Joe Coleman (born November 22, 1955) is an American painter, illustrator and performance artist.
Coleman is best known for intricately detailed portraits of subjects both famous and infamous: artists, outlaws, serial killers, movies stars, friends, and family. He paints with a single-hair brush and uses a jewelers loupe; much of the detail is not visible to the naked eye. The majority of his portraits portray the central subject in the center of the canvas, lozenges containing biographical scenes and details from the subject’s life ring the central image.
His work draws as much from Coleman’s beginnings as a comic book artist as from historical precedents. His paintings are most often compared to those of Hieronymus Bosch, and his work has been exhibited alongside canvases by the Dutch master.
Paul Laffoley was born into an Irish Catholic family in Cambridge, Massachusetts in 1940. He spoke his first word, “Constantinople,” at six months, then remained silent until the age of four (having been diagnosed as slightly autistic), when he began to draw and paint. In his senior year at Brown University, he was given eight electric-shock treatments. He was dismissed from the Harvard Graduate School of Design, but managed to apprentice with the sculptor Mirko Baseldella, before going to New York to apprentice with the visionary architect Frederick Kiesler. In 1968 he moved into an eighteen- by thirty-foot utility room to found a one-man “think tank” and creative unit called the Boston Visionary Cell.
Laffoley supports himself with a job at the Boston Museum of Science, returning to the BVC not only to eat and sleep but to work on multimedia renderings of his visions of alternative futures and complex realities.
During a routine CAT-scan of his head in 1992, a miniature metallic implant, 3/8 of an inch long, was discovered in the occipital lobe of his brain, near the pineal gland. Local M.U.F.O.N. investigators declared it to be an alien nanotechnological laboratory. He has come to believe that the “implant” is extraterrestrial in origin and is the main motivation behind his ideas and theories.
As an architect, Laffoley worked for 18 months on design for the World Trade Center Tower II. As a painter, his work is usually classified as visionary art or outsider art. Most of Laffoley’s pieces are painted on large canvases and combine words and imagery to depict a spiritual architecture of explanation, tackling concepts like dimensionality, time travel through hacking relativity, connecting conceptual threads shared by philosophers through the millennia, and theories about the cosmic origins of mankind.
May 8th, the finissage of our exhibition Diva Opaque will be held at Schank8 gallery.
If you wish to see the capsule Ecstatic Surface Collection of Pinar&Viola, if you missed the opening, if you wish to have bubbles on a sunny sunday at Hansje’s, if you want to meet scarf_whiz80, or if you just wanna hang out with us you’re welcome to pass to the gallery.
Diva Opaque: Anonymous Guardians of Intimacy
Ecstatic Surface Capsule Collection
Finnisage 8 May 2011
15.00 – 18.00 hrs
We recently designed the invitation for Lost & Found which will take place on May, 6th.
Lost & Found is an evening event in Amsterdam which takes place in Amsterdam four-five times a year, where artists show material which doesn’t fit comfortably into regular gallery contexts; work which demands more concentration than the usual walk-by. The screening event turns around a different topic every time. For the next Lost & Found session, identity is the chosen theme. Thus, as visual, we used a piece from our capsule collection Diva Opaque: Anonymus Guardians of Intimacy which is currently on display at Schrank8 Gallery.
Sarah Maple was born in 1985 to a Muslim mother and Christian raised father and was raised as a Muslim. She studied Fine Art at Kingston University.
In 2007 she won the “4 New Sensations” competition, run by Channel 4 in conjunction with the Saatchi Gallery. The competition’s aim is “to find the most exciting and imaginative artistic talent in the UK” from among art students graduating that year.
Much of Maple’s inspiration originates from being brought up as a Muslim, with parents of mixed religious and cultural backgrounds. Blurring the lines between popular culture and religious devotion in an unfailingly mischievous manner, Sarah’s aesthetic narrative urges the viewer to challenge traditional notions of religion, identity and the societal role of women.
Maple’s work often takes on fabricated scenes and situations. She is affected by the art world, as well as from her general surroundings; including friends, family, television and popular culture. She is also greatly moved by music, comedy and literature. She believes these influences are truly woven into her art and provide the platform upon which her work is realized.
Sarah maple’s work from her own words:
People often think I am trying to be offensive with my Islamic based art which is absolutely wrong as I am Muslim myself. The work is about the distorted view many Muslims have of their own faith and culture and what makes a ‘good’ Muslim: especially in a western society. Many Muslim or Asian people have said things to me like ‘Yeah, but you’re not a proper Muslim are you?’ Why? Because I have white skin and don’t listen to RnB? I did try – I bought the ‘Boys to Men Legacy’ CD once but it made me feel ill.
