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      An Expansive Exhibition Pairs Two Indigenous Artists to Explore the Power of Socially Engaged Artmaking

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      Art

      #animals
      #collaborative
      #found objects
      #installation
      #portraits
      #sculpture

      May 21, 2021
      Grace Ebert

      “Each/Other,” (2021) about 700 bandannas, approximately 16 x 9 feet, a collaboration between Marie Watt and Cannupa Hanska Luger
      A monumental patchwork wolf, warriors sparring with a fang-bearing snake, and an abstract woolen tapestry made of restored blankets comprise Each/Other: Marie Watt and Cannupa Hanska Luger, which opens this weekend at the Denver Art Museum. The expansive exhibition—featuring 26 mixed-media sculptures, installations, and wall hangings—joins two of the leading Indigenous artists working today in a manner that distinguishes both the connective threads and nuances within their bodies of work.
      Situated at the center of the space is the 16-foot creature the pair created together by fashioning about 700 patterned bandannas submitted by an international crew around a steel armature. The collaborative installation, titled “Each/Other,” physically tethers Watt’s and Luger’s individual artworks while drawing on the socially engaged aspects inherent to both of their practices.

      Cannupa Hanska Luger, “Every One” (2018), ceramic, social collaboration, 12 x 15 x 3 feet. Image courtesy of Marie Walsh Sharpe Gallery of Contemporary Art at Ent Center for the Arts, UCCS, Colorado Springs, Colorado
      Based in New Mexico, Luger is a multi-media artist of Mandan, Hidatsa, Arikara, Lakota, and European descent whose projects often speak to contemporary life within Indigenous communities. For example, his 2018 piece “Every One” strings together 4,096 ceramic beads into a pixelated portrait of a young figure. Each individual orb represents one of the women, girls, and queer and trans folks who have been murdered or gone missing in Canada.
      Watt, who is a member of the Seneca Nation and has Scottish and German heritage, utilizes everyday objects steeped in historical narratives and collective memory. Whether presented through leaning, stacked towers or smaller wall hangings, the Portland-based artist primarily works with materials gathered from the community, like blankets stitched in sewing circles.
      Following the end of its run in Denver on August 22, Each/Other will visit the Michael C. Carlos Museum in Atlanta from September 25 to December 12, 2021, and the Peabody Essex Museum in Salem from January 29 to May 8, 2022. Find out more about Luger and Watt on their sites.

      Marie Watt (Seneca), “Butterfly” (2015), reclaimed wool blankets, satin binding, thread, cotton twill tape, and tin jingles, 94 x 126 inches. Image © Marie Watt
      Cannupa Hanska Luger, “This Is Not A Snake” (2017-2020), ceramic, fiber, steel, oil drums, concertina wire, ammunition cans, trash, found objects, 78 x 36 x 600 inches. “The One Who Checks & The One Who Balances” (2018), ceramic, riot gear, afghan, wool surplus industrial felt, beadwork by Kathy Elkwoman Whitman; 6-1/2 feet x 12 inches x 8 inches (each, approximate). Image © Cannupa Hanska Luger, courtesy of the Heard Museum, Craig Smith
      Marie Watt “Companion Species (Radiant)” (2017), crystal and western maple base, 8 x 27 x 16 inches. Image © Marie Watt and Kevin McConnell. Made in collaboration with Jeff Mack, Glassblower, and Corning Museum of Glass Hot Glass Team in Partnership with the Rockwell Museum, Corning, New York
      Cannupa Hanska Luger “Mirror Shield Project” (2016), drone operation/performance organization by Rory Wakemup., at Oceti Sakowin camp, Standing Rock, North Dakota

      #animals
      #collaborative
      #found objects
      #installation
      #portraits
      #sculpture

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      New Articulate Cardboard Sculptures by Greg Olijnyk Populate Miniature Worlds of Fantasy and Science Fiction

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      Art
      Craft

      #cardboard
      #insects
      #light
      #robots
      #science fiction
      #sculpture

