Quantcast
Channel: Features – Arrested Motion
Viewing all 1459 articles
Browse latest View live

Overtime: Oct 2 – Oct 8

0
0

More stories from the week that ended Oct 2 (click on bolded words for more information):
  • Whitney Museum unveils plans for David Hammons public artwork in the Hudson.
  • RIP: S.I. Newhouse Jr., who passed away at the age of 89. Artnet has a remembrance.
  • RIP: Vern Blosum, who passed away at the age of 81.
  • RIP: Robert Delpire, who passed away at the age of 91.
  • Court to determine if US victims in Jerusalem can seize antiquities on loan to US museum as recompense.
  • Car jumps pavement and hits pedestrians near London's Natural History Museum.
  • Oxford removes portrait of Aung San Suu Kyi.
  • Francis Bacon painting, the star lot of Christie's auction, fails to find a buyer.
  • Marina Abramović abandons plans to open Marina Abramović Institute due to fundraising failure.
  • Dr. Seuss Museum to replace mural after complaints that it depicted racist Chinese stereotype.
  • The Musée du Louvre has withdrawn Atelier Van Lieshout's Domestikator from its Tuileries Gardens.
  • Auguste Renoir painting stolen from an auctioneer in a Paris suburb the day before it was due to be sold.
  • Snapchat reveals Jeff Koons project a day early.
  • Yayoi Kusama bans Vice's Dexter Thomas from her studio.
  • The story of when four guards at Rikers Island decided to steal and subsequently destroy an original Dalí.
  • British museums missing at least £1mil. worth of items.
  • Theresa May attacked for wearing bracelet decorated with renowned communist Frida Kahlo.
  • documenta CEO Annette Kulenkampff  discusses budget controversy.
  • Andrew Hunter on why he quit the Art Gallery of Ontario. AGO director Stephan Jost responds to his criticism.
  • Artnet covers Stefan Simchowitz's Facebook rant. He rants about the article about his Facebook rant on Facebook.
  • The Guardian asks What's the biggest question facing artists today?.
  • Debate on whether Donald Trump’s tax plan would be a bonanza for the art world.
  • Palmyra Lion of al-Lat statue damaged by IS now restored and installed in Damascus.
  • How museums in Puerto Rico are recovering after the hurricanes.
  • David Geffen pledges record $150mil. for new LACMA building.
  • Musée Yves Saint Laurent Paris opens Oct 3.
  • Andrew Goldstein interviews Alexandra Munroe.
  • MoMA names Ana Janevski curator of performance and media art.
  • David Bowie retrospective coming to New York at the Brooklyn Museum.
  • The Institute of Arab and Islamic Art adds five artists, writers, and curators to its advisory committee.
  • Dad donates Native American robe to Sealaska Heritage Institute after daughter raises concerns.
  • Jackson Pollock's only mosaic now on view at Washburn Gallery.
  • London’s new Greenwich Peninsula development will host a purpose-built design district.
  • Musuems collecting history as it happens.
  • The rise of the made-for-Instagram museum concept.
  • Marco Cochrane nude woman sculpture shown at Burning Man may travel to National Mall.
  • John Jay College of Criminal Justice exhibits work made by Guantánamo Bay prisoners.
  • The Art Newspaper analyzes at Christie's Masterpieces of Design and Photography and Up Close sales.
  • Christie's uses assistance from aquatic experts to install Damien Hirst work.
  • Bartholomäus Spranger painting once owned by Curt Glaser to be auctioned by Christie's.
  • The Art Newspaper analyzes Christie's evening sale of contemporary art.
  •  Ru guanyao brush washer ceramic sells for record $37.7mil. at Sotheby’s Hong Kong.
  • Sotheby’s to hold first auction sale in Dubai.
  • Jacques Grange’s art, furniture, and antiques collection to be sold at Sotheby's.
  • Marc Chagall work at Sotheby's may break the record for the artist.
  • Roy Lichtenstein’s Female Head, from collection of Elizabeth Rea, to be offered at auction by Sotheby’s.
  • Artnet writes about Sotheby's evening sale of contemporary art.
  • Artnet analyzes Sotheby's Postwar and Contemporary Photo Sale.
  • Artinfo has a Q&A with Sotheby's Alex Branczik.
  • Gurr Johns purchases Dreweatts and Bloomsbury for £1.25mil.
  • Art Basel signs five-year lease with Miami Beach Convention Center.
  • Judd Tully provides us with a Frieze auction week preview. Artists over 60 exhibiting at Frieze. Frieze week events for everyone. Artnet writes about explicit feminist art at the fair. Artnet's choices for the 10 best booths. The market for political art at the fair. Museums taking patrons to Frieze. Tate buys work from the fair. Frieze on a budget. A sales report from Frieze. The Art Newspaper reports on sales from the fair.
  • 10 works to buy at Frieze Masters for under $1mil. Julian Schnabel at the fair.
  • A look at the market for Josef Albers's work.
  • Art Legacy Planning forms to provide services for those in need of art estate and foundation planning.
  • Steven Murphy makes six big hires for his advisory enterprise, Murphy & Partners.
  • Nicholas Logsdail on highlights from 50 years of Lisson Gallery.
  • Tim Schneider on Why Art Basel’s New Ethics Rules Are Good News for the Market (and Other Insights).
  • Artnet profiles Bob Rennie.
  • CNN on the new generation of Chinese art collectors.
  • Serkan Özkaya's theory on Marcel Duchamp's final work.
  • Artnet profiles Louise Fishman.
  • Shepard Fairey's mural in progress in Costa Mesa, CA.
  • Scott Indrisek interviews Amanda Ross-Ho.
  • Anh Do wins 2017 Archibald People’s Choice Award.
  • Josh Kline's show at Modern Art.
  • Shana Nys Dambrot reviews Billy Al Bengston's Dentos 1965 - 1970 at Parrasch Heijnen Gallery.
  • Jake and Dinos Chapman's exhibition of suicide vests at Blain Southern.
  • David Salle on how to look at his work. An interview with the artist.
  • Artreview writes about Tal R's Sexshops show at Victoria Miro.
  • Snapchat teams up with Jeff Koons on augmented reality sculpture project.
  • Ai Weiwei selling editioned sculpture and print on eBay for charity.
  • Seven shows in London to see during Frieze week. Artnet's picks for The 15 Best Shows to See in London During Frieze Week. Why London galleries exhibit at Frieze in their hometown.
  • Artnet's 5 Exciting Young Artists to Watch at Sunday Art Fair.
  • 24 New York gallery shows to see this October.
  • 14 experts weigh in on what the most iconic artwork of the 21st century is.
  • Interview with Jim Carrey about his visual art.
  • Interview with Julia Stiles about playing a curator/art advisor in a film.
  • 250 boxes of Marina Abramović macarons available at Ladurée in London’s Harrods.
  • Friends With You limited edition lenticular print now available in their web shop.
  • Anger Management items available in Brooklyn Museum Shop web shop.

