25.2.12

Paris is Burning

After being mentioned in passing and referenced in so many conversations now, I finally got round to watching Paris is Burning (1990). Directed by Jennie Livingston, it documents the vibrant subculture of New York's drag balls conceived in the community halls of Harlem during the mid-to-late 1980's. The documentary follows a handful of flamboyant characters who turn to the underground scene of makeshift catwalks and rival "houses" (in other words, the families to which each person belongs) on a quest for self discovery, strength and identity.

14.2.12

A C O L L A B O R A T I O N



A  C O L L A B O R A T I O N
Rebecca Clark, 2012
Installation View

13.2.12

Handiwork


Shift - Wimbledon College of Art

Shift 
26/01/12
Wimbledon College of Art

For our Interim Show in January, Ollie, Kyle, Geo, Kanako, Harry and I put together Shift to showcase our new work. We had to prep the space, curate the work, and install the show to the best of our ability. In Kanako's case, she raised the floor and painted it white; it changed the whole environment in which we viewed her work, this sterile, pure space you could walk around in, walking on the artwork itself.

Our show turned out to be very sculptural as opposed to the past shows that had a lot of video work and film projections. We had such an array of physical works, it was interesting to see how peoples interactions with these objects were dictated by the space around them, how each work consumed the space in which they were set. 








Sunstone

Ed Emschwiller is a visual artist mostly acknowledged for his sci-fi  magazine covers and 
experimental films. Throughout the 1980's he pioneered video art, and toyed with the manipulation of time and the interplay of illusion and reality.
Sunstone is a 3 minute metamorphosis of a face and a cube, the subtlety of color and shape is quite poetic as the face and the eyes gradually transform into new shapes through fluid movement. Emschwiller succeeds in developing an electronic language in order to articulate three dimensional space.

The odd sound effects in this video, which accompany each moment of transition, are
particularly unsettling and I couldn't quite put my finger on why...it reminded me the opening
sequence to the animated version of Watership Down which always scared the death out of me
as a child, a certain eerie quality which fixated and repulsed me at the same time.



 

       


       




5.2.12

Zefrey Throwell

                     
                                                                   Crystal Cock of Hades









4.2.12

Alina Szapocznikow

Alina Szapocnikow
Sculpture Undone, 1955-1972
Wiels, Brussels




Velvet Eyes

Louis Bourgeois -  Nature, Velvet Eyes, 1984

Thomas Heatherwick

Rolling Bridge,  2004


Extrusions, 2009 

Glass Bridge - Kings Cross, Ongoing Project

Stephen Kaltenbach



Art Works, 1968

Francesco Vezzoli

Greed: The New Fragrance
Francesco Vezzoli
Directed by Roman Polanski




Vezzoli’s work evolves around the mechanics of fame and publicity.  He’s a fan of the superficial, super-camp, empty-headedness of Tinsel town and somehow he persuades his favourite directors and some of Hollywood’s most famous faces to star in his videos - in some cases, trailers for faux big budget Hollywood movies, or, as seen above, an imaginary perfume ad campaign for Greed: The New Fragrance, (the unofficial fragrance of the art world) starring Natalie Portman and Michelle Williams and directed by none other than Roman Polanski.





Tim Noble and Sue Webster

"Obviously our work's not about good taste. What we're drawn to are those aspects of culture like Vegas which are to do with a glitzy mass produced surface"

Forever, 2001



Puny Undernourished Kid & Girlfriend From
Hell
, (Diptych) 2004

Metal Fucking Rats, 2006

Electric Fountain, 2008                                              

3.2.12

Robert Gober

Untitled 2004/05

Untitled, 2005
It seems like Robert Gober's sculptural objects are ready made, but in actual fact they are handmade recreations which display delicate, life like material qualities as opposed to simply presenting the objects as originals, blurring the lines between reality and simulation.