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BRASK ART BLOG
Friday, September 11, 2009
Saturday, September 05, 2009
Friday, September 04, 2009
Dan Attoe
EVERYTHING STARTS AS SOMETHING YOU DON'T UNDERSTAND
All my paintings and neon come from a process of creating a new image every day. For seven years I did a painting every weekday, now I do daily drawings. This is partially out of respect for all of the people I know who work regular jobs, because I don't consider myself different from them. It's also partially out of an enjoyment of the freedom I have in my practice and a desire to push myself and see what I can come up with next. Finally, it's because I have an interest in maintaining a record of my intellectual development, for myself, and for anthropological purposes.
As part of my commitment to all of these things, it's my opinion that honesty plays an important role in choosing the images I make. What I take to be "honest" is a matter of paying attention to things that I'm genuinely interested in. To me this means listening to my biological and intellectual needs without worrying about looking socially unacceptable, smart, out of touch or pandering to my conscience. From any given series of ideas to draw or paint, I'll choose those that have a certain "electricity" to them, that hold my attention and get me excited or engaged.
In order to maintain vitality my process has to remain flexible. I can't hold myself to any one line of thought, a style, or subject matter. At the same time, I'm a slow learner, and there are certain things that seem to be limitless in their value to me, such as: wilderness landscapes, sex and violence. These particular subjects are due to things I imprinted on in my rural childhood, things I have attraction to as a male human and things related to social and cultural anxieties.
At this point in the evolution of this daily process (I'm about at the twelve year mark) most of the images that hold my attention come from a place that is best described as "peripheral". These are things that my deliberate mind is a little too dumb to run into on its linear path, but it can sometimes help out. Often, it's hard to recreate these images because it's like they're in the corner of my eye, and if I look directly at them, they change shape. Sometimes, I watch them roll through my head right before I go to sleep.
Almost all of my images are entirely invented. I only use photographs or other source materials as reference (in most cases), the way a writer would use a dictionary. It's my belief that invented images contain more nuanced information related to development. In addition, there's a pure rush of excitement that comes from making an image that didn't exist in the world before.
Over time, these peripheral images have gotten more complicated. Things like atmosphere, depth, dimension and details in character of people and places have gotten more specific and increased in their range of complexity (some of them are still pretty simple). The result is that I've broadened the spectrum of art that I look at to inform my painting. My painting process owes much to early American artists like Thomas Moran, Frederic Edwin Church and Albert Bierstadt, as well as other "traditional" painters like Frederic Remington, Caspar David Friedrich, Edward Hopper and Andrew Wyeth. I feel a huge respect for their facility with paint, and I respond to their ability to create an environment and convey character.
Of course, the meat of my work is actually very little about standing on these men's shoulders, or even about relating to the art world at all. Far more important to maintaining vitality and "usefulness" to myself, and anyone else who may be interested in the development of someone from this time and place is the part of my process that I call "Field Research". By this I mean just going out and participating in the world the way a guy my age, of my upbringing, who lives where I do, would. This part of my job is pretty hard to do wrong. I just get to do the things that I want to do: hiking, surfing, taking road trips, spending time with friends, etc. The things that set my work apart from someone such as Thomas Moran, other than my interests (some might say quality), are in many cases simply products of my time: I can travel places in shorter time than he could, I have access to technology that allows me to see the world in different ways, maintain dialogs with many people easily and offer insights into things that might never have occurred to me otherwise, I also have an awareness of the changing of the world socially and environmentally ˆ all of this contributes to the sensibility of my work. I understand that the information in my work will be received in varying degrees by different viewers, but I hope that some usefulness can be obtained by anyone.
Peres Projects
Thursday, September 03, 2009
MICHAELA EICHWALD:
MICHAELA EICHWALD: The Classical
6 SEPTEMBER - 4 OCTOBER 2009
OPENING SATURDAY 5 SEPTEMBER, 6:30 - 8:30 PM
Michaela Eichwald is a German artist based in Berlin. For her first solo exhibition at Vilma Gold, Eichwald will present a series of new paintings and sculptures.
“Although Michaela Eichwald has been an artist, writer and protagonist of the Cologne art scene since the 1990s, it is only relatively recently that she has begun to venture regularly into gallery spaces with her multi-disciplinary work. Her neo-bohemian bricolaged sculptures and small, cultivatedly naive ‘bad’ paintings suggest life beyond their simple means. The artist’s New York début show, ‘Ergriffenes Dasein: Artist Writer Mentalist’, included such reconfigured found objects as metal Tchotchkes rescued from an incinerator. Sculptures such as Neues aus dem Ahrtal (News from the Ahrtal, 2008) – made from resin poured into a bag filled with found objects such as a watch with no face, a bunch of mussels, pills and coins – suggest that her wit-filled works are part quirky time capsules and part subjective anti-monuments.”