Previews/interview: Haroshi –“Gallery Show” @ Arsham/Fieg Gallery

0
0

NYC-based artist Daniel Arsham along with footwear & clothing designer and owner-operator of Kith, Ronnie Fieg, recently teamed up for their newest project that will open doors on October 11th. Arsham/Fieg Gallery will launch with a solo show by Haroshi (featured) who will introduce his newest series of Guzo figurines which were introduced earlier this year at Nanzuka Gallery in Tokyo (covered). With his exceptional work process and skilled craftsmanship, the Japanese artist is a perfect match for a debut show in a gallery operated by the likes of Arsham and Fieg. Both known as aficionados in the domains they work in, they will surely bring some groundbreaking works to their newest creative space. Simply titled Gallery Show, the exhibition will consist of new sculptural pieces experimenting with the possibilities of the peculiar medium - discarded skateboard decks. We got a chance to have a peek inside artist's Tokyo studio as he was preparing the show, and talk with him about the meaning behind the work he produced for it. AM: How different is this show from your Guzo show in Tokyo? Haroshi: Basically, it's almost same exhibition, but the upcoming exhibition in NY will include five new pieces of Guzo. The rest of the works are pieces shown at the exhibition in Tokyo, which are loaned from the collectors who acquire them. AM: Is the work based on replicating existing figures or inventing your own? Haroshi: Guzo series is based on Dōsojin, a kind of kami (spirit) from Japanese religious belief. It is an icon which I made up through mixing various views of the other religions. It is said that kami is everywhere around the corners of the streets in Japan, and all objects, places possess some kind of spirit. That is interesting, isn’t it? AM: Definitely. Except from using skateboards as material, are any of the pieces thematically skateboarding related? Haroshi: I believe that no one can understand pain in the real sense unless you experience it. I think Jesus Christ became a messenger of God because he bore the pain instead of us. Moreover, the reason why Buddhist monks practice religious austerities is to understand the pain that people bear. I have been thinking for years that skateboards are being destined to be hurt over and over again, to be thrown away in tatters at the end. So in that sense, I thought it would be the most powerful kami if I make kami from it. And I suppose creating this kind of thing is our role. AM: Did you plan any edition releases for this show? Haroshi: I will release a new 3D lenticular print which has 3 images of Guzo switched as it is viewed from different angles! I have loved this kind of low-tech stuff since I was a kid. It will be available in an edition of only 20 pieces, each framed in acrylic box. Discuss Haroshi here.

Streets: Jen Stark –“Chromatic Cascade” (Los Angeles)

0
0

It looks like Jen Stark recently completed a mural in the downtown LA arts district (1828 Conway Pl. Los Angeles, CA 90065), her largest to date. Entitled Chromatic Cascade, the impressive piece spans two walls on the facade of a building and measures 27 x 200 ft. Featuring bold colors and intricate patterning, the wall painting is a classic example of Stark's psychedelic drippy imagery, one of the reoccurring motifs in her work. Discuss Jen Stark here.

Streets: Swoon (Cincinnati)

0
0

While in town for her exhibition at the Contemporary Arts Center in Cincinnati, Swoon (interviewed) took some time yesterday to make her mark on the streets. As per her usual practice, the Brooklyn-based artist wheat paste some cut paper pieces in the alley right next to The Findlay Market and in the Over-the-Rhine neighborhood. Take a look at more photos below... Photo credit: Chris Breeden. Discuss Swoon here.

Overtime: Oct 9 – Oct 15

0
0

More stories from the week that ended Oct 15 (click on bolded words for more information):
  • Leonardo da Vinci’s Salvator Mundi, which could sell for over $100mil., to be auctioned at Christie’s. Eight things to know about the painting.
  • RIP: Holly Block (1958–2017). Bronx Museum launches fund in honor of Block.
  • US government withdraws from UNESCO, creating profound implications for cultural institutions.
  • Event at 356 S Mission cancelled due to protests from anti-gentrifiers.
  • Photos comparing black people from Africa with continent’s wild animals pulled after accusations of racism.
  • Philippe Méaille withdraws works he loaned to MACBA museum, citing concerns following independence vote.
  • Omer Fast’s take on Chinatown at James Cohan Gallery angers community organizations.
  • Charles Schulz's home burns down in California fires.
  • Harvey Weinstein never paid for $100k Cecily Brown work he bought at Planned Parenthood’s charity auction.
  • Hollywood & Highland censors Erika Rothenberg sculpture in response to Weinstein scandal.
  • Brazil arts institutions under attack following widespread criticism of a performance at MAM.
  • The Massachusetts attorney general investigating deaccessioning of works by Berkshire Museum.
  • Alfredo Jaar condemns CIA torture chambers as he unveils his “black site” installation in Yorkshire.
  • Why there are so few great modern and contemporary art collections in Spain.
  • James Whitely files $1mil. fraud claim against dealer Atam Sahamnian.
  • Tensions mount between Artist Pension Trust and its contributing artists.
  • State Street Global Advisors, orchestrator of Fearless Girl campaign, settles gender discrimination lawsuit.
  • Market for Italian art may be running out of steam.
  • Eberhard Kornfeld speaks to the media for the first time about Cornelius Gurlitt.
  • Eli Broad retires from public life.
  • John Oliver makes the case for tearing down Confederate monuments in the US.
  • Locals fight to retain (a more durable) Eisenman fountain following Sculpture Projects Münster.
  • Martin Roth exhibition to proceed at QM Gallery Al Riwaq despite partial blockade against Qatar.
  • Alyson Baker to step down from her post as executive director of the Aldrich Contemporary Art Museum.
  • Jonathan T.D. Neil on why galleries should adjust and balance to demands.
  • Reappraisal of Ruth Asawa’s wire works, courtesy of David Zwirner Gallery.
  • Auction houses finding new ways to survive.
  • Mexico's galleries working together to help each other recover after earthquake.
  • City of Kassel is negotiating with Olu Oguibe to keep his monumental obelisk.
  • Looted ancient marble bull’s head loaned to the Met to be returned to Lebanon.
  • US returns 95 works from Edemar Cid Ferreira's collection to Brazil.
  • Gerhard Richter, Anish Kapoor, and Neo Rauch, make the list of Germany’s richest people.
  • Five leading US scholars and curators pick the nation’s greatest memorial sculptures.
  • Proceeds from sale of Basquiat’s Red Skull will fund new charter schools in New Jersey and Miami.
  • 26 influential art world figures weigh in on whom the most influential artists of the last century are.
  • Tristram Hunt calls for Exhibition Road to be fully pedestrianized after 11 injured in accident.
  • New Museum selects Rem Koolhaas to design expansion on the Bowery.
  • Christopher Knight reviews Giovanni Bellini: Landscapes of Faith in Renaissance Venice at the Getty.
  • Beijing’s UCCA will now be a nonprofit run by director Phillips Tinari, after it was sold to investors.
  • Tate St Ives’s cliffside extension set to boost local economy by £10.5mil. a year.
  • Artnet looks at Frank Gehry-designed Guggenheim Bilbao, 20 years later.
  • MFA Boston gets gifts of 17th-century Netherlandish art, with work by Rubens, Rembrandt, and van Dyck.
  • ICP plans to move for the second time in two years.
  • Smithsonian's Archives of American Art acquires the records of Artists Talk on Art (ATOA).
  • Two would-be rap museums in Harlem and in The Bronx are battling to become NY's first.
  • Barbara Kruger's commission for Performa 17 announced.
  • Alistair Hudson named director of the Whitworth and Manchester Art Gallery.
  • Artnet asks Who Are the Most Influential Curators of the Last Century?
  • Artnet interviews Paola Antonelli.
  • Skowhegan School of Painting & Sculpture granted $250k by Helen Frankenthaler Foundation.
  • Tim Schneider on why museums are at a disadvantage over private collectors and other issues.
  • Superflex’s One Two Three Swing! at Tate Modern's Turbine Hall.
  • Artnet looks at Dalí/ Duchamp at London’s Royal Academy.
  • Desert X returns in 2019.
  • White Columns to move to new location next to Whitney Museum in New York.
  • Stars of British art world donate works to Sotheby's sale for Grenfell fire survivors.
  • Emilie Volka joins Artcurial as the new director in Italy.
  • Newhouse family appoints Tobias Meyer as representative for S.I. Newhouse Jr. art collection.
  • Gary Nader to sell work from his collection during Art Basel Miami Beach in order to fund his museum.
  • Artsy's sales report for Frieze London and Frieze Masters.
  • Kenny Schachter's adventures in London during Frieze.
  • Artnet interviews .Art domain founder Ulvi Kasimov.
  • Artnet interviews Michael Sherman about moving from the mayor’s office to the auction house.
  • Firstsite in Colchester, Essex to re-stage Hauser & Wirth’s fictional Bronze Age museum Frieze booth.
  • Tracey Emin, Carl Freedman and Jonathan Viner to establish Margate arts district.
  • The Banksy economy.
  • Larry's List interviews Hong Gyu Shin.
  • Mary Weatherford now represented by Gagosian Gallery.
  • Luhring Augustine now represents Oscar Tuazon.
  • Judith Bernstein joins Paul Kasmin Gallery’s roster.
  • Njideka Akunyili Crosby and Trevor Paglen among recipients of Macarthur Genius Grant.
  • JR hosts picnic across US-Mexico border.
  • Artnet interviews Anne Imhof.
  • Artnet writes about Adam Pendleton's Black Dada.
  • Jori Finkel interviews Judy Chicago.
  • Ai Weiwei's Good Fences Make Good Neighbors project deals with refugee crisis. NY Times reviews his Human Flow.
  • Isa Genzken honored with Kaiserring 2017 award from the city of Goslar.
  • Jeff Koons' new Louis Vuitton Masters collection.
  • Artnet profiles Jordan Casteel.
  • Will Cotton's annual drawing party.
  • Seitu Jones and Richard Schlatter each took home a $200k grand prize at ArtPrize.
  • Smartify app enables users to identify artworks and read about artwork by scanning them with smartphones.
  • Six art gallery-worthy discoveries at New York Comic Con.
  • Sarah Cascone chooses 18 things to see in New York.
  • The Vinyl Factory interviews Justin Strauss.
  • Ten artist-inspired or collaborated fashion collections.

