Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary art and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Kate MccGuire, Herakut, David Alexander, Gonzalo Garcia Calvo, Jessica Eve Rattner, Rick Berry, Sergey Kalinin, Zemer Peled and a video with Greg “Craola” Simkins painting his piece “When Life Give’s Lemons”.
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary artworks and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Michael Adamson, Bordalo II, Guennadi Kalinine, Christina Mrozik, Derick Melander, Molly Wood, Oleg Oprisco, Nicole Watt and a video on the installation “Narcissism : Dazzle room” by Shigeki Matsuyama. This installation is one of a series of dazzle camouflage themed works the artist has been creating since 2013.
Dazzle camouflage was a type of ship camouflage used during World War I. As its name suggests, it was meant to dazzle and confuse the human eye. In an era where radar technology did not exist, an enemy vessel’s range and heading needed to be visually identified for targeting. The complex black and white patterns painted on ships with dazzle camouflage made it difficult to ascertain whether a target was moving closer or farther away and prevented accurate firing.
The person in the room covered with dazzle camouflage uploads selfies to social media while surrounded by a larger self representing narcissism. In an era where much communication occurs over social media, metrics such as likes and follows fulfill our desire for recognition; however, the ease of which we can obtain validation from others leads to the growth of this desire, and we attempt to satiate it using our self-image or “larger self.” The boundary between self and self-image is unconsciously blurred by dazzle camouflage, and as a result, we ourselves cease to recognize our own boundaries. (via vimeo)
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary artworks and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Carlos Garaicoa, Dan Tirels, Eric Esterle, Michaël Husser, Gilles Bensimon, Kiki Xue, Linda Jacobson, Shai Yossef and a video from the Whitney Museum of American Art, Human Interest: Martha Wilson on John Coplans, artist Martha Wilson discusses honesty in John Coplans’s portrait Frieze, No. 2, Four Panels, 1994 and her own.
If you would like your work featured in the Weekly Mixx, visit the Submissions page for information on how to apply.
Takao Tanabe, considered one of Canada’s leading painters and printmakers, has shown work nationally and internationally for over sixty years. Though he studied in New York, Tokyo and London, it was his native area of the coast of western Canada that attracted and inspired him to move from the Abstraction painting of his youth to landscape, the painting that he has become most known for. A self-described minimalist painter, his painting and his teaching have garnered him many awards including the Order of British Columbia, the Order of Canada and the Governor General’s Award in Visual and Media Arts.
Takao Tanabe was born Takao Izumi in the small village of Seal Cove (now Prince Rupert) on September 16, 1926, the son of a commercial fisherman. The fishing village on the coast of northern British Columbia was primarily a Japanese-Canadian community and Takao spent the summers of his youth in fishing camps on the Skeena River. The family moved to Vancouver in 1937, however just a few years later, they were forced to leave their home. The 1941 Japanese attack on the U.S. at Pearl Harbor in World War II saw the Canadian government impose restrictions on Japanese-Canadians and the family was interned at a “relocation” camp in British Columbia as Japanese aliens. The young man, along with his two older siblings, were then moved to eastern Manitoba as indentured workers on a sugar-beet farm.
At the end of the war, Takao, now with the last name of Tanabe, after his mother’s family, went to Winnipeg in 1946. He began courses at the Winnipeg School of Art and also attended the University of Manitoba.
In 1950, Tanabe studied at the Brooklyn Museum of Art School in New York. His work reflected the major genre of Abstract Expressionism that was taking hold in America after World War II. He was fortunate enough to take drawing classes from Hans Hofmann, a major artist of the Abstract movement. Tanabe was to remain an Abstract painter, “using geometric shapes, flat spatial planes, perspective and bold colours in a range of mediums”, for more than twenty years.
Tanabe returned home to Canada in 1952, exhibiting to good reviews in Vancouver and taking a few classes at Banff School of Fine Arts in Alberta. Over the next ten years he would have the opportunity to travel and learn different aspects of painting and art in England and Japan. In 1953, he was the recipient of an Emily Carr scholarship and was able to attend the Central School of Arts and Crafts, London, England. By 1957, Tanabe was gaining recognition and had a one-man show at the Vancouver Art Gallery, as well as exhibits across the country, and internationally – at the Bienal de São Paulo and in Milan.
Support from the Canada Council for the Arts allowed Tanabe to visit Japan in 1959, where he learned the arts of calligraphy and sumi-e (Japanese ink painting) at the Tokyo University of Arts. His new knowledge impacted his painting, and by the early 1960s he was creating Japanese-influenced ink drawings (Falling Water, 1967).
Tanabe returned to Vancouver in 1961 to teach at the Vancouver Art School and was to stay there for seven years, during which time he painted large-scale murals. In 1968, he went back to the States, working in Philadelphia and then in New York City until 1972, when an offer from Banff Art Centre in Alberta, Canada, not only brought him back to Canada but also coincided with a significant change in his work.
“After 22 years of painting abstract painting, I decided it was time to try something else…painting landscape…” he said. His week-long journey across the prairies to his new position inspired a whole series of landscape painting reflecting the flat and vast prairies. Tanabe has said that it is “simpler for my brain to think in series”, and indeed he has painted many landscape series including a series of 20 of the mountains in winter.
