The Beautiful Barbie Series by Beau Dunn Featured In The Home Of Claudia Schiffer As Seen In Architectural Digest.
In his The Boombox Project: The Machines, the Music, and the Urban Underground, Canadian photographer and author Lyle Owerko calls the once-ubiquitous boombox a “sonic campfire” and “the eighties equivalent of Spotify – a conduit through which music was shared.”
It’s hard to imagine any contemporary, Spotify-equipped device as analogous to a campfire, sonic or otherwise. But the Spotify comparison does speak to the boombox’s small-scale social media-like power, decades before the term “social media” was even coined.
In one interview, Owerko opined that the boombox was “a metaphor for free speech … a metaphor for empowerment.” Boomboxes were also “borderless,” he said; despite the connection to hip-hop luminaries such as LL Cool J, who proudly displayed his JVC RC-M90 on the cover of Radio, rock and punk acts also embraced boomboxes as emancipatory tools, for reasons both low- and highbrow.
“You were no longer trapped to an AC outlet,” Don Letts of iconic 1980s post-punk act Big Audio Dynamite told The New York Times in 2010. “You could take it to the streets, and wherever you took it, you had an instant party.”
The boombox also transcended musical genre and politics to become both a pop culture icon and an affordable way to get high-quality music wherever you wanted it; as Owerko notes: “You know, it extended around the globe … it was wherever people wanted to listen to music, whether it was a beach cafe, in a mechanic’s shop, in an artist’s studio.”
But boomboxes also served as status symbols. “Back in the day they were also a form of conspicuous consumption: some cost $700 or more,” notes journalist Ben Sisario. “I remember some boxes so big, they required 20 D-size batteries to an already heavy box,” Fred Brathwaite, a.k.a. artist and musician Fab 5 Freddy, told NPR in 2009. “So these boxes were so heavy that some cats that would carry their boxes all the time, they would develop massive forearms and biceps.”
But with the advent of Sony’s portable and stylish Walkman, the beastly box’s days were soon numbered. The Consumer Electronics Association says that only 329,000 proper vintage boombox models (i.e., without CD players) were shipped in the U.S. in 2003. In 1985, that number had approached 25 million.
The gallery of vintage boombox photos above showcases these machines in urban environments across the globe, in their heyday and in their waning years, right before portability and personal soundscapes beat out the communal, “sonic campfire” experience of the bold and beautiful boombox.
Art Angels Presents Renowned Photographer, David Yarrow.
David Yarrow has built an unrivalled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now one of the world’s best selling ne art photographers.
He is represented by some of the world’s leading galleries, with his prints selling for up to $60,000 and in America David has shown at the renowned Perot Museum in Dallas and his work is permanently on show at the new Museum of Natural History in Missouri. David’s images are among some of the most sought after pieces of work within the industry.
David has a global book deal with Rizzoli publishing house in New York, and produced a flagship book named ‘Wild Encounters’ featuring work from seven continents, capturing some of the earth’s most endangered species. He is honoured that HRH the Duke of Cambridge has written the foreword to the book which was released in October 2016 and all author royalties from the book will go to Tusk Trust. Amazon awarded it “The Best Art and Photography book of 2016”.
Alongside Rizzoli, David launched the book in a series of events across the world in the last quarter of 2016, including exhibitions at Fotografiska in Stockholm, Leonhard’s Gallery in Antwerp, Holden Luntz in Palm Beach and at London’s Somerset House.
June 29 - July 2nd, Booth A29
Art Pampelonne is pleased to announce our official endorsement by the Welcome to Art Pampelonne, presqu'île de Saint-Tropez.
Art Pampelonne will present 30 international galleries, showcasing the most notable artists in the contemporary field. Located a short walk from Nikki Beach’s famed property, Art Pampelonne will host an elite audience of tastemakers with a selection of curated events that engage the international art community.
