(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

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

21 October 2011

Chloe Earl @ Joshua Liner Gallery


[PRESS RELEASE]After a long summer of highly publicized, illegal street projects ranging from fake bus stop ads for 'The Real Housewives of Baghdad' to illegal billboards for 'Drive Thru Lipo Suction', the anonymous art collective brings their work in doors for a more in depth look at their perspective on the state of American culture. The exhibition examines the experience of growing up and dying American with four installations representing childhood, puberty, adulthood and death. With the American Life Cycle as a jump off point, TrustoCorp brandishes satire and criticism through a range of over 50 works including stained glass windows, giant board games, kiddie rides, fortune tellers and vintage arcade games.

While the work comments on the experience of growing up American, it also seeks to explore the life cycle of our nation as whole. In a time of economic disparity and record breaking wars, TrustoCorp subtly references the birth, rise and inevitable fall of the American Empire.

With larger than life art ranging from video to painting and kinetic, interactive sculpture, this is definitely TrustoCorp's most ambitious project to date.

TrustoCorp formed 3 years ago, shortly after the 2008 Presidential election. Inspired and disgusted by the national political and cultural discourse, TrustoCorp gained notoriety by making political and satirical street signs which popped up in 13 cities around America. TrustoCorp quickly gained a large group of volunteers who actively install and spread TrustoCorp art throughout the country, making them more like 'Fight Club' than an art collective. Since then, TrustoCorp has graduated into other mediums including fake products that get 'shop dropped' illegally into stores, fake tabloid magazines and illegal billboards. These antics got them noticed by media quite quickly, resulting in Television features on ABC World News, BBC and FOX News.

20 October 2011

The reason why Ai Weiwei is the world's most powerful artist

IMAGE: PHAIDON [View all images here]
[TEXT: PHAIDON ]Who would have thought that this scruffy sketch on a scrap of notepaper would become one of Ai Weiwei's most politically and sensually charged sculptures - a monumental red chandelier lying on the floor, apparently having fallen there.

In the week that Ai Weiwei was named the most powerful artist in the world by Art Review, Phaidon can reveal a series of photographs chronicling the genesis of one of his most famous works.

The decisive element of the work, the colour red, appears in various symbolic forms throughout Chinese culture. In twentieth-century China, red was the colour of progress and revolution (as evidenced in the Red Guard, Chairman Mao's Little Red Book and the red flag). But in pre-Revolutionary China, it was the symbol of pleasure, desire, happiness, plenitude and, most of all, luck. Ai Weiwei's piece also bears relation to the film Raise The Red Lantern, set in the 1920s and directed by Zhang Yimou, with whom Weiwei studied at the Beijing Film Academy.

In the film, the lantern became a symbol of power between the various warring factions of the household. In 21st century China, elaborate chandeliers are still a crucial part of the décor in luxury hotels and restaurants. Whatever the context, this kind of lighting always signifies splendour and celebration.

But in Ai's piece, the symbol of the lantern is lying on the ground: the party is over, there is no longer anything to celebrate. Descending Light is a perplexing object: a fallen chandelier, horizontal rather than vertical, collapsed but still in working order, majestic in its decadence, splendid and fragile, sensual and revolutionary red, revealing and mysterious, symbolic and impenetrable. Looking at its humble beginnings you begin to realise why he was voted number one.

Fall Flowers of Japan at The New York Botanical Garden

September 17 to October 30
[PANEL TEXT]Sculpture created by artist Tetsunori Kawana, a Master Teacher of the Sogetsu School of Ikebana in Tokyo. Founded in 1927, the Sogetsu School encouraged practitioners of ikebana, the Japanese art of flower arranging, to incorporate personal style and artistic vision into designs that remain engaged with traditional principles. Kawana is known worldwide for his modern, large-scale installations that embrace these ideals while making use of new materials and new techniques.To create this sculpture, Kawana salvaged fallen branches, twigs, vines, stumps, and roots from the grounds of the Botanical Garden in the days following tropical storms Irene and Lee. Through gathering and reassembling these items, Kawana seeks to give them a second life as a truly site-specific work of art that engages the five senses and encourages appreciation of the passage of time and the five natural elements of earth, wind, fire, water, and sky.

19 October 2011

MARE139 @ The Carrack: A Public Art Project in Durham, NC


WHY PRE-funding the show? Sculpture installation is expensive, as is bringing MARE139's large sculptures down from New York to the Carrack: this live street art project will cover the expenses associated with this show, travel, shipping and materials.