Streets: JR Installation @ US-Mexico Border Fence (Part 2)

0
0

Coinciding with the last day of his scaffolded installation at the US-Mexico border fence (covered), JR (interviewed) organized a gigantic picnic to commemorate the occasion. Setting up a massive table featuring the "eyes of a dreamer," a motif the French artist is famous for, the feast spanned both sides of the fence near Tecante, Mexico and Tecate in California. People from both sides showed up, including Kikito (whose photo was the one used for the installation) and his family, to share food and to support the artist's continued work to highlight social issues. Discuss JR here.

Interviews: Igor Ponosov

0
0

It would give a certain pleasure to Walter Benjamin if he could know that 81 years from the first publication of his The Work of Art in the Age of Mechanical Reproduction, it would be quoted by a Russian artist in a perfectly poetic manner just right on the waters of the Norwegian port city of Stavanger. The artist, Igor Ponosov, through his Too far, Too close artwork, not only reminded us about the “aura” and “unique appearance of a distance,” but also interacted with the viewer through some kind of ritual, which according to Benjamin should prove the “authenticity” of this work. In early September during Nuart Festival (covered), twice a day people in Stavanger could watch the boat with the “eye test chart” on its sail floating around the city in the distance. It was an art object, performative act, poetical allusion and the critical statement, all at the same time. Igor Ponosov says that it’s an “intradepartmental” critique, since the artwork, which was made for the street art festival actually symbolizes the true distance between modern street art and the people, no matter how close this art may be to them physically. Ponosov is an artist, activist and the author who doesn’t have formal art education. Despite that, his last book was awarded the Sergey Kuryokhin Contemporary Art Award for the “Best Text on Contemporary Art” in 2016. He is the person who’s standing behind the Partizaning.org website and is said to be the first person on Earth who did research on street art in post-soviet territory. Kristina Borhes (KB): What do you do as an artist? Igor Ponosov (IP): I work with the city mostly. I think it’s because the urban environment inspires me a lot. There are many elements, which could be combined within the city; many people to communicate with; a lot of meanings you can work with… It is a very fertile environment for creativity. For instance, there is magnificent nature in Stavanger. It’s a kind of nature, which is very inspirational and desirable, you always dream to get there.  Even before I got here, I knew it will be like that. That’s why the boat is sort of attempt to reach it (nature). Practically, I was staying in the city since I was sailing only around Stavanger, but anyway I’ve became a little closer to its nature.  It was an artistic endeavor to experience the nature. At the same time, it was a chance to tell the people that the city is not only those industrial buildings in “growth decay”, but also everything around Stavanger. And I guess most people were inspired by it. They saw that it’s possible to make something even on the water. KB: Since you’re working with the context of the place. Did you notice something specific regarding the public space of Stavanger? What thoughts it provoked? IP: Every city has its specific context. What I’ve noticed here is a very comfortable and safe environment. Again, nature plays a big role, but also there are not many cars in the city, not many people… Perhaps, Stavanger has just the right amount of people and cars which should be in such a small city. That’s why it’s very comfortable to live here. I never saw a cop here and I don’t know where the police department is (I have a doubt that it exists at all), but there’s a strong personal impression of safeness in this city. There are no window grates here, no fences… It is very noticeable, especially when you come from Russia. I’m always renting an apartment in Moscow. Usually, it is on the first or second floor and every time there are grates on windows there. You always feel this border, living as if behind the fence. Once, I even made the design of the window grate as an object in the Russian city and I thought it could be interesting to make one here someday. It’s a quite clear and understandable moment in Russia, but how would people react to it in Stavanger? And is it even possible here? Actually, it’s an important part of any project – to examine how acceptable your idea is in some specific place. KB: How you came to an idea of the Too far, too close artwork? IP: Once I was in Nizhny Novgorod, a city with the widest river Volga. This river inspired me a lot, just like Norwegian nature. There are some islands just right on the river. In the frame of an art residency, I’ve asked to bring me to the one of those islands, so I could live there for a couple of days in the tent. I haven’t done anything extra special, but it was a very interesting practice of experiencing the city. You’re kinda in the city, but at the same time you’re not.  Just in the middle of  “nature” still you can see the urban landscape, city lights, advertisement on the shopping mall, you can hear the church bells… It was definitely an interesting practice. And I wanted to continue it here, but at the same time I wanted to create an object. The object which will be quite poetical, a bit critical, absurd and useful in a way. This is how the image of the sail with the “eye test chart” was born. The “message” on the sail is quite absurd, but at the same time it is somewhat useful, because the boat was sailing at a specific distance from the city, so people could make an eye test. KB: Tell me more about your “intradepartmental” critique. What do you think is wrong with the street art and muralism? IP: What concerns me a lot is reproduction of mural art. Walter Benjamin raised the question about the “reproduction” and the “aura” of art back in 30’s… The issue is still actual regarding the context of street art festivals. I don’t see the meaning in massive production of all these abstracts or decorative murals. Most of them are out of context… I’m always trying to be critical and my work “Too far, too close” symbolizes the murals, which are too far from the people because of the abstract message they deliver (just as my sail with an eye test chart), even though they are so close physically to people on the streets. In fact, most of the street art works nowadays are very flat images. Very often it is just a depiction of a simple object. It’s some kind of a trap for the artist. They’re becoming the prisoners of their own style. Imagine that some artist painted a peg, a very well-done huge peg. And maybe this peg even related to the context of that particular place. But all of a sudden everyone started to ask for the same peg in other places. So, artist changes it a bit, but then decides to develop a set: peg, fork and spoon. He will use this set every time, when somebody invites him to paint. This is how artists are getting trapped. And even well-known and respectable artists are reproducing their own sets of objects, characters or animals… It’s cool to see it once, maybe twice, but I don’t agree to look at the same thing with small variations in every single city. I don’t need it neither as an inhabitant, nor as a guest of the city. KB: And you as an artist? IP: As an artist, I don’t like to be the prisoner of the style. It’s not interesting for me to reproduce the same thing. If someone asks me to make another sail, probably I will refuse. There’s no sense in it. KB: Apparently, attending street art festivals is not in your habit. What is so special about the Nuart? There should be something, since you’re here… IP: Yeah, it’s not in my habit at all. Usually, I don’t take part in street art festivals. In fact, I’m trying to escape the label - “street art” artist.  