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wallpaperpainter · 5 years ago

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Ten Thoughts You Have As African American Canvas Art Approaches | African American Canvas Art

Welcome to the Art Angle, a podcast from Artnet Account that delves into the places area the art apple meets the absolute world, bringing anniversary week’s better adventure bottomward to earth. Join host Andrew Goldstein every anniversary for an all-embracing attending at what affairs best in museums, the art market, and abundant added with ascribe from our own writers and editors as able-bodied as artists, curators, and added top experts in the field.

How abounding times accept you heard addition in a building belittle “I could do that” in the attendance of a solid-black canvas or an birdbrained conceptual installation? You’re not alone, and frankly, curator-turned-YouTube-star Sarah Urist Green understands the abstract amid art enthusiasts and art skeptics. But she wants to fix it by allegorical all of us, from barter drivers to art historians, into borer our own close wells of adroitness application the better video belvedere on the planet.

After alum academy and a curatorship at the aloft Indianapolis Building of Art (renamed Newfields in 2017), Urist Green was accomplished in the ins and outs of the contemporary-art scene. But she eventually began to annoy of the alone apple congenital up about the assignment itself and longed for a way to aggrandize art’s audience. When her husband, the biographer John Green, mentioned off-hand that PBS was developing new educational programming, she took the attempt and pitched a appearance alleged “The Art Assignment” centered on projects advised by beat artists that everyone, everywhere could complete themselves. Now a account agenda web series, the YouTube accoutrement has some 500,000 subscribers, and it has angled out from its amount abstraction to accommodate biking episodes, art-history-themed affable lessons, and abundant more.

After six years helming the berserk accepted series, Green appear her aboriginal book, You Are an Artist: Assignments to Spark Creation, in backward March, aloof as millions of bodies about the apple were actuality affected to retreat central for weeks on end. The timing was uncanny. Born out of her YouTube series, the book is awash with projects dreamed up by such alarmingly acclaimed talents as Alec Soth, Michelle Grabner, and the Guerrilla Girls—each one engineered to be achievable from home with the abstracts available. It’s a absolute band-aid for our continued canicule of apartment in place.

On this week’s episode, Urist Green joins Andrew Goldstein by buzz to altercate her abrupt art-world journey, the accidental address of her new book, and how you—yes, you—can be an artist, too.

Listen aloft and subscribe to the Art Angle on Apple Podcasts, Spotify, SoundCloud, or wherever you get your podcasts. (Or bolt up on past episodes actuality on Artnet News.)

The Art Angle Podcast: How Marina Abramović Became

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toldnews-blog · 6 years ago

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New Post has been published on https://toldnews.com/travel/art-review-at-frieze-new-york-islands-of-daring/

Art Review: At Frieze New York, Islands of Daring

Getting into this year’s Frieze Art Fair on Randalls Island will cost you $57, plus the round trip on the ferry. But that’s nothing compared to what it cost nearly 200 galleries to exhibit there. And so dealers have made the reasonable decision to bring a little of everything that sells — which may account for the conservative vibe. That said, there are many islands of daring, including special sections focused on solo presentations, small galleries, the influential gallery JAM and virtual reality. We sampled them all — along with the mainland fairs that are part of Frieze Week. Our art critics Martha Schwendener and Will Heinrich pick a handful of the best booths under Frieze New York’s big tent.

Booth C2

Bridget Donahue and LC Queisser

One of the strongest single-artist booths is a joint presentation by Bridget Donahue Gallery and LC Queisser, who represent the artist Lisa Alvarado in New York and the Republic of Georgia, respectively. Ms. Alvarado made her acrylic-on-canvas pieces, each painted with a thrilling zigzag pattern, as backdrops for performances by the Natural Information Society, in which she plays the harmonium. If the fair’s not too loud, you’ll be able to hear the band’s hypnotic music, too. WILL HEINRICH

Two exceptional but very different displays are on view in the fair’s midsection. At Casey Kaplan gallery, Matthew Ronay’s carved wooden sculptures, pieced together into abstract, evocative organic configurations in various coral hues, are placed on plinths and feel like an oasis amid the fair’s chaos. (Mr. Ronay also has an exhibition on view at Kaplan’s Chelsea location.) Martine Gutierrez continues her rampage as the Indigenous Woman, a transgender alternative-fashionista at Ryan Lee. In photographs and faux-fashion spreads, Ms. Gutierrez combines traditional Mayan and Guatemalan garments and fabrics with fantastic and futuristic accessories and makeup to conjure new, fluid forms of being. MARTHA SCHWENDENER

Booths F6, F12 and F14

Company, Bank and Very Small Fires

The Frame section of Frieze, devoted to galleries 10 years or younger, is particularly good this year. Befitting the ethos of the emerging artists they represent, the booths are platforms for performance or installations, with linoleum or AstroTurf covering the floors. The New York gallery Company is hung with paintings by Jonathan Lyndon Chase that feature roughly drawn figures or graffiti, as well as crude sculptures of a toilet seat or a dollar sign. Yanyan Huang treats the booth at Bank, a Shanghai gallery, as an “immersive portal” (according to a handout) in which traditional ink drawings merge with digital applications. Nearby, Diedrick Brackens’s colorful tapestries at the Los Angeles gallery Various Small Fires join traditional materials with references to figures like African-American cowboys. SCHWENDENER

The Tehran gallery Dastan (appearing here as Dastan’s Basement) has hung more than 50 portraits by the artist and architect Bijan Saffari. A member of the royal family who left Iran for Paris after his country’s 1979 revolution, Mr. Saffari was also gay, which made his position doubly precarious. The portraits are rather simple and conservative, drawn in graphite and colored pencil. And yet they are sensitive and closely observed, and they gain by their group presentation, appearing like a narrative of his circle of friends in the ’70s and ’80s. There is an elegiac tone to these drawings; the artist died days before the current edition of Frieze opened. SCHWENDENER

