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Art

Interview: Trevon Latin Questions His Impulse to Solve Problems, Navigating Loneliness, and the Idea That Everything is Drag

May 19, 2022

Paulette Beete

“Untitled (Michael)” (2021), oil on canvas and fabric stretched on panel. 36 inches. Photo by Jason Mandella, courtesy of the artist and Perrotin

For Trevon Latin, the best use of questions is to breed more questions, a tenet of his practice that he speaks to in a new interview supported by Colossal Members. Each quilt remnant, each barrette, each string of beads he incorporates into the work asks, What does masculinity look like? What does it mean to present yourself as a Black person? What does intimacy look like? What does it mean to exist as a corporeal, analog self versus a digital self or a self mediated through a work of art? For Latin, there are no static answers to these questions.

I think my art is about regular folks. I mean not regular people but people that are just existing in these ways that I’m discussing. I’m talking about queerness, performance, body, Blackness. People out in the real world doing (stuff) and really trying to survive and exist. Those are the people I’m talking to.

In this conversation with Colossal contributor Paulette Beete, Latin explains why he’s only recently started referring to himself as an artist, his approach to fully feeling every emotion he encounters, and his whole-hearted belief that, to quote RuPaul, “we are all born naked, and the rest is drag.”

 

“Purple Love” (2020), oil on canvas, fabric, barrettes, pony beads, 5 x 4 feet. Image courtesy of the artist and Perrotin

 

 

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Art Design Illustration

A Monograph Gathers Dozens of Jolly, Anxious, and Relatable Characters by Artist Jean Jullien

May 18, 2022

Grace Ebert

“Pepe the Weekender” (2018), made for Lieux Mouvants. Image © Nicole Zezig. All images courtesy of Phaidon, shared with permission

It’s easy to recognize the quirky, joyful characters of French artist Jean Jullien. Whether looming over a park or gracing a deck of cards, his dodgy dogssmirking fish, and mischievous tree-climbers are cartoonish in style and emotionally conspicuous with their anxious expressions and good-natured gestures. A forthcoming monograph published by Phaidon celebrates Jullien’s broad body of work, which spans public sculpture, illustration, and design. In addition to his most lauded projects, the 256-page volume also contains early sketches and never-before-seen pieces. Jean Jullien ships on May 25 from Bookshop.

 

Vivi (70 3/4 inches), Bruno (66 7/8 inches) Lili (55 1/8 inches), (2019), acrylic paint on aluminum. Photo © Jean Jullien Studio, courtesy of NANZUKA

“Dog Bench” (2019), limited-edition metal bench produced with Case Studyo. Image © Case Studyo

Sculpture for the show The People (2017), fiberglass, 4 7/8 feet. Image © Computer Graphic Plus Co., Ltd.

Photo collage for a feature published in National Geographic (April/May 2018). Image © the artist and Jean Jullien Studio

 

 



Art

In ‘Forothermore,’ Artist Nick Cave Harnesses the Power of Beauty and Art to Inspire Change

May 17, 2022

Grace Ebert

Soundsuits. All photos by Nathan Keay, © MCA Chicago, shared with permission

From floral Soundsuits and found-object sculptures to a multicolor web of millions of pony beads, Forothermore surveys the 30-plus-year career of artist Nick Cave. The retrospective, which draws its name from “forevermore” and “for others,” opened last week at the Museum of Contemporary Art in Chicago and captures both the evolution and mainstays of the artist’s practice. Cave spoke with Colossal in an interview ahead of the show, saying, “Why now, why now this moment, why this exhibition, why this survey, and who is it for? Once I removed myself from it, I realized that it’s not for me. It really allowed me to take a course of action in terms of that movement and what will this look like, looking at three and a half decades of work.”

Arranged thematically rather than chronologically, the exhibition opens with an iteration of the metallic wind spinners that were part of Cave’s 2017 show at MASS MoCA. Guns, bullets, and teardrops are embedded in some of the kinetic pieces that hang alongside smiling faces and peace signs. These sinister symbols pervade the suspended installation, which considers how a desire to only see beauty can mask painful, life-threatening issues.

 

Detail of “Spinner Forest”

Heavily patterned vinyl wallpaper designed in collaboration with Cave’s partner Bob Faust runs through much of the show and creates a textured backdrop for the artist’s mixed-media assemblages of kitsch figurines, vintage furniture, and other trinkets. Dozens of his signature Soundsuits stand inside the fourth-floor gallery, including the mournful piece veiled in 929 black flowers that was created in response to George Floyd’s murder. Wall sculptures made of items sourced from flea markets—these include rusted tools, dominos, wooden boards, button-up shirts, and glittering orbs—date back to the 90s and surround the vibrant, armor-like costumes.

