Streets: WK Interact / New York Mets
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Streets: Phlegm for the Royal Opera House (London)
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Overtime: Sept 8 – Sept 14
- Images from Alex Becerra exhibition at LTD Projects.
- RIP: Emilio Botín, who died of a heart attack at the age of 79.
- Man sues after fiancée dies when portion of a stone gargoyle falls from church’s façade, hitting and killing her.
- Arnold Schwarzenegger has image of Maria Shriver painted over in his portrait by Gottfried Helnwein.
- Arnold L. Lehman plans to retire next year from his position as director of Brooklyn Museum.
- The removal and transport of Picasso's Le Tricorne from The Four Seasons in NYC.
- NYPD detains three activists for projecting anti-Koch light graffiti on facade of the Met.
- Zilla van den Born fakes an entire five-week trip through Southeast Asia via social media.
- When does surveillance art start to cross the line?
- How the Detroit Institute of Art's collection is being valued by appraisers.
- Next Helsinki launches as counter-competition in backlash of Guggenheim brand.
- LAXArt moving from Culver City to Hollywood.
- Hammer Museum gala in October is going to honor Mark Bradford and Joni Mitchell.
- The final section of the High Line in NYC to open.
- Broadway Morey Boogie public art project in NYC, organized by Marlborough Chelsea and others.
- Richard Antony “Cheech” Marin brings his art collection to Bordeaux, France for exhibition.
- Vancouver briefly had a large public art sculpture of the devil with an erection before it was removed.
- The Goldfinch painting by Carel Fabritius becomes the star attraction at Mauritshuis Royal Picture Gallery.
- High-tech underground scanning reveals more about Stonehedge site.
- Rauschenberg Foundation launches artist-activist grants to help tackle pressing international & social issues.
- Art Basel Crowdfunding Initiative & Kickstarter to garner support for projects by nonprofit art groups.
- Exhibitor list (as well as names of some artists) for Art Basel Miami Beach 2014 released.
- Phillips' new Mayfair district location in London and what it means for their business.
- Christie's has a pop-up location in Silicon Valley, CA.
- Turner's Rome, from Mount Aventine, to go on auction at Sotheby's for estimated price of £20mil.
- Sotheby's to auction three paintings from Georgia O'Keefe Museum's collection.
- Three masterpiece works from Bunny Mellon's collection, including Rothkos and a Diebenkorn, sold privately. Carol Vogel writes about the Mellon collection.
- A list of the top 30 Chinese artists at auction.
- The last stack Donald Judd ever made is going to be auctioned by Christie's.
- The Twitter Generation’s Top 36 Artists at Auction.
- An analysis of the holding period of work by young artists throughout the years.
- Keith Rivers chooses some of his picks from Sotheby's Contemporary Curated auction.
- The collection of Ron Dominguez, who is a doorman in New York City.
- Three new art fairs open in Shanghai this month.
- Artspace provides a short bio on Leo Steinberg.
- Rob Pruitt's work goes up on the walls for pediatric patients at St. Mary’s Hospital for Children in New York.
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Conversation between John Elderfield and Elizabeth Smith for Gagosian Now.
- Plans for Vincent Van Gogh biopic film progressing after Daniel Fridell named director.
- Barry McGee interviews Eddie Martinez.
- LA Times writes about Doug Aitken's show at Regen Projects, including the opening reception and dinner.
- Oscar Tuazon commissioned to make a bar for the Wattis Institute’s event space.
- Carolina A Miranda chooses some fall shows opening in Los Angeles.
- Linda Yablonsky writes about the New York art scene from last week.
- A profile of David Kordansky. 10 of Kordansky’s top cultural influences.
- Profile of Dean Levin.
- Patrick Van Caeckenbergh joins the Lehmann Maupin artist stable.
- Interview with Tara Downs about Tomorrow Gallery.
- John Baldessari, Klaus Biesenbach, Jeffrey Deitch, and more talk to Paper Mag.
- Dan Colen talks to Louisiana Channel on video. He also discusses his current Gagosian Gallery show.
- Images from Art Production Fund's opening reception for Light Cave by FriendsWithYou at The Standard (NY).
- Artelligence Podcast with Peter Loughrey of Los Angeles Modern Auctions.
- Some music that Sterling Ruby has been listening to.
