Though they have been in business since the ’80s, La Luz de Jesus has maintained a steadfast focus on emerging talent among their roster of established artists. Their annual juried group show, “Laluzapalooza 2014″ seeks to breathe fresh air into the LA art scene with around 100 artworks selected from over 16,000 submissions. Heavily dosed with kitsch and pop culture, this exhibition features artwork in a variety of media, from Christopher Ulrich’s off-kilter paintings of mythological scenes to Frank Forte’s nightmarish cartoons and Peter Adamyan’s irreverent, satirical wood-relief paintings. With the exception of a few, most of the artists in the show have seldom been heard on the lips of LA gallery goers. The exhibition promises a platform for these creative voices. “Laluzapalooza” opens March 7 and will be on view through March 30.
Indiana-based sculptor Christopher David White progresses past the typical use of ceramic materials, forming the clay to look like well-worn wood. White renders rich textures in the pieces such as grain lines and bark using acrylic paint to articulate details such as moss and dirt in his surreal sculptures. Perhaps one of the most striking aspects of White’s talent is the diligently sculpted smaller details of the pieces. Micro-sized versions of objects such as brick walls and books are formed with impressive detail. White continues this aesthetic in his functional ware, making ceramic kettles and cups that look like something out of a J.R.R. Tolkien novel.
This Friday, March 7, the Whitney Museum of American Art will open their 77th Biennial for its final time at the Marcel Breuer building in the Upper East Side before moving to its new downtown location. For the 2014 exhibition, the Whitney invited three curators from outside the museum — Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago) — to explore the loaded question: What is contemporary art in the United States now?
The sculptural work of artist Ben Foster can not be separated from his home and life in New Zealand. The varying landscapes of his home – from the mountains to the beaches – feature prominently in his work. Often his sculptures are placed within the context of these natural surroundings. His subjects are the animals of his daily life and others that share the land. The sculptures’ polygonal shape betray their man-made origin and contrast against the natural backdrop. The juxtaposition brings to mind the larger impact humans have on the environment of their home and perhaps the possibility of a peaceful coexistence. Appropriately Foster comments in his statement, “My works are a culmination of the natural and the man-made – a careful balance of form and motion.” See more of Ben Foster’s sculptures after the jump.
Scott G. Brooks is an especially versatile artist and illustrator. While creating illustrative works for a large number of high-profile clients, his fine-art paintings are particularly impressive. Brooks’ scenes are often elaborate, filled with detail and unnervingly surreal. However there is also a subtler characteristic to his style which creates an unsettling effect. A slightly stylized way of depicting people – their large heads, distance between their eyes – adds an additional level of peculiarity to his compositions. The over all effect is a painting with a strange and detailed story to tell. See more of Scott Brooks’ artwork after the jump.
While many speak of the Internet as an alternate reality where, through a carefully-crafted persona known as a social media profile, we go to escape, Montreal-based artist Dominique Petrin creates immersive installations that recreate the digital experience in the physical realm. The Internet Petrin refers to is one of the bygone era of dial-up, AOL chatrooms and MS Paint. She collages the digital kitsch of yore (clip art and CMYK color palette included) into an abstract amalgamation of jarring, pixelated shapes and colors. Her work is screen-printed on paper and wallpapered on gallery walls, transforming them into otherworldly environments. Petrin has an avowed interest in hypnosis, which comes across through the dizzying array of psychedelic patterns that envelope the viewers who experience her work.