(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.

29 April 2011

"Salvaged Perspectives" by Juan Carlos Pinto at Phantom Audio

An amazing show. Simply beautiful.
Curated by Frankie Velez
[PRESS RELEASE]:Juan Carlos Pinto is a self represented artist from Guatemala who has been working for the past 10 years in New York, and his art is as expressive as his native and lush, colorful Central American nation. Pinto’s artwork is also poignantly aggressive and projects a revolutionary declaration. The scope of his art covers abstract painting, tile work, wood work, stencil spray, and use of non-biodegradable plastic and glass. Most of Pinto’s media comes from salvaged material and found objects.

Pinto’s use of plastic is unique and pulsates with hidden significance. He uses discarded plastic Metro Cards, which he dices and cuts into different shapes and pastes together to form pictures and messages. The idea of using these non-biodegradable cards is to reinforce recycling and prolonging its use indefinitely while providing the artist with a source free material. It is also a way of reminding us about the danger this material can cause if left to seep into the earth.

Pinto uses broken tile and glass to create mosaics, using the spectrum of colors to impart rich visualizations of his subjects. His weaving of color is also prominent in his folk oriented handicrafts, such as Mayan inspired masks, painted gourds, as well as abstract paintings that, like a mirage, play with the imagination.

Issues such as and animal rights, environmental preservation, and empowerment of minorities are frequently incorporated into Pinto’s work. He is also planning a series of murals and public art in Brooklyn, New York.

Pinto’s art exudes confidence, energy and challenge. It draws one into a dual world of playfulness and social responsibility. His legacy, as he sees it, is to be known as an artist who demands change from the Green Revolution.

"I Only Trust People From New Jersey."

Photo by Keith Sirchio

Cutest Helmet in the Whole Wide World, My Whole Life Long.

28 April 2011

Brooklyn Artists Ball and reOrder: An Architectural Environment by Situ Studio

Last night the Brooklyn Museum hosted it's annual Artist's Ball. Dancing under Situ Studio's giant mushrooms in the Great Hall made my night. Well, that and I met Bill Cunningham. Le sigh.
More about the installation: reOrder an installation by Situ Studio
CLICK HERE FOR: Patrick McMullan Photos

First two photos below: Credit: Keith Sirchio

25 April 2011


Anthony Caro on the Roof at the MET

Tonight I was lucky enough to visit the Metropolitan Museum of Art after hours for the rooftop opening of Anthony Caro's large scale sculptures. The works are fundamentally and absolutely beautiful; possessing simple form and color, yet, all the while convoluted when looking at the sculptures within the their backdrop: a foggy, Central Park, spring dusk and watching the interaction amongst others on the rooftop. The crowd, I thought at first, a bit stodgy, until I felt out the vibe--simply just another world. A mature artist with a humble aura, Anthony Caro was a darling and deserved to be proud of his work. I giggled when two older women had water dumped on their head that dropped from the canopy holding the runoff from the last few days of rain. They wore it well in their Gucci's, even though they were drenched through the reception. I later felt bad about giggling. Read below for more information.

[From the MET website]:Sculptures by Anthony Caro (b. 1924)—who is considered the most influential and prolific British sculptor of his generation and a key figure in the development of modernist sculpture over the last sixty years—will be featured in the 2011 installation on The Iris and B. Gerald Cantor Roof Garden. The installation will feature a selection of sculpture in steel, painted and unpainted, spanning the artist's career to date and highlighting principal aspects of his long career: engagement with form in space, dialogue between sculpture and architecture, and creation of new, abstract analogies for the human figure and landscape.

This year marks the fiftieth anniversary of the first exhibition of steel sculpture by the artist, who lives and works in London. The large-scale works on view this summer will be Midday, 1960 (Museum of Modern Art, New York), After Summer, 1968 (Collection of Audrey and David Mirvish, Toronto), Odalisque, 1984 (The Metropolitan Museum of Art, New York), Blazon, 1987–90 (Courtesy of Mitchell-Innes & Nash, New York and Annely Juda Fine Art, London), and End Up, 2010 (Collection of the artist, courtesy of Mitchell-Innes & Nash, New York). The installation will be situated in the Museum's dramatic open-air space offering unparalleled views of Central Park and the New York City skyline.