source: highlike
Work: Mark Jenkins
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source: redbullmx
Mark Jenkins es un artista originario de Estados Unidos, su trabajo se desenvuelve en varias ramas del arte pero lo que ha hecho que todos volteen a ver sus obras son las instalaciones que deja por las calles, pues cada una llama la atención de los espectadores al representar figuras humanas en diversas posiciones o situaciones que asombran a varios.
Además Jenkins se dedica a dar talleres de escultura en diversas ciudades, enseña y comparte su técnica a través de los mismos. La mayoría de las veces realiza su trabajo con plástico, como bolsas, cinta para pegar transparente y papel.
El trabajo de este artista comenzó en Río de Janeiro y después de llevar años trabajando de saxofonista y diseñando páginas web, pasó a convertirse en uno de los personajes más destacados de la escena de las instalaciones urbanas. La idea de Mark es siempre sorprender a la gente, hacer que su entorno familiar repentinamente dé un giro al agregar algunos elementos que no afectan en las calles pero sí hacen que la gente se quede viendo la instalación por algún tiempo.
A lo largo de sus obras se puede notar como cada una esta hecha con crítica social, entre sus series como la que hizo con molde de muñecas que se encontraban en situaciones atrevidas o el bebé que colocó en un anuncio de ropa interior el cual parecía ser amamantado. Este año Jenkins tuvo una de sus exposiciones individuales en Alemania en la que además de incluir esculturas en vivo e instalaciones también había fotos de trabajos anteriores.
A Mark le gusta que la gente cuestione lo que es real, mire a su alrededor y que aparte la vista de sus móviles por un momento.
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source: redbullmx
This was by Mark Jenkins — an artist with a new book (The Urban Theater) highlighting creations from the last nine years. Students at art colleges may be particularly interested in this book.
According to the introduction, Mark “began his art career creating non-commissioned street installations in Rio de Janeiro in 2003”. He wasn’t seeking approval from the establishment or waiting to get an in to the typical exhibition space; rather he created interventions. He worked to provoke a response from the every day. Many of his characters, as he calls them, are in stages of distress with their surroundings. Their typicality is beseeched with anguish and misalignment with the world as we understand it.
Whether it’s transparent replicas of animals and children or life-like presentations of human beings at odds; his work breaks up the normal commerce of the day. There is one in particular of a person sleeping in a bed, shoes placed in their proper order, but the bed is in a parking spot. It is misplaced within our make-up.
Before learning of his book I stumbled through Mr. Jenkins work site which features many of the same works as well as many others. When viewed together there seems to be a kind of narrative that is not so much about varying his approach and creating something new each time, but creating a sort of ubiquitous presence where these creations begin to take on a normalcy. They are always already in existence. Part of this is due to the mimicry of certain collections, but even those that do not resemble life as we know it, take on a quality that is not unique, but normal.
“Most of these character sculptures are left on the streets to have their own life cycle with the idea of turning the street into a stage…the reactions of passersby as part of this performance.”
Page 30 features two images of a rescuer saving one of Jenkins’ creations from the water. The work looks like a person drowning and it is easy to see why the rescuer intervenes. It’s a giant real-life play, not unlike what Charlie Kaufman tried to present with his film Synecdoche, NY.
The immediate reaction I had to his work is what does this say about us? I imagine that is probably not far from what Jenkins is thinking himself. His autobiographical narrative opening the book speaks of his “strongest memory of art as a child”. At the request of his teacher he created something that was then met with a giant red F leading to tears at home requiring comfort. His work is all about how distress informs our day to day lives by interrupting it.
And yet, as I alluded to earlier, there is something else: by normalizing the interventions through mass placement, he is legitimizing them and making intervention normal. The normal is abnormal. We live in a mass of discreet (and sometimes not so discreet) interventions. It would seem better to not pretend otherwise and yet we do; everyday. We spend our days trying to control the uncontrollable.
This is what I am left with after looking through his site and new book. Many of the images show people walking by or taking photos from a distance. Some do get close and try to see what is going on, but to many his work goes unnoticed.
It is beautifully designed and laid out to maintain the relationship his work has with the world by not inscribing a certain level of importance to one over the other. Encapsulating a series of works produced over the last decade that may have been out of reach for the majority of the world’s population it’s an opportunity to catch up. Stepping out of the box he has so elegantly manipulated Jenkins is now collected and encased.
But, being collected changes things. The pictures are no longer his momentary glimpses into the impact of his art and the world. They are now the world’s object. Printed books are essentially different than online presentations. They cannot be deleted or maintained so easily. They are now for coffee tables and bookshelves. His work is now an item for purchase rather than a dialogue amongst passersby.
On the streets he places his work in a position where its value is left up to us either in recognition or ignorance. It is already subsumed by culture and thus requests nothing of it. By remaining absent from the typical constructs that infer meaning he opened the doors for us to determine its meaning either as a group or on our own. The book’s layout is not trying to determine what is important about the material, but the act of binding between two covers does.