Booths B36 and F9

David Lewis and Antoine Ertaskiran

In a fair dominated by painting, David Lewis of the Lower East Side and Montreal’s Galerie Antoine Ertaskiran, making its Frieze debut, stand out with presentations that could pass for gallery shows. Four cool acrylics by New York painter Charles Mayton, at Lewis, feature schematic eyes and hands in jazzy mash-ups of shelves, bars and circles. Jane Corrigan’s large wet-on-wet paintings of women on the go, at Ertaskiran, are exquisite brown and yellow collisions of impatience and poise. HEINRICH

Booths A11, B32, C7 and D1

Foxy Production, Simone Subal, Rachel Uffner and Galerie Lelong

Several New York galleries have mounted outstanding painting displays in which artists bend the medium in a variety of ways. At Foxy Production, Srijon Chowdhury, Gina Beavers and Sascha Braunig offer reinventions of Gothic romanticism, surrealism, Op or Pop Art. Simone Subal is showing the work of Emily Mae Smith, whose paintings are slick and whip-smart updates and appropriations of posters from the ’70s and ’80s. Maryam Hoseini works both on and off the wall at Rachel Uffner, but combines abstracted Persian imagery or techniques with contemporary painting. Sarah Cain’s take on painting at Galerie Lelong offers candy colors, cutouts and a floor flooded and stained with pigment. They remind you of paintings’ origins — in childhood — and suggest a kind of joyful, delirious regression. SCHWENDENER

Booths S4, S10 and S11

Galerist, Galeri Nev and Pi Artworks

The fair’s outstanding Spotlight section, curated by Laura Hoptman of the Drawing Center, is dedicated to “significant work by overlooked figures.” They include Yüksel Arslan, a Turkish painter born in 1933 who moved to Paris at the invitation of André Breton and died in 2017. His “Arture 439, Sans Titre, l’Homme,” from 1992, in a joint presentation by Turkish galleries Galerist and Galeri Nev, is a gloriously strange gallimaufry of interspecies sex acts and quotations from the artist’s scientific reading, drawn with homemade colors. Susan Hefuna makes ink drawings inspired by the intricate wooden screens of her Cairo childhood. The examples presented by Pi Artworks of London and Istanbul are done on overlapping sheets of tracing paper fastened with rice glue. The multitude of tones and textures create a fascinating tension between clarity and ambiguity — the drawings are like letters of a foreign language glimpsed in a dream. HEINRICH

The Diálogos section of Frieze includes solo presentations of Latin American art, organized by Patrick Charpenel and Susanna V. Temkin of New York’s El Museo del Barrio. I was particularly taken with Mariela Scafati’s hybrids of paintings and sculpture at the Buenos Aires gallery Isla Flotante. Ms. Scafati takes wooden bars where canvas is stretched and treats them like bones, joining the parts together in puppetlike configurations, sometimes bound or “wearing” a jacket or a pair of pants. SCHWENDENER

Booths B9, B10 and B20

lokal_30, Koenig & Clinton and Kate Werble

A vibrant knot of color and form awaits you at the intersection of New York’s Koenig & Clinton and Kate Werble galleries and Warsaw’s lokal_30. From Poland come three painters exemplifying postwar and contemporary Surrealism, among them the young Ewa Juszkiewicz, who repaints classic portraits of women, but hides their faces with cloth, ears of corn or a backward French braid. They evoke feminism, dream logic and implicit violence. Tony Marsh’s over-the-top ceramic vessels, encrusted in what look like shards of glaze, meet the eye-bending optical paintings of Anoka Faruqee & David Driscoll at Koenig & Clinton. Marilyn Lerner makes delicately complicated oil-on-wood abstractions at Kate Werble; don’t miss the unlabeled low tables by Christopher Chiappa, also in Werble’s booth. HEINRICH

There’s something magical about William T. Williams’s early 1970s “Diamond in a Box” paintings, hard-edged geometric patterns in blazing colors. The subtle misdirection of those patterns, and the complicated rhythm of the colors, mean you could look at them forever. Michael Rosenfeld presents a dozen never-before-shown acrylic-on-paper works from the same period. In these, a wiggly meander snakes in and out of concentric circles filled with vibrant brush strokes — they’re like Bauhaus takes on the Aztec calendar. HEINRICH

Booth F18

PM8

Spanish gallery PM8 presents 80 black-and-white photographs by the Lithuanian photographer Gintautas Trimakas, shot in the mid-90s and hung in three long rows. The piece shows 80 women with their heads and legs cropped out. Though the backgrounds range from white to nearly black, and the clothing and body types are all over the map, the typological presentation wears away these differences and leaves the figures all looking more or less interchangeable. It’s a deeply cynical take on both the consumerist Western freedoms available to Lithuanians after their 1990 independence and on the fate of all human bodies — the women aren’t so much living people as corpses in waiting. HEINRICH

V.I.P.s have access to the Deutsche Bank Wealth Management Lounge at Frieze New York. But nearly everyone can benefit from PPOW’s display of paintings by Steve Keene, which are on sale for $15 to $50. Mr. Keene was heavily influenced by indie rock bands in the early 1990s — his friends in Pavement, Silver Jews and the Dave Matthews Band — and the idea of selling quick, sketchily rendered paintings like cassette tapes. Using a stage in PPOW’s booth as a pop-up studio, he will produce hundreds of paintings on thin plywood panels — they are part endurance performance, part public art stunt. The vibe feels like one in a record store during an album release party. SCHWENDENER

Frieze New York

Through May 5 at Randalls Island Park; frieze.com. Tickets are limited and only available online.

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yasbxxgie · 8 years ago

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Two Art Exhibits Show The Hip-Hop, Kung Fu Connection

What do hip-hop and kung fu have in common? That question may be answered by two new exhibitions at the Sackler and Hyphen DC, a new gallery in Ivy City. Both shows focus on the paintings of Fab 5 Freddy and MC Yan, two figures largely known for their work in music and graffiti.

New York’s Fab 5 Freddy (Fred Brathwaite) was a pioneer of hip-hop culture in the late 1970s. He was friends with people like Jean-Michel Basquiat, Keith Haring, and Lee Quiñones, and was name-checked in Blondie’s 1980 hit “Rapture.” It was Freddy who famously painted the giant Campbell’s soup cans (an homage to Andy Warhol) on a subway car. He was also the original host of “Yo! MTV Raps,” the first hip-hop music show on MTV, but he may be best known as the man behind the 1983 film, Wild Style, the first ever “hip-hop movie,” which showed the music, graffiti, dancing, and general culture of early New York hip-hop.

