• Things_big

    Things

  • Clever_franke

    CLEVER°FRANKE

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    CLEVER°FRANKE

  • Jim-o_raw

    Jim O’Raw

  • Jim-o_raw2

    Jim O’Raw

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    Jim O’Raw

  • Ad-sites-michael-whelan

    Monograph

  • Ad-sites-michael-whelan2

    Monograph

  • Ad-sites-michael-whelan3

    Monograph

  • Ad-sites-michael-whelan4

    Monograph

  • Concealreveal

    Conceal/Reveal

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    Conceal/Reveal

  • Concealreveal3

    Conceal/Reveal

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    Conceal/Reveal

  • Jess-wilson1

    Jess Wilson

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    Jess Wilson

  • Jess-wilson3

    Jess Wilson

Graphic Design

Things Part II

Posted by Bryony Quinn,

Part II of Things this week welcomes Jim O’Raw with his CYMK skill-z, Michael Whelan and a Monograph edition of the great Ad-sites project. Plus Jess Wilson sends us a new screen print, things get concealed and revealed and sometimes concealed again by Jonathon Place and Will Harvey. Finally the weather in Holland unites nations through the medium of pie chart by (wish my second name was) CLEVER°FRANKE.

Conceal / Reveal Jonathon Place and Will Harvey

At first I thought “damn” ’cause JP and WH (the men above) have mixed their “damn” photos up and then I realised that it was a great zine and their work compliments each other really well and the colours are great and I should just chill out. And I like the cover.
www.jonathonplace.blogspot.com
www.will-harvey.blogspot.com

Monograph: Ad-sites Michael Whelan

This is a funny, well conceived project and, as a Monocle Monograph, literally sealed with the quality stamp. The utopian boardings Whelan photographed, we all walk past (and wonder at their lack of context – really? A waterfall?) and they shield us from dirty construction, hinting “at an elevated social existence” if only you could live there. Most pleasing are the nice juxtopostitions and continued general abstraction (waterfall???).
www.m-whelan.com

Promo poster Jim O’Raw

99% sure this promo that Jim has kindly sent us is a screen print which makes it an incredible feat of registration to say the least. The text adopted for his name is nothing less then Fresh Prince territory and overall, he seems like a nice and polite guy with a fondness for colour saturation and strong geometrics.
www.jimoraw.com

Clinky Clanky Jess Wilson

Great new work (on nice paper) from the girl that brought you the illustrated lyrics of Titantic on A3. Made for the worthy lot at Jealous Gallery and continuing the hand drawn, type heavy illustrative idiosyncrasies she’s adopted with aplomb!
www.jealousgallery.com/jess-wilson…
www.jesswilson.co.uk

Weather Chart CLEVER°FRANKE

This is truly great – leaping over cultural and language barriers, waving at any political grudges and/or football results as they disappear into the distant forgotten – the Dutch also love to complain about whether it’s sunny, rainy or windy. That is according to the nice cover note Thomas Clever and Gert Franke included with this infographtastic weather chart, thoughtfully designed and aesthetically ace.
www.cleverfranke.com

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

  1. List-sculpture-in-the-city-its-nice-that-tomoaki-suzuki-'zezi'-courtesy-corvi-mora_-london

    As this week’s public art-themed Nicer Tuesdays reminded us, it’s all too easy to take the masterpieces in full view around the city for granted. And while there’s a plethora of work to see all year round in many cities across the UK, from next week the City of London is placing work by the likes of Damien Hirst, Ai Weiwei and Adam Chodzko around the Square Mile to add a little culture to the landscape of our wolves of Threadneedle Street. This is the fifth year of the programme, Sculpture in the City, and will see a total of 14 works go on show. They will remain in situ until May next year.

  2. List-ai-wei-wei-an-archive-its-nice-that-

    Ai Weiwei has printed five years worth of his many, many tweets onto rice paper to form a new piece called An Archive . The artist has long used Twitter as a platform from which to protest Chinese government oppression, leading to a ban from Chinese Twitter. In an interview with The Creator’s Project, Ai tells how the piece, which is formed of thousands of pieces of printed rice paper, showcases a time when he could use the social network for “discussions and memories of the past, as well as predictions for the future. Twitter was an exercise for the mind and one where you are fully exposed to the public."