This is not a judgment call on the book, but merely a query running through my mind as I reflect upon my interactions with the material. The work holds power. The book sees to that. It is nothing if not inspiring and representative of a part, not a whole. It allows for Jenkins to see a little more light around his ideas and maintains a series of creations originating from a childhood trauma that continue to reflect something he gleamed from an otherwise discouraging event that many of us have encountered in our lives. But, as with all artists who reach a certain level of identity, this is a moment that changes everything.
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source: hardsakurablogspot
Pra quem é de cidade grande, sabe bem o que é uma cidade caótica, um trânsito infernal, correria, mau humor… e penso que nada melhor do que aqueles pequenos detalhes como as artes urbanas que EXTRAVASAM esse extress da cidade e pensando assim, Mark Jenkins saiu pelo mundo espalhando sua arte pelas ruas.
O artista americano que segue seu trabalho sempre usando os mesmos materiais como embalagens e manequins. Mark mantem um site e ensina o processo de criação de suas obras em workshops nas cidades em que visita.
O artista ja passou pelo Brasil fazendo exposições em galerias e nas ruas do Rio de Janeiro, como nesta imagem:
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source: actual-artru
Прогуливаясь по городу в поле вашего зрения внезапно попадает человек выходящий из стены или на половину застрявший в уличном столбе… скажете бред? Вовсе нет -это все творческие изваяния популярного в Америке художника Марка Дженкинса. Уникальны его творения не только своим местом нахождения, а и материалом, из которого они выполнены. Дженкинс создает своих подопечных из самого обыкновенного скотча. Скульптуры выполненные такой манерой получаются прозрачными и безликими, но в их восприятие зрителем играет большую роль фактор неожиданности.Работы художника доступны не только на улицах, его творчество представлено во многих галереях США, Европы да и вообще по всему миру.
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source: linaolinawordpress
Mark Jenkins是來自美國華盛頓，職業是專職街頭藝術家，作品內容為人形或動物雕塑，使用膠帶製作，用最平民的材料，發揮藝術家與生俱來的創意，作品不但能夠適應日曬雨淋，還能讓民眾會心一笑的作品。能夠影響民眾，讓民眾停下腳步思考，才是最高干的街頭藝術。
Mark Jenkins從2003年開始在街上創作，他表示：當時我旅行到巴西，我開始使用膠帶做我的雕塑，我從那個時候就喜歡將我這些創作放在街上，再觀察人們的反應。然而到了2005年，我才在開始在洛杉磯與華盛頓做我的嬰兒膠帶雕塑系列。
具Mark Jenkins表示，他並沒有任何塗鴉背景，他就是從Street Art這個概念開始的，話說Mark Jenkins的背景竟然是音樂，曾經組過樂團。他表示因為如此，他很喜歡在公共場所做藝術，甚至音樂以外的藝術，城市就是他的舞台。
而Mark Jenkins是怎麼想到要用膠帶如此平民的素材來創作？Mark Jenkins表示，由於當時他非常的想要以雕塑的方式來創作，但是他其實一點頭緒也沒有，原本他想要像其他藝術家一樣，用傳統的模式來製作雕塑，但發現價格十分昂貴。而當時他剛好身邊有著許多膠帶，他就開始用膠帶作實驗創作，他發現膠帶的塑型能力很好，因此他決定用這個他發現的日常材料。而後他開始創作大一點的作品，最後甚至變成創作人軀體一般的大小。男性的角色以Mark Jenkins為模特兒製作，女性角色則是助手Sandra Fernandez，而嬰兒角色則是使用塑膠娃娃。
Mark Jenkins的創作理念也非常有趣，對他們來說，Street Artist就像很多Graffitist，Graffitist把這個城市當成帆布，但身為Street Artist的他們，把這個城市當成一個舞台，就像他們創造了一個景致。他們希望能夠透過創作改變這個世界，移動一些事物，或是改變一點點東西，人們就會感覺不一樣，人們會開始注意我們的創作，因為這不是他們平時所習慣的東西，這樣子的互動能改變一個城市的結構。民眾的反應，警察的反應，一切的一切都影響著這個空間，不管是室內還是室外，像是狗或鴿子等景物，甚至結合狗吠叫的聲音，讓我們的雕塑更加生動。
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source: uniknya
Mark Jenkins adalah seorang seniman instalasi jalanan dari Amerika Serikat, tinggal di Washington DC. Dalam beberapa karyanya ia menggunakan alat perekat selotip dan plastik kemasan yang dipasangkan pada tubuh. Sebagai pengabdian terhadap seni rupa, ia juga mengajarkan seni mematung dalam setiap workshop di setiap kota yang disinggahinya.
Ia menggunakan jalanan umum sebagai panggun pertunjukkannya, ketika itu pula mereka yang melewatinya menjadi seorang aktor dalam lakonnya. Banyak penampilan karyanya di jalanan yang mendapat tentangan dan intervensi dari pihak penguasa setempat, terutama pihak keamanan. Namun demikian hal tersebut merupakan salah satu bagian dari pertunjukannya.