On the other side of the word, Hong Kong’s MC Yan (Chenguang Ren)—just a kid when Freddy was at his height—was first exposed to graffiti and hip-hop culture while at art school in France, and he was immediately hooked. Back home, he joined the influential Cantonese hip-hop group, LMF. These days, Yan plays music, makes art, and designs for brands like Nike. According to Hyphen DC’s bio, Yan may even have tagged the Great Wall of China and government buildings in Hong Kong.

Freddy and Yan first met through a mutual friend in 2012. After several Skype conversations, they realized just how much each had been influenced by the culture of the other—Freddy by kung fu movies in the ’70s and Yan by American hip-hop several years later. They both zoomed in on Bruce Lee as the epitome of that influence.

“I used to watch a lot of kung fu movies and realized what Bruce Lee really meant and what influence he had on the American urban culture,” Freddy told Hypebeast in a 2012 interview. “You could detect his influence in movies and music. Just take James Brown’s lyrics in ‘The Payback’: ‘I don’t know karate, but I know ka-razy’ or ‘Kung Fu Fighting.’ Kung fu’s influence went all the way up to the hip-hop culture. Fu-Schnickens and Wu-Tang Clan had a kung fu vibe early on in their careers.”

Meanwhile in Hong Kong, Yan noted that Bruce Lee was still a rather controversial figure, largely because of his politics and personal life.

The exhibit Kung Fu Wildstyle includes five paintings by each artist, and touring the world since 2012, Freddy and Yan incorporated aspects of each other’s cultures into works that can easily be read as unconventional portraits of Bruce Lee.

Freddy’s paintings almost exclusively use one of the most famous photos of Lee from Enter the Dragon—where he’s grimacing and flexing in preparation for a fight, with three red scratch marks on his chest. The bloody marks in Freddy’s paintings are bedazzled with rhinestones, with Lee (or multiple Lees) floating over a background collage of boomboxes, tags, and the now-defunct RR and RJ subway trains. In one painting, Freddy’s rhinestoned self-portrait appears in the middle of the canvas, flanked by a Bruce Lee in each corner.

Yan’s paintings go even further with the collage idea. Made up of small, square canvases, they’re assembled together tightly and slightly overlapping, kind of like the dense rooftops of Hong Kong. Painted on the canvas collage are sponge-paint-like images of Bruce Lee’s signature moves, but if you look closer, you’ll also see drawn outlines of traditional Chinese architecture.

Back in Ivy City, the two artists show off their most recent works. Freddy uses the same style of popping paintings off the wall with rhinestones for portraits of famous African Americans like Huey Newton, Jack Johnson (the boxer, not the singer), Bumpy Johnson (the Prohibition-era Harlem mob boss), and martial artist Jim Kelly, who co-starred with Bruce Lee in Enter the Dragon.

Yan has also largely stuck with the same style, although his rooftops at Hyphen are much more pointed, with a focus on the drawings of traditional Chinese architecture, and added surveillance cameras popping up in random places. It creates the illusion of jumping from roof to roof, always under the watchful eye of the Chinese government. As an added bonus, Yan tagged one of the gallery walls at the opening party with similar rooftops rounding the corner—although, apparently he only did it because his paintings got stuck in customs and were unable to make it in time for the gallery opening.

So what do hip-hop culture and kung fu have in common? As Fab 5 Freddy told the Film Society of Lincoln Center in 2012: “They share a rebellious nature—a flamboyant way of expression.” Kung Fu Wildstyle runs through April 30 (daily, 10 am-5:30 pm) at the Arthur M. Sackler Gallery, 1050 Independence Ave. SW.

Fab 5 Freddy & MC Yan: New Work 2017 runs through April 29 (Thursday-Saturday, 1-6 p.m,) at Hyphen DC, 1402 Okie St. NE.

Photographs:

MC Yan and Fab 5 Freddy

MC Yan, Shaolin #3 (detail) Courtesy of Hyphen DC

#kung fu wildstyle #fab 5 freddy #fred brathwaite #mc yan #chenguang ren #art #music #black music #sackler gallery #hyphen dc #bruce lee #martial arts #dcist #black art

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mikenips · 4 years ago

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You Can Never Go Home Again

“Artur?” Pop a different tape in the player. I can’t even watch that tape yet. And I didn’t even know the guy personally. Just one of those figures you see walking around town. The type of character you wanna ask all the questions to. But also afraid to approach. Our inspirations will always hurt us more than the people we know.

“Yes.” The smashed beak of a nose gets you first. He’s a quirky looking man. Wears those big, goofy glasses nerds wear in your 1950s nostalgia. “You say your making movie on Bart?”

“Yeah.” My camera shakes as I get outta the car. Nearly dropped the fuckin’ thing. Quick shot of the puddle it would’ve sunk in. Brown. With a faded can of Miller High Life pacing back and forth with the breeze. You can tell someone shotgunned it. Wonder if it’s a remnant of Pharm House. The rusted whip-its in the street aren’t. See more of them on the streets of Hamtown than ants or rats. “It’s for a class project at Wayne State.”

“Good school.” He nods. Pats the head of the dog in the backseat of his Jeep. Crack swooping down the front driver’s side windshield. “Come. I show you house.”

The house is set far back on the yard. Red siding giving it that farm look. Probably was a house for farm animals or something. Smaller than the rest of the homes on the block. But also stands taller. Gets higher than the rest of the block. No matter how much weed Bart shared with the neighbors as they watched from the safety of the porch. Staring at the graffiti covered tree. “Bart was good kid. Good tenant. Always remind me to pick up rent. You know. I forget those things sometimes. Spent many nights drinking with him. He was always out and about. Caught him buying coke from a bartender one time. Tell him he shouldn’t do that. He laughed. Said he knew. So I laugh.

