“The Fakes from the Real” consists of a series of handmade silkscreen prints that portray castle–like structures located throughout California, from the Hearst Castle to Solvang and Disneyland. The work continues Prosch’s interest in American tourist landscapes and the hyper reality imbued within American culture. Buildings that seem like characters from the past are placed within the everyday: historical recreations, mash-ups, and epic fakes. Through the use of black on black, the imagery in “The Fakes from the Real” appears ghostly, like an erasure. Emphasizing the flattening of history, or disconnection, that this type of architecture ultimately represents.
The artist’s attention to these sites also lies within a larger exploration into the idea of “The Princess Syndrome”. The self–titled ongoing body of work includes a number of performances, videos, and drawings that Prosch has created since 2007. During that summer, the artist travelled to England to document a series of live performances that involved her humping castles, or the remains thereof. Her video piece “Portal” was filmed while on location at Tintagel Castle, a medieval fortification infamously known for its long association with Arthurian legends. “The
Princess Syndrome” sifts thru a fantasy dimension that is infused within reality by investigating archetypal patterns in fairytales, modes of female representation and the relationships between power and identity.
David Otis Johnson manipulates a contradiction of materials such as light, concrete, high voltage electricity, power fans, Styrofoam and nylon to highlight nuance and metaphor in sculpture and installation. Seemingly formal studies in structure interact with and relate to the surrounding architecture and space, at once illuminating and subverting concepts of hypocrisy, conflict, abjection, and solitude.
Multiple works by David Otis Johnson are included in the exhibit, The Exhibitionists, at South of Sunset, this Thursday, September 26, 2013.
DIVINE FITS My Love is Real (Official Music Video)
Directed by Alexa Gerrity and filmed in Los Angeles.
Inspired by the cool menace underpinning “My Love is Real”, with its unsettling refrain of “until it stops”, I present the band as an ambiguous presence––to convey the uncertainty that threads through the song in a California setting, a setting restrained, but with something darker beneath the surface. The refrain of “until it stops" threads through the song, propelling the visuals, gathering momentum in a slightly unnerving arc.
Inspired by The Swimmer (1968) starring Burt Lancaster based on a short story by John Cheever (1964), I present a honed, focused and surreal narrative. The video unfolds from morning to dusk, blurring fantasy and truth, presenting a strange allegory of life, a surreal take on the hero’s journey where the discovery is the tragic nature of life. As one member of the band observes, the other members appear, dive into the pool, emerging out the other end before moving on their way. The last time around, “until it stops” doesn’t stop, leaving that word — “stop” — like Boeckner’s double, floating, ambiguous.
Robert Rauschenberg, 1971. Photo by Hans Namuth. “With his move in 1970 from New York to Captiva, an island off the Gulf Coast of Florida, Rauschenberg cleared his palette. Retreating from urban imagery, he now favored an abstract idiom and the use of natural fibers, such as fabric and paper.”
Poor Bubbles the Chimp has had a rough time. Sure he was immortalised alongside his former owner Michael Jackson in a work by Jeff Koons, but for years he also toured with MJ, surviving on a diet of candy and sleeping in the singer’s bed. These days the 26 year old ape resides at the Center for Great Apes in California and has turned his hand to painting. The Bubbles original above is about to go on sale in an exhibition at the Miami Club Rum Distillery timed to coincide with Art Basel Miami. While Bubbles’ works don’t demand the same prices as Koons’, he’s still managed to pre-sell a canvas, for US$1,500 no less.