- Hueman limited edition print available at 1xRun.
- The Outsiders releases Chloe Early print.
- Miley Cyrus to exhibit her sculptures in a show in New York.
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Streets: Living Walls (London)
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Streets: DALeast (Portland)
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Recap: Nuart Festival (Part 2) – Streets
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Preview / Streets: O.Two –‘Flux’ @ Winterlong Galerie
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Streets: Blu (Italy)
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Overtime: Sept 15 – Sept 21
- Raymond Pettibon collaborated with Supreme for their 2014 Fall/Winter Collection.
- Images up for Torey Thornton's Some Narrow Sleeping exhibition at OHWOW.
- Iraqi city of Mosul has art, music, history, literature and Christianity classes "permanently annulled" by ISIS.
- Abigail DeVille's installation removed in Washington DC because residents complained that it was junk.
- 20 prominent women from the art world answer the question: “Is the art world biased?”
- Ben Davis writes about Emma Sulkowicz’s art performance Mattress Performance: Carry That Weight.
- Florentijn Hofman's giant white rabbit partially damaged by a fire when workers were trying to dismantle it
- Danh Vō responds via a letter from Marian Goodman Gallery to Bert Kreuk regarding his lawsuit.
- Amy Koler and Stephen Meyer sues American Fine Art Editions for selling their Warhol without consent.
- Matthew Satz sues Aviva Drescher for $620,500 over unreturned paintings he loaned her.
- Art Basel exhibitors being targeted for financial scam.
- Two men charged with running an international art forgery ring.
- Toyo Ito-designed Baroque Museum building is denied environmental permit and construction is stalled.
- Serbian art fraud gang sells fake Picassos out of Viennese cafe.
- 2014 BolognaFiere SH Contemporary art fair has numerous issues, including work being stuck in customs.
- Future of FIAC’s satellite fairs in doubt as Cutlog has to bow out.
- The legal disagreement over the rights to Vivan Maiers' work.
- International arrest warrant issued in Russia for Mustang Wanted.
- Elmgreen & Dragset's Prada Marfa installation saved after one year of negotiations.
- Americans for the Arts joins other US cultural organizations in urging FCC to preserve net neutrality.
- Bill Cosby will lend his entire art collection to the Smithsonian for them to exhibit.
- Jean Nouvel releases his official design for National Art Museum of China.
- Soledad Lorenzo gifts her art collection of about 400 works of art to the Reina Sofia Museum.
- Henri Matisse's cut-out art exhibition at the Tate is their most successful ever by number of visitors.
- Shaquille O’Neal curating a group show presented by the Flag Art Foundation.
- The Barbican to exhibit the personal collections of post-war and contemporary artist, like Warhol and Hirst.
- TripAdvisor reviewers rank the top museums in the US and the world.
- Aimee Ng appointed associate curator at the Frick Collection.
- Previously unknown Constable painting discovered by Victoria and Albert Museum staff.
- Getty Foundation launches conservation effort to save modern architectural gems.
- Artpsace's guide to the Chicago art scene. A look at the Expo Chicago art fair.
- NYC’s Department of Cultural Affairs (DCA) launches CultureAID
- Christopher Knight writes about the reach and expansion of galleries in Los Angeles.
- A list of artists that are also into the performance of music.
- A look at how art and the fashion industry tie together.
- An email exchange shared with Kenny Schachter between a collector and dealer.
- David Hockney original fax art sent from his Malibu beach home to be auctioned.
- Christie’s to sell works from Cy Twombly’s personal collection.
- A look at the Chinese art market.
- 10 things to know about investing in art.
- Larry Gagosian partnering with sushi chef Masa Takayama with restaurant at his gallery.
- Profile of John Currin.
- Mary Weatherford receives Artists' Legacy Foundation Artist Award, winning $25k prize.
- Jorge Rodriguez Gerada transforms landscape of the National Mall in DC into the image of a face.
- Artsy takes a look at Chris Succo.
- A look inside Anselm Kiefer's 200-acre art studio.
- Ai Weiwei talks about showing at Alcatraz.
- Robert Irwin to create a major piece for the Chinati Foundation in Marfa.
- Jayson Musson and Alex da Corte interviewed about their Easternsports show.
- Gabriele De Santis talks about his Depart Foundation show.
