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Showing posts with label art exhibits. Show all posts
Showing posts with label art exhibits. Show all posts

You Thought Packing Tape Was For Shipping Boxes, But Mark Khaisman Proves Otherwise.





Artist Mark Khaisman, originally from the Ukraine and now based in Philadelphia, uses packing - or packaging - tape in a very different manner than you do. Applying layers of 2" wide translucent and clear packing tape to backlit panels, he uses the play of shadow, depth, shape and color to create images of objects, portraits, patterns or motifs and the re-creation of movie and film noir stills. The results are reminiscent of digitized or pixelated photos, only with a depth and tactile quality that is unique to his work.



above: Tape Noir_72, 2012, Packaging tape on acrylic panel with translucent resin light box, 20.5 x 27 x 6 inches (52 x 68.5 x 15.2 cm)

The artwork with the lights off, compared to when it is illuminated from behind, is quite a transformation:


Here are some more wonderful examples of his work from various categories over the past few years.

Objects

Birkin Girl 2, 2013:

above: Packaging tape on acrylic panel with translucent resin light box, 27 x 40 x 6 inches (68.5 x 101.6 x 15.2 cm)

Faberge Egg 2, 2013:

above: Packaging tape on acrylic panel with translucent resin light box, 20.5 x 27 x 6 inches (52 x 68.5 x 15.2 cm), Private Collection

Antique Serapi Rug 1 and Antique Serapi Rug 3 (two different pieces), 2012:

above: Packaging tape on backlit polyester film , 100 X 58 inches (254.00 X 147.32 cm) and Packaging tape on backlit polyester film , 96 X 48 inches (244.00 X 122.00 cm)

image at the top:
Birkin Girl 5, 2013, Packaging tape on acrylic panel with translucent resin light box
27 x 40 x 6 inches (68.5 x 101.6 x 15.2 cm), shown with lights off and on


Motifs

Motif 2013.1, 2013:

above: Packaging tape on acrylic panel with steel light box, 48.5 x 36.5 x 6 inches (123.2 x 92.7 x 15.2 cm)

Motif 2013.3, 2013:

above: Packaging tape on acrylic panel with steel light box, 48.5 x 36.5 x 6 inches (123.2 x 92.7 x 15.2 cm)

Film Stills

James and Ursula #1, 2013

above: Packaging tape on acrylic panel with translucent resin light box, 40.5 x 27 x 6 inches (103 x 68.5 x 15.2 cm)

James and Ursula #3, 2013:

above: Packaging tape on acrylic panel with translucent resin light box, 40.5 x 27 x 6 inches (103 x 68.5 x 15.2 cm)

Tape Noir Glimpse 47, 2012:

above: Packaging tape on acrylic panel with steel light box, 48.5 x 36.5 x 6 inches (123.2 x 92.7 x 15.2 cm)

Killer's Kiss (007), 2010:

above: Packaging tape on acrylic panel with translucent resin light box, 20.5 x 27 x 6 inches (52 x 68.5 x 15.2 cm), Private collection, USA

Portraits

Barbara, 2012:

above: Packaging tape on backlit acrylic panel, 26.5 X 20 inches (67.31 X 50.80 cm), NBC Collection

Alfred, 2012:

above: Packaging tape on backlit acrylic panel, 26.5 X 20 inches (67.31 X 50.80 cm), NBC Collection

Images of his work on display:



The Artist:

above: Mark and his wife Elena stand in front of His Antique Serapi Rugs made of packaging tape at Miami in 2012 (image courtesy of Facebook)

Mark explains his work as follows:

ON TAPE:
My works are pictorial illusions formed by light and shadow. Tape allows for images that communicate what I'm interested to do in a very direct way. My medium consists of three elements: translucent packing tape, clear acrylic or film panels, and light. By superimposing layers of translucent tape, I play on degrees of opacity that produces transparencies highlighted by the color, shading, and embossment (sic). There are some qualities of tape that make it unique for me as an art material: its banality, humbleness and its “throwaway” nature; its default settings of color and width; its unforgiving translucency; the cold and impersonal attitude that tape surface suggests.

ON PROCESS:
I apply a stripe of translucent tape on a clear backlit panel, and if I don't like it, I peel it off. If I peel off less frequently than apply, a chance is that an image emerges. The whole process is reminiscent to the red room photo development in the pre-digital era, in a way, as my hands do the job, and my mind is witnessing the appearance of the image, then the only concern becomes to not under - or overdevelop it. Though I try not to lose control completely, I am not aware of every move I am taking, so by the time the piece is done, I don't exactly know how it has happened, so I feel compelled to start a next image to make sure that I can do it again.

