Friday, June 27, 2008
Wednesday, June 25, 2008
Djemal Kukhalashvili (b.1952) graduated the Tbilisi State Academy of Art. A member of the Union of Artists of the USSR. Works of the painter are presented in collections of the National Art gallery (Tbilisi, Georgia), the State Tretyakov Gallery (Moscow, Russia), the Center of the Russian culture (Moscow, Russia), in private collections of many countries of the world.
His son, Otar Kukhalashvili [email@example.com] is living in Bridgehampton, NY. He is seeking repesentation for his father in the United States.
Sunday, June 22, 2008
Saturday, June 21, 2008
Steven Parrino mangled and reinvented his works after they hadn’t sold at exhibition (haven't we all done some form of this?) He now posthumously is getting the attention as a serious artist he deserved in life. (Note to Larry: Living Artists want to Live!)
“Call it the dawn of the Dead Artist. The message from the market is clear as it is macabre. In a quest for fresh material blue-chip contemporary-art dealers are finding a healthy source of revenue buried six feet under.”
An excerpt from today’s NY Times. Read page 26 (I'd have linked this if it was on line but it is not posted to the NYT site)- so go buy the times and read today’s Dorothy Spears Article in the Arts and Leisure section.
Monday, June 16, 2008
by Anthony Haden Guest
MATUSCHKA GOES SHOPPING The shopping bag pieces in Matuschka's series are artful in every sense of that slippery word. The materials she uses in "Bagit!" are just that, empty shopping bags, but she has plucked them from the worlds of shopping, branding and packaging and turned them to her own ends. Which pack a whammy. At first the viewer may feel that he or she is drifting through the familiar world of pure abstraction but then elements of the real tug at the attention yes, that IS a blue but it is also Tiffany's trademarked blue and these white coils like albino serpents are the cords so that the sweetness is cut, leaving a seductively bittersweet aftertaste. The relevant ism here is consumerism. That Pinging! sound you hear is shopping, shopping, shopping. CLick here for the complete Matuschka "BAGIT" essay
Matuschka has also been added to the artist's links in the right column.
Friday, June 13, 2008
James Kalm interview with Steve Cannon at A Gathering of the Tribes (aka) Tribes
Gregory Coates virtually introduced me to A Gathering of the Tribes (Tribes) which is an arts and cultural organization on the lower east side dedicated to excellence in the arts from a diverse perspective. Steve Cannon, poet, playwright, novelist, and retired professor from the City University of New York, converted a portion of his apartment into an informal salon in 1991 wher he has nurtured creative visual, performing and literary talent by encouraging an open exchange of alternative points of view traditionally overlooked by mainstream media. The ideas raised in the discussions in this underground artists' community have served as inspiration to the pieces published in A Gathering of the Tribes Magazine.
In 1993 Dora Espinoza, a Peruvian photographer launched Tribes Gallery. Since then, Tribes has evolved into a performance venue and meeting place for artists and audiences to come together across all artistic disciplines, all levels of complexity, and all definitions of difference. This pan-disciplinary, multi-cultural environment is a place wher artists exchange ideas, create peer relationships and find mentorship. Tribes’ publications offer readers a synthesis of literature, visual art, criticism and interviews with promising artists of all kinds. In an attempt to attract a wider audience for these artists, Tribes additionally organizes an annual outdoor event — Charlie Parker Jazz Festival— to engage members of the community who have seldom, if ever, attended literary or artistic events.
“IZM” Works by HiCoup Currently at A Gathering of the Tribes Gallery 285 East 3rd St., 2nd Floor, NYC curated by Justina Mejias June 19-July 31
Opening reception 6-9pm, Thurs. June 19, 2008
Racism. Sexism. Alcoholism. Hedonism. Opportunism. Nationalism…
Deconstructing the different “isms” that pervade society, hip-hop emcee and visual artist HiCoup (Kaiku) presents a mixed media abstract impressionist rendering of the societal influences that bombard us from conception forward. “IZM” is an artistic exploration of the landscape of humanity through it’s conditioning both conscious and subconscious.
The exhibit features both found items (Doors, specifically) as well as figurative works in more traditional manifestations echoing a microcosm of similar examination. Doors become the center-piece because of their three-dimensional ability to create the metaphoric body. Also chosen for their utilitarian, universal qualities, they evoke a personal relevance to those who stand before them. The viewer is invited to create their own narrative through the lens of their own “IZMS” as we are all casualties of society's influence. Combing graffiti art, cartoonist comic book-like drawings, with a suggestion of Basquiat/Pollock-like technique, the works display an array of color palates, displaced anatomy, random text, and variety of emotionally charged reckless and intentional “spatterings.”
HiCoup is a hip-hop emcee and visual artist hailing from New Jersey. He received a BFA in Art from Jersey City University with a concentration in Painting & Drawing. He has participated in both group and solo shows at many local galleries including the DBC Gallery in NYC and Iandor Fine Arts Gallery in Newark. An acclaimed emerging rapper, he has performed with such veterans as Ludacris, Dead Prez, Mos Def, Bootcamp Click, and Wu Tang Clan.
Thursday, June 12, 2008
at DIANE VILLANI editions 285 Lafayette Street, NEW YORK, NY 10012
In 2007 Artist, Joan Snyder recieved the prestigious MacArthur Award recognizing genius in her field.
Snyder is an abstract painter whose early work is characterized by strokes of paint set against grids penciled on to the canvas. The work has evolved to include elements of collage, including text, silk, burlap, juniper seeds, rusty nails, and Chinese herbs. This give her paintings texture, whic according to Snyder evokes feeling parallel to the repeated and layered notes in the composer Philip Glass' music compositions.
