Surreal art by contemporary artists
Q. Where is Surreal Art Discussed Online?
A. Here is list of some places Surrealism is discussed online. Forums, Reddits, Facebook Groups, etc:
Did I miss any?
Let me know in the comments!
Boris Indrikov was born in Leningrad in 1967 and lives and works in Moscow. From 1991 to 1997 he was a book designer and worked as an illustrator for the popular science magazine “Chemistry and Life”. He has been a member of the Creative Union of Artists of Russia and The member of the International Federation of Artist ( IFA UNESCO) 1998.Has exhibited works at a number of shows in Russia and abroad (Art-Manezh 2002, 2003, 2012, ART-Salon 2007, Art Fair Tokyo 2013, Venezia 2014 and others). He currently works in painting, graphic design and small-form plastic. He works mainly in fantastic realism. His pictures are in the D`VASKO gallery (Russia), HORIZON gallery (Netherlands), and private collections in Russia, Sweden, Italy, Germany, France, Switzerland, Japan and the United States. Less
… Picture – is a door into a parallel world. That is a world where all things are different. There are other laws, other lines and shapes.
This is my world. Maybe I came from there and I will come back …
… You took brushes and paints, came up to a canvas – from the other side of the canvas somebody has already looked forward to your first stroke, this is like a snake biting its own tail. By creating a picture, you complete another CREATION cycle of this world.
… Artist – is a mysterious creature, “God’s pipe”, agent, He is vibrating because of stream of information which is flowing through him. “… And he was trembling like a needle in the compass…”. There is feeling of creative itch and impatience, unembodied pregnancy, pangs and doubts about things that you have done, and, at the same time, you are full of pleasure from the process in itself.
It’s kind of the artist’s living…
2012 ART INTERNATIONAL Zurich 14th International Contemporary Art Fair, Switzerland
2012 Affordable Art Fair Brussels
2013 Art Fair Tokyo 2013
2013 Stars with Stars. Gall’Art Roma artists at “Estate Romana” – Isola del Cinema
2013 International Contemporary Art Show “Kaleidos”. Sant’Oreste Roma Museum
2014 VENEZIA, Galleria di Palazzo Priuli Bon . (July)
2015 35×35 art project – Copelouzos Family Art Museum (Grèce)
https://www.saatchiart.com/borisindrikov
https://www.facebook.com/borisindrikov.gallery/
D.W. Martin’s surrealist sculptures offer a different, enchanting view of the world at Erie Art Museum’s Holstein Gallery.
One of the advantages of visual art is its ability to capture that which is difficult to express in words.
Such is the concept of objective chance, a key element of surrealism. Writer Andre Breton is credited with originating it. Salvador Dali was perhaps its first and most famous practitioner. And here in Erie, Edinboro University of Pennsylvania art professor D.W. Martin is its standard-bearer.
The primary tenet of objective chance is its celebration of unexpected relationships and surprising juxtapositions — the combining of disparate everyday objects to create a mystical new visual language. Think of Dali’s dripping clocks hanging from trees, or how Rene Magritte toyed with scale and superimposed elements such as fruits and fowl into otherwise usual spaces and scenes.
Martin views the world in a similarly magical way in his exhibit “Pairing Similarities,” on display through Oct. 21 at the Erie Art Museum’s Holstein Gallery.
Read more [via goerie.com]
PAIRING SIMILARITIES: D.W. MARTIN
Holstein Gallery
June 30, 2017 – October 21, 2017
In Pairing Similarities, sculptor D.W. Martin presents a series of works in cast bronze and aluminum that couple parts of the human anatomy with inanimate objects, especially chairs. The pairings, odd at first glance, invite a deeper investigation of our relationships with the objects that surround us.
In conjunction with the installation in the Holstein Gallery, large steel fabrications are on view in both the wildflower garden and in the inner courtyard of the museum. These colorful structures integrate the structural qualities of elements from the built environment, such as electrical pylons and telephone poles, into gestural and often anthropomorphic images. Martin is absorbed by the sculptor’s age-old fascination with the human figure, and the way it is echoed in the mundane, ostensibly non-figural objects that surround us. Martin’s curiosity takes something ordinary from our daily visual noise and creates something extraordinary that we have never seen before.
David W. Martin was born and raised in Oklahoma where he developed an interest in drawing and silkscreen printing. After working as a commercial artist, Martin decided to pursue a BFA in printmaking at the University of Oklahoma and, in the process, developed an absorbing interest in sculpture. In 1987 he was accepted into the MFA Sculpture Program at Virginia Commonwealth University.
While actively exhibiting and selling his work through the gallery system, he began his academic career at Ohio State University as a studio arts technician for the sculpture and glass programs. He later relocated to Edinboro University of Pennsylvania where he has been teaching sculpture and 3D foundation for the past 18 years.