- The installation of Tony Cragg's sculptures in Central Park.
- Jeff Koons & Tommy Hilfiger discuss what they want to see at the High Line. Jed Perl writes about Koons.
- Heimo Zobernig will represent Austria at the 2015 Venice Biennale.
- Erin D Garcia limited edition print set available at Poster Child Prints.
- Connor Harrington limited edition print released by The Outsiders.
- Takashi Murakami prints available at Yoox.com.
- Life-sized statue of Amy Winehouse unveiled in London on the day of her birthday.
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Streets: D*Face (Los Angeles)
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Rewind: Sept 8 – Sept 21
- Clayton Brothers talk about their new work and show.
- Outtakes from Amy Poehler's Old Navy commercial.
- Teaser for Neckface show at New Image Art.
- FAREWELL's new street intervention.
- FriendsWithYou's Light Cave at The Standard Hotel.
- Matthew Ritchie's talks about his Ten Possible Links.
- A look at Shepard Fairey's new mural for the L.I.S.A. Project in NY (by Serringe of Element Tree).
- A look at Herakut and their show in Cologne.
- An interview with Raymond Pettibon for Supreme.
- 365 Paintings for ants with Lorraine Loots.
- Aryz x VNA Magazine.
- Momo give a short lesson on practical geometry.
- An urban intervention from small car manufacturer Smart (via Colossal).
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Streets: Nychos (Hamburg)
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Baby Tattooville ’14 / Interview: Eric Fortune
AM: Can you tell me what a typical day is like for you in Columbus?
EF: My typical day is rather uneventful. I’ve been really burned out on painting the past few years and not making as many paintings. So, my efforts have been leaning towards educating myself with whatever seems interesting at the time. The things I learn tend to slowly leak into my personal work. I find topics like Ray Kurzweil’s technological singularity fascinating and often wonder how such new technologies could make for a better world. I don’t just mean better in the sense that the internet is faster, we have new tech toys like the pulsating flesh light 17.0 molded after your favorite porn star and 3D printed using her actual cells etc. Don’t get me wrong that stuff sounds cool but what about the really big challenges that humanity has: How can we end poverty forever? Can we overcome scarcity and inequality? Can we organize an automated society where jobs become obsolete so people can focus their energy on more meaningful work, perhaps something like making art? If production becomes so efficient and ubiquitous will the need for money or exchange become necessary at all? Can we outgrow the need for money? hat’s a crazy question, but a notion that seems almost inevitable if one considers the exponential growth of technologies. I spend a lot of time reading and learning about these concepts. What would it be like to be an artist in a post scarcity society? Letting all the technology do our drudge work while humans are freed to pursue their dreams, how amazing would that be? How many unrealized Michelangelo’s are out there wasting their lives away right now? And of course, what new problems would arise? But as I mentioned, I’m not creating as much art as I used to. However, I feel the work I am producing has deeper meaning and is more relevant than it used to be. I don’t always know how the work is interpreted by others. I guess part of that is out of my hands.
Other than that, I have been spending more time with my family. Thinking about the future is necessary in my opinion, but at some point I need to be here in the now to enjoy what I have. None of this may come to pass in my lifetime. Humans have been pretty good at messing shit up so far.
AM: When reading descriptions of your paintings the word “haunting” comes up over and over. Is there a supernatural element to your art? Do you believe in ghosts?
EF: I used to believe in ghosts. I was raised Catholic and I was scared of the dark for most of my life. I blame The Exorcist. That movie ruined my damn life. I don’t even watch scary movies anymore. All the lights would stay on for at least a week.
However, things have changed a lot in the past several years. One of my recent pieces, The Demon Haunted World (seen above), does indeed appear to show a demonic figure sitting on a bed. You can’t really see it in the online images but she’s holding a rosary. For anyone who has experienced sleep paralysis this may be familiar, the sense that something is present in the room, something beyond this world and beyond our understanding, not being able to move or scream, just rolling your eyes around and panic. Many cultures have stories that went along with this phenomenon, stories that involved the supernatural. Over time, these stories fade away as we learn more and more about how our world works and how our brains work. The Demon Haunted World is a tribute to Carl Sagan who wrote a book of the same name. Like Neil Degrasse Tyson, Sagan is a great communicator of science and has had such an amazing influence on me. I wish I had known of him while he was alive. I would probably have written him an email and thanked him or sent him a print. If you haven’t seen, “Cosmos” with Carl Sagan or the new season with Neil Degrasse Tyson you’re really missing out.
