Streets: Revok x POSE on Bowery & Houston (Part II)
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Streets: Phlegm @ Boombarstick festival, Croatia
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Streets: Bast x Marc Jacobs – Milan
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Openings: Pose & Revok – “Uphill Both Ways” @ Jonathan LeVine Gallery
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Overtime: July 8 – July 14
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Phil Akashi creates Nelson Mandela portrait from 27,000 punches with the Chinese characters 自由 (freedom).
- RIP: Norman Parish, pioneering dealer of African American art, who died of a brain tumor at age 75.
- Takashi Murakami has scrapped plans to open a Kaikai Kiki Gallery in Singapore.
- Fathers4Justice vows to step up attacks on artworks in the UK.
- Same-sex marriage ruling brings tax benefits for art world professionals.
- Charles Saatchi getting a divorce from Nigella Lawson after apparent public choking incident.
- Manager says that Met Museum cashiers trained to mislead visitors in regards to admission cost.
- Petition calls for Sept. 11 museum not to charge entry fee (currently up to $25).
- Low-wage workers strike at Smithsonian museums, demanding better pay.
- Sicily cancels a major exhibition of ancient treasures at the Cleveland Museum of Art.
- Opposition to Dia deaccessioning some works from their collection goes public.
- Centre Pompidou abandoning mobile museum project and plans to launch instead a temporary exhibition in Saudi Arabia.
- The NSA actually cracked Jim Sanborn's Kryptos Sculpture years before the CIA did.
- Online petition started after LA Times fires its art reporter, Jori Finkel and museum directors send letter in protest.
- Constance Caplan, chair of Hirshhorn Museum board, announces resignation, citing turmoil and mistrust within.
- Bernard Madoff's lackluster art collection to go to auction.
- Hyperallergic asks if you can ripoff artwork that itself is a ripoff.
- The rising trend of “artist-in-restaurant”.
- Christopher Knight thinks LACMA & MOCA have been giving short shrift to solo exhibitions of art made by women.
- Emerging elites and foreign investors are driving a booming collectors' scene in Africa.
- Andrew Vickers uses £50,000 worth of comics (including a Avengers #1) to create sculpture worth around £500.
- Chest bought for $150 and used as TV stand sold for $9.5 million after dealer identifies it as long-lost Japanese antique.
- Total sales volume of fine art in the US is up 7% in the first half of 2013. Global sales, however, are down.
- Despite NC-17 rating, Paul McCarthy's Park Avenue Armory show has become its second-most-attended exhibition.
- MoMA PS1 to acquire new building and expand, after being allocated $3 million.
- Anthony Weiner featured prominently in NY's Museum of Sex exhibition.
- Breaking Bad exhibit coming to Museum of the Moving Image.
- Can two artists, husband and wife, make a career and a life together in Tulare County?
- The salaries of director, executive, and other high-level arts and culture employees.
- The top ten collectors on the 2013 ARTnews 200. And the complete list.
- Adam Lindemann urges artists to consider making smaller pieces instead of going bigger and bigger all the time.
- Ryan McGinley's Varúð video now playing in NYC's Times Square.
- Julian Opie has painted installations in the Lindo Wing at St Mary's Hospital where Kate Middleton is due to give birth.
- Jay-Z performs at Pace Gallery for six hours with sustained video shoot inspired by Marina Abramović.
- Lady Gaga collaborates with some artists, including Jeff Koons, and plans a artRave event.
- Johnny Depp in talks to star as Charles Mortdecai, a debonair art dealer in feature film.
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Streets: Interesni Kazki in Vodnjan, Croatia
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Streets: Vhils (Philadelphia)
Photo credit: RJ Rushmore & Steve Weinik.
Discuss Vhils here.
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Streets: Pøbel (Denmark)
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Brett Amory –“Twenty-Four in New York” @ Jonathan LeVine Gallery
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Showing: Petro ‘Hey You’ @ Bradbury & Blanchard
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Videos: Paul Insect & Sweet Toof –‘Clowning Around’
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Streets: Remi Rough & Nawer (Poland)
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Overtime: July 15 – July 21
- Christian Marclay puts images from Maurizio Cattelan's Toiletpaper mag on windows of Palais de Tokyo.
