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I don’t think of myself as a Post-Modernist (or minimalist). "I find the metaphors of the machine that Modernism embodies, along with the geometric abstraction of formal composition, to be alienating and sometimes even disorienting, as opposed to a more classical approach that considers metaphors of man and the landscape and a more figurative formal tradition." - Michael Graves All artists should simply use the materials that are appropriate to their ends. It’s a false issue to say this is ‘industrial’ and this is ‘art’ material" - Carl Andre. <a href="http://farm7.static.flickr.com/6208/6032979922_d8cf1f0f1d_b.jpg"><img alt="" border="0" src="http://farm7.static.flickr.com/6208/6032979922_d8cf1f0f1d_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 551px;" /></a> Ah Michael Graves' residential projects make my mind do flips & circles. From early to late, there is something about his work that breaks so many rules, but often times, quietly. I've been staring at these images for a long time now, pinned onto a cork board. Today, they aligned themselves into a coherent thought (that is still up for debate). Here's to patience! Here's to sculpture! Here's to houses that look like sculpture! - David John "My father’s family were bricklayers and carpenters and shipbuilders, and so my earliest experiences are not of art, but of the materials and those are the materials that I continue to use. I never did anything that required the art supply store as I’ve always used industrial materials. All artists should simply use the materials that are appropriate to their ends. It’s a false issue to say this is ‘industrial’ and this is ‘art’ material" - Carl Andre. the minimalists' nightmare vs the postmodernist's painter delight images: top left, clockwise. (all images have been altered, perhaps ruined.) 1. <a href="http://www.michaelgraves.com/mgahome.trans.php">Michael Graves</a>, AD (altered) 2. <a href="http://www.carlandre.net/">Carl Andre</a>, wall painted behind. altered 3. <a href="http://www.beckybeasley.com/">Becky Beasely.</a> liquid turned blue. altered 4. Michael Graves, AD altered I would have to say that my architecture evolved in part as a reaction to aspects of Modernism. I find the metaphors of the machine that Modernism embodies, along with the geometric abstraction of formal composition, to be alienating and sometimes even disorienting, as opposed to a more classical approach that considers metaphors of man and the landscape and a more figurative formal tradition. That is not to say that my work is historicist or classical stylistically, which is part of what the Post-Modern movement argued. I don’t think of myself as a Post-Modernist. The Modernists tried to wipe the slate clean and the Post-Modernists tried to look back to formal motifs recognized from historical architecture. Instead, I think that modern composition is part of a cultural continuum that goes back thousands of years and therefore I tend to see both Modernism and the traditional language of architecture as part of the palette we use to compose our buildings. - Michael Graves, <a href="http://farticulate.wordpress.com/2011/01/31/31-january-2011-post-carl-andre-selected-works-interview/" style="color: rgb(204, 0, 0);">please read interview here...</a> ------------

I don’t think of myself as a Post-Modernist (or minimalist). "I find the metaphors of the machine that Modernism embodies, along with...

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the forever & infinite seduction (of the black line). “Memory is everything.” <a href="http://farm7.static.flickr.com/6135/6029779022_703a1a8702_b.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://farm7.static.flickr.com/6135/6029779022_703a1a8702_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 528px;" /></a> <a href="http://farm7.static.flickr.com/6190/6029225539_8523506fc4_b.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://farm7.static.flickr.com/6190/6029225539_8523506fc4_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 628px;" /></a> the forever & infinite seduction (of the black line). “Memory is everything.” images: 1. Brabrand, 1963, by<a href="http://www.friis-moltke.dk/siteFM/front.asp" style="font-weight: bold;"> Friis og Moltke</a> 2 2. desk by Franco Albini "We believe in human contact and social empathy. Dedication and joy of work are values that are deeply rooted in our company’s traditions and in our desire to renew Danish architecture in light of these traditions and with originality, beauty and functionality. We as professionals are challenged in such a way today that you are often tempted to create new and sensational solutions. FRIIS & MOLTKE is motivated to go in a different direction. We do this by conducting internal discussions amongst ourselves, and by engaging in dialogue with our clients. They must benefit fully from our company’s experience, capacity and professionalism. Our architectural vision involves a close interplay between details and the whole, integrated buildings with a coherent idiom. This is where we find our inspiration and our joy in creating architecture." ------

the forever & infinite seduction (of the black line ). “Memory is everything.” the forever & infinite seduction (of the black line )...

