Category: Collage

Calendar. 09.21.10.


Scorched Earth, 2006, by Mark Bradford. Part of the artist’s solo residency exhibit at the Wexner Center for the Arts, in Columbus, Oh. Modern Art Notes has a story on the show here. He’s also giving away three catalogues of Bradford’s work. Nice! (Image courtesy of the Wexner.)

  • NYC: Another Green World, with Vija Celmins, Mathias Kessler, Gerhard Richter and others, at Carriage Trade, opens Wednesday at 6pm.
  • NYC: Geoff McFetridge, You Can’t Put a Hat on a Hole in the Sky, at Half Gallery, opens this evening at 6pm.
  • NYC: Alternative Histories, an examination of New York’s alternative art spaces, at Exit Art, opens Friday at 7pm.
  • NYC: Jeremiah Maddock, Daniel Trocchio & Amanda Wong, SeeNoEvilSeeNoEvilSee, at Factory Fresh, opens Friday at 7pm.
  • NYC: A reception and book signing for the group show The Four Eccentrics, at The Proposition, on the Lower East Side, this Saturday at 5pm.
  • NYC: Real Non-Fiction, the Third Annual Artists from the Registry Exhibition, at BRIC, in downtown Brooklyn, through Oct. 23.
  • Poughkeepsie: Sharon Butler at Kork, the 864 square-inch art space, inside the offices of Bailey Browne CPA & Assoc., through October. (Read more about Kork here.)
  • Pittsburgh: The Art of Structure at the Carnegie Museum of Art, opens Saturday. Yes, I’m an engineer’s daughter. And if I lived in Pittsburgh, I sure as shit would be checking out this show.
  • Chicago: James Marshall (Dalek) at Rotofugi, through Sept. 17. (Hustler of Culture.)
  • L.A.: Taryn Simon, Contraband, at Gagosian in Beverly Hills, opens Wednesday at 6pm.
  • L.A.: Mario Ybarra Jr., Nao Bustamante, the Pocho Research Society, and many others, in Chewbacca to Zapata: Revisiting the Myth of the Mexican Revolution, at Morono Kiang Gallery in downtown, opens Saturday at 6pm.
  • L.A.: Now I Remember, with Neckface, Todd Jordan, Jerry Hsu and many others, through Oct. 2. (Hustler of Culture.)
  • L.A.: Brit Paint, with Will Barras, Simon Birch, Anthony Micallef, and many others, at Carmichael Gallery, through Oct. 16.
  • London: Jason Rhoades, 1:12 Perfect World, at Hauser & Wirth, opens Friday.
  • France: Takashi Murakami at Versaille, through Dec. 12. Smoke up for this one.
  • Baden: Pipilotti Rist, at the Langmatt Museum, through Nov. 14.
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Calendar. 09.10.09.

Recycling Barge by Robin Michals, in Camera/Chimera. (Image courtesy of Gallery Aferro.)

  • In Newark: Camera/Chimera, curated by Ethan Ham, at Aferro Gallery in New York. (I participated in the making of this project! If you’re in NJ, check it out!)
  • In NYC: PEEP-O-RAMA, with Brent Birnbaum, Celso, Ian Farrell, Ryan Frank, LA2, Jose Landon, Danny Licul, Dean Radinovsky and many others, at AK-57 Gallery at 830 12th Ave, this Saturday from 12-4pm.
  • In NYC: Hanging Fire: Contemporary Art from Pakistan at the Asia Society, opens today.
  • In NYC: Andy Yoder, Man Cave, at Winkleman Gallery, opens Thursday at 6 p.m.
  • In NYC: I’d Like to Teach the World to Play…! with Dianne Bowen, Marcy Brafman and many others, at Brooklyn Artillery, opens Saturday at 6pm.
  • In NYC: Dain, Copasetic, at the Brooklynite Gallery, opens Saturday at 7pm.
  • In Miami: Grants and Commissions Program Exhibition at CIFO, featuring Miguel Amat, Gabriel Antolinez, Dora Long Bahia, Suwon Lee, Juan Carlos Leon, Oscar Munoz, Ricardo Rendon & Jose Ruiz, opens Saturday.
  • In Miami: Spit-Polishing a Starless Sky/Outer Space at Charest Weinberg, opens Saturday.
  • In Miami: Paul Pfeiffer, The Machine in the Ghost, at World Class Boxing, opens Saturday.
  • In Chicago: Amy Casey: Uncertain Times at Zg Gallery, opens Friday.
  • In L.A.: Ultrasonic International IV at Mark Moore Gallery, opens Saturday.
  • In L.A.: Chris Jordan and Laura Ball at Kopeikin Gallery, opens Saturday.
  • In L.A.: Anthony Lister, And Then the Wind Changed, at New Image Art, opens Saturday at 7pm.
  • In L.A.: Angelika Tronjnarski, After the Gold Rush, opens Saturday at 6pm.
  • In Santa Barbara: Jennifer Nocon, Bloodsucker, at Tracy Williams, opens Saturday.
  • In S.F.: Nicholas Knight, Taking Pictures, at Steve Wolf, opens Friday at 6 p.m.
  • In Paris: Uninhabitable? Art of Extreme Environments at the @art Outsiders Festival, through Oct. 11.
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The Digest. 05.04.09.


