Nick Cave: Meet Me at the Center of the Earth

Went to the BAM today to see the Nick Cave exhibit.  It was pretty amazing.  It is the first time I have been to a museum in quite awhile. I think the last time I was there was for the Audubon print exhibit.  I think that after seeing so many works projected in front of my face from a computer screen, I had forgotten what an experience actually viewing art in REAL life can be.  Nick Caves Sound Suits are absolutely a different experience in person.

                                                      Nick Cave Untitled (Soundsuits) 2004-2009

                                                    Nick Cave Untitled (Soundsuits) 2004-2009

                                                     Nick Cave Untitled (Soundsuits) 2004-2009

Nick Cave's "Soundsuits" are a conglomerate of found materials, textiles, and recycled materials.  The are often brightly colored with rich textures and intricate beading, and jeweling.  His work is described as combining haute couture, with sculpture, with performance.  The first of these three images is the one that I want to describe in detail and discuss because I spent a moment with it at the BAM.

The Soundsuit is 98 x 32 x 28 inches.  It is representation of a human from the thighs down, with thick woolen, knitted textile covering what represents shins, calves, and feet.  The sculpture beyond the "knees or thighs" becomes a lumpy and sagging mass of stitched together straw hats.  This portion of the sculpture reaches up above the viewer to a larger than life height (nearly eight feet!). The sculpture is roughly a column with very little diameter change through out the length of the piece.  The colors in the piece are in a high key often tints. And are introduced in the form of doilies and knitted textiles. The overall image of the piece is a very tall pile of your grandmothers laundry with a pair of polka dot socks poking out from the mass.

This particular piece struck me as somewhat unsettling as compared to some of his other sound suits, that because they were a more uniform material, did not carry a social or cultural connotation for me.  The mass of straw hats made into a human like form strangely conjured up images of a scarecrow which has been portrayed in many instances as an object of horror.  But, I did observe the suit beyond the initial feeling of "creepy" and was able to appreciate the craftsmanship exhibited in the construction of the textiles, crocheting, and meshing together of many many hats and perhaps even a few purses.  I found the suit, surprising, fun, whimsical, and aptly so.  Nick Cave states that "he wants people to think in a magical, sort of fantastical way".



   

Metal Fucking Rats and Such

Wow! I'm so behind on my blogging!  I had better get a grip before it gets out of hand.  Did I mention that I have been in the process of moving for the last week.  Not surprisingly, that takes a bit of time and energy. And I was buying a house is also a time suck, But blogging! Okay.

Went on Artsy just now a found an amazing piece of work. Right up my alley, extremely tedious and leaves everyone with a sense on awe and "man I wish I would have thought of that".

Tim Nobel and Sue Webster  Self-Imposed Misery, 2010 Wooden stepladder, discarded wood, light projector 88 ^1/5 x 30 ^9/10 x 158 ^9/10 in 224 x 78.5 x 403.5 cm

This particular work of art is actually a self portrait of Tim Nobel.  At first glance it appears to be just a simple silhouette, but after zooming on this amazing piece of work I noticed just how detailed the artist were able to make the shadow figures.  It is especially apparent in the "clothing" and Tim's shadows "hair".  I also like the title of Self-Imposed Misery because it includes the word 'self' in a work that is a self portrait.  I think It also says a lot when you make a self portrait out of garbage and discarded materials and then use then use the work misery in the title.  I feel like some days I can really relate to that.  I might be reading waaayy to much into it, but since so much of Tim and Sue's work contains a sexual theme I might not be to far off base to comment on the flaccid phallic nature of the object closest to the projector. 

