May 23, 2010

Tiny Vices


» The Stooges – Fun House (Take 3) (11:29) – 10.52MB mp3 @ 128kbps


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May 8, 2010


A quick one before a brief break this weekend:





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May 4, 2010

Images: Super Deluxx Follow Up

More on the Images (below), as well as several new ones; as always, too much, too much. But seriously, how often do you see something like this.


Hyères, France, 1932 / Magnum

First of all, the Henri Cartier-Bresson exhibit at MoMA is really quite remarkable, and I echo Kottke’s rave review (he mentions the image above, which was the first of many that caught my eye).

What he excelled at was seeing things in a different way from most other people.

A Father of Modern Photography: A Hunter and His Prey, The Economist, April 15 2010

The retrospective has a personal resonance on several levels: I’ve become increasingly interested in photography, journalism and photojournalism in the past couple years; his photographs of early and mid-century China are vaguely nostalgic (probably because I recently spent a couple months living in Beijing with my grandparents, who lived through it); and I recognized HCB’s portrait of Sartre from a book cover.

Jean-Paul Sartre

Discovered while eating a turkey hoagie and contemplating the meaning of life at a roadside stand. Also, admit it: he’s cute as a goddamn bug!

–Mike Sacks, Famous Philosophers and How They Were First Discovered,
McSweeney’s, May 2010

(More on HCB at Vanity Fair via 3qd.)

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Liu Bolin at Eli Klein: an excellent show despite the blue-chippy crowd at the opening. It might be more of the same and it probably has a certain loaded cultural content that can only be appreciated as someone who has recently spent time in China, but I would still say that the pieces in On Fire are visually compelling even without the political subtext.


His works have been communicated via emails, blogs, magazines and journals on a massive scale.

Liu Bolin’s earlier Hiding in the City photography series, in which he paints himself into the urban landscape, was inspired by the Chinese government’s demolition of the Suo Jiacun Artist Village in Beijing in 2006. He drew attention to great landmarks in China, both old and modern, while highlighting the lack of recognition which was paid to the citizens that built them. He portrayed the tragedy of the increasing insignificance of the individual in China as the government focused on presenting a modern commercial and industrial image. Rather than trying to fight, people attempted to hide and adapt to these forced changes.

–Liu Bolin’s On Fire press release & additional images via Eli Klein.


Click images for larger versions.


索家村 – Suo Jiacun [Artist's Village] (apparently, Liu Bolin reps it); 中国当代 – Contemporary China


折 – fold, discount, break, bend, snap, lose, roll over, convert, rebate, twist, double up, be convinced, turn back, turn over, lose money in business, change direction, be filled with admiration, suffer losses (Google Translate)

Dude's shirt (bottom right) matches the photograph...

Dude's shirt (bottom right) matches the photograph...

Liu Bolin
On Fire
Eli Klein Fine Art
462 West Broadway (near Houston)
New York NY 10012 [map]
212 / 255-4388
April 30, 2010 – June 4, 2010


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I didn’t make it to the Scott Campbell opening, but it made it into other “emails, blogs, magazines and journals on a massive scale”: TBWE has a nice gallery of the work and the opening; OC has a gallery of the work itself; HB recap; Interview studio visit via HB; Terry stays relevant.

I did make it to Faile & BAST‘s DELUXX FLUXX NYC opening (after stopping by Liu Bolin), but my photos didn’t turn out so well. Again, you can find more/better coverage elsewhere.

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Keith W. Bentley - “Cauda Equina” (1995-2007)

Keith W. Bentley – “Cauda Equina” (1995-2007)

The New York Times has an interesting article on the kind of organic art that is currently on display at the Museum of Arts and Design.


Jan Fabre – "Skull" (2001); Fabián Peña – "The Impossibility of Storage for the Soul I (Self-Portrait)" (2007)

Of course, people have always used natural materials to make their art, for the simple reason that until recently nature was all they had, said Ellen Dissanayake, a scholar on the evolution of art [who notes that] from the beginning, art demanded transformation. “Even in hunter-gatherer societies, they tend to make their stuff look not organic,” she said. “When they’re painting, they’ll use geometric shapes, make a row of triangles or circles, as though to show humans are more than nature.”