- Henri Matisse's (previously banned) candid views from 1941 on his work & depression set to be published.
- Finnish museum refuses request from Iraq to return artifacts donated to president by delegation from Iraq.
- Looted art from Cypriot churches is returned by Germany after they were seized sixteen years ago.
- China shuts down $88million museum after discovering that it has had scores of fake exhibits.
- Founders of Dia Art Foundation send letter to board voicing opposition to deaccessioning work.
- Cooper Union students that occupied the president's office ends occupation after reaching an agreement.
- Old Damien Hirst photo with him posing with a severed head provokes outrage from Richard III archaeologists.
- Art thief Matthew Taylor sentenced to 7.5 years in federal prison for art theft and tax evasion.
- Glafira Rosales indicted for selling $30 million in fake paintings by Rothko, Polluck, de Kooning, etc.
- Jerome Bengis sentenced to a year in prison for selling fake Picasso prints and originals.
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Six Romanians will stand trial over theft of seven masterpieces from Kunsthal museum in Rotterdam.
- Thieves stole ten paintings from the Van Buuren Museum on the outskirts of Brussels.
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The FBI and Scotland Yard Veterans to present The World of Art and the Fine Art of Crime seminar at SMU.
- Alexander Historical Auctions sued after allegedly not paying owner for sold Hitler items he consigned.
- Jonathan Meese heading to court after he saluted Hitler during a public appearance.
- Nigella Lawson and Charles Saatchi to make no financial claims in divorce.
- Temporary export bar placed on £16.5 million Rembrandt painting in hopes that it could stay in UK.
- Dave Gibbons has some controversial thoughts on the artwork of Roy Lichtenstein.
- 10-year old painter Kieron Williamson has sold his latest collection of paintings for more than £340,000.
- Oliver Bienkowski investigated for projecting United Stasi of America onto the the US Embassy in Berlin.
- Woman in Malibu, CA discovers that a unknown item in her house is actually a James Turrell piece.
- Gus Foster has pledged to give the University of New Mexico’s Harwood Museum of Art his collection.
- Team at University of Konstanz in Germany has developed painting robot called e-David.
- Curators of Degas show decides to put his model sculptures on IKEA-like shelving units.
- Pablo Picasso's granddaughter, Diana Widmaier-Picasso writing a new inventory of his sculptures.
- Sotheby's to start selling African art from Allan Stone's legendary collection this November.
- A look at the thriving gallery scene in Mayfair as Marion Goodman looks to be adding a space there.
- Christie's to hold its first art auction in India in December.
- Christie's to auction off works from the collection of Jan Krugier and the sale is expected to bring in $160mil.
- Christopher Knight reviews Richard Artschwager's show at the Hammer Museum.
- MoMA to recreate the American Photographs exhibition (its first solo show of photographs) by Walker Evans.
- Art museums are promoting bicycle culture and exhibiting bikes.
- Hong Kong’s M+ museum hires MoMA curator Doryun Chong to be its chief curator.
- Art+Auction profiles Pae White.
- Interview with Rodney Parrott, the head of Rescued Art, and known as the king of thrift store art finds.
- The High Line in NYC to get a apartment building designed by Zaha Hadid next to it.
- Jill Magid and Alexander Provan have been named 2013–15 Vera List fellows.
- Interview with David Lynch, where he talks about his moving paintings and other things he's involved with.
- W Magazine visits Gavin Brown at home and gives us the latest on what he's been up to.
- Marina Abramovic talks about her naked five-day performance art bootcamp and peeing in slow motion.
- Artillery Magazine covers Martin Schoeller's show at Ace Gallery.
- Damien Hirst designs album cover for Babyshambles' album Sequel To The Prequel.
- Forbes takes a look at the art references in Jay Z's Magna Carta Holy Grail.
- Ruby Rose gets a Basquiat crown tattoo.