AM: Can you tell me how creating your art feels, ie is it therapeutic, do you have to suffer for art, draining, energizing, uplifting, scary, fun? How do you know when a piece is finished, and how does it feel when you realize that a particular work is completed?
EF: I feel all of these things, at times I’m immersed in making the art, in the zone. That is the absolute best. Unfortunately, these moments are more and more seldom. I think part of it has to do with my trying to learn other non-art related stuff at the same time that I paint. We all seem to think we’re pretty good at multitasking. As I understand it, we actually kind of suck at it and both tasks suffer. My art takes longer than it used to because of this and I’m easily distracted, wanting to take notes or comment on some YouTube lecture.
In general, I noticed that my work is more enjoyable during the 10% at the beginning and the 10% at the end when I’m just tweaking little details. The 80% in the middle is a slow grind and I wish I had a clone to do that part of it. It does feel really good to complete a new piece though. I get excited as I’m about to sign the painting. Yet, almost every time something flips in my head just after I finish the last brush stroke and I feel like I could’ve done better. Though given a month or so of not staring at it all day, I usually feel pretty good about most of my paintings.
AM: Your art is extremely serious, with a tremendous amount of technical detail and thought provoking themes. Is there a lighter side of Eric Fortune (do you ever doodle race cars or dinosaurs)?
EF: I think it would be funny to have testimonials from some of my art friends or people I’ve met at conventions here. You’d probably hear two things: 1) Eric has dick jokes. They’re not all good dick jokes. 2) Eric draws the most beautiful penises I’ve ever seen. And he’s extremely efficient at it.
I have a lot of practice but I’m better with my right hand than my left. Sometimes I sit on my drawing hand until it gets numb then I try to draw with it. I call it “The Stranger”. It feels like I’m at a convention already. A few drinks and some sketch paper and it is on.
I also have a pop up penis card that I make as a gift to friends. I think it’s pretty awesome. I’ll have to send you some pics or maybe a video. I know you’re dying to see it. I really appreciate this question. Life is often too serious.
AM: Your work involves a complicated, multi step process of photos (that I believe you usually take yourself), illustration and watercolor painting to get to the final product. Did you learn this method from someone, or did you come up with it yourself? Have you always created this way? (Was there trial and error involved)?
EF: I did not come up with this method. I actually had to unlearn thinking that working from photo reference was cheating. It’s such a juvenile thought. If I had photographic memory I wouldn’t need to take photo reference. I do not have a photographic memory and I don’t have professional models that hold poses for hours and follow me everywhere I go so that I can refer to their anatomy etc. If I did, I probably wouldn’t be an artist. My resume would read something like, “Occupation: Peeyimp”. I learned using photo reference from my teachers at the Columbus College of Art and Design. Previously, I had prided myself at not having to use photo ref. Not having to use photo ref and thinking photo ref is a bad thing are not the same thing. For my work, it’s about finding a balance between my loose sketches and the photo ref to try and produce a believable, cohesive image. That balance will be different with everyone. There’s no wrong way to make art. I think in some ways it kind of depends on the intent. If, as an artist, you’re leaning towards presenting a more realistic finish, then I would say, definitely use photo reference, but take your own photos for as much as possible. Depending on other people’s photos that you can find online or in a magazine etc are very limiting to your creativity. Get your friend, dress them up, dress them down, light them however you want to and take your own pictures. Taking control of this information can really boost the quality of your work. Just remember you’re referring to your reference not copying it. Don’t let your personal style become a slave to the reference.
AM: Have you ever traded art with another artist?
EF: Swapping art is one of the perks of being an artist. I don’t do it often. Much of my work is unavailable. My good friend and fellow artist Dan Dos Santos has one of my favorite pieces Stephanie Shrugs. We made half a trade a while back. Still waiting Dan… ;)
AM: Have you ever collaborated with another artist, or is there a dream collaboration you would like to have happen?
