Leo Caillard: Hipster in Stone
What is a hipster?” The question has been posed and answered time and time again, but as an N+1 symposium on the topic averred, “All descriptions of hipsters are doomed to disappoint.” Even so, everyone has the image of a hipster in their head: large sunglasses, stylized haircuts, old-timey barbs, skinny jeans, pastel shirts. Sure, that’s reductive and it doesn’t necessarily encompass the entire demographic, but you know you know someone (or several people) who fit the bill.
So does photographer Léo Caillard. He photographed hip Parisians in trendy garb, and mapped their clothes onto nude Hellenic sculptures taken from the Louvre. The result? “Hipsters in stone.”
Leo Caillard represents the new generation of emerging artist with his singular vision. Overlapping photography, technology, and imagination, his meticulously crafted images combine a delicate intertwining of the new and the historic. Caillard invites us to rediscover & question our social environment with a lightness of touch, humour & sensitivity.
His “In Museum” series was widely viewed on line & subsequently, since 2012, it has featured in many international art fairs. The body of work reassigns the classical figures of the Louvre’s extensive sculpture collection in today’s contemporary attire.
This series follows the theme of Caillard… “Surprise” : The viewer is drawn to the familiar within the image, but closer inspection reveals many layers of incongruous information. This collision of elements forces the observer to question his assumptions & question the roles of the subjects presented.
In 2015, Caillard has truly opened to door to the photographic art of the twenty first century.
Edgar Müller was born in Mülheim/Ruhr on 10th of July, 1968. He grew up in the rural city of Straelen on the western edge of Germany. His fascination with painting began in his childhood, with paintings of rural scenes of Straelen.
Edgar went to high school in the neighboring town of Geldern, where an international competition of street painters took place. Inspired by the transitory works of art which met him on his way to school, Edgar Müller decided to enter the competition. He took part for the first time at the age of 16, going on to win the competition, aged 19, with a copy of the famous “Jesus at Emmaus ” (Caravaggio). In the following years, he entered many other international competitions. Since 1998 Edgar Müller has held the title of ‘maestro madonnari’ (master street painter), born by only a few artists worldwide. The title is awarded at the worlds largest street painting festival, called The Grazie Festival, which is held in the small pilgrim town of Grazie in Italy. Around the age of 25, Müller decided to devote himself completely to street painting. He travelled all over Europe, making a living with his transitory art. He gave workshops at schools and was a co-organizer and committee member for various street art festivals. Müller set up the first (and so far only) Internet board for street painters in Germany – a forum designed to promote solidarity between german and international street painters.
For many years Edgar Müller presented people the great works of old masters, drawing his perfect copies at the observers feet. Müller invited his audience to share his fascination with the old masters art, helping them to gain a deep understanding of the old masters view of the world.
Despite attending courses with well-known artists and extensive studies in the field of communication design, Edgar is actually an autodidact. He is always looking for new forms to express himself and is now pursuing a new art form and creating his own style.
Because of his grounding in traditional painting and modern communication, Mueller uses a more simple and graphic language for his art. He paints over large areas of urban public life and gives them a new appearance, thereby challenging the perceptions of passers-by. The observer becomes a part of the new scenery offered. While going after their daily lives, people change the statement of the paintings by just passing through the scene.
Earworm (node), 2008, speakers, LED’s, plastic, copper tubing
this sound sculpture translates the musicians’ improvisation on the word “node,” (which brings up associations of connectivity in an information network, or mutation/metastases in the systems of the body) into a physical experience in the gallery.
Deborah Aschheim makes installations based on invisible networks of memory and perception. For the past five years, she has been trying to understand and visualize memory, a subject that has led her to collaborate with musicians and neuroscientists. Her most recent work considers the interrelationship of memory and place. Aschheim has had solo and group exhibitions at across the United States, including Suyama Space in Seattle, WA; San Diego State University Art Gallery; the Armory Center for the Arts in Pasadena, CA; the Weatherspoon Art Museum in Greensboro, NC; Laumeier Sculpture Park in St. Louis, MO; the Mattress Factory Museum in Pittsburgh, PA; Ben Maltz Gallery at Otis College of Art and Design in Los Angeles, CA; Laguna Art Museum in Laguna Beach, CA. She has completed permanent commissions for Amazon.com, the City of Sacramento and the LAPD. She was a 2011-2012 California Community Foundation Fellow, and from 2009-11 she was the Hellman Visiting Artist at the Memory and Aging Center in the Neurology Department at the University of California, San Francisco medical school. She lives in Pasadena, CA.
