Siblings Sid and Marty Krofft were the architects of television shows and surreal puppetry that inspired generations, garnering the biggest influence in the 1960s and ’70s with designs for “Hanna-Barbera’s Banana Splits” and “H.R. Pufnstuf.” Now, La La Land Gallery curator Kii Arens has assembled a group show to pay tribute. The Krofft Super Art Show opens on Aug. 26 at the Los Angeles gallery.
Brandi Milne’s pop-surrealist, acrylic paintings are both sweet and strange, each a peek into the artist’s modern-day and childhood influences. A new body of work “Once Upon a Quiet Kingdom,” is collected in a show at Corey Helford Gallery in Los Angeles, which kicked off on Saturday. This is her fourth solo exhibition.
Christopher Konecki’s vibrant paintings, sculptures, and murals distort and create surreal artifacts out of urban landscapes. This vibrant, yet somewhat bleak observations recall work from Jeff Gillette and Masakatsu Sashie. (Also, Josh Keyes, who was recently featured here on the blog, carried similar visual themes in his own early work.)
Janaina Mello Landini’s work may appear as representations of the circulatory system of the human body or roots from the natural world. But in truth, Landini’s work is created from unbraided rope, meticulously twisted and arranged and emblematic of a number of concepts. Zipper Galeria says that she combines her knowledge of “architecture, physics and mathematics” to creature each work.
Telmo Miel is a duo consisting of Dutch artists Telmo Pieper and Miel Krutzmann, and the two are known for their murals, appearing across the world. Though the pair also regularly produces interior and canvas works, also carrying their sense of layering and surrealism. Telmo Miel’s work last appear on HiFructose.com here.
Korean ceramics artist Maeng Wookjae creates strange animals and figures that feel both familiar, yet disconcertingly outside the realm of reality. Yet, the artist’s work may be more tethered to our own world than one would imagine. In a statement, he details his thought process in engaging with the viewer, saying one “not only intellectually comprehends the work but also viscerally appreciates it if their preconceptions are challenged or senses other than sight are stimulated.”