  3. Royal_academy_summer_exhibition_poster_list

    I never thought I’d use the word irreverent to describe the Summer Exhibition at the Royal Academy. Since 1769 the RA has taken a fairly unwavering and conservative approach to the world’s largest open submission exhibition, hanging up to 1,000 works by both amateur artists and great names. Long the lacklustre foxhole of stuffy Academicians and part-time painters, this year marks the greatest effort the RA has made yet to reinvigorate the English summer stalwart.
     
    It’s no surprise that the man behind the brightest, boldest edition yet is Michael Craig-Martin, this year’s curator and the artist best known for his Pop Art palette and his tutorship of YBA trailblazers Damien Hirst and Sarah Lucas. Among his modernisms for the show is the decision to repaint the three central galleries in colours lifted straight from his work: hot pink, turquoise and baby blue. Far from playing to mere spectacle, Craig-Martin’s trademark penchant for polychrome is a bold statement that does away with both the white cube mis-en-scène of contemporary art and the fusty grandeur of the Academy. Regular attendees might also notice he has made the print galleries more central.

  4. Jim_lambie_zobop_ra_it's_nice_that_list

    For this year’s Summer Exhibition at the Royal Academy, Scottish artist Jim Lambie has transformed the storied art institution’s grand staircase with one of his kaleidoscopic floor installations and shaken up the English cultural calendar highlight. Using hundreds of strips of adhesive vinyl tape, Lambie’s eye-catching floor work follows the architecture of the Academy and is part of his ongoing series Zobop. The 2005 Turner Prize nominee’s slightly riotous, technicolour stairs breathe new life into the neo-classical space, and the optical effect packs huge impact, fittingly leading the way to the boldest, brightest edition of the Summer Exhibition in its nearly 250-year run.

  5. Nina-chanel-abney-its-nice-that-list

    The carnivalesque colours and vibrant busyness caught our eye in Nina Chanel’s work; her attitude and subject matter kept us looking. Nina is based in New Jersey, and uses bright brushstrokes and text to explore issues of race, politics, sex and the strange world of celebrity. How? Through a strange troupe of aliens, strange symbols and rainbow colours. Surrealism plays with pop art and high-brow plays with low-brow in her huge e-number fuelled pieces, which carry a depth belying their initially saccharine appearances.

  6. David-shrigley-football-mascot-its-nice-that-top

    David Shrigley has designed a rather strange mascot for Scottish Premiership football team Partick Thistle. Shrigley – a fan of the team – was appointed to create the little yellow jagged character, named Kingsley, as part of the team’s new sponsorship deal with US investment firm Kingsford Capital. The artist also created the brand mark that will appear on Thistle kits and around its home stadium.

  7. Luis-vasallo-itsnicethat-list

    Life drawing classes are more often than not the conservative preserve of academic art, but Luis Vassallo’s nudes tell a different story. Luis’ series A Life Drawing Class, made as part of a collaboration with Hot and Cool magazine, is a refreshing take on a somewhat strait-laced tradition. Over the course of several weeks the Madrid-based artist transformed the models in front of him into adventurous images that juxtapose the classical with the surreal, mixing and matching a number of drawing styles – often in the same sketch – from hard-edged geometry and soft, rolling forms that alternate between clean pencil lines and those in thick jagged charcoal. Finding inspiration in the Italian avant garde and the 60s revival of figurative art, Luis is clear that his work is less about looking back and more about finding a way to pick up where these 20th Century movements left off. The results are unlike any nudes we’ve seen before.

  8. Jackson-pollock_-number-34-1949-its-nice-that-list

    As one of the most instantly recognisable modern artists and a GCSE art staple, it’s tempting to think there’s little we haven’t seen of Jackson Pollock’s work. A new exhibition at Tate Liverpool, however, proves us wrong. The exhibition, entitled Blind Spots, is the first in more than 30 years to show his late black pouring works. Some we’ll know, many we won’t, but all prove – if proof were needed – what an important, inspirational figure Pollock was. He managed to bring tricky concepts of Abstract Expressionism into the minds of a far wider audience than the art world inner circle, and his works are surely some of the most oft-seen, yet never tiresome artworks of the last century.

  9. Matthew_craven_demiurge_it's_nice_that_list

    Matthew Craven’s dizzying mix of ink patterns, cut-outs and ancient culture is as powerful as it is studied. We’ve written about the New York artist’s vivid collages before, and in his most recent series demiURGE, Matthew pairs both tribal and Greek sculpture with his hand-drawn designs and recurring motifs. His images play with materials as much as they play with time, and with their lost relics and archeological curiosities it’s as if Matthew has picked through old history textbooks and back issues of National Geographic for the mystic effect that makes his work so instantly recognisable. Pairing busts, masks, vases and classical bric-a-brac with optical patterns, Matthew’s collages always prove greater than the sum of their parts.

