“If we consume the product as product, we consume its meaning through advertising. Let us imagine for a moment modern cities stripped of all their signs, with walls bare like a guiltless conscience. And then GARAP appears. This single expression, GARAP is inscribed on all the walls: pure signifier, without a signified, signifying itself. Signified despite itself, it is consumed as sign. Advertising, like GARAP, is mass society, which, with the aid of an arbitrary and systematic sign, induces receptivity, mobilizes consciousness, and reconstitutes itself in the very process as the collective. Through advertising mass society and consumer society continuously ratify themselves.” —Jean Baudrillard, The System of Objects
Surrealism encompassed a variety of media and artists of all kinds, many of whom found a place in the Modern Art canon. Some artists, such as Dali and Magritte, produced imagery we still encounter. Melting clocks and apples obscuring faces represent the kind of imagery surrealists excelled at producing. It unsettled you, disoriented you, confused you.
Few surrealists managed to match Hans Bellmer in the ability to confound and disturb. His pieces simultaneously deconstruct and fetishize the human form, the sum of which stirs a sense of disquiet—and occasional eroticism—in the viewer. By perverting the human form, he managed to express his own tortured mind while allowing the viewers to glimpse something inside themselves—something perhaps not altogether pleasant. (more…)
Martin Navejas greeted us at the entrance of the White Ripple Gallery in Hammond. This would be Martin’s second solo exhibition and if he was nervous you could not tell. We moved slowly up a flight of stairs passing the art work of what I assumed were other artists to be featured at the gallery. We arrived in a huge room at the top of the stairs and along the walls the work of the 27-year-old artist hung.
I walked around the room taking in his work, most were nudes with both men and woman. What struck me about Martin’s work was not just the level of nakedness the models have but where the pictures were actually taken. To Martin the locations where he takes the pictures are just as important as the models and in some of his work it’s almost as if the model is secondary and the location and is the main subject, like the abandoned church confessional that was used in one of his pieces. (more…)