posted by Gae Savannah @ 1:30 AM
Gae Savannah
Monday, August 25, 2014
NEW WEBSITE COMING SOON. STAY TUNED...
Thursday, January 05, 2012
Aqua Ice
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posted by Gae Savannah @ 12:36 AM
Glazehaze
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posted by Gae Savannah @ 12:28 AM
Aglasia
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posted by Gae Savannah @ 12:23 AM
Eglissia
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posted by Gae Savannah @ 12:02 AM
Wednesday, January 04, 2012
Iglissia
"Iglissia" archival chromogenic print © Gae Savannah 2012
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posted by Gae Savannah @ 11:58 PM
Sunday, July 04, 2010
Rhydal (detail) 2010
'Rhydal' (detail) © Gae Savannah 2010
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posted by Gae Savannah @ 7:53 PM
Saturday, July 03, 2010
Friday, July 02, 2010
Wednesday, June 30, 2010
Tuesday, June 29, 2010
Sunday, February 14, 2010
Saturday, February 13, 2010
Digital Confectionary ig78
copyright gae savannah 2010
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posted by Gae Savannah @ 8:24 PM
Digital Confectionary (dc1063)
copyright Gae Savannah 2009
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posted by Gae Savannah @ 6:01 PM
Digital Confectionary (dc1083)
copyright Gae Savannah 2009Labels: click to enlarge
posted by Gae Savannah @ 3:00 PM
Friday, February 12, 2010
Digital Confectionary (dc0922aa)
copyright Gae Savannah 2009Labels: click to enlarge
posted by Gae Savannah @ 4:34 PM
Wednesday, September 30, 2009
Cakes (installed at Rupert Ravens Contemporary)
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posted by Gae Savannah @ 11:16 AM
Tuesday, September 15, 2009
Monday, September 14, 2009
Saturday, September 12, 2009
Vanitas detail-048
copyright Gae Savannah 2009Labels: click to enlarge
posted by Gae Savannah @ 7:11 PM
Friday, September 11, 2009
Glamour Trance statement
GLAMOUR TRANCEUndine Spragg "liked to know that what belonged to her was coveted by others.” Altogether, “she relished the image of her own charm mirrored in people around her.” Edith Wharton Custom of the Country.
The CAKES serve frothed up castles of delusion, hyperbolic princess-lands that ooze the saccharine, nuclear-pink glow of the girl toy aisles in FAO Schwarz. Think Rita Heyworth in the film “Gilda,” --hypnotic sizzle. Glamour Trance freezes time and stunts emotional development, yet supremely entertains. In Nabokovian poshlust-glitz, the CAKES embody both entrancing appearances, and the intoxication they kindle.
In Society of the Spectacle Guy DeBord delineates a “social space blanketed by stratum after stratum of commodities,” where "consumerism is tautological.” Acting out circular reasoning, one moves round and round the large CAKES drawn into mirrors and enticing layers of stuff. Likewise, shoppers are lured into a buying loop by “the cunning of the self-perpetuating commodity,” its siren call of more, its cellophane promise to raise one in the glazed esteem of one’s social circle.
The CAKES muse on counterpoles, paradoxes in our value systems. On one hand, we, drugged on stockpiling, have lost some essential function of the heart. Wrapped up in buying-lust, we miss the turpitude growing insidiously all around us. Blind eyes are turned to the military industrial complex and other corporate scourges: drone slaughter, daily torture of gentle farm animals, massive, windowless, solitary-confinement prisons.
That said, emotions and cultural insight can lurk in the shadows of display racks. Through fashion, one establishes persona, if not core identity in the social sphere. Overstated adornment is paramount in significant rituals of primitive people. The CAKES invoke Nietzsche’s autocratic child’s games, forgetfulness, and self-rolling wheel.
Likewise, asserting the interdependence of the ‘substantial’ and the ‘superficial in her craft, Helene Cisoux acknowledges “writing’s necessary relation with narcissism.” In fact, her ecriture feminine espouses “contradiction, incongruity, and polyvalent meaning.” Submerged in the depths behind the surface of the glossy CAKES is a “level of subconscious,” “an inner text in the text.”
A heretic, I worship the Golden Calf. I insert an escape clause into contemporary art’s oligarchical governance. (Descartes, Duchamp, Warhol, and God.) I profane their sacred cow: cold, anti-retinal, banal, Puritan. As Carter Ratcliff put it, "beauty” is “the spook in the theoretical machine." If a big fluffy white dog saunters into a meeting of pedigreed curators, it will steal the attention of all—concepts temporarily thrown to the wind.
In the film “Big Animal,” a fabulous show camel turns up to share dinner through the window of a dour Eastern European couple’s abode. The camel brightens their lives and cheers all who encounter it. Then the pragmatists come upon the dear being and start to ring up the cash register, calculating what pelts and meat would bring on the open market. Meanwhile other “good citizens” see a non-contributor in the camel. “He should be paying taxes, should be working,” etc. they carp self-righteously. In the end with new fur cap on a boy, we surmise what happened. Yet all the same, the couple’s emotional demeanor has been transformed permanently through communion with the fanciful mystical creature. Similarly, nodding to Lao Tzu’s ‘greatest treasure,’ ‘contentment,’ the CAKES signify quixotic, purposeless diversion.
Gae Savannah 2012
posted by Gae Savannah @ 9:59 AM
Friday, January 25, 2008
Tiffany (Tiffy)
copyright gae savannah 2007Labels: click to enlarge
posted by Gae Savannah @ 9:27 PM
Wednesday, January 02, 2008
Tuesday, January 01, 2008
TAHLA Lushia Aviva at Rupert Ravens Contemporary
copyright gae savannah 2008Labels: click to enlarge
posted by Gae Savannah @ 5:08 PM
Thursday, July 05, 2007
Sawu (breeze catcher) 2007
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posted by Gae Savannah @ 9:23 PM
Installation shot, Beijing May 2007
©gae savannah 2007
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posted by Gae Savannah @ 8:04 PM
CURRENTS
Just back from a 7 week residency in China!
