Tuesday, August 31, 2010
These are 3 of the lamest graffiti works I've seen. Blogs were the source for the images and there were many better choices to go with when I checked out the blog sites. For those that live in or visited either NYC, LA, or London you know they have way better works than what there 3 pics shown here. Why only 3 to begin with anyway? There are several other countries around the world that have a thriving graffiti scene that would allow this post to at least feature a top 10. This article could have been way better.
Read the Article at HuffingtonPost
Friday, August 27, 2010
The photographs of city lights were beautiful and simple on their own. However, the "connect the dots" aspect of the work made it seem immature. The result just looked like an extended glares from street lights. James' created the lines by drawing on a glass clamped to the camera lens. Interesting technique.
Even though the end results weren't moving, as a New Yorker, the purpose of this series of works is not lost on me.
|(c) James Holland "Would You Asterism"|
Tuesday, August 17, 2010
Can you imagine capturing that feeling in a painting? Matt Klos is capable of doing just that.
When moving his family into a house that had already been part of the family's, the option was presented to toss anything that wasn't needed. Most items that weren't being used were moved to the basement which has enough room to serve as a studio for Matt.
The initial glance at the postcard promoting the exhibit first struck me as stuff that he painted. Stuff put in a basement or garage somewhere. Instead, there was an experience awaiting me once I entered the gallery.
My brain wasn't trying to figure out context or try to make sense of what it was seeing. Looking at the work was an experience that brought my mind to a place where no thinking was needed.
|"Treasure Chest" (c) Matt Klos http://www.mattklos.com|
The viewer wasn't just looking at a painting of something but rather experiencing it (I know right...how many times am I going to say that). How did he do that? I think it was because he was painting things that had a personal meaning to him. It wasn't just stuff. If the objects could speak, they would have a story to tell. Each has a past and had a purpose. Matt is skillful enough to capture that essence in his work. Very well done.
Check out the work on Matt's website http://www.mattklos.com to see more of his intimate work.
Matt Klos' "Keeping Things" exhibit on view until August 21st, is at the Prince Street Gallery located at 520 West 25th street, 4th floor.
Friday, August 13, 2010
|For this and other pics from the opening reception, visit:||http://ccnyc-events.blogspot.com/2010/08/eyecon-cept-nyc-great-success-amazing.html|
Josama's painting technique can be described as 'rough around the edges' where a fair amount of dry brushing creates a cray-pas look and feel. It is quite interesting and shows how versatile oil paints are. With this technique Josama uses, he enhances the feeling of the streets.
In the world Josama created for the viewers, he makes it more enjoyable place to be...well maybe not so much. In bodegas, subways, on building stoops and street corners, Josama includes the imaginary characters children in these environments escape to via their television.
In one painting, there are Care Bears passed out in a subway car. In another Mickey Mouse looks to be falling down the stairs after drinking too much. A shoot out in front of a store involves Bugs Bunny in another painting of Josama's. Then Tom from "Tom and Jerry" is wielding a knife above the head of Pink Panther.
Seeing his work was certainly an experience. His work is fun, disturbing, rough, affordable and certainly memoriable. Check it out if you can either by visiting the gallery or visiting his website (http://ripjosama.com).
Tuesday, August 03, 2010
Overall, I saw work that certainly had me questioning
What can be considered "art"??
I feel that as an artist
I 'should' be able to connect with other people's creations.
Though there will always be people that don't get it, love it, or don't care for it. That experience between the outside world and your creation is another aspect of art.
Art can make us feel, be it inspiration or frustration.You and I complete the piece.
Saturday, July 24, 2010
Aight New Yorkers, ya'll know graffiti when you see it with tags and characters. This exhibit at Benrimon Contemporary takes the appreciation and beauty of its work to a new level. The work will be up until August 10, 2010.
Now when I walked outside after viewing the show, there was a couple that asked me about what exhibit was being shown. I tried to sell it but not everyone understands or wants to appreciate graffiti. Whether you think you do or not, there is no harm in checking it out. Either you will gain an appreciation you didn't have before or be further impressed with the kind of work that can be done with an aerosol can.
Featured are pieces by PNUT, Cap1, Stayhigh149, Noc167, Richard Hambleton among others with tribute to Keith Haring and Jean-Michel Basquiat. Stayhigh149 has a NYPD ticket dated 1969 proving that he is one of the founders of bringing street art to the masses.
On their blog http://1hundredb.blogspot.com/ or flickr page http://www.flickr.com/photos/1hundredb they also have pics from opening night with the numerous artists it includes. I included an example where it looks like the event was a nice chance for the artists to show appreciation for each others work and for fans to meet in person the mysterious artists who's work they've only seen on the streets.
Mario is an awesome guy and this is an awesome show. When I walked in 2 days after the opening (which had over 1,000 people) , I could still smell the fresh paint from a live installation (subways doors included ;)) done on one of the gallery walls. He pointed out that while looking at the tags on the mural, it may look like a mess at first, the taggers respect each other's space. If by accident someone writes over someone else's tag, the offender would write "Sorry" to the other person..
We talked about how the form of art has become one more thing to issue fines or jail times for. Some parts of Europe are turning into what NY was in the 70s and 80s, as NY artists seek places around the world to express themselves.
Artists now are now using stickers to leave their mark.
Now advertisers are leaving their mark on the subways. $$$$$$$$$$ (To the MTA that if given all the money they would need to get out of their convenient deficit, would still have NO IDEA how to manage their money. Honestly I feel if business students took on the MTA finances, they would have it solved in a semester)....but anyway.
