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Cartagena, Colombia 2019 Playa Blanca

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The Straving Fact  2019 Screenshot number 3

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Screenshot number 2

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Anime golden boy, Screenshot from my phone<3 screenshot number 1

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Trust Me, I Trust You,

Trust Me, I Trust You,

1998

Mixed Media,

Mark Prent

AMAZING WORK!

Pics I took from opening night @ the Gagosian Gallery, NY, NY

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Drosophila, Artist; Mark Prent, 1984, Mixed Media

Mark Prent's Drosophila is now up at the Gagosian Gallery in uptown Manhattan. The show is called Birth Machine Baby, hosting works from Mark Prent and H.R. Giger.

It's so hard to choose just one piece of work. There were so many strange pieces.

What I find fascinating is how fantastically scary these pieces are. How obscure and creepy they are. There is no doubt that this piece, Drosophila is cinematic. The composition of this strange hybrid creature is theatrical. Half human, half aquatic dolphin, sci-fi in the compound of the subject. The creature is preforming something, it is holding their position to show off its form. As you walk closer to the piece you begin to notice its flesh begins to become translucent.

I was trying to find out more about this artist and what this means. Or what he is trying to say. However it’s been a bit difficult to find, and I’m not entirely sure why. Although I read that his work is so realistic to the point it’s s grotesque that it is an "extended realism". To which I find that is a beautiful interpretation. Humans are so gross physically and fundamentally well I suppose all living things(maybe except plants) but basically what I mean is that we are so afraid and get creeped out about anatomy and seeing things from inside out is something wild yes but maybe on its own is quite beautiful how we are composed of all these parts. But also thinking about how this makes us think about why this disturbs us.

Sources of images; My own photos from opening night 

Gagosian website; https://gagosian.com/exhibitions/2019/birth-machine-baby-curated-by-harmony-korine/

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Tilted Arc, Artist; Richard Serra, Federal Plaza, New York, NY, installed 1981 & destroyed 1989.

Tilted Arc by Richard Serra was a public art installation. A massive piece of corten steel ran 120ft long cutting across the Federal Plaza in Lower Manhattan. Although I’ve never seen this work and this isn’t the most recent public work of art, I still find it fascinating. I haven’t seen enough public sculptures like this. All I’ve seen so far have been murals or structures set up for the sole purpose of someone photographing themselves into. I’m also not usually into very minimalist work however something about the simplicity in material and shape has caused many controversy, action and dialog about the work. This has lead to the community to develop a collective, based on the distain for this object. They wanted to have it removed immediately. His intension for wanted the public to have a physical relationship with the work came true in many ways, for example people would deface it with graffiti and piss on it. This work was claimed to be a very ugly a compared to the beautiful representational works throughout the city. Regardless though I find this work to be daring because it does bring up these questions about authority within a community. Like how was this sculpture put into this public space? Who has to agree in order to make this okay? Does it have to be a representation work of art, or a memorial of some sort? This work stands to interrupt routine, to ask these questions as a community, ironically this work does answer these questions because confronted with such a large obstruction you will ask ‘why is this in my way’ and will engage with it whether you have to go around it or pass by it. Sources of images; https://www.khanacademy.org/humanities/art-1010/minimalism-earthworks/a/richard-serra-tilted-arc

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Should home windows or shutters be required to withstand a direct hit from an eight-foot-long two-by-four shot from a cannon at 34 miles an hour, without creating a hole big enough to let through a three-inch sphere? 1997-2019. 19 Installation, 12 sculptures, wood panels, and 17 chromogenic prints. Artist; Rachel Harrison.

Rachel Harrison has a show up in the Whitney Museum in Manhattan, right now. The images below show an installation piece called Should home windows or shutters be required to withstand a direct hit from an eight-foot-long two-by-four shot from a cannon at 34 miles an hour, without creating a hole big enough to let through a three-inch sphere? This piece is constructed sort of like a u shaped hall way. The walls are covered in many different types of wood panels and moldings, sort of collaged to the walls. Amongst the wood panels the spaces is transformed to a different type of depth through adding images or pictures to the wall, not only hung but also pasted or fused to the wall. Every so often when you would take a step you see cans of beans. They are presented on strange goop pedestal things, hung or sitting on the structure of the space.  There have been many people who have recommended me to check out Harrison’s work. They specifically mention the humor and found objects used in her work. Something i find to be particular to her is the strange textural goops things. For example the goop pedestal things that hold up the caned beans. Those objects seem kind of crafty, like playful in a sense. It is interested to see how she constructs a space someone can walk into compared to the logic of the other sculptures in the exhibit. Walking into it without reading the description it felt so particular. A nostalgic feeling, maybe because of the wood panels. However the layout seemed to be attempting to clarify a space. I began to notice this when I encountered the images or photographs collaged to the walls. The parts I found the most interesting was her use of memories and documents to replicate some kind of space, trying to explaining that space through the use of images. Or maybe expanding on that space. A diagram or physically collage of assemblage.  Source of images; https://www.greenenaftaligallery.com/artists/rachel-harrison#57

https://4columns.org/fateman-johanna/rachel-harrison

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Tux and Fanny, Feature Film 2018, 82 Minutes, Artist; Albert Birney