It’s not that I’m ashamed or something. Many people have the opinion that there are “street art” artists and the “true” artists. I don’t agree with that for sure. But still this “street art” label became mainstream and it provokes associations such asa  permanent reproduction of facades, superficial images, lack of work with the context, unfortunately. Frankly saying, I would like it to be different. In my book Art and the city, I’ve tried to find the examples in order to disprove it, but still one way or another this mainstream scene already exists. That’s why street art festivals are not very useful for me personally. I consider myself as just an artist and yes, I like to work with the city, but only because it’s a very fertile environment, nothing more. I’ve came to Nuart festival, because I consider it as one of the oldest street art festivals and it was curious to kinda watch it from the inside. This festival is changing through development and the line-up of this year is a good proof of that. It is very diverse and interesting. KB: Ok, let’s talk about your Art and the city book. It was quite resonant on post-soviet territory. How was it started? IP: I’ve been doing analysis and systematization of the street art starting since 2004. It started with my first website – “Visual Artifacts.” At that time in post-soviet territory, there wasn’t even such a term as “street art.” Well, there was something, but certainly no websites that could present information about it. By that time, I was already bored by tagging. I mean, at that stage for me as an artist it wasn’t interesting to tag in Moscow anymore.  So, I started to explore new practices in the context of the city. I was searching for artists on the web, collecting their profiles and then presenting them on my website. Almost immediately, I’ve got an idea about the book. For the next few years, I’ve published 3 books - the series called “Objects.. I’ve made everything by myself in those books and each one became better. It was quite a long process and from time to time I had the feeling as if street art only begins, but at the next moment it immediately dies… At least in Russia. For quite a long time I was doing the lectures and exhibitions regarding the street art topic. In 2012-2013 together with Krill KTO, we’ve been working on the lectures for the university and I thought it could be nice to collect the information obtained through all these years and present it in one single monumental statement - the book. Moreover, there was no such publication in Russia. Well, even on the worldwide scene there are not many books, which systematically explore the wide range of different practices. So, I started to work on the “Art and the city” book. KB: Was is it easy to publish such book in Russia? IP: It appeared to be not that easy… I’ve published the “Objects” trilogy at my own expense. This time, I thought that I already outgrew this stage. There were some sponsors willing to cooperate, but I surely didn’t want advertising in my book. I wanted to work with a publishing house this time. I spend almost a year negotiating with different publishing houses. Some of them agreed but then nothing really happened… I guess most of them just wanted to avoid the risk, it’s always easier to work with something you’ve already tried.  That’s why I decided to do it by myself again. It’s important for me to finish what I’ve started. Moreover, it was interesting for me to try crowdfunding as a tool. So now I’m really happy that it went this way. The crowdfunding campaign lasted for 3 months and it showed me that people are interested in this topic, they are ready to be involved, ready to help. Sure, it demands a titanic effort. I was communicating with the people all the time. I don’t like to use social media, but I had to. Despite that, I proved to myself that people care about my work, it’s important for them. I had big support from the graffiti and street art community. As a matter of fact, I was criticizing some of those artists and organizations, but they supported me anyway. It is valuable. During the campaign, I achieved the goal and even a bit more. It was more than enough to publish a book. I guess I’m trying to prove that one person could do a lot of things. You don’t have to wait until someone notices you, or until you have the money or something else. Just start doing something. KB: Regarding your refusal from advertising in the book. What is your opinion towards art and sponsorship? It seems like politicians and entrepreneurs are actively re-discovering the “power” of street art. I guess both of us can come up with hundreds of dismal examples from Russia and Ukraine.     IP: I’m trying to stay away from the brands, commercial or political organizations. It’s important for me to keep my statement pure. I can’t imagine my boat sailing here under the name of some brand for instance. For me this kind of thing is unacceptable, because in that case it’s only advertising, nothing more. Although, I know many artists who are absolutely ok with such things. It’s their choice. As an artist I don’t care who’s sponsoring other artists, but as curator I prefer to work with artists which are motivated by themselves rather than by sponsors. Usually, you can feel it on the personal level: sometimes it’s just some single cooperation and it doesn’t affect the artist’s practice, the other time you can feel its domination throughout artist’s work. Capitalism takes every underground culture and converts it in the mainstream. This is what really happened with the street art. It’s a well-established practice and artists are only cogs in its wheel. KB: As you’ve mentioned earlier, sometimes you feel that street art dies. Some of intellectuals already declared the death of graffiti, death of street art, or death of Postmodernism… So now we have Schacter’s “Intermural Art” or “Post-Street Art” from Martyn Reed as the new terms for the new practices somewhere in the middle of the streets and galleries/museums. Is it really dead? IP: Well, I agree that it is an absolutely a different practice. For me, street art is a grassroots practice, it is illegal, a protest in some way, politically or socially engaged… You can hardly find such messages today… It’s not the same “street art” as it was at the beginning. After I published three of my “Objects” books, I said the same thing about Russian street art, it died for me. I saw no development of street art in the context of Russia. Artists didn’t pay attention to local context. Most of these practices came from the West, frequently it was just reproduction of Western images. Later I had an impression that it revived for a certain moment. It was 2011, when some protest things appeared, artists in Russia started to work with local context. I still see them now, but prefer to remove the “street art” label from their practices. Most likely, the “Art and the City” book is kinda the final point in my street art “digging”... This topic became very mainstream, some kind of niche or even “ghetto” in the context of contemporary art.  From time to time, contemporary art institutions are trying to represent the processes, which are going on within the street art, but usually they don’t understand a thing about it. They will randomly pick something from the surface and put it into the museum, or biennale. As a rule, it’s something like “we will give you that far corner, spray something on it.” In the end, it looks like some roadside... And I don’t like it, because if you’re an artist – please represent yourself equally with other artists. If you prefer to work with the city context that’s ok, but why do you have to label yourself? Photo credit: Kristina Borhes and the artist

