Martin Parr's Postcards

The YouTube Play


Made by Lindsay Scoggins

"Wonderland Mafia is meant to illustrate a disjointed amalgamation of the media one encounters in adulthood verses childhood. Juxtaposition is presented between contrasting elements, referencing the phenomena of rapid textural encrustation in the world of new media. This marriage of appropriated content, both classical and modern, is intended to activate the viewer's associative memory, inducing personal reflection upon their collective media experience."

The Youtube Play sees The Guggenheim collaberating with the internet phenomenon which is youtube. It is a chance for artists to transform, giving the opportunity to challenge themselves and the function of the museum. The idea is based on the exploration of new digital media and to see how it functions in the museum setting. This doesn't just mean sampling, or buffering videos, it is an incredibly creative process.

Patrick Jackson

Tchotchke Stacks

Tchotchke Stacks, detail

One way to utilise your tat wisely.

Mark Wallinger

The Union Jack is reworked in Wallinger's Oxymoron piece, no longer does the typical Red White and Blue flutter in the wind, it is replaced by the orange, green and white of the Irish tricolour. The gag rests squarely on the fact that orange is the secondary colour that stands in opposition to primary blue, and green is the secondary colour that stands in opposite to primary red. The simplicity of this evocative image is that those colourful facts turns what could be mistaken for a crude comment on world boundaries into a powerfully disinterested and witty observation.

Transformation - Wonder Woman


Dara Birnbaum re-introduces to us the technological miracle of Wonder Woman's transformation, (the miracle that was the wonder of 1970’s technology) the psychological and physical transformation of the television product.

Birnbaum considers this tape an "altered state [that] renders the viewer capable of re-examining those looks which, on the surface, seem so banal that even the supernatural transformation of a secretary into a 'Wonder Woman' is reduced to a burst of blinding light and a turn of the body—a child's play of rhythmical devices inserted within the morose beligerence of the fodder that is our average television diet."

This is a visually riveting video, Birnbaum isolates and repeats the moment in which Diana Prince completes the metamorphosis into the one and only Wonder Woman. Encapsulating the magic of the moment again and again, Birnbaum allows the viewer to become absorbed in this fantastical alter-reality; she immobilizes existing imagery for innovative uses. I particularly like the way she deconstructs mass culture ideology in order to evolve an appreciation of consumer imagery in its own right.

The Joseph Cornell Box



Karen Kilimnik

'Heathers' 1992

'Switzerland, Pink Panther & Peter Sellars & Boris & Natasha & Gelsey Kirkland in Siberia' 1991


'Kate Moss' 1994

Karen Kilimnik is obsessed with teen culture. Her “portraits” of Paris Hilton and Leonardo DiCaprio play with historically glorifying paintings of public figures and the less refined images of pop culture figures disseminated through the media today.
Heathers views another iconic work: Michael Lehmann’s horror comedy Heathers (1989), where she stretches it into a film longer than six hours in total—the artist rewinding and replaying scenes between actresses Shannen Doherty and Wynona Ryder “like a gaggle of tipsy girls at a slumber party”.

I’m not a particular fan of her paintings as such, I prefer her installation and videos mainly. Her paintings don’t reach for that kind of classy resolution, looking half finished as if she has been distracted by the next teen of the moment. Her style reflects the trends of celebrity culture, fast-paced and short-lived. They encapsulate confusion and seem off-balance, like she has somehow distanced herself from the topic, painting from paparazzi shots in a magazine as opposed to a sitting portrait like the classic portraits of icons.
She examines the ideas of value without actually becoming valuable.


Jenny Holzer

From Truisms, 1986

Inflammatory Essays, 1979-82

From Truisms, 1993

Stephen Shore

La Illusion (mick-o-matic) 1971

Charles LeDray

Ring Finger, 2004

Village People, 2003-2006

Us, 2009-2010

New York-based sculptor Charles LeDray has created a powerful body of work using materials such as cloth, carved human bone, and glazed ceramics, inspired by the traditions of folk art and visionary art. The artist’s virtuosity with materials and his uncanny manipulation of scale is evident in his painstakingly created smaller-than-life formal suits, ties and hats. These seemingly familiar objects evoke memory and personal nostalgia. 

Helen Chadwick

"One Flesh" 1985
 Often described as visceral, Helen Chadwick’s works address what it is to be human; often commenting on universal existence, gender differences, and her work is organic and fluid. Her photos and sculptures are thought provoking, while simultaneously being merely decorative; they can be experienced on a completely aesthetic level. Photocopies of her naked body twisted into erratic, yet beautifully absurd shapes, lie under golden spheres in 'The Oval Court', as though she is questioning her personal spirituality, becoming her own zodiac or God.

She strongly associates her work with the ideas of the nature of desire co-existing with repulsion. Uniting these ideas in 'Piss Flowers', where bronze casts were made from the cavities in the snow in which she and her boyfriend had urinated, equally beautiful and disgusting. She explores the themes of human existence and the relationship she has with her own body in a playful manner, whilst occasionally addressing the roles of women in society without becoming too politicised.

Katy Grannan

Katy Grannan’s photographs seem like a path of self discovery, or even a method of escapism. Her photographs reflect the intensity between artists and model, photographing a stranger, they resonate the tension of a first encounter. Grannan focuses on including a certain intimacy in her photographs, whether the model is clothed, nude, busy or paused and ready. She often photographs within her own home, making sure to contain mundane, but often telling details of the domestic setting.