SCHEDULE VERNISSAGE THURSDAY 29TH 12 PM - 2 PM
PUBLIC OPENING THURSDAY 29TH 2 PM - 9 PM
GENERAL SHOW HOURS FRIDAY 30TH 12 PM - 9 PM
SATURDAY 1ST12 PM - 9 PM
SUNDAY 2ND12 PM - 8 PM
LOCATIONROUTE DE L’ÉPI, 83350 RAMATUELLE, FRANCE
Mar is sitting in his Marina Del Rey studio, wearing a pair of ripped, paint-splattered jeans. Behind him is the largest piece featured in his upcoming solo exhibition at Art Angels: a 6×6-foot color-wheel whirlpool. Mar points directly across from him to a painting leaning against his canvas-covered wall. This as-yet-untitled piece has the artist’s earliest (and some might say signature) gray-scale geometrics being sucked into a tornado of color. But each shard of pigment, like his earlier “fire flowers,” is wrapped in a thick black blanket—it’s as though his latest work is consuming the old.
“That was essentially the matrix breaking away,” Mar says, “and me seeing the truth. Which is basically just me getting out of my own way. I was trying to figure out this thing that I kept doing over and over, repetitiously.”
While he’s still deciding on whether or not to name his pieces a week before his opening, he’s christened the show “Warp Drive.” The title alludes to worm holes, the space tunnels that bend the fabric of space-time. (“Warp Drive is the vehicle that allows us to travel at light speed, but the only thing that can travel at light speed is a photon—if we were to travel at light speed, we would die. Also we would create a rift in the universe that would tear apart time-space.”) Like the theoretical phenomena, Mar knew these paintings would transport him somewhere, but he “didn’t know where that was.”
The unknown at the other end, and churning of disparate elements, seems to be an underlying current of this recent work.
To create these warp drives, Mar combined his traditional hand-painting with computer assist. These works “started with a drawing and…” he trails off; as he speaks, you can see the concepts and images spinning around in his brain, and he now closes his eyes and his hands raise and he tries, as artists do, to convey what he’s seeing in his head: “Every time I do it, I have an idea of what it’s going to look like—and I can take that further with the ability the computer has to infinitely edit something.”
But this, too, is whirlpooled. Mar wants these pieces to look as though they were designed on a computer but printed through the hands of a human. “Initially, I just wanted to be like an Epson printer that fired off the perfect designs,” he laughs. “But I didn’t want [the pieces to give off] a cold machine vibe—I wanted the feel of a human-made painting.”
Mar takes his name from the Spanish word for “ocean,” which he’s always lived near; he’s a surfer who grew up near places in Malibu the Beach Boys sung about. It’s perhaps not surprising, then, that the inspiration for this show was born from water, though not as one might suspect.
Mar’s biological grandfather died in a scuba-diving accident in a cenote. The artist creates a hole with the thumbs and middle fingers and explains how these sinkholes, found in Mexican rain forests, were believed to have been portals to the underworld by the Mayans. “They’re beautiful water that goes to all these varying depths.” While Mar never had a relationship with the scuba diver, he got the weird sense that cenotes mattered to him. The Mayan’s belief that these led to another dimension began spinning about his mind. “Time folding over on itself and you literally are going someplace, what would that look like? A cenote swirling downwards really fast? Okay, time to paint one.”
What Mar painted, he admits, is something “very odd.” Which makes transcoding the images to words difficult. “To describe it as ‘they’re swirl paintings with a bunch of color’ is to do the person describing them a disservice.” Similar to the phenomena the paintings allude to, Mar encourages the viewer to go someplace “a little deeper and a little less surface.”
“Through repetition—repeated colors, repeated patterns, repeated shapes—greater insights can be revealed,” Mar says.
While warp drives and worm holes are the stuff of theoretical physics, and cenotes the stuff of Mayan legend, what’s on either end of these paintings, Mar hopes, is something decidedly human: “Your insights into the work may be completely different than anyone else’s. The paintings are like a bridge between people who wouldn’t normally, perhaps, have a bridge.”
by Josh Herman ( Artillery Magazine)
Opening Reception: Thursday June 8th 7-10PM
Art Angels presents ‘Warp Drive’, the highly anticipated solo exhibition by Spencer “Mar” Guilburt which takes its viewer on a journey through time-travel and visualizing the unseen utilizing his signature fire flowers. It is the idea of a wormhole, a tunnel which links two points in space and time that inspired the creation of Spencer’s newest series.