As Ms. Dissanayake sees it, when people make art, or “artify,” they follow several “aesthetic principles,” whether they know it or not. “They simplify, repeat, exaggerate, elaborate and manipulate expectations,” she said.

–Natalie Angier, Of Compost, Molecules and Insects, Art Is Born,
The New York Times, May 3 2010

– (2008)

Billie Grace Lynn – "Mad Cow Motorcycle" (2008)

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I didn’t particularly regret missing the Shepard Fairey opening until I saw this:


Animal / TWBE

More Shepard Fairey and many more after the jump… Read the rest of this entry »

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April 29, 2010

Images: Super Deluxx Edition

Henri Cartier-Bresson's portrait of Sartre is currently on view in his retrospective at MoMA

Henri Cartier-Bresson's portrait of Sartre is currently on view in his retrospective at MoMA

As with his entire body of work, Sartre’s theory of imagination refers to—and, naturally, affirms—his ontology, in which he explores Husserl’s tenet that “all consciousness is consciousness of something” in the context of the ‘detotalized totality’ of being-in-itself / being-for-itself dualism. Sartre postulates an admittedly underdeveloped notion of image consciousness in his early work The Imaginary (1940), though these writings are largely eclipsed by his later political [viz. Marxist] proclivities; nevertheless, his theory of imagination is a sufficient foundation of a phenomenological aesthetics.

Notably, Sartre implies that the imaginary (or ‘irreal’) has the same ontological import as the real: if the real is never beautiful, it is simply because beauty is, by definition, imaginary, where imagination is a permanent possibility of consciousness. A painting, photograph, film, song, performance, etc., necessarily transcends perception—i.e. consciousness of oil on canvas, ink on paper, a projection, an actor, etc.—as an object of image consciousness, which overflows with the meaning of the portrait (etc.): a particular arrangement of brushstrokes or sounds immediately presents itself to consciousness as an image or melody. The abstract, then, is that which escapes us in experience qua perception; colors transcend pigment to conjure mood or geometry.

Hence, Images (in no particular order):



































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April 20, 2010

The Tallest Building On Earth

» Ratatat – Shempi (3:58) – 5.5MB mp3 @ 192kbps

“Shempi” is easily my favorite track from Ratatat’s LP3 and I’m a sucker for overtly arty, washed-out, high-contrast cinematography and hyperreal hypothetical urbanism/architecture, so this video basically has my name on it.


Bonus pic:


Homemade wildcat stencil

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April 17, 2010

Google Art


Ken Solomon
Josée Bienvenu Gallery
529 W 20th St 2nd Fl [map]
New York NY 10011
212 / 206-7990
April 8, 2010 – May 15, 2010

Jonathan Jones on Google Images as an art critic:

Green’s point is that Google has its own insidious “number one” works by these artists, which are automatically determined by the number of hits. But even if they are, does it matter?

It’s hard to argue, critically, with some of Google’s choices. Any picture researcher at an encyclopedia would be likely to go with Impression, Sunrise to illustrate Monet, or the aerial photo of Spiral Jetty to embellish Robert Smithson.

-Jonathan Jones, Can Google Gauge the Greatest Art?, The Guardian, April 12 2010

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April 14, 2010

The Art of the Streets, Pt. II

“You’re talking to a madman… Art for me is everywhere.” –Thierry Guetta

Too much, too much—

Full coverage & photos at Arrested Motion

Exit Through the Gift Shop premiere in L.A. I missed it in NYC… guess I’ll have to throw down $12.50 to see it at the Sunshine. (AM)

NYT’s review speculates about some kind of deeper meaning; NYMag’s interview with the Thierry Guetta aka Mr. Brainwash yields no answers whatsoever. UPDATE: Jon Reiss reviews Exit for HuffPo; GOOD has another bizarre interview with the filmmaker.

(Meta Alert) A sneak preview into the sequel, Exit Through the Garage Door. (SlamxHype)

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I Love Graffiti has a decent, if somewhat lengthy, interview with Os Gêmeos; worth checking out the photos for sure. (TBWE)


OGs doin' work last summer...

Apparently, the Brazilian twins’ awesome mural at Houston and Bowery is no longer: Animal reports that Deitch Projects has buffed it to furnish a blank slate for Shepard Fairey.

