Bold, untamed and vibrant.
The move towards gender ambiguity in these pieces is deliberate. No flesh is exposed, and I do in fact use both female and male models in the series. The creatures are not human at all, and because of this I feel that their genders should be left unrecognizable. I began the series by experimenting with fabrics and how light reflected on them.
When I added movement, the fabric changed from something I recognized as a piece of cloth, thin and fragile, to a mass of shapes and light. The hyperbeast was born. I imagined that these creatures exist in some other universe, that they roam wild somewhere, like lions or giraffes in Africa. I am simply capturing them in their natural habitats. Then again, I sometimes imagine that these hyperbeasts exist in our own world at some hidden level. They could exist, hidden to us in the same way that atomic and subatomic particles used to be hidden.
These creatures could be a part of our world, dancing and living in the same spaces where we exist.
OPP: The shift out of the white cube and into the world helps me see the figures as creatures. In the studio shots, I read them more like sculptures, but in Hyperbeast Lives , they do become more alive. Are abandoned buildings the natural habitat for Hyperbeasts? Or will you eventually photograph them in other environments? The idea was that the creatures were sort of like hunting trophies. I was the taxidermist mounting the beasts and making them look alive. But after experimenting in the studio, I wanted to see the beasts completely free in the wild. But, I do think that they live other places, too.
OPP: I'd like to hear more about your mixed media work, which combines your photographs with appropriated imagery from comics and advertisements.
Would you pick your favorite mixed media piece and talk about the juxtaposition of the imagery you chose? HH: I started working with mixed media four years ago and had very clear ideas about what I wanted to do.
It also identifies over measures to mitigate impacts identified in the EIS, including traffic, safety, wildlife and others. The Serralves Museum, situated in the historic surroundings of Porto town, is a true cultural gem. The main screening venues were in Valletta, along Strada Reale, then spread to Sliema and eventually, other areas began to run their own cinema theatres. Hendricks argues that Fluxus was a historical movement that occurred at a particular time, asserting that such central Fluxus artists as Dick Higgins and Nam June Paik could no longer label themselves as active Fluxus artists after , and that contemporary artists influenced by Fluxus cannot lay claim to be Fluxus artists. Read the ebook.
The intention was for every mixed media piece to represent a distinct moment in my life that had some kind of impact or that shaped who I am today. The piece that I feel illustrates this idea most strongly is Dogs of War. In this piece I juxtapose images of an Imperial Walker with advertisements and images of crying women. As a child, I loved Star Wars and still do. I loved every aspect of it: the toys, the movies, the characters and especially the story. But, it is fundamentally a story about war. That changed somewhat when I was seven with the bombing of Libya. I remember very clearly the day that I sat down with my grandmother to watch the evening news that was flooded with images of the bombing.
Yet, at the same time that these frightening realities were being reported, there were still commercial breaks. Dogs of War is my attempt to collect those disparate images and ideas from that one moment. HH: The last time I used film was back in I shot two roles but only developed one.
The shots in that one developed role included some that would later lead me to the Astro Girl series. My mom actually asked after those photos for about a year, but I never got around to developing them. I should probably do that at some point. She explores the age-old conflict of man versus nature through a lens of optimism by revealing the beauty in the moment before the reality of the chaos crystalizes. She was a master printer with Crown Point Press for 12 years. Dena lives in London, England.
OPP: I'm instantly attracted to the color and composition of your paintings. Personally, I find them very beautiful. Are you making horrible events more beautiful than they are or are you revealing some terrible beauty that already exists in tragic events? OPP: Tell me about your process of collecting and organizing the source imagery for your paintings.
DS: I was pulling these abstract frames from events around the world down to my desktop for months before I started painting from them. I just wanted to think about them, to not forget.
I began collecting images to remind myself about color and mood, and then I slowly started organizing images into vague categories by type or subject: crowds, building collapse, under sea, above sea. OPP: Talk about your instinct to create order out of chaos. You've mentioned it as part of your process.
Do you see this as an aesthetic instinct specific to artists or as human one? I read these pieces as a meditation on the similarities and differences between our culturally constructed, collective fantasies about wilderness and our personal, idiosyncratic experiences of kitschy, manufactured goods that are evocative of childhood in the 80s and 90s. Can you tell us about your intentions with this body of work? You have extensive—almost aggressive—materials lists for each piece. Many viewers don't read material lists—some don't even read titles!
They are ingredient based poems. Pots of gold and rainbows and the red balloon! The work fluctuates between moments of experiencing Teddy Grams, Honey Combs and Cheerios as concrete objects and believing in their function as symbols, bridging disparate perspectives on how myth functions. But this isn't your average nostalgia. What is it? What did she mean to you then? Do you think of that desire differently now that you look back at it as an adult?
Both explore the expectations placed on us by our families and the surrounding culture to perform gender in a prescribed way. But your mother represents a different position in each of the videos.
What was it like working with your mother in this way? Is she simply a performer in the videos, or was she also a part of the conceptualizing of these videos? What have you learned about that place in the process of making your work?
Identity, gender and the performative in Christo and Jeanne-Claude's work [ Joachim Stark] on tiopuncthodisli.ga *FREE* shipping on qualifying offers. Essay from. Identity, gender and the performative in Christo and Jeanne-Claude's work - Joachim Stark - Essay - Art - Installation / Action/Performance Art / Modern Art.
So you're probably noticing that things look a bit different here. Our old blogging platform, Posterous, shuts its virtual doors later in April due to acquisition by Twitter, but Posthaven has been created by Posterous's original founders as a way to continue their mission of offering simple, classy blogging. Posthaven is in public beta and doesn't currently support visual customization -- so we're in aesthetic 'basic mode' for a while here while the Posthaven gurus ramp up their platform to full speed.
You might also see a few typos in the tags that Posthaven is working to fix. Bear with us! For now, we are loving the new, larger format and lovely high-res images!
Norm lives in Brooklyn, New York. It seems to be your favorite material, and you stretch its capabilities in a lot of directions. What does it offer that other sculpture materials can't? I'm not sure if you are a Michael Jordan fan, but I suspect your interest in basketball—or baseball or football—isn't purely artistic, aesthetic or critical. Do you identify as a sports fan? He was the first sports figure to become a global brand. Just watch some highlights, maybe the Slam Dunk Contest , and you will find that Jordan is a Hellenistic sculptor and a performance artist.
He uses the aesthetics of Michelangelo to sell himself as a god within the Arena.