Sizes are varied, specified below:
About the work:
Julian Opie is a master in the reductive style in that he still manages to capture the essence and individuality of each of his subjects. His works depict the world around us sharply, truly and timelessly
The Professional Series 1, is no exception, Julian Opie observes people closely, and like a caricaturist, he has a formidable eye for foibles, idiosyncrasies and character. The paradox is that he renders these nuances in a flattened, abstract style that seems at first glance to be uniform and cold.
In his Professional Series 1, people are portrayed in the classic Opie style, with bold black outlines, colorful clothes and no facial details at all. And yet, each professional seems individual and real.
Professional Series 1 is printed on lenticular panels, in which a sequence of drawings are combined on tiny lenses so that as you move, you see them move. Stand still and the picture is still. Move and it is animated. These animated lenticular drawings richly analyze the nature of movement.
About This Work:
“Little by little, I organized a detailed process by which I explore international densely populated urban areas and “invade” them.”
Invader is the pseudonym of a French urban artist, born in 1969, whose work is modeled on the crude pixellation of 1970s–1980s 8-bit video games. He took his name from the 1978 arcade game Space Invaders, and much of his work is composed of square ceramic tiles inspired by video game characters.
Although he prefers to remain incognito, and guards his identity carefully, his distinctive creations can be seen in many highly-visible locations in more than 75 cities in 33 countries. He documents each intervention in a city as an “Invasion”, and has published books and maps of the location of each of his street mosaics.
Invader likes tiles for their robustness and permanence. Video games of the era were constructed with 8-bit graphics, and so it lends themselves well to the mosaic treatment, with each tile representing one pixel.
“In my own eyes, they are the perfect icons of our time, a time where digital technologies are the heartbeat of our world. As these creatures are made of pixels they are in some sorts ready-made for tile reproduction. Finally, their names are literally predestined for the project I have pioneered: they are “Space Invaders!”
Invader’s idea is to bring the virtual world into reality. He sees himself as a hacker of public space, spreading a virus of mosaics;[the streets are his canvas, his invasions are gifts to the city and its people. One can see many things in it, but it refers to the early days of digital and the video game.
His first mosaic was installed in the mid 1990s in his home city. It was a sleeper for several years before the full “invasion” program was conceived in 1996. This was the first wave of the “invasion”. By 1998, it had spread to 31 other cities in France.
Today, 77 cities have been invaded, 2,692 Space Invaders placed comprising some 1.5 million ceramic tiles; 19 invasion maps have been published. He has invaded New York five times, Miami twice, and Hong Kong on three separate occasions.
This week’s Work of the Week (WOW) is called Hypnosis.
In this work, Invader channels the work of the Norwegian painter and printmaker, Edvard Munch. Munch was greatly influenced by the German Expressionists in the early 20th century. Many artist in this genre used the woodblock process in print form, to capture the angst of the times.
Hypnosis is a woodblock print done is Munch’s German Expressionist style. Here we see Munch’s typical figure and his familiar wavy lined background. The work is very dark, as is the work of the German Expressionists. We see the effects of war through the eyes of these artists.
Here is where Invader starts to have fun with this work. He uses the dark, depressed like image of Munch’s work, and inputs his space invader figures making this work fun. However, upon further examination, we see the play on the idea that the space invaders are invading these villagers or the village.
This is, and has always been his concept, THE INVASION. This is a great example of an extreme and obvious invasion.
20 x 16 in.
Edition of 200
Pencil signed and numbered
About This Work:
“When I’m making work, I’m always thinking how can I communicate within these avenues [of art] to make those bridges for kids and pull them out of their holes into other worlds?”
– Brian Donnelly aka KAWS
Brian Donnelly aka KAWS is a is a pop artist and designer who started his career as a graffiti artist in New York. moving on to subvertising. Subvertising is a portmanteau of subvert and advertising. It refers to the practice of making spoofs or parodies of corporate and political advertisements. Subvertisements may take the form of a new image or an alteration to an existing image or icon, often in a satirical manner.
It cuts through the hype and glitz of our mediated reality and, momentarily, reveals a deeper truth within.
Fascinated with how cartoon shows, such as The Simpsons or Sponge Bob Square Pants, can have such an impact on people’s lives and minds, Kaws’ imagery are subverts of American Icons and cartoon characters. They are universally understood and go above and beyond language and culture.
For example, Kaws has a painted a series called The Kimpsons a subvert of the popular cartoon The Simpsons. Kaws explains that he “found it weird how infused a cartoon could become in people’s lives; the impact it could have, compared to regular politics.
This week’s Work Of the Week (WOW), Warm Regards is another example of a subvertisement that speaks to society’s use of emojis, as an every day visual language, in which people communicate and express emotions and feelings. Emojis have replaced our words. Can we write a story with emojis? Can we read a book filled with emojis? Is that what’s next?
Kaws’ point is further brought out by the specific use of one emoji in particular, the Poop emoji, with a very witty title, Warm Regards. It is left up to your interpretation. The simplicity of this image of just the emoji centrally located on the paper, with Kaws’ iconic “XX” for eyes really says it all.
The effectiveness of this simplistic style to make a statement about society is not one that we have not seen before. Kaws‘ artistic idol is Andy Warhol. Warhol’s use of a single pop image on a canvas or sheet of paper, to convey a message on society was not only groundbreaking, but also extremely effective in getting its point across.
KAWS – Warm Regards Andy Warhol – Marliyn Monroe – FS II.31
Kaws not only recognizes this, but employs this technique with admiration, as he carries the torch continuing to create art in a manner that speaks volumes about the world and its societies.