May 7, 2012

I, Salone

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July 1, 2010

About Damn Time


The most obscenely hipster shit ever:

via Brooklyn Vegan, as always…

Plus: PS1′s Warm Up lineup (finally) announced, also pretty decent as far as I’m concerned…

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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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March 28, 2010

Gonz Sale

» Coconut Records – West Coast (3:30) – 5.2MB mp3 @ 204kbps


via DQM

Skateboard prodigy / creative polymath Mark Gonzales is holding a studio sale on Monday, featuring “Original Drawings + Skate Tees + Zines + Videos, DVDs and Much More.” I imagine it will attract the same crowd that constitutes the line outside Supreme when they drop new gear every season (the skateshop’s Soho outpost is actually just around the corner).

I wanted to appear like a dancer but not too feminine. The fencing uniform shows your body type but also means business.

–Mark Gonzales

Jocko Weyland profiled the Gonz for the New York Times a couple years back (with a further explanation of the above video). Weyland also happened to write a nice series of essays about China/Beijing for Vice.

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March 18, 2010

Ryan McGinley – "Everybody Knows This Is Nowhere"

Jack Siegel for Interview Magazine

The opening reception for Ryan McGinley buzzy solo show, “Everybody Knows This Is Nowhere,” is sure to be a shitshow.

The exhibition features nearly a hundred portraits of the lithe, alternative and largely anonymous youth that seem to be McGinley’s favorite subject.

Ryan McGinley
Everybody Knows This Is Nowhere
Team Gallery
83 Grand Street (at Greene St) [map]
New York NY 10013
March 18, 2010 – April 17, 2010
Opening Reception: Thursday, March 18, 6pm

UPDATE: Arrested Motion has photos from the opening; T Magazine has a video.

Also, gay porn star Bruce LaBruce interviews Karl Lagerfeld for Vice.

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March 12, 2010



Eyebeam’s MIXER event series continues this weekend with an Olympic-themed art and design marathon. The Chelsea art + technology hub will host Benton-C Bainbridge, CHERYL, Conveyors of Misguided Hits and Misses, Double Happiness, Erik Fabian, Jeff Crouse + Aaron Meyers, NYC Resistor and Stephanie Rothenberg + Scott Kildall, as well as Tanlines, Maluca and Justine D for late-night music performances.

Full press release here.


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February 19, 2010

Tonight: Flux or Flag?

(at least) Two openings tonight. Click images for more details.


Flux Factory
39-31 29th St (at 40th Ave) [map]
Queens NY 11101
On view Saturdays & Sundays through March 21, 2010
Opening Reception: Friday, February 19, 8pm-2am


Size Does Matter
curated by Shaquille O’Neal
Flag Art Foundation
545 W 25th St, 9th Fl (at 11th Ave) [map]
New York NY 10001
212 / 206-0220
February 19, 2010–May 27, 2010
Opening Reception: Friday, February 19, 6-8pm

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February 9, 2010

All Gone Release Party @ Reed Space


Although All Gone 2009LaMJC‘s annual compendium of “The Finest of Street Culture”—has been out in Europe for about a month now, the coveted tome is finally coming stateside to party.

This year’s edition and previous installments can be perused in their entirety in a web-based viewer here.

The Reed Space is playing host to the much-anticipated streetwear event.

All Gone 2009 Release Party
The Reed Space
151 Orchard (at Stanton) [map]
New York NY 10002
212 / 253-0588
Saturday, February 13, 7-10pm


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January 26, 2010

"Man in the Mirror" at powerHouse Arena

» Lindstrøm & Christabelle – Baby Can’t Stop (6:11) – 14.2MB mp3 @ 320kbps

“Baby Can’t Stop” has the staccato horn and guitar parts, and the casual effervescence, of a track from “Thriller.”

Nate Chinen, The New York Times

Bonus Beats: Dre Skull – I Want You Back (4:40) – 11.2MB mp3 @ 320kbps – hipster DJ staple if there ever was one.

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