Dominic Eichler, Frieze Art Fair Yearbook 2008-9
Eichwald's recent solo exhibitions include Total Awareness Of All Dimensions (Dimensions Variable) at the Aachener Kunstverein (2009), Reena Spaulings, New York (2008) and Europian Kunsthalle c/o Ebertplatz, Cologne (2008). She has exhibited widely in museum group shows including Kunsthalle Exnergasse Vienna (2008), ZKM, Karlsruhe (2008), White Colums, New York (2008), Museum of Contemporary Art, Miami and Henry Art Gallery, Seattle (2007), ICA Pennsylvania, Pennsylvania and The Power Plant, Toronto (2006) and Künstlerhaus Stuttgart, Stuttgart (2006).
Vilmagold
Wednesday, September 02, 2009
Tuesday, September 01, 2009
I Don?t Believe You, It Used To Be Like That And Now It Goes Like This
LIKE THAT AND NOW IT GOES LIKE THIS
Curated by Ingrid Chu and Savannah Gorton
Forever & Today, Inc. is pleased to present I Donʼt Believe You, It Used To Be Like That And Now It Goes Like This, an exhibition by Danish artist Jasper Sebastian Stürup including three new works created specifically for the exhibition as well as a free artist book edition. Autobiographical elements not only link the works on view together, but point to a critical juncture in the artistʼs practice.
The large ink on paper drawing, It Used To Be Like That And Now It Goes Like This (2009), depicts a hallucinogenic montage of stacked objects and figures appearing like totem poles that allude to sculptures made of differing hard and soft materials. Among the varying forms are a continuous metamorphosis of cacti, faceless disembodied heads, frozen water, an abstract fur shape served on a plate, a cooked soufflé, a rabbit, mushrooms, diamonds, emanating rays of sunlight, and the artist himself in the act of drawing. Didnʼt Anybody Tell Her (2009) is a short video of cherry blossoms floating along the gently rippling waves of the Sumida River that runs through central Tokyo. This momentary transition of time and place during the artistʼs travels is touched upon in a simple and visually abstract manner, as points of light glint upon the petals in the water, creating dancing lines and stars. The small fur sculpture displayed under a glass dome, Came So Far For Beauty (2009), was created from the fur collar of a winter coat formerly worn by Stürup. Relating to the transformation of a foxʼs fur from a living creatureʼs coat to adorning a collar and ultimately becoming an artwork, the preciousness of this exquisite remnant and its uncanny appearance as a fetish-like object is preserved for contemplation. Significantly, a parallel reference is made to the artistʼs own journey of departing his home country in Scandinavia to reside in New York.
JASPER SEBASTIAN STÜRUP (b. 1969, Denmark) relocated from Copenhagen to New York in early 2008. Stürup received his MFA degree from The Royal Danish Academy of Fine Arts in Copenhagen in 1999, and in addition to his work as an artist, he has self-published over 20 artist books since 1994 through Fluens Forlag (The Flyʼs Publishing Company). Stürupʼs recent solo exhibitions include Horsens Konstmuseum, Horsens, Denmark (2008). Group exhibitions include CCAA, Tokyo, Japan (2009); U-Turn Triennial, Copenhagen, Denmark (2008); Helsinki Biennial, Helsinki, Finland (2008); Friendly Fire independent publishers area of the NY Art Book Fair, New York (2006, ʼ07, ʼ08, ʼ09); Art Basel, Basel, Switzerland (2007); Museum of Contemporary Art, Skopje, Macedonia (2006); Library of Alexandria, Alexandria, Egypt (2006); Sixth Sharjah International Art Bienniale, Sharjah, UAE (2003); Carnegie Art Award, Reykjavik Art Museum, Reykjavik, Iceland (2002); Tenth International Print Triennial, Finland; and Malmö Konstmuseum, Malmö, Sweden (2001).
FOREVER & TODAY, INC. is a new non-profit initiative that is a sponsored organization of the New York Foundation for the Arts. Currently inhabiting a 100 square foot storefront on the cusp between New Yorkʼs Lower East Side and Chinatown, Forever & Today is a mere thumbprint on the ever-expanding demographic of contemporary art that offers a unique set of circumstances for artists to create new work and engage the public.
Forever and Today
Gilbert & George
The Baronian_Francey gallery has the enormous pleasure and honour of announcing the exhibition of works from the latest series to date by Gilbert & George: Jack Freak Pictures.
In this latest series, which contains the largest number of pieces so far, Gilbert & George continue to explore themes that have been precious to them for a number of years. For them, everything concerning life is a potential subject for their art. In these recent works they have continued to break down the rules of social propriety with a calmness and a detachment that are very English.
In these images, the English flag, the map of the district of East London (Fournier St.) where their studio is located, trees, graffiti and medals are all subjects from which they draw an intriguing and universal narration. As very often happens in their work, the artists are once again protagonists of the pieces. Their faces and their bodies appear in numerous images. Thanks to computer processes they are represented in a stylized and often distorted way in a metaphor of human beings attached to their social, religious and sexual norms. Some of these new pieces make the images explode into fragments before melting them down again into new fascinating kaleidoscopic shapes mixing the monstrously grotesque with an ornamental jumble reminiscent of sacred art.
