• Things_big

    Things

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    Eternal Source of Light Divine

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    Eternal Source of Light Divine

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    Eternal Source of Light Divine

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    Eternal Source of Light Divine

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    Eternal Source of Light Divine

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    Toska

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    Toska

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    Toska

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    Toska

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    Toska

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    Wild Weeds: Selected Lyrics 2000 – 2010

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    Wild Weeds: Selected Lyrics 2000 – 2010

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    Wild Weeds: Selected Lyrics 2000 – 2010

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    Wild Weeds: Selected Lyrics 2000 – 2010

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    Legacy

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    Legacy

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    Legacy

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    Legacy

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    Le Gun 1, 2, 3

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    Le Gun 1, 2, 3

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    Le Gun 1, 2, 3

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    Le Gun 1, 2, 3

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    Le Gun 1, 2, 3

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    Le Gun 1, 2, 3

Graphic Design

Things

Posted by Bryony Quinn,

Things this week includes an epic tome of illustration called Le Gun (one, two and three), and Toska – “a sen­sa­tion of great spir­i­tual anguish often with­out any spe­cific cause…” Also, the legacy of the Arden Projects has been documented, and some concreted lyrics/typographic conceptuals have been typeset. Lastly, Things includes an alternative way to contemplate “bright white cornish pasty” or “bright white snow drop” paper stocks, for those who order paper samples, which is perhaps a lot of you…

Eternal Source of Light Devine YCN, Nick Ballon, Nelly Ben Hayoun

A pleasing and original stock sample book from Fedrigoni. A brilliant, if not surreally conceived book by YCN together with the ace stylist Nelly Ben Hayoun and photographer Nick Ballon. Some of it gets a bit Blue Velvet – a man smelling stock, a sexy ink close up, a woman lying on chair wrapping herself in paper etc. – but that’s good, I love that film.
www.fedrigoni.co.uk
www.ycnonline.com

Toska Lizzy Stewart

From a quote by Vladimir Nabokov, the word “toska” translates from Russian to something like “melancholia”. Here, the word has been interpreted with a deft quality in tone and line, firstly land-bound and grey, and then with people who are beginning to take the forms of their own wistful evocations. I like the pace here, and in so few pages it has a genuine feeling that pulls you through even though there is no narrative to speak of.
www.abouttoday.co.uk

Wild Weeds Composed by J. Maizlish. Design by Emma Williams

A set of type that echoes the rhythm and structure of a songs lyrics, “set on the page according to how and where they fall in their original musical settings.” Bars of music are broken as lines in text, the beats per line cited in the left. It’s a wonderfully simple, temporally concrete book, written by J. Maizlish and designed by Emma Williams (overseen by Fraser Muggeridge).
www.pleasedonotbend.co.uk/wild-weeds
www.emma-williams.com

Legacy: The Arden Projects Zelda Malan, Jack Llewellyn, Doug Stewart and Scott Taylor

Legacy, a collection of loose images and a book – which we are informed contains a pig’s innards and a gun, plus an imaginable spectrum in-between – is a document and celebration of Paul Arden, Toni Arden, the Arden Gallery itself, and the mutable, talented and “something you’d never seen before” students of Kingston University. It is also, and we totally agree, full of “clever ideas, great poignant images and passion.”
www.ardenandanstruther.com

Le Gun 1, 2, 3 Le Gun

“Welcome to a planet created by tireless fantasists built with ink-stained hands and common ground,” so starts this epic book, a collection of the first three cult illustration publications, Le Gun. The artists who formed it, all ex-RCA students, have a pretty cool story as to its survival involving hangovers and a financier from Madness. But bigger than that of course is the content. A hefty dose of narrative, predominantly in shades of grey, iconic imagery and ideas, so many ideas it hurts. A very special object indeed.
www.legun.co.uk

Portrait9

Posted by Bryony Quinn

Bryony was It’s Nice That’s first ever intern and worked her way up to assistant online editor before moving on to pursue other interests in the summer of 2012.

Most Recent: Art View Archive

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    The bright, woozy haze of Wojciech Fangor’s psychedelic paintings is mesmerising. It’s even more so having learnt that the Polish artist, who worked during the 1960s, created these Op art masterpieces entirely in isolation, working in Eastern Europe having not seen the similar works being created in America and Europe by the likes of Bridget Riley and Victor Vasarely. As such, while the images feel familiar; there’s also something exotic about them, pulsing with light created using intensely coloured oil paint applied in thin layers. A new show named Colour-Light-Space opens next month at London’s 3 Grafton Street gallery, and will display a number of works by Wojciech from the 1960s and 1970s that demonstrate his mastery of all three words in the title. It’s fascinating to think of the artist working on these beautiful optical illusions and explorations of the power of painting well before similar works were created elsewhere in the world, and it’s great to have his work celebrated in the way it deserves.

