Conceptual pop sculpture that uses images taken from online. the works are well crafted
, animated, and the conceptually playful. In bringing together various divergent aspects of contemporary art, they acknowledge the possibility that they might look like extensions of an existing local economy, the commercial café. Rather than being an alternative to a top-down society, the cafes could serve as an alternative to the citys grim capitalist excesses.Gonzálezs main concern seems to be with the nature of movement, about which she has written in her talk at the University of the Arts, Art in General, translated into art history. She is explicitly concerned with using the work of the latter-day, post-postmodernist moment in contemporary art, but not with creating an image of the status quo, nor with what is taking place in contemporary art: the diffusion of logos and the proliferation of speculation. This exhibition, while a great step forward for the artists, does not fully incorporate what she has been working with for years. She has said that she has no intentions of making an image of the situation of the art world, and she probably will not, but her contribution to current art theory is an impressive one.
, though not quite so charming as digital text. Composed of images of the artist on various sofa cushions, text pieces, and paintings, they reflect Vancils mostly affection for the forms of the era: rock, sky, cave, rock-dome, sand. The collective idiom is best appreciated when one is in the process of getting to know these works, and perhaps not in the first place.The heart of the matter, then, is Vancils artist name—a feeling of self-pity that he combines into works that examine the ways in which the world is made, seen, and experienced, where identity has been irreparably compromised.
and aesthetically pleasing, often accompanied by meticulous works of art from top Kulturpunkt artist Anton Bogomolov. In previous exhibitions, Zentzs work has involved a more direct use of popular images, but the inclusion of his own photographs did not always help to maintain the subtlety of his medium. In all of the other works in the show, however, Zentzs collages were strong and clearly indicate his desire to use images that will appeal to a wide range of viewers. His works on canvas and paper also reveal an interest in painting and a willingness to experiment with painted surfaces, a quality that is particularly evident in the more recent paintings.The most challenging work in the show is Untitled (Nylon Night), 2010, which takes its title from the title of a 1960s-era T-shirt worn by an unknown B-boy. Like other pieces in this show, this one involves fragmented images taken from the internet and rearranged in a multitude of ways. Zentz has often worked with themes of death and destruction in his art and has clearly gone beyond the limits of his work. While in this case he is creating a work of abstract painting, this is far from the normative or cynical one usually associates with the term. In this case, the work is also about choice and self-determination and about bodies that are capable of taking responsibility for their own actions. It is about making art that exists in a world where those choices are possible and where we have the freedom to do them.
and sculptural. The compositions are created in collaboration with tattoo artist Frank Yoakum, and it is evident that Yoakum is one of the only two members of a major collective that manage to keep this type of work alive. His expressionist style, combined with his references to nature, the body, and history, make the new figures provocative and poignant.
, deeply personal, and imbued with a sense of mystery. If anything, one hopes that as the media and their sources are addressed, the artistic process will find a more mature, more thoughtful aesthetic expression.