In town for this year’s Volta Art Fair during Armory week, graffiti/street artist POSE created this new mural in his trademark collage style as part of the ongoing L.I.S.A. (Little Italy Street Art) Project at Lafayette & Broome. Look for more from POSE in NYC coming up later this year… Read More
Opening to a virtual madhouse of activity (and a sea of gallery security guards), the incredible retrospective of legendary renegade art icon Jean-Michel Basquiat at Gagosian Gallery has indeed proven worthy of all its ubiquitous pre-show hype. Short of the Brooklyn Museum’s exhaustive exhibition in 2005, the show is easily the most thrilling collection of pinnacle major Basquiat works on view in years and should be considered essential viewing by anyone in NYC or with the means to get there before the show winds down on April 6th. Read More
British artist Tracey Emin (usually known for more difficult & controversial artworks), lit up New York’s Times Square with her neon messages of love like, “You Touch My Soul,” and “Love Is What You Want” across a huge array of digital billboards. Optimistically titled “I Promise To Love You,” the body of work appeared as part of the Times Square Alliance‘s Midnight Moment art billboard project that co-opts digital billboards normally reserved for corporate advertising for artistic use. Read More
What has to be the final nail in the “Street Art” coffin was driven in last weekend by none other than MR. BRAINWASH (aka: “The Christian Audigier of Street Art”) when he opened his massive, self-produced “Icons” show in a rented space (which, ironically, was once a real art gallery, pre-recession) in the heart of Chelsea. As the subject of Brit Street Art king Banksy’s recent docu-parody film, “Exit Through The Gift Shop,” MBW has been the focus of much hype and speculation as his presence finally seeps into the fairly muddy stream of mainstream consciousness. Last week’s Wall Street Journal article articulated this particularly well:Read More
By now everyone’s aware of the impending closing of SoHo’s legendary DEITCH PROJECTS on June 1st when JEFFREY DEITCH assumes the helm as Director of MOCA in LA. That doesn’t mean the gallery will be slacking in the meantime. Currently on display at the massive Wooster Street location until February 16th is KEITH HARING‘s 70-foot-long mural painted in 1985 for the gym of the South of Market Childcare Center (SOMACC), a non-profit childcare center that serves pre-school children from the SOMA neighborhood in San Francisco. The mural is one of 16 public works painted at hospitals and children’s centers around the world during the artist’s lifetime. Painted in one day, the mural incorporates cartoon characters and animals inspired by the artist’s childhood drawings. When SOMACC lost its lease and moved to a new location in September 2006, the mural was dismantled and is now on view for the first time outside of San Francisco.
ORIGINAL SF MURAL INSTALLATION SHOTS:
Supertouch buddy and STAGES NYC co-conspirator JEFFREY DEITCH has announced today that he will accept MoCA‘s invitation to serve as the museum’s director after the LA institution nearly went extinct due to grave financial woes in recent years (board member for life Eli Broad bailed them out, luckily). Even more shocking than that bombshell is the atomic bomb blast of a newsbreak that Jeffrey will be closing down his entire DEITCH GALLERY empire that currently ties together and dominates the entire downtown NYC art scene. “I’m just going to stop all commercial activity. The gallery will be over,” he told the LA Times.
The home to vital young talents like Aurel Schmidt, Barry McGee, Shepard Fairey, Rosson Crow, and Chris Johanson, the loss of the gallery will be an enormous blow to the downtown art world, a large part of which currently orbits around Deitch’s sun. Rumor has it, however, that JD is seriously considering transferring parts of the business to some of his partners & employees.
The biggest source of contention over Deitch’s appointment, however, lies with the fact that he is an art dealer (with a large personal art collection) running an art museum who could conceivably use his position to better his own financial standings. Deitch told the LA Times, “Lots of people are going to be concerned and looking, and all their comments are important. What I hope is I’ll eventually be seen as an actual individual, not as some abstraction — an art dealer running a museum … I have to exercise good judgment and be appropriate,” he said. “Would I arrange an exhibition that features a major work I’m thinking of selling? Absolutely not, because that’s not appropriate.”