Tim Noble and Sue Webster have been collaborating since the late 1980's and are known for their sculptures that incorporate light and shadow.  Their materials often include house house items, garbage, scrap metal and even taxidermy.  They also work with light sculptures that resemble store-front signage or carnival lights.  There work is fascinating in that it turns abstract forms back into figurative forms. Some of their themes include: love and hate, high culture and anti-culture, and the way people attach meaning to images. After viewing several of their pieces it seems like the two artists often choose to depict some of the seedier, less glamorous, raw, taboo aspects of being human.   Here are some fascinating and awesome examples:

                                         Metal Fucking Rats 2006

                                                 Dirty White Trash (With Gulls) 1998

                                                  HE/SHE 2003

I saw a version of this last image where Sue's image was actually vacating her bladder, but without the stream of water you can infer other things....the mind just goes where ever it wants with these artist pieces;  often its not to a very socially acceptable place.  Powerful work in that sense.

San Diego Artist Mee Shim

My husband and I went on a honeymoon to San Diego about a month ago, and one of the things that I thought was so great about the city was the thriving art scene.  I wish that we could have spent more time and money exploring museums, galleries, and public places like Balboa Park, but three days is a time crunch and there are those lovely beaches waiting to be lounged on. Still, I thought that it could be fun to showcase a San Diego artists that we discovered and got to meet.

Mee Shim is primarily a painter (I know, another 2D medium artist).  Her gallery and studio were just two blocks down from our bed and breakfast in Little Italy, and Clayton and I actually ended up buying a print of her work.  (Originals are still a ways into our future).  Pictured below 'La Primavera' acrylic on canvas. 56' x 48'. 
       

                                         'La Primavera' acrylic on canvas. 56' x 48'.     
                       
This is not the art work we ended up buying, but this is an excellent example of Mee Shim's focus on East meets West themes.  This particular painting is of course in reference of Botticelli's famous renaissance painting 'Primavera'.  In Mee Shim's work the figures of Venus (Goddess of love), Flora (the embodiment of spring), and the three dancing females (three Graces) have been painted to resemble Asian women rather than Botticelli's fair haired European women.  Besides the physical changes in the women's appearance Shim has adorned her female figures with traditional head dresses, hair arrangements, and the white face paint of the central woman.  The robes and diaphanous clothing is consistant with the 'Primavera' as is the setting in a lush garden full of flowers and spring growth.  However, Mee Shim has chosen to use much brighter colors, including more gold, yellow and red tones.

Much of Mee Shim's work is a reflection of her being raised in South Korea and moving to America and becoming a member of two cultures.  In Mee Shim's artist statement, she describes what this means for her work. "In my recent work, I have attempted to combine my awareness of my cultural heritage with that of the images of contemporary western pop culture. Through the combination of these two cultures I have endeavored, through my paintings, to balance the symbols of both worlds."

Her heritage influence can be seen in these examples:

                                                       Endless Blossom 2004 Mixed media on canvas 30" x 40"

                                         Womb Dance 2001 oil, acrylic, photo transfer on canvas 66"x56"

I have actually seen Boticelli's original Primavera' in person and Mee Shims 'La Primavera' in her gallery.  The Botticelli is much larger and has several more figures present.  Mee Shim is no Renaissance master, the attention to minutia is not there, but who can pay as much attention to minutia as a Renaissance painter! Those guys were crazy!  But that being said, the realism that Shim attempts and achieves is pleasing and her use of color is a more contemporary touch that brings the figures to life.  The light seeping through the trees in the background is also quite lovely and quite different from Botticelli's.

                                                                       
Thought I would add a picture of the original for easy comparison and reference.

Paula Hayes 'Bird Bath'

My first post was not the most technical and probably was not the most elegant critical analysis of the art.  It was more than anything a chance to post on an artist I already know and appreciate and give a pretty shallow (yeah, I dismissed a painting because of a forehead, what?) personal critique.  I'm going to try and delve a little deeper into this critique/examination.  Although, I might have chosen a pretty difficult piece to do that with seeing as how it's already an everyday object.  I have chosen a work by Paula Hayes entitled 'Bird Bath'.