Cave created the first Soundsuit following Rodney King’s beating in 1991, and he’s never wavered from confronting racism in his works. “As I’m trying to imagine other ways of thinking and making, I’m constantly being brought back to this, unfortunately,” he says. The exhibition also includes a collection of bronze arms cradling sprawling, metallic bouquets with hands often clenched and raised in a fist, a reference to strength and solidarity in the face of rampant injustice.

Forothermore is on view in Chicago through October 2, when it will travel to the Guggenheim in New York City for an exhibition opening on November 18. You can read the full interview with Cave here, and find more from the artist on Instagram.

 

 

 



Art Craft Illustration

Seven Artists Crack Open the Art of Printed Matter in ‘Bookworks’

May 17, 2022

Kate Mothes

Guy Laramée, “Encyclopedie Larousse” (detail), carved books, pigments, inks, and metal clip. All images courtesy of James Freeman Gallery

Books have beguiled us since they first emerged in the form of ancient scrolls and codices around the world. The way we access, utilize, and enjoy reading material has seen technological transformation over the centuries, from Johannes Gutenberg’s invention of the printing press in the 15th century, to the first dictionary produced in 1532, to the advent of affordable pocket paperbacks in the early 20th century. Paper tomes have had an immeasurable impact on society and our ability to relay knowledge, and even in an age of digital e-readers, the physical volume still embodies an appeal as timeless as literature itself. In a new exhibition in London, the world of reading provides a starting point for the seven artists to explore a wide range of themes and materials, highlighting our perennial fascination with the printed and bound medium.

Cheri Smith, Russell Webb, Guy Laramée (previously), Aron Wiesenfeld, Guillermo Martin Bermejo, El Gato Chimney, and Claire Partington (previously) work across a wide range of styles including sculpture, illustration, painting, and printmaking. In Bookworks, Laramée’s deconstructed reference volumes are transformed into miniature topographical landscapes that challenge our sense of scale. Cheri Smith’s paintings, sometimes painted onto book covers, reference the eccentricity of animals and how they are categorized in natural history catalogues. El Gato Chimney constructs elaborate narrative illustrations in accordion-style publications that follow an eccentric band of characters as they confront giant creatures.

Bookworks is on view at James Freeman Gallery through June 4.

 

Guy Laramée, “Encyclopedie Larousse,” carved books, pigments, inks, and metal clip

Guy Laramée, “Encyclopedie Larousse,” carved books, pigments, inks, and metal clip

El Gato Chimney, “The Frog’s Apparition” (2021), watercolor and gouache on Moleskine notebook

El Gato Chimney, “The Frog’s Apparition” (2021), watercolor and gouache on Moleskine notebook

El Gato Chimney, “Crazy Wind” (2022), watercolor and gouache on Moleskine notebook

El Gato Chimney, “Kyu! Kyu!” (2022), watercolor and gouache on Moleskine notebook

Guy Laramée, “Petit Larousse Illustré” (2019), carved dictionary, pigments, inks, brass clip

Guy Laramée, “Petit Larousse Illustré” (2019), carved dictionary, pigments, inks, brass clip

Aron Wiesenfeld, “Readers” (2021), gouache on paper

Russell Webb, “Portrait of the Artist as an Author” (2022), oil paint and varnish on ply

Cheri Smith, “Sausage” (2020), oil on board 

 

 



Art

Repurposed Stained Glass Comprises a Disorienting Illuminated Greenhouse by Heywood & Condie

May 16, 2022

Grace Ebert

All images © Heywood & Condie, shared with permission

A brilliant greenhouse suffused with a rich spectrum of color stands at 25 Porchester Place in London. Bathed in sunlight by day and illuminated by LED bulbs at night, the translucent structure is lined with a disorienting collage of Christian iconography and folkloric imagery: saintly figures sprout insect wings and wildlife occupies spaces usually dominated by humans in a melange of spiritual symbols.

