an artistc representation of the alphabet using coffee and ear buds
. A group of small red plastic bags with a cartoonish silhouette of a flower are stacked around a bottle of water; the sign above reads JESSE, which functions as a reification of the individuals desire to be popular, to be seen as a person, to be understood as an individual. It is a scene reminiscent of the plastic-bag landscape in the work of Richard Artschwager, or of the sidewalk in front of the Duane Hanson building in New York, or of the menagerie of the kids toys in the yard.In this context, the use of coffee and the use of the coffee can provide a kind of guerilla strategy, a means of educating and of seducing. The act of looking is done with the help of the viewer—who is then part of the game. In this regard, I think that the coffee cups are the medium, and the pots the message. A similar strategy was used by Artschwager in a sculpture that consisted of the coffee cups and the spoon of a coffee mug placed on top of a pile of shoes. The work, entitled U-Hauled Carpet, 1985–86, evoked the genre of sculpture that exists today, where objects are towed by a hauling action from a scrapyard to a warehouse. This is a carpenters task, which is made even more conspicuous by the fact that the service industry has a long history of using the same creative strategy of taking away a carpenters tools to make a profit.
as a medium, of the letters of the alphabet rendered in ink on a piece of white paper with a pencil and a brush, of the letters of the alphabet rendered as shillies and hens in a jug of beer. A little later, in a series of works based on the Germanies (gauze, papyrus, paper, etc.) of Amsel Zaloudek, he began to paint out his own handwriting in various ways. His handwriting grew more and more fragmented and disconnected, until it began to resemble the very surface of the canvas. To the extent that his writing was still legible, it became a kind of graffiti. In one piece, he used a fingernail, which was not quite a black mark, but it was still a fingerprint, a sort of loss of my fingerprints. With the arrival of my son, I had to ask myself, What did I do? And what will I do with my son? And then, when I began to paint, I realized that I had painted before him, that the monochrome paintings of the 60s were already about writing. I wanted to bring that experience to his painting. He was not interested. It is not a matter of some German versus an American, but of a person engaged in a dialogue with the fact that the fact of his being is not sufficient to confer on him a right to a painting.
an artistc representation of the alphabet using coffee and ear buds, a portable vaporizer, and an electronic telephone—the name of the letter I, which in turn appears in a letter-shaped drawing in which the letter 'A' appears, then the letter 'L' in a drawing in which the letter 'L' appears, then the letter 'C' in a drawing in which the letter 'C' appears, and so on. Many of the letters are digital images, most of them in the form of a series of small dots, a format that has been used for decades, but recently taken up by an artist as well as a bunch of random one-liners. It is a novelty, for instance, that has become a recognizable motif on the internet. Some of these works are also digitally printed on stickers (with a later return of the form), an easy technique for the artists to display their work in a variety of ways, but also a way for them to become part of the digital landscape. In other works, however, the marks are self-referential, sometimes falling into clichés of logos, images, or words that represent the artists own symbols—sometimes almost as if they were products of the digital hand of the internet, the accumulation of traces of the artists work.The same objectivity prevails in the works, drawings, and installations on display: Even the most abstracted works have a formal quality. Here, for instance, the drawing of a small, surreal looking object of a coffee mug, in which a figure is grotesquely inflated by the arms, has the form of a bottle, a row of keys, a spiral, and a letter from the artists text. The combination of the grotesque and the mundane is characteristic of the most abstract works, but it is especially present in the drawings. The illustration shows something that is ambiguous in the original, but is here transformed into a modern, digitally accurate picture.
an artistc representation of the alphabet using coffee and ear buds as key elements. The artist created a sculpture from the coffee grinder and a wooden frame that the sculpture is suspended from above. The sculpture, which is painted in copper and is reminiscent of a sculpture by Antonioni, consists of a wooden frame, a coffee grinder, and a folded paper bag. The coffee grinder is a stereotypical tool in the African tradition of making pots and pans. This work addresses a particular situation in the region of Kinshasa, where the continent has been divided since French colonial rule and the Portuguese came to dominate the countrys borders and commerce. The works title, Out of the Medium, is taken from the Latin root oullo, which means to be out of the medium. The phrase also refers to the struggle between the light and dark sides of the eternal fire. The works metaphorical and poetic form is thus deeply tied to its cultural context. In this piece, the grinder represents the source of knowledge, and the paper bag represents the loss of that knowledge. The grinder is an embodiment of African spiritual traditions that are rooted in the creation of the African sign. The grinder is an emblem of emancipation from the grip of the past and of the ideas of the past. In this piece, the artist also carries the signs of emancipation to a future time, as the grinder is represented by an African, a French, and a foreigner. This work is both poetic and conceptual. The work is filled with many elements that convey the struggle for the relationship between the individual and society. It is at once a physical examination of the past and a mental, symbolic, and symbolic exploration of the present. The piece is also an ambiguous yet eloquent document that describes the moral and symbolic issues that confront us today.In the series of work called Untitled (Birds), 1991, the artist uses newspaper as a medium in which to represent the struggle for the survival of the species.
as his means of comparison, and then juxtaposed the results with photos of the artists and friends (taking up another metaphor of the image of the individual). This opening up of relationships is a familiar strategy of Lees art, which she has used in previous projects, such as the series A Scanner and a Pocket Cinema Camera, 2000. But here, Lees focus was less on the interiors of a body than on the interpersonal relationships between individuals. As a result, the viewers experience of the installation was ambivalent, with some people finding the installation disturbing and others happy about it, as if the experience of being a part of a private space could be viewed as a form of voyeurism. However, this ambivalence was not always apparent, as when, for instance, a mother and daughter sitting on the floor in a circle of chairs look as if they were about to touch, or a young man with a big rock for a head and a small one for his hand, who was a part of the installation.Lees work is always ambivalent, and this ambivalence was evident in this exhibition. Her installation can be read as a meditation on the relationship between the self and others, and between the individual and the society at large. But it is also an example of how relationships are formed through repetition and mutability. Lees repetition of the act of drawing is no less extreme than the marking of a page in a notebook, but it is much less disturbing, as is the possibility of misunderstanding. Lees work is very much about the relationship between drawing and others.