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Jason Shawn Alexander Featured work: http://www.jasonshawnalexander.com/jasonshawnalexander/paintings_I.ht ml Mr.

Alexander is an artist whom manages to synthesise interest for the pop culture, comic world as well as maintaining his intrigue for lineal representations of humans. Hailing from Tennessee but currently operating in Los Angeles, Alexander's website categorises him as an expressionist yet figurative artist, whose idea of a copacetic work is one that creolises the elements of abstract gestures, "unfinished" segments of the painting to be visible and present. The latter of these elements allegedly nurtures a psychedelic, complex, cognitive theme that can be found in many of his innumerable works. Alexander, however, doesn't solely care for the prestigious, glitteratiaspect of the aesthetic world, however. His career launched itself after Alexander began submitting his work to various renowned comic/magazine publishers, including Marvel, DC, and Dark Horse. A particular painting of dithyrambic interest to myself was a work titled "Any Day Now" by Alexander. The main subject of this painting is a rather elderly African-American man with his somewhat delineated legs spread apart, and a form of blanched branch which he holds pensively. The eyes, often labelled as the windows to the soul, are deliberately shut, disabling us from verifying the mood this man is in. He does not seem to hail from the incumbent aeon (his attire indicates this). If the viewer is to delve into the man's surroundings, they seem tarnished-the wall to his right is abruptly blotched by a black shade-in, while iotas or orange surround him from each side. Indeed, Alexander must've meant for these colourful additions to be deliberate, but what does it signify? Could it by any chance be symbolic of the injustice, of how the otherwise white, peace-fostering surroundings could be stained with the residue of prejudice's wrath? Tis indeed a mystery, though a part of me declares that Alexander meant to perplex the reader with these unfounded color placements. Ed Ruscha Featured Work: http://www.artnet.com/artwork/426139498/ghoststation.html Ed Ruscha, in my opinion, can be accredited with truly capturing the American denizen's perspective of the "Wild West" through the eyes of highway venturers. Yet, Ruscha hasn't restricted himself to a sole dimension of art. Some of his notable pieces include the usage of text, either in relation to the subject the text is portrayed on or not. Ruscha is a renowned painter, photographer, and drawer, and more often that not

he'll have a tendency to combine all three elements. I was fortunate enough to catch sight of Ruscha's mastery at the Hayward Gallery approximately two years ago, in an exhibition titled "Ed Ruscha: Fifty Years of Painting". Ruscha's most popular and valuable work is inarguably those of the "Station" series, which have been praised with capturing the California car-culture, highway mentality of the past halfcentury. A particular piece that immediately "had" me as a fan was titled "Ghost Station". It essentially is a rendition of the station, but simply without color or any texturing. The piece is assorted into the "prints on handmade paper" genre. The most astounding feature is invariably the usage of linear perspective. At the first glance, the viewer is enticed by the grand scale of the petrol station; perhaps they shall be able to make out the "STANDARD" spelling that adorns the left flank. Sooner or later, however, your pupils shall progressively be dragged down towards the bottom left corner. What, exactly, is the meaning that underlies "Ghost Station"? Is Ruscha perhaps implying that the culture that was so glamourised and immortalised by films and literature is soon spiralling into oblivion? Has the station been deserted, or abandoned? An eerie, spooky sentiment might overwhelm the viewer if he or she agonisingly speculates over the meaning too much. George Condo http://artobserved.com/artists/george-condo/- Smiling Sea Captain Though Ruscha and Alexander are infamous in the indefinite spectrum strum of art pioneers, Condo can fairly be regarded as the most famous of the three at this current moment. Condo, whom hails from New York but was educated in the aesthetic wonderland of Paris, has established himself as a figure of zealous joy and bizarre, yet wondrous, horrors. Though it is not Condo's objective to "horrify" the viewer, one could view him as a comedian's Goya- his subjects more often that not encompass what I deem as the signature "Condo face", a clownish caricature of the subject. (Condo has produced these for both the Queen of England and Kanye West, the latter of which requested for him to design an album cover [My Beautiful Dark Twisted Fantasy, 2010,]). In the Smiling Sea Captain, Condo, with facile, drapes another one of his signature faces upon who we assume to be the nautical figure in this painting. His face is diabolical, but the adjectives of "creepy", stealthy, guileful, and just blandly hilarious could also be attributed to the Captain. A spear (or a third of a trident, on the note of the sea) is impaled through the captain-alas, this is not a folly mistake of Condo's, as two target's are emblazoned on the Captain's shirt. Bizarrely, the Captain dons "furry" pants, which are most unusual for any grown man to wear, let alone a ship-member. An inkling of bait also seems to be hanging from the spear; could this perhaps symbolise greed

of some sort, or how the incentive for pirate's booty may lead to their downfall? Another aspect I'm a great fan of what the bluish background (indicative of the ocean), and how it becomes darker/more obscure as the viewer pans from right to left. If the Captain is indeed murdered, the darkness that emerges on the left could be a portent of death, or how the Captain is going to perish soon at the hands of this spear. So, why is he gleeful then? (An exhibition of Condo's shall be coming to the Hayward Gallery soon, http://www.independent.co.uk/arts-entertainment/art/features/georgecondo-the-comedy-of-horror-2360835.html)