I learned to drive in a mint green ’67 Mustang. Here is John Schuh’s redo of the car company’s famous logo: Chrome, 2005. (Image courtesy of Schuh.)

  • Virus doilies.
  • That WSJ story about bloggers making all kinds of money for their clever wordsmithing? Like, totally bogus.
  • How David Zwirner knows he’s found an interesting piece of art: He asks himself, WTF is it?
  • Reporting on the art world is a very slippery prospect.
  • More evidence that Miami is totally nuts: Despite the fact that the entire state of Florida is in an economic crater, the city is allegedly proceeding with a $280 million museum park. (Arts Journal.)
  • L.A.’s drive-by art.
  • Curiouser and curiouser: A committee of apparatchiks at Brandeis have approved an art garage sale.
  • Museum acquisition committees see one recession benefit: cheaper art. Also: expect cheap deals at the spring auctions, which the NYT describes as having a “faint whiff of desperation.” And a story on catalogue shrinkage here. (Arts Journal.)
  • Details of the pay-cuts at the Getty.
  • Christopher Knight talks about how a video by Yoshua Okon is a perfect metaphor for our time. (Modern Art Notes.)
  • How to understand Tony Smith’s minimalist sculpture Die: Get a cat. And a box. Watch hilarity ensue. Seriously, this video is unbelievably rad.
  • The Cuchini, protecting young women everywhere from the perils of camel toe. For reals.
  • Today’s Street Art: David Gouny in Paris.
  • A video of NYC in the ‘80s that channels Wild Style.
  • Havana’s architecture continues to crumble.
  • Blair Kamin is totally loving the Art Institute of Chicago’s new modern wing: “Boldly planned and exquisitely crafted, it is a temple of light, in which carefully filtered sunlight will be as central to the visitor’s experience as steel, aluminum and Indiana limestone.”
  • They Knew the End Was Near: Chrysler’s headquarters in Auburn Hills, Mich. was designed so that it could be easily repurposed into a shopping mall in the event the company died.
  • Developers of the Chelsea Barracks in London are ignoring Prince Charles and moving forward with their Richard Rogers-designed plan. (architecture.mnp.)
  • Your moment of architects, Monty Python style.
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The Digest. 10.15.08.


Because I’m feeling sporty this week: Ring of Honor, by Seattle artist John Schuh. See it large. (Image courtesy of Schuh.)

  • When product placement fails. Miserably. (Via Steve Lambert.)
  • Today is Election Day. In Canada.
  • The Walker Center has some rad politically-inspired buttons. Oh, to be in Minneapolis. Sort of related: Hitchens endorses Obama. 
  • Stuff to do in London during Frieze. Besides buy, buy, buy. Related: ArtInfo wonders what’s happened to all those satellite fairs.
  • Forget the Tate’s Turbine Hall, says Jonathan Jones at the Guardian. If you want real inspiration, go see Richard Serra at Gagosian.
  • What a K-Hole: Victoria Miro gallery in London is turned into a gay nightclub. 
  • **Sublime Art Story of the Week:** Pieter Hugo photograph causes racial kerfuffle at Hollywood talent agency.
  • L.A.’s Chinatown galleries are in flux.
  • Curators as models. For reals.
  • CultureGrrl reports on the estrogen-fest going on in American museums. Just don’t call the phenomenon “girly,” she says. Well, what about grrly?
  • TEXTile, 2006 by Jean Shin. (Via NotCot.)
  • Strangely, the whole thing works: Photos of Jeff Koons at Versailles. (Via Marshall Astor.)
  • The National Art Museum of China is to get a big-ass new building next to the Bird’s Nest.
  • The Day in Neon: Robert Irwin’s Light and Space III at the Indianapolis Museum of Art. (I took the hint from Richard McCoy’s Twitter.)
  • Take a poll to decide whether Olafur Eliasson’s Waterfalls “sucked big time” or were “the best thing ever.” (Via Hrag Vartanian.)
  • Monsters from 19th century Japanese newsprints.
  • Today’s Graff: The latest from Blu.
  • Chicago’s Humanities Festival to examine 100 years of Chicago’s urban plan and global cities of the future in two separate panels on Nov. 2nd.
  • The pendulum continues to swing against starchitecture. (Via A.J.)
  • A house within a house within…: House N by Sou Fujimoto Architects in Oita, Japan.
  • Your moment of Bang Bang. (Thank you, Yvonne!)
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Calendar. 09.09.08.

