Dimension :::
2011
Ongoing collection to chart the passage for painting in the continuous current, with writing for work informed by or informing painted practice. Images, modelled and actual paint all twisted like a vine, etc.
PAINTED,ETC. is a broad research initiative currently produced by artist Ry David Bradley to document the practice, understanding and lineage of painting and its descendants in the internet age...PAINTED,ETC. accepts contributions, brief reviews, short artist essays, statements and images.......
To send work click here • PAINTED, ETC.
Image Objects
2011
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Image Objects are a series of works which exist somewhere between physical sculptures and altered documentation images. Each piece begins its life as a digital file, of which countless variations exist. These are then rendered as UV prints on sintra and precision-cut to the form of the piece to create photographic prints with the depth and presence of a sculpture.
Each time the pieces are documented officially (i.e., by the artist or by a gallery), the documentation photos are altered to create a new form which does not accurately represent the physical object, and generate new derivative works that build upon the initial objects. The viewer’s experience becomes split between the physical encounter in a gallery setting and the countless variations of the objects circulated in prints, publications, and on the Internet. The documentation becomes a separate work in itself, incorporating elements of collage, techniques commonly used in professional image retouching, aestheticized digital watermarks, and more.
via Artie Vierkant
Untitled (Against My Skin)
2011
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Digital Mapping of skin marks, scars and other traces left due to physical interactions.
RICHARD PRINCE
Untitled (de Kooning), 2009
Ink jet and acrylic on canvas
74 3/4 x 59 inches (189.9 x 149.9 cm)
Richard Prince’s “de Kooning” series is a process of interaction with the canonic imagery of the Abstract Expressionist idol Willem de Kooning. The idea for these edgy Oedipal works came to him when he was leafing through a catalogue of de Kooning’s Women series. He started sketching over the paintings, sometimes drawing a man to de Kooning’s woman. As time went on, he began applying fragments of male and female torsos, genitalia, thighs, and facial features, cut and pasted from catalogues and vintage porn magazines, as well as drawing with graphite and oil crayon, adding outlines, silhouettes and textures to the original figures that further blur the distinction between de Kooning’s imagery and Prince’s own.
From these intensely worked drawings evolved a series of paintings that are, similarly, montages of elements from de Kooning’s original paintings with figures cut from printed matter. The results are blown up onto large canvases via ink-jet printer, then the original material all but painted over. From the resulting abstract grounds, Prince then conjures up crude figures that recall de Kooning’s savage female subjects. The resulting hermaphroditic creatures are hybrids on several levels, merging male with female, painting with photography and print, and the refinement of modernist art with the vulgarities of mass cultural representation. Both homage and desecration, the de Kooning paintings exemplify Prince’s vision of a “Spiritual America,” a historical consciousness fueled by a pervasive desire for rebellion and reinvention.
Mining images from mass media, advertising and entertainment since the late seventies, Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; and the mythical status of cowboys, bikers, customized cars, and celebrities. His most recent work is an explosive mix of pulp fiction, soft porn, and high art.
- Gagosian
Someone had to do it sooner or later, and here is a try. Now you can buy certified “limited” digital editions of various art pieces to display on your screen based devices via UK startup Sedition. Of course it helps that all of the works currently on offer aren’t really digital artworks as such, and are pretty much just photographs of things that have already existed as objects in the commercial gallery world anyway. Good luck with that. But the potential is there to do it properly / gotta start somewhere huh. Watch as it spirals out of control as everyone becomes an artist, or as it retains at least some exclusivity and displays the work of artists who have been hyper-validated elsewhere (like it’s doing at the moment) and really have no specific history of a practice that ever even attempted to deal with the digital problem. Is this a kind of secondary market venture cloaked in seditious posturing or a genuine attempt to support and expand the marketplace for art that exists digitally? You be the judge bro.
Conduction 9
2011
Albert Oehlen
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In these latest works currently on display in Paris at Galerie Nathali Obadia til Dec 17, Albert Oehlen uses charcoal and acrylic on canvas to re-create the kind of visuals he used in the early 90’s in making basic computer paintings, which at the time were so pixelated that he would silkscreen print them at large scale and then go over the bumpy (BMP) edges and smooth them out with paint. In work following that period there is no computer print under the works, the printed graphic is only a memory in these works to be mimicked by the hand with traditional materials. It is an interesting turn, marking the time for computer painting as a moment in the past, rather than the present - at least for Oehlen anyway. It is undoubtedly work from the 1990’s - a point in time the artist appears to fixate. For the rest of us, there’s vectors.