“Shame when I tell him I had to evict him. But he’s real smart. He knew he was in the wrong. Admitted it. Left like he was supposed to. Can even tell he tried fixing the damages. I give him security deposit back. For the effort. Plus now I have this artifact. I see kids, just like you, checking it out all the time. I don’t know how they find it. But they come to the house.

“See!” He points to a dip in the lawn. Patchy grass attempting to cover the dirt there before it. “I talk to Bart after he leave. Ask for stories. Why these kids come to my house? Just to look! He give me tour. Now I do the same for you.

“In Summer. He throw a big barbeque. Neighbors sit on their front porch and watch too. They all spoke highly of him after he left. It was for the homeless. And the bands play right out here! Crazy right?”

The banister of the porch is cracked. My head plays the video from Shithole’s Facebook page. Dooley attempting to hurtle the three foot tall plank of wood. Catching his Croc on it. Yanks it all down before landing on the rusty screws and splintering bark where the dip in the lawn would be. Brad running up and stealing his sunglasses. The pit swirls to the fuzzed out guitar still ripping through the chaos. Dooley coming to his feet and hurling the bass at Brad. Ripping the jack from the body.

And the whole time. Barf stands quietly behind the mess. That smile cuts through the grainy video from somebody who clearly owns an Android. No shirt. Fringe vest. Jeans torn to shreds. Camera around his neck. Sipping on a bottle of champagne. Standing next to his grandma. Claps triumphantly over the crowd. “Kids. The bands play. They run around. Hit each other. I see it sometimes at the shows here. So interesting. Not for me. But fun to watch.”

“Yeah.” I laugh a bit. “We call that a mosh pit. Let’s out all that aggression people tell you it’s not ok to let out.”

“Mosh pit…” He stares at the patchy lawn. “It did make pit alright. But Bart always cut grass himself. Sometimes I drive past and see him doing it. No shirt. Drinking Stroh’s. Make me laugh everytime.”

Get on the porch. As he unlocks the door my camera takes in the front window. Backstage seats. See an occasional face in the footage of the show. Bits of shower curtain still stuck to the red siding from front lawn movie nights. “It crazy. Still feels weird coming in. I always give Bart his privacy. I don’t want to intrude on him. But when I see house after. Maybe I should have. Damages everywhere. Look here at steps.”

His arm sweeps in the direction of the stares. But the camera continues to film the rest of the walls. A mattress in the middle of the living room. Chipped paint and random bits of tape still clinging by an inch to the drywall. Wooden chairs around the feet imprints of a coffee table. Instantly I can scrap book various images and videos to fill the rest of the now empty home. Some characters in black and white. Others pixelated and grainy. In off hue colors.

Zoom in on the wooden landing below the staircase. Slivers of empty space dart across the square panel. Trying to find an escape from the pressure dropping on it. “Not many know this story. Very old story from Bart’s twenty first birthday. He said he didn’t know many people then. And nobody knows what the future will find worthy of keeping. So not so many videos of that party.

“Bart says a friend of his. Record producer that joined the Navy did it. Bart says he looks around living room. Everybody pointing and gasping at the stairs. Bart standing just inches from landing. Doesn’t see him jump. Flies from second story to landing on Bart’s skateboard. And he break the floor. Looks at Bart laughing and says ‘at least the skateboard is in tact.’

“Back of house or upstairs first?” Camera fixed on the floor’s POV of the second story. You can tell he never swept his stairs.

“Well. The upstairs was the main stage for shows. Let’s get shots of the rest of the house first. Capture the essence of the party before goin’ to the main attraction.”

“Sounds good. I like that. I went to house party one time. A friend of Bart’s. Bart always invite me over here. But I can��t impose on him. I don’t know if I would want to know what he was doing. Ignorance is bliss.”

The hallway splits into three rooms. Pan camera left. Once I start editing gotta superimpose the Instagram photos of that sink filled with two empty thirty racks. One of the few photos from the twenty first birthday party. The cigarette butt that blew up the gas station.

Spin one eighty to the second bedroom. Which was really more of a glorified closet. The yellow page of a legal pad still taped to the doorway. Bart’s handwriting all over it. “See. He catch me. I never wrote in lease that he can’t smoke inside. But at least he kept it in the spare bedroom.”

We walk through the door. Blue carpet singed and stained with spray paint. “I still remember seeing videos as a teenager. Can barely make out all those artists and musicians sitting in this room through the smoke. I can hear Dooley, while looking dead at the camera, ‘nicotine hot box!’ Yelling at someone to keep the window closed.”

Tilt from the carpet to the window. “Very funny story. I assume this Dooley did. Bart said he walks in the room. Can’t breathe. Can’t see. Claustrophobic. Tries to open window. And somebody slams it from his hand. Tears the blinds off. Everybody laughs. Now. Blinds don’t close. That’s still the sheet Bart hangs up over the blinds to block window. Always wonder why he didn’t buy new blinds instead.”

The peacock couch is long gone. A thirty five dollar purchase Bart made while on acid thrifting in high school. Great clip of Cole Sanders from the Turds sitting on the couch. Paisley shirt and leather jacket. Looks like he’s trying to sell molly to teenagers. Smoking Spirits. Talking about listening to new wave. While Echo and the Bunnymen play in the background. The seam of his pants splitting wide open.

Tucked in the closet are various paintings. “Do you know where these are from Artur?”

“No. I find them hanging throughout the house after Bart leave. Just lost artworks. Some collage. Some photography. Some paintings and drawings. All different people I assume.”

Flip through them. Some standard CCS bullshit. Some pop art homages. Recognize the outsider doodle. An original Cole Sanders. Got a few hanging up in the apartment. Then I see it. Propped by itself on the opposite corner of the wall. A surrealist portrait. Oil on canvas. A puke puddle of tie dye morphing to the doorways and walls of a house. The colors give way to textures of fur and skin. Even a slight haze of smoke. The blobs lava lamp in the familiar image of Bart. Camera zooms in on the interpretation of the image shared on Facebook this morning.

I recognize the style from the walls of Jenkem. The holy grail in the mythos of Barf’s scene. The piece Tara painted of him. Something along the lines of paying him back after a bender that whole group went on. She offered to paint him a portrait. But the piece was lost after Pharm House got busted. You can see it in a handful of videos all the way back on some people’s Instagram highlights. If you know whose account to stalk. “Can I take this?”

