"In my work this romantic ideal of union with the natural world conflicts with our contemporary impact on the environment. These pieces are in part responses to environmental stressors including climate change, toxic pollution, and gm crops. They also borrow from myth, art history, figures of speech and other cultural touchstones. In some pieces aspects of the human figure stand-in for ourselves and act out sometimes harrowing, sometimes humorous transformations which illustrate our current relationship with the natural world. In others, animals take on anthropomorphic qualities when they are given safety equipment to attempt to protect them from man-made environmental threats. In each case the union between man and nature is shown to be one of friction and discomfort with the disturbing implication that we too are vulnerable to being victimized by our destructive practices."
Via: Kate McDowell
Interesting and massive sculpture titled "Dirty Bomb." You can take a wild guess what the commentary can be about. The artist is represented by Donald Young Gallery, Chicago, Galeria Soledad Lorenzo, Madrid and Galerie Thomas Schulte, Berlin.
Photograph: Zenith Richards
Via: Time Out New York
High Fashion Bananas
These banana as object artworks are incredible. I also think I like the idea that the work itself rots away and it can only exist afte by photograph. There's something really human about that.
As he says on his site “I enjoy taking jokes seriously, until they become ‘art’ in one way or another. My artworks are often the accidental outcome of playful interactions between the materials and myself.”
In a way, even my name ‘Kazuki Guzmán’ is an important reflection of my unique heritage. My father is a macho Chilean and my mother is a delicate lady from Japan. Because of them, my work reflects not only the things I love, but also my most essential character traits. My cultural background, my personal experiences, my family, friends, and hobbies are common themes shown in my pieces; the convergence of their disparate origins is an important part of what makes my work dynamic. I take confidence in my art and use it as a way of expressing my feelings, as well as my appreciation and love for the people, places, and things that make me Kazuki Guzmán.
Like my own history, my media is never fixed; my artworks range from large installations that are activated by the space or the viewers, to series of sculptures made from everyday objects. I consider my art practice as part of a playful exploration of ideas and materials. The notion of ‘play’ is at the core of my art practice. I enjoy taking jokes seriously, until they become ‘art’ in one way or another. My artworks are often the accidental outcome of playful interactions between the materials and myself. I equally enjoy allowing my materials to define the context of my artwork, and conversely, the challenge of letting the context of my work dictate the material execution. Most of my inspirations arise from mundane events: a trip to the antique store, revisiting children’s books and toys, or buying groceries. Most importantly, I strive for intricacy and exquisite craftsmanship in my work, while focusing on not loosing my very whimsical sense of humor and play.
Via: Kazuki Guzman
Bubbles of glass
Using highly innovative materials such as NASA ’s dichroic glass, Bubbling Up examines the fragility of the Earth’s atmosphere and ecosystems that appear like a bubble, on the constant verge of collapse. Sometimes fickle and ever elusive, Bubbling Up highlights the ongoing need to quantify ecological concerns. Every day there are thousands of toxic gases bubbling up in the atmosphere. In the age of heightened ecological awareness Bubbling Up poses the question, is it possible to view a beautiful sunset and not wonder if the sky is set ablaze with such unique colours because of the toxic pollutants in the air reacting with the atmosphere? In the space that surrounds us, what is bubbling up?
Jasmine Targett is bubbling it up.
Source: Jasmine Targett
Photos of the Artists As Young Men
From the very beginning of his mad, ecstatic, always-experimenting career, Robert Rauschenberg was looking at photographs. His hungry eye absorbed them; then they reappeared in his paintings, sculptures, and prints, and especially in his combines—the new form he invented, neither painting nor sculpture but a visual-material manifestation of abstract poetry. Rauschenberg appropriated photos from books, newspapers, magazines, advertisements, other artists, art-history books, anyplace. He cut them up, used them whole, pieced them back together, whatever. Given his fecundity—and a spate of pesky copyright cases brought against him—it’s no surprise to learn he also took pictures himself. Lots of them.
Yet there are surprises to be found in Robert Rauschenberg: Photographs: 1949–1962, an exhibition and book of 167 images from the years in which the artist invented his point-and-shoot style. Rauschenberg turns out to have been a natural, breezily brilliant with the camera, never more so than when shooting his circle of artist friends. We see Cy Twombly in Rome, dwarfed by an enormous Roman sculpture; a handsome Jasper Johns in his studio in 1955 next to his masterpiece Flag; an otherworldly Merce Cunningham crouched tigerlike in a motion until then unseen. These are closely observed windows into the nascent postwar art world. (The self-portraits of Rauschenberg—he was dashingly handsome, a young rake—with his work are no less revelatory.) There are images of grazing horses, landscapes, furniture, you name it.
by: Jerry Saltz