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Rest In Peace - Harold Ramis (Egon Spengler)

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HAROLD ALLEN RAMIS 
NOV. 21, 1944- FEB. 24TH 2014
"THERE'S SOMETHING VERY IMPORTANT I FORGOT TO TELL YOU. DON'T CROSS THE STREAMS." - EGON SPENGLER (GHOSTBUSTERS)
 


Interview with Charlotte Oedekoven

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You are participating in the group show “Girls run this Motha!#%” at WYN317 in Wynwood. Why did you decide to be a part of this exhibit?

As an emerging female artist in Miami it is of course in my interest to represent my work in this show and to inspire other female artists to be independent and free in expression. I`ve always been very much a "tom boy" kind of girl, never scared of confrontation and to get down and dirty, climb fences, sort through trash to build something or use as canvas etc. These were things most girls rather not do. They preferred to stay in safe surroundings and talk about boys, whereas I was hanging out with them as buddies. It took me a while to discover my female side and not to be scared of showing off that I`m a women and act ladylike. 

What do Women’s History Month and International Women’s Day mean to you?

 

I honestly wasn’t even aware that a Women`s History Month and International Women`s Day existed.  To me that’s every day. We have female politicians, CEO`s and scientists and have had them for decades, maybe not enough of them but it’s all good. Why does there need to be a month or specific day dedicated to something so natural and profound? That’s like saying you only need to be aware of AIDS and breast cancer on a certain day or for one month and then forget about it for the rest of the year. I am not a fan of these "... days" not even a fan of birthdays. I think to create equality among the genders, which is impossible, because we are men and women and it’s a scientific fact that we are different, both anatomically and psychologically. We need to act "as if...". That is a key principle to success in every regard. Is there a "Man History Month" or "International Men`s day"?? I don’t know, but I believe there isn’t...

How do you interpret Girl Power in your art?

 

I have, for quite some time, been very intrigued by Greek and ancient mythology, in which females play a huge role. Way more than in later literature. In classic mythology women possess strong attributes of power and wisdom, not only beauty and compassion. How is it, that centuries after powerful goddesses and women with superhero abilities, society went back to portraying women as weak, naive creatures who`s only purpose seemed to be to look pretty and give birth? Of course there were few exceptions, like Johanna from Orleans for example or Queen Mary but for hundreds of years after the Greek and Roman empire, women were barely mentioned and in the past century it boiled down to women being sex-symbols only. Why was Madame Curie never as famous as half naked Marilyn? Because we live in a man`s world!

Please tell us about your work in the exhibition?

 

My piece in this exhibit shows the Medusa. She was one of the three Gorgon sisters who lived on an island. They had giant wings, golden skin and their hair was of twisting snakes. The Gorgons were feared because of their deadly power of turning anyone who looked at them to stone. Although first described as monster-like creatures, later interpretation depicts them as beautiful and fierce. When I first heard about this exhibit, the show was supposed to be inspired by Beyonce. She, for me, was the ultimate personification of beautiful and fierce, with an incredible presence. The type of woman that enters a room and has everybody magnetically turn their head and freeze. I associated this with the power of the Gorgons of turning people into stone, as well as her signature curly mane which would easily translate to snakes and her gold complexion. All in all I think it’s a perfect and powerful connotation. Beyonce, just like the story of Medusa inspires me as a woman, to be strong, independent and powerful, underlined by beauty and self-expression.

What subjects do you generally explore in your art?

 

In my art I reflect my inner self, my thoughts on society, the irony and parody in things and people surrounding me. By this, my work usually happens to become very cartoon-ish and comical. Some of it would be best considered pop surrealism, because it often gets a bit dark or sinister, yet wrapped in pop and light-heartedness. That’s why I call it "Blood&Candy". But subjects really vary. However, I don’t just make art as wall decoration. Some pieces perhaps, but I usually go for a "wow" effect, a laugh or a "that’s crazy". I like to make people think and pay attention to detail.

What medium is your favorite and why?

 

My favorite medium would be acrylic, mixed media or just drawing, but I also like to play with the third dimension and make objects. 

 What other projects are you currently working on?

 

I do about one painting a month on average, since they are usually quite detailed and I`m also working as a designer freelance. The painting I`m working on currently is a persiflage of M. C. Escher`s famous illustration with the impossible stairs, it is for a real estate investor so it’s basically a maze of buildings in one.

