Every morning on my way to work I pass some graffiti that reads “The King’s Munch…Let’s Punch Cops,” which I find almost transcendental in its nonsense. The point is making a point can be harder than it sounds, and the line between being genuinely thought-provoking and A-level Art cringe (“Kurt Cobain will f**k the bankers”) can be a fine one.
So it’s refreshing to see that for his new London show, William Blanchard has once again produced a glut of work on the right side of that divide. Combining his obsessive hoarding instinct, rock and roll sensibility and socio-cultural concerns he has produced: “a diverse range of flotsam from the ebb tide of the modern world through which (he) mirrors the unbridled consumption of our times and the emotional and political nature of our response to this society of spectacle and waste.”
There’s super-creepy Victorian carnival references, hacked military targets and twisted takes on voodoo shrines with a consistent seam of proper point-making.
This is William Blanchard is at The Strand Gallery from July 25 to August 4.
- Moving Brands gives its opinions on the new Google logo design
- Typographic club posters that show how creativity flourishes within boundaries
- Eric Petersen's surreal illustrations take their cues from video games
- Paris-based Adrien Menard's portfolio experiments with letterforms and composition
- The creative process explained via egg metaphors, thanks to artist Honza Zamojski
- Vincent Girardot’s photo diary documents an alpine tour of fish, factories and firs
- No more serifs, same bright colours: Google launches new identity
- Tokyo 2020 Olympic Games logo scrapped over plagiarism row, according to reports
- Ely Dagher’s hypnotic and erotic animated vignettes for Model 86’s EP (NSFW)
- Playfully tongue-in-cheek illustrations from Germany-based Cécile Dormeau
- The Anonymous Sex Journal is back, and this issue is all about wanking
- The slides and sleep pods of LA's Silicon Beach startup scene captured by Lauren Greenfield