EF: I haven’t collaborated with anyone yet. I do plan on collaborating with Brian Ewing and possibly Andrew Bawidamann in the near future. We’re all featured in the art documentary Making It and we plan on producing an image for the cover that will also be released in a limited edition print. Stay tuned for more.
Dream collabo? That would probably be with a favorite scientist, author, or researcher. Not quite sure how that would work out.
AM: Is this your first time at Baby Tattooville? Are there any artists you are excited to meet that will be at Baby Tattooville (and what would like to talk with them about)?
EF: This is my first time there. I’m a huge fan of Brom. He and his wife Laurie make beautiful paintings. I’ve met him a few times at conventions. He’s the nicest guy. He was also interviewed in the Making It documentary and he said something that really connected with me. Something about being in his mid 30’s and feeling really burned out and needing to try something different with his creativity. I totally feel that. I’m hopeful that after a little break from art I can feel rejuvenated, but I’m not sure in what direction that may take me.
AM: Do you know the people that you paint? Does their personality come out in the work?
EF: I do know my models, they are usually friends and family. I don’t really think their personalities come out in my work. I need information about lighting, anatomy, folds and drapery etc. I apply the context of the image around the figure. I manipulate it enough so that it’s saying what I want it to say. Everyone is different and I appreciate what each has to offer as a model.
AM: Can you tell me the story of when you found out your art would be on the cover of Hi-Fructose? (where were you, did you know you would be in the issue before you found out you had the cover, did you find out via email, phone call, etc.).
EF: I actually like this story. As usual, I’m in my studio when I receive an email from the very nice people at Hi-Fructose asking if I’d like to be interviewed again for the magazine. My response went something like this, “Well, let me check my schedule, hmm… I see...OF COURSE!!!” Obviously, it’s a huge honor to be featured in Hi-Fructose. After completing the interview and sending in my images, I was asked if I minded that they used one of my images as the cover. My response was something like, “Well, I don’t know, what are….OF COURSE!!!” Not to sound like a shitty art dad, but it’s one of my favorite pieces, The Goddess of Antiquity, (seen at the top) originally shown at Roq La Rue Gallery. Being featured on the cover is a definite career highlight for me. My mom likes to show it to everyone, so that’s nice too.
Discuss Eric Fortune here.
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Streets: Crash x Daze (New York)
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Streets: World Roundup (Aug 25 – Sept 21)
2501 - Moscow, Russia for Artmosphere[/caption]
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Kid Acne - Sheffield, UK for Festival Of The Mind[/caption]
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Borondo- Lagos, Portugal for ARTURb[/caption]
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Dulk - Zaragoza, Spain for Asalto Festival (via StreetArtNews.net)[/caption]
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Ino - Zaragoza, Spain for Asalto Festival[/caption]
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Kobra - Lotz, Poland[/caption]
[caption id="attachment_261020" align="aligncenter" width="800"]
Vidam - Prijedor, Bosnia (via StreetArtNews.net)[/caption]
[caption id="attachment_259880" align="aligncenter" width="960"]
David Walker - Helsingborg, Sweden for Add More Colors festival[/caption]
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Kobra - Boras, Sweden for No Limit Boras Festival[/caption]
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Isaac Cordal - Boras, Sweden for No Limit Boras Festival[/caption]
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Isaac Cordal - Boras, Sweden for No Limit Boras Festival[/caption]
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Isaac Cordal - Boras, Sweden for No Limit Boras Festival[/caption]
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Natalia Rak - Boras, Sweden for No Limit Boras Festival[/caption]
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Pastel - Villa Soriano, Uruguay[/caption]
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Pastel - Villa Soriano, Uruguay[/caption]
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Rustam Qbic - Magnitogorsk, Russia[/caption]
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TIKA for All You Can Paint Festival in Halle, Germany.[/caption]
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Reka in London (Shoreditch).[/caption]
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Morik for Galeria Urban Forms project in Lodz, Poland.[/caption]
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Alice Pasquini in Moscow, Russia for the MOST street art festival.[/caption]
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Mobstr[/caption]
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HuskMitNavn in Denmark for Holbæk Art. Photo by Henrik Haven.[/caption]
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JAZ - Aalborg, Denmark.[/caption]
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Streets: DALeast (New Zealand)
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Streets: Dalek x Instagram (New York)
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Streets: Shepard Fairey (Berlin)
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Phlegm – Market Traders Installation (Sheffield)
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Baby Tattooville ’14 / Interviews: Brom
Arrested Motion (AM): Can you describe your proudest or most memorable moment as an artist? What happened, where you were, how you found out, how you felt, why it was such a memorable event?
