Just opened in the West Village, New York: Bansky's animatronics installation "The Village Pet Store and Charcoal Grill" Moving away from this stencil and street art approach, this new work is receiving rave reviews for it's commentary on our relationship with animals.
From the artist: "I wanted to make art that questioned our relationship with animals and the ethics and sustainability of factory farming, but it ended up as chicken nuggets singing."
The underground artist has been busy in New York. Several of his murals, all featuring giant rats, have popped up on walls and billboards in Lower Manhattan.
Link: BBC Video Here
Streetsy is a daily street art site. With the rise of Banksy and others, this is a great resource of street art from around the globe. From the site: "Street art is art created in public places, often without permission. Street art is made in a number of mediums, including stencils, stickers, posters, paint, and sculpture. In mathematical, political, criminal, and philosophical terms, streetart is a subset of graffiti."
Link: Site
Original Soho Material. If Rand meet Warhol.
He also spent a year studying French literature at the Sorbonne in Paris and was in Paris during the student strikes of May 1968. It was in Paris that he became aware of the French deconstructionist philosophers and Guy Debord and the Situationists. These cultural and political radicals developed the concept of détournement, or "the reuse of pre-existing artistic elements in a new ensemble." Such concepts would later inform his work. He is most famous for works that radically altered existing structures. His "building cuts" (in which, for example, a house is cut in half vertically) alter the perception of the building and its surrounding environment.
Link: Incredible Overview
Max Bill, a member of the Swiss 'Zurich Concrete' group, was an architect, painter, sculptor, politician, educationalist, writer, in short, a 'universal creator'.
He analysed the principles of Concrete Art and sharpened Theo van Doesberg's definition as follows: "we call those works of art concrete that came into being on the basis of their inherent resources and rules - without external borrowing from natural phenomena, without transforming those phenomena, in other words: not by abstraction. concrete art is independent in its characteristic features. it is the expression of the human spirit, intended for the human spirit, and it should have the sharpness, the clarity and the perfection that must be expected from the human spirit. concrete painting and sculpture imply creating something that is open to visual perception. their creative resources are colours, space, light and movement … concrete art is ultimately the pure expression of harmonious measure and law. it orders systems and uses artistic resources to give life to these orders … it strives for universality and yet it cultivates uniqueness. it suppresses things individualistic in favour of the individual." Bill also requires that art should find a mathematical mode of thought to guarantee that the creative principles can be controlled. In the mean time he sees this as only one of the possible methods, "a useful aid, through which ideas can acquire visible form."
Max Bill – a product of the bauhaus generation, pupil of walter gropius and kindred spirit of le corbusier and mies van der rohe – was a virtuoso designer and creative artist, as his diverse activities as a painter, architect, sculptor, teacher and designer amply demonstrate. his work is characterised by a clarity of design and precise proportions which are unrivalled to this day.
The work of max bill was a continuous balancing act between free art and applied art, between severe, reduced forms and flowing natural ones, between philosophical thinking and practical application.
Link: More images
Among curators and art collectors and others in the art world Koons' work is labeled as Neo-pop or Post-Pop, as part of an 80s movement in reaction to the pared-down art of Minimalism and Conceptualism in the previous decade. Like many artists, Koons resists being labeled with comments such as this: "A viewer might at first see irony in my work... but I see none at all. Irony causes too much critical contemplation."
The crucial point of Koons is to reject an alleged hidden meaning of a work of art. The meaning is only what you perceive at the first glance, there is no gap between what the work is in itself and what is perceived.
Flickr: Jeff Koons
http://www.flickr.com/search/?q=jeff%20koons&w=all&s=int
Link: New Taschen Book
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About Me:
- Working on:
Pattern Recognition in Music and Ideas - Listening to:
German Techno, London Dubstep, 4AD, Classical - Reading:
Alastair Reynolds, - Watching:
You, the Private Eyes.... sorry
Influences (24)
Noah Koff (inactive)