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Streets: Nychos (San Francisco)
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Interview: DALeast
AM: What does the police think about graffiti in China? Were you ever caught and how dangerous was that?
DE: It depends on different situations. It can be relaxing, but sometimes can be hectic. Once at five in the morning around 25 officers broke into our place, arrested me and my past graffiti crew mate MCG. It was just a few days before the Beijing Olympics and they thought we were terrorists after they saw us out all night bombing and tagging. The army and police were both a part of this drama. The mayor of the city finally decided to release us when he found out it was a misunderstanding. Things happen like that.
AM: What are your thoughts about Ai Weiwei?
DE: Ai Weiwei is really a special one - I met him twice. He has some intense but peaceful energy. In my opinion, most of the Political Arts are just dealing with the art world at the maximum, nothing to do with the political world, which means they can't really directly improve the situation. But Ai Weiwei is really improving it, at least uncovering the truth and waking people up. I think it has given China more possibilities for the future.
AM: How did you develop your technique and your style - the way you're painting your murals and canvases?
DE: I have tried different mediums - painting, sculpture, installations. In China, I worked with two artists on a cultural collective called 'CHIRP' which experimented with synchronizing performance, installation and public art as well as digital art. So I think style or technique is not as important as what I want to express - the open urban space and human emotions with the environment. But, I am more focused on painting right now at this stage.
AM: You are using more colors lately, other than black and white. How come you're doing that?
DE: In my early work, I used more bright colors. When I started to paint emotional lines, I only used black and white because I enjoyed making it simple. I actually have a little bit of anomalous trichromatism. So, that suits me. London is the place which needs bright color to make a fire.
AM: You seem to be painting a lot of cats. Is there some special reason for that?
DE: I painted a lot of cats in London. From my experience, the modern cities such as London create complex emotions. The water represents the condition in our daily life, something useful yet also damaging - depending on how our mind deals with it. The scuba diver has the mind set which lets us co-exist with the 'water' and use it . The lion presents the other side of the mind, which has the beast power but can be drowned by the 'water'. The human and the lion in this series are two sides of a coin. We are facing different situations in our lives, different mind sets can send us in different directions. This is important for me as I can feel the water above us.
AM: How did you end up living in South Africa?
DE: Because of my wife Faith47. We are based there, but we are usually traveling around the world for most of the year.
AM: She is also an artist. Do you ever collaborate in your works?
DE: She is great. We tried to collaborate once, but we quite enjoy to keep this part of life separate.
AM: How does it feel for you as a Chinese to live in South Africa?
DE: It was really hard for me in the beginning, because of the lifestyle, all that was different. I was forced to get used to it. But at the same time, my work was inspired and developed by the nature in South Africa, and the lovely people there.
AM: I read in another interview that you don't like the label "street artist." Why is that the case?
DE: I don't really understand why there needs to be that term. I mean, why 'street art.' I usually paint on the street, but I also paint elsewhere or work in different mediums. The name is not important, but it can trap us. I enjoy doing my work no matter what people call it. But I'm happy not to attach any title or movement to it. The streets are my field, not my hat.
AM: So what label would you be comfortable?
DE: What about 'human being'? I think this label is something that can also limit me. It's better to have no label. Even "artist" is quite limiting to me.
AM: What are your thoughts on the way the internet is influencing the artworld?
DE: It's a cheap, quick, and an easy engine to make the artworld run. We can see a fresh finished mural from New York when we're sitting in Europe. Things happening in a new way, it is changing our life form as well. But on the other hand, we lose some quality of life because you don't get the chance to experience things like we experienced them before.
AM: There was some controversy about you published on Vandalog recently. What are your thoughts and comments on that?
DE: I don't know why someone would write that kind of thing before they find out the truth? If you have a clear mind, you can see the motivation of the article is coming from somewhere. I've received an apology from the blog owner RJ a few days ago. He didn't know if the article was telling the truth or not before he posted it. So honestly, I don't really blame anyone who wants to slander me. It's like if someone hits you with a stick, you won't blame the stick. Maybe there is something behind it.
