Claude Closky is a French artist living in Paris. He works in a variety of media, including painting, installation, video, and net art, in a signature style that revolves around the concept of conveying information and the connection between ideas and objects. The artist maintains three personal websites and a YouTube channel, each of which is copious in its offerings and yet mysteriously evasive in synthesizing his practice. What one can tell--almost instantly upon looking at his work--is that Closky has a serious sense of humor. He is best-known for his paintings of pie charts and other graphs but has impressed audiences beyond the art world with public installations like his 100% which tallied percentage points, one at a time, in a series of silkscreened flags, or his collaboration with Adidas and Colette, which looked like he'd taken a Sharpie to a blank white slate to convey the brand by making the simplest marks possible. The latter was a poetic gesture of giving back to the visual language of advertising whose vocabulary his work often critiques. He's by no means the first to do so, but whereas many such bodies of work revolve around autobiography or accounts of commodity fetishism, what is unique to Closky's commentary on this lexicon is his sharp analysis of language itself. Whether through an inversion of the relationship between word and image or the hyper-literal illustration of one-liners, this is Closky's most discernible signature and it is best played-out in his use of the list as a medium. By alphabetizing, counting-down, running odds, and exploring exhaustive variations on various categories of categories, he produces the wittiest possible metacommentary on the bond between form and content. And he is certainly not afraid to give viewers myriad examples of the beauty of saying nothing at all. In this interview, Closky discusses his internet art work and his love of both language and numbers games. - Marisa Olson
From the artist's statement: International Klein Blue (Google Monochromes) is a series of eleven monochromatic works created by conducting web searches for International Klein Blue, a color developed and patented in the 1950s by French artist Yves Klein. Created "as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world", IKB falls outside of the color gamut of modern computers rendering each digital reproduction inaccurate.
American artist Nan Hoover passed away last week, in Berlin. She left behind a large body of work that has had a pioneering influence on the fields of performance, video, and photography. In a statement about her photos Hoover says, "I am a painter. Everything I do is seen through the eyes of a painter. I only use brushes from time to time." Buried between the lines of this message is an indication of Hoover's tight relationship to her materials--which varied to include not only new media, live performance and photographic media, but also drawing, installation, and perhaps most significantly, light. If there is one thing that cannot go unsaid about her work it's that Hoover owned the light. Indeed, it proved better, more searing, and more beautiful than paint in her many decades of practice, ultimately "shedding light" on the sublime beauty inherent in objects ranging from otherwise banal domestic interiors to majestic outdoor landscapes. In an art world which has, at various times, sought to polarize beauty and intellectual rigor, Hoover consistently proved that the two could live in harmony. An exhibition of her lens-based work just opened at Mannheim's Sebastian Fath Contemporary Art Gallery. The show was in the works before her passing, but is now a retrospective of sorts--a show developed in conversation with Hoover about what it meant to continue her signature first-person visual experiments in a world increasingly mediated by digital experience. A memorial will be held at Amsterdam's Montevideo Institute for Time-Based Art on June 20th. Meanwhile, an online condolence page has been established for the many who were touched by her work to stay in touch. - Marisa Olson
Image credit: Nan Hoover, "Moving Towards 13 degrees," video room installation, Galerie Ulrike BUschlinger Wiesbaden, 2000. Photo: Horst Ziegenfusz
ArtFagCity's Paddy Johnson couldn't have picked a more damning category in which to place British painter Dan Proops--"BoingBoing artist"-- glossing that mega-blog's indiscriminate penchant for tiki-bar kitsch, airbrushed girlies and steampunked everything as merely "art pabulum for readers who can clearly handle more." To be sure, Proops's work does seem unduly suited to geek-pandering, offering quick-glance commentary on medias new and old through easy-to-get juxtapositions: Proops's oil paintings depict familiar art-historical subjects with random parts pixilated (as if censored) or "desktop" images of iconic images, complete with trashcans and folders at their margins. To be fair, one must withhold ultimate judgment until seeing the work in physical form, but even online reproductions suggest that Proops' paintings, evidently bereft of any compelling composition or technique to offset their facile gimmicks, suffer from the dull ache of YBA hangover. If you can't travel to London to see them in Proops's upcoming show Sam's Desktop III, then be sure to catch them sometime in the future, when they will be displayed in the spacious living rooms of Hawaiian-shirted IT dudes with more money than taste. - Ed Halter
Image: Dan Proops, Caravaggio, Censored, 2007
Tom Moody, OptiDisc, animated GIF.
Art blog Art Fag City have a fantastic new masthead designed by artist and blogger Tom Moody, pictured above. See below for a description of the work from Art Fag City:
"The piece is meant to be big, dumb, and iconic, a moving, pulsing symbol of both the promise and failure of technology," said Tom Moody of Optidisc during Geeks in the Gallery, a detail of which now resides in my masthead. Aesthetically the gif looks just as Moody describes it, the rings klutzy yet mildly hypnotic; though past this, its life as a meme underscores the artist's excitement and reservations about the web as a medium. Referencing artists such as Kenneth Noland and Jasper Johns, without reiterating color field painting or Minimalism, Optidisc speaks as clearly to a tradition of Fine Art painting, as it does regular surfers looking for something "different" for their myspace page.