Archive for December, 2008
…Aired in Japan, only, of course. That kind of stuff doesn’t happen here.
The zen master hard at work... The legend of RAYMOND PETTIBON looms large in the psyche of Southern California music and art culture, but few figures have proven easier to get close to than this enigmatic and elusive artist. Renowned for his stark, minimalistic, text heavy black & white ink drawings that would become an integral part of the visual lexicon of 1980s hardcore music, Pettibon has in recent years expanded his repertoire to include deeply layered color work that oftentimes incorporates elements of collage. This evolution of Pettibon's vision is the focus of "Cutting Room Floor Show: Part II," a massive exhibition of new work debuting this Saturday nite at REGEN PROJECTS GALLERY in West Hollywood that serves as a counterpoint to his recent show there of vintage '70s & '80s work. Having transformed the gallery space in recent weeks into a giant makeshift studio, Pettibon has very quietly been putting the finishing touches on literally hundreds of pieces of art in record time. It was here that we caught up with the elusive master for a sneek peek.Read More
French photographer and public art (notice we didn’t say “Street Art”) phenom JR has had a busy couple of months trekking through Brasil nd India on his way to Cambodia for the PHOTO PHNOM PENH FESTIVAL that opened late last month where he installed a massive succession of images from his “28mm: Women” series, many of which were captured along the way. In commemoration of the event’s inaugural year, the artist wrapped, very appropriately, the French Embassy in Phnom Penh with 20 sets of women’s eyes culled from his recent photography portfolio that portrays ordinary women around the world—many of whom work as prostitutes in war-torn countries. JR shot this series using a wide-angle 28mm lens that forces an extreme close-up between photographer and subject, resulting in portraits marked by their uncanny intimacy and extreme detail. A truly egalitarian artist whose career focus has been bringing art out of the gallery and onto the streets for the average person to appreciate, often in impoverished areas where local interaction with formal art is nonexistent, JR remains guarded when pressed about the true meaning of his work: “I put [my work] on the street, and sometimes people try to find the exact meaning, but there isn’t one. They have to think about it. Most of the time, [my subjects] have to explain the project much more than I do. After all, they are the ones posted up in the street. They are the real heroes of the project.” While in Cambodia, JR continued his series by photographing local women and plans to return to the country in February 2009 to install the images guerilla-style across the city, continuing his ongoing dialogue with the streets and his subjects. HAVE A LOOK: Read More
As Christmas 2008 looms ever closer, we take a moment to remember one of our favorite pieces of holiday artwork, TOM SACHS‘ legendary nativity scene starring Hello Kitty, The Simpsons, and McDonald’s:
“Tom Sachs’s turbulent entrance to the New York gallery scene coincided with a Christmas window display he designed in 1994 for the department store Barneys. His nativity scene combined the Japanese merchandising wonder Hello Kitty as Baby Jesus, Bart Simpson in triplicate as the Three Kings, and the pregnant Madonna Ciccone as the Virgin Mary. Right-wing Christian groups went on the warpath, the allegedly blasphemous scene appeared on the title page of the New York Daily News, and the controversial ensemble was removed after only one day. From this point onwards, the international art world focused its attention on Tom Sachs, acclaiming him, with his typically American home-made replicas of consumer and cultural icons, as the most legitimate successor to Marcel Duchamp and Andy Warhol” —Galerie Thaddaeus Ropac
NYC art legend and Supertouch buddy TOM SACHS has finally opened the doors to his ONLINE STORE just in time for (last-minute) holiday shopping. Featuring an offbeat array of such must-have items as the “Kill All Artists” T-shirt, Sach’s epic tome from his 2006 show at the Prada Foundation in Milan, old school “Tom Sachs” skate wheels, antagonistic “Nuke The Swiss” stickers, and white Bic lighters—many of which are produced in-house at the mad scientist artist’s downtown lab— the store is a one-stop-gift shop for that discerning art lover on your Kwanzaa list. HAVE A LOOK: Read More
In THE HOURS’ new video for “See the Light,” Hollywood danger girl SIENNA MILLER dons a hospital gown, gets trapped in a glass case in a bag shop, smokes, talks about suicide, cries a lot, undergoes an MRI scan, and smears herself in cow’s blood in front of four eviscerated, wall-mounted bovine carcasses. If this last image brings to mind DAMIEN HIRST, that’s no accident. Hirst, a friend of the band, was art director on the video, made by “American History X” director TONY KAYE. The Hours’ singer, Antony Genn, has found a good friend in Hirst—the artist not only contributed artwork to their first record, 2001’s “Narcissus Road,” and to their forthcoming EP, also titled “See the Light,” but has founded a record label, IS GOOD, to promote their music.