2009. Custom-formed acrylic, 24 x 18 x 30 1/2" (61 x 45.7 x 77.5 cm). The subject of the piece is a very nontraditional bird bath in an asymmetrical organic shape within a verdant, lush garden. Paula Hayes created the sculpture from acrylic which in this case is translucent and giving off a soft glow.
 Despite being a man made material, it has a light and diaphanous quality that seems to harmonize with its natural surroundings perhaps better than any stone bird bath ever has.   I'm almost certain that though this piece looks very at home in this natural setting, it would have a completely different feeling in a sterile museum or gallery space to the point that I'm not sure I would believe that it would work in a garden.  For this reason I think that viewing the piece in the context of a natural, verdant environment is critical to the organic, natural theme of the piece.  It is also important to note that outside of the garden space that the artist has created is full on metropolitan development (NYC).  I think that the works juxtaposition with it's greater surroundings is also significant to the pieces power to impress upon the viewer.

Paula Hayes is known for her organic, natural, art. Literally using living plants and animals (tropical fish) as pieces in her art work.  She wants life (nature) to not just be something that is represented in art but something that the viewer should actively be involved in.  She is well known for her terrariums, gardens, and aquarium installations. 

My personal critique of her work is that it is calming, and beautiful.  It's fascinating and inherently dynamic because it is in part comprised of living beings.  Her use of light is reminiscent of light filtering through pools of water, bouncing off glaciers, or even glowing from florescent marine creatures. Paula Hayes invites the viewer to not necessarily have a specific view or idea about nature, but to consider it at least.  I think it is a powerful way to make people aware without lecturing, condemning, or preaching.

                                                                       
This video showcases the installation of a 260 gallon salt water aquarium and succulent planter in the lobby of the Lever House building in NYC.  Amazing cast acrylic aquarium!

First Time Blogger / James C. Christensen

I have absolutely no clue what I'm doing right now, but I think I'll get the hang of things in a hurry since my personality boarders on narcissism and I can't think of anything on the planet more self gratifying that blogging...well that's not entirely true, but blogging is at least a close second.

I thought that I'd warm up with an an artist that I have always admired. He works primarily in two dimensions and with classic media: oil, acrylic, canvas, etc., but he has started converting some of his popular images into three dimensional pieces.  It seems appropriate to talk about him now since one, we are trying to convert 2D sketches into a 3D work in studio/lab currently, and two, since I already know his work, I have less research to do for this first blog post.

The not particularly hip, yet undeniably skilled, James C. Christensen.

So, the title of this pieces just so happens to be 'Your Place or Mine'. It's hilarious because both of these delightful characters seemingly passing on the street, are each carrying their own lovely species of flat fish called a Plaice.  There will never BE a better opportunity for a smoother pick-up line! I selected this piece because it epitomizes 'classic' Christensen: funny, fantastical characters in elaborate costume, an inside joke or pun, and his wonderful fish. It showcases his incredible mastery of representational art, as well as his playful sense of humor....the mans pocket watch reads the eleventh hour! It begs the viewer speculate what the woman's answer will be.


                                           

'Sleeper Lost in Dreams' acrylic on canvas.  This is an example of Christensen's skill at creating nearly perfect illusion.  He takes naturalism to the extremes of Michelangelo or Da Vinci in this piece, and perhaps fittingly so since the subject is highly spiritual and religious.  It almost looks like the subject would be at home on the ceiling of the Sistine Chapel except for the fact that this angel is most likely Mormon like Christensen himself and not a Catholic angle.  (Since my sense of humor is pretty droll, and my sarcasm nearly undetectable, I'm just going to go ahead and clarify.  I'm being facetious.)  The use of shadow in this piece is quite pronounced as is the uncharacteristic lack of bright color.  For his religious works, Christensen often works with a much more subdued pallet. The asymmetry of the piece is also very evocative of something...it opens up a lot of speculation for me as to why he chose to paint this subject injured? deformed? flawed? imbalanced?

I don't particularly like this painting.  I think it's the religious subject for one--it's LDS art at this point, and I also have a problem with the chicks forehead. So I guess its really the model selection that I have a problem with.

                                                                       
In this video, James Christensen discusses some of the challenges of creating a three dimensional piece of work based on a two dimensional original work.  It also showcases several of his bronze medium sculptures.