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YHBHS interview with Jon Pylypchuk + Paul + Wendy

... "I was sitting around with my friend Andrew and he was urging me to think of something for the facade of the<a href="http://www.newmuseum.org/" style="font-weight: bold;"> New Museum</a> in New York. I had these logs sitting around and I had been drinking booze too often. I was thinking about how stupid it is to drink so much, and sort of thought that I was like this drunk log." - Jon Pylypchuk <div style="text-align: center;"><a href="http://farm7.static.flickr.com/6148/6024347279_e96408e076_b.jpg"><img alt="" border="0" src="http://farm7.static.flickr.com/6148/6024347279_e96408e076_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 678px; height: 903px;" /></a> Small Log By Jon Pylypchuk Bronze sculpture mounted on wooden base 8.5 x 5.5 x 3.5 inches Edition of 10, 1 Artist Proof Numbered and signed by the artist </div> Paul + Wendy run an inspiring online store of artist editions and projects. Jon Pylypchuk's work has delighted me for years, from his early paintings, to his recent wall sculptures with bulging eyes made out of purple light bulbs. To see Jon's work, is to almost take a huge sigh, to whisper to yourself, "it's gonna be alright, man." The worlds he has created, and the emotions he puts forth in his work are unlike any other artist I've come across. When Paul + Wendy told me that their latest edition was the "bronze log man" I immediately smiled. What an amazing combination to come together. Two weeks later, I was in Jon's studio near downtown L.A., about a quarter mile from my house, chatting with Jon about his latest collaboration with Paul + Wendy, and some of his new work. I wish I had taken photos of his studio, as it mesmerized me. My eyes darting back and forth while in conversation with Jon, scraps and piles of wood, metal, everywhere, and a drum set. We chatted about his family history, casting metals, art-making, and light bulbs:) It's pretty awesome that YHBHS has continually connected me with such passionate folks such as Paul + Wendy + Jon. I'm completely honored to post this interview on an artist that makes me smile and light up (inside). <a href="http://www.paulandwendyprojects.com/" style="font-style: italic; font-weight: bold; color: rgb(153, 0, 0);">Please visit PAUL + WENDY's site here....</a> Can you tell me how Paul + Wendy Projects originated? Paul + Wendy : In the early 2000's we started getting interested in art and collecting. Through this we became good friends with several artists. After a while we knew that we wanted to become more involved but were unsure what direction to take. We briefly considered opening a web based gallery and doing art fairs but neither of us really wanted to be art dealers and shortly after most of the world's economy slid into a recession. Our friend, artist Michael Dumontier suggested that we start to publish editions. This seemed like a good way to be involved and to work on projects with artists who we knew or whose work we liked. At the time <a href="http://www.nieves.ch/">Nieves</a> in Switzerland had a big impact on us. They were working with a lot of great artist publishing inexpensive zines that anyone could afford. Locally Art Metropole was an influence as well as <a href="http://www.bywaterbros.com/index.html">Roger Bywater's Bywater Brothers</a> who have published editions by artist like Dave Shrigley, Jonathan Monk as well as our friend, Derek Sullivan. Our first edition was the 'Poster Making' serigraph by The Royal Art Lodge whose members at the time were Michael Dumontier, Neil Farber and Marcel Dzama. It was pretty successful and encouraged us to continue. So far we've published 5 prints, 4 books and a postcard. We'll have a new serigraph by Kay Rosen and a print by Daniel Eatock available soon along with the bronze by Jon Pylypchuk which is our first venture into multiples.