The artwork of Australian-Iraqi artist Toba Khedoori leaves a distinct impression. Her works are primarily finely detailed, photo-realistic pencil drawings in monochromatic lead or color on massive sheets of waxed paper. The drawings tend to be focused on discrete, single objects set in a vast emptiness — a chair, a fence, a door — or a piece removed from its larger architectural context — rows and rows of seats from a theater or, as in the example pictured here, a fireplace. It’s one of a series of drawings of fireplaces currently on view as part of her solo show at LACMA in Los Angeles. The drawing has a trompe l’oeil quality but has none of the cheap gimmickry of that anachronistic decorative conceit. Looking at the drawing from afar, it appears as if there’s an actual fireplace recessed into the gallery wall.
This colorful flurourescent-light sculptural object at San Francisco MoMA is a minimalist classic by the late artist Dan Flavin. Regular visitors to GlobalGraphica may have noticed that we’re suckers for minimalism (it’s true). Works like this really appeal to our sense of a lean, clean, pared aesthetic and the power of empty space. Like much of the work that marked the latter and better-known part of his artistic career, Flavin’s SF MoMA installation makes use of readymade materials — tubes and fluorescent lights — and is composed within site-specific architectural spaces.
In light of the recent brouhaha about the merits of pop-star Taylor Swift and her song “Welcome to New York” (and the heated debates about the authenticity of her New York-living experience and her new role as “Ambassador” for the city) comes this freshly painted mural by the long-time New York graffiti artist Chico. The street artwork is painted on the roller-shutter of La Petite Mort, vintage boutique on an artsy-fashionable stretch of Orchard St. near Chinatown on New York’s Lower East Side. “R.I.P Taylor Swift” is scrawled above a skyline of NYC suggesting that the Taylor Swift we once knew is gone forever. Or that she should be? The first impression is this is a bit of Taylor-Swift-hating on the part of the artist,. But maybe the mural is capturing a more nuanced sentiment about Swift?
One of the highlights of Frieze NY 2014, the juggernaut art fair launched by London-based art magazine Frieze, was a crushed Fiat car coated in pink nail polish. The artwork is titled “Skin Crime 3” by Swiss artist Sylvie Fleury, and it was installed next to a giant mirror-like old-school Gilette razor blade titled “Blade” (of course). We’re a fan of Fleury’s ouevre, which explores themes of consumerism, shopping, fashion, luxury, beauty and marketing, often in striking vivid, colorful installations.
The innovative, popular and charitable shoe-making company Toms has recently opened a coffee roaster and cafe in an airy bungalow that doubles as a concept store in the fashionable Abbott-Kinney neighborhood of Venice, in Los Angeles.
This past Friday we went out to Rough Trade New York in Williamsburg, Brooklyn, for a performance by Swedish indie-electronic duo I Break Horses. The band were joined by a live drummer and in spite of some old-school analog-synth equipment needing reboot during the show, they sounded great in Rough Trade’s perfect cavernous performance space.