Matthew Craven challenges the sweeping narratives of American history textbooks, appropriating images of historical figures and sites and defacing or reconfiguring them within new aesthetic compositions. With his surreal mash-ups of historical references composed on antiquated paper, Craven creates his own pared-down symbols and mythologies. In combinations of illustration, collage, and painting, a march of tribal chieftains, Masonic leaders, and American generals and presidents appears in his images, their faces blotted out or colonized by Craven’s trademark geometric patterns.
Many of Craven’s images are ambiguous, resisting cohesive narratives or easy interpretation; the artist has said that his compositions are not dictated by any political agenda but are based solely on aesthetic consideration.
Denver based artist Ravi Zupa’s images are drawn and painted by his hand. He considers books the best way to experience art and has spent decades studying art from cultures and movements that span history and originate from nearly all geographical regions. Being entirely self-taught, he looks for inspiration in works by German Renaissance print makers, Flemish primitives, abstract expressionists, Japanese woodblock artists, Mughal paintings, religious iconography from Europe, Asia and Pre-Columbian Latin America, and revolutionary propaganda the world over. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal.
Ravi demonstrates mastery in a wide range of media including painting, printmaking, drawing, ceramic and assemblage sculpture, and collage. He employs recycled materials such as blueprints, envelopes and old letters salvaged from dumpsters.
Julie Heffernan‘s dark, Grimm fairy tale-like undercurrent transforms her aristocratic, operatic portraits into a contemporary vanitas or memento mori, acting as both a stylized fantasy and a Bosch-like warning. Her lush self-portraiture utilizes a myriad of art historical references to present a sensual interior narrative, a self-allegory whose half- hidden political agenda is the literal background of the paintings.
Her imaginative landscapes feature such elements as exploding cities, castoff gods and garbage, and falling torrents of animals, meteors and gemstones. These elements reflect her view of the world after “calamities” such as Hurricane Katrina and the BP Oil Spill threaten to make it unlivable.
Building upon the foundation of forgotten ephemera, the meticulously crafted collage art of Human Wreckage transforms the simple into the sublime. By assembling images culled from varied historical frames, ranging from mid-century pop to antiquity, the works evoke an ethereal timelessness.
The unconventional juxtaposition of diverse subject matter simultaneously elevates the mundane and humbles the divine. It is at once violently innocent and joyously satirical.
Something for the inspiration and coffee table… The Furniture of Charles & Ray Eames. “A hardcover book created by Vitra which looks to commemorate the 100th birthday (1907 – 2007) of Charles Eames and is entitled “The Furniture of Charles & Ray Eames.
“This volume primarily focuses on their furniture design and is grouped into categories based on materials such as plywood, plastic, wire and aluminium, all of the Eames designs produced by Vitra are presented in great detail.
“The book also showcases reproductions of vintage photographs and documents which are accompanied by explanatory texts providing in-depth information on the historical background and distinctive structural features of the furniture designs.”
Maybe its our age, but there is something about looking at an original Obey poster, just the Giant himself, and it takes you back. We miss this image. JetSetGraffiti.com has some older and rare Fairey prints up at their site right now, including this beauty for $4,000. If we had the cash, we may be on this one.
Title: Obey ‘95 (Gallery Edition) Size: 30″ x 42″ Description: This is a unique monoprint of the iconic Obey Giant Icon Face from 2005. The true collectors will understand the historical significance and the rarity of this print. There will never be another Icon like it… The floral stencil overlay creates an even more subtly subversive effect. This print is signed and comes with certificate of authenticity signed by the artist and printer. From 2005.