      May 20, 2021
      Grace Ebert

      “DvG 2.0.” All images by Griffin Simm, © Greg Olijnyk, shared with permission
      An eerie pair of buildings, a jet-powered dragonfly, and a sci-fi-inspired retelling of David and Goliath complete with an oversized robot and samurai comprise the latest cardboard sculptures by Greg Olijnyk (previously). Fully articulate and outfitted with LED lights and glass where necessary, the extraordinarily detailed works are futuristic, slightly dystopic, and part of larger world-building narratives. The architectural constructions, for example, are “the start of a series of pieces exploring the fear, fascination, and curiosity aroused by the stranger in our midst. The weird presence out of place. The building of unknown purpose with no windows and with lights flickering at night,” he says. “What’s going on in there?”
      Olijnyk is based in Melbourne and shares works-in-progress and more photos of the machine-like sculptures shown here on his Instagram.

      “DvG 2.0”
      Detail of “DvG 2.0”
      “Dragonfly Bot”
      “The New Neighbours,” 80 x 75 x 30 centimeters
      “The New Neighbours,” 80 x 75 x 30 centimeters
      Detail of “The New Neighbours,” 80 x 75 x 30 centimeters
      Detail of “Dragonfly Bot”
      “Dragonfly Bot”

      #cardboard
      #insects
      #light
      #robots
      #science fiction
      #sculpture

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      Capricious Characters Express Emotional Ambivalence in Yoshitoshi Kanemaki’s Glitched Sculptures

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      Art

      #emotions
      #portraits
      #sculpture
      #wood

      May 19, 2021
      Grace Ebert

      “Fleeting Moment Caprice.” All images @ Yoshitoshi Kanemaki, courtesy of FUMA Contemporary Tokyo, shared with permission
      Japanese artist Yoshitoshi Kanemaki (previously) carves fickle, ambivalent, and even contradictory sentiments in his figurative sculptures that embody a range of emotions. The wooden characters are surreal in form with multiple limbs, duplicate features, and recurring faces that wind entirely around their bodies. Whether conveyed through kaleidoscopic or blurred techniques, each portrait “expresses the dignity of life as a human being, the hate and harassment that people experience, and the importance of environmental awareness,” the artist says, explaining:
      It’s the hesitation, contradiction, two-sidedness, or multi-sidedness, double standard. These are the problems that all people have, and I express them as sculptures under the concept of “ambivalence.” I want to portrait a modern person, who visualizes the “ambivalent” state that everyone has.
      Kanemaki is based in Nagareyama City and is currently altering one of his older works titled “Memento Mori” to deepen its sentiments and add more complexity. Explore an archive of his glitched figures at Fuma Contemporary Tokyo.

      “Singing in Rounds Geometry”
      “All Day Believing”
      “Singing in Rounds Geometry”
      “Swing Caprice”
      “Swing Caprice”
      “Repetition Geometry”

      #emotions
      #portraits
      #sculpture
      #wood

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      Nimble Pugs and Other Cheery Canines Are Chiseled into Stocky Wooden Sculptures by Misato Sano

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      Art

      #dogs
      #sculpture
      #self-portrait
      #wood

      May 17, 2021
      Grace Ebert

      All images © Misato Sano, shared with permission
      Studies show that people are inclined to adopt canine companions that resemble themselves or family members, a psychological impulse that Misato Sano (previously) flips on its head. Rather than carve a pack of doggy doubles, the artist creates textured wooden sculptures of curly-haired poodles and acrobatic pugs imbued with different aspects of her own personality. Encompassing multiple breeds, expressions, and physical traits, each work is a self-portrait. She explains to Colossal:
      For me, using the form of dogs is the most appropriate, highest-resolution method to materialize what I think of my inner self. Materializing myself in various states is about having an honest, direct dialogue with myself. In facing myself, I would like to be passionate, free, and loving, like a dog. My works are also about myself looking at myself. In that sense, I might have been making an existence that is sometimes beside myself, a little distance in other times, watching over myself.
      Sano is based in the Tohoku region of the Miyagi prefecture and spends her summers creating the lively creatures with fur chiseled in visible gouges. As the weather turns cold, she shifts her practice to embroidery and conveys the adorable faces in plush tufts of thread.
      If you’re in Portland, you can see Sano’s carved characters as part of a group exhibition running August 14 to 29 at Gallery Nucleus. Otherwise, check out her Instagram for glimpses into her process and to see some of the real-life pups that inspire her works.

