I love these homage-to-Pop installations by Guyton/Walker. See more images at Greene Naftali.

To me, it's clever and fun. Here are some Warhol and Lichtenstein images, so you can see how immediate the influence is.

Roy Lichtenstein:

Andy Warhol:

(Of course, these brief images don't exactly exemplify the breadth or highlight of either artists' career. But they show the subject matter, style and technique that have informed Guyton/Walker's work.)

Guyton/Walker is a collaborative effort by Wade Guyton (who did the inkjet paintings I highlighted here) and Kelley Walker, whose work can be seen on Saatchi online.

(Guyton/Walker images via)

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These reliefs by Yechel Gagnon are mesmerizing.



Palimpsest, 2004
Installation view at McMaster Museum of Art, Hamilton, Ontario
Curated by Alexandria Pierce
Art Gallery of Nova Scotia Collection

It's on exhibition now in Toronto at Moore gallery until the end of April.

Moore Gallery
80 Spadina Ave. #404
Toronto, Ontario
www.mooregallery.com
Gallery Hours: Tuesday to Saturday, 11:00 am to 5:00 pm

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Intricate, organic drawings. See more, including forays into the grotesque here.

The following installation, Deep Throat, reminds me of some of Cindy Sherman's work.

In this series, Cindy Sherman creates scenes littered with mannequin parts, food and garbage. It's the first thing I thought of when I saw Schmidt's piece above.

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In 1967, pop artist Robert Indiana produced his now-iconic LOVE sculpture, which has been installed in dozens of places around the world, mostly  in English but also in Hebrew and Italian.

Here is the original, in New York City:

General Idea, AIDS,
 Galerie Stampa, Art Frankfurt, 1988.

If you are in Toronto, the Art Gallery of Ontario has a General Idea gallery in their contemporary collection that features a similar installation of the AIDS work.

In 1994, both Partz and Zontal died of AIDS.

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'Moving Forest' by NL Architects



(via & waleed)

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Chris Burden's work is often reduced to the stunning performances in which he explored personal danger as artistic expression. For Shoot (1971), he had an assistant shoot a bullet in his left arm by an assistant from a distance of about five meters. Why stop there when you can do better? He set fire to himself, nailed himself on a car, had himself cut, starved, drowned, sequestered, etc.

The work on show at Inhotim, Samson, is of a different genre. It is potentially dangerous but not for the artist. The piece consists of a 100 ton jack connected to a gear box and a turnstile. The jack pushes two large timbers against the walls of the gallery. To enter the gallery, visitors must pass through the turnstile and each turn of the turnstile slightly expands the jack. If enough people visit the exhibition, Samson could, theoretically, destroy the building. The installation speaks volume of Burden's opinion of museums and art institutions which the artist identified with "the establishment." By forcing spectators to pass through the turnstile in order to satisfy their curiosity, Burden assigns them equal culpability in the potential destruction of the gallery space.

(via)

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The minimalist movement spanned many different media, which further proves how much minimalist work pushed not only the boundaries of painting, but of art in general. Dan Flavin used commercially available fluorescent tubes to create minimalist sculpture, which was a marriage of both post-Abstract Expressionism and a precursor to Pop Art. Many of Flavin's works are untitled with a dedication -- sometimes to friends and family members but other times, as is the case in the example below, the dedications are to other artists.

Dan Flavin. (American, 1933-1996). Pink out of a Corner - To Jasper Johns. 1963. Fluorescent light and metal fixture, 8' x 6" x 5 3/8" (243.8 x 15.2 x 13.6 cm). Gift of Philip Johnson. © 2008 Estate of Dan Flavin / Artists Rights Society (ARS), New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1911&page_number=1&template_id=1&sort_order=1

http://www.diacenter.org/exhibs_b/flavin/

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