SAUDI ARABIA ISN’T HAVING A FEMINIST REVOLUTION - AUTHORITIES CENSORED THIS FEMALE PHOTOGRAPHER’S EXHIBITION
Posted May 20, 2013 at 9:30pm |
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I SPOKE TO THE GUY WHO PAINTS WATERCOLOURS OF ALL THE HORNY MEN HE WANTS TO SCREW ON GRINDR
Posted April 22, 2013 at 5:46pm |
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I INTERVIEWED A HOLOCAUST DENIER ABOUT HIS NAZI ART
Posted March 19, 2013 at 7:00pm |
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NICOLA FRIMPONG IS A VERY SHOCKING ARTIST
Nicola Frimpong, AKA Freeakpong, is a British artist who – among other mediums – paints watercolours of severed penises, bloodbath orgies, decapitated heads and sadomasochistic school classrooms. Her work looks a bit like Quentin Blake’s illustrations, had he been a part of some radical, deviant, underground sex scene in 1970s Berlin rather than art man for one of the world’s most beloved children’s authors. Or the manic scribblings of a ten-year-old who’s been massively overexposed to the internet. Both of those basically translate to: there are a lot of dicks, vaginas and blood in her paintings.
I wanted to know what type of human it takes to be able to put a brush to paper and make that kind of stuff flood out, so I gave Nicola a call. She liked the sound of my voice straight off the bat and invited me to a gang bang party a couple of nights later, but I politely declined and carried on with the conversation you can read below.
Posted December 20, 2012 at 6:00pm |
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MY 18 YEAR-OLD SON HAS BEEN OFFERED TWO GALLERY EXHIBITIONS NEXT YEAR, BUT HE MIGHT NOT MAKE IT THAT LONG
Posted December 19, 2012 at 8:00pm |
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A COURT CASE MADE MY CAREER AS A CARTOONIST
Mike Diana may not be the only comic book artist to have been jailed for his work, but he’s the only one I know of who drew his criminal cartoons in the police station where his mum worked. His violent and pornographic themes first turned him into a suspect in the sensational Gainesville Ripper case and then landed him a conviction for obscenity. All because, it turns out, a young prosecutor was looking to make a name for himself. It’s all good now, though – apparently the case kind of helped kickstart Diana’s career.
Mike currently has a show on in London, so I thought it’d be nice to have a chat with him about how growing up in conservative Florida didn’t do much for his desire to produce pretty drawings of horses eating daisies.
VICE: So, I’m assuming it’s quite nice for you to be in the UK? I’d imagine people here might be a little less conservative than in Florida, where you come from?
Mike Diana: Yeah, definitely. Europe is freer – more so than ‘the land of the free’. I moved to Florida from New York when I was eight years old and I noticed a big difference. For example, I had to go to church in New York, too, but in New York it was kind of fun, because I could just sit there and look at the stained glass windows. In Florida, the priest would be screaming about how we would burn in hell and the teachers carried around paddles that they’d hit the kids with.
Posted November 19, 2012 at 5:03pm |
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We tested the “This looks like it was done by a three-year-old” modern art theory by taking a toddler to an art gallery with a pack of pastels.
Posted October 16, 2012 at 6:56pm |
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We decided Damien Hirst could use a hand with this whole “art” thing.
Read the article here.
Posted May 28, 2012 at 3:55pm |
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What this guy chose to do with 400 vaginas is his own business.
Posted May 21, 2012 at 11:01pm |
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OK, DO IT: TEACH ME HOW TO “GET” ART
Alex says: “The childlike element of scrawling is a spontaneous reaction to what you find around you. Often the problem with people’s expectations of art is that they’re expecting something ingenious – the journalistic value of art isn’t enough. They want surplus value, they want sweat off the brow, a unique, new and seductive aesthetic. But I quite like this canvas, I think there’s palpably a lot of labour in it. I like the colour. It has a nice aesthetic correlation. I think historically, it’s particularly novel.”
Glen says: “Not 100 percent sure what you’re saying here, Alex. Maybe I’m just uncultured, but I don’t think something can be both ‘spontaneous’ and ‘considered’. All I’m seeing is a pile of scribble that is worth thousands of pounds, that people are going to come and stare at, in a gallery in East London that probably also costs thousands of pounds to rent per month. I can see that it might aesthetically please some people, but could they not look at a photo of it? Or give a baby some crayons and create their own pile of scribble? It all seems very wasteful.”
Read the full article here
Posted May 9, 2012 at 1:55pm |
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