Skylar Fein
Skylar Fein was born BirthNew Orleans, USA.
Categories: Sculpture Objects
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Documents of modern & contemporary art.
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When my partner and I came back to New Orleans, I struggled along
with everyone else to clean up and rebuild my life. As a sort of
therapy, I began collecting the spectacular painted and weathered
wood that sat lying everywhere. In my back yard, amidst leaning
stacks of dimensional lumber, I started putting the boards together,
experimenting with pure composition. While I was doing it, I noticed
that I temporarily stopped worrying.
Skylar Fein has resurrected the signage of a lost New Orleans, and the works- hand-painted, electrified, assembled in the traditional sign painter’s way- occupy a realm of historical hijinx mixed with unabashed sentimentality…
Before the wrecking ball did its work, someone saved the Adonis signs, featuring leather-clad men, nude male silhouettes and coded homoerotic symbols. They were rediscovered during the post-Katrina cleanup . . . according to Fein, anyway…
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Documents of Contemporary Art. Utopias: Throughout its diverse manifestations, the utopian entails two related but contradictory elements: the aspiration to a better world, and the acknowledgment that its form may only ever live in our imaginations. Furthermore, we are as haunted by the failures of utopian enterprise as we are inspired by the desire to repair the failed and build the new... |
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South African Art Now. South African Art Now documents, through in-depth essays and stunning full-color photographs, the remarkable work of nearly one hundred South African artists working in every medium from painting, sculpture, and video to cutting-edge performance art. This lush volume includes the impressive work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers still unknown outside their own country, but clearly marked for success... |
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James Rosenquist. Painting Below Zero: Notes on a Life in Art. “Frank, funny, truthful, ironic and in every way an entertaining account of one major American artist’s involvement in an art movement that interests everyone–and, more than that, of his own character. Jim Rosenquist is a true American original and his book ought to be read by anyone who wants to understand the last half-century of his country’s visual culture, high, low, and in between.” –Robert Hughes, amazon |
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