<a href="http://www.paulandwendyprojects.com/log.html" style="color: rgb(204, 0, 0);"> buy it here:)</a> I remember seeing Jon's drip painting at LACMA years ago. The painting must have been 8 feet long, 6 feet tall, and it left a huge impression on me. His last show at China Art Objects included his new works that use light bulbs as an element. It's as if these characters came to life, emotions at the forefront, glowing tall! Almost as if they walked right out of the gallery, down the city's dirty sidewalks.... How did you come to work with him? Paul + Wendy: We had always loved Jon’s work and had met him a few times through Michael and Neil. He is an artist whose work we would love to be able to collect but it's now out of our price range. This is where publishing editions is great - we get to own a piece of Jon's work. We approached him about doing an edition with us. Initially, we talked about doing a book of his sculptures from The War series. We all liked the idea but it didn't seem to be moving along very quickly. Jon had already completed that project and wasn't super excited about revisiting it. So we started to talk about completely new ideas. We had seen a bronze sculpture of a cat at his house in Winnipeg one time while he was still living there and had loved it. We said that we would love to do a small version of something like that and Jon liked the idea. After that things came together very quickly, Jon made the log man and then worked with a foundry in Oxnard to produce them. <div style="text-align: center;"><a href="http://farm7.static.flickr.com/6145/6026269504_c64bf6eedd_b.jpg"><img alt="" border="0" src="http://farm7.static.flickr.com/6145/6026269504_c64bf6eedd_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 732px; height: 536px;" /></a> two works by Jon Pylypchuk, from China Art Objects, Los Angeles </div> A Conversation with Jon Pylypchuk: Who is the Bronze Log man? Jon: I was sitting around with my friend Andrew and he was urging me to think of something for the facade of the<a href="http://www.newmuseum.org/" style="font-weight: bold;"> New Museum</a> in New York. I had these logs sitting around and I had been drinking booze too often. I was thinking about how stupid it is to drink so much, and sort of thought that I was like this drunk log. I made a much larger one with the intention that if the project got green lighted that I would make a bunch of drunk logs walking around the Bowery. I liked the idea and thought that it would make a nice edition. When I got the logs back from the foundry I intended to make them holding a little airplane bottle of Jack Daniel's but it looked better without it. Many of your recent projects, you are working with casting, in bronze, aluminum, etc. Can you talk about this shift in materials? I did a show at<a href="http://www.chinaartobjects.com/"> China Art Objects in 2008 </a>that had 2 bronze pieces in it and I liked how it transformed the materials that I was using. We were living in Winnipeg at the time and I would commute to Los Angeles to work, and my studio practice suffered as i wasn't working as much as I used to. I struggled with what I was doing because I didn't spend enough time in the studio. When I did go, I made stuff for shows or art fairs and didn't spend the time just dicking around experimenting. I had a meeting with my gallerist <a href="http://www.petzel.com/artists/jon-pylypchuk/">Friedrich Petzel</a> and he said that I couldn't keep fucking the same thing to death. It was the push that I needed to implement the change I had felt I needed for a long time. Revisiting cast objects made me feel like I picked up where I left off a couple of years ago. I read in a previous article about your preoccupation with death & failure. Are you or your characters you create still in this frame of mind, or have they evolved over the 10 year span? I was born an only child to elderly parents. My mother was the second youngest of 5 or 6 kids so from a young age I experienced people dying a lot. I was the only altar boy for the Ukrainian service in a church of old people so I worked a lot of funerals. I realized how much it had affected me when I was in my 20's. My parents always reminded me that they would die at some point and that I needed to be ready. Well then my parents actually died and I guess like when the kids go off to college, and parents don't know what to do with themselves, the parents go off to heaven or wherever, and you walk around not knowing what to do with yourself. The work has evolved accordingly. I don't have the drive to work through that anymore, although there is still a lingering anxiety. <a href="http://www.paulandwendyprojects.com/">PAUL + WENDY PROJECTS</a> thanks Paul, Wendy, and Jon! ------ ------------

YHBHS interview with Jon Pylypchuk + Paul + Wendy

... "I was sitting around with my friend Andrew and he was urging me to think of something for the facade of the New Museum in New Y...

10:10 PM

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YHBHS interview with Jon Pylypchuk + Paul + Wendy

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