“Go ahead. They just sit anyways. Come see the bathroom.”

The white tile wall is stained orange. Strands of hair stuck to it. Stuck to the tub. Stuck to the floor. Stuck to the wall behind the door. How the fuck do you even get hair stuck there? A nice gradient of the off white tub fades from two circles to pitch black. Two feet protecting some bit of fake porcelain from the dirt that would pool up. “You know. When I get house back. The drains are all plugged in the bathtub. So I cut into wall. Take out pipes. Pumpkin seeds! There are pumpkin seeds in the drain. Causing it to clog. How do pumpkin seeds get in the bathtub? I never ask Bart that.”

“There was one show here. A band performing smashed a pumpkin upstairs. Must’ve just gotten stuck to his foot or something. Just trying to wash it all away. Flush everything down the drain.”

Zoom in down the moldy drain. Cutting off the rust colored stain on the bathroom floor. Don’t even need to explain what that’s from. I don’t know. It seemed artsy at the time. Now it just seems so pretentious. The whole fuckin’ tour of the house seems pretentious. Who does shit like this? Maybe that’s Barf’s biggest illusion. Getting people to create their own illusion of a home. When nothing at all ever actually happened there. Just a guy living life. Never cleaning the bathtub because “the bathtub cleans me.”

“So this is my favorite part.” Artur’s teeth crack the seal of his lips. With the smile of a proud father.

Turn the corner at the top of the stairs. A quick shot out the window at the top. A toilet when Barf was too spun to figure out how to use stairs to go back down. The master bedroom takes up the whole second floor. The main stage. Most people said they didn’t even know Bart actually slept up there. Thought the mattresses were just decorative soundproofing. Maybe the whole house was just a decoration. “What’s that gash in the wall?”

“Cymbal. Bart says hi-hat. From Navy man’s going away party. He says they cover ‘Blew My Mind.’ I forget the singer. Chaos ensues. How the hi-hat got behind the drummer? Beats me!”

The famous send off show for the king. Shitholes’s drummer. Devil’s Night. Dooley tryin’ to do coke off the amp during the set. But the room had too many bodies. Too humid. Dooley yellin’ “it’s not working! Fuck!”

“But this my favorite. Look up!” Tilt the camera to the angled ceiling. A purple splatter that runs the length of the wall. “Bart tell me he stand in back watching band. Guitar gets stuck in chandelier. Again. Beats me how Bart never broke the chandelier. Somebody as you said ‘moshes’ and falls into Bart. His forehead hit bottle and it spills everywhere. Even on ceiling!”

“So why’s that your favorite part?”

Focus back on Artur; with the same proud father smile. “It’s jezy! Good Polish boy drinking Leroux. He always stay true to heritage. Even that bar he buys. Classic bar here from his grandparents’s time. He buy it and revamp it for new kids to come to Hamtown and celebrate history.”

“That’s perfect Artur.” The camera drops to my side. But always keep it rolling. Even when you think you got enough. You never know what you’ll pick up on. A random splice of life. An absurd image that you never thought would mean something to you. Like a still shot of a clump of hair in the corner next to beer a splattered and blown bass amp. Probably Dooley. He was famous for that shit. “If you don’t mind I’m gonna get a few shots of the house from the outside. But you can lock up and go if you want.”

“Of course. Film! Film! Capture every moment. That is why I don’t fix house. This is history. Other people need to see what happened here.”

As Art’s car takes off a neighbor’s voice calls from the porch next door. The POV spins rapidly to the old black man. “Are you another one of those punks here to do something crazy? I’ll have you know this is more than some party house. This is our neighborhood. Bart never would’ve let stuff like this happen here.”

“No sir. I’m actually working on a student film about Bart. What do you mean he wouldn’t let stuff like this happen?”

“Well. Bart threw parties. And a lotta times they got outta hand. But that’s what your twenties should be about. Having a good time with your friends while you can. But as the parties got bigger, they turned into free for alls. Bart was trying to showcase new artists. And it spiraled into this mess from giving everybody a platform to letting anybody do shit. And now all these young kids show up and try to recreate those moments without really understanding what was going on. How old are you kid?”

“Twenty one.”

“Exactly. You were too young when Bart lived here to see what he was actually doing. Things got outta hand. But he always picked up the empty cans. And he always made sure we felt welcome and comfortable. He would move cars so we could park in front of our own houses. He would pass the joint. Bring us food he made. He was providing a neighborhood for everybody to join. Not just throwing parties.”

“So you think he was doing something good for the city?”

“He gave young people a place to celebrate themselves. He just got carried away with it all. And I don’t think it was him. I think it was you kids that just looked at it as all fun and games that ended up with him being hurt.”

#jenkem #novella #vague glimpses of beauty #grown up fucked up

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wallpaperpaintings · 4 years ago

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wallpaperpainting · 4 years ago

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biofunmy · 6 years ago

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At Frieze New York, Islands of Daring

Booth C2

Bridget Donahue and LC Queisser

Booths F6, F12 and F14

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mochibugmo · 7 years ago

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Images chosen are, Graffiti Art | All You Need Is Love | Art Print on Stretched canvas, anonymous

Custom Wall Mural 3D Embossed Brick Wallpaper Graffiti Art Cafe Bar Dining Room Wallpaper For Walls

by Shirley Blair A graffiti portrait of Kengo Kuma.

Susan Stewart, Ceci Tuera Cela, Graffiti as Crime and Art,

What I got out of this reading is,

1987, started in New York, origin vague. Graffiti is dirt, Graffiti has taken on a whole new look nowadays, dirt is in the wrong place and time. Seen as defacement, destructive. Some cities even banned the sale of spray paint. Destroys property value, government lost control.

Tagging was very important, seen as a better Graffiti artist, more professional. Adding character to the environment. Seen as obscene even though it was not always so. 10 Million Dollars a year in New York spent to remove Graffiti. Destroying lifestyle, some thought 3 time offenders should spend 5 days in jail. Some were thought of as mentally ill, self mutilation was attributed to putting oneself on a wall.

