Occasionally you come across something that seems like the perfect combination of things. Zimmermann’s work, especially in this series, plays on something so simple you might be forgiven for thinking it’s too easy, but just look at the results, he has an amazing eye. I can’t get over the results. I love looking at these.
Check out his portfolio for more in this series, and a 2.0 version and his other work. Portfolio.
more on his website
The choice of material is what really drew me in.
And what can be achieved with this awesome texture.
Additionally had no idea who made this piece of art I drive by often, or have seen up close having taken the brown line to “the end of the line.”
more info https://joshgarber.com/
Beautifully disturbing and wonderful. This is America, this is Art.
Perhaps its because I haven’t seen art in a while, or perhaps it’s my ever present love of minimalism but I thought this show at the Chicago Cultural Center was pretty good. There were definitely a few pieces in there that I enjoyed, made me think or were just plain intriguing.
For example there was a thought-provoking piece with just a microphone repeatedly hitting the wall, that recalled the best of 60’s and 70’s minimalists, that I really liked.
Although one of my favorite pieces I saw wasn’t even part of the show, it’s part of the recently closed Chicago Architecture Biennial, called Chicago: How Do You See? Norman Kelley covered each of the windows of the CCC mimicking a different style of window treatment. It’s very simple but I really appreciated the site-specific nature of the piece. (If you think I am a sucker for minimalism, you should see my love of site-specific work, and I go wild for work that combines both!)
The Cultural Center is a hidden gem. Whenever I am in the area I always make it a point to check out whatever shows happen to be there and I always pleasantly surprised, their curatorial decisions are above average for sure.
Present Standard features work by Alberto Aguilar, Candida Alvarez, Luis Miguel Bendaña, Paola Cabal, Juan Angel Chavez, Mariano Chavez, Alejandro Figueredo Díaz-Perera, Dianna Frid, Diana Gabriel, Maria Gaspar, Melissa Leandro, José Lerma, Ivan LOZANO, Jorge Lucero, Victoria Martinez, Harold Mendez, Sofia Moreno, Nora Nieves, Josué Pellot, Maddie Reyna, Luis Romero, Luis Sahagun, Chris Silva, Edra Soto and Rafael E. Vera.
Chicago Cultural Center
78 E. Washington St.
Chicago, IL 60602
John Franzen has really created something unique here. In this collection from the EACH LINE ONE BREATH each piece creates a beautiful reflection of the complexities of nature through pursuit of pure minimalism. Really great idea and really great execution.
The above images are just the reflection in one medium, blackened copper, but he also has versions of this series in other mediums, the rest of his work, the other series, are equally arresting. See his full portfolio at John Franzen
Wow what an awesome installation! that is just cool!
huh? what? Yeah the LightJet Print is the art. The photo and the print are the real art. There is no installation and there never was, well not life-size anyway.
It’s all part of a series of work by artist David DiMichele called Pseudodocumentation. At first I felt a little cheated, but the more I think about it, the more I appreciate and enjoy this pseudo art. In this day and age I experience most installation art exactly as above, as an image not an experience. These pseudo installation pieces serve to underscore exactly that point, and the more I meditate on them the more I like them.
I mean if they were real they would be awesome, but even as mockups they are engaging and as an added bonus they remind me of set-design models I used to make and play with so its a nostalgia/conceptual art win win.
Please make sure to check out all the “installation pieces” at his website.
I just love the instantly performative space a sculpture of the human body presents. It’s like an instant empathy machine. If not a mind connection, at the very least a body connection is formed. You can’t help but try to mimic the pose and state of the form you are presented with.
Althamer here subverts that instinct a little and I love it. You’re presented with a void where a body should be, a skeletal / zombie / mummy like experience mixed with the invisible man. Just enough to give a hint of the human form that should add corporality but is strangely absent yet wholly defined. That, paired with the extremely lifelike casts of the most expressive part of the human body just creates something perfectly disturbing and uncanny.
And yet this series is just one of a diverse, varied and long art practice that is Paweł Althamer.