Somehow, I missed out on Dylan Graham's exhibition "Anthem" at the Rare Gallery in New York earlier this year. Graham riffs elegantly on the Mexican tradition of papel picado, which is an obsessive, more morbid version of paper dolls used to celebrate Day of the Dead. Graham's work kicks the obsession and morbidity up a notch, as he references conquistadors of all stripes. The originals are executed on a grand scale, averaging between three and eight feet in length. Still, I can't help but imagine the images on a pop-up book scale. His works will be on view between July 2 and September 10th at De Vleeshaal in Middlesburg, The Netherlands.
LINK via We Make Money Not Art
Speaking of "crafty with scissors", you might want to check out the Grand Dame of the form, Kara Walker's "After the Deluge" exhibition at the Met in New York--she's combining her own work with selections from their permanent collection. The exhibition deals with the aftermath of Hurricane Katrina, specifically images dealing with water.
Taking her cue from J. M. W. Turner's Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) (1840) and Winslow Homer's sensitive depictions of black life in 19th-century America, Walker's aim is to simultaneously address "the transformative effect and psychological meaning of the sea" and the role of the black figure as they are represented in art. The narrative created through the combination of these disparate images gives rise to a foreboding sense of doom.LINK