Overtime: Oct 16 – Oct 22

0
0

More stories from the week that ended Oct. 22 (click on bolded words for more information):
  • Yayoi Kusama will debut two new Infinity Rooms at David Zwirner next month. Yayoi Kusama Museum sells out tickets for the year. The 30-second rule for her installations at The Broad.
  • RIP: Lawrence Argent who died at the age of 60.
  • Beatrix Ruf resigns as director of the Stedelijk Museum after potential conflict of interest.
  • Norman Rockwell’s family meets with Mass. AG in attempt to halt sale of Berkshire Museum’s paintings.
  • Collier Schorr uses her platform to raise awareness of sexual abuse in creative industries.
  • The effect of the Northern California wildfires on local artists.
  • Paul Rucker’s show at York College of Pennsylvania closed to the public for being too provocative.
  • A look at the Sackler family's (maker of highly-addictive painkiller Oxycontin) support of cultural institutions.
  • Separate foundations, both started by Shusaku Arakawa and Madeline Gins, feud over an edition of a work.
  • Donald Trump's Renoir, which he believes to be real, is deemed by experts to be a copy. The work was in Parker Brothers' Masterpiece game.
  • Stolen Dali painting, thought to be 1954 original, seized in Lebanon.
  • Piotr Pavlensky torches bank in Paris after being granted asylum there. He gets charged with property damage.
  • The 5Pointz trial and how it will affect the rights of graffiti and its artists.
  • Victory for Matisse family in $4.5mil. cut-out legal battle with Jérôme Le Blay over disputed works.
  • What Trump's withdrawal from UNESCO means for cultural institutions. Some associations respond.
  • Ai Weiwei stopped from boarding flight from NY to São Paulo after staff incorrectly claimed his visa was invalid.
  • NY Times writes about Guggenheim's decision to remove works involving animals from its show.
  • Omer Fast responds to protests of his Chinatown installation at James Cohan Gallery. The gallery also had a response. Holland Cotter calls the show a misfire.
  • V&A thwarted again in its attempt to buy the Clive of India flask.
  • Grand Rapids Art Museum allegedly misused donor-restricted funds to cover gaps in its operational budget.
  • Spain court orders psychic to pay for Dali exhumation after her claims were proven false.
  • Tim Schneider on the risks associated with Christie's touring da Vinci's Salvator Mundi around.
  • World Monuments Fund lists 25 at-risk cultural sites.
  • Looted Benin bronzes to be lent back to Nigeria and restitution could come.
  • Long-lost Rodin marble sculpture turns up in New Jersey town hall committee room.
  • Barak Obama's portrait to be painted by Kehinde Wiley. Michelle Obama's portrait by Amy Sherald.
  • Trump tax plan may be favorable to art collectors.
  • Three missing works by Käthe Kollwitz found by customs agents.
  • How Kim Reeder had a drawing Basquiat gave her authenticated.
  • Lin-Manuel Miranda teams up with the Warhol and Rauschenberg Foundations to aid Puerto Rico.
  • Karen Pence, US vice president's wife, promotes art therapy.
  • Weaving and artistic skill is making a comeback, according to Maria Lind.
  • Court sides with Deborah De Robertis, deeming performance of exhibiting her vagina at the Louvre non-sexual.
  • SFMOMA working with museums around the world to send artwork via text with Send Me program.
  • V&A Dundee takes shape as £80mil. building by architect Kengo Kuma is unveiled.
  • Imperial War Museum explores artists’ responses to war and terror after 9/11 in show with over 40 artists.
  • Prada Foundation opens new cultural center in a restored Shanghai mansion.
  • Smithsonian’s National Museum of the American Indian to exhibit mile-marker from Standing Rock protests.
  • Melania Trump to donate her gown from Inaugural Ball to Smithsonian.
  • The Einstein House, dedicated to Albert Einstein, to open in Jerusalem in an abandoned planetarium.
  • Magnetic Fields: Expanding American Abstraction, 1960s to Today at National Museum of Women in the Arts.
  • David Adjaye reveals designs for SPYSCAPE spy museum in Midtown NY.
  • Natural History Museum in Los Angeles plans a makeover.
  • Kahlil Joseph’s Shadow Play exhibition at NYC’s New Museum.
  • Vatican Museums director Barbara Jatta reveals her big plans.
  • Nelson-Atkins will have a mini-golf course on lawn in 2018.
  • Munch Museum to show one Edvard Munch piece at Oslo Airport every year starting this Dec.
  • Tania Bruguera seeking performers for her MoMA show.
  • Is the Museum of Ice Cream the future of culture?
  • One Florine Stettheimer goes into the Whitney Museum collection and another to auction at Christie's.
  • Sotheby’s auction to help survivors of Grenfell Tower fire raises over $2.5mil.
  • Sotheby’s explores the market for Old Master copies, including a Last Supper painting.
  • Christie’s adds $65mil. Léger work to Nov. auction.
  • NY Times writes about the recent London auction sales.
  • Enid Tsui analyzes the Hong Kong art auctions.
  • Artinfo's list of 50 things to see at FIAC 2017. The Art Newspaper previews the fair. Artinfo reviews FIAC. Artnet's list of 15 recommended exhibitions in Paris during FIAC week. The Art Newspaper has a sales report from the fair. The Macron effect on sales at FIAC.
  • Inside the home of Patrizia Sandretto Re Rebaudengo.
  • Mignoni Gallery to open in NY on Upper East Side, headed by former Christie’s director Fernando Mignoni.
  • Margo Leavin lists Hollywood Hills home for $15mil.
  • Alexander Gilkes discusses art collecting.
  • Alexander Gray Associates now represents Kay Rosen.
  • Charles Harlan now represented by Kayne Griffin Corcoran.
  • William Eggleston releasing album of music.
  • Frieze review of Amanda Ross-Ho's show at Mitchell-Innes & Nash.
  • Artnet interviews Joep Van Lieshout about his Domestikator project at the Pompidou.
  • Lorena Muñoz-Alonso interviews Catherine Opie.
  • Brian Boucher interviews Njideka Akunyili Crosby.
  • Keith J Varadi's essay The Economy of Self, The Economy of Image, The Economy of Self-Image.
  • Artnet interviews Tracey Emin.
  • Tim Storrier wins Doug Moran National Portrait Prize, which includes $150k.
  • Sarah Meyohas transforms 100k rose petals into critique of big data.
  • A ranking of Vermeer's ten most iconic paintings,
  • Ambera Wellmann wins the RBC Canadian Painting Competition at the National Gallery of Canada.
  • Lin Tianmiao's installation at Galerie Lelong puts 2,000 words for women on top of antique carpets.
  • Chance to be artist-in-residence at New York City’s Department of Corrections.
  • Artnet's Editors’ Picks: 20 Things to See in New York This Week. More must-see shows in town.
  • Architects weigh in on the Bilbao Effect 20 tears later.
  • An interview with the widow and son of the doctor who saved Andy Warhol's life.
  • Britney Spears has a new painting video.
  • Shia LaBeouf & co. artwork moved for a fourth time.
  • Man proposes to his girlfriend at the Met by hanging a painting on its walls.