Through the use of movement and rhythm and the interplay of color, shape and structure, MAR utilizes and explores the power of repetition and its ability to reveal greater insights. He uses shapes and geometric forms, as well as dramatic color schemes to develop his own visual language, convey a sense of feeling and bring the viewer closer to his heart. These “Fire Flowers”, as he calls them, are more expressive and gestural, than they are mathematical. As one spends more time exploring these new works, a deeper meaning emerges and unlocks a whole new layer of complexity. More than anything, his paintings are feelings as much as they are imagery.
Though the theory of relativity allows for the existence of wormholes,
they are a phenomenon that has never been observed. Imagining the
unimaginable is where the journey through “Warp Drive” begins. With
this series, Mar sought out to visualize what these wormholes might look
like and illustrate a bridge between time and space. With black lines as the
single constant in the collection, each piece is, in its own right, a distinct
hypothetical perspective on a wormhole.
Travel to a higher dimension, from Here To Then
Featuring Art Angels Artist Knowledge Bennett
We are pleased to announce that the Nakamura Keith Haring Collection is welcoming a Miami-based, Brooklyn-born Pop artist Christopher Florentino a.k.a. Flore to have his live painting session, Live Painting By Flore, on Sunday April 16th 2017 at the Nakamura Keith Haring Collection.Live Painting By Flore—Flore’s first live painting in Japan—will feature the artist painting in the nature of the Yatsugatake Mountains, which is an unfamiliar environment from his usual metropolitan setting like Miami and New York. After the session, the work will be archived at the Nakamura Keith Haring Collection.
Christopher Florentino was born in 1983 in Brooklyn, New York. He is currently living and based in Miami, Florida. Flore is known for his unique approach to merge pop art and street art together, which was influenced by the various 80’s Pop artists, such as Keith Haring. Through his work, he aims to strip down all the “filters” in every day life—rules, stereotypes and other filters that often mask reality—to reveal the truth in life and ourselves.
To view additional works by the artist, please click here: http://www.artangels.net/art/flore
Art Angels invites you to join them for an evening with Lyle Owerko at Soho House West Hollywood, April 4th, From 6:30-8:30PM.Space is limited.
Please RSVP to firstname.lastname@example.org
Eminently modern and free spirited Elizabeth’s large scale drawings focus on the confusion of today’s modern society. She challenges the viewer to confront the relationship between humanity’s preconceived notions of value and worth, in our consumable world.
Using time honored skills in a contemporary way, Elizabeth brings a modern twist to traditional forms through her photorealistic works. Her social commentary seeks to illuminate the arbitrary value we place on useless and culturally devoid items, while simultaneously devaluing those things with innate value. She questions the relationships, behaviors and patterns of humanity.
Focusing on the subject of animal, human skulls and personal artifacts, Elizabeth exposes the responsibility of the individual in owning the effects of their decisions. Adoring each piece with gold leaf and precious metal, the Gold Standard, which has been used for centuries, is a perfect representation of humanity’s obsession with vain and valueless beauty. The dichotomy of the monochromatic pallet against the gold is a visual representation of the struggle of the inner self to balance greed and purpose. This pallet simplifies the form allowing a deeper exploration of the subject matter, causing the viewer to focus first on a photographic representation of the subject, before a closer inspection reveals the true technique.
This fine art technique takes hours of intense concentration before a final gilding of 24 karat gold leaf is applied. True to this fine art tradition, she only uses the highest quality materials, responsibly sourced, such as certified Saunders Waterford archival cotton paper and ethically sourced 24 karat gold.
Elizabeth is a British Artist and Designer currently residing and maintaining full time studio practice in NewYork City. Her work has been exhibited widely in the UK, USA and the UAE, where she began her career with her sell out solo show in the capital, Abu Dhabi. Most recently she has completed a commission for HRH The Prince of Wales. Her works are held in private collections in North America, Bahrain, Europe, South Africa and the United Arab Emirates. Various publications suchasCheshireLifeMagazine, ArtZealous,TheArtGorgeous, Juxtapoze,AntiHeroinChic,AIMOandFashionWeek have all covered Elizabeth’s work. She holds an honours degree in Fashion and a postgraduate in Design from the University of Manchester.