AM: What about your relationship with StreetArtNews.net?
DE: I don't have any deep relationship with them. They posted my works before as they also post so many the other artists' works. That's what they do right? So, many art blogs post my stuff, and I thank all of them for sharing my work to the world. I have released two prints with StreetArtNews, and the blog owner, Rom, organized few walls for me and other artists in Miami last year and found a wall for me and Faith in Paris before. Also, he helped me organize the recent London project. That's all that we have worked on together. So, I don't have a manager. I'm just myself. Me and Faith are always traveling around, so many different people and friends are organizing the walls and help us on different projects in different places, and I'm really grateful to everyone for their help.
AM: What do you see as the peak of your artistic career so far?
DE: A lot actually. Everything I've done has a different highlight for me.
AM: How did it feel for you to have a sold out show at Jonathan LeVine in a big city like NYC?
DE: Working with Jonathan Levine and his gallery team was one of the most comfortable experiences in my career. They are really great people and I had a great time there. NYC is a very interesting city. If I had to choose to live in a major city, I might choose there.
AM: Really?!
DE: Me and Faith are actually planing to move around in the future. New York is one of my recommendations. New York is a great place for the artists who need urban space to work with, such as us.
AM: Do shows like that put pressure on you, or you find it a challenge?
DE: It's more about my schedule. I need to balance the time between traveling and working in the studio. We've hardly had any rest in the last two years. I don't like to work in a rush, so I think that is the challenge and pressure - to make everything work in the time we have.
https://www.youtube.com/watch?v=CLFWXEWtYhg
AM: Do you have any major goals for your career in the future?
DE: I would like to keep traveling and paint as much as I can around the world. And, I want to create more exciting works that I can't imagine right now. I think my career has just started, and there is a long way to go. One thing exciting is that I don't know what's going to happen.
AM: That kind of answers my next question - Is there anything you would like to change or improve about your style and technique?
DE: My work has slowly improving, but not on purpose. It's like walking - one step after the other. So I will try to focus on the present, and let see what comes.
AM: Do you ever think about what would you be if you were not an artist?
DE: I think I would be doing something that can help other people. Right now, I feel I'm focused on my work, and it feels like too much to just focus on myself. Actually, one of my goals is to use my art, doesn't matter what way, to create more prosperity to help others. Some artists are doing these kind of things already, like Swoon for example.
AM: Do you have any plans for the near future that you can share?
DE: I have a show with The Outsiders in Newcastle (UK) in November. It's a solo, and I think it will be a special one. And maybe a print release.
Discuss DAL here.
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Streets: POSE x Dabs Myla (Chicago)
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Studio Visits: Mario Wagner –‘Controlled Spaces’ @ Breeze Block Gallery
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Streets: Aakash Nihalani (New York)
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Interview: Erin M Riley
Arrested Motion: For our readers who are unfamiliar with your work, can you please tell us a little about your background and your art?
Erin M Riley: Ok, I am Erin M Riley, I grew up in Massachusetts, went to art school at Massachusetts College of Art & Design and moved to Philadelphia once I was accepted at Tyler School of Art for grad school, and for now Philadelphia is where I make my art. I travel around the country to residency programs when I get the opportunity and exhibit all over. I have been weaving for 10 years this year and making representational tapestries for about 8 of those years. I went to art school imagining I would be a painter, but weaving was something that I fell upon, and haven't stopped doing since. It is the medium I feel the most connected with.
AM: Would you be painting the same things if you had taken that up? Do you feel your message is communicated more effectively as tapestry compared to paintings?