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1) New York Times review - Sunday, July 1st
(includes 2 images of GS sculptures)
Singularity in the Communal Tide
curated by Rupert Ravens
Gallery Pierro May 13-July 15, 2007
NYTimes Page (lo-res) (hi-res)
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2) Dream Palace
curated by Alfredo Martinez, Marc Hungerbuhler, and Li Feixue
A-Space, 1Artbase,
Beijing, CHINA
June 16-July 22, 2007
Artists:
| Alexis Raskin Alejandro Diaz Agnieszka Kalinowska Aenon Loo Aaron Yassin Alfredo Martinez Arturo Elizondo Aviva Beigel Camila Sposati Claudia Kapp Ferran Martin Gabriel Acevedo Velarde Gae Savannah Greg Santos Gregg Biermann Jacob Williams Jeanette Doyle Jeff Gompertz Jonathan Cowan Jorge Usan Martin Judas Arrieta Karin Suter Katja Loher KristianVodder Svensson Lili Chin LoVid Marek Goldowski Natalie Bewernitz Nemo Librizzi | Noel Fortune Oliver Lyons Papo Colo Pawel Wojtasik Peter Kveseth Peter Wayne Lewis Przemo Wojciechowski Riiko Sakkinen Wolfgang Stiller Wang Jinsong Feng Jiangzhou Feng Yiying Lu Yunting Deng Yifu Liu Wei Liu Bolin Liu Hexian Ren Sihong Qi Mengguang Qi Zhonghua Zhu Nengguang Fexue Li Chen Wenling Chen Guangming Wu Di Wu Huiming Zhang Dong Zhang O | Zhang Peng Zhang Hui Zhang Jianglian Zhang Xuemei Zhang Jianhua Zhang Chunyang Zhang Botao Zhang Tiemei Li Xi Li Xiaofeng Li Shuyang Song Chao Yu Ji v Lin Zijie Qiu Zhijie Zhou Jun Zhou Tiehai Zhong Tianbing Li Chun Yuan Ye Xu Xiaoyan Huang Yan Huang Gang Jiang Huajun Liao Jianhua Pan Xinglei Wei Dong |
Dream Palace - More Info
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3) Interview with editor Carol Schwarzman on wburg.com
Fool's Paradise - Interview Here
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4) Recipient - Malka Lubelski Foundation Grant
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5) Dangerous Beauty - Opens at a Museum in Naples
curated by Manon Slome
PAN | Palazzo delle Arti Napoli
July 5-October 23, 2007
Artists:
| Nelly Agassi Beth B Sergej Bratkov Nicola Costantino Jacob Dahlgren Davis & Davis E. V. Day Martin C. de Waal Daniella Dooling | Sylvie Fleury Anna Fusco Lauren Greenfield Margi Geerlinks Kirsten Geisler Micha Klein Paul Knight Rachel Lachowicz Assi Meshulam Marilyn Minter | Joshua Neustein Erwin Olaf Orlan L.A.Raeven Rosy Rox Gae Savannah Joan Semmel Joseph Stashkevetch Ruud van Empel |
Museum Site
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6) Exhibited 2 fabric sculptures at
CIGE - Beijing Art Fair
with China Arts Contemporary,
June 2-5, 2007
Labels: copyright gae savannah 2007
posted by Gae Savannah @ 7:45 PM
Monday, April 23, 2007
Tiskitte
© Gae Savannah
"Tiskitte" 2000; plastic claw clips, styrofoam, fabric; 31” x 34.”
Labels: copyright gae savannah 2007
posted by Gae Savannah @ 8:15 PM
Saturday, April 21, 2007
Starling (detail from back)
copyright Gae savannah (2007)Labels: click to enlarge
posted by Gae Savannah @ 10:00 AM
Wednesday, July 12, 2006
Tuesday, July 11, 2006
Contemporary Sculpture and Installation in new materials
About Me
- Name: Gae Savannah
- Location: New York, New York, United States
The sculptures of Gae Savannah are not what they appear to be. Loud and bright, they couldn't be more conspicuous; and yet they also hide, cherishing a lonesome interiority under a veil of spectacle. Their psychic work on the viewer is subtle and slow; at first, the large sculptures seem imposingly grandiose and saccharine, while the smaller ones look like pretty, innocent objects d'art, what used to be called "conversation pieces." But a half-hour in their presence has us caught in a revaluation of our aesthetics and a re-experiencing of our vexed culture of makeup and models and ornaments. At the first sight of "Angelique," a sophisticated reader might dismisses the sculpture as decorative (which is equivalent to calling a painting a "mere" illustration), or embrace it as sweet and harmless. Once you've done so, the weird glitz of the work is no longer a threat, and the seduction begins. You come to love the thing, and then feel a bit guilty for your initial reaction — so the blossoming footstool has got you, ethically and aesthetically. ------------Jamey Hecht, PhD, writer, American Book Review, Splash magazine, FromTheWilderness.com
Links
Previous Posts
- NEW WEBSITE COMING SOON. STAY TUNED...
- Jaffy, Lusterature at Art Viceroy, Miami
- Nuharhu
- Sea Foam C-print
- Aqua Ice
- Glazehaze
- Aglasia
- Eglissia
- Iglissia
- Rhydal (detail) 2010
Archives
- April 2006
- May 2006
- June 2006
- July 2006
- April 2007
- July 2007
- January 2008
- September 2009
- February 2010
- June 2010
- July 2010
- January 2012
- August 2014