After seven years at Banff, and after influencing hundreds of students, Tanabe and his wife moved to Vancouver Island in 1980 where he could paint full time in a place of which he has said, “If you know B.C., you know the variety of landscapes and seascapes…islands, mountains, and valleys. It’s got a prairie-like atmosphere up in the Cariboo area…you don’t have to go look anywhere else…nothing holds a candle to the variety of views that BC offers.”
When last we checked, Tanabe still paints in his rural B.C. studio every day. His work, purely devoted to nature, explicitly without the human intervention in the landscape (railway lines, telephone poles, silos, etc.) and with the smooth finish of the artist who wants the paint to look as though it “just floated on”, has been collected by the Vancouver Art Gallery, the National Gallery of Canada, the McMichael Canadian Art Collection and many other public and private galleries. He is well known for “his transcendent light and atmosphere, which fluctuates from delicate and misty to stormy and brooding in his landscapes”, and his work appeals to collectors and is in high demand – perhaps for the meaning that Tanabe sees in the weather it depicts.
In 2000, Tanabe said in his artist statement for an exhibition of his work in B.C., “However much we desire order and clarity in all the details of our lives, there are always unexpected events that cloud and change our course. Life is ragged. The typical weather of the coast is like that, just enough detail to make it interesting but not so clear as to be banal or overwhelming. It can be a metaphor for life.”
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary artworks and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Alexandre Alonso, Dan May, Donald Martiny, Firelei Baez, Francis Krieg, Isabelle Wenzel, Yh Lee, Marta Spendows, and Henrique Oliveira.
If you would like your work featured in the weekly mixx, visit the Submissions page for information on how to apply.
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary artworks and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Gemmy Woud-Binnedjik, Brad Jesson, Iva Gueorguieva, Rachel Ducker, Warren King, Coroso Zundert, Gemma Capdevila, and short video Aether – a spatial audio-visual collaboration between musician Max Cooper and architects Satyajit Das and Regan Appleton. It plays on the beauty of fundamental natural forms – waves, surfaces, symmetries and surreal landscapes, as the building blocks and underlying structure of the world around us – a modern interpretation of the luminiferous aether.
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary artworks and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Antony Gormley, Flora Borsi, Herakut, Kyle Stewart, Max Serradifalco, Murray Mcculloch, Scott Marr, Tony Cragg and a video by More Than who recently commissioned a unique art exhibition for dogs from British artist and inventor Dominic Wilcox. Wilcox’s interactive exhibits include ‘Cruising Canines’ – an open car window simulator, ‘Dinnertime Dreams’ – an oversized 10 foot dog bowl filled to the brim with hundreds of play balls to look like dog food, and ‘Watery Wonder’ – a series of dancing water jets that jump from one dog bowl to the next for dogs to chase. A selection of paintings and drawings created in a dog’s colour spectrum are also on display at the exhibition for the visiting dogs to enjoy.
Your Weekly Mixx! DAF’s Weekly Mixx is a selection of contemporary artworks and/or art related videos chosen from artist and gallery submissions and from our own search for new and interesting works. This week, we feature the work of Andrew Hem, Andy Scott, Meredith Marson, Ostinelli & Priest, Sigalit Landau, Vadim Stein, Wolf Ademeit, Elisabeth Higgins O’Connor and the video All the art in London in one day by Alex Gorosh who documents his attempt to see every piece of art in London in one day. (in collaboration with Art Fund U.K.’s National Art Pass)
The images featured today are by photographer Brent Stirton. “Brent is a senior staff photographer for Reportage by Getty Images. He specializes in documentary work and he is renowned for his humanitarian efforts around the world. His images not only earn highly acclaimed awards, such as the Visa d’Or, World Press Photo and the Overseas Press Club, but also gain much needed attention to subjects that he is very passionate about. In fact, he was named by American Photo magazine as one of the ten heroes of photojournalism in 2007.” (from Getty Images)
Brent’s work is published by: National Geographic Magazine, National Geographic Adventure, The New York Times Magazine, The London Sunday Times Magazine, Smithsonian Magazine, The Discovery Channel, Newsweek, Le Express, Le Monde 2, Figaro, Paris Match, GQ, Geo, Stern, CNN, and many other respected international titles and news organizations.
Brent also photographs for the Global Business Coalition against Aids, Tuberculosis and Malaria. He has been a long time photographer for the World Wide Fund for Nature (WWF), shooting campaigns on sustainability and the environment. He works for the Ford and Clinton Foundations, the Nike foundation and the World Economic Forum. He was appointed one of 200 Young Global leaders in 2009 by the World Economic Forum.
Recently Stirton was also awarded The Lucy Award for International photographer of the Year for 2008 and in 2009 he received the ASME magazine publishers award for photojournalism for his work in the Democratic Republic of Congo published in National Geographic magazine. In 2009 he received a gold award from China International photographic awards, as well as awards from the National Press Photographers Association, Graphis and American Photography.
The photos in this post are of the Omo Valley Tribes of Southern Ethiopia. To see more of Stirton’s wide body of work, visit BrentStirton.com. Note: images may be disturbing to some viewers as they tackle controversial and sensitive issues.