EMR: Throughout high school and my childhood I expressed myself through paint, and quite possibly if I had not found weaving I might still be working in a painting/collage/mixed media way, maybe mixing in some technology or digital mediums. But, I spent most of graduate school trying to figure out how to make mixed media tapestries, dipping, burning, soaking, using many gallons of stuff you buy at Home Depot but inevitably evolved into weaving hand dyed wool tapestries on a floor loom. Tapestry is how I feel the most comfortable presenting the images that stand out the most. The images I am weaving are traditionally images that might be sent through Snapchat nowadays, or the ones that might be deleted after a hookup, I try to take pictures of the condoms after I have sex, the pictures I send to people, pictures of tables at parties, substances & liquids that change the coarse of events. I am taking the time to recreate these images as physical tapestries, because these are the events and objects that are significant to me. Tapestry allows images to be given more time, for hookups to gel, for mistakes to be thought over, its a way to over analyze every detail.
AM: We assume that when you first took up weaving, you started out with creating the more traditional imagery that was associated with the craft. If this was true, did you have an eureka moment where you turned to more provocative subjects? How did the transition come about?
EMR: In the first year or two of weaving you're just figuring out the technical logistics, learning how looms work, different materials, strengths, and making a lot of mistakes. I started out working in a more abstract painterly fashion with the yarn because I was just in the beginning stages of learning shading, making shapes, and how to plan for large scale tapestries. I actually wove a lot of text, large areas of empty where the hand of the weaver is shown, with large block text but was soon challenged to create tapestries and was sourcing imagery from my childhood. This changed in grad school, and in the first year making art on my own I started to completely use found and contemporary images.
AM: How do you feel the market is for the type of work you do? On the one hand, it is not as commonly collected by people we know, but then again, what you do is pretty unique.
EMR: I have had an interesting go at selling artwork, I support myself through sales, but for many of my collectors my tapestries are the first piece of textile art they have collected. There is a certain warming up a buyer has to do to commit. This is also true for many of the galleries I show at, tapestries aren't hung like paintings, hand woven pieces don't tend to be level which can be visually annoying. Therefore, there is a learning curve initially but my work is quite easy to deal with. Some collectors chose to frame the pieces and this allows the work to feel a bit more like paintings, less fragile. I do feel like the market is evolving for textiles, my work is being collected all over the country and abroad, people are coming to me with questions about care, maintenance, etc.
AM: What kind of reactions have you seen to your work at openings or in conversations with collectors, fans, and those who may find your work offensive?
EMR: I have had many interesting exchanges with people who have seen my work evolve, grow more aggressive or explicit and back again. I am open about the changes in my work because often it reflects a change that is going on in my personal or sexual life. I have had conversations about cum and blow jobs with women who might never broach those subjects with their own kids, and I have talked about sexting and the images teens take with a father and his two obviously sexually active kids. I am open about the drug paraphernalia not because it reflects my own use, but because its something my family members have struggled with. I so glad that people enjoy many of the nude or scantily clad young ladies, but I am even more psyched when a college age girl comes to me and completely gets my perspective because we have both expressed our sexuality through images in text messages.
AM: Having both used yourself as well as photos you have found online or elsewhere as reference, how did the two compare? Anything interesting that was learned from the process in contrast?
EMR: I had been using mostly sourced images for a few years but had a residency with 3 months of solid work time allotted so I started collecting pictures of myself. I was taking them or asking old boyfriends for theirs and presenting tapestries of myself alongside the other women to see how I felt, like could I go through with making these pieces public. I then spent the summer weaving even more revealing images, going through a cathartic few months of living in my studio, weaving myself. The other women I wove always had felt like reflections of myself, but after I had gone down the road of weaving myself nude, weaving my tattoos and my breasts many different times, these girls were me. My work and the girls I present are all embedded with my narrative and therefore most of my work can be seen as a modicum of me.
AM: Any projects or upcoming shows that you can share with our readers?
EMR: Yes actually, you can look for my work at Paradigm Gallery in Philadelphia, August 30th, in September at Joseph Gross Gallery, University of Arizona and Bryan Ohno Gallery, Seattle, WA. I am also showing work in Houston with the West Collection in October and The Bishop Gallery in Brooklyn in November. I am also constantly sharing my process on Instagram as erinmriley. Thanks so much!
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Upcoming: Zach Johnsen –‘The House of Uncommons’ @ Hellion Gallery
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