Los Angeles-based artist Knowledge Bennett is a West Coast transplant, originally from New Jersey. Bennett’s work deftly blends numerous references from Pop and Street Art, with contemporary and historical imagery—creating an aesthetic all his own. In conjunction with our second iteration of “Street Art Now” with Julien’s Auctions, we had the chance to speak with Bennett about his process, influences, and the rapidly changing Los Angeles art scene that he is right in the middle of.
Artsy: What is your process for selecting the figures to feature, and what kind of interventions do you make on the image? How does the appropriating, re-contextualizing, and repeating of images inform your work?
Knowledge Bennett: History plays a major role in selecting characters for my work. Whether it’s world history, American history, Black history, etc. there’s pretty much always some sort of historical imagery present to better help me convey my message. My process is one of deconstructing then reconstructing imagery to take something historical and make it contemporary. The appropriation of pre-existing imagery helps to start at a point of familiarity for not only myself but also the observer. It’s serves only as an aesthetic to draw the people in, in order to have the conversation I’m attempting to have at that moment. The repetitious nature of my works serves several purposes. One, it speaks to the production method as far as the silk-screening process. Two, repetition is the mother of all studies—it helps us humans (creatures of habit) to remember things because they’re being branded into our psyche. Three, it speaks to the intent and purposeful act of what it is that I’m saying. It’s an unapologetic way of saying “I say what I mean therefore I mean what I say”.
A: As an artist whose work blends the formal qualities and imagery of Pop and Street Art, does one better describe your own practice? Do you see much of a difference between the two?
KB: There’s a constant comparison of the two when it comes to Pop and Street. I’ve always approached my work with the intent of speaking from a Pop perspective. Personally, I’d like to think Pop Art is art with a message just using familiar pre-existing popular imagery to convey such a message. Historically, Pop Art has been about statements, which were kind of a reaction to what was already going on within society. And these statements lend a hand in helping others who may not quite grasp what’s going on, to later understand.
To my knowledge Pop Art was never something done that had the “criminal element” attached to it. Whereas street art in it’s beginning stages had such an element that was carried over from the graffiti movement. You see, Pop Art was something that was more closely related to the world of fine art whereas street art was more of an outsider’s art.
Now where I think most get it confused is where to draw the line between a street artist and a muralist. Historically, one might have been commissioned (muralist) whereas the other was more of an outlaw (street artist). Throughout my career thus far I’ve found myself on both sides of the coin, but not enough to claim either one of these methods of expression, so for now I relate myself and what I do to Pop Art. That’s all.
A: Beyond your references to Andy Warhol’s subjects, colors, and printing techniques, is there something else about his work that influences your own?
KB: When people first look at my work the first thing that comes to mind is Andy and the work he produced primarily throughout his career as a painter. I source a lot of my materials from the same sources Andy did. Yet what I’m actually saying is quite different simply because my relationship to such material is different than Andy’s was.
For instance, Andy used a publicity still of Elvis as a Cowboy brandishing a gun. This image was sourced from the 1960 film Flaming Star. It’s been said, that for Andy, the purpose behind painting such an image was pretty much solely due to his love affair with Hollywood and it’s celebrity culture. While me on the other hand, I deconstructed then reconstructed the very same publicity still for the purpose of painting a portrait of America. To be frank, my painting has more to do with America as a egocentric multi-racial society whose love affair with guns has all but made the Natives disappear than it does celebrity culture. Now it goes without saying that Andy’s work has influenced mine yet not in the way most people think.
A: Can you tell us a bit more about your “Cojones” series, which Cojones, John Lennon is part of? What about this provocative gesture, and the interchanging of prominent figures’ faces inspired you?
KB: As I said before my work is rooted first in history. This series began first with the Obama character and eight Hip Hop Characters (Biggie, Nas, Jay Z, Tupac, Eazy-E, Snoop Dogg, Kanye West and Puff Daddy (Diddy)). The original photo was one taken from one of my favorite childhood rappers (Slick Rick). Music Industry photographer Janette Beckman captured the original photograph. My initial intent was to speak to hip-hop and its long-standing relationship with politics. As a child most of what I learned about politics and the political process came through the music that I was listening to. Artists such as Public Enemy, KRS-ONE, Rakim, Big Daddy Kane, along with Slick Rick, were instrumental in conveying certain subject matters that would act as a conduit in connecting inner city youth with the political landscape that was directly and/or indirectly affecting the very lives we led. I can recall as I got older and better understood just what these rap artist had done I had an even greater respect for them and their courage to inform the people in such a way.
