The sixth volume in Jack Pierson's famed Tomorrow's Man
series associates archival material and works by contemporary artists in a
collage-like design to produce an exploded vision of the current visual
landscape, draped in vintage homoeroticism and glamour.
Continuing on were the others left off this installment features a diverse collection of works such as Cameron Jamie's ceramics, Clément PJ Schneider's nude studies, Danny McDonald's pop inspired sculptures, alongside images from Matthew Bede Murphy, Michael Bilsborough, Agustin Bruno, Jeremy Deprez, Eliza Douglas, Robert Escalera, Mark Flood, Quinn Gorbutt, Mended Veil, Nathan Morgan, Nehama, Kembra Pfahler and Niv Shank. Rounding out this volume are Pierson's own images and assorted ephemera as well as a complete screenplay by Chico Kramer.
Tomorrow's Man is a series of artist's
books by Jack Pierson. The title comes from an infamous bodybuilding
magazine from the 1950s and '60s. Reappropriating
the publication's title as well as its retro bodybuilding aesthetic,
Pierson takes viewers on a dizzying visual journey encompassing the full
spectrum of cultural references.
While studying at the Massachusetts College of Art in Boston, Jack Pierson
(born 1960 in Plymouth, Massachusetts, lives and works in New York City and
Southern California) became associated with a group of photo
artists who would become known as the Boston School, of which Nan Goldin was also a central figure. Pierson's practice embodies an array of
media spanning from wall-drawings,
word-pieces, installations, drawings,
sculpture, paintings
and photographs. His photographic works have often been compared to images
from road movies, movies whose rapturous race toward fulfilment have become
etched into the Americanlandscape.
His favourite subjects are drawn mostly from his daily life as a
contemporary artist: fragments of urban landscapes, still lives of ordinary
objects, homoerotic nudes,
evocative words worked into collages
or transformed into neons. Far from simply seeking to create traditional
variations on the American Dream, the artist seeks instead to explore the
flip side of the concept, searching to express what he calls “the tragedy
inherent in the pursuit of glamour”.
