Alexa Hoyer, Santa, 2015, Archival pigmented print on Dibond
I'm in Los Angeles for a weeklong field trip that support professional and academic goals. Before I left I reflected on Alexa Hoyer's Santa at The Barrick Museum of Art. It is one artist's exploration of how we "use the land around us for work, recreation, and waste disposal. "
"Tested Ground" closes September 16.
Buff Monster Mural Coney Island (2015).
Review by G. James Daichendt
Buff Monster is a pop-inspired artist well known for his brightly colored characters that interact within candy-coated dream like landscapes. Ice cream cone characters dominate his oeuvre and their personalities are a mix of familiar characters like SpongeBob SquarePants and Garbage Pail Kids, a trading card series from the 1980s. When viewing his paintings, murals, and commercial products, Buff Monster seems at first to parody aspects of culture but in his new book the artist explains the importance of ice cream and what he earnestly is attempting to address through his artistic process.
Buff Monster initially earned his reputation as a street artist in Los Angeles. Posting thousands of silkscreened posters, the city became familiar with his pink color palette and round little monster characters. Developing a line of merchandise along the way, Buff Monster’s output has continued to increase from collaborations with larger companies to his own enterprise Stay Melty that produces limited edition products. Buff Monster now enjoys an international reputation and it’s not difficult to find his work in major cities around the world as he has developed a familiar and distinct aesthetic.
Several years ago, I interviewed the artist and he cited that his main influences were Punk Rock and Japanese culture. The slick surface and cartoon imagery is fun and a consequence of this aesthetic is that it may seem superficial. Certain products and toys that he produced certainly didn’t help this notion but it’s encouraging to see the artist pen a manifesto that digs into his conceptual agenda. Functioning much like an in-depth artist statement, Buff Monster’s voice is present and the text functions to encapsulate and hopefully push the artist to aim higher and to produce work that is coherent, relevant, and deep.
Ice cream is the main idea that holds everything together for Buff Monster. The delicious treat represents the cycle of life. If the dessert is frozen, it has potential but cannot be enjoyed. As it warms, it can be eaten but if it continues to heat up, ice cream loses its most distinguishing characteristics to be enjoyed and becomes a soupy mess. Frozen milk in a state of thawing is the dream for this artist and an ideal state that can only last for a finite amount of time.
Buff Monster then takes the ice cream cone and applies it to three areas of concern: the individual, society at large, and social media. Ice cream flavors, toppings, and colors are part of a metaphor for diversity according to the artist. The constant drips that run down each character refers to time and the finite amount we all have as human beings. It can also apply to the slow decay of society (something social media appears to be feeding). The artist references that our culture is quickly becoming one homogenous flavor and the ice cream cones in his work can then be viewed as a neighborhood or a society melting away into a one sticky mess.
Lastly, Buff Monster addresses social media and smartphones, which function as a push regarding the importance of hand-crafted objects and real experiences. Much like the Arts and Crafts movement that sought to rebuke factory products, Buff Monster writes a call to arms to leave a lasting impression, something he aims to do through his art.
Buff Monster’s direction breaks down a bit at times and he makes references to current events that may not be relevant years down the road, but he clearly is moving toward something deeper overall. This manifesto lived for years as separate notes on napkins and sketchpads, which collectively helped guide the artist as he thought through his work. As a new wave of urban art appears to be on the rise, the depth and criticism of such work appears to be receding. Description and celebration are followed by awe and it’s rare to engage in reflective thinking and close looking. Buff Monster should be commended for pushing his art beyond this veneer as he aims to not only create fun and interesting art, he aims to build a lasting body of work that can be engaged in a thoughtful and meaningful manner.
Books by Stay Melty "The Melty Manifesto"
“Kryptos 83.798” at the Donna Beam Fine Art Gallery. Photo Ed Fuentes
Pasha Rafat: While the Donna Beam Gallery at UNLV is booked solid for the semester, Pasha Rafat slipped in “Kryptos 83.798” during the first few weeks of Fall 2017. Rafat, a College of Fine Arts faculty member, shows how a professor is once and always a student. His light-concentrated works are influenced by Western artists from the Sixties and Seventies, all of whom were captivated by the physical phenomena of light functioning in space and atmosphere. The shapes of the main work do not create an eerie glow that alter physical reality, as often seen with light-based works, but instead has parcels of neon adapting to the room through grids and squares.
According to Rafat, those neon parcels refer to his interest in Russian Constructivists’ view of material architecture.Yet, they represent more than a mere nod to demigod Constructivists. Pasha’s works are also a direct reference to California light and space artists with whom Rafat has engaged and introduced to the region through UNLV’s Fall Lecture Series. In 2015, Robert Irwin was a guest of the series, a program overseen by Rafat. In 2014, Doug Wheeler, another light and space pioneer, was a guest for the same series., Additionally, Rafat’s works also respond to Carl Andre, one of Minimalism’s founders, whose works included a series of low-to-the-ground sculpture. Here, Rafat uses that method to have the floor become a landscape of light.
The main neon sculpture emits a flickering of light that gives visual movement to the piece. It originates in the corner and consumes half of the gallery space, sectioned in varied sizes to hint at distance. The perspective leaks forth like a shoreline of light in a darkened room, like a cover of night, that tolerates the space’s vertical support beam in the middle of the gallery. Tape is on the ground to keep the curious away, but if a viewer infiltrated the low-impact border they would be cheated of seeing this as an aloof, but intimate, presentation. As his research lies not only with art in public space and light, but also sound, this neon landscape, sprawling on the ground like a horizontal light garden, also emits the low buzz of neon, an artifact of sound, that is soft white noise. If the light and sound Minimalist paradigm is that abstract work can have clean command of space, then “Kryptos (83.798)” succeeds.
ABOVE: Gig Depio
“Through the Muddy”
2017-18 480” x 144”
Oil on Canvas
An Online Arts Journal
February 2 – March 31, 2019
and Gallery Talk:
Sunday, February 10, 2019,
4 p.m.–7 p.m.
S P O N S O R