The 77th Volume of Hi-Fructose is here.
The New
Contemporary
Art Magazine
Hi-Fructose is a quarterly print art magazine founded by artists Attaboy and Annie Owens in 2005. Hi-Fructose focuses squarely on the art which transcends genre and trend, assuring readers thorough coverage and content that is informative and original. Hi-Fructose showcases an amalgamation of new contemporary, emerging as well distinguished artists, with a spotlight on awe inspiring spectacles from round the world.
Amidst Super Bowl weekend, a large collection of hand painted movie posters by Ghanaian artists made its way to San Francisco. Curated by @deadlypreygallery each poster was an extreme interpretation of its subject matter; Free Willy was a blood thirsty menace, Macaulay Cullkin appears in two time lines at once while Giger’s Alien finds its way into Groundhog Day? Yes, all bets are off. @harmanprojects was covered from floor to ceiling to tables with hundreds of these infamous posters which originally promoted bootlegged VHS video showings but have now become sought after commissions from dozens of artists.
Nine years ago, Hi-Fructose published an in depth article on the posters and history with interviews with key artists and curators. We will put some sort of link to that in the comments if your curiosity has been awakened.
Made out of the redacted parts.
By Odesso.
@odessoart
#files #digitalart #collage #artprocess
Prepare your eye holes for a visual assault from performance artist/human sculpture David Henry Nobody JR (full article by Liz Ohanesian now on Hi-Fructose)
The internet is a strange place where… you’re talking through a machine and you’re projecting whatever you want,” he says. In a way, that’s part of Brown’s work too. “We’ve been projecting for a long time. We project ourselves onto celebrities. Most celebrities are the most boring people, but it’s the viewer, it’s the fantastic nobody, all of us losers, that makes them seem interesting.”
But, it’s not always bad attention online and, some of the feedback becomes part of Brown’s process. He acknowledges that he doesn’t always see the full meaning of an image right after he posts it. “The audience helps me see it,” he says. “I watch the response and I learn how the image is communicating. What is it communicating to people? You can kind of gauge it through the comments sometimes.”
In the end, though, Instagram has been a strangely wonderful medium for Brown to explore. It gave him a way to express himself while still being a bit of an outsider in the art world. “On social media, you don’t have to be an art world hot shot,” he says. “If you make creative stuff, people are going to notice and I think that democratization of creativity for the public and bringing it directly to the public has always been super important to me.”
Brown doesn’t shun the gallery world. He shows his work IRL and would like to continue doing so, but he’s flexible about how he shows his work. “I go with the flow he says. “Right now, Instagram is the most creative venue there is.”*
@davidhenrynobodyjr
Image 1,7,8 taken by @jazzaddikt
Bus stop poster reclamation animation by
A. L. Crego.
@alcrego_
09/2018
Will totally resist using a maze-pun describing this intricate drawing by Ben Sack.
@ibensack
From @bbcscotnews Glasgow’s famous Duke of Wellington statue has taken on a new look - after a street artist added an extra sculpture on top of it.
The statue outside the city’s Gallery of Modern Art typically has a traffic cone perched on its head - a tradition believed to date back to at least the 1980s.
However on Monday a second model, showing a pigeon reading a newspaper with a small traffic cone atop its head, was added.
The addition is the work of street artist the Rebel Bear. @the.rebel.bear
Let’s take a trip to a cemetery filled with head stone carvings that are sculpted by its own inhabitants.
Courtesy of author and travelogue creator J.W. Ocker. @jwocker
Robert Williams: Fearless Depictions, a survey exhibition, is now on view at the Long Beach Museum of Art. To celebrate, we are, for the first time, making the long form article written by Silke Tudor on @robertwilliamsartist available on our site. Enjoy!- HF
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Here’s just a clip:
In 1979, with the publication of The Lowbrow Art of Robt. Williams, Williams unintentionally coined a term that would come to define an art movement. But he began intentionally carving out its place in the world long before
“I’m a symptom not an instigator,” says Williams. “I just lent a definition to the condition.”
Williams’ modesty belies the riotous young man who arrived in California in 1963, when Hollywood was still a small town, “ready to set the art world on fire” with his draftsman’s hand and a fevered mind fueled by sex, drugs, and fast cars.
“I wanted to immerse myself in art theory,” says Williams while still conveying the bearing of a street tough. Williams enrolled in Los Angeles City College, a well-respected junior college that didn’t require a high school diploma or more than $6.50 per unit.
“But I arrived right in the middle of abstract expressionism,” says Williams. “It lends itself well to bank lobbies and hospital waiting rooms—it’s unobtrusive.”
Williams was anything but. He liked comic books, girly magazines, B-movie posters, pulp magazines, science fiction covers, and hot rod art. His growing artistic vision encompassed drag races, border battles, UFOs, gangsters, demons, mad scientists, psychotic clowns, pin-up girls, puppet shows, sea monsters, and doomsday scenarios. But he wanted to paint them with the precision of an old master.
“In art school, the premise was that only people of limited imagination would create a 3-D representation because, obviously, they didn’t have the mental strength or intelligence to appreciate two dimensional art… I had a fucking problem really early on.”
Additional photos and videos provided by @coprogallery from the exhibition @lbmaorg
