Author Archives: Michael St.Mark

Unknown's avatar

About Michael St.Mark

Conceptual / experimental multi-discipline artist, writer and photographer. Art influencer and founder of London Dada, recalling Dada's original aims and principles as envisaged by it's founder Hugo Ball. Eschews the often politically-motivated taboo on expressions of critical thought within art. Admiring Duchamp in going beyond the seemingly endless infatuation with the ' pretty picture' retinal and instead refusing to accept the standards and practices of an established corrupt art world and creatively stifling conventions that are still considered essential to attain fame and financial success: refusing to repeat himself or to develop one recognizable style to placate the commercial needs of the market.

London Dada work 518; Double Double Talk – Cameron at Conference

Posted on by
8

5921892_22030c0aac_l
Double Double Talk
( Cameron @ Conference )
c. Michael St.Mark 2011

According to Dada high command, it’s the duty of all artists to use their god-given enhanced perception
to include elements of shake-up/wake-up social commentary and protest within their body of work.

* See comments below, for  an expose of Cameron’s BS green ‘credentials’ on the plastic carrier bag issue.

 

 

 

London Dada work 517, They Who Have Seen the Light VII

Posted on by
7

twhstl7
They Who Have Seen the Light VII – Urban Polar Bear.
c. Michael St.Mark 2011

Continuing on in our series, this human duvet-wrap was captured sauntering, struggling, sweating, along a north-of-England pavement in early August this year.
I appreciate  we’ve had a rotten summer… but still.

M.St.M

* * * * * * * * * *

Link to London Dada vs. Wolff Olins Olympic logo litigation.
http://londondada.blog.co.uk/2011/07/27/one-year-to-the-olympics-one-year-of-litigation-11555610/

London Dada work 516: Inside-outside, the guts of a nation.

Posted on by
9

io
Inside-outside, the Guts of a Nation.
c. 2011, Michael St.Mark
Location – some ghastly services or other, M6.
(click to enlarge some more. )

* * * * * * * * * * * * * * * * * * * * * * * * *