A Gay-Oriented Collection of Wolves of Nature and Myth, Art Works, Tattoos, Songs, Films, Cubs, Otters, and Other Guys. Please be aware thet there is mature content on this blog. Available worldwide to all above the age of eighteen. Information and links to sources will be provided unless unknown. The Index provides searching by categories. Enjoy your visit.
Chip Whitehouse is a gay artist exploring in his artwork the theme of sexuality with its associated emotions. He studied Fine Art in the field of Oil Painting at Indiana University in Bloomington, Indiana, and studied Fashion Design at the Fashion Institute of Design and Merchandising in San Francisco, California.
Lucy Glendinning, “Feather Child 4″, Date Unknown, Feathers on Form
Lucy Glendinning is a sculptor and installation artist, who works in a contemporary British sculpture tradition. Her different aesthetic expressions are brought together under one central entry point: the human body as a semiotic medium. For Glendinning, art is the primary tool for investigating psychological and philosophical themes. Her work is thus permeated by a conceptual content, superior to the value of aesthetics.
Glendinning seduces the observing eye by emphasing subtle expressions and presenting stunning craftsmanship. Her way of cleverly combining paradoxical qualities are revealed in the twisted combinations of tenderness and brutality, empathety and ignorance, stillness and movement.
The suite “Feather Child” series originates from Glendinning’s fascination with visions of a future society. The feathered children are embodied questions, where the artist is asking us if we, in a world where our genetics could be freely manipulated, will be able to resist altering our physical abilities. Will necessity or vanity be the ruling power? The fragility of the feathers is simultaneously mirroring the perhaps most classic tale of human hubris: the fate of Icarus in Greek mythology.
The installation “He Xie” consists of 3,200 porcelain crab sculptures. They were created after Chinese authorities ransacked and destroyed Weiwei’s studio in 2010. Following that event, a feast of real river crabs was hosted by Weiwei, who was unable to attend, due to his house arrest. The term “He Xie” is a homophone for “harmonious” in Chinese and has also become a term for internet censorship.
Irina Nakhova, “Pilot”, 2015, Installation at the 2015 Venice Biennale
“Pilot” is one part of a three-part installation “The Green Pavilion” presented by Russian artist Irina Nakhova at the Venice Biennale in 2015. It is a giant head of a helmeted pilot whose features subtly changed activated by sensors in the room to the movements of the viewers.
“When you walk into the first room, all the sizes are different, and who greets you there is the pilot. The pilot is your navigator through time. So when you are here, there is dark. The skies are closed, but you are in the cockpit of the flight. When you come closer to the pilot, his eyes open, he looks at you and he also looks at the sky, and you can see that the sky are opening [via a skylight]. Then you really see what’s going on, but it’s also like in a dream because there is no verbal communication.” -Irina Nakhova
An installation artist and academically trained painter, Nakhova combines painting, sculpture, and new media into interactive installations and environments that engage viewers as co-creators of conceptual mindscapes. A part of a new generation of Russian non-comformist artists now known as the Moscow Conceptual School, Nakhova received international recognition as a young artist for her first ‘total installation’ entitled “Rooms (1983-1987)”. She was chosen as the first female artist to represent Russia at its pavilion at the Venice Biennale.
Irina Nakhova, “Primary Colors 2″, 2003, Acrylic and Oil on Canvas, 116 x 183 centimeters, Nailya Alexander Gallery, New York
Irina Nakhova currently lives and works in Moscow and New Jersey. She graduated from the Graphic Design Department of the Moscow Polygraphic Institute in 1978. Nakhova was a member of the Union of Artists of the USSR from 1986 to1989 and is considered one of the founding members of the Moscow Conceptualist movement. She is known for her “total installations” in which her art controls the space in a room.
Trevor Leat is one of the foremost creators of willow sculptures in the UK. Using traditional techniques combining beauty with functionality, Trevor Leat has been weaving willow to great effect for over 30 years. Although he creates baskets, garden furniture and even willow coffins, it is for his willow sculpture he is best known.
His work ranges from lifesize animals and figures, through to giant willow sculptures spectacularly burned at festivals and events such as The Wickerman Festival, The Edinburgh Hogmanay Celebrations and The Burns Light Festival in Dumfries. Based in coastal Galloway, Southern Scotland, Leat’s work is exhibited widely in galleries, and seen by tens of thousands at festivals and events around the UK and beyond.
Repulsed by the fusty impala torsos procured by macho trophy-hunting and goths shrinking squirrel heads to wear on velvet necklaces alike, taxidermist Harriet Horton has gone on her own way. Strictly ethical about procuring already deceased animals, she takes regular trips to her parental home in near-rural Stratford-Upon-Avon and makes use of a deep-freezer in her east London home.