Rewind: June 9 – Oct 24

0
0

It's been a while since we last shared some art-related videos with you in our Rewind feature so here are some that you may have missed in the last several months. Leading things off are a couple videos documenting the launch of Liu Bolin's ready-to-wear collection at New York Fashion Week. The fashion collection inspired by the 12 photographs he created in the United States featuring his unique style of painting camouflaging himself into the scenery, something referenced by the body painting the models had on the catwalk.
  • POW! WOW! Israel 2017.
  • JR Picnic at the US/Mexico border.
  • A look at the Tawar "ABOVE" Zawacki show in Berlin.
  • Faith47 in Johannesburg.
  • CANEMORTO transforms Kapow into a real pizzeria.
  • Jeff Wall on Art 21.
  • Jim Carrey discusses his paintings and love for art.
  • Alex Da Corte directs a video for St Vincent.
  • Aryz in China.
  • Vermibus project entitled "In Absentia."
  • Nuart '17 feature on Igor Ponosov.
  • Nuart '17 feature on Know Hope.
  • Nuart's inaugural “Artist-in-Residence” project for the Nordic Edge Expo.
https://vimeo.com/234525588 https://vimeo.com/234257324 https://vimeo.com/229787696 https://www.youtube.com/watch?v=cCsUWYl8DT4 https://www.youtube.com/watch?v=thw0tv5PvxY https://www.youtube.com/watch?v=MWzHwf3qu0Y https://www.youtube.com/watch?v=9W_RtUWn7zs https://www.youtube.com/watch?v=L_gAQNuDUOo https://vimeo.com/226379658 https://youtu.be/4TPqUvy1vYU https://vimeo.com/233459603 https://vimeo.com/237229723 https://www.youtube.com/watch?v=TxbpuJhfd9c https://www.youtube.com/watch?v=0Gcey7Df7FQ https://vimeo.com/237372614 Photo credit: South China Morning Post / Reuters.

Streets: DALeast (Seattle)

0
0

Earlier this month, DALeast (interviewed) traveled to Seattle to work along with 25 other artists on the Sodo Track mural project. The two-mile stretch spanning Fifth Avenue South from Royal Brougham Way to Spokane Street will eventually feature the work of 50 artists when finished with murals related by a common theme - motion. This ties in nicely with the work of the Chinese-born artist as his aesthetic features kinetic spray-painted coils of wire that almost always depict an animal, bird, or force of nature in action. This time around, he chose to paint the majestic cheetah on the hunt. Photo credit: @pixelatedstreets and Sodo Track mural project. Discuss DALeast here. https://www.instagram.com/p/BYyV5Ssgvd1/

Streets: Skullphone x Positive-Propaganda (Munich)

0
0

Recently in Munich, Positive-Propaganda collaborated with another artist in their ongoing street art project (covered) of "establishing contemporary and socio-political art in urban spaces." Invited in by the non-profit, Skullphone created several pieces using his usual style targeting Coca Cola's deceptive "greenwashing" ads that positions their high sugar content soft drinks as supposedly healthy in their "Light" products. Utilizing his signature pointillism technique, the American artist painted a triptych that included the brand's distinctive bottle, the lips of the consumer, as well his signature image that is also the source of his name. Photo credit: Positive-Propaganda. Discuss Skullphone here.

Streets: Smug (Stavanger, Norway)

0
0

A few days after Nuart Festival officially closed their 2017 indoor show (covered), they wrapped up another successful mural project. Teaming up with Smug, Attende AS and students from Kannik Middle School, they produced their inaugural mural for the new Social Inclusion Through Street Art project. Attende AS employs approximately 330 people with disabilities who would otherwise exist without a meaningful work life. Providing them a steady employment in the large and varied industrial production system, the concept both helps these less fortunate individuals and contributes significantly to the region's economy. In order to celebrate their worthy efforts and illustrate everyone's important role in society, Smug decided to portray one of their employees - Helge. Due to his inability to read, Helge been struggling to find a job for a long time until Attende found a perfect solution - he got a job shredding documents containing sensitive information. The Australian graffiti artist portrayed his subject at his workplace, with attention given to little details that accent his purpose in society. Composing the image so it complemented the existing architectural elements, the mural fit perfectly in the residential area. Known for the softness of his images and an impeccable light effect, Smug managed to convey this story of life struggle into a beautifully executed portrait of a hardworking member of society. Photo credit: Brian Tallman.

