of all the paintings I do, I cover with black—a thick layer of black—and then they go to dry.
Otero initially came to this process by recycling paint as a way of saving money and resources while he was in school. He would scrape the paint off works he was dissatisfied with and add it to a growing mountain of remnant oil paint. Eventually, he started to form the clumps into flower shapes and spray paint them silver, which on the canvas created the illusion of working with tin foil. “From there it developed slowly, in some way,” he explains. “But it felt good because I was using a material that I wanted—oil paint—and at the same time I had found a great process that is pretty unique, and whatever I do, people are going to be more attracted toward ‘how did you do it’ rather than ‘what is it about’?”
While this was an important stylistic shift for Otero, it also laid the foundation for what would become his signature technique of creating oil skins on glass. After his mountain of dried paint diminished, he began putting paint in glasses to dry. He noticed, when reusing the glasses for the first time, that some of them were stained from the paint before it. “When I scraped that second layer, I noticed that it transferred the stains. I was like, ‘oh shit, I could paint on glass, cover it with paint and then scrape it, and I would have a full sheet of paint that would have the painting that I did'”, he reveals.
After several experiments Otero found specific types of oil paint that he could combine that would give him the tactile surface he desired, and one that would last for a long time. Once that process of strategically scraping layers of paint off of glass inch by inch using doctor blades was in place, he was able to begin playing with the leather-like layer of dried paint. After applying a thick layer of epoxy to a canvas, Otero and his two-person team would transfer the heavy skin to the canvas and begin folding in loose wrinkles.
Although his style is certainly contemporary, Otero is interested in experimenting with compositions that contrast the old with the new. He will recreate a work by French classicist Nicolas Poussin, painting it to detailed perfection on glass. Then he covers the painting in more oil paint that “will eventually be the background”, lets it dry, possibly repeats this step and then begins scraping the skin off the glass in a way that exposes the various layers at different points in the composition. In this way, the painting becomes almost like a print or a collage.
Otero’s approach has been attracting attention since his days at art school. Having honed his technique with confidence, he is able to keep experimenting—both with painting and his second love, sculpture—producing works that are meaningful in both appearance and form.
His latest body of work will soon be on display at Istanbul ’74, his first solo show in the Turkish metropolis. The exhibition, put on in partnership with NYC’s Lehmann Maupin Gallery, opens 23 February 2012 and runs through 17 March 2012.
Photos by BHP. See more images of Otero’s studio in the slideshow below.
Fubiz est fier de vous présenter jusqu’au 10 février les Fubiz Awards 2012 et vous propose de voter pour vos créations préférées. Petit tour d’horizon aujourd’hui avec les nominés de la catégorie Graphism des Fubiz Awards à découvrir dans la suite de l’article.
Water Paintings – vote
Ultra Copains – vote
Shan Jiang – vote
Pen and Ink Drawings – vote
Lego Letterpress – vote
Alexey Kurbatov – vote
Carpet With Bic Pencils – vote
Cut It Out – vote
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