KAWS‘ street hits were the freshest on the block back in ’97 when an incredibly young-looking Brian Donnelley was getting busy on the billboards and bus stops of NYC and Tokyo on the regular. Here we see some rare footage of the youthful media manipulator on the go with commentary by fellow bomber RON ENGLISH…
Supertouch homies RVCA have teamed up with anti-supermodel ERIN WASSON to create a new line of womenswear that premiered at FASHION WEEK in NYC on February 18th at the Milk Studios Penthouse to critical acclaim. A native of Dallas, Texas, the 27-year-old has become the bad girl of fashion that Kate Moss wishes she actually was with her take-no-prisoners approach to style. The show attracted a crew of hipsters and tastemakers who stood shoulder-to-shoulder with fashionistas to catch sight of Wasson’s to-die-for frame as much as the new gear she and her cadre of drool-worthy models were wearing.Read More
In a move seemingly made especially for the WTF?!? Files, mass market home furnishings retailer CRATE & BARREL has recently made available for sale an ink-on-canvas print of a photograph of the Coney Island snack shop signs hand painted by STEPHEN POWERS (aka: ESPO) back in 2005 as part of CREATIVE TIME‘s Coney renovation project, THE DREAMLAND ARTISTS CLUB. Shot by photographer ERIN CLARK, the image is available through the company’s “hip” CB2 imprint for the rock bottom price of $249 USD and comes signed by the photographer with a list of the Clark’s accomplishments printed on the reverse, yet curiously, no mention of Stephen Powers or the Dreamland Artists Club:
“Hot diggety dog. Armed with a camera and an appetite for nostalgia, artist and NY native Erin Clark captured this kitschy Coney Island summer tableau. Reproduced in ink on canvas and stretched on a wood frame for hanging. Artist signature; bio on back informs Clark’s work has been shown in various solo and group exhibitions.
Collectors take note: This one-time-only limited edition of prints will not be re-issued, so don’t miss out.
•A kitschy detail shot reminiscent of childhood summers
•Printed on high-quality canvas
HAVE A LOOK (and buyer beware): Read More
NYC-based painter and mixed media artist MICHAEL BEVILACQUA enjoys the particular distinction of having his art labeled “Beavis and Butthead Pop” by the paper of record, the NY Times in recent years. Deemed such largely for his reference-laden turn-of-the-century works incorporating visual “shout outs” to his heros of modern music & pop culture including The Ramones, Spongebob, Gorillaz, Takashi Murakami, Barry McGee, The Cramps and KAWS, to name a few, the artist’s work has taken on a more loose, gestural, and less literal visual quality of late. For his new show of paintigs on paper at GERING & LOPEZ GALLERY, titled “Corrosions of Conformity” (the band logos may have become less prominent in his works but the influences remain dominant), find him moving away from the hard-edged graphic sensibility he’s established to embrace a more abstract technique incorporating elements of collage and stenciling. Still reference heavy throughout, Bevilacqua’s discussion points have become a bit more oblique (a recent trip to Greece is a tangible theme, however) while remaining close to the artist’s Pop Culture proclivities. HAVE A LOOK: Read More
Supertouch homegirl and allstar DEITCH GALLERY director NICOLA VASSELL is one of the downtown NYC art scene’s most important operators. This week finds the NEW YORK TIMES dedicating an almost unprecedented amount of ink to profiling the gorgeous young aesthete, one that might just emerge as one of the city’s new powerbrokers when the art world finally rights itself in the coming years (decades?):
A SHAPER OF TALENT FOR A CHANGING ART WORLD
By Felicia R. Lee
February 2, 2009 Source: NYTimes
The wall labels were missing. The inventory needed to be finished. And where was the sign for the shuttle bus to the gallery, a former warehouse west of the Wynwood art district in Miami? Just hours before the opening party for “It Ain’t Fair,” an exhibition of more than 30 emerging artists on the fringe of Art Basel Miami Beach, the glamorous, outsize international art fair held every year in early December, the O.H.W.O.W. gallery (for Our House West of Wynwood) was still strewn with forlorn boxes, the wall stacked with cases of beer that only hinted at the festivities to come.
