Design Work Life points out Kate McCagg’s clever series of blog posts that pair fashionable dresses with fashionable posters. I don’t wear dresses much anymore, but this is hard not to love.
More here. There are some really astute juxtapositions; this could be a great little museum show.
“There’s Something Very Important I Forgot To Tell You” was a 2009 exhibit in Milan by Berlin-based artist Riccardo Previdi. The title of the show is a line from Ghostbusters; this piece is called Test. Printer calibration patterns culled from the Internet were printed on paper, which was crumpled and photographed. The photos were then reproduced on a plank of plywood.
Previdi’s work references print and pop culture in a cheeky exploration of mediated imagery, reproduction, and representation. The following images are taken from a 2008 show called C_YK – Black To The Future:
From the press release:
C_YK – Black To The Future connects an associative web around the culture- and design-history of print technology…Architectural interventions like the magenta coloured transparent foil on the gallery´s showcase changes the original perception of the gallery as a display for art. Looking through the foil, the magenta coloured surface merges with its surroundings as if the foil did not exist. The inner space of the gallery is divided by an additional yellow foil that changes the view of the wall beyond where “convolutions” of paper are installed. Only the mobility of the viewer allows the “real” consistence of the single elements that at the same time changes the view on the “Gestalt” of the others to be seen. The neon writing “C YK” is visible also from outside the gallery. The coloured and shiny letters C YK become a point of attraction, a cryptic code which simultaneously influences its surroundings…
All the single elements of the exhibition “C YK – Black To The Future” are autonomous objects, but seen as one whole, as an architectural intervention, they start to play with the idea of a constructivist stage of perception: C- M-Y- K.
Other projects of interest include Fraktur, an installation that references Gutenberg’s 1455 Bible, and The Last Desire, a series of public billboards.
Long-time readers will remember that Printeresting was originally launched as “the thinking person’s favorite online resource for Jeff Bridges-related printmaking miscellany.” Well, despite our best efforts, that just wasn’t a sustainable business model.
But with an Academy Award in hand and a long-awaited Tron sequel in the works, Bridges is back in the news! So it’s time for a Jeff Bridges Print Update!
Surprisingly, that’s all the Jeff Bridges Print News I could find. The marketing team for Crazy Heart could have used a country-style Hatch Show Print-inspired design, but they didn’t. And as far as I can tell, nobody’s producing limited edition lithographs of his insane drawings.
Surely there will be more news in the next… Jeff Bridges Print Update!*
*NOTE: There will not be a next Jeff Bridges Print Update.
From Creative Review, Ryan McGinness has created a tongue-in-cheek artist’s book entitled Studio Manual to accompany his new exhibit Studio Franchise in Madrid. The book details facets of his art production process, including “everything from a brand study and visual identity to corporate policies and detailed instructions on how to make Ryan McGinness art.”
The exhibit is a recreation of McGinness’ studio environment executed according to a set of “franchise” guidelines.
As the primary drive of Ryan’s art practice concerns itself with the creation of and (re)production of original symbols, this new Madrid studio and the assistants will serve as symbols of the artist’s New York studio and as symbols of the artist himself. Furthermore, the studio and the assistants are not reproductions of the original, rather, they are productions based on the original. This is the essence of the franchise concept—not the deployment of reproductions or duplicates, but the production of originals created within a set of acceptable pre-determined guidelines—symbols with no referent, but that exist in their own right.
The invention and subsequent development of the printed image has changed the way in which we learn, see and describe the world around us…
Within the Printed Reality group the interplay between image and object is not a seamless transition but one of artifice, theatre. Here the recorded image functions as a backdrop, a stage prop positioned and presented in such a manner that we are readerly accepting of its fictional role.