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    Mark Lazenby is the go-to guy for collage that just works. We last featured the artist two years ago and since then his portfolio of pieced together artworks has exploded with even more impressive works and a real exploration of materials and collage techniques.

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    There’s not a pie in the cultural world that James Franco isn’t ready and willing to stick a finger into, and to prove it the actor, director, poet and musician has just announced a new exhibition of his artworks, entitled Fat Squirrel, which is to be held at London’s Siegfried Contemporary gallery. The show is an undeniably eclectic collection, including a number of self portraits of the artist in the guise of various famous historical figures, a deer orgy entitled Triple Team, and some bright painterly collages, not to mention the eponymous overweight rodents which are undoubtedly our favourites.

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    I’m known for my sweet tooth and ability to consume an obscene amount of cakes, sweets and biscuits in one sitting, so it’ll come as no surprise that I was instantly drawn to Will Cotton’s sugary scenes of candy-laced lands.

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    Time and again Amy Woodside gets in touch to let us know about new projects she’s cooked up and time and again we’re powerless to resist them. The New York-based artist is focussed to a fault on her fine art practice where iconic letterforms emerge from meticulously registered screen printing and frantic flourishes of spray paint. Where first she caught our eye with multicoloured wordplay, the constant reduction and refinement of her process has resulted in a new series’ of totemic words like ‘Hero’, ‘Cash’, ‘Hoax’ and ‘Like’, pre-loaded with cultural context and double meaning, writ large on the canvas. What’s the meaning behind them? The interpretation is up to you, but Amy always seems to be critiquing pop culture with its own visual vernacular and playing fast and loose with our ambiguous use of language.

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    The Dutch/Brazilian artist Rafaël Rozendaal is best known for his digital artworks that often take the form of webpages but as he told us at our 2013 creative symposium Here he is increasingly interested in exploring his fascination with light and colour in real-world scenarios. Most recently this has taken the form of his hyper-colourful abstract lenticular paintings, which are made up of layers of different frames and so appear to move when viewed from different angles.

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    There’s a wonderful, undulating beauty to Alain Delorme’s series that initially tricks the viewer into thinking they’re seeing flocks of starlings choreographing themselves against iridescent skies. On closer inspection though, rather than capturing mass avian movements the Parisian photographer has replaced them with a myriad of plastic bags.

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    Way back in 2011 when we first posted the work of Frank Magnotta It’s Nice That was a very different beast – we’d only give you one image to check out and the rest was up to you. So when I stumbled across Frank’s work again this week it seemed essential that we show you a whole lot more. To be honest there have been few updates to his site in the past three years but the work is breathtaking, pulling together pop culture references, architectural precision and some serious Americana and combining it into stark surrealist landscapes. At times grotesque but always engaging, Frank’s graphite artworks are still some of the finest around.

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    Jean Jullien is many things. Artist. Illustrator. French. Recent emigre to New York. It’s Nice That favourite. So hot right now. He’s also the final artist to have a show at Kemistry Gallery’s current east London home before it closes its doors early next year (although as has been reported it has some excitingly ambitious plans).

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    American artist James Rieck paints models, but not in the way you might expect. In his huge colourful canvases he takes figures from adverts and recreates them four or five feet wide, capturing their clothes, their postures but not their faces.

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    These painted scenes from Paige Jiyoung Moon are so wonderfully intricate, a new detail pops out each time you see them. Capturing domestic scenes like people drinking coffee, friends watching a film or a family eating lunch together, it’s the mundanity of what Paige paints that makes her miniature worlds so inviting as the viewer tries to pick out some sort of irregularity.

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    It’s been a whole two years since we last posted about the marvellous work of Lynnie Zulu and we’re happy to have the illustrator’s vibrant world colouring our dull Monday once again. Her latest body of work is on show now at No Walls Gallery in Brighton and is a fantastically lively exploration of the female in all her glorious forms.

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    We’re no ballet aficionados, but we wouldn’t usually associate drunkards, typists and factory workers with the grace and poise of the discipline. However, as these beautiful gouache painting by Tatiana Bruni show, there’s much more to ballet than tutus and swan lake, with her angular figures, bold colours and sometimes grotesquely postured characters. The paintings show costume designs for Dmitri Shostakovich’s 1931 ballet The Bolt, and are going on show at London’s Gallery for Russian Arts and Design alongside a series of period photographs. The ballet itself was bold and striking in its use of real hammers, machine-inspired choreography, aerobics and acrobatics, and the costume images are equally as dynamic, inspired by “the aesthetics of agit-theatre and artist-designed propaganda posters”, according to the gallery. The sense of movement is palpable, whether in the graceful billowing dresses or the staggering legs of our brightly-coloured drunkard, working against the geometric rigidity of the style to beautiful effect.