Tag Archives: Pop Art

Fly Spy: Greg Gossel

Fly Spy with my swiping eye… the free faded poptocular world of Greg Gossel’s technicolor mind #letsplay

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Greg Gossel was born in 1982 in western Wisconsin. With a background in design, his work is an expressive interplay of many diverse words, images, and gestures. Gossel’s multi-layered work illustrates a visual history of change and process throughout each piece. His work has been exhibited throughout the U.S. and abroad, including San Francisco, New York, Los Angeles, Copenhagen, and London.

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re:fresh : Greg Mike’s “Loudmouth” and “Popstars and Cokeheads”

Back, back to the belly of the map – A.T.L.A.N.T.A. – to shine on the poptastic Greg Mike.

New York born and bred, but Tallahassee trained, this artist meshes graphic design, street art, creative, branding, and fashion design to create a style all too collaborative – but inevitably all is unique own.

Right when I was beginning to fumble and falter, this man made me remember why there was a time when Forever I Love(d) Atlanta – thank God for gallery exhibitions

Continue reading re:fresh : Greg Mike’s “Loudmouth” and “Popstars and Cokeheads”

Keep Calm and Kari On … with Morgan Spurlock

As a bit of a Pop fiend, it was a pleasure to discuss New Blood with Morgan Spurlock; as a bit of a Pop theorist, it’s something of a marvel to ponder the nine-minute manifesto…

Why New Blood, why now?

I don’t know if it was a question of now, or if I just felt like there was a need to show – I feel like there’s still this shifty new movement in the art space where the people who kind of launched this whole “low brow” art movement, this street art movement are now inspiring this whole new generation of artists; y’know these new kinds of Pop graffiti artists who are kind of coming up in their wake, and I find that to be really fascinating. You gotta think it wasn’t that long ago when low brow art and street art was being relegated to the lowest smallest of the fringe galleries, to now where these paintings are being put up in the cornerstones of the modern art movement. So I think to see where that ripple effect is continuing to affect, not only our generation, but the next generation of artists is really inspiring.

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Keep Calm and Kari On … with Chester French

Skin… is a many layered thing; it is artistic, it is cultural, it is biological, it rests on the fragile fringe of one’s inner and outer space… not to be melodramatic, but we consider it an overlooked focus – an abstract opus – of cultural connective tissue.

So, for Art Nouveau’s Skin issue, we chose a duo who connected all of those elements in a most masterful manner: Chester French – black tears, faced fears, a pair so open-minded about the lovable future that their well-endowed brains have descended upon every listener’s ears. We had a chat with Max and D.A. to get an inside look at how they view those elements that make the epidermis so oddly endearing.

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When we come into this world, our skin is supple and soft, that unhindered remnant of divine design. For artists like Chester French, the first album is of that same fresh design. The label signs you because of that new-new you bring to this world. Musicians wear that skin like a manifestation of the self. Unlike the child though, an artist can craft their own primary skin; now more than ever though, it is getting harder to make that sonic aesthetic a signature different than all others.

KE: How important is it to build your own sonic aesthetic through your music, and what do you think your skin is in the industry?

CF: I think – to answer the first part of the question – I think for us it’s kind of important to try and carve out what is our territory creatively in terms of what we want to make and how we want it to sound. I think there’s so much music and so many people in music feel like they have to constantly be following, either super-new trends or really established ideas about how music should sound at a given moment. For us it’s way more important to find a sound that’s unique to us, than it is to “fit in” to any group, necessarily…

KE: Basically, my thing is this: skin is functional and fashionable. It is the first line of defense, but musically it is that very foundation of artistic identity which requires the greatest defense of all.

It’s one thing to look good, a freshman feat that Love the Future achieved, but it’s another entirely to make that good look last: enter Music 4 TNGRS.

KE: What is a TNGR, and what is this music you’re making for them from this standpoint?

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