Now being a student of history, this caused me to look at some of the other artists and public figures that have stood up and used their platform for similar endeavors. This led me to Jimmy Hendrix, John Lennon, Michael Jackson, Prince, etc. So what started out as an homage to Hip Hop and the courage exhibited within such an art form became something even more encompassing including various ballsy individuals and a few who may not have come into their own just yet, but I predict one day will. And that’s how “Cojones” was born.
A: With a studio located in rapidly changing Downtown Los Angeles, what changes are you seeing to the art scene? How is the formation of this new arts-focused neighborhood shaping the broader Los Angeles cultural landscape?
KB: Listen, right off the bat, let me just start out by saying Los Angeles is where it’s at right now. I will always love New York but it just wasn’t in the cards for me to remain there and seek to take my career to the next level. Although L.A. is no stranger to the world of art and all things creative, I think we can all agree that something really special is taking place right here, right now. There’s an intense focus on growing this market and making it one of the premier locations for the world of Fine Art. One thing New York has that L.A. doesn’t is a close proximity to the European markets.
Aside from that you can’t beat the weather here in L.A. Also, some of the new galleries and museums being built Downtown alone are creating a level of excitement centered around the arts that I’m not sure has ever existed on such scale before in L.A. I’m seeing a lot of creatives relocating here simply because the quality of living is viewed as much better. New York is indeed the concrete jungle and those of us who have had the pleasure of experiencing that first hand can appreciate L.A. and all it has to offer.
A: Where in Los Angeles do you go to discover Street Art or contemporary art more broadly? Who are some other L.A.-based artists that we should be following?
KB: I’m not someone who necessarily seeks out street art—I’ve always rather liked simply stumbling upon street art and being pleasantly surprised. Since L.A. has its fair share of it from some pretty amazing artists, I’m seldom disappointed. On the other hand, when it comes to public institutions I find myself frequenting the giants such as MOCA, LACMA, The Getty, The Hammer, and the newest addition, The Broad located Downtown.
There’s a fairly new museum (at least new to me) named The Underground Museum. It’s nestled in an often forgotten part of town and is a true diamond in the ruff. A friend of mine introduced me to this museum and I fell in love with it. They have a very unique partnership with MOCA which allows them to bring in some blue chip works of art to a community that would probably otherwise never have the opportunity to witness firsthand the genius of such artist and works. My hat is off to The Underground Museum and MOCA for getting it all the way right.
Now let’s talk about other L.A.-based artists. A creative colleague of mine as well as a great friend is an artist known as The Producer BDB (Bryan Avila). He entered into the L.A. art scene shortly after myself and both he and I have been a constant source of inspiration and motivation to one another.
There are two other artists who are on my radar and whose work I personally collect. These artist have been really quiet when it comes to being on the scene but mark my words in about six months to one year you’ll begin to hear a lot about them. Funny thing is both of their names are Michael. One being Michael Labua, who’s now in the process of completing his transition from NY to L.A., and Michael Callas, who’s based here in Koreatown just above Downtown. Both of these guys are amazing at what they do and I predict will have long standing careers in the world of Fine Art. In addition, I collect work by Cleon Peterson.
I’ve come to know each of these artists personally, and I think that they are extremely smart and hardworking individuals who are in it for all the right reasons—namely for the love of it. For that reason I wanted to have at least one piece of their genius to hold on to.
The Future is Female: 8 Female Artists You Should Collect In 2017
Zora Neale Hurston once wrote, “There are years that ask questions and there are years that answer.” I think it’s safe to say that 2016, the year-long equivalent of a rickety, nausea-inducing rollercoaster, falls pretty heavily into the category of the former. We are ending 2016 with plenty of unanswered questions, but I have high hopes for the looming blank slate of the new year. No matter which kind of year it ends up being, one thing is for certain: we could all use a little more art in our lives. A little more beauty, a little more creativity, a little more inspiration that helps us see the world with fresh eyes and renewed wonder. Art may not be the answer to all of our problems, but it’s definitely a start, not to mention one of the most powerful tools for progress and change that we’ve got.