Horton’s approach to taxidermy has always set out to explore animals in a foreign environment from their original habitat. The animals are stuffed, dyed then positioned on marble and concrete plinths, lit by luminescent halos of neon. The site-specific installations are then soundtracked with eerie industrial-classical music. Horton’s 2015 “Sleep Subjects” exhibition, shown in a crypt in Euston, was very successful.
“I was playing around with different aesthetics and thought of incorporating neon. When I used it, I realised its warm temperature and how relaxing it feels. It changes both your mood and that of the piece, and it makes the taxidermy less about death. I really don’t like the gothic side of taxidermy, it’s not for me. So instead I’ll place a magpie under simple white neon arc and the wings are down but the body’s curved perpendicular to the neon. It’s surreal but unless you know a lot about ornithology it wouldn’t look very weird; it’s just a subtle change to its posture.”- harriet Horton
Ming Fay, “Shad Crossing”, Detail, 2014, Glass Mosaic, Delancy Street Subway Station, New York City
On the Manhattan-bound platform of the F Line at Delancy Street Station, the mosaic mural depicts a cherry orchard that was originally part of the Delancy family farm, that was at today’s Orchard Street. On the Brooklyn-bound side of the platform, shad fish, which make runs through rivers every spring, represent the travel of immigrants across the ocean.
Ming Fay is a Shanghai-born and New York City-based sculptor and professor. His work focuses on the garden as a symbol of utopia and the relationship between man and nature. He is well known for his sculptures and installations. Ming Fay currently teaches sculpture at William Paterson University in New Jersey.
Born in Tunisia, Jean-Daniel Allanche returned to France for his studies, and ultimately became a professor of physics at the Faculty of Sciences Paris 7. In 1975 he bought an apartment on the Rue des Ciseaux, a small street in Paris’s central area of Saint-Germain.
In the late 1970s Allanche began embellishing his apartment with his paintings. After working for years, ultimately all available surfaces, including the ceilings, floors, cabinet doors, and step treads, along with the walls, were covered with polychrome works featuring whimsical motifs.
There are also occasional texts interspersed with the visuals, offering Allanche’s personal views, and on one of the doors he has painted his surname. The majority of the paintings, however, appear to have a more targeted decorative function; this is in line with a notation in one of his vast collection of notebooks, where he wrote that he believed he had managed to reveal the intimate relationship between musical harmony and colors.
Others of his notebooks included additional texts and aphorisms, but also hundreds of pages with sequences of numbers, referencing Allanche’s passion for gambling and his efforts, as a professor of physics, to model disorder.
Although Allanche’s artistic activity must have played an important role in his life, he was not very talkative about it, so his decorated apartment remained largely unknown. After Allanche died in Paris in August 2015, his heirs decided that they would retain it as a private apartment. Removable frescoed elements such as the doors have been preserved and the remainder of the apartment has been basically restored to its original state.
Japanese artist Tanabe Chikuunsai IV earned a degree in sculpture from Tokyo University of the Arts and trained in bamboo crafts at a school in Beppu on the island of Kyushu, Japan.
Chikuunsai IV produces twisting installations of woven bamboo that meld into their environment’s floor and ceiling. To bend the durable material he first moistens each piece to achieve the perfect curve, and often recycles the same pieces of bamboo for future installations. In 2017 the artist constructed a site-specific piece titled “The Gate” at the Metropolitan Museum of Art. The work used tiger bamboo that had been used ten times, including in a piece shown at the Guimet Mueseum in Paris.
“Technique and skill and spirit are important, My parents taught me that this spirit is more important than technique. Using bamboo, I try to keep the spirit and tradition in my heart as I create new work.” -Tanabe Chikuunsai IV
Do Ho Suh’s immersive architectural installations—unexpectedly crafted with ethereal fabric—are spaces that are at once deeply familiar and profoundly alien. Suh is internationally renowned for his “fabric architecture” sculptures that explore the global nature of contemporary identity as well as memory, migration, and our ideas of home.
The large-scale installations of the artist’s brightly hued “Hub” sculptures—intricately detailed, hand-sewn fabric recreations of homes where Suh has lived from around the world. The Hubs comprise a series of conjoined rooms and passageways that visitors can enter and experience from the inside.
Suh was born in Korea and moved to the United States at the age of 29 in 1991, and he currently lives between New York, London, and Seoul. He crafts his works using traditional Korean sewing techniques combined with 3-D modeling and mapping technologies. Suh sees these works as “suitcase homes,” so lightweight and portable they can be installed almost anywhere.
Three Sculpture Installations by Katharina Fritsch
German sculptor Katharina Fritsch is known for her sculptures and installations that reinvigorate familiar objects with a jarring and uncanny sensibility. Her works’ iconography is drawn from many different sources, including Christianity, art history and folklore. She attracted international attention for the first time in the mid-1980s with life-size works such as a true-to-scale elephant. Fritsch’s art is often concerned with the psychology and expectations of visitors to a museum.
