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Ed Templeton
Blood:  Asia one:  Michëal Borremans masks:  |
thank you so much for posting these images bunbury! i just wish i could watch them all at work.
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i hope so as i have a tshirt signed by him (also drew some totally craziness on it) |
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Reena Spaulings is the collective identity thing right? Didn't they right a book as well? There are a bunch of Italian dudes that write books under the Pseudonym Wu Ming (and Luther Blissett prior to that) that are pretty good. 54 is well worth a read. Not really art per se. Although they have done a bunch of situationist-ish actions before. www.wumingfoundation.com |
Yo, Trasher, Ed Templeton is rad. I remember looking through old skate mags and being so excited seeing Toy Machine ads and shit... I love all his little characters and whatnots.
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Oh thanks. I saw that Yayoi Kusama thing ages ago but totally forgot who did it. Thanks for reminding me. I really like it.
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Maurizio Cattelan
 The Ballad of Trotsky  HOLLYWOOD Recreating the myth of Hollywood in Sicily, Cattelan displaces multiple meanings, through the use of a few, gigantic letters".  Him A photorealistic sculpture of a miniature Hitler in prayer ? An icon of fear.  Frank & Jamie |
 La Nona Ora (The Ninth Hour) The Pope after being hit by a meteorite.  Not Afraid of Love  Hanging children This caused a stir in Milan where Maurizio Cattelan created a work depicting three children hanging from a tree.  Untitled |
 saw them on saturday and it made my heart jump a little. |
Nice interview I love this thread.
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i saw his retrospective in berlin years ago and it had some of the death and dissaster stuff as well as the piss paintings and shadow paintings and lots of brillo boxes. floor to ceiling.
i could have spent a whole day there which is strange because i usually get gallery fatigue after a while. saw a bit if the gilbert and george thing at the tate as well. |
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Love Julia Fullerton Batten!
Marina Abramovic  Lips of Thomas, 1973/1994 Interested in the limits of mental and physical endurance, influential performance artist Marina Abramovic has used her body as the subject and medium of her work since the early 1970s. Though not her medium directly, photography has also played an important part in her career, documenting performances and so providing the only extant time-based traces of those temporal acts. The series Performance Edition 1970-75 uses one photograph and one text panel each to represent performances for which there no longer is (or never was) film or video documentation. The text of Lips of Thomas explains that 1973 performance: LIPS OF THOMAS Performance I slowly eat 1 kilo of honey with a silver spoon. I slowly drink 1 liter of red wine out of a crystal glass. I break the glass with my right hand. I cut a five pointed star on my stomach with a razor blade. I violently whip myself until I no longer feel any pain. I lay down on a cross made of ice blocks. The heat of a suspended space heater pointed at my stomach Causes the cut star to bleed. The rest of my body begins to freeze I remain on the ice cross for 30 minutes until the audience interrupts the piece by removing the ice blocks from underneath. Duration: 2 hours 1975 Krinzinger Gallery Innsbruck   Balkan Erotic Epic: Women in Rain 3  Virgin Warrior Hearts |
 To test the limits of the relationship between performer and audience, Abramovic developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her. Abramovic had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were scissors, a knife, a whip, and, most notoriously, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions. Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) several people began to act quite aggressively. As Abramovic described it later: “The experience I learned was that…if you leave decision to the public, you can be killed.” ... “I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.”  Portrait with Scorpion (Closed Eyes)', 2005   Marina Abramovic Wikipedia |
Good to see some Abramovic love. Her work is of superior quality.