Graffiti is an art, how can establishments get their hands on it to make money, Art galleries saw as a continuation of Pop Art or Abstract Expressionism. Hip Hop communities sometimes crossed over with graffiti community. Does paintings or graffiti remove the aspects of the work?

Regard selves as artists not vandals, gives voice to people who do not have one. Things have shifted.

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nofomoartworld · 7 years ago

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Hyperallergic: The Case for Tom Burckhardt

Tom Burckhardt, not yet titled (2017), 28” X 28”. (All images courtesy of the artist.)

The day after I visited Tom Burckhardt to see his recent paintings and to hear more about “STUDIO FLOOD,” the installation he is preparing for his upcoming show at Pierogi ( opening September 10, 2017), he sent me an email. It contained a quote from the recently published The Inkblots: Herman Rorschach, His Iconic Test, and the Power of Seeing (2017) by Damion Searls. While I think this quote is a good place to start reflecting on what Burckhardt is up to in his abstract paintings, I first want to establish a context for it.

During my visit, Tom and I talked about Rorschach, inkblots, and symmetry. We briefly touched on works by Andy Warhol, Kerry James Marshall, Bruce Conner, and Jasper Johns. Both Warhol and Marshall appropriated Rorschach’s inkblots, while Conner devised a method that consisted of drawing wet ink lines on one half of a sheet of paper and then folding it down a pre-made crease to leave a mirror image on the other side – an act that slowed down and compartmentalized drawing. Conner’s spidery, symmetrical, linear forms suggest insects and ancient signs. Control and accident mirror each other. In Johns’s paintings and prints titled “Corpse and Mirror,” some of which are sectioned into six rectangles, one rectangle imperfectly mirrors the one adjacent to it, establishing a series of visual echoes.

One reason Rorschach’s inkblots came up in the conversation was because all of Burckhardt’s recent paintings are abstract and many are symmetrical. In fact, imperfection is built into the process because Burckhardt always starts with a single panel, with the blank one set aside until the first is completed. An improvisational artist, he works in oil on the panel, sometimes using a roller to cover an area yet allowing the under-layer to peek through, until he arrives at something he considers finished. This and everything else in the first panel has to be redone in reverse on the second panel.

Tom Burckhardt, not yet titled (2017), 44” X 40.”

By working on two panels at different times, and then abutting the so-called original and its mirrored copy together, Burckhardt calls attention to the paradox of a symmetrical image that is physically split down the middle: it is at once total and divided.

It does not take long, however, to begin noticing slight differences between the panels in hue and thickness of line. Given the symmetry and the physical split, I found myself asking whether I was seeing more than what was there. This ever so slight push-pull between each panel introduces a tremulous hum into the experience: I begin focusing back and forth between the total image and the two panels, never settling down in either perceptual mode for very long. The dance between similarity and difference doesn’t end. Complicating this experience is the way the figure and ground are often entangled, especially when there is layer of overpainting. I am left wondering, what is the relationship between the dominant form and the partially hidden one?

However, before discussing Burckhardt’s abstract paintings further, I want to circle back to the quote he sent me. One of the people that Searls writes about is the German philosopher Robert Vischer, who coined the word “einfuhling,” which means “feeling in” or, in English, empathy. According to Searls, “Empathy, for Vischer, was creative seeing, reshaping the world so as to find ourselves reflected in it.” Vischer’s “creative seeing” links up with Burckhardt’s longtime interest in pareidolia, or the way the imagination creates patterns, so that you see something you know (face, bat, or gondola) in abstract images.

Burckhardt’s abstract paintings form one distinct body of work within his diverse oeuvre. In addition, he has done installations and made a series of works painted on vintage book covers. I have seen travel journals full of portraits of people he encountered while bicycling in Indonesia. He has made ink-on-paper views of a variety of landscapes and seascapes – often including the motif of a blank stretched canvas — that incorporated digital images. Burckhardt works across these mediums without trying to fit them all together, but, despite all the differences, in each of them he is meditating on the nature of art.

“STUDIO FLOOD” continues a line of thought the he first explored in “FULL STOP” (2005-2006), which is his walk-in version of an artist’s cluttered studio, complete with a doorway entering from a graffiti-covered storefront façade. Everything in this three-dimensional trompe l’oeil environment is made from brown cardboard, hot glue, and flat black paint.

In “STUDIO FLOOD,” the artist’s studio will also be made of cardboard but this time it will supposedly be partially full of water, with the corners and tops of paintings sticking up like shark fins. Disaster has struck, and we must deal with the aftermath. In this scenario, as we enter the studio, we would have to walk on the surface of the water, which is not the metaphor the artist wanted. Instead – as the model he shows me makes clear – the studio will be constructed upside-down, and we will walk on the ceiling: the ground has been pulled out from under us.

Tom Burckhardt, not yet titled (2017), 24” X 30.”

Pareidolia is a phenomenon the Rorschach inkblot test makes use of. This is what Tom said in an interview we did in 2011:

The whole idea of pareidolia is that it’s an evolutionary thing that we had to develop to instantly recognize friend or foe, it’s a subcortical kind of image, it’s the primary kind of image processing that we have had as a species, and I want to tap into its hook, as in a pop song hook, and to make use of that. If I were a really good abstract painter, as soon as that face starts appearing, I’d want to turn the canvas and run in the other direction. I’m perversely trying to cultivate the thread that comes out of pareidolia, the creation of images, a facial image out of a random stimulus, basically, because random stimulus is the basis of abstract painting, right?

Pareidolia is what Robert Vischer called “einfuhling,” which Damion Searls defines as “creative seeing.” As his observation about this phenomenon suggests, Burckhardt does not want to be “a really good abstract painter,” which is to say that he resists the institutionalized model regarding what constitutes an accomplished abstract painting. This resistance is what threads many of Burckhardt’s distinct bodies of work and styles together. He wants to subvert the standards of judgment integral to our understanding of abstract painting, while being committed to the act of making: he wants to inhabit his doubt and certainty without seeking a one-size-fits-all solution. He is interested in – to use his own words – perversely cultivating the tenuous relationship between “creative seeing” and the randomness of nature without becoming explicit. Can he walk that tightrope without toppling into irony or? He is also interested in following the ramifications of an idea (or something seen in his mind’s eye) to its fullest fruition, no matter how absurd the journey.