Titled “Sacré blur,” the greenhouse is a 2015 project by horticultural artists Tony Heywood and Alison Condie, who originally created the piece to house psychedelic plants at the Oxford Botanic Gardens—this part of the project never materialized over fears that students might misuse the hallucinatory specimens. The intention for the sculpture revolved around the idea of sacred light, the foremost example being stained glass, and creating a transcendent space complete with a mirrored infinity floor. “We are gardeners,” Heywood shares with Colossal. “The greenhouse is an architect’s equivalent of a temple. It’s where life begins and the ritual of caring and nurture take place.”

 

The London-based pair, who work as Heywood & Condie, began by dismantling hundreds of panels, some of which dated back to the 18th and 19th centuries, and following the patterns and grisaille to splice new creatures. They then glued the layered works to the existing frame of a greenhouse. “The idea is nature transforming and using the stained glass as a medium to visit a (time) when we worshiped plants, insects, and animals, as opposed to the Christian line of thinking that humans are above animals, above everything,” Heywood says.

This connection to the earth alongside an interest in the broad reaches of spirituality influence the pair’s practice, particularly those relating to creation myths and about bringing new life into existence. “Church is about shifting our consciousness and making us think of where we lie in the world and likewise, whether it’s a psychedelic experience or a meditative experience, it’s about shifting our attention,” he shares. “Gardening is an act of creation.”

“Sacré blur” has been exhibited in multiple locations in recent years and will be at its current spot for the coming weeks. Heywood & Condie have a few works in progress at the moment, including an alphabetical labyrinth on a northwest U.K. beach and an obelisk collection mixing religious stained glass along with pieces from early pinball and gambling machines that will be on view at Vigo Gallery. You can also see their works as part of The Poetry of Trees, which opens at The Atkinson in Southport on June 4, and on June 11, a series of jewel-encrusted marine microorganisms will float across The Water Gardens at Marble Arch in London. (via Steampunk Tendencies)

 

 

 



Art Craft Science

A Vibrant Coral Ecosystem of Thousands of Crocheted Sculptures Confronts the Climate Crisis

May 12, 2022

Grace Ebert

Detail of “Baden-Baden Satellite Reef.” All images courtesy of Museum Frieder Burda, shared with permission

A new report released this week by an Australian agency says that the 1,400-mile Great Barrier Reef has undergone its sixth mass bleaching. About 91 percent of the brightly colored marine ecosystems were affected by this most recent catastrophe, which occurs when water temperatures rise. Disasters like this are becoming more frequent as the climate crisis intensifies, prompting artists like Christine and Margaret Wertheim to respond with striking displays of what could be permanently lost.

The Australia-born, California-based sisters began the Crochet Coral Reef project in 2005 to confront the devastations of bleaching, overfishing, tourism, and agricultural contaminations through sprawling, labor-intensive environments. More than 40,000 of the oceanic works are now on view at the Museum Frieder Burda in Baden-Baden, transforming the gallery into textured ecosystems resting atop pillars and protected in glass cases. The Wertheims explain the project:

Like the organic beings they emulate, these handmade sculptures take time to make—time that is condensed in the millions of stitches on display; time that is running out for earthly creatures, including humans and cnidarians. Time forms a framework for the Reef project, for as CO2 escalates in our atmosphere time is increasingly in short supply, and what we choose to spend time on is a reflection of our values.

Part of the intention for Crochet Coral Reef is to involve local communities, and so far, almost 20,000 people have contributed their own fiber-based forms, with about 5,000 participating in the show in Baden-Baden alone. Since debuting at the 2019 Venice Biennale, the exhibition has traveled to more than 20 spaces from London and Dublin to Pittsburgh and Washington, D.C.,  and will be on view at the Museum Frieder Burda until June 26. A complimentary satellite project is also up at the Tang Teaching Museum in Saratoga Springs, New York, through June 12.

Visit the Crochet Coral Reef site for more information on getting involved in the project and for chances to see the textile organisms in person. You also might enjoy Mulyana’s yarn ecosystems. (via artnet)

 

Detail of “Baden-Baden Satellite Reef,” part of the worldwide Crochet Coral Reef project

Detail of “Baden-Baden Satellite Reef,” part of the worldwide Crochet Coral Reef project

Detail of “Baden-Baden Satellite Reef”

“Red Nudibranch Reef” (2022). Photo © IFF by Rebecca Rickman

Detail of “Baden-Baden Satellite Reef”

“Baden-Baden Satellite Reef”

Detail of “Baden-Baden Satellite Reef”

“Coral Forest” at Lehigh University Art Galleries, Pennsylvania. Photo courtesy of LUAG by Stephanie Veto