Do you have a favorite artist/s?

My two favorite artists of all time are MC Escher and Banksy. This is pretty indicative of the fact that I favor experimental art and street art above all else.

Aside from them, I really love:
Luke Chueh
HR Giger
Mark Ryden
Camille Rose Garcia
Pawel Kuczynski
Neckface
JR
Rao
Mark Jenkins
Swamp Donkey
Read More Books
Ron English
Ichabod

Among many others. I’m really bad at remembering artist names.

Portraits and drawings made with typewriters by Keira Rathbone.

Russian photographer Andrey Pavlov has created an incredible series of 80+ photos where real life ants are shot in fantasy landscapes he has created. Using his previous experience making theatre and stage props, Andrey decided to create miniature fantasy landscapes and place them on the worker ants’ trail to see how they would interact with his creations. The results are spectacular, even seemingly impossible at times.

“Screw Art” portraits by Andrew Myers.

By Danny Quirk.

“Thrown to the Wind”, a 36-foot tall tornado of trash by Wang Zhiyuan.

“Thrown to the Wind”, a 36-foot tall tornado of trash by Wang Zhiyuan.

By Koen Hauser.

By Jung Lee.

By Jung Lee.

“Winter 1972” by Adrian Merz. Merz wrapped a room in Post-its and made it in pure white.

This is beautiful.

This is beautiful.

Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?”

The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh.

At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.

As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.

But what to do? Start a conversation about capitalism and friends edge away slowly, and strangers even faster.

This is what art is for. This is what art does well. It creates a space where new ideas and perspectives can be explored. A space unlike any other.

Throughout my artistic career I’ve challenged myself to take on difficult subject matter in ways that are engaging and fun. I’ve found humor and popular culture can open doors to difficult but worthwhile subjects and enable us to envision and move toward new, utopian futures.

The sign starts here in Cleveland and will tour the US leading up to and beyond the 2012 presidential election. People who vote will be given the opportunity to have their portrait taken and give a short statement about why they voted the way they did. There will be a book, website, and videos that document people’s interactions and thoughts.

I’m excited that this piece takes on what for most Americans is a taboo, or even nonexistent subject: whether global, hegemonic capitalism actually works for most people. But whew, talking about that is boring! And telling people what to think is worse! This sign gets passers by to participate in deceptively simple vote (True/ False) which only pretends to offer resolution. Every aspect of the interaction draws them in to more complex questions and conversations, leading to new thoughts and ideas about a better world!

For 50 years it has been unacceptable, politically, in the United States to ask what is basically a straightforward question. We have a particular economic system, it’s called capitalism. We have every right as a society to ask of that system, is it working? Is it working for us? Do the benefits and the costs balance themselves out in a way that says, do we want to keep this system? Or that says, we want to change this system? Or that says, we ought to look at an alternative system. We’ve been afraid to ask that question. We’ve been afraid to have public debates—that’s the legacy of the cold war. We can’t afford anymore to not do that. We have to raise the question.

Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?”

The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh.

At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.

As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.

But what to do? Start a conversation about capitalism and friends edge away slowly, and strangers even faster.

This is what art is for. This is what art does well. It creates a space where new ideas and perspectives can be explored. A space unlike any other.

Throughout my artistic career I’ve challenged myself to take on difficult subject matter in ways that are engaging and fun. I’ve found humor and popular culture can open doors to difficult but worthwhile subjects and enable us to envision and move toward new, utopian futures.

The sign starts here in Cleveland and will tour the US leading up to and beyond the 2012 presidential election. People who vote will be given the opportunity to have their portrait taken and give a short statement about why they voted the way they did. There will be a book, website, and videos that document people’s interactions and thoughts.

I’m excited that this piece takes on what for most Americans is a taboo, or even nonexistent subject: whether global, hegemonic capitalism actually works for most people. But whew, talking about that is boring! And telling people what to think is worse! This sign gets passers by to participate in deceptively simple vote (True/ False) which only pretends to offer resolution. Every aspect of the interaction draws them in to more complex questions and conversations, leading to new thoughts and ideas about a better world!

For 50 years it has been unacceptable, politically, in the United States to ask what is basically a straightforward question. We have a particular economic system, it’s called capitalism. We have every right as a society to ask of that system, is it working? Is it working for us? Do the benefits and the costs balance themselves out in a way that says, do we want to keep this system? Or that says, we want to change this system? Or that says, we ought to look at an alternative system. We’ve been afraid to ask that question. We’ve been afraid to have public debates—that’s the legacy of the cold war. We can’t afford anymore to not do that. We have to raise the question.

By Bryan Lewis Saunders.

By Bryan Lewis Saunders.

“The Great Wall of Vagina” by Jamie McCartney.
The Great Wall of Vagina is a 9 metre long sculpture made of 400 plaster casts of vulvas, all of them unique, arranged into ten large panels. The age range of the women is from 18 to 76. Included are mothers and daughters, identical twins, transgendered men and women as well as a woman pre- and post- natal and another one pre- and post- labiaplasty.

“Likeaholic” by Asaf Hanuka.

“Likeaholic” by Asaf Hanuka.

“Self” by Marc Quinn

“Self” is a frozen sculpture of the artist’s head made from 4.5 litres of his own blood, taken from his body over a period of 5 months. In interview in 2000, reflecting on the iconic artwork, he remarked, “Well, I think it’s a great sculpture. I’m really happy with it. I think it is inevitable that you have one piece people focus in on. But that’s really good because it gets people into the work.”

Described by Quinn as a ‘frozen moment on life support’, the work is carefully maintained in a refrigeration unit, reminding the viewer of the fragility of existence. The artist makes a new version of Self every five years, each of which documents Quinn’s own physical transformation and deterioration. Self, like many other pieces by the YBAs, was bought by Charles Saatchi (in 1991 for a reputed £13,000). Despite reports that the piece had melted, it was exhibited by Saatchi when he opened his new gallery in London in 2003. In April, 2005, Self was sold to a US collector for £1.5m. The National Portrait Gallery in London acquired Self 2006. (Purchased through The Art Fund, the Henry Moore Foundation, Terry and Jean de Gunzburg and Project B Contemporary Art, 2009).

“Self” by Marc Quinn

“Self” is a frozen sculpture of the artist’s head made from 4.5 litres of his own blood, taken from his body over a period of 5 months. In interview in 2000, reflecting on the iconic artwork, he remarked, “Well, I think it’s a great sculpture. I’m really happy with it. I think it is inevitable that you have one piece people focus in on. But that’s really good because it gets people into the work.”

Described by Quinn as a ‘frozen moment on life support’, the work is carefully maintained in a refrigeration unit, reminding the viewer of the fragility of existence. The artist makes a new version of Self every five years, each of which documents Quinn’s own physical transformation and deterioration. Self, like many other pieces by the YBAs, was bought by Charles Saatchi (in 1991 for a reputed £13,000). Despite reports that the piece had melted, it was exhibited by Saatchi when he opened his new gallery in London in 2003. In April, 2005, Self was sold to a US collector for £1.5m. The National Portrait Gallery in London acquired Self 2006. (Purchased through The Art Fund, the Henry Moore Foundation, Terry and Jean de Gunzburg and Project B Contemporary Art, 2009).