Overtime: Oct 23 – Oct 29

0
0

More stories from the week that ended Oct 29 (click on bolded words for more information):
  • Phillips makes history by selling Paul Newman’s Rolex for record $17.6mil. in its first NY watch sale.
  • Knight Landesman accused of sexual misconduct by multiple people. Artforum responds. A look at his emails and correspondence. More allegations from women. He resigns from his position at Artforum. Editor-in-Chief of Artforum, Michelle Kuo, resignsShe explains why she resigned. Some galleries boycotting the magazine. Artforum staff pens letter condemning the magazine’s management.
  • Terry Richardson banned from working with Vogue and other fashion publications.
  • Jeanette Hayes accused of multiple instances of plagiarism.
  • Activists deface American Museum of Natural History’s problematic Theodore Roosevelt monument.
  • The mystery over Christ’s orb in Leonardo da Vinci Salvator Mundi painting. Artnet also writes about the orb.
  • Mugrabi says that Mana Contemporary is holding their art in storage hostage due to misunderstanding. David Mugrabi sues. Mana is ordered by the court to release five works in exchange for $1mil.
  • Timothy Sammons goes to jail in New York after being accused of scamming clients.
  • Drug dealer jailed after being caught with Stanley Spencer painting and shitload of drugs.
  • Religious protesters attack Ron Mueck’s sculpture of a naked man in Istanbul.
  • Pussy Riot stages protest in NY's Trump Tower in support of imprisoned Ukrainian film-maker Oleg Sentsov.
  • Opponents of Berkshire Museum sale file new lawsuit in an attempt to halt the planned sale of artwork. Number of works that will go to auction has been cut by about half.
  • AfD faction of Kassel’s city council brings lawsuit against documenta for alleged misappropriation of funds.
  • London Frieze Masters art fair may have included looted antiquities.
  • Thornton Dial estate withdraws lawsuit against William S. Arnett over High Museum acquisitions.
  • Wesleyan University launching a residency for artists affected by 2017 hurricanes.
  • Nato Thompson departs Creative Time to become artistic director of Philadelphia Contemporary.
  • Can the Newseum survive in the era of fake news?
  • Sleek's guide on How to Impersonate a Mediocre White Male Artist on Instagram.
  • Former Burning Man nude sculpture R-Evolution not approved for National Mall in Washington DC.
  • A look at how the Barnes Foundation move has worked out so far.
  • How the UK’s Cultural Protection Fund protects heritage in conflict zones.
  • Henry Moore’s sculpture "Old Flo" returns home to London after 20 years.
  • Painting in Gurlitt hoard identified as Nazi loot, thanks to a tiny repair hole that was previously noted.
  • Dia focuses on women artists in its collection.
  • Barbara Kruger due to stage her first live performance as part of New York’s Performa.
  • A Day in the Life of RoseLee Goldberg.
  • Interview with Eddie Martinez about his show at The Davis Museum at Wellesley College.
  • Artnet on Beyond Suffrage: A Century of New York Women in Politics at Museum of the City of New York.
  • Cartier’s Scented Cloud installation outside Palais de Tokyo.
  • V&A acquires and exhibits Prince's shoes.
  • J.C.C. Manhattan gets $20mil. donation and commissions Jenny Holzer artwork.
  • Team led by David Adjaye to design UK's Holocaust memorial.
  • Martin Parr opens his foundation and is archiving the work of documentary photographer Chris Killip.
  • Never-before-seen Ana Mendieta work makes debut at Sugar Hill Children’s Museum of Art & Storytelling.
  • Montreal will host first major international art fair next year with ArtMontreal.
  • Nevada museums work to preserve artifacts from Las Vegas shooting memorials.
  • Jack Whitten will have a major survey at the Met next year.
  • Sotheby's to offer Sir Winston Churchill's final painting. It will also auction $35mil. Francis Bacon Three Studies of George Dyer triptych. Sotheby's adds a Picasso to the sale as well.
  • Marcel Duchamp's mustachioed Mona Lisa reproduction sells for $75k at Sotheby's.
  • Sale of Howard Hodgkin's personal collection at Sotheby's soars above estimate & sets records.
  • Phillips to auction potential record-breaking Peter Doig painting.
  • Henry Aldridge & Son auctions last known letter written on Titanic for £126k.
  • Julien’s Auctions sells Trump sketch of a building for $16k at auction.
  • Art Basel Hong Kong releases exhibitor list for 2018.
  • The growing art buying power of Asia's mega-rich.
  • Yves Bouvier sells art storage company Natural Le Coultre.
  • Kenny Schachter's adventures in Paris during FIAC.
  • Crozier Fine Arts adds West Coast storage facility in Inglewood, CA.
  • Tim Schneider writes about some current market issues.
  • Artnet writes about Secret Dungeon gallery in Bushwick.
  • A look at The Journal Gallery's Tennis Elbow project space.
  • Thaddaeus Ropac to represent Valie Export.
  • Paul Kasmin to represent estate of Jane Freilicher.
  • Artnet interviews Hilde Lynn Helphenstein of HILDE.
  • Daniel Humm talks about his art collection.
  • A look at the artwork at Bloomberg’s new $1.3bil. London headquarters.
  • Artspace interviews Tauba Auerbach.
  • Idris Khan recreates elements of Syria’s most brutal prison for his show at Victoria Miro.
  • Amy Sherald talks about painting Michelle Obama's portrait.
  • The frst-ever Alexander Calder biography.
  • Peter Schjeldahl profiles Laura Owens.
  • Lorenzo Quinn plans to install a sculpture on Lake Iseo next year.
  • Ursula Johnson wins $50k 2017 Sobey Art Award.
  • Shepard Fairey interview on KPCC.
  • Aaron Rose on Nowness.
  • Duke Riley creates 1,000 pigeon portraits.
  • José Parlá discusses his show at Brand New Gallery.
  • Abigail Edge profiles Jim Stevens.
  • 34 gallery shows to see in New York in Nov.
  • Beverly Fishman print available from Louis Buhl & Co.
  • A look at Steve Aoki's house and art collection.

Events: Banksy –“Balfour ‘Apology Party'” @ The Walled Off Hotel (Bethlehem, Palestine)

0
0

Earlier today Banksy set up a street tea party in front of The Walled Off Hotel in Bethlehem, Palestine (covered), "celebrating" tomorrow's 100 years anniversary of the Balfour Declaration. The infamous artist already addressed the important role of Great Britain in the ongoing Middle East conflict at the hotel's museum, and couldn't miss an opportunity to remind the world about it on this big day. Balfour Declaration was a public statement issued by the British government announcing support for the establishment of a "national home for the Jewish people" in Palestine. Sent in a letter dated 2 November 1917 from the United Kingdom's Foreign Secretary Arthur Balfour, its seen by Palestinians as the document that gave away their homeland, while Israelis see it as helping pave the way to the founding of their country at a time when Jews were facing persecution elsewhere. In his unmistakable sarcastic style Banksy setup a dismal neighborhood tea party, fully decorated with burnt British flags, bullet pierced union jack helmets, crooked red, white and blue cake, addressing British government's statement that it will mark Thursday's anniversary "with pride".  The 'apology party' was attended by some 50 local children, mostly descendants of Palestinians forced to flee their land in the 1948 war surrounding the creation of Israel, and included performances, creative worksop as well as the visit of fake Queen Elizabeth II. The center point of the party was the royal reveal of his latest public work - simple "Er, SORRY" text with crown symbol chiseled on the notorious wall. Photo credits by @jobrookspr @peterlih @ianjameslee @alaa_taxi_driver_bethlehem

Overtime: Oct 30 – Nov 6

0
0

More stories from the week that ended Nov 7 (click on bolded words for more information):
  • Richard Hambleton, famed "shadow man" street artist, dies at 65.
  • Cities around the world using street art to slow down drivers.
  • Palestinian protestors crash Banksy's street party.
  • The Whitney planning New York's first Warhol retrospective in last 30 years.
  • Art Review's list of most influential people in the contemporary art world in 2017 - Power 100.
  • Helen Downie's collaboration with Gucci started with an Instagram post.
  • Barbara Kruger's popup shop at Performa.
  • New MetroCards for NYC designed by Barbara Kruger.
  • David Zwirner staffs his Hong Kong gallery, his first in Asia.
  • Nazi era art hoard goes on display as curators continue to research the rightful owners.
  • Does Leonardo da Vinci's art belong in a Contemporary Art Auction? Christie's thinks so.
  • A new biography about Vivian Maier might reveal new truths about her life.
  • The Obamas and Black Painting's new golden age in America.
  • Art market may lose important loophole with tax reform.
  • Paul Manafort's art buying spree.
  • A look at the process of James Jean's Shape of Water poster.