Tux and Fanny, 2018 By Albert Birney  Images taken from stills/ screenshot from online and taken in theatre from the Animation Festival in Ottawa I saw this film for the first time at the Animation Festival in Ottawa. I saw it twice because of how fascinating the story line is. It was presented in a large theatre called the Bytowne Cinema, the film was projected in a square frame rather than a rectangular one. The scenes are basically rendered pixels, like graphics from an Atari console  however there are some scenes that are in stop motion and even live action. The soundtrack is a sort of sound or music that is like old digital/ analog futuristic sounds and animal. Characters Tux the pink one and Fanny the purple one both speak in Russian. The text incorporated in the animation such as words on a computer screen and the title sequence is also in Russian, however there are english subtitles.    The storyline is wholly serene and nostalgic, yes they encounter kinda gruesome situations but they were always with pure intensions. It may appear  aimless however it’s just sort of like slow cinema. You're not totally sure why you are here or why you’re watching it but you are. The characters exude human essence. which is a very interesting in comparison to todays society. They are just friends who live in a desolate place. It is a computer generated animation and yet they exhibits how important companionship means to humans and how impermanent life is. Although the film may seem very silly in breaks through the stupidity to focus on the the ruthlessness of nature. Which is one of many reasons why I find this work to be so awesome. It’s silly and meaningful, or maybe nothing at all. It’s like a documentary of just existing whether it be through life or in their dreams. There is a strange computering type moment in the film which I am still trying to figure out.  I didn’t know till after the festival that the whole feature film is out on Vimeo and that they were released as little shorts on instagram. Which I suppose explains why the projected screen was kinda square. Its definitely a different experience from watching it as a feature and watching it as a sort of series. There are title sequences that are not shown in the film. So I am judging the work based on my viewing of it in the theater.  LINKS/// Albert Birney Site; https://abirney.com/ to the Feature Film; https://vimeo.com/albertbirney Instagram; https://www.instagram.com/tux_and_fanny/ Ottawa International Animation Festival; https://www.animationfestival.ca/ <3 

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Dream Sequence , From Directed Dream,2006 Artists; Jennifer & Kevin  Mccoy

Dream Sequence, 2006 By Jennifer & Kevin McCoy Images taken from the Postermasters art gallery in NYC First of all I am jealous, but also not really because this work exists and it is so goddamn good. It is an installation piece, two live stream videos projected next to each other facing a sculpture. The video signals are coming from small cameras rigged on to the sculpture. The free standing part is comprised of two spinning disk. On these disks is a compilation narrative of occurrences. The scenes go from a couple of horses having sex to a lovely neighborhood and a giant holding kids. The second disk is similar in aesthetics where they are kind of like architectural models but has entered a dream state. Which is showed through the scale change in the characters of the scene. Anyway besides that we can see on the third picture there are two main characters sleeping a man and woman, they are presented to the artists. As the two disks rotate there is a tiny camera capturing the motion while there is a still sleeping person in front of the camera. Its so cool because its like physical way of editing on a layer in premiere.  What I find crazy about this piece is the connection between man and technology. Using this new form of technology (video) as a way to express ourself but more so crazy how they physically created this object and furthermore the objects inside to make it seem like as if it were a Hollywood type set, you know? Like the attention to how the lights, how they are set up. The distance between the miniature artist and this dystopian reality, dream-like environment adds to the ominous presents the piece has. The way I see it is the physical breaking down of how to edit and physically building a scene, I believe is a way of explaining technology and striping it of its imperceptible cyber space invisibility. The responsibility to what is there and to what is not, similar to dreams and the human using defense mechanisms to figure out a way to alter the way we choose to accept or guilt or not. The things that happen outside rather than inside. and yet still reflect our society as a whole.  okay I’ll stop here I maybe wrote to much,, anyway lmk what y’all think, if anyone is out there.  And if you're the artist and you see this hmu idk if maybe I’m interpreting it differently. P.S.  Heres a link to where you can see a documentation of the work from this show; http://ubu.com/film/mccoy_raisins.html

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