Text and Photo via DISCOVERY
National Geographic shares that two scientists from the Interdisciplinary Center of Marine Sciences in La Paz, Mexico, have studied the specimen and have determined it's a 22-inch-long dusky shark fetus with a single, functioning eye that's front and center on its head.

The fetus was discovered after fisherman Enrique Lucero León "legally caught" a pregnant dusky shark near Cerralvo Island in the Gulf of California.

Biologist Felipe Galván-Magaña of the center in La Paz told National Geographic that when León sliced open his catch, he found the odd-looking male embryo along with nine normal siblings. "He said, That's incredible -- wow," according to Galván-Magaña.

Galván-Magaña and colleague Marcela Bejarano-Álvarez are ready to release a paper documenting their research. I haven't seen it yet, but apparently the scientists X-rayed the fetus and reviewed previous studies on cyclopia. If you click on that last hyperlink, you'll see images of a human baby with the disorder, characterized by one eye and often other facial problems.


Opening reception: October 22, 6-8 pm

Striped Face vs. Pink Room Scene

[Text via ARTINFO]Rihanna acknowledged she copied a David LaChapelle photograph for her "S&M" video, settling a lawsuit filed by the fashion photographer in July for an undisclosed sum.

The New York Post confirmed the settlement with LaChapelle's publicist Jaret Keller, who told the paper, "David is happy with the settlement," and declined to comment further.

In the lawsuit, LaChapelle had alleged that the "composition, total concept, feel, tone, mood, theme, colors, props, settings, decors, wardrobe, and lighting" is a direct copy of his shots.

LaChapelle had no hard feelings against the singer, saying in a statement last July, "This is not personal, strictly business. Musicians commonly pay to sample music or use someone's beats, and there should be no difference when 'sampling' artist's visuals. I really like Rihanna — we've actually worked together before."

The court sided with the photographer, saying that the "pink room scene" in "S&M," which featured Rihanna in a latex costume dominating a man, was similar to LaChapelle's "Striped Face" photograph.


18 October 2011

Wearing Lo-Res [PIXELATION] Well

Shoes: Tokyo designer Kunihiko Morinaga
More images of a line dedicated to lo-res via JUXTAPOZ


"Money talks, but not loud enough for the 99%. By circulating dollar bills stamped with fact-based infographics, Occupy George informs the public of America's daunting economic disparity one bill at a time. Because money knowledge is power."

TAKE ACTION : Download the templates and spread the word by printing your own Occupy George bills at home :OCCUPY GEORGE


Chloe Earl & Ryan McLennan @ Joshua Liner Gallery

Reception: October 20 6 to 9 PM
Viewing: October 20 - November 19
548 W. 28th Street, Floor 3, New York, NY 10001

Josh Keyes: Migration

Josh Keyes
Solo Exhibition

October 22—November 19, 2011
Opening Reception:
Saturday, October 22, 7—9pm

[PRESS RELEASE]NEW YORK, NY (September 20, 2011) – Jonathan LeVine Gallery is pleased to present Migration, new works by Portland-based artist Josh Keyes, in what will be his second solo exhibition at the gallery. Migration features a series of paintings on panel, drawings on paper, and a ten-foot canvas entitled Stampede, the artist’s largest painting to date.

On the subject of his show title, in the artist’s words, “Migration and displacement were ideas that continued to surface in my mind while I was painting these images. I was thinking about the effects of climate change and the way some ecosystems that thrive in a specific range of temperatures—like polar or tropical climates—are experiencing a shrinking of their boundaries. Ecosystems that were separate are now slowly merging and overlapping one another, causing disruptions in the food web and increased competition for food and space among species. Some become displaced and are forced to migrate, in order to survive.”

Keyes’ imagery in this exhibition pushes the potential consequences of ecosystem clashing to a climax that wavers on the surreal. A bright orange tiger rests contently on top of a graffiti covered dumpster, staring intensely at a pack of wolves, scavenging whitetail deer scraps from the tiger’s morning hunt. Below the smooth floodwater surface, glides a great white shark. A pair of giant pandas, marooned on a submerged jeep, watch with curiosity as the shark’s fin circles by. Deer, elk, wolves and other animals form a stampeding herd, charging through a city street, leaving upturned cars and ruptured pavement in their frenzied wake.