Listen to Jeffrey Deitch’s NPR interview HERE.
Read the entire LA Times article HERE.
In Honor of MOTHER’S DAY, Supertouch‘s resident tattoo godfather SCOTT CAMPBELL will be doing “Mom” tattoos for $100 each on a first come first served basis this Sunday, May 10th at THE SMILE (SAVED TATTOO‘s second location in Manhattan). He will have a set of 5 designs to choose from that he drew up specifically for the occasion, and he will not tattoo these designs again after Sunday. Inking starts at 8am and Scotty will take as many people as he can until 6pm. Don’t sleep!
THE SMILE: 26 Bond St, between Lafayette and Bowery, NYC.
Wow, take a trip in the way back machine to when the old New York was the only New York, the subway looked like a rolling art gallery, and FUTURA (then known as FUTURA 2000) and MADONNA were coupled up big time…
Controversial Algerian artist ADEL ABDESSEMED whose works depicting animals in often violent and fatal situations has brought his incomparable vision to American shores with his first NYC solo gallery show “Rio” at DAVID ZWIRNER. Opening last weekend to a crowd that included the awestruck alongside the aghast, the show’s crowing installation was a massive sculpture of twisted and intertwined plane wreckage that transformed the original vehicles into what closely resembled a trio of wrestling earthworms that inevitably brought to mind the crash landing of a passenger plane in the Hudson River this winter. The most divisive works, of course, could be found in the exhibition’s screening room where short films of animal fighting and abuse were screened in loops as an illustration of cultural violence not intended for the faint of heart. In fact, this is exactly the type of work Republicans usually trot out in front of Congress when lobbying against Federally subsidized arts programs. Explaining the show’s title, the artist said, “The show is called Rio, meaning river. I observe the world with the same fascination that my daughter, Rio, contemplates the big animals in the zoo that are thirsty and hungry.” Having roused the ire of Italian audiences with his “The Wings of God,” exhibition in Turin, Italy and the outright condemnation of pseudo-hippies in the Bay Area with his “Don’t Trust Me” show at the SF Art Institute (which was canceled before the scheduled end date), both of which featured similarly violent animal films, Abdessemed is boldly taking the fight for artistic expression to the front lines of the art world with the help of a gallery unintimidated by the current pervasive climate of fear and loathing. An impressive array of other conceptual works including “Music Box,” with a mechanism made from an oil drum, and “Prostitute,” a set of leather bound copies of the Bible, Torah, and Koran, each meticulously handwritten, page by page, by actual prostitutes rounds out the provocative show which, in these knee-knocking times, should be considered essential viewing for all. HAVE A LOOK: Read More
This weekend in NYC saw the return of one of the city’s most elusive artists to the formal gallery scene when Supertouch’s own PHIL FROST premiered his new solo show “Paperweight” at JONATHAN LEVINE GALLERY. Creating over 65 works on paper—the majority of which clocked in at a comfy and affordable 22″ x 30″—the show was an explosion of color (and white out) from the so-called “street artist”, who, despite gaining notoriety for first plying his trade on city walls, has strived to elude the misnomer in his professional career. A show of this kind has never before been mounted for Phil, whose imagery usually begins on canvases before spilling over onto all matter of physical ephemera, from baseball bats and footballs, to old mattresses, glass bottles, BMX bikes, and even suitcases, and proved to be an amazing spectacle in its well contained uniformity. Of course, Frost’s fanbase was out in numbers to greet their art hero and art collector and onetime funnyman MIKE MEYERS even patiently waited his turn in line for a photo with Philly Phil followed by chants of “I’m not worthy, I’m not worthy,” obviously not in reference to his performance in “The Love Guru.” HAVE A LOOK: Read More