Retail & Gallery
Cages & Cubes is a series of articles that began with the intention to educate millennials on fine art through a language they are more familiar with — street wear. The spine of street wear stems from a potpourri of ethnic cultures, resources and style, creatively blended together; similar to the identities of millennials. Since fine art derives from expressing the depiction of life, the process in which it comes together is not only familiar but identical.
Each article is shown in the form of a mind map using images and text, while showing visual connections through color-coded arrows and a key. In creating these articles, I adjusted my writing structure in order to cater to the generation of millennials. This structure allows the viewer to discover the similarities between gallery exhibitions, clothing store decor, museum exhibition artworks and aesthetics used by street wear brands. There is just enough information for individuals to make the connections in order for them to discover and make more connections outside the ones I have presented. In the digital atmosphere of articles and the interactive component of comments and social media sharing, this format allows for the viewer to add to the discussion and expand into an open forum.
The importance of these articles is to eliminate the intimidation factor of galleries and museums to the generation of millennials. They are affluent in the medium of street wear and all the artistic techniques that are within the medium, yet fail to see those aspects in the fine art institution. On the contrary, history shows that the cube-like structure of art institutions and galleries usually follow a traditional form of sharing art, ideas and concepts, which limits the expansion of its’ audience to an extent. I believe both street wear and fine art are interconnected and somehow use the same language in various ways. Because of this, there is a potential for unlimited resources and the creation of new and interesting dialogues that contribute to both industries inclusively — uncaged and cubeless.
FRIEDRICH KUNATH - "FRUTTI DI MARE"
RIP N DIP
Friedrich Kunath’s exhibition “Frutti Di Mare” at Blum & Poe is similar to the experience of Rip N Dip’s approach to interactive components to installation, special relationship of products and artwork, and lastly the idea of lounge
Rip N Dips theatrical installations revolving ideals of playful innocence with emphasis on furniture and textures associated with home to transport the consumer outside the mindset that they are present in a store. The “Frutti Di Mare” exhibition at Blum & Poe was constructed of multiple theatrical environments within fantastical environments that were compiled in the forms of paintings. These theatrical environments relied on subtle components that are associated with human interaction in the home space to transport the consumer outside the mind space that they are present in a gallery space. Both exhibits included wearable goods that functioned in different ways but also allowed the consumer to be less intimidated with the experience. In Frutti Di Mare the viewer had to value the socks throughout the space just as valuable as paintings and sculpture, thus cutting the intimidation factor of interacting with them.
I experienced Friedrich Kunath’s exhibition at Blum & Poe, similarly to how I experienced Henry Taylor’s exhibition at Blum & Poe last year. The similarities of these two approaches as exhibitions were creating unique environments that activated a experience and emotion further than the figurative language within the paintings. Henry Taylor’s socially loaded portrait paintings constantly critique value, in the urban culture and urban cultures value in mainstream society. In his exhibit at Blum & Poe Los Angeles in 2016, he created various environments of forgotten slum, to a privileged oasis, to what feels like an intimate artist’s studio. Friedrich Kunath’s approach to the environments that were constructed around his paintings were characteristics of familiar interiors and the connotations that come with them. The characteristics of the interiors were of comfortable cozy home, the spacious appeal of office building lobbies, the clutter of compiling of artworks of intimate excavation, and lastly an environment of infinite space of reflective material. I questioned with both exhibits, how does a viewer experience these paintings separate from these theatrical experiences that they were portrayed.
I experienced Friedrich Kunath’s exhibition at Blum & Poe, similarly to how I experienced VLONE’s Pop up show. Both are filled with fractions of intimate words of questioning ones singularity. In comparing aesthetic and approach can be separate but cohesive. VLONE can be compared to the intimate psyche similar to intimate restroom stall confessions. Immediate satisfaction and compilations of these excerpts of broken self-reflections heighten the experience of solitude. Friedrich Kunath’s exhibition Frutti di Mare feels like to VLONE’s space of intimate psyche, but more interested in the space between these windows of intimate reflection.
I experienced Friedrich Kunath’s paintings at Blum & Poe similarly to experiencing Peter Doig’s paintings. The similarity of these two artists approach to painting is expansive mystical environments that feel they expand past the limitations of the canvas as well as an emotion of sublime. Peter Doig’s paintings use the material of paint and all its applications as well as the use of color to examine these sublime experiences in interacting with environments in their various states and climates. This allows the viewer to expand the painting into a 360 environment that uniquely feels like it is connected to an emotion through self-discovery. Friedrich Kunath uses this approach, but compiles it with the intimate signifiers such as the intimate experience of lines of notebook paper and references to “doodling” and the therapeutic experience of such.