Keyes’ work often depicts various species of wildlife isolated within settings that foreshadow a theoretically threatening dystopian fate. His signature fragmented landscape, surrounded by a sea of empty white space, represents the universal unknown as well as the disconnect between contemporary society and the natural world. Through his work, Keyes explores timely ecological themes that convey his deep concern for the environmental crisis our planet faces. His imaginative interpretations of the long-term effects of global warming include aspects of climate change, extinction, the decline of natural resources and threat of rising sea levels. All of these issues are integrated, and woven throughout the allegorical fabric of the work in a resounding visual study on causality.

17 October 2011

OPENING - Ffp - OCTOBER 28 - 406 WEST 13TH STREET - 6 to 9 PM

Fuck fear phobia
Curated by Natalie Trainor

Viewing: October 29 - November 3, 2011
Location: 406 West 13th Street, New York, 10014
Reception: October 28, 2011 6 - 9pm
RSVP & Inquiries: info@wolfanddaughter.com

New York – October 2011

Wolf & Daughter Productions is pleased to announce Ffp, a show that interprets fear and phobia along lines undefined by boundaries, be it sculptural, conceptual, drawn or installed. Curated by Natalie Trainor, the group exhibition features the work of John Breiner, Day Le, Joseph Grazi, LNY, Biz Lynch, Miguel Ovalle and Danielle Riechers.

“The shape and interpretations of fear are indefinite: first, because it is in perpetual transformation, and second, because it is completely subjective and uncertain.” Claudia Roselli, Writer, 2008

John Breiner’s
mixed media paintings reflect the pressures of everyday life: fear of the end, fear of the end not coming soon enough. The colorful palette in his collection of work and its dark subject matter reveal the artist’s ominous thoughts, feelings, and dreams: eyeballs staring at the viewer, battles of nature, and the deadly game of chess we play day in and day out. Heavily influenced by David Batchelor’s Chromophobia, artist Day Le’s investigation of fear is centered on the use of language and its arbitrary relationship to color. Using detailed word maps as his guide and yarn as his choice of material, Le’s approach is to take language and dismantle the meaning into nothing more than shapes. The fear is not with color, but with language.

Exploring the theme of repetition with taxidermed bats, Joseph Grazi’s newest piece titled “Legends,” illustrates man’s extreme domination over our animal cousins through strength, fear and trickery. LNY questions himself and the viewer through large scale wall drawings focused on fear and phobia; drawing to help understand fear, not explain it, while confusing its meaning. Understanding fear as sprouting from the unknown artist Biz Lynch takes a scientific approach to combatting fear by disorienting the senses and inviting exploration. Using sound waves as a catalyst, the artist explores visual effects of light traveling through different materials, such as prisms, convex surfaces, and water.

Miguel Ovalle explores the communicative and visual possibilities of the written word by creating an environment that transforms and subjugates a mind that is cluttered with fears, anxieties and desires; thus creating a meditative state and cultivating new, more positive ways of being. Danielle Riechers’ video installation documents the artist sculpting and melting an ice figure symbolizing a woman, whom the artist never met, but nearly killed six years ago. Referencing the body position of Jesus in the Pieta, the sculpture is a metaphor for the ephemerality of life, ice, memory and pain.

Using location to color the experience, Ffp creates a multi-sensory installation that identifies, isolates and explores the beautiful and hideous qualities of fear and phobia.

Founded by Sarah Wolfson and Luisa Conlon, Wolf & Daughter is a Brooklyn based independent production company with a focus on the moving image and fine arts. W&D produces documentary shorts, music videos and commercials and also curates art happenings in the New York City area.

Natalie Trainor is an independent curator, consultant, and artist manager living and working in New York City.

Miguel Ovalle @ The Paper Box

Miguel Ovalle painting yesterday on Meadow Street in Bushwick.

[PRESS RELEASE]Coming soon to East Williamsburg – The Paper Box, an independent music and performing arts complex. Set to officially open its doors in late 2011, the venue will offer professional services to all music and art communities together under one roof. The Paper Box will house live music performances, theater, full recording studio, cafe, bar and lounges.

The Paper Box has already begun some noticeable changes to the street through their new public art initiative, The Meadow Street Gate Project. The Project, curated by the staff, will enhance the neighborhood with authorized mural art on security gates covering a one block stretch of Meadow Street in Brooklyn, between Bogart Street and Waterbury Street.