Thomas Brooks Simmons, Bunker Hill Towers, Los Angeles, 1980
Black and white mural print, 42” x 78”
In 1980 Sarah Charlesworth searched the archives of wire services and tabloid newspapers for pictures of falling figures. From a selection of seventy she rephoto-graphed seven of the grainy images and enlarged them to human scale; her subjects are transformed into semi-abstract shapes hovering in front of the grids of blurry windows. Each of Charlesworth’s Stills (as the series was called) is unique and entitled with only the name of the subject, the building from which he or she fell, and the city; like tombstones, they declare only the facts, but not the manner, of the death. The most obvious precedent for the Stills are Andy Warhol’s paintings of suicide jumpers from two decades earlier, which famously literalized the numbing effect of incessant exposure to traumatic events as experienced through the mass media. Charlesworth’s works, on the other hand, are individual encounters with the mysteries of fate: it is not surprising to learn that her actual inspiration was Thornton Wilder’s The Bridge of San Luis Rey (1927), which chronicles a priest’s search for meaning after witnessing the collapse of an ancient footbridge and the resulting deaths of five people.
A cotton cloth filled with charcoal is moved up and down by a motor. The cloth falling on the ground creates a dust cloud. The dust slowly swirls down, a drawing is formed in space. This installation runs for four days, in which the change of the space becomes visible, 2013
Whereas London and Montreal have installed spikes on the sidewalks to keep homeless people from getting too comfortable, Vancouver offers a kind welcome with benches that transform into mini-shelters. A nonprofit called RainCity Housing teamed up with Spring Advertising to create the modified public benches in order to provide a covered place to sleep while simultaneously raising awareness.
"There’s no diploma in the world that declares you as an artist—it’s not like becoming a doctor. You can declare yourself an artist and then figure out how to be an artist." —Kara Walker
In a new episode from the ART21 Exclusive series, artist Kara Walker reflects on her early success and offers advice to the next generation of artists, shown again recent work at Sikkema Jenkins & Co. and the 2014 Frieze Art Fair.
WATCH: Kara Walker: Starting Out
IMAGES: Production stills from the ART21 Exclusive episode, Kara Walker: Starting Out. © ART21, Inc. 2014.
One of Kara Walker’s first shows was at The Drawing Center. And she is one of the 65 artists who are showing work in our current exhibition, The Intuitionists.
Planning on seeing a Yankee game this weekend? If you’re taking Metro-North Railroad to Yankees-E.153rd Street station, see Ellen Harvey’s permanent work The Home of the Stars in the pedestrian overpass. This large-scape series of glass mosaic panels captures the south-facing Bronx evening sky in April as it changes from 6:30 to 9pm depicting the radiant cloud-filled sky to a starlit night.
- Opus 2 (Arrangement In Skintones), digital chromogenic print, 2012
- Castrophia, paint on laser print, 2012
- The Girl With Stars In Her Eyes, paint on found ceramic bust, 2014
- Garage Sale Painting Of Peasants With Color Bars, paint on found painting and frame, 2011
- Portrait Of A Woman With Deletions, paint on found print, 2010
- Nocturne 109, digital chromogenic print, 2011
- Thrift Store Landscape With A Color Test, paint on found canvas and frame, 2009
- A Grecian Bust With Color Tests, paint on found stone sculpture, 2013
- Brutalized Gainsborough 2, paint on laser print, 2009
- Hymn 32, digital chromogenic print, 2013
Chinese artist Cai Guo-Qiang recently set up his new installation entitled, “The Ninth Wave" in the Huangpu River near Shanghai to drum up excitement for his sure to be incredible solo show at the Power Station of Art starting August 8th, 2014 in Shanghai. See more of this work below:
This is lovely, strange, and wrenching all at the same time. A teenager whose father passed away when he was just six had pulled out an old Xbox game that he and his dad used to play together, only to discover a part of his father lived on in the game, as a ghost car.
This is less supernatural than that sentence sounds. In racing video games, a ghost car is a representation of a previous player’s inputs and actions as they drove the track previously. Usually, the fastest laps are stored as ghost cars and then used by players to help them find the best line around a track, or have a way to compete with another player in a time-shifted way.
Via Jake H.