Gilbert, born in 1943 in Italy in the city of San Martino, and George, born in 1942 in Devon, England, met in 1967 in the sculpture courses of Saint Martin’s School of Art at Oxford. For more than 40 years, they have lived and worked together in London, the two making up a single artist, Gilbert & George.
In 1969 they created their first Singing and Living Sculptures in which they were simultaneously subject and object, refusing to separate their performances from their everyday life. By this act, they revolutionized the very practice of sculpture.
The first black and white photographs appeared at the beginning of the 1970s: large photo-montages consisting of panels geometrically divided into rectangular boxes defined in black in the style of stained glass windows. It was these photos that brought them international renown.
Around the end of the 1970s, they decided to introduce the colour red into them, and in the 1980s the colours evolved, as yellow, pink and blue made their appearance, while the imagery became more complex and the levels of meaning multiplied. These photos generally contain portraits of the artists themselves and are an opportunity to turn taboo subjects such as sexuality, race, religion, national identity, politics, etc. into irony.
During the last few years their retrospective has travelled in Europe and the United States, from the Tate Modern in London to the Brooklyn Museum of Art in New York, appearing also at the Haus der Kunst in Munich, the Castello di Rivoli in Turin, the Milwaukee Art Museum, the de Young Museum in San Francisco, and the Philadelphia Museum of Art. In 2005, they represented Great Britain in the Biennale of Venice.
Baronian_Francey Gallery
Monday, August 31, 2009
SONG HONG
Welcome to the opening of the exhibition SONG HONG by Pham Ngoc Duong (VN), Le Huy Hoang
(VN), TSC Tempest (AUS), Karoline H. Larsen (DK) , Henrik L. Jørgensen (DK), Ursula
Nistrup (DK), Bettina Camilla Vestergaard (DK), Daniel Svarre (DK).
HANOI FUTURE ART
HOUSE 64. LANE 310. NGHI TAM. TAY HO. HANOI.
Open from 4. - 18. September 2009.
Wednesday to Saturday 14:00 - 18:00.
Hanoifutureart
FINE LINES – NEW WORKS BY COPE2
FINE LINES – NEW WORKS BY COPE2
FINE LINES
The tag, also referred to as handstyle, urban calligraphy or ‘writing’, is a personal statement or signature: an expression of identity. The work of many artists starts and ends with the tag. For some the tag represents the basis from which they developed their style into less abstract art forms. For many of these artists tagging is a relevant part of their work, others' entire message is contained within their tag. Reaching across culture, class and age, the tag is a global art form: a pure form of self expression and style. Originating in Philadelphia in the 1960s and New York in the early 1970s, other isolated styles also developed independently including the pixação style in São Paulo. The tag has, for the most part, been either ignored or openly reviled yet for decades it has laid the foundation for a number of related art forms which have developed from the streets to galleries worldwide.
Join us at Skalitzers as we present the first in a diverse series of shows exploring the role of tagging within the world of contemporary art.
COPE2
One of New York's most prolific writers, Cope2 has achieved international recognition over the past decade for his distinctive style. Born in the South Bronx he began writing in 1978. He developed his style in the subways and streets of the Bronx throughout the 1980s and 1990s, becoming a legend on the street both in New York and internationally. Cope2 crosses between art world, mainstream and street culture alike. Since first putting pen to canvas in 2000 as part of the historic Guernsey's ‘Graffiti at Auction’ event his art has gone on to be exhibited in galleries and museums both in the US and Europe. In recent years Cope2 has been commissioned by Time Magazine and designed shoes for Converse and Adidas. His work has even crossed into the virtual realm with appearances in video games 'Getting up' and 'Grand Theft Auto IV'.
This is his first solo show in Europe.
COPE2 (NEW YORK)
Born 1968, Bronx, New York
Lives & works in the Bronx, New York
SELECTED EXHIBITIONS & AUCTIONS
2009
'TKid x Cope2', M2 Gallery, New York
'Graffiti - Street Art', Millon & Associés Auction, Paris
'Street Art', Artcurial Auction, Paris
'TAG au Grand Palais', Gallizia Collection, Paris
'All that Glitters is Gold', McCaig Welles Gallery, New York (Guest Curator)
'The Sharpie Show', Crewest Gallery', Los Angeles
2008
‘Top of the Line’, The Showroom Gallery, New York (Guest Curator)
2007
‘The Walls Belong to Us’, New York
2005
‘Weapons of Mass Destruction’, Fifty24SF Gallery, San Francisco
2004
‘Cope2’, Defiance Gallery, Chicago (Solo exhibition)
'Tag the system', The Showroom NYC, New York
2000
Guernsey's, 'Graffiti at Auction', New York
Skalitzers
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