In “FULL STOP,” an empty canvas (made of cardboard, of course) sits on an easel at the center of the artist’s studio, waiting to be worked on. The studio feels abandoned and, because of that, disconcerting. Why did the artist stop?

Tom Burckhardt, not yet titled (2017), 30” X 46.”

The objects in the studio include a slide projector, dial telephone, and other obsolete objects we associate with an earlier era. Everything we see in the studio has a counterpart in reality. For all the considerable and evident effort that Burckhardt put into making this room, and the many things in it, the inexpensive materials work in counterpoint. What does it mean to make a cardboard replica of Johns’s “Painted Bronze” (1960), a sculpture of an old Savarin coffee can crammed with dirty paintbrushes, which is a hand-painted bronze recreation of an artist’s tools? By some measure, doesn’t Burckhardt return this artist’s tools to its original setting, which is a studio, however fictional it might be? Isn’t what he made both a tender homage and an absurd replica in equal measure? Isn’t it also a comment on the art market? If you cannot afford Johns’s “Painted Bronze” – which you can’t – perhaps this replica will do.

I am intrigued by Burckhardt’s interest in the appearance of a thing, and that he has not become programmatic about it. In this regard, Burckhardt shares something with Richard Artschwager and his non-functional faux furniture, not to mention his blurring of the boundaries between painting and sculpture. In his installation, “Slump” (2008), Burckhardt fabricated stretcher bars, paint cans, boxes, and crates. The fabricated paintings literally slumped against the wall: there was something funny, ironic, and – let’s face it – truly weird about these works. It is the weirdness that propelled these works into a new domain (or reality) all their own. Like Artschwager, he seems to be able to copy whatever he wants, but prefers to undermine his gift for mimicry, often by giving himself a ridiculous task: make a painting that slumps against the wall as well as the crate it is resting on, while ensuring that both look as if they are real. Like Buster Keaton, Burckhardt wants to joke about a disaster with a straight face. Which raises the question: what is real and what isn’t?

For years Burckhardt has painted on uneven cast-plastic surfaces, adding black dots to the sides to mimic the tacks used to hold a stretched canvas to its wooden support. In his last exhibition, AKA Incognito at Tibor de Nagy (May 7–June 12, 2015), which I reviewed, he showed two groups of paintings, one on cast plastic supports, the largest of which measures 32 by 40 inches, and larger works done on stretched canvas, including a two-panel painting, “Gunung” (2015), which measures 60 by 96 inches and is done on two panels. The paintings currently in his studio extend out of “Gunung.”

When I saw these two groups of paintings, one on plastic and the other on canvas, I wondered how would connect the two, the fake to the so-called real? One thing he did on the “real” paintings in his studio, all canvas on stretched linen, was to use a jigsaw on the stretchers, making the edge wavy. At times, while looking at the paintings, the wavy edge became a soft irritant: I was aware of it the way I am of a distant, buzzing bug. At the same time, it contradicted the straight and curving edges of the forms, as there was nothing wavy about them.

The edges of these new paintings invite closer scrutiny; are they composed of hardened paint extending beyond the physical edge, as in some works by Miguel Barcelo? What does it mean to contradict Donald Judd’s declaration, in his landmark essay, “Specific Objects” (1965)?

The main thing wrong with painting is that it is a rectangular plane placed flat against the wall. A rectangle is a shape itself; it is obviously the whole shape; it determines and limits the arrangement of whatever is on or inside of it.

There is no dialogue between the painting’s gently wavy edges and the interior forms. They are two different languages spelled out simultaneously.

Tom Burckhardt, not yet titled (2017), 48” X 60.”

In the new paintings – none of which have been titled yet – Burckhardt uses brushes, rollers, and a drywall knife to scrape the surface. He also uses a Mylar sheet with hand-cut holes in tandem with a brush or roller to make rows of dots that hover between the handmade and machine-made. The palette for each painting is different. The combination is never charming or seductive. The paint varies from solid to porous.

A number of visitors to Burckhardt’s studio, after seeing these paintings, have mentioned Pacific Northwest art and the American science fiction film, Transformers (2007), and the toys it was based on as possible inspirations, but this seems too reductive. Besides, I also saw forms that evoked the time Burckhardt has spent in India, Sri Lanka, and Indonesia. He has looked at a lot of stuff and has never been hierarchical about it.

My sense is that these paintings court a figural reading but never slide comfortably into that perceptual category. Are we looking at the abstracted image of a mechanical figure, or an imperfect, symmetrical abstract painting? By courting a legibility that is rooted in Pop culture, while, at the same time, resisting it, Burckhardt asks, how and what do we see? And why? What is it that we want from abstract painting?

By finding ways to foreground his conflicts about painting, while also expanding its definition, Burckhardt has become one of the most interesting artists of his generation.

The post The Case for Tom Burckhardt appeared first on Hyperallergic.

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philmytummy · 8 years ago

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This year, the legandary Tattooed Mom of South Street celebrates their 20th Anniversary! Robert Perry is the madman behind this 2 story bar and restaurant known for its bright and graffiti covered walls, as well as an extensive vegan menu. He saw potentail for a space that functioned to support the thriving arts community. Tattooed Mom was designed to be the haven for artists and music lovers. Somewhere to go and appreciate street art or hang out after seeing a band play on South Street.

Downstairs is highlighted with bright green walls and retro furniture with kitschy accents, like emoji pillows, lollipops, and small toys, meant to bring out the child in everyone. The second floor opens up at night. Upon opening the second floor served as a blank canvas. Soon friends and visitors started to leave their mark. The walls quickly filled with all kinds of graffiti and street art. This created a very unique space which is often sought out for photo shoots, poetry readings, and other private events. To this day, Tattooed Mom is a destination sought out by artists from all over.