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More Marina Abramovic
"Would you ask a man to aim an arrow at your face? Or slap you as often as he can in 20 minutes?"  Ulay/Marina Abramovic Rest Energy, 1980  Name Pickers, 1998, Color photograph, 107 x 97 cm Collaboration with the photographer Bojan Brecelj and the group Irwin.  The Onion 2005 7 ex. C-Print 125 x 167 cm 49 3/16 x 65 3/4 in  SPIRIT HOUSE, video installation http://www.artistsunite-ny.org/issue...w/DSC07609.jpg Thomas Lips 1975/1999 |
Marc Quinn
 Self, 1990, Saatchi Collection Replica of his own head in frozen blood.  Marc Quinn, Sphinx, 2005, Edition of 3, Painted bronze, 88x65x50cm Sphinx, takes a woman of unearthly beauty and transforms her into a contorted figure with her ankles uncomfortably wrapped round her ears. The work is Quinn's much anticipated sculpture of Kate Moss.   Alison Lapper Pregnant 12,5 Proof (1993) |
 Portrait of an artist as a young man, 2005, Painted bronze.  Peter Hull, 1999, Marble and plinth, AP I/II (Plinth: 37 x 18 7/8 x 15 in. (94 x 48 x 38 cm), Sculpture: 33 1/16 x 18 7/8 x 15 in. (84 x 48 x 38)  Tom Yendell 2000 marble, 68 x 26 x 5 inches  Rubber Soul |
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I like these. Although the first image she should be sitting at the edge of the highway looking down upon the traffic. It would have been more effective. |
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Martin Creed
  Work No. 547 2006 35mm film transferred to DVD  Work No. 503 2006 35mm film transferred to DVD http://www.martincreed.com |
More Martin Creed
 Work No. 289 2003 Neon 16 m (l) Installation at The British School, Rome  Work No. 205: EVERYTHING IS GOING TO BE ALRIGHT 1999 Neon 25 cm (h) Installation at Alberto Peola Arte Contemporanea, Turin  Work No. 567: SMALL THINGS 2006 Neon Installation at Palazzo dell'Arengario, Milan, Italy Exhibition held by Fondazione Nicola Trussardi  Work No. 273 2001 Neon 6" high |
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Yasser Ballemans
  God Bless Amerik.k.k. / katoen / 200 x 300 cm / 2004  WC rol / wc-rolhouders, wc-papier / 120 x 20 x 220 cm / 2005  Let’s Kick Ass (ism Karina van Bezooijen) / kunststof, PU-schuim, metaal / 30 x 50 x 120 cm / 2005 |
Linda Nieuwstad
    Lovely Granny (2003) 18 bejaarde dames gemengde technieken doos 190 x 150 x 40 cm fotografie: Anneke Hymmen Linda Nieuwstad's website |
I love this photo by Ed. Austin takes an awesome pose.
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BORIVOJ HORINEK "Records"
work with perspective i couln't find any better pics, sorry   |
The first one is sick.
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Stefan Zechowski
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The art fag level of some of these art works is horrendous.
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Maurizio Cattelan
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Bedwyr Williams - Walk a Mile in My Shoes
 Bedwyr Williams - Tyranny of the Meek   |
I love Bill Brandt:
 John Virtue:  Jenny Saville:  Hieronymous Bosch:  And a whole bunch of other stuff too... |
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Brendan Dawes
Cinema Redux (2004) DVDs have opened up many new ways for people to spend more time obsessing over their favourite movies, and one the oddest products of this new technology is Cinema Redux. Graphic designer Brendan Dawes has sampled his favourite movies, one frame per second, and arranged them to make giant digital posters. Each minute of the movie is represented by strips of 60 tiny frames going down the length of the poster. Scan it quickly and you get an instant visualisation of the rhythm and timing of the film. So far Dawes has processed nine titles, including The French Connection, Get Carter, Road to Perdition and The Conversation. Each finished print is an odd cross between conceptual art and storyboard, from which you can take in a couple of hours of fast cuts and long takes - what Dawes calls the "unique fingerprint" of each film. There are surprising moments of colour - the red Dali dream sequence in Vertigo; the blue cinema screen in Taxi Driver. Film students, academics and obsessives with time on their hands may use Dawes's grids to postulate new theories about the language of film. Vertigo (1958, Alfred Hitchcock)  The French Connection (1971, William Friedkin)  Deliverance (1972, John Boorman)  Serpico (1972, Sidney Lumet)  |
Another Brendan Dawes project.
Don’t Look Now What would happen if you take every single frame of a film and instead of displaying the frame in it’s normal aspect ratio you make it only 1 pixel wide? Brendan Dawes: So with that question I built a piece of software in Processing that could take in a live stream from a DVD and construct images based on this idea. The film I used was the classic, and very strange ‘Don’t Look Now’ starring Donald Sutherland.  For more distorted images click here, and then on the view project button. |
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