Katharina Fritsch takes on relatively ordinary subjects in new, and often times jarring, ways. Most notably is the size of her works. Though many are meant specifically for museums, the size and scope of these works make a real impact. The images above are examples of that: “Child with Poodles” (1995), “Company at the Table (1998)” and “Rattenkonig” (1993).
The first, “Child with Poodles”, has rows of poodles facing in at a single child. This thick ring of objects creates a barrier between the viewer and the child, creating a dark or sinister feel to the piece. The second work, “Company at the Table”, leaves a haunting impression on many levels. The identical, faceless people and the size of the fifty foot table leave quite a cold and impersonal impression. Her sculpture “Rattenkonig” consists of a circle of large polyester resin rats painted black Facing out to the museum visitors. The scale of the piece is again quite large and formidable; nine foot rats in a circle forty two feet wide.
Gothic Raygun Rocketship, Pier 14, San Francisco, California
The sculpture installation first landed at Burning Man event in 2009, and has subsequently appeared at the NASA “Ames for Yuri’s Night” and is now at Pier 14 in San Francisco.
This spectacular forty foot tall sci-fi sculpture is the creation of Bay Area artists Sean Orlando, Nathaniel Taylor, David Shulman and the dedicated crew of the Five Ton Crane Arts Group, who helped to bring their fantastic vision to fruition – a larger than life 1930’s-1940’s pulp fiction space ship, gleaming silver legs forever prepped for lift off, three interior chambers fitted with all of the whimsical knobs and dials that you dreamed of as a kid.
Originally created as a 2009 art installation for the Burning Man Festival in Nevada’s Black Rock Desert, the large-scale immersion based piece currently resides on Pier 14, illuminated and dreamy at night and flashing with retro ingenuity during the day. Its presence inspiring the imaginations of all who see it, it stands tall as a symbol of what could have been, but never was.
Christo, Floating Mastaba in London, Project Design, 2018, Pencil, Charcoal, Wax Crayon, Enamel Paint, Hand-Drawn Map on Vellum
Artist Christo’s Mastaba project for London’s Hyde Park’s serpentine lake will float on the lake from June 18 to September 23, 2018.
Built by a team of experienced engineers, the London Mastaba comprises 7,506 horizontally stacked barrels on a floating platform. It will be 20 meters (65.5 ft) high x 30 meters (90 ft) wide (at the 60° slanted walls) x 40 meters (130 ft) long. Standard 55 gallon barrels will be specifically fabricated and painted for this sculpture. The sides of the barrels, visible on the top and on the two slanted walls of the sculpture, will be red and white; the ends of the barrels, visible on the two vertical walls, will be different hues of red, blue, and mauve.
Phillip K. Smith III, “Open Sky”, 2018, Palazzo Isimbardi, Milan, Italy
Phillip K Smith III’s prominent use of mirrors and light refracts the environments surrounding each installation, but his unspoken request for the viewer to focus their intrigue on the often vast stretches of sea, sand and sky surrounding his work is powerful. While many artists thrive on the enigma of presenting an opportunity for subjective interpretation, the message presented by Smith in his Milan Design Week collaboration with COS, the Scandinavian heritage retail giant, is one of a person who spent a childhood bathing in the arid glow of the Coachella Valley and a lifetime meditating on the landscape as his palette.
“I’m already looking at the potential for this project to maybe be in another exterior site, maybe even to be in an interior site. You’re dealing with a vertical surface which is a piece of architecture – material A – then a horizontal surface above you, which is the sky – which is material B. That’s the case here in Milan, maybe if this piece moves somewhere else those materials A and B begin to shift, and the dynamic quality in which they merge across the surface begins to change.” – Phillip K Smith III
Felice Varini is known for his geometric perspective-localized paintings in rooms and other spaces, using projector-stencil techniques. Varini’s work is really the opposite of a stereogram: a series of unintelligible figures painted across three dimensions, that when seen in just the right way, flatten themselves into a mind-bending 2D shape.
Varini is a Swiss artist who currently lives in Paris, and has done dozens and dozens of these types of installations. He thinks of his works comprehensively, not just from the single point where they come together.
“The viewer can be present in the work, but as far as I am concerned he may go through it without noticing the painting at all. If he is aware of the work, he might observe it from the vantage point and see the complete shape. But he might look from other points of views where he will not be able to understand the painting because the shapes will be fragmented and the work too abstract. Whichever way, that is ok with me.”- Felice Varini
The giant 65ft-high tubular slide by artist Carsten Höller will be a feature of the Palazzo Strozzi’s courtyard in Florence from April 19 to August 26, 2018. If you are in Florence, Italy during that time, check it out.