What else do you have planned for 2014?

 

My biggest project for 2014 is the completion of my comic book "The Superuschi`s" and the production of the short film based on it. I`ve been working on this for the past couple of years and this comic book works as an intro to the two characters, which are two super "bad bitches" and their adventures. It’s a realistic style gangster comedy so it really works as a story board. The plan is to complete the movie and to follow with more episodes after. Speaking of girl power, Superuschi is the ultimate personification of that: A smart, fearless, strong and sexy woman. 



Swedish Artist - Peter Hammar Interview

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H A M M A R  T I M E 
Peter Hammar works with everyday objects as sculpture with smart placement of lights and composition in spaces. We first saw his work during Scope Art Fair during Art Basel 2013 and his booth was a wonderful arrangement of simplicity and beauty. Hammar has an upcoming exhibition "Mapping Empty Spaces" at the Swedish American Museum in Chicago on March 7th. We had a chance to talk to him before the opening about his new work which addressses immigration and the many stories of the past and present. 


Most of your latest work consists of everyday objects. What happens in the creative process that makes you select the objects that you do?

I use whatever materials I have at hand, it used to be paint and canvas, now I take whatever discarded material I find that is forgotten and has outlived it's purposes, I re-vamp it, give it a second life. Usually the object talks to me in regards to the subject matter/thought process I'm working on currently. It sort of falls into place naturally. And not to forget, as a struggling artist money is also part of it, out of necessity I have to look elsewhere for affordable materials. 

How does light play into your installations, what is the relationship between object and illumination for you? 

When I use moving programmed LED-lights it's a notion for time, when static light,  it's more of painting the object/installation or highlighting some specific part that I wanna draw attention to. I find that light is a great way to emphasis negative space and shadows, which is a lot of times more fascinating and open ended. The light also works a in set designs for theater, it immediately sets the mood and carries multiple. 

I love the balloon installation.  Could you tell us a little about it? 

The piece is titled 'Status Quo', it is a very experimental piece that I still have not quiet completed.. The fan on top of the plexiglas box is supposed to push down the helium balloon and keep it suspended, in a status quo, which seems to be an impossible state of being for just about anything, as it proved to be for the balloon, hence I had to use magicians thread to keep it in place. And it failed, somehow the constant failure of the piece and the Sisyphus task that it

(interview continues below) 
 became in keeping the piece alive was great since that was the actual intent. At the time I just had not quite realized it. I'm still in the process of making this piece complete, maybe it's impossible and by so I love it even more. The unattainable status quo. 

You have a show opening March 7th in Chicago at the Swedish American Museum. What do you have in store for the public to view? 


It's going to be a modern take on the immigrants story, having researched the museums archives, statistics and my own experience of being an immigrant for more than a decade. The tonality will be universal so that everybody and not only Swedish immigrants can relate. Questions about identity, loss, gain, dreams, myths and selective memory that comes into play after years of disunion. 

How do you feel about being picked? How was the selection process? 

I was very honored and extremely happy of course for the opportunity given. I did a fantastic artist residency in Chicago last summer at ACRE, Artist Cooperative Residency and Exhibitions, the residency actually turned out to be miles and miles away from Chicago in beautiful Steuben, Wisconsin. Before the trip I researched a little about Chicago and that's when I found the Swedish American Museum. To my great surprise a museum dedicated to Swedish culture and heritage. It fascinated me so much that I immediately felt a want and need to connect my own practice and work with this institution. So, I wrote a proposal a little more than a year ago and here we are after a museum committee accepted it.
(Interview continues below)
You are a transplant living in Miami. Is there a general aesthetic you feel is apparent from both places artistically? How do they differ? How do they unite? 

The art world is pretty homogenous where ever you turn today. In Sweden though strong use of color is still considered a bit too decorative and not really tasteful art. I figure the climate and Swedish mentality makes up for a careful approach to boldness. But good conceptual art in Sweden as elsewhere is always recognized. Then of course there's only 9 million Swedes and their local exposure or gene pool of artists isn't that big, no matter how much you Google or travel to NY once a year, will never reach the multitude and mixture that we have here in America and Miami. Everybody is here!
To learn more about Peter Hammar's work visit his website right here. 

