July 1, 2010

About Damn Time

pool2010flyer-via-bv

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 31, 2010

Bespoke vs. Velo

Bike porn from the book Velo: Bicycle Culture and Design and Bespoke: The Handbuilt Bicycle.

Bespoke: The Handbuilt Bicycle
Museum of Arts & Design
2 Columbus Circle (SSE Corner)
New York NY 10019 [map]
212 / 299-7777
May 13, 2010 – August 15, 2010

Bespoke-at-MAD-10-via-PSFK

Via Designboom, Coolhunting, PSFK, DB again & Gestalten; click image for original source.

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bespoke003-via-designboom

velo01-via-designboom

Bespoke-Bicycle-MAD_NYC_18-via-PSFK

velo-1-via-gestalten

bespoke6-via-coolhunting

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Bespoke-at-MAD-01-via-PSFK

velo-2-via-gestalten

Much more after the jump: Read the rest of this entry »

Filed under: Biking  · Tags: , , , ,

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May 23, 2010

Tiny Vices

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

tinyvices_tim_barber_iggy

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May 20, 2010

Imagery

Like Images… but, you know, ending with “-ry” instead of “-s”

http://tinyvices.verbsite.net/__data/tinyvices_andrew-kuo.jpg

  • Andrew Kuo’s “My Wheel of Worry, May 2010″ (Tiny Vices via TWBE)

cremaster-cycle-via-ifc

matthew-barney-bjork-marina-via-moma-flickr

paco-blancas-participating-in-the-artist-is-present-via-flickr

lichtenstein-at-gagosian-via-arrested-motion

When we think of still lifes, we think of paintings that have a certain atmosphere or ambience. My still life paintings have none of those qualities, they just have pictures of certain things that are in a still life, like lemons and grapefruits and so forth. It’s not meant to have the usual still life meaning.

–Roy Lichtenstein.

Roy Lichtenstein
Still Lifes
Gagosian
555 W 24th St (at 11th)
New York NY 10011 [map]
212 / 741-1111
May 8, 2010 – July 30, 2010

Banksy_NYC_2010-via-animal

Read the rest of this entry »

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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.

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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-on-fire-at-eli-klein-0

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.

liu-bolin-on-fire-at-eli-klein-1

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.

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Click images for larger versions.

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

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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

liu-bolin-on-fire-at-eli-klein-6

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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.

nyt-angier-skulls

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:

Classic.

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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http://static1.slamxhype.com/wp-content/uploads/2010/04/michael-joo-damien-hurst-have-you-ever-really-looked-into-the-sun.jpg

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Faile-Bast-Deluxx-Fluxx-NYC-via-TBWE

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maya-lin-what-is-missing-video-still-via-designboom

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http://www.designboom.com/cms/images/rid09/zaaa07.jpg

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http://kitsunenoir.com/blogimages/mwm-crystals-lasers-1.jpg

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http://theworldsbestever.com/blog/wp-content/uploads/2010/04/Whistlers-father.jpg

12.

deadoralive-mad-animal

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marina-abramovic-made-me-cry

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shepard-fairey-mural-houston-bowery-deitch-via-arrested-motion

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http://www.archdaily.com/wp-content/uploads/2010/04/1271684823-0032686-488.jpg

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http://www.hypebeast.com/image/2010/04/dqm-2010-spring-lookbook-15.jpg

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doug-mike-starn-big-bambu-met-roof-garden-flickr

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Read the rest of this entry »

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April 17, 2010

Google Art

ken-solomon-google-painting-ed-ruscha

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—

http://arrestedmotion.com/wp-content/uploads/2010/04/p1070053.jpg

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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os-gemeos-ilovegraffiti

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

os-gemeos-mural-at-bowery-houston

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.

http://animalnewyork.com/wp-content/uploads/2010/04/Houston_Street_wall_buffed.jpg

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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boogie-trueslant

A nice interview with Serbian photographer Boogie. (True Slant)
Read the rest of this entry »

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April 8, 2010

Too Much, Too Much

logo3

Pitchfork has just announced the final lineup for their wildly successful eponymous music festival, and it’s pretty much an indie kid’s dream come true: Liars, Wolf Parade, Major Lazer, Beach House, Why?, Big Boi, Robyn, and several other independent music luminaries will be playing across three days in Chicago come July, alongside previously-announced headliners Pavement, LCD Soundsystem and Modest Mouse… not to mention the likes of Broken Social Scene, Panda Bear, Raekwon, Titus Andronicus, Dâm-Funk, Sleigh Bells et al.

Prepped-out Malkmus

Prepped-out Malkmus

Liars stole the show in 2006—they’re easily one of my favorite live acts—and Stephen Malkmus was a highlight in 2007, but Pitchfork has really outdone themselves for the fifth time around. Honestly, the lineup is basically too stacked at this point (if the previous run-on paragraph is any indication), an extreme case of ‘festival oversaturation’: there’s simply no way that one would have the opportunity to see every single band he or she wanted to see.

liars2006

Liars' Angus Andrew shredding

Related: Liars, St. Vincent (also playing this festival this year) and ’fork fest veterans Os Mutantes covering INXS for Beck’s Record Club (Stereogum); Awesome interview with Angus from Liars (Motherboard); LCD Soundsystem dates for what may or may not be a final tour (BV).

Shameless self-promotion, because it’s been a while:

» The Purple Ribbon Allstars – Kryptokraft 400 (K Hessel’s On It) (3:42) – 6.6MB mp3 @ 246kbps

» Das Racist – Combination Pon de Floor and Wallpaper (K Hessel’s Mas Lazer Mashup) (3:27) – 7.9MB mp3 @ 320kbps

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April 7, 2010

Images

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