21ST Century Pop Art
Since the world’s many famous—and famously quotable—Pop musician as soon as stated: “My desire for letting images duplicate and repeat…manifests my belief that individuals spend most of our resides seeing without watching.” Andy Warhol’s statement bands also truer into the twenty-first century than it did into the late-20th century, when he produced it. While town dwellers are maybe most saturated with things to see and not observe, televisions, computers, and a wealth of handheld devices ensure that wherever some body lives, they may be able feed on a stable stream of all manner of images and communications, without really using anything in. This artistic overload will continue to act as fodder for musicians working inside the Pop idiom, including the five showcased in “POP MOMENTUM, ” the punchy summer time convention at Artspace Warehouse.
On view tend to be functions Johnny Taylor, Gerdine Duijsens, Gerhard Völkle, Frankie Alfonso, and Ashleigh Sumner, just who all base their approach on keen and cautious observations regarding the modern globe where we reside, integrating pictures from daily life, town streets, and customer tradition in their diverse compositions. Gerdine Duijsens brings viewers up close and private into the effect of preferred and celebrity tradition on feamales in the woman acrylic-on-canvas paintings, Botox and Champagne # 4 and Botox Beauty (both 2012). A woman’s sketchily rendered, smeared face fills both works edge-to-edge, showing up, paradoxically, both wrecked and wrinkle-less. Maybe not men and women, but products and snatches from commercials, signs, packaging, graffiti, and graphic design fill Johnny Taylor’s combined news paintings, collaged to mimic the cacophonous manner in which they bombard united states daily.
Ashleigh Sumner in addition appears to graffiti, including to gritty professional cities, as determination on her textured, blended media paintings like SATORI 2 (Enlightenment) (2012). Here saying faces of a stone Buddha cover the picture jet in a gridded pattern, which disintegrates into an expressive, abstract mass toward the composition’s lower one half. Though pop music culture insists that cash makes such a thing feasible (love, delight, beauty, cleverness, popularity), enlightenment, it seems, may not be purchased.