ON LAYERS:
Layering tape, and even peeling it off, gives me a strange satisfaction. The only explanation for it I can offer comes from the Eastern cultural perception of the self as an onion, according to which if you peel off the outer layers of the onion you find more layers underneath. It makes you want to peel off more, and more, and more to find the pit, but when you finally peel it off to the very last layer you are left with nothing. I do it in reverse, but the feeling that it is only the different direction of the same process feels liberating.

ON PIXELATION:
I think that my art may be dabbed as post-digital, because although it has been inspired by the pre-digital movie media and developed in the context of digital pixels, it bypasses virtual reality finding itself in the blizzard combination of light, disposable plastic, and calculated rhythms of imaginable music all holding together with the stuck familiarity of random cultural references.

As soon as I pick up a 2-inch tape and start blocking the light streaming through the Plexiglas screen in attempt to render the image, the abstract field of intersections occurs. It consists of lighter and darker polygons with different lengths and angles of sides, which I refer to as “pixels”. To be immersed in the field of their vibrations and never loose photographical realism of an image woven into the fabric of rhythmic scores and luring into deception that image is all there is, is just too much fun. My goal can be roughly put into three subtasks, which are managing the scale, figuring out the ratios, and controlling intensity of light.

Light has a well-known affect of dispersing in geometrical cones, so that the greater the distance from the light opening the larger it seems. I play with the size of openings, placing the lighter and smaller ones next to the wider and darker to create contrast.

ON SUBJECTS:
The tape is the message. A parody on Marshall McLuhan’s famous quote could explain the superficial motives, which make up the work. Subjects are categorized into different groups: fragmented stills from classic cinema, iconic objects from art history, portraits. The works are exploring the familiar as our shared visual history; made of a familiar material formed into a familiar image, asking the viewer to recognize and complete the work, stimulating both memory and interpretation in the process.

Mark Khaisman

In the USA, Mark is represented by Pentimenti Gallery
In CANADA, at Galerie LeRoyer
In KOREA, at Gallery YEH
In SPAIN at the Ampersand Foundation PF

images © and courtesy of Mark Khaisman and Pentimenti Gallery



Louis Vuitton's Infinitely Kusama Collection (And All Its Hype) Will Have You Seeing Spots.





If you can connect the dots, you'll have seen this latest collaboration between luxury brand Louis Vuitton and 83 year old Japanese artist Yayoi Kusama, known for her dots, waves, pumpkins and brightly colored severe haircut, hyped to the hilt.



above: A wax figure of Yayoi Kusama stands in one of the window displays of Louis Vuitton's Flagship New York store

Along with the launch of the new womenswear ready-to-wear collection (the entire collection of which is shown further down in this post), the New York flagship store has been covered in dots with its windows filled with wax figures and miniature versions of the artist surrounded by her work and the collection:





The Whitney Museum has a Kusama Retrospective timed to coincide with the collection's release.



The Tate Museum just featured an exhibit of Kusama's works, and the line is accompanied by artworks that will be showcased in the Louis Vuitton New Bond Street Maison’s dedicated exhibition space.

Yayoi Kusama: Princess Of The Dots:


iPhone App:


As part of the collaboration with Yayoi Kusama, Louis Vuitton has created an iPhone app that turns any picture into a unique visual inspired by the artist’s signature waves or Dots and upload it to their online gallery, Visions of the Kusama World.



Collaborations between artists and fashion houses are nothing new, but this one is being heralded like the Second Coming.

The collection includes four subcategories based on the signature art styles of Yayoi Kusama: Dots, Waves, Pumpkin and Town. The expansive line includes Fashion and Fine Jewellery, Handbags, Small Leather Goods, Luggage, Scarves, Pareos, Pumps, Flats, Sunglasses and Ready-To-Wear fashions.


above: The pumpkin bag is a precious creation of galvanised metal with pure gold and resin

While I'm a fan of Kasuma's work, some of the pieces in the new collection are truly fabulous while others look like they came straight from Minnie Mouse's wardrobe closet. No doubt about it, you gotta like dots to like Louis Vuitton's Infinitely Kusama Collection.

The Infinitely Kusama Accessories:
Infinitely Kusama Pumps:

Infinitely Kusama flats:

Infinitely Kusama Watch, Collar, Snood and Shawl:

Infinitely Kusama Fashion Jewellery:

Infinitely Kusama Handbags and leather goods:

Infinitely Kusama Luggage:

Infinitely Kusama Pareos and Beach Towel:

Infinitely Kusama Pumpkin scarf and charm:

Infinitely Kusama Town Monogram Silk Scarf:

Infinitely Kusama Sunglasses:



The Ready to Wear Infinitely Kusama Womenswear collection:









Most of the collection is available in store only, but you can shop for some of the accessories online here

Louis Vuitton and Yayoi Kasuma's Infinitely Kusama Collection

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