At this point, navigating ART BASEL’s myriad satellite fairs spread far and wide across the city is a lot like running a triathlon, but one new fiercely independent mini-fair was so good that you rarely needed to leave. The IT AIN’T FAIR at AL MORAN’s upstart O.H.W.O.W. (Our House West of Wynwood) GALLERY turned out to be the hipster megawatt energy center of this year’s convention, featuring an incredible array of downtown art and daily late-nite musical performances by art rockers like A.R.E. WEAPONS, THE GOSSIP, and JD SAMSON that kept the beautiful people glued to the spot. Organized by downtown denizen AARON “A-RON” BONDAROFF, in association with Deitch Projects, Peres Projects, Nueva Galeria De La Barra, A.S.S. Gallery, A.M.P., Picturebox and TV Books, the anti-fair brought together celebrated curators Tim Barber, Kathy Grayson, Andreas Melas, Dan Nadel, Pablo de la Barra, Nicola Vassell, and Terence Koh who each imported their various teams of artists in a huge multimedia exhibition that featured painting, sculpture, video and performances from artists all over the world with a focus on downtown Manhattan. The artstar-studded roster included Erik Foss, Tauba Auerbach, Stefan Bondell, Julia Burlingham, Scott Campbell, Kenneth Cappello, Comeau, Dearraindrop, Mark Delong, Chris Dorland, Jim Drain, Phil Frost, Patrick Griffin, Evan Gruzis, Brandon Herman, Gordon Hull, Todd James, Ben Jones, Kim Krans, Lachance, Adriana Lara, Jason Matthew Lee, Allan Macintyre, Eddie Martinez, Slava Mogutin, Noble, Jason Nocito, Rallou Panagiotou, Ara Peterson, Kembra Pfahler, Brad Phillips, Esther Planas, Michael Schmelling, Aurel Schmidt, Robin Schwartz, Ben Schumacher, Shinique Smith, Agathe Snow, Dash Snow, Francine Spiegel, Kon Trubkovich, Solange Umutoni, and Jaimie Warren, to name a few. The best thing about the It Ain’t Fair? The fact that it actually captured the spirit of an art scene from the inside out, making it one of the most utterly relevant spots on the map in Vice City. HAVE A LOOK: Read More
Miami’s punk contingent went sleepless last week while the KILL YOUR IDOLS/PUNK IS EVERYTHING installation, sponsored by CONVERSE, “with love,” shook ART BASEL. A poignant tribute to the lasting vitality of underground punk culture, the exhibition was curated by author, artist, and punk historian BRYAN RAY TURCOTTE, whose books “Fucked Up and Photocopied” and the newly-published “Punk is Dead, Punk is Everything” are virtual textbooks of punk art over the years. Classic punk flyer imagery from Turcotte’s books formed the foundation of the exhibition’s visuals (and the exhibition’s tear-away wallpaper) and was augmented by a show of original photographs by lenswoman EILEEN POLK who captured early visions of everyone from the Dead Boys and The Clash, to The Misfits and The Ramones, in her 30+ year career. Nightly entertainment in the form of live music by punk upstarts like THE BRUTAL KNIGHTS, MATT & KIM, NODZZZ, CAUSTIC CHRIST, SEX/VID, and HEX DISPENSERS, to name a few kept the crowd sweaty till morning, while old school Chuck Taylor product tosses kept everyone’s feet on the ground. HAVE A LOOK: Read More
We never thought it would come to this, but it seems BARACK OBAMA‘s street team has confronted UK street art phenom BANKSY head-on in a battle for the streets of NEW ORLEANS where the Bristol Bad Boy recently made a well-publicized art run. You’re up, Banks…
Reclusive art star and loyal MoCA supporter MARK RYDEN has just released his most unusual and expensive print to date in an effort to raise funds for the financially struggling LA art institution. Titled “Silence,” and echoing the visual style of traditional Eastern landscape painting, the 24″ x 18,” eleven-color fine serigraph is a perfect reproduction of a new Ryden painting created especially for this exclusive print. Meticulously crafted by the fine print-makers at PRESSURE PRINTING using carefully dyed and aged handmade paper from Bhutan “Silence” is embossed with a beautifully hand-sculpted bee and printer’s chop. The edition of 50 framed pieces is numbered and signed by Mark Ryden and includes a certificate of authenticity. Available for $6,000 per print with all proceeds directly benefiting MoCA, the piece can be obtained only by contacting MoCA support programs manager Michelle Bernardin at 213-633-5318, or firstname.lastname@example.org. HAVE A LOOK: Read More