My resolution for 2017 is to indulge, freely and shamelessly, in more art. To surround myself with images that are positive and powerful, that act as a visual form of #selfcare, that remind me that the capacity to create and connect with each other through our creations is still the best thing that we humans have going for us. I also feel more compelled than ever to support the sisterhood of badass female artists and creatives out there in the world, doing so much to make women feel seen, heard, and valued. To make it easy for you, we’ve rounded up a list of eight female artists topping our wish lists for 2017: illustrators, collage artists, photographers, painters, and makers who are creating beautiful, inspiring, unique things, all of which can be purchased online (shoutout to Instagram for acting as our modern day art gallery). Go ahead and get started early – tis the season to treat yourself!
Eugenia Loli is a Greek collage artist and illustrator currently living in California. She uses photos from vintage magazines and science journals to make surreal collages, all of which have an intoxicating otherworldly effect and a tongue in cheek commentary. Much of her work juxtaposes females and flowers, capturing both a nostalgic and futuristic vibe. Her colorful collages stay burned into your brain long after you’ve seen them. They remind us how powerful it is to let your imagination run wild. You can purchase her collages here.
Isabelle Feliu, an illustrator living in Norway, creates irresistibly chic prints, inspired by, as she puts it, “fashion, nature, and my funky dreams.” The women featured in her stylish prints are sassy and slightly surreal, often surrounded by nature or on tropical vacations, and always blessed with a carefree and contagious joie de vivre.
They are empowered and at ease, dancing, lounging, and just generally glowing with the good life. They remind me of how you feel when you’re on the third day of a vacation, when you are radiating with the natural confidence that comes with #selfcare. I want to put her art in every room of my house, in the hopes of keeping that feeling alive for as long as possible.
Dara Vandor is an artist, model, and all around inspirational babe living in Toronto, Canada. She uses felt tip pen on canvas to create stunning and lifelike portraits of lingerie, capturing the fluid sensuality of each piece, in a way that feels both boldly empowering and intimately sexy.
Her pieces are haunting, infused with a hint of naughtiness and unbelievable attention to detail. They pay homage to the luscious embellishments that make each piece feel so special – the lace, the bows, the garters – while harnessing the indescribable, intoxicating magic of lingerie itself. It’s thrilling to see something that is usually hidden exposed in such a bold and meaningful way. As faithful devotees to both lingerie and art, we’re obsessed.
words by ALISON GREEN on DECEMBER 21, 2016
While society may push us to focus on external appearance, Nick Veasey has been busy creating images of everyday objects that reveal what lies beneath their glossy surfaces, thereby challenging our obsession with the image and superficiality, where we are automatically attracted to people and forms that are esthetically pleasing. He hopes to let the intrinsic beauty of things shine through using X-ray technology and convince us that it’s what’s inside that counts.
Having a gift for looking at the world differently, he likes the honesty of X-rays, which unmask an object’s many layers and makeup. They show things for what they are, what they are made of, how they work, why they have that shape. Using lethal radiation, he exposes the reality of things; his images penetrate beneath the surface and take us on a journey into the unknown and the invisible where the ordinary becomes the extraordinary.
Fashion X-Rayed, Veasey’s first exhibition in 2011 in France at Espace La Vallée, the contemporary art gallery of La Vallée Village outlet shopping, showcased over 15 fashion-related X-ray images, including a wedding gown, sequined handbag and biker jacket. Paradoxically, his work has been embraced by the fashion industry, where perhaps it provides welcome respite to a universe preoccupied with the exterior.
He says, “I thought it would be good to interpret fashion, but instead of working with contemporary brands, I used non-descript, classical pieces of fashion. When you look inside a fashion magazine, you see beautiful, skinny girls wearing expensive, glamorous clothes in fantastic locations with great hair and makeup. I wanted to strip away those accoutrements and consider the garment in its own right, and show how much love, care and attention go into the design and production of the textiles and bringing the textiles together to make the clothes. Showing the clothes in isolation makes you think about how the clothes transform the body. Because an X-ray is looking from the inside out, you strip away all the color and embellishments. What I’m trying to get across to people with my work in general is that beauty is more than skin deep.”
