Peter Pink's art would be best described as sarcastic, humorous and keen. This Berlin artist's work consists of both public installations and street art. The colour pink captures the spirit of his program quite nicely - it creates a recognition value and lets his work stand out. Calling himself 'a nonsense maker', Peter Pink, caricatures in a pink laced, humorous and unusual way our consumer society, tourists and other mass phenomena. It seems as if the physical characteristics of the edibles (i.e. contour, colour, and texture) act as a human personality to create sympathy for the vegetables.
Install shots from It’s Like A Rainbow, on view at the Classic Center, Athens GA. Images courtesy of Online Athens
"…the obsession with surface gloss that came to characterise Miami Vice. It was common knowledge that the show’s executive producer Michael Mann had dictated a blanket edict — "No earth tones" — to the show’s production designers, and that every aesthetic decision on Miami Vice had to conform — or else. A cover story in Time in 1985 described the philosophy in depth. “There is a very definite attempt to give the show a particular look,” episode director Bobby Roth told the magazine. “There are certain colors you are not allowed to shoot, such as red and brown…I found this house that was really perfect but the color was sort of beige. The art department instantly painted the house gray for me.” The two stars, Sonny Crockett (Don Johnson) and Ricardo “Rico” Tubbs (Philip Michael Thomas) moved through a world of near-perfect hightened abstraction.”
(from the 'LIVE from the NYPL' series)
Rem Koolhaas: Mystic rational sober baroque patient immediate
Anish Kapoor: As if to celebrate I discovered a mountain
Joan Didion: Seven words do not yet define me.
Malcolm Gladwell: Father said: “Anything but journalism.” I rebelled.
John Irving: Imagined missing father; wrestled, wrote, fathered children.
Paul Holdengräber: Mother always said: Two ears, one mouth.
Ed Ruscha: Lapsed catholic / Newspaper carrier / Hitchhiker / Sign painter / Printer’s devil / Daydreamer / Artist
All Tomorrow’s Parties
Barbara Kruger is a rich artist. Richard Prince is a very rich artist. Kruger is famous for her use of words in her visual works. Prince is famous for his use of other people’s pictures in his own. Appropriators both, Kruger and Prince are sometimes sued by people who don’t want them to appropriate their things (You should buy this book: Canal Zone Richard Prince YES RASTA: The Book).
I am a heavy user of other people’s stuff, too. I make videos, and many of them are built out of home movies, commercials, instructional films, newscasts, corporate videos, surveillance footage, and so on. You name an audio or video source, I’ve scavenged from it. I do this scavenging far less frequently in my poems, though I am working on a conceptual piece that will likely be composed entirely of found text, so perhaps my video practice—newer to me—has begun to bleed into my writing.
I wanted to share this conversation between Kruger and Prince, which was originally published in BOMB in spring of 1982, a time when both artists were what we might call “emerging,” on the cusp of blowing up. I’ve included the two images that attended the article.
All Tomorrow’s Parties
by Barbara Kruger and Richard Prince
Barbara Kruger What about these conversations?
Richard Prince Like?
RP I think you’re excessive.
BK Without the tape?
RP Same thing.
BK Same thing?
RP Well right now any condition.
BK Do you wish?
RP I used to.
RP It’s just recorded, you know, truer than day to day conversation. So self-conscious, so overloaded with information.
BK Truer than they really are?
RP …a kind of mutation…
BK What do you mean?
RP I’m not feeling healthy. I suppose it has to do with a willingness to be a sucker.
BK A sucker?
RP Desire to believe in what is less true.
BK Do you think about exchange?
RP Well … later, maybe. I suspect alot depends on negotiation.
RP I’m concerned. The degrees become indistinguishable. Anyway, at least…
BK …you like work.
RP Yes. At least now anyway. “That’s it.” I could sleep with those pictures.
BK ”That’s it?”
BK And sleep?
RP Just talk.
BK What about work?
RP I took texts. I started taking pictures.
RP It absolutely destroyed the naturalness. I thought alot.
RP Beating yourself up. I have been… you know? I don’t know how else to put it.
RP What about these days?
BK Things like that?
BK Well, curiosity of replication.
RP Does this have to do with…?
BK In some ways.
RP Like lying, telling a true story is fiction?
BK I replicate and coincide with fiction.
RP People think you seduced popular culture? You?
BK It is not surprising that people locate themselves in a zone of images and stereotypes. But for women it’s extreme masochism.
RP The fact that we have previously been available to anyone who cared?
RP “Cool” “cool,” little dinosaur.
BK You think you can fake pleasure?
RP I don’t know. I wonder … is it time?
BK I think many times. You, the charming rogue, the picaresque bull in the china shop and in the art world, driving through heavy neighborhoods to look at the poor, the unbeautiful, the unempowered. “Vulgar.”
Tauba Auerbach: RGB Colorspace Atlas
American artist tauba auerbach, presents the 8 x 8 x 8-inch hard-back cubes illustrating the color spectrum through digital offset print in a page-by-page medium. A digital offset print on paper with airbrushed cloth cover and book edges create a colorful reference volume of all the colors in existence. The special binding was co-designed by the artist herself in collaboration with Daniel E. Kelm, and were printed at wide awake garage, an independent bookbinder, with help from Leah Hughes.