Os Gêmeos were also featured on an episode of W+K’s D.I.Y. America:

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UPDATE (4/15): Blek Le Rat studio teaser. (Wooster Collective)

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A nice interview with Serbian photographer Boogie. (True Slant)
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April 10, 2010

The Art of the Streets

A few days late on this one, but here’s a new trailer for Banksy’s Exit Through the Gift Shop.

The ever-quotable aspiring vandal / contrarian street artist / pop antihero also raps with the L.A. Weekly, dropping far too many pithy gems to quote here (Animal). Wooster Collective has gone so far as to set up a Facebook Fan page for the film.

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Plus: that dope shit from Krink (HB):

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Sail in Shanghai (NeochaEDGE / WC):

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And yet another fast fashion × Keith Haring collbaration (SlamxHype)

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April 6, 2010

Dirty Hands: The Art and Crimes of David Choe

via Hypebeast

David Choe has been refining his trademark fast & loose graffiti style for over a decade now, spinning murals, paintings and prints from his sometimes-lewd imagination with enviable technical prowess.

After discovering Choe in Juxtapoz, I had the chance to see his work in person two summers ago at Lazarides’ pop-up gallery at Houston & Bowery (the space now occupied by Keith McNally’s new hotspot Pulino’s). The London-based gallery’s is hosting Choe’s solo show Nothing to Declare—his first solo show in his hometown in six years—to inaugurate a temporary space in L.A. this summer. The show and the space are set to open on April 23rd.

Lazarides / Outsiders has an artist bio and a couple of older videos (above & below).

In addition to being a prolific artist, Choe also updates his site/blog regularly.

Clickthrough to the Zef Side if you dare (the tags are also a dead giveaway)…
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April 5, 2010

Olafur Eliasson × Ma Yansong at Beijing's UCCA

UPDATE: Designboom has an extensive gallery of decreasingly abstract pictures.


Danish-Icelandic art star Olafur Eliasson and Chinese architect Ma Yansong have collaborated on Feelings Are Facts, a site-specific installation currently on view in the ‘Big Room’ of the Ullens Center for Contemporary Art in Beijing’s 798 Dashanzi Art District (astute readers will note that a photo of the atrium of the UCCA is the background of IYK).


I’ll leave the description of the project to the nice folks at UCCA:

Basing this project on a series of previous experiments with atmospheric density, Eliasson introduces condensed banks of artificially produced fog into the gallery. Hundreds of fluorescent lights are installed in the ceiling as a grid of red, green, and blue zones. By permeating the fog, these lights create colored walk-through spaces that, in Eliasson’s words, function to ‘make the volume of the space explicit’. The colored zones introduce a scale of measurement in the gallery, their varying size and organization referencing urban-planning grids. At each color boundary, two hues blend to create transitional slivers of cyan, magenta, or yellow, and so the visitors will create their own unique color spectrum when making their way through this seemingly endless space. The artists use this structural marvel to present inquiries into the nature of reality. What should be the basis of our thinking and judgement in a space where reality and illusion interconnect? As we stand amidst such accomplished phenomena, can we re-examine with greater concern our sensations and experiences of that which is around us?

Feelings Are Facts press release


UCCA also has a bit of background info on the artists: I’m fairly well-versed in Eliasson’s oeuvre but I’m not going to pretend that I’d heard of Ma Yansong before. Another one to watch, I suppose.

Feelings Are Facts is the second time UCCA has had the pleasure to collaborate with the remarkable Ma Yansong, the first collaboration being the 2008 exhibition Christian Dior and Chinese Artists. An exceptional figure within the Chinese architectural world, Ma has managed to elude stereotypical classification and categorization. His work harbors a permanent element of surprise, capturing the viewer’s attention with an adept use of the most advanced materials and techniques to realize his bold architectural visions. His inventive architectural forms resemble organic even human-like entities, emitting undeniable life-like energy.

About Artists, Jérôme Sans, UCCA Director

Olafur Eliasson & Ma Yansong
Feelings Are Facts
Big Room
Ullens Center for Contemporary Art
798 Art District
No.4 Jiuxianqiao Lu [map]
Chaoyang District
Beijing, China 100015
+86 (0) 10 8459 9269 / 8459 9387
Through June 20, 2010

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