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Russ Mills’s art is a frenetic display of barely contained energy. His figures twist and contort, their edges blurring into scratchy wisps of nothingness, their faces the only features to appear untouched by the kinetic atmosphere that pervades each piece. His store is, unsurprisingly, desolate; the prints having been snapped up in short order. Perhaps an out pouring of desire will convince him to restock.

byroglyphics [Artist’s Site] : Drawn!

Tokyo Nonsense is an 11 person show hitting the Scion Installation L.A. Gallery on Oct. 4th.

The title, TOKYO NONSENSE, not only refers to the city itself but also references the word “nonsense” in the context of Japanese popular culture, connoting so-called “modern decadence”and the rebellious, anti-establishment spirit of the 1960s student protest movement. The work of these 11 young artists reflects both Tokyo’s frenetic energy and the banal realities of everyday city life. The exhibition will consist of more radical forms of expression such as performance,video, and installation art in addition to more traditional mediums such as drawing, painting, and woodblock printing.

Within the Japanese vernacular the word “nonsense” has assumed various meanings throughout modern history, often associated with radical expression that challenged the dominant discourse of the moment. In the early 1930s, “nonsense” was included in the phrase ero-guro-nansensu,which the Japanese mass media used to label decadent and salacious popular culture (literature,film, theatre) that was viewed as a threat to traditional family values. Then in the late 1960s,“nonsense” became the rally cry for the disaffected Japanese students who protested to express their frustration with the current political and social situation at home and abroad. The rebellious spirit evoked by the word “nonsense” in Japan continues today, reincarnated and rearticulated by this group of young artists working in Tokyo. Their work simultaneously reflects the precedent setby the “nonsense” of the 1930s—labeled as absurd and meaningless by the dominant discourse—while dismissing the dominant discourse itself as pure “nonsense,” reminiscent of the protest tactics employed in the 1960s.

Featuring the real-life electric rats of the six-member artist group, Chim|Pom and the surreal woodblock prints of Sachiko Kazama. Scion’s site does not, unfortunately, have any real info on the show. Luckily, there is a preview up on Flickr.

“Tokyo Nonsense” at Scion Installation LA [Juxtapoz]

No. 8 by Kathie Olivas and Brandt Peters, now available as a limited print. I was struck by how well this works as a metaphor for Ectomo; our faces nothing but masks for our squishy, tentacled interiors.

Kathie Olivas & Brandt Peters: Collaborative Series [Circus Posterus] : Creep Machine : All glory to The Platypus!

A menagerie of otherworldly sprites explodes from the limp carcass of a whale. Illustrated by Camilo Bejarano, prints are now available in 13” x 19”, 18” x 24”, 24” x 36” flavors.

PH7labs [Artist’s Site] : LCSV4

Mike Mitchell is one of those artists whose portfolio offers up such a plethora of eclectic awesomeness that I risk simply posting every image. Do I post the scene from an alien cocktail party, the serving trays replete with skewered human hors d’œuvre? Perhaps Nintendo icon Mario, here short and squat, astride his faithful steed Yoshi, depicted as a sneaker clad Tyrannosaur? No, I think it is best to go with a visual record of the timeless struggle between luchador and cephalopod, and the ominous moment of ice cream epiphany.

Oh yeah, he also sells prints and t-shirts via etsy. My wallet weeps.

Mike Mitchell [Artist’s Site] : Dinosaurs and Robots : Uncertain Times : Thanks, Arlette and modernape!

As much as I appreciate the work that has come out of Pixar, Wall-E is the first of their films that I have anticipated. These fantastic, and pricey, retro prints — featuring illustrations by Eric Tan — only increase my desire to see it.

Wall-E Limited Edition Artwork [Acme Direct] : Signalnoise : Monoscope

A girl’s first horrific demon-beast is a thing of beauty and splendor, marking the beginning of her transition into womanhood. Though their temperament generally results in an unnaturally short lifespan, any and all subsequent freakish monstrosities are but mere shadows of the first, who holds a place of honor in the heart of its post-adolescent darling.

Fred Einaudi [Artist’s Site : POV Editions]

Jima reminds us of phineas x. jones’s other, famous creation:

See also Phineas’ most recent print, the Octophant. This is the third iteration of this particular idea, and he keeps tweaking and improving it each time.

Comment by jima — June 12, 2008

Upper left: The Electric Narwhal, Upper Right: OmniScience, Lower: StressMonkey

All made with cut and torn paper and he does prints!

Patrick Gannon [Artist’s Site] : ectochat : Thanks, Nark!

The third print in the Candykiller letterpress print series by the talented Brian Taylor. Pre-order info is coming soon so keep your eyes peeled, these tend to sell out quickly and for good reason.

“Slumberland” Letterpress Print [Candykiller]