What do peanugget.com and dianarossfan.com have in common?
What’s the distance between where your art career is and where you want it to be? Can you visualize getting there? Would access to over 200 hour-long webinars with art experts sharing what worked for them and offering their advice make a significant difference?
Klein Artist Works puts the experts right in the room with you. Besides the archive of over 200 webinars, the live, online course connects working artists with the authorities who have advice to give and stories to tell.
Vince Mckelvie isn’t a GIF maker, but he gets featured on this page today regardless thanks to the GIF screengrabs by Prosthetic Knowledge. The GIFs come from Electric Pulse, Mckelvie’s single-serving website (a phenomenon I’ve written about on Artnet) are a collaboration with Chuck Anderson and music by Juno Akasawa.
This particular work takes a viewer on a tour of what exploding rocks and meteors, Tron-like imagined computer space, and rotating balls of goo. The more you move your cursor, the more responsive the piece appears to be. It’s pretty great, but the bit of genius here is the dash cam footage near the beginning of the tour. It’s the only bit of found material, it situates the user in the driving seat of car. It reminds me of abstract painters who decide to render one small part of their painting realistically. In those cases, it’s often a flourish used to indicate rendering skill, but the real trick is integrating two disparate elements seamlessly. Mckelvie has unified these two types of images perfectly.
Good abstract visual poetry exists. Take Erica Baum’s, “The Paper Nautilus”, at Bureau. In square photographic prints, Baum zooms in on the dog-ears on illustrated book pages– cropping the frame so that the square photograph is split diagonally from bottom left to top right corner, by the page crease. The dog ears, and the corner of the page beneath them, retain only triangular corners of illustrations and photographs. There’s no linear meaning to be drawn from these works, and yet, the mismatched pairings of triangles form a stable visual rhythm. The abstract squares resemble Josef Albers’s color studies, only in grayscale, and printed out on a dot matrix printer.
A peculiar 1986 protest involving a nest of bees and parade of sheep prompted filmmaker Woody Morris to investigate a lost turf war between a working class community and international banks on Canary Wharf. The result, “Hardworking People”, is a Jeremy Deller-esque documentary about the radicalization of a blue collar community, and conservative rhetoric, which seems more relevant than ever.
Now that we can print on virtually anything, it’s no surprise that laminate veneers are increasingly popular amongst sculptors. I’ve seen my fair share of unsuccessful experiments in this vein in recent studio visits, but there are artists doing it right too. Rachel de Joode’s flesh-covered monolith is just one example, and more recently, Strauss Bourque-LaFrance’s striped and marbled mantelpieces at Rachel Uffner. In this show, we’ve got what looks like a great hall of plastic mesh and spray enamel drawings leading into a virtual garden of mimicked 80’s contempo-casual decor.