Starting off in experimental, arty photography before transitioning to X-ray imaging, today Veasey’s work is used in advertising campaigns, graces products and packaging, is exhibited in galleries worldwide and collected by institutions like London’s Victoria and Albert Museum. He was nominated for the IPA Lucie International Photographer of the Year 2008 award, and past clients include BMW, Nike NKE +0.04%, Levi’s, Nikon ,Porsche and ESPN .
Working out of a former military spying station near London, a lead-lined concrete-walled bunker, the facility is entirely sealed before the X-ray equipment operates to protect the artist and his assistants from radiation. Purchasing machines used in medicine, industry and art restoration, Veasey dons a lead apron and lead underwear and leaves the room when an X-ray is being taken. Shot along the same lines as conventional X-ray images, his artworks demonstrate much more detail, depth and clarity thanks to technology and his in-depth autodidactic knowledge in the field after many years of experimentation.
Depending on what they’re made of, Veasey will adjust the length of time he needs to photograph his subjects. His most technically-complex piece was a Boeing BA +0.49% 777 made up of more than 500 X-rays (as he had shot each component of the plane individually), which were subsequently stitched together by his designer – a process that took months. He remarks, “Imagine the most complicated jigsaw puzzle that you’ve bought and you’ve dropped it and all the pieces have scattered around on the floor. Then you have to find a way of putting it together – it’s a bit like that.”
In today’s information age where we are increasingly under surveillance, Veasey delights in appropriating a technology originally designed to let Big Brother rummage through our private lives and assault our freedom, using it instead to create intrigue and beauty. He chooses to shoot objects that we come across daily to show the passion and effort that have gone into making them or the many elements of which they are composed. He notes, “Hopefully, it makes people calm down in this modern, cold, fast-paced, image-bombarded world and appreciate everything – manmade and natural – that surrounds us.” Whether it’s a teddy bear, bicycle, lamp, flower or crab, he gets a kick out of revealing the inner beauty of the quotidian. By showing what’s really inside, his art succeeds in uncovering the true face of the world.
This year, our exclusive and unique Art of the City portfolio presents a true celebration of the exceptional talent and diversity of our nation’s artists. In what has become one of the most exciting events in our GreenGale Publishing calendar, the 2016 lineup represents the best, the boldest, and the buzziest from each of our 11 cities.
From Boston to New York City and the Hamptons, to Washington, DC, and Philadelphia, Chicago and Miami, Los Angeles, Aspen, Las Vegas, and Austin, we are showcasing this spectacular array of artists in each of our magazines, on our covers, and through a series of exclusive events around the country, designed to connect our readers and communities with America’s art superstars.
THE FAMED NEON LIGHT ARTIST TAKES A POP-CULTURE MEDIUM AND BENDS IT INTO SOMETHING ENTIRELY UNEXPECTED.
BY KARI MOLVAR
After a freak accident in childhood, Lisa Schulte lost her sight for three months. It was a moment that would shape the rest of her life. “One doesn’t take sight for granted when you get it back,” says the 60-year-old artist. “It changed my sense of light.”
“I was always fascinated by neon signs,” says Schulte, who was born on Long Island to a creative mother and a pilot father who also owned an A&W restaurant with “car-hop service” and—of course—lit-up signage. Art wasn’t necessarily encouraged at home. “My mother passed away when I was young,” she says. “My dad was a Brooklyn man who really valued hard work and had probably never been to an art gallery in his life.” Providing art mentorship to children who might not receive it otherwise is a passion of hers; for that reason, one of her pieces will be auctioned off to benefit Free Arts NYC this summer.
Schulte came to neon through the event production industry; she had her own signage shop in Los Angeles, Nights of Neon, in the mid-’80s. “About 10 years ago, I just reached a point where I had so much experience in how glass works that I started creating three-dimensional sculptures.” Her output ranges from abstract pieces to neon-wrapped driftwood sculptures. These days, Schulte says that she literally “sees” in neon. “You just have to keep doing it, doing it, doing it,” she says. “Then you have the natural feel to shape things within you.”
- Gotham Magazine
Art Angels is proud to present a beautiful selection of works by Eric Politzer.