      #dogs
      #sculpture
      #self-portrait
      #wood

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      Digital Renderings Collage 3D Objects into Futuristic Self-Portraits by Artist Omar Aqil

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      Art

      #collage
      #digital
      #sculpture
      #self-portrait
      #technology

      May 13, 2021
      Grace Ebert

      All images © Omar Aqil, shared with permission
      Lahore, Pakistan-based artist Omar Aqil (previously) digitally assembles technology, 3D objects, and textured masses into figurative collages for his series Self-Portraits 2050. The futuristic characters all sport a pair of glasses but are otherwise distinct, sometimes conveyed through sleek geometric shapes stacked into facial features and others sprouting whimsical florals and various organic elements. Experimentation and play are at the heart of this new series—which Aqil refers to as “profile pictures”—and his practice overall, resulting in an eclectic collection of self-portraits rooted in the current digital era.
      Find more of the artist’s sculptural renderings, which include a variety of abstracted figures and colorful assemblages, on Behance and Instagram.

      #collage
      #digital
      #sculpture
      #self-portrait
      #technology

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      Assembled Sculptures by Artist Willie Cole Cluster High Heels into Expressive Masks

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      Art

      #found objects
      #masks
      #sculpture
      #shoes

      May 5, 2021
      Grace Ebert

      “Street Dragon I” (2018), shoes, wire, and screws on a metal stand, 64.5 x 16 x 15.5 inches. Photo by Joerg Lohse. All images © Willie Cole, courtesy of Alexander and Bonin, New York
      New Jersey-based artist Willie Cole juxtaposes readymade footwear and African tradition in his series of sculptural masks. The figurative assemblages stack women’s heels into clusters that are expressive and distinctly unique, an effect Cole derives from the shoes’ material, color, and pattern rather than a preconceived plan or sketch. Depicting exaggerated toothy grins, pointed brows, and outstretched tongues, the sculptures span more than a decade of the artist’s career and influence a new collaboration with Comme des Garçons that’s comprised of headpieces made with black pumps.
      Each piece is layered with cultural and societal markers, including those that comment on mass consumerism, fashion trends, and notions of femininity. This context is situated in time and place, which Cole describes as “a subtle catalyst for perception. I have discovered that high heels purchased in New York are very different than high heels purchased in Georgia,” he says. Cole explains:
      I guess you could call the high heel both an anxious object and a readymade aid. ‘Anxious’ because as a symbol, it is fully loaded with history and a story all its own even as just a shoe. ‘Readymade aid’ because that history adds so much to your interpretation and/or reaction to these pieces. As for fashion, these pieces speak about the abundance of discarded high heels in the world as well as the various styles and trends.
      The artist is involved in a variety of projects at the moment, including a commission for Kansas City International Airport that’s an homage to Charlie Parker and a series of sculptures made with 75 acoustic Yamaha guitars that’ll raise money for music education. His work is currently on view at Alexander and Bonin in New York City and Beta Pictoris Gallery in Birmingham. This summer, he’s participating in a show at Hauser and Wirth and is involved in an installation celebrating a former Black neighborhood that’s opening at the Metropolitan Museum of Art this fall. See more from his expansive body of work that largely explores Black identities on his site and Instagram.