Perry first opened Tattooed Mom back in 1997 when street art was much less accepted. Today graffiti and street art has become very popular despite being an illegal art form. The second floor of the Tattooed Moms is an everchanging storyboard of tags, graffiti, and artwork from those who have visited the location. Notable artists to have visited are:

Frank “Shepard Fairey” a very famous graphic artist, and muralist. His work combines elements of graffiti, pop art, business art, and Marxist theory. His work has been seen in galleries around the world and even museums. Not only that, but is often recognized in graphic designing and signature apparel. One of his most famous works includes his portrait of Barack Obama.

Amberella – Philly-based Street artist Amber Lynn is well known for her “Goth Hearts”. These are modern parody of the classic candy hearts you’d get for Valentine’s Day. Her street art is very bold and raw. It’s recognizable and graphic, short phrases so people can read it quickly. Phrases like “Stay”, “Keep Going” and “conquer.” The series is a combination of feelings pulled from diaries, memories, and feelings. “It’s my way of working through things in my life; relationships specifically,” Lynn explained.

Wrdsmth is a street artist, Hollywood writer, and natural born creator. He’s remained fairly anonymous, but his work has not. Inspired by his love of writing, his works consist of an old fashioned typewriter with an extended white page on which there is typed font. His words are original and clever. Based in LA, he has painted/pasted his WRDs in NYC, Philadelphia, New Orleans, London, and Paris.

Tattooed Mom started out with a menu of casual bar food. More and more employees and guests began to asking for vegan and vegetarian options. With these feedback the menu evolved. Perry wanted something on the menu for everyone. Many names of items on the menu are playful and reference pop culture in naming.

April’s Burger of the Month is The Eskorbuto (part of our new monthly Punk Singles Burger Series) made with 7 oz. all beef or vegan burger topped with fried avocado, queso fresca and cholula lime creama.

April’s Taco of the Month is the Peter Porker made with tangy BBQ pork braised in Lucky Buddha Lager topped with a zesty house made mango habanero salsa in a traditional hard taco shell.

Even the cocktail menu features a drink called the Pop Rocket which features Stolichinaya raspberri, raspberry liqueur, lemon soda, and pop rocks candy in a drink that is out of this world. Each sip gives you a bit of pop rocks exploding with flavors. The Whiskey Carnival is based on an old fashioned made with whiskey and topped with cotton candy instead of using a sugar cube. They also offer Classic Bottled Beauties, now the sixth drink in the hand crafted & house bottled cocktail series is the Manhattan, a time honored American classic. They also have locally focused draft beers as well.

We started off the meal with the dangerously delicious Parmesan Pepper Fries. These waffle fries are topped with house made garlic Parmesan sauce and fried long hots. The toppings are also available with tater tots. Tater Tots have been on Mom’s menu since they first opened. They’ve got some very creative twists for their tots too. We really enjoyed the BBQ Tater Tots which are tater tots drizzled with house-made chipotle cream and sweet spicy BBQ sauce. Both these tots are vegan and toppings are also available on waffle fries! And of course you can’t forget Mom’s Pierogies with a side of sour cream or applesauce.

For the larger plates the Pickle Fried Chicken Sandwich has been extremely popular. This sammy is made with house pickled fried chicken with lettuce, tomato, red onion, and crystal hot sauce mayo on a Liscio’s roll. There is also a Cajun Blackened Chicken Sandwich with blackened chicken breast with lettuce, tomato, red onion, cheddar, and house made cherry pepper sauce. These both can also be made in a vegan version.

Other favorites are the Chubbsteak Wrap with 8 oz. steak with cheddar, tater tots, onion, mushroom, and house-made sriracha ketchup in a flour tortilla wrap. The Honey Sriracha Fried Chicken Wrap has honey sriracha fried chicken with cheddar, red onion, banana peppers, lettuce, and house made cajun lime sauce in a flour tortilla wrap. Both of these wraps are available in a vegetarian version.

Tattooed Mom’s is also serving up brunch! Try the Chubby-Changa which is a monstrous deep fried Philly 8 oz. steak and egg wrap with tater tots, american cheese, fried onions, mushrooms and house-made sriracha ketchup. The Breakfast Bomb Pita is also extremely popular. Made with a personal size pita pizza with 2 eggs, tater tots, cheddar cheese, fried onions and mushrooms. Of course there is also Mom’s Brunch Burger. This juicy 7 oz. burger is topped with bacon, american cheese, fried egg, fried onions, lettuce, tomato and house made sriracha ketchup. Its also available with a vegan burger and veggie bacon.

There is aways something great happening at Tattooed Moms. Tomorrow Tuesday April 4th at 7:00 pm there is A Stranger Sound: Transgender Coming-of-Age Performance.

Arising from Berlin’s queer party scene, A Stranger Sound is a dark yet affirming transgender coming-of-age story. Through music and poetry, the show leads audiences to journey through “gender dysphoria and chemical ecstasy // chemical dysphoria and gender ecstasy… And glamour as a survival strategy. Witness Darling Fitch during the only Philadelphia stop on their American tour, bringing an honest account of queer space: community, self-discovery, safety… But also addiction, escapism, narcissism, abuse, and self-harm.

With performances throughout Fitch’s first year of testosterone therapy, accumulating changes become evident, particularly through the juxtaposition of live/pre-recorded vocals. A Stranger Sound tells an ongoing story, physically and thematically revealing the ever-shifting nature of life. The show is FREE. There will also be $1 all beef or veggie bean tacos and $2.50 Tecates all day.

Monday to Friday stop by 5-7 pm and 10-11 pm for half off all draft beers. All our vegetarian and vegan followers will rejoice in Meatless Mondays which offers half-priced on all of the veggie menu till 10 pm. Taco Tuesday has $1 beef or vegetarian bean tacos with $2.50 Tecates. Burger Wednesday has $4 burger and vegan burgers till midnight with $2 Gansett Lager. Thursdays you can grab 50 cent pierogis till 10 pm! And every Sunday is Arts & Crafts which are great for the whole family! Enjoy half priced tater tots and $2 PBR. And Tattooed Moms delivers via Postmates.

Tattooed Mom This year, the legandary Tattooed Mom of South Street celebrates their 20th Anniversary! Robert Perry is the madman behind this 2 story bar and restaurant known for its bright and graffiti covered walls, as well as an extensive vegan menu.

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