Minimal and quiet, Brian Robertson’s artworks seem to be both a homage to cubism and other various abstract art movements, and to our curious obsession with space and the universe. Going against typical physiognomy, the LA-based artist dissembles people and objects with clean acrylic shapes and lines juxtaposed with controlled dashes of spray paint. Looking closer, you’ll also notice that various portals appear in his work — a black hole doorway to a starry universe, a triangular cut-out through which a blue line travels — perhaps a commentary on the loneliness of the human condition and the vast wonder of the universe. On a more humorous level, Robertson names every one of his people or objects with tongue-in-cheek titles such as Mr Pot-Head Worm-Mouth or Mr Yellow-Brick Shit-House.
Illinois based artist Anne Harris has a Renaissance-inspired technique, but there’s an emotional realism in her portraits. One of her primary interests as a painter is to portray the complex relationship between other’s perceptions versus our own. Her 21st century women evoke a certain self awareness in this respect. This may result from Harris’ process which involves studying her own features in the mirror while she paints. Since her early work, her style has become progressively softer and more simplified.
In 1979, Andy Warhol conceived “Shadows” with a goal that would not be realized. Vibrant with the high energy of a 70s disco, the 102-piece painting was designed to wrap around Studio 54, but it never did. Yes, painting, singular. Although in multiple parts, Warhol’s design is a visual décor meant to be shown as a whole. It has not been displayed in it’s entirety quite like this until today, now on view at the MOCA Los Angeles.
The work of Taiwanese photographer Yung Cheng Lin (aka “3cm”) is a sensitive and surreal observation of the female condition. Sexuality, menstruation, maturity and birth are all running themes in his photos, an ongoing larger body of work. His critics take two sides; most praise his abstract, personal take on a woman’s experience while others rejects it as objectification. 3cm rarely, if ever, grants interviews or interpretations of his work, so we can’t defend either. He wants his audience to look at his photos without interference. Take a look at 3cm’s latest work after the jump.