      “Sole Brother 1” (2007), shoes, wire, washers, and screws, 18 x 18 x 19 inches. Photo by Jason Mandella
      “Ashley Bickerton” (2016), shoes, wire, and screws on a metal stand, 63.5 x 16 x 15.5 inches. Photo by Joerg Lohse
      “Street Dragon II” (2018), shoes, wire, and screws, 19.5 x 15.5 x 10.25 inches. Photo by Joerg Lohse
      “Shine” (2007), shoes, wire, washers, screws, and shelf 16 x 15 x 16 inches. Photo by Jason Mandella
      “Fly Girl” (2016), shoes, wire, and screws on a metal stand, 65.5 x 15.5 x 15.5 inches. Photo by Joerg Lohse
      “Sole Brother 2” (2007), shoes, wire, washers, and screws, 19.5 x 16.75 x 18 inches. Photo by Jason Mandella

      #found objects
      #masks
      #sculpture
      #shoes

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      in Street Art

      D*FACE “Death and Glory” Limited Edition Sculpture – Available May 6th

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      Atelier Kismet collaborated with D*Face (Dean Stockton), one of UK’s most prolific Urban Contemporary artists. Entitled, Death & Glory, this collaborative piece represents the third iteration of the original D*Face artwork under the same title. Now released in miniature, the piece features a hidden incense burner chamber inside the ceramic model, bringing the sculpture to life as it smokes and fumes with the incense of choice.The sculpture represents a significant landmark in D*Face’s career as it was the opening statement to his first solo show Death & Glory, StolenSpace Gallery, London (2006). Featuring a police car smashed under the weight of the iconic D*Dog, the work reflects on the recklessness of the police force actions in law enforcement and is a statement of the artist’s reaction against such conduct.“Death and Glory” sculpture is an edition of 75 with measurements as the following:D*DogCeramic with Platinum Coating19 cm x 11 cm x 12.5 cmPolice CarGlazed and Hand Decorated Ceramic24 cm x 10 cm; height: 7.5 cmBox28.6 cm x 27.6 cm; height: 21.2 cmDean Stockton, also known as D*Face, is one of UK’s most prolific Urban Contemporary artists. Taking the public streets as his canvas, he blends art, graffiti and design to create murals that at the time, preceded Urban Art’s emergence as it is known today. The artist describes his work, often characterised by vibrant hues and sharp lines, as ‘aPOPcalyptic’. D*Face seeks to pick up from where the masters of 1980’s American Pop Art left off by subverting everyday images and icons, criticising the consumer dominated world and encouraging the viewer to carefully consider what otherwise might be taken for granted.Check out below for more images of “Death and Glory”.The sculpture will be available on May 6th, Thursday @ 5PM UK Time at Atelier Kismet. More

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      Download and 3D-Print 18,000 Artifacts from Art History through Scan the World

      by

      
      Art
      Design
      History

      #3d printing
      #art history
      #open source
      #sculpture

      April 28, 2021
      Grace Ebert

      Scan the World might be one of the only institutions where visitors are encouraged to handle the most-valued sculptures and artifacts from art history. The open-source museum hosts an impressive archive of 18,000 digital scans—the eclectic collection spans artworks like the “Bust of Nefertiti,” the “Fourth Gate of Vaubam Fortress,” and Michaelangelo’s “David” in addition to other items like chimpanzee skulls—that are available for download and 3D printing in a matter of hours.
      Searchable by collection, artist, and location, Scan the World recently teamed up with Google Arts and Culture, which partners with more than 2,000 institutions, to add thousands of additional pieces to the platform. Each page shares information about an artifact’s history and location, in addition to technical details like dimensions, complexity, and time to print—scroll down on to view images of finished pieces uploaded by the community, too. While much of the collection focuses on Western art, it’s currently bolstering two sections that explore works from India and China.
      Scan the World is part of My Mini Factory, which is the largest platform for 3D-printed objects. If you’re new to the process, check out the site’s wide range of tutorials, including tips for beginners,  how to scan with your phone, and techniques for using drones to capture hard-to-reach works. (via Open Culture)

      Left: “Mars and Venus.” Right: “Marble Head from a Herm“

      #3d printing
      #art history
      #open source
      #sculpture

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