Brom: It would have to be the Grand Master Award from Spectrum. I was in attendance in the audience with no idea I was in line for the award. So the shock and surprise upon the announcement was quite profound and moving. There is nothing more rewarding, creatively, than to be recognized by your peers.
AM: You have moved several times and ended up in the Pacific Northwest, which seems very appropriate for your work. Do you feel like the mercurial, brooding weather drew you there? Does it affect / enhance your art?
Brom: It doesn't rain that much, it drizzles, a misty atmospheric drizzle - perfect writing, painting and brooding weather. We live on a creek in the shadow of a wooded mountain. Very inspiring. The only real downside is the bears, but for the most part if you leave them alone they will leave you alone.
AM: Can you give me a day in the life of Brom? Up late / early, what is your studio like, routines, coffee shops, etc.?
Brom: Orderly and routine makes me happy. Up at 7 am and in the studio as soon as possible, 10 am is 1st chocolate break, dark chocolate, the 85% cacao kind, lunch at 11:45 am, followed by twenty minute nap then back in the studio around 1 pm. Second chocolate break around 2 pm, god, I'm addicted to chocolate, work till 4:30 pm then brain locks up and I'm done. After dinner, I work on all the boring administration stuff.
AM: You worked as a concept artist for Van Helsing. Can you tell me what that involved, and what it was like?
Brom: Like much movie work it is about sending in a shotgun blast of ideas, which they then pluck out elements here and there and Frankenstein them together with elements from other artists' work to create something that you might, if lucky, recognize some small part of as being yours. Still a hell of a lot of fun though.
AM: You are married to Laurie Lee Brom, another one of our favorite artists. Do you segment your creativeness from each other, or do you bounce ideas off each other, offer criticism / assistance and do you influence each other?
Brom: She's my muse. We met in art school when we were 17 and 18, stuck like glue ever since. Her taste, work and ideas are a big influence upon my work. Our studios are connected, though there is a door. As she says, I tend to jibber-jabber too much.
AM: Have you ever traded art with another artist?
Brom: I'm not much of a collector. I tend to trade with artists that I have some sort of personal bond with. I have art by Jeffery Jones, Mike Mignola, Ric Berry, Phil Hale, Dave Dorman, Mark Nelson, Sanjulian, Keith Parkinson to name a few.
AM: Have you ever collaborated with another artist, or is there a dream collaboration you would like to have happen?
Brom: My most enjoyable collaborations are with sculptures as it is thrilling to see my work brought to life in dimensionally. I've had the pleasure of collaborating with Tim Bruckner, Shiflett Brothers, and most recently, Virginie Ropars and Tom Kuebler.
AM: Is this your first time at Baby Tattoville? Are there any artists you are excited to meet that will be at Baby Tattoville?
Brom: All of them (grin).
AM: I would love to hear about Brom as the story teller. Can you tell me about your stories, do they come to you as a complete story, fragmented images or do they develop as you write them? They all have a lot of art with them, are they driven by the art, or is the art driven by the story?
Brom: It varies. Sometimes my tales starts off with a visual image that I created that I wish to explore and the story evolves from there. As I grow as a writer, I find my concepts to be more plot driven. It can be an unusual idea or a combination of ideas I haven't seen before. This can be through images or fiction. I find the two arts inspire one another. Even the vaguest ideas come with pictures in my mind. I will do some sketching, then some writing, back and forth, using ideas discovered in one medium to strengthen the other.
AM: Do you use models? Do people you know ever show up in your work (any examples)?
Brom: I tend to paint primarily from imagination, but enjoy working from models when I have the chance. I tend to alter things so much, though, that it is hard to recognize the person who actually posed. The demons are harder to get to sit still, but make for much more interesting conversation.
AM: Any projects coming up you would like to talk about?
Brom: I recently finished up a lifetime collection of my art published by Flesk Publishing. Currently working on a new unnamed novel, details will begin to show up early 2015. Please check my website for the latest on all my novels and art books - www.bromart.com
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More Pages to Explore .....
