Andrew Ohanesian is a Brooklyn-based installation artist who builds an entire house inside a gallery, then destroys it. Really.
His walk-through installations can be seen on his just-launched website above. (It's a drag.)
[Pixels by Household Name. Development by Jerome Gipe at Slickerhat.]
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Designer Stuart Haygarth makes chandeliers out of discarded materials.
This one's made from 1020 eyeglasses.
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French artist Céleste Boursier-Mougenot creates works by drawing
on the rhythms of daily life to produce sound in unexpected ways.
For
his recent installation at Curve in the Barbican Center in London Boursier-Mougenot creates a walk-though
aviary for a flock of zebra finches, furnished with electric guitars
and other musical instruments.
As the birds go about their routine activities, perching on or feeding from the various pieces of equipment, they create a captivating, live soundscape.
Be transported.
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But I like it, know it could not have been a self-portrait, and have seen nothing similar.
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Artist David Hockney is no stranger to new media––over the
years he's used Polaroids, photocollages, and fax machines to
create art.
Now he's taken to using the iPhone Brushes app. The resulting paintings have been exhibited at the Tate Gallery and Royal Academy in London as well as galleries in Los Angeles and Germany.
No shock of the new for Hockney.
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Kim Noble suffers from Dissociative Identity Disorder (DID)––formerly known as multiple personality disorder––and each of her personalities has its own distinct style of painting.
"Some tend to be more abstract and some like using different colors," says Kim. "It can be very strange because I don't always remember what I have done when another personality has been in control."
Kim's dominant personality, "Patricia", paints tranquil landscapes, (above) Desert Scene.
Class 7A by Judy.
Aimee by Suzy.
Through The Net by MJ.
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More from 'The Collectors' at this years' Venice Bienalle.
I'm guessing the artist haggled for the homeless person's sign, then framed them.
It's an idea, but is it art?
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That's 'Mr. B' in the pool, stopping the lady in red in her tracks.
Before he drowned he lived here, in the Nordic pavilion in the Giardini in Venice.
For Mr. B is an imaginary character created for 'The Collectors,' an art installation filled with the works of over a dozen artists.
It was the standout pavilion for me. (Each country gets their own venue--or pavilion--to showcase their nation's work.)
And here's a great article with the Scandinavian art duo Michael Elmgreen & Ingar Dragset--it was their master idea--in Interview Magazine
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Dear All,
Had the very good fortune to be in Venice over the weekend and, aside from...
I didn't see a car or hear a honking horn in four days.
I never really found my sea legs on the Vaporetto.
The Italian's have such effortless style. (Clichéd I know, but 65-year-old guys in pressed shirts and orange corduroys!)
It's like living in a Canaletto.
...there was some inspired and inspiring art.
The old Customs House on the Punta Della Dogana has been beautifully restored by starchitect Tadao Ando to house the art of French billionaire François Pinault. (Pinault paid for the 18 million Euro refurb himself.)
And, as his holdings include Gucci, Christie’s, and the Château Latour vineyard, one could expect impeccable taste. One wasn't disappointed.
Curators Alison M. Gingeras and Francesco Bonami were allowed to select any piece from his extensive collection (only one third is on display) with the simple brief: "Surprise me...and the public."
Highlights for me:
'Dymaxion Skeletons' by Matthew Day Jackson.
Says Jackson: "Though the skeleton is dead, it is strong and walks upright. Its hands seem capable of movement, gesture and construction. The skull, though made of poisonous lead, surmounts the golden geodesic rib cage. The dymaxion skeleton presents a utopia of being: the utopia of the body as a vehicle for consciousness."
[click to enlarge]
'Fucking Hell' by Jake and Dinos Chapman, 2008.
Nine tabletop tableaus, peopled with over 30,000 remodeled, 2-inch-high action figures, many in Nazi uniforms and performing egregious acts of cruelty.
Watch their video here. Just overwhelming really.
[click to enlarge]
Above, 'Kandors, Full Set' by Mike Kelly, 2005-2009. An entire room filled with his mystical landscapes.
The 53rd Venice Biennale runs from 7 June to 22 November.
The mind-expanding Punta Della Dogana is open year-round.
You wish you were here.
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Bristol-boy Banksy closed the city museum 'for essential maintenance work,' then got creative on the exhibits as only he knows how.
See the not-so-elusive Banksy In Action
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[click to enlarge]
Andrea Joseph fills her Moleskines with these delightful little drawings, scans, then uploads them to her 'sketchblog.'
See her illustrated diary here.
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[click to enlarge]
Mr. Warhola, ever the self-promoter, was offering to gift MOMA one of his early drawing.
He was turned down.
Sad but true: creativity rarely survives a committee.
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"I am fascinated by the unstable and dangerous sides of art and I hope my
works reflect these aspects. Sometimes I am in real danger. I have to hang myself high with steel
wires and people do get a little worried for me, but I am fine"
Not really much we need to add to that.
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The Invention of Drawing. Karl Schinkel 1830.
This painting captures the story as told by Pliny the Elder of a mythic Corinthian maiden who traced the shadow of her departing lover, and evidently, he hers.
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This artwork––known as Visual DNA––is the data visualisation of
sequenced animal and plant genes.
German creator Daniel Becker explains how the process of translating DNA text into colorful symbols is not as complicated as it sounds.
"DNA art interprets the complex information of DNA with the help of symbols and colors," says the 29-year-old Frankfurter. "The result is a individual graphic pattern for any creature or plant. For the naked eye a DNA sequence is a string of thousands of those four letters. So I came up with the idea to interpret these genes into symbols and colors."
Still with us?
A Student of Design at the University of Applied Sciences in Mainz, Daniel came up with the idea during a study for his University design course.
"A gene is shown in the typically four letter style G, A T and C for the four bases of the DNA, But for the naked eye it is not easily possible to see the difference between a human and a shark, because the information is too complex.
"Younger people are interested in the more dangerous animals and plants--for example the Great White Shark patterns are very popular with men. But patterns of mice, elephants and koalas are popular amongst women."
Ahhh.
And Daniel is hoping that in years to come, people will be able to use their own DNA to make their own art.
Household name wishes Daniel the best of luck.
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Yep, you guessed it––it's Damien Hirst.
Artist's compensation has come an awful long way since Van Gough died penniless having sold just one painting his entire life.
Hirst's 'The Golden Calf' is a 7ft high Charolais bull pickled in formaldehyde (again) which boasts hooves, horns and a disc on its head all made of solid 18-carat gold.
Encased in a gold-plated cabinet, the calf––a symbol of the idolatrous worship of material things (wink, wink)--could make him up to $140 million.
That will add significantly to the 43-year-old's existing fortune which his manager Frank Dunphy said now exceededs one billion dollars.
By selling direct to buyers and cutting out the gallery middleman Hirst hopes to make even more money from the sale of his pieces.
"If you say to someone that galleries take 50 percent they'd be shocked
by that," said Hirst. "In any other business it's an extortionate amount of money. I've
never thought it made much sense."
Sotheby's will not be charging him to stage the auction but successful bidders will pay Sotheby's usual buyer's premium.
Both the White Cube in London and the Gasogian Gallery in America, with whom he has non-exclusive sales arrangements, have insisted they're not worried by the development. Perhaps because they know that most artists don't have the power of the Hirst brand.
This month's auction however comes amid damning remarks of his work.
Robert Hughes described his works as "tacky" and "absurd" while Richard Wentworth, who taught him at Goldsmith's in the early Nineties, said it was "vulgar".
Pretty much exactly the response the establishment had to Impressionism when it was first displayed at Parisian salons.
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