Intimations of loss, longing, and spiritual trauma are divulged by Indonesian-born Christine Ay Tjoe. Exorcising perceptions of emotional and religious forebearance within her deeply personal artistic journeys, the artist relieves themes of Catholic sensibilities, figural violence and bodily consumption. The end result of her cathartic gestures are manifested in startling quality upon her canvases; taking the shape of abstract, barely human figures stretching out gauzy, bleeding fingers raking down the spatial planes. Otherwise they merge together in spectral celebration of the eucharist, an ecstatic rejoicing in the union of physical self with a godly host. Abstinence, suffering, and metaphysical transformation are primary subjects within Ay Tjoe’s artistic impulses; however there is always the redeeming aspect of a sort of spiritual absolvency.
Countless tourists arrive in Paris each year, snapping hundreds of pictures on cameras and smartphones. Joanna Lemanska’s mirrored photographs of the romantic city, however, stand out from the average visitor’s snapshot.
Lemanska, who goes by the handle MissCoolpics, is an art historian living in the City of Light. Unlike typical shots of Parisian monuments or clichéd cityscapes, Lemanska uses naturally-occurring reflections to capture unique views. Her mirrored images create serene moments of time, so her images look more like futuristic dreamscapes than a bustling tourist hub. In the stunning photos below, Paris becomes new again.
“First thing that I do when a see a potentially interesting reflective surface, like puddle, window, floor, is to look around and see if there is anything interesting enough that would reflect. Otherwise ‘doing reflection’ would become just a totally mechanical activity,” Lemanska told The Huffington Post via email. “I try to think a lot about the elements of the composition. It’s almost like playing with toys — I have various elements and I have to put myself in the best place possible to have the in the right composition.”
Episode #100: With his video “History of the Main Complaint” (1996) serving as a backdrop, William Kentridge discusses how artists draw upon tragedy as subject matter for their work and how drawing itself can be a compassionate act.
Having witnessed first-hand one of the twentieth centurys most contentious struggles—the dissolution of apartheid—William Kentridge brings the ambiguity and subtlety of personal experience to public subjects most often framed in narrowly defined terms. Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. Aware of myriad ways in which we construct the world by looking, Kentridge often uses optical illusions to extend his drawings-in-time into three dimensions.
Learn more about William Kentridge at: http://www.art21.org/artists/william-kentridge
VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Bob Elfstrom. Sound: Ray Day. Editor: Paulo Padilha. Artwork Courtesy: William Kentridge.
Susan Rothenberg was born in Buffalo, New York, in 1945. She received a BFA from Cornell University. Her early work—large acrylic, figurative paintings—came to prominence in the 1970s New York art world, a time and place almost completely dominated and defined by Minimalist aesthetics and theories. The first body of work for which Rothenberg became known centered on life-size images of horses. Glyph-like and iconic, these images are not so much abstracted as pared down to their most essential elements. The horses, along with fragmented body parts (heads, eyes, and hands) are almost totemic, like primitive symbols, and serve as formal elements through which Rothenberg investigated the meaning, mechanics, and essence of painting. Rothenberg’s paintings since the 1990s reflect her move from New York to New Mexico, her adoption of oil painting, and her new-found interest in using the memory of observed and experienced events (a riding accident, a near-fatal bee sting, walking the dog, a game of poker or dominoes) as an armature for creating a painting. These scenes excerpted from daily life, whether highlighting an untoward event or a moment of remembrance, come to life through Rothenberg’s thickly layered and nervous brushwork. A distinctive characteristic of these paintings is a tilted perspective, in which the vantage point is located high above the ground. A common experience in the New Mexico landscape, this unexpected perspective invests the work with an eerily objective psychological edge. Susan Rothenberg received a fellowship from the National Endowment for the Arts and the Skowhegan Medal for Painting. She has had one-person exhibitions at Museum of Fine Arts, Boston; Dallas Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington, DC; Los Angeles County Museum of Art; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; and Tate Gallery, London; among others.