Aiko at Brooklynite Gallery
Aiko at Brooklynite Gallery in Bed-Stuy. (Image courtesy of Brooklynite.)

  • In NYC: Aiko, Shut Up and Look, at the Brooklynite Gallery in Bed-Stuy, opens Saturday.
  • In NYC: The London Police, Pez and Eine at Ad Hoc Art, opens Friday.
  • In NYC: David Sandlin, Sin-A-Rama: An Alphabetical Ballad of Carnality, at Jack the Pelican in Brooklyn, opens Friday.
  • In NYC: Provocative Visions: Race and Identity - selections from the permanent collection, at the Met, through March 8, 2009.
  • In NYC: Magnum photographer Burt Glinn, Havana: A Revolutionary Moment, at Umbrage in Dumbo, opens tomorrow.
  • In NYC: Rirkrit Tiravanija, Demonstration Drawings, at the Drawing Center, opens Friday.
  • In NYC: Tony Smith at Matthew Marks, opens Saturday.
  • In Raleigh: Latina and Other Recent Work, the photographs of José Gálvez at Peace College, opens Wednesday.
  • In Miami: Loriel Beltran at Fredric Snitzer, opens Saturday.
  • In L.A.: Sandrine Pelletier’s Insekts at Fette, opens Friday.
  • In Seattle: Marco Zamora and Derek Albeck, Disconnected, at BLVD, opens Friday.
  • In Venice, Italy: Zaha Hadid and Patrick Schumacher at Villa Foscari La Malcontenta.
  • In London: Francis Bacon at the Tate, opens Thursday.
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Calendar. 09.04.08.

Power & Currency
Power & Currency, by Curtis Reidel, at Factory Fresh, in Brooklyn. (Image courtesy of Factory Fresh.)

  • In NYC: Aiko, D*Face, Espo and many others in Power and Currency, at Factory Fresh, opens tomorrow.
  • In NYC: David Choong Lee at Joshua Liner, opens Saturday.
  • In NYC: David Ellis, Mia Pearlman, Erik Benson, Monica Canilao and many others in All Cut Up at Roebling Hall, opens tonight.
  • In NYC: Camille Rose Garcia, Ambulent Sonambulents, at Jonathan Levine.
  • In NYC: Robyn Frank, Josh Morgenthau and Michael Shroads at Errant Garrison in Brooklyn.
  • In NYC: Yevgeniy Fiks, Adopt Lenin, at the Winkleman Gallery, opens Friday.
  • In NYC: David Opdyke at Ronald Feldman, opens Saturday.
  • In NYC: Conceptual Figures at Deitch, opens tonight. (Via Anaba.)
  • In NYC: Marsha Pels, Dead Mother, Dead Cowboy at Schroeder Romero, opens tomorrow.
  • In NYC: Arthur Cohen, Now What?, at Jack the Pelican in Brooklyn, opens tomorrow.
  • In NYC: Josef Koudelka, Invasion ’68 Prague at Aperture, opens tomorrow.
  • In Philadelphia: Samantha West, Musings at 222 Gallery, opens tomorrow.
  • In Riverside, Calif.: Lost in Riverside, new works by Bonks, Eyeone, Michael Alvarez and many, many more, at the Pharoah’s Den. Tonight only, 7-10 p.m.
  • National Harbor, Md.: Block Party: Art by Daniel Fleres and friends at Art Whiney, opens Saturday.
  • Your moment of Black people as snobs.

Posted by C-Monster.

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It’s all about appropriation: Street art and graffiti in studio art.

Appropriation
A collage composed of found stickers, by Tom Fruin at the Buia Gallery in New York in February ’08. A few of the street artists represented include: Royce Bannon, Over Consume and Ambusch. (Photos by C-M unless otherwise noted.)

For the purpose of this blog, I spend much of my spare time photographing just about everything the art industrial complex sees fit to churn out: paintings, sculpture, video, and totally weird breakfast buffets. In the past six months, I’ve noticed a small, but growing trend: studio artists (including the late Robert Rauschenberg) incorporating street and graffiti art into their work.

This takes various guises. There are painters who incorporate graffiti art into urban landscapes, assemblage artists who use elements of real-live street art in collages and sculptures, and art photographer types who go out and document all of the beautiful decay. It’s one of those interesting art world conundrums: on its own, most street art and graffiti isn’t thought to have much artistic or monetary value. But clearly there is some potency residing in this imagery if studio artists are remixing and reconfiguring it for the pristine walls of commercial galleries.

Click images to supersize. More after the jump.

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