“No one will ever know,” Nicola Vassell, a director at the Deitch Projects gallery in Manhattan, said of the mess. Her comment was for Kathy Grayson, also a Deitch director and, like Ms. Vassell, one of several curators of “It Ain’t Fair.”
Ms. Vassell, 30, began working as an intern at Deitch in SoHo in 2005, when both optimism and price tags ran high. But by the time “It Ain’t Fair” was poised to open, on Dec. 2, the previous month had easily seen the worst two weeks in the art market in more than a decade. A tumbling stock market and cascading problems on Wall Street had made buyers scarce, as the contemporary art world pondered the impact of broader economic woes. Ms. Vassell, a former model and a Jamaican immigrant, found herself facing the question of how to build a career in a suddenly contracting industry. Click HERE to continue reading…
Supertouch homie NECK FACE may have abandoned NYC for the warm climes of his native California earlier this month, but he left a formidable trail of visual destruction as a reminder nonetheless. Fanboys and girls needn’t worry, however, Nasty Neck’s up to plenty of no good in the LA hood this week, stay tuned to ST for updates. Meanwhile, HAVE A LOOK: Read More
Simultaneously paying homage to the unforgettable “Black Bart” bootleg tees of the early ’90s and the historical moment of President-Elect BARACK OBAMA‘s impending inauguration, NYC streetwear label MISHKA has produced this must-have celebratory T-shirt in time for proud display on January 20th. Finish it off with a pair of Cross Color overalls (only one strap fastened, of course) a Kanai jean jacket, and a Gumby fade, and you’re a made man…
In case you’ve been living under a rock today, a US AIRWAYS plane crashed into the Hudson River in NYC today after a bird flew into the engine. Luckily, everyone survived after what’s been described as a “masterful landing” in the frigid waters. Of course, they managed to pull the surviving “dude” out of the crowd for the commentary:
It’s been a while since a truly visionary young talent made his impact on the art world known in a virtuosic and explosive debut exhibition, but that’s exactly what California painter JAMES JEAN has done in his new show “Kindling” at NYC’s JONATHAN LEVINE GALLERY that opened last weekend. A renowned commercial, graphic, and comic book artist for years, Jean finally committed himself to pursuing a fine art career full-time in 2008, the result of which is a jaw-droppingly gorgeous body of sophisticated visions highly influenced by classical Chinese and Japanese aesthetics the likes of which many established artists could only imagine creating at their peak. Like a young Mark Ryden—an obvious spiritual and aesthetic forebear to Jean—who forever eschewed his lucrative career in commercial art in the early 1990s in pursuit of fine art glory, 30-year-old Jean has all the raw chops, vision, and technical prowess to officially assume the mantle of the bona fide “Next Big Thing.” Undoubtedly, intuitive collectors who weren’t laid bare by recent economic catastrophes and got their hands on a masterpiece from this show will be retiring on the profits made when these works change hands at astronomical prices in years to come. Keep an eye out for our upcoming interview with Jean in the next few weeks. Meanwhile, HAVE A LOOK: Read More
Following his amazing and massive outdoor installation at the Vancouver Art Gallery (photos below for those who missed it) throughout the summer of 2008, perennial Supertouch favorite JEFF LADOUCEUR has just unveiled a small show of new drawings at NYC gallery ZIEHER SMITH. Provocatively titled “Do The Apocalypse,” the collection finds the artist—whose style falls neatly in between Barry McGee and Marcel Dzama—once again channeling despair into absurdity in a range of delicately rendered pencil on paper works. His tragic figures whither and mope across an unwelcoming tundra with comic resignation. Hobo-esque “Schmos,” men whom curator Jordan Strom notes, “stretch and contort… more by existential accident than heroic design,” are tangled, trampled, and beaten down. Piles of their blue-shirted corpses are carried away on the back of a woolly mammoth. Elsewhere, figures and disembodied heads float through groundless voids of white paper. All boring artspeak aside, it’s a fantastic show of work at incredibly affordable prices ($1,500—$3,500) guaranteed to make you feel good about buying art again. HAVE A LOOK: Read More