In my work I question if you can be a ‘good’ Muslim in the West; especially if you are from two backgrounds like I. Islam is indeed a way of life. But what do you do when you have two completely opposite parents, to whom are you loyal? This relates to the current political climate with Islamic extremists. Many of these kids who become terrorists are born and bred in the west. They have grown up confused and torn between the cultural attitudes of Islam and the western environment in which they have been raised.
This battle between East and West has sky rocketed over the past ten years. I dread to think of how much worse the world could be in 25 years time. If I was to be picked for Four Sensations I would make a work on cultural identity in relation to Islam.
Brand New Paint Job
Some recent works over on Jon Rafman’s excellent piece Brand New Paint Job. Here so many crossovers are brought into proximity… the post-gallery, post-exhibition reality of a collectable painting largely as an adornment to the interior decor of the collector, bent around their objects like a kind of philosophical wallpaper, but in Rafman’s handling such a suggestion occurs skinned upon 3d alreadymades from Google 3D Warehouse. In this way the project may also wryly tackle one of painting’s most hotly defended and greatest historic fears: the decorative.
Each instance is a consideration between an object and a painting, potentially pitting the uselessness of paintings against the function of objects, dialing that hallowed and receding ground between art and design. Or casting painting in the lead role of Tradition for the visual, a position that blankets current image based material found within the internet. Seen in this way as an ancestor, out of context and sampled, Rafman may seem to suggest history is ultimately wrapped around whatever we do. This is interesting, particularly as history is a cumulative process, you know, history is actually increasing. The further into the future we go, the more history we must carry. We might not have to carry it as much as before if history is online, because now it’s just chilling in your pocket. In any case we could, like they did 100 years ago, always dump history by the wayside to lighten the load. Break free. Or as we see in these works by Jon Rafman, we could just continue to carry our burden awares – and do it with equal parts style and wit.
In each piece iconic proponents from the history of painting are summoned in the house of Google, relegated to the status of add-on surfaces, custom bitmap textures, literally shrink wrapped around pieces of online community objects. Is history fitting the current or is the current fitting history? Positioning painting in this way brings it into the realm of an exclusive wallpaper, a humorous play with interior designer chic. In some of the interior living spaces where Rafman has completely covered every object in a room with the repetition of a single painting, the room becomes a domestic shrine to a work, it’s facets a vortex, as objects are lost to and within a mutation of planes. Is this a new painting? Or a new paint job? With the critical Auction House Heights (AHH) of painting now represented also as google Image Search Stock (ISS), history can be understood as layers applied over or under the present, like a paint job.
Article written by Ry David Bradley
Ryder Ripps is an American artist born in 1986. He is best known for creating the real-time image sharing site, dump.fm as well as Internet Archaeology, an online gallery of earlier internet art. His work addresses the ways in which digital ephemera online effects culture, society and the world beyond the internet. His work features how the internet makes us reconsider notions of value, ownership and the purpose of art at large. His work posits that the chief purpose of art on the internet is to build community, define identity and explore curiosities of the “other” in ways that are truly unique to the technology of our times.
Ripps makes art which deals with Facebook, has shown work at Eyebeam Art and Technology Center and was named the number one emerging artist by critic Paddy Johnson. Ripps is a collaborator with artist Ryan Trecartin and M.I.A.
Lore, Folk, and Song – The Sound of Facebook – 2010
Only a small selection form his diverse collection
Sara Ludy is a Los Angeles based multi-media artist + musician. She is known with her vj work, however we feature her statically encapsulated digital fantasy.
Following our Dictator style post, we highlight another stylistic individual in the Arabian despot cosmos.
Hosni Mubarak’s custom-made pin stripe suit his name woven in the pattern.
You need a magnifying glass to see it. Monograming for megalomaniacs.
For those who would like to order a 25.000 dollar custom-made suit, you can visit Tom James clothing.
It’s no coincidence artist Will Cotton created the painting for Katy Perry’s new album cover. It’s been a perfect storm of timing as Katy Perry’s latest video “California Gurls” reaches almost 23 million views on youtube and is the number one video in itunes. According to artinfo.com Katy Perry first heard about Will Cotton when a friend sent a link to his website. It wasn’t long before the two were collaborating on her new album cover; Cotton painted a nude Perry in a cotton candy cloud that also shows up in the video. Which by the way, art director for the video was Will Cotton. There you see Cotton’s brightly colored confectionary landscapes a la live action. It’s all a mix of perfect ingredients as “The artist explained how he had long admired Perry from afar, clipping images of her from magazines as a source of inspiration for his paintings.”