Monday, July 19, 2010
The show was curated by Omar Olivera, a native Brooklynite now residing in Queens and part of the Central Booking team. He also included a piece in the show that made pixels fun and colorful. Most of us encounter pixels when we enlarge a picture too much, taking something we are familiar with and turning it to a nearly unrecognizable and grainy image. Omar
While I described pixels as taking a picture and enlarging it, the way Omar approaches the use of pixels reminds me of the Impression style of painting. The technique used with Impressionistic work is that colors aren't blended perfectly, the human eye is a part of completing the illusion. So while the colors in a painting can, from a far, appear to be blended well, when you get up close, you see the brush stokes and the separate colors of paint. Omar celebrates those stokes and colors.
Part of his work includes a light box and several patterns of pixels printed on transparencies, a way for the audience to experience layering pixels and allowing the eye to blend the colors together. Another part of his piece took up an entire wall of Central Booking Art Space which was pretty much a large painting of pixels.
Another work that caught my attention was several dozen drawing on paper each hung by a silver binderclip on a horizontal line along a wall. The drawings were very neat with clean lines and hardly showed any erasures. The drawings did not seem connected to one another. Part of the experience was just the act of thumbing through them wondering what was going to be seen next.
Saturday, July 17, 2010
Wednesday, July 14, 2010
Most of the work artists have on the walls of their homes are done by their friends. Obtained either as gifts or as part of an exchange.
Tom claims to have over 50 pieces of art which drew "Wow's" from the audience of about 40 enthusiasts.
For Kamrooz, friends of his that aren't painters usually are photographers so he has works of theirs on his walls. Also he likes to pick up early works of artists as he takes an interest in seeing how their work changes over time.
Liz mentioned that she has a self portrait a friend of hers did while they were in grad school together. (Liz went to Tyler School of Art, Philadelphia). She also has images of dogs and horses.
For Ryan, the idea is usually set in mind. Tom put an interesting spin saying that art is one type of documentation that is allowed to be correct. Very good point. It can stir controversy but noone can argue that the artist's view is incorrect.
- Your thoughts on the divide between ideals and evidence. What you want to convey versus what you see.
- Inventing work with its own internal logic or leave something for the audience to grasp?
- Do you have more in common with conceptual or abstract style?
- Do your paintings surprise you?
- Discuss source material as it relates to your work.
- What musician or band has influenced your work?
Monday, July 12, 2010
So back to painting. When it comes to totally abstract work, it's mostly a miss for me. If you appreciate some structure, like myself, please raise your hand.
Even with my own work, my 'abstract' paintings aren't full blown
type of abstract. Just that it's lacking something to recognize within the painting. I'm thinking it through though as I go along.
I started thinking about this when I had a reaction to some works in a gallery I visited recently (neither gallery nor artist will be named). My reaction was to tell the world that those paintings were a piece of crap. Random sh*t on a canvas doesn't do it for me though a Jackson Pollock, for example, would.
The creation of a Pollock work is like a workout as he is always moving around the canvas. Sometimes he would think about where the dribble of paint or brush stroke would be and of what color and sometimes he would just let the drops fall as they may.
However there are works, mostly on a small scale, that look like complete crap and is taking up valuable gallery wall space. It's one thing if a kid in kindergarten is just playing around and it might be cute if you know the kid. Yet if someone who considers him/herself an artist is just smearing paint on canvas, I just want to hang my head. Was the artist pressed for time so they threw something together? It's something I personally can't make sense of.
Me, however, will continue to put thought into what I paint and how it's painted. Everyone is welcome to like, love, hate, or not care as they will.
Saturday, July 10, 2010
AWESOME stuff Ceres. Hopefully artists in any career and creative part of their life can also appreciate what you're doing.
The work that were shown at this exhibit was wide-ranging in size, subject matter and techniques. The work from their member artists here: http://www.ceresgallery.org/artistmain.htm
One portion of the gallery space featured work by Dare J. Boles Lot of Women. One of the 16 she has on display is shown here.
Dare is a mixed media artist using patterns, pictures of faces and objects, as well as textures to create layers in her work. Without the use of shadows, the work remains very much 2-dimensional. The pieces at this exhibit was no larger than 16'' x 20'' and all reasonable price ranging from $325 - 900. Huge difference from a non-profit versus a for-profit where you would see several more zero's on the price list (of course through the sale of work is how the galleries help to pay the rent).
She had an interesting mix of work all centered around what womens roles are within their respective societies. Her pieces spanned from African, Asian, Muslim, American, African-American cultures as well as several others. She adds "Historically, a woman's role in life has been determined by society." The same goes for the role of men.
In some societies these roles of care-giver are positions women are born into and perhaps not encouraged to think for herself while for others, it has now become a choice to have your purpose to be that of pleasing men or to be a housewife. One may feel that women in the world have come a long way to claiming independence as entrepreneurs, Presidents, Prime Minsters and choosing to be single mothers. In Dare's work, are the women in her work unfulfilled or content? From her pieces, I felt respect for those that have and have had these roles. IT just made me think about what I would be doing if I lived in the 1800's or even 800's.
Fortunately, I'm happy in my present.
Friday, July 09, 2010
Today I intended on going to only two exhibits in Chelsea. Given the HIGH concentration of galleries in that area, there is always to possibility of spending an entire afternoon or evening gallery hopping. For this evening, I ended my hopping with four gallery visits which were (ranked below from "eh" to "WHOA"):
- D’Amelio Terras [525 West 22nd Street]: Spray! thru August 13th
- Ceres [547 West 27th Street Suite 201]: Ceres Members Group Show thru July 17th
- Flomenhaft Gallery [547 27th Street, 2nd floor]: A Summer of Photography thru August 20th
- Priska C. Juschka Fine Art [547 West 27th Street]: Big Picture thru August 6th