Interviews: Mary Iverson

0
0

On  Saturday November 11th, Amsterdam's Andenken gallery will be hosting a double solo show by American Artists, Scott Albrecht and Mary Iverson (featured) at their new location in an old anatomy building in Oosterpark in Amsterdam. Our friend, artist, and gallery owner, Hyland Mather, got to chat with Iverson about the upcoming show and the background of the new body of work specifically created for this showcase: Hyland Mather: Mary, the new work for ‘Correspondence’ contains some wonderful pieces where the source material is photos from the Netherlands. You’re now the second American artist we’ve shown that has done some Netherlands inspired work for a show at Andenken, Evan Hecox's ‘Canal Boat Series’ being the other. First, a cool surprise that you’re using Dutch imagery. Second, do you often try and find important source ideas from the exhibition location? Mary Iverson: I visited Amsterdam a few years ago and fell in love with the city! While touring around on bikes, it became clear to me how vulnerable the area is to sea level rise. My new work expresses my affection for the Netherlands, and my fears about its destiny in the face of climate change. I always like my work to have a connection to the exhibition venue. Before my show last year in San Francisco, I explored Point Reyes National Seashore, a beautiful protected area north of the city. The oil paintings I made of that area gave my audience the opportunity to think about their connections with the local environment. HM: The star charts... This is a new move for you. Talk to me about the development of this idea in your work. Do you have a strong working knowledge of common constellation drawings from various cultures? Is making your own constellation images  a summer camping pastime? MI: The night sky is my new infatuation. I got hooked after a trip to Crater Lake National Park this summer, when I accidentally took a somewhat decent photo of some stars above the lake. I later learned that the constellation was called “The Summer Triangle,” and this sparked my interest in the progression of the stars through the seasons. I started thinking about how the stars unite us all. Stargazing is a way to find connection with nature, and it’s accessible to everyone from anywhere in the world – it’s so democratic! The experience of learning about the stars has been profound and existential for me, and I hope that feeling comes across in my new work. HM: Speaking of camping... I think you have a solid relationship with the ‘being in nature’ thing, right? The source material stills for the three oil paintings in this show, are these images collected on personal travels? MI: For my oil paintings, an important part of my working process is visiting the places that I paint. I travel to pristine areas, camp, hike, sketch and take photographs for future paintings. Because of this, while I’m working on a painting, I can recall my experience in that place, which infuses my imagery with the joy I found there. HM: Your ongoing commentary on consumerism and the contemporary economic model... how is your stamina for this subject matter? I think the cynic in all of us has a tough time swallowing the idea that a person can ‘change the world’ for the better thru their artwork. Thankfully it hasn’t stopped Ai Weiwei, Banksy, JR and many other contemporary artists from continuing to pursue change. In your dream outcome, what effect would your work have on economic policy makers and the powers that be? Like if a room full of plutocrats suddenly adopted your commentary as a way to shape economic policy the globe over. MI: My dream would be to inspire policy makers to turbo-charge renewable energy mandates worldwide and beef up environmental protection laws. But if my work never influences anyone, it’s still important to me as an expression of my own experience and feelings, and I think it is valuable as a reflection of the times we live in. HM: What tunes do you listen to while you’re painting? MI: Radiohead, and my Miike Snow station on Pandora. HM: More and more you seem to be participating the ‘venue of the street’ as I like to call it, mural making. Tell me what it’s like for you to make large public outdoor work versus the steady and slow (read tedious) process of oil painting on canvas? MI: Mural work is more physically demanding and stressful than easel painting, but I love the community support and joy that surrounds street art. When I was in Detroit for the Murals in the Market festival, I enjoyed being part of a unique community of internationally acclaimed artists. I was star struck by the amazing artists I met, but at the same time, it felt like a family to me. I also loved interacting with the local residents who visited me at my wall. I am excited to paint more walls! HM: What’s on your event horizon? Any shouts? MI: In February, I will be doing an installation at Facebook’s Seattle Offices as part of the Facebook Artist in Residence program. My installation will be site-specific and will embrace the concept of connection - for me that means tuning into nature and balancing that connection with the digital aspects of modern life. I am honored to have a print in the Heliotrope Foundation’s next project. The Heliotrope print suite curated by 1xRun. Swoon started the Foundation “to help communities heal after natural disasters and urgent social crises.” I think my work is a great fit for this cause, and I am psyched to be a part of this special series that features only women artists. HM: Thanks Mary, it's such a treat to be able to show your work in Amsterdam. MI: Thanks Hyland! Discuss Mary Iverson here.

Streets: Mark Jenkins // Lodz Murals (Poland)

0
0

Recently in Poland, Mark Jenkins (interviewed) was invited in to create a series of seven installations for a public arts project curated by Michał Bieżyński Lodz Murals. Working along Piotrkowska street, the American artist stationed a few pieces at ground level and left some that passersby had to look up to see. As per his usual practice, the works were riffs on the human form and their effectiveness hinged on the element of surprise and clever placement. Photo credit: Rafaà Tomczyk. Discuss Mark Jenkins here.

Overtime: Nov 7 – Nov 13

0
0

More stories from the week that ended Nov 12 (click on bolded words for more information):

Streets: Escif (Europe)

0
0

Spanish artist Escif was very active in the last couple of months, travelling around Europe and creating new public works inspired by the local issues and history. Often criticizing aspect of human activity, or choices made by part of population, his pieces balance between conceptual interventions, large illustrations and classic murals. Back in October Escif finished one of his larges pieces to date, on the 100m long back wall of the Modern Art Museum in Valencia (Institut Valencià d'Art Modern—IVAM). Marking the opening of a new outdoor section of the institution, Plot of the solar was meant to be "a wall that can be heard, containing the noise of the neighborhood, its history and its inhabitants." As part of the same project, he painted a mural depicting a unicorn statue with a statement Fuera Droga Del Barrio, which is a play on words that talks about the drug issues in the neighborhood. Catalogue of fences / wall of shame piece was painted only few days later in neighborhood of Nazaret in Valencia. As a critique of the wall which was built in order to allow the expansion of the Port of Valencia while blocking the neighborhood's exit to the sea, the image points out at a long history of inequality in personal and social development of the area. From there, the artist flew to Poland where he painted a big radiator with a text Opor/Resistance above it. Symbolically celebrating the resistance of the locals against Nazi occupation, then to the Soviet occupation, the idea of this work was to warm up and encourage locals to keep warm against globalization and gentrification. Finally, he recently stopped in Brittany, France to participate in the Teenage Kicks festival with a Saumon sauvage/Savage Salmon piece that refers to Wild Salmon, a species that can still be found only in Brittany. As commentary on climate change, as well as excessive consumption of this fish, the disappearance of endemic species serves as a metaphor for the existence of humans. Discuss Escif here.

Overtime: Nov 14 – Nov 19

0
0

More stories from the week that ended Nov 12 (click on bolded words for more information): Photo credit: Drew Angerer (Getty Images).
Viewing all 1459 articles
Browse latest View live




Latest Images