• Spellbound

      Wednesday, 20 October 2010 15:11

      Please stand in front of one of the skulls. Only one person for every skull. Never more than one person for every skull. Please relax without losing your straight posture. Your arms are gently hanging from your shoulders. You feel your feet slightly touching the ground. You are breathing slowly in and out. It is […]

    • Traces of Adjustments

      Tuesday, 19 October 2010 15:23

      When I decided to come to New York, I thought that I represented Korean art students in America. I had nothing, and knew no one in New York, but I just believed in myself. I had a hard time studying in New York. I had to fight against language barriers, culture shocks, and isolation. It […]

    • An Innate Revolt

      Thursday, 30 September 2010 14:21

      I began painting in the streets of my hometown, Toulouse, France, in the early 1990s. My sensual “poupee” characters, painted with brush and acrylic paint as opposed to spray paint, powerfully stood out from the rest of the male-dominated graffiti pieces seen throughout my city. The characters’ sensuality, femininity, and unique style gained recognition and […]

    • Lapses of Disfiguration

      Wednesday, 29 September 2010 14:37

      My more recent paintings are all self-portraits, and I never initially intended to paint only myself and have them be recognized as that. I’ve avoided self-portraits because I’d viewed the practice as an attempt to provide too selective a picture of the artist’s soul rendered with varying degrees of what becomes a forced internal expression. […]

    • Who Loves Nièpce?

      Tuesday, 28 September 2010 14:31

      In the search for anonymous images there is no beginning or end, nor rare images, only incandescent projections which subjugate and instantly become absolutely indispensable. AAnonymes.org is one of the many histories of contemporary photography. AAnonymes.org shows “abandoned” photographs, antiquities of a reality that has ceased to exist in its original state, images which, like […]

    • Transitions of Travel, Trade, and Time

      Monday, 27 September 2010 14:10

      Looking at the absurdities and conflicts of living in an urban society in transition of “living 200 years in the past and 30 years in the future” simultaneously, my works broadly address the visual and cultural overlaps of language, image, and taste that create the most fantastic collisions. Looking at this phenomenon with humor, my […]

    • Dissecting the Constructs of Self

      Friday, 24 September 2010 14:06

      I cite various art historical and cultural sources in my work. My provocative, large-scale portraits theatrically confront the intersection of contemporary critical theory and global politics by drawing on a personal interest in design, fashion, art history, cultural analysis, philosophy, and psychology. The faces of my transnational, racially and sexually ambiguous characters are densely painted. […]

    • Collaborative Works: Blago Bung, Cold Mountain, and Emily Harvey Foundation

      Thursday, 23 September 2010 14:09

      The Dada force and spirit has been moved forward since 2006 at the Emily Harvey Foundation, where the first, second, and fourth Blago Bung evenings took place. The third was held in Zurich at the original Cabaret Voltaire in September 2009. Participants have included Michel Auder, John Armleder, Michel Collet, Gerard Colin Thiebaut, Adam Kahan, […]

    • Words of Liberty

      Wednesday, 22 September 2010 14:21

      Our major artistic concern is the creation and facilitation of free modes of communication. Our interest in the exploration of media began with our mutual frustration over the quality of printed media, particularly magazines. We felt that they lacked in originality, expression, voice, or freedom. Nearly every title was, and is, in someway under the […]

    • Playing The Curve

      Tuesday, 21 September 2010 14:34

      Leah Oates: How did you become an artist, and did you know early on that you would be in the arts, or did you begin as something else? Were there other artists in your family?Dianne Bowen: In the mid-60s, my parents were part of a movement of young artists moving out to Brooklyn, buying and […]

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