Supertouch buddy José Parla just opened a beautiful show of new work titled “Prose” in Tokyo at the esteemed Yuka Tsuruno Gallery where the major focus is an incredible 15-meter long mural painting that was created onsite in the gallery in the days leading up to the exhibition. 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
Friday was a big nite in the Midwest when SHEPARD FAIREY's Ohio installment of his traveling retrospective "Supply & Demand" opened at the CINCINNATI CONTEMPORARY ARTS CENTER and shattered the institution's all-time attendance record.Read More
Shepard Fairey took a break from the turntables to hang with Weezer’s Brian Bell, while beauty echoed beauty elsewhere in the gallery…
SHEPARD FAIREY‘s Echo Park hotspot, SUBLIMINAL PROJECTS played host to the opening of a show of new works by comrades-in-arms ANDREAS GUERRERO and ALBERT REYES on Saturday nite, proving to be the undisputed bright spot of an otherwise gloomy weekend in the Southland. Showcasing his typical demented teenage Hessian detention room drawing style, Reyes produced an unfailingly funny array of new offerings and prints featuring subjects as diverse as Obama, Ghandi, Woody Allen, and Iron Maiden muse Eddie. Guerrero, conversely, consturcted much of his skull-centric imagery from layers of collaged currency which appeared to be angular homages to Damien Hirst’s Calavera spin paintings. Above all, the show proved that Subliminal’s dedication to presenting good emerging art at great prices will make it one of the last galleries standing when this bleak economic crisis finally runs its long, dark, demonic course. HAVE A LOOK: Read More
The work of 74-year-old painter PETER SAUL reveals an artist whose vigor for wild Cartoon Expressionism remains undiminished by age. A pioneer of Pop Art who wears his pulp influences on his sleeve, Saul has created some of his finest modern work in this show of mostly large scale new paintings now on display at NYC’s venerable DAVID NOLAN GALLERY, all of which explode with the trademark color and humor inherent in all of the artist’s most memorable work. Rightfully, the paper of record has taken notice:
The irrepressible Peter Saul, now 74, continues his cheerfully acerbic, riotously goofy ways. The paintings in this entertaining show are made in Mr. Saul’s signature Pop-Surrealist cartoon style. With their rubbery, pneumatic forms neatly rendered with a spongy, semi-pointillist touch in glowing colors, they are like much-enlarged stills from a twisted animated film.
There are three different types of pictures: weirdly personal, violently political and insouciantly art historical. In “Viva la Difference,” a grinning bon vivant in pajamas with a martini in one hand wraps his arm around an amorphous blob that sprouts multiple breasts and is perforated by numerous vaginal orifices. (Talk about your male gaze!)
On the political front, there’s “Stalin & Mao,” in which the dictators are represented as giants punching the heads off enemy soldiers. As for art history, “Better Than de Kooning,” a translation of de Kooning’s “Woman” paintings from the 1950s into a picture of bulging, writhing, tubular forms, is visually captivating and amusingly Oedipal.
“Beckmann’s the Night” is based on a 1919 painting by Max Beckmann. In Mr. Saul’s version, a green maniac armed with a knife and a pistol attacks a naked blonde tied by her wrists to an overhead beam, while Beckmann himself licks the swollen foot of a half-naked man who hangs by the neck. A careening bullet rips through the flesh of the strung-up victims. Mr. Saul’s picture reminds us that few sights are more gripping to behold than scenes of horrific carnage.
—KEN JOHNSON, NYTimes
On display until May23rd, consider this a must-see show of the highest order. HAVE A LOOK: Read More
Supertouch buddy AARON ROSE opened the doors to a little show he curated at the venerable CIRCLECULTURE GALLERY in Berlin this past Saturday, titled simply “McGee, Templeton, Pettibon.” Bringing “Zee Germans” a healthy dose of American street culture, the show aptly surveyed the recent work of all three of these iconic artists (all of whom also took part in Rose’s previous “Beautiful Losers” exhibitions), and included photographs and paintings by Barry McGee and Ed Templeton and a nice display of recent ink drawings by elder statesman Raymond Pettibon alongside a large array of neatly framed examples of his ultra-seminal Black Flag photocopied gig flyers (whose ever-elusive matching original artworks remain the ultimate holy grail for Pettibon collectors). HAVE A LOOK: Read More
Josh Hartnett with Scott Campbell on opening nite…
Supertouch’s own tattooing god and master of low culture SCOTT CAMPBELL brought the thunder to Miami this weekend when his “Make it Rain” show opened this weekend at AL MORAN‘s venerable O.H.W.O.W. GALLERY where A-listers JOSH HARTNETT and SERENA WILLIAMS rolled in to show their support. The proprietor of New York’s most premiere tattoo studio (that also doubles as an artist’s social club and illegal shooting range), Campbell brings the full scope of his authentic inkslinging influences to his first major solo show and the results have “wow factor” to spare. The highlight of the diverse collection of work are a series of laser-cut dollar bill pieces that feature imagery cut deeply into stacks of 100 single dollar bills with shockingly precise—and aesthetically pleasing—results. Equally impressive are Campbell’s beautiful monochrome ink paintings of tattoo-themed imagery. The real showstoppers, however, were the artist’s “implements of death” pieces which consisted of an actual ice pick, box cutter, and broken bottle all etched with decorative filigree, dipped in 24k gold and inlaid with rubies, garnets and sapphires. The results are killer bling—literally. Topping it all off, was the pièce de résistance: a real granite headstone that read “Wish You Were Here.” HAVE A LOOK: Read More
Beijing-born and Queens, NY-based Chinese artist YI CHEN is a rising force in the world of modern figurative painting. His newest show “Beaut-Esque” that opened its doors at Culver City hotspot HONOR FRASER GALLERY this Saturday nite was full of gorgeous, color-dense examples of his playful and expert signature style full of playful references the modern masters (Picasso and Hockney spring immediately to mind), and loads of painting chops to spare. The artist uses culturally mediated images from advertisements and fashion magazines as inspiration for his work and sees his paintings and collages as metaphors for hybrid, mutated concepts of beauty borne from a global popular culture. This concept of hybridization and mutation formulate a tense balance in his work, combining enticing beauty and repelling grotesqueries that result in magnetic paintings. Chen begins his creative process by assembling collages of human (and sometimes mammalian) facial features cut out from popular fashion magazines. These collages of perfect/imperfect specimens are the foundation of his work. Like an artistic scientist, he disregards race, gender and age and selects individual characteristics and reconstructs them to form a new human species. These collages then become the figurative models for his lushly rendered oil paintings. All art-crawling denizens of the Southland should consider this essential viewing. HAVE A LOOK: Read More
LA might not be ground zero for the next visual renaissance (at least not from how things are looking as of late), but it is home to some solid decorative art. Enter SYLIVA JI who’s been painting for some time now in a fun style that might be best described as Nagel Vs. Gustav Klimt on Dia De los Muertos. Her solid new solo exhibition “Haute Eopch” at Culver City’s COREY HELFORD GALLERY featuring Ji’s usual array of painted doomsday femme fatales opened to a packed house on Saturday nite where the looks made it worth the drive and the ratio of lovely ladies to men was advantageously high. HAVE A LOOK: Read More