D.W. Martin currently resides and maintains his studio in Edinboro, actively exhibiting large outdoor sculptures in Pennsylvania, Ohio, West Virginia, Virginia, New York, Michigan, Indiana, and Tennessee. Since 2005, he has been affiliated with Flatlanders Gallery in Blissfield, Michigan. For the past 12 years, D.W. has exhibited his sculptures annually through the Midwest Sculpture Initiative, an artist-led program that organizes and supports sculpture exhibitions throughout the Midwest.
Source: The Erie Art Museum – Pairing Similarities: D.W. Martin
The images… are really about the architecture in the paintings; they seem so massive and strong and permanent but nothing is permanent. The image in the front is very fragile, but it conveys the loaded meaning of everything that is contained in the painting.
–Donald Sultan
The Surrealism of Witness
Reviewing Donald Sultan: The Disaster Paintings exhibit
How to process the persistent horror that earth is being consumed by an unstoppable, self-inflicted inferno? Coping mechanisms… irreverence, nihilism, denial? If none of these sit right with you—if you prefer to fill your lungs with smoke and rot, squint through pollution and shadow, and submit to tragedy rubbernecking—we have good news! New York based artist Donald Sultan spent the better part of the 1980s creating his 59-work series The Disaster Paintings, twelve of which are currently on display at the Smithsonian American Art Museum in Washington DC. Though The Disaster Paintings are most known for depicting bleak, industrial, post-war America, the exhibition takes viewers on a comprehensive tour of apocalyptic atmospheres, all of them man-made, and most fiery: environmental, urban, humanitarian, historical, at home, and abroad.
via artseditor.com
Donald Sultan’s large-scale still life paintings are filled with rich iconography—provocative objects, like bulbous fruits, set against a tar-black background. Although primarily classified as a still lifes, Sultan maintains that his works (despite their representational objects—flowers, lemons, eggs, buttons) are first and foremost abstract. Born in Asheville, North Carolina, Sultan moved to New York City in 1975 upon completion of his advanced studies. He is recognized as a painter, printmaker, and sculptor, and best known for his large compositions made following a unique technique: in place of canvas, Sultan covers masonite with 12-inch vinyl floor tiles, from which he cuts geometric and organic forms. Sultan fills the negative spaces with tar or plaster, followed by a layer of paint; his resulting images are distinctively textured and equally balance the contrast of positive and negative space.
Here is a short list of five surrealist things I am thinking about this week.
Through renowned father of the midnight movies Alejandro Jodorowsky’s intensely personal lens, Endless Poetry tells the story of his years spent as an aspiring poet in Chile in the 1940’s.
Against the wishes of his authoritarian father, the 20 year old Jodorowsky leaves home to pursue his dream of becoming a poet, and is introduced into the bohemian and artistic inner circle of Santiago where he meets Enrique Lihn, Stella Diaz Varín, Nicanor Parra, all unknown at the time, but who would later become driving forces of twentieth-century Hispanic literature.
Alejandro Jodorowsky’s Endless Poetry
“An English dandy with an abundant inheritance from the railroad industry, Edward James voraciously collected surrealist art, rare orchids, and parrots. He took up mysticism, rubbed elbows with Salvador Dali and Aldous Huxley, and fancied wearing ponchos sans pants.
To those who knew him, James was “the last of the great eccentrics.”
James’s outlandish nature, however, was best captured in his magnum opus: Las Pozas, a fantastical sculpture garden nestled deep in the Mexican jungle. Forged over the last 22 years of his life, what he called his “Surrealist Xanadu” would become one of the globe’s greatest curiosities.”
– Via Artsy
Part whimsical illustration, part surrealist creatures, part eye candy, but 100% awesome, we can’t take our eyes off of Hattori’s intricate artwork. We always come back to his strange unique creations.
“In “Torrey Pines,” the childhood of its director Clyde Petersen unfolds through beautiful, handmade stop motion animation. We see a pre-transition 12-year-old Petersen — a devoted Trekkie with an ever-present USS Enterprise T-shirt. He yearns to escape the humdrum life of his Southern California hometown, and he gets his wish when his schizophrenic mother takes him on a cross-country road trip. The film is an endearing blend of sweet anecdotes and surrealism, and the result is a story that feels warmly joyous.”
– Via DailyCal.org
by Kasper Opstrup
“From surrealism’s beginnings around a Parisian séance table, it oscillated between the occult and the political. One of its key methods, automatism, provided access to both the esoteric and the exoteric: it took form in the mid-19th century as a spiritualist technique for communicating with the other side while, simultaneously, this other side could address political issues as equal rights, de-colonisation and a utopian future with an authority coming from beyond the individual. By tracing the development of automatism, the article shows how automatism in surrealism became a call for both a re-orientation of life and an institutional re-organisation by becoming a divination tool for a future community looking back to hermeticism to find a way forward. The article argues that not only can surrealism fruitfully be understood in the light of an occult revival in reaction to crises but, additionally, that it marks the return of and a reaction to a kind of magical thinking in the modern – due to waning religious and socio-economic orthodoxies – that echoes eerily into our own big data contemporary of social medias where we tend to substitute equations with associations.”
http://ojs.statsbiblioteket.dk/index.php/nja/article/view/26405