Snyder works in oils, acrylics, and organic and found materilas into her paintings. "It's probably one of the more exciting things that's happened in my life," she said. "I had a baby, and then there were 28 years in between, and then I got the MacArthur."
Snyder's painting may be seen at: Elaine Baker Gallery: The Gallery Center 608 Banyan Trail, Boca Raton, FL 33431
Monday, June 9, 2008
29 MAY- 3 JULY 2008
Cvijanovic’s inspiration for this exhibition is based upon the dramatic rise and fall of a cinematic pioneer. Fresh from the controversial success of The Birth of a Nation, D.W. Griffith invested all of his wealth into a massive four-part narrative film called Intolerance. It was by far the most expensive cinematic undertaking of its time, due largely to the enormous, lavish set for its scenes of ancient Babylon. The film proved too challenging for audiences of the early 20th century and as a result Griffith succumbed to financial ruin, and the set of Babylon faced a similar fate, condemned to loom over downtown Hollywood for over a decade.
In this exhibition Cvijanovic conflates Griffith’s experience as a filmmaker and visionary with Los Angeles’s slow, entropic transformation from an untamed land full of promise to a city whose identity is defined by an increasingly commercial entertainment industry. In addition to the main painting installation the exhibition will contain two other components – a triptych painting of the rural, wild landscape of Hollywood as it was nearly a century ago, with Griffith’s set dominating the background, and a room of storyboard-style paintings on Mylar depicting everything from scenes from Intolerance to the gas stations and parking lots of contemporary Los Angeles. The overall effect is of a collapse in time, in which the dramatic deterioration of Griffith’s vision is aligned with the less spectacular, but more profound, societal transformation of Hollywood.
painting based upon a film whose imagery was itself derived from the history of painting – comes at an important moment in the discourse of art and politics. The theme of hubris that pervades this exhibition applies to a range of eras and subjects, from the artist’s struggle with his own ambitions and creative ego, to the present-day conflict in Iraq – the modern-day Babylon.
Truman Marquez , Eleven (study)
Cvijanovic does not propose a reconciled solution to this issue, opting instead to meditate upon the complex emotional and political implications of our choices as people and as nations.
Adam Cvijanovic has exhibited extensively in the US and abroad, including solo exhibitions at the Hammer Museum, Los Angeles and the Pennsylvania Academy of Fine Art. Notable group
exhibitions include Worlds Away: New Suburban Landscapes at the Walker Art Center,
Minneapolis, USA Today at the Royal Academy of Arts, London, and Adam Cvijanovic and Peter Garfield: Unhinged at Mass MOCA, Massachusetts. Cvijanovic will also participate in the upcoming PROSPECT.1 Biennial in New Orleans, and the Liverpool Biennial at Tate Liverpool.
Sunday, June 8, 2008
By Susan M. Galardi
The season has begun in the Hamptons. There's an excitement, an energy, a buzz in the air - literally.
Living in the Hamptons, and having lived in the city, there are things you can fight and things you must just accept. Right now in Northwest, that latter category includes inchworms, the buzz of the iron giant (for the moment) and the monster poles that look like they belong on an industrial site or superhighway. We East Enders like our views - bays, oceans, farmland, horse meadows - and we pay big money to keep them. Not to mention, before LIPA chose to bury the Scuttlehole lines, residents had planned to protest at the risk of being arrested.
All because we don't like seeing big poles and electrical wires muck up our sky view. But we do like sitting by the pool, working on our computers, connected to the Internet via Airport and having our cell and cordless phones ready at the draw. Considering that, sometimes I psych myself into believing that the tall poles are okay - after all, the apparatus is hidden higher in the tree line - at least until the leaves drop or the inch worms decimate them.
I'm not alone in my acceptance of the poles and lines. At least one other person, 28-year-old local artist Grant Haffner, not only likes them, but has built a career on them. "There is something so beautiful about the way the power lines dance along the side of the road," he said, "something so familiar because we are all aware of them."
Haffner grew up on the East End, the son of parents who were into the art scene, always doing "the wine and cheese thing at galleries," and they took him along. After a brief stint at SVA, he came home and started painting East End landscapes. When Haffner first began painting, he edited what he saw. But one day, he asked himself "Why don't I include the telephone poles?"
From then on, Haffner's landscapes have featured if not glorified the poles. His passion for them was a motivator to get involved in the Scuttlehole scuttlebutt - but in a different way.
"I admit that while the Scuttlehole power line debate was going on I took the liberty of photographing them, a lot," he said. "It's funny to me that it's such a huge debate, but I guess I am one of the few who thinks they are historically beautiful in design. I loved the way they looked. I think they're strong, romantic. They carry everything across the planet."
Haffner has his supporters, too. His fluorescent sunset painting of Route 27 east, where it intersects with Sagg Main, earned him the Best Landscape award this past spring at Guild Hall. The painting features the poles - totems to a society that once was and still is, for now, but not for long.
Recently, there's been talk about burying the lines in Montauk, where Haffner did much of his early landscape work. One wonders how this might affect the young artist's muse. "Burying the lines is a good thing," he said, "and I guess it's a new beginning for me as an artist. But there's nothing wrong with a new beginning. I love starting over. It will be a time to adapt and change how I look at things."
So as the debate to bury the lines or raise the stakes continues, Grant Haffner will continue to paint the skies as he, and we, see them. Beauty is, after all, in the eye of the beholder.
Friday, June 6, 2008
I met Richmond Burton through a classified add about housing. I'm changing my name to Serendipity because it seems to follow me where ever I go. Even when looking for a rental house, I find a great east end artist! Here is a recent video - Love it! and a Richmond Burton site link is also permanently added to the artist's links column (right)