  10. Richard_prince_new_portraits_it's_nice_that_list

    Richard Prince’s New Portraits have proven to be nothing short of sensational. The artist’s controversial series has seen him take other people’s Instagram posts, print them on six-foot canvases and sell them for up to $90,000. The only changes made to these images of everyone from Pamela Anderson to total unknowns are the bewildering or lewd remarks Prince adds to the comments thread. As of last Friday, ten of these new works are on show at Gagosian London. “The iPhone became my studio,” Prince says somewhere in the seven-page stream of consciousness that makes up the press release.

    For the last 40 years the New York artist has inspired everything from acclaim to outrage for the unapologetic appropriation that has defined much of his work. As the man who reprinted copies of JD Salinger’s classic teenage anthem Catcher in the Rye with his own name in place of the author’s, Prince has found himself on the wrong side of copyright lawsuits multiple times. Resulting opinions of him tend to violently swing between genius and good-for-nothing. In the case of the New Portraits series, Peter Schjeldahl writing for the New Yorker’s response to the screenshot-cum-paintings was “something like a wish to be dead,” whilst sex writer Karley Sciortino has said she felt honoured to be included in the series.

    In an unexpected but fitting turn, people seemed to feel slightly vindicated when some of Prince’s unauthorised Instagram reproductions were recently reproduced and resold by some of their original subjects, namely the LA-based group of alternative pin-up girls and burlesque dancers operating under the moniker SuicideGirls. “Payback!” headlines screamed, but this ceaseless loop of feedback and mirroring perfectly plays to Prince’s raison d’être. Even this is not the artist’s own, and in his ideas about enshrining banality and popular culture he is most definitely walking in Warhol’s slightly worn-out silver shoes.

    Mining the internet for source material is not new either, but as abhorrent as they may be, Prince’s portraits eloquently teach a powerful lesson in the trappings of social networking. They test public and private limits and have started an important and much-needed conversation about copyright and art in the digital age. They have also been sharp reminders that our self-exposure and digital exhibitionism doesn’t exist in the vacuums of our various feeds, but very much enters into public territory.

    The most absurd part in all of this postmodernist pageantry however, happened during my exchange with Gagosian’s PR when I asked for press images and was told, “I’m afraid that we don’t have permission to use any images of any individual works.” Irony is a beautiful, twisted thing.

  11. 9.koons_tulipanes-itsnicethat-list

    There’s been a lot of conversation in the studio recently about art exhibitions that beg to be photographed, and they don’t come much more Instagrammable than the Jeff Koons retrospective. Having started out at New York’s Whitney Museum and then progressing to Paris’ Centre Pompidou, the show has just begun the final leg of its journey at the Guggenheim in Bilbao, where we attended the opening last week; to take a selfie with the balloon dog, among other things.

  12. Carsten-holler-list

    Leafing through the Serious Art Critics’ reactions to Carsten Höller’s huge fairground of a show at the Hayward, I felt optimistic, smug even. “Old fuddy-duddies,” I thought. Yes, that’s it – they’ve forgotten how to have fun! Love-in, hippy me mulled over my kindly utopian ideas about how art should be democratic, how wonderful it is to have the wee kiddie-winks enjoying art just as us cerebral grown-ups can. Sadly, I’m now about to agree with the bunch. They’re not really just world-weary and po-faced, they’re right: the show’s really not all that after all.

  13. 8_red-with-red-1_2007_%c2%a9-2015-bridget-riley.-all-rights-reserved_-courtesy-karsten-schubert_-london-itsnicethat-list

    Bridget Riley’s work is utterly fascinating to me. Her enormous geometric canvases, ranging from illusory patterns to orderly explosions of colour have developed over the course of her career to create an extensive oeuvre exploring every dark corner of shape and form. Behind the expansive canvases lies a deeply methodical approach which, although invisible to the viewer, is the concrete foundation to her work, and in this new UK retrospective at the De La Warr Pavilion the accompanying studies will be displayed alongside the finished canvases. Spanning 50 years worth of her curve paintings and including more than 30 paintings and studies, it looks set to be a show to remember.