Jon Kessler

'The Palace at 4am', 2005

This site specific installation made by Jon Kessler references the issues relevant to contemporary society: politics, war, advertising, propaganda, and surveillance. Although sources of inspiration, such as reality television, are varied in The Palace at 4am, Kessler’s work thrusts the viewer into a complex visual experience, speaking of the history of image production.
The Palace at 4am comprises of a network of kinetic sculptures, incorporating surveillance cameras within the installation and the peripherals of the gallery; creating video imagery in real time as the cameras work in tandem with the constant movement of the sculptures.
The intention of Kessler’s work is for the viewer to experience the piece as if they were to be completely immersed into a television set, in the “process of being channel surfed”. According to Kessler, "My aim is to create a kind of visual journalism of the past four years, where underneath this abundance of stimuli, what takes place is an investigation into how the images that occupy our realities and dreams are constructed and manipulated."


Elmgreen & Dragset

Powerless Structure Fig.123

Boyscout, 2008
 Elmgreen & Dragset’s Powerless Structures question conventional assumptions about public and private spaces. The objects do not operate as they normally should: Divided, broken or unusable, these devices consolidate the artists belief that ‘no structure is able to suppress anyone, and all structures can be altered or mutated.’

Bob and Roberta Smith

                               Who is Bob Smith? D&AD 2010. from Immprint ltd on Vimeo.

Really good things I once saw that I don't remember





Test Card

"Gasland" - UK Premier - Institute of Contempoaray Arts


I magically won a pair of tickets to the UK premiere of documentary "Gasland" at the ICA tonight. It's like a 21st Century version of Erin Brockovich except director Josh Fox rocks the banjo like no other. 

The film follows Josh when he is asked to lease his land for drilling by an oil and gas energy company. Instead of taking the $100,000 for his 19.5 Acres of land, he embarks across America uncovering a trail of lies and contamination. "The largest domestic natural gas drilling boom in history has swept across the United States." The newly developed drilling technology of "fracking" (or hydraulic fracturing) has unlocked a "Saudia Arabia of natural gas", allowing America it's own resource. Economic boom.

As the documentary follows Josh, he learns fracking is far from safe. Hydraulic fracturing is a means of natural gas extraction and involved pumping millions gallons of water containing almost 600 different types of chemicals including carcinogens, which has somehow managed to make its way into american communities drinking water. 

Josh visits the nearby Pennsylvanian town where reports have surfaced that residents are able to light their drinking water on fire, one of the many shocking revelations of the documentary as he makes his way across the effected states (around 36 and counting if I remember correctly). Apparently it's making it's way to Europe, first stop: Blackpool, (already ruined some would say/this is not a joke, serious evironmental issues here)  which is absurd, this film needs screening to every man and his dog so people know what's going on in the world of fossil fuels. How this has continued I do not understand. The statistics are mindblowing. Watch It. 


Doug Jones

Dinner for Twenty

Tempus Edax Rerum, 2011


The Urethra Postcard Art

Gilbert & George
White Cube Mason's Yard

Although Gilbert and George often like to be the subject of their own works, The Urethra Postcard Art exhibition strips down their long-standing engagement with commercial images and text to the bare minimal. Using adverts found inside phone boxes and the typical tourist postcards of London, G&G have created seven individual groups of postcard pictures, all with the same formal composition: 13 identical postcards - a continuous rectangle of cards with one single card in the central space -  to mimic the sexual symbol used by one-time theosophist C.W. Leadbetter (a rumoured freemason).
The forceful unity of this composition creates an intense visual language, all cards are treated with the same sense of scale and aesthetic despite displaying sexually transmitted diseases and prostitution alongside national identity. 

Wills and Kate Wedding China, Royal Wedding 2011

Please take a hint Wedgewood, you know what to do in time for April.
Thanks KK Outlet.

Cindy Sherman at Sprüth Magers Gallery, London

Sprüth Magers Gallery, London
January 12th - February 19th 2011

Walking towards Sprüth Magers Gallery, you are faced with the giant mural of a woman in period dress and some sort of new wave warrior, visible from the bottom of the street. Cindy Sherman has assembled a cast of individual characters set against a backdrop of the French toile-like imagery for this exhibition. These photographic murals break away from Sherman's previous format of the framed image. She uses herself as the canvas, adopting outrageous identities acting as the model and the photographer, manipulating each image to make subtle differences to her appearance: bulging eyes, and more pointed nose, rendering her almost unrecognisable. She explores the concepts of voyeurism and ego, taking photographs of herself in these character motifs which dominate the walls of the gallery.


Orly Genger

I'll Never Lie To You Again, I Promise, 2009

Orly Genger's labor-intensive sculptures are something to be in awe of. She brushes aside the modest dimensions, favouring force and vigour. I'll Never Lie to you Again, I Promise, is an enduring performance piece involving tremendous physical effort. She pairs a tedious process with a challenge; a comment on the large, minimalist-type sculptures we are familiar with, before breaking them down in order to understand and to learn how they became to exist. 

Photosynthesis Robot

Amy Franscheshini, Photosynthesis Robot, 2003
 I love this whimsical approach to highlighting evironmental issues, while challenging the fundamental definition of what a robot could or should be.