"Mapping Empty Spaces" opens March 7th at the Swedish American Museum. For more information on the exhibit visit the museums website right here. 


Around Kansas Feb.2014

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Around Kansas
Magazine
                Events |  Art  |  Food  | Visit | Business | History |
February 2014

JOURNEY to the

HISTORY of

State Capital.

Kansas State

Capitol - Timeline

1862 - 2014

Feb. 2014


Angry Artist Smashes Ai Weiwei's Work (Video Stills)

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Maximo Caminero is caught on camera smashing a $1 million vase from Chinese artist Ai Weiwei's collection at Perez Art Museum Miami, Sunday, Feb. 16, 2014. Caminero, 51, was arrested on criminal mischief charges. (VIDEO STILL/CNN, WSVN, Viewer Video)
THE BREAKING POINT. 
FAILED  A R T I S T WITHOUT A CAUSE


Art Wynwood 2014

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Art Wynwood 2014 turned out to be an interesting mix of works displayed by international galleries, special projects and street art showcase.


Nearly 70 international galleries like Pan American Projects and Robert Fontaine Gallery from Miami, Aureus Contemporary from Rhode Island, Dillon Gallery and Emmanuel Fremin Gallery from New York, Byard Art from Cambridge, UK and Witzenhausen Gallery from Amsterdam in The Netherlands, showcased a diverse range of works by established,

mid-career and emerging urban street artists. Noteworthy was definitely also the special project by Spinello Projects featuring neons by Typoe, a 24ft drawing by Santiago Rubino and a video installation by Antonia Wright.


Street art received a lot of attention at the third edition of the fair. In collaboration with Cash, Cans & Candy, an international festival of street art from Vienna, Austria, curator Katrin-Sophie Dworczak lined up a global who’s who of street artists like Miami locals Douglas Hoekzema and Brandon Opalka, Stinkfish of Colombia / Mexico, The Stencil Network and Alexis Diaz of Puerto Rico and Stephen Tompkins of Cleveland to create original works onsite. Additionally, Jessica Goldman of Goldman Properties commissioned the murals for the VIP Lounge, including works by top street artists like Miss Van and Fafi.

Typoe "Untitled"
Spinello Project
Miss Van
Malcolm T. Liepke "Streetwise"
Cyril Le Van "Ghetto Blaster Radio"
Cyril Le Van "Polaroid Camera"
Johnny Robles
Raphael Mazzucco "The Beginning"
Brandon Opalka "Cape of Good Hope" and "Age of Discovery"
Hoxxoh "Untitled"
Carol Young "Archive Series"
Peter Demetz
Simon Procter "Chanel, High Line"
Phillip Munoz "Walking in the Shadow of the Blues"
Victoria F. Gaitan "Cake Face"
Michael Carson "Before the Show"
Leah Yerpe
Stephen Mackey "An Unspeakable Fortune"
Pedro Ruiz "Bijao"
Joseph Simeone "Midas Washing"
Stephen Mackey "Immortelles"
Claire Shegog
Drew Tal "Daydream"
Fernandon Mastrangelo "Medallion"
Kiseok Kim
Damien Hirst
Erro "Popmelon"
Mari Kim "Farewell my Concubine"
Mari Kim
FAFI
Drew Tal
Augusto Esquivel
Luciano Ventrone "Nuovo Roccolta"
Andy Burgess
Federico Uribe
Jorge Perianes "Untitled"
Antonio Segui
Carmelo Nino "Grupo Familiar"
Dulce Pinzon "Superheroe Series"


An Interview with GG

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Tell us a bit about your current exhibitions in Miami and New York please.

"FADO 101" is an exhibition that explains the learning process of the artist through the character FADO. With a wide creation of symbols and characters the artist has been able to create his own language, but the one character that stays consistent in the work is FADO. This character has served as a way of personal expression and also as a tool of learning and understanding life. The pieces in this exhibition are based on different topics such as popular culture, social issues and personal experiences all represented through the character FADO.

Your newer works are more whimsical and you do not paint as flat. Can you talk a bit about how your work has changed and your style evolved?

I wanted to combine the flat/ two dimensional imagery that I have been working on for a few years and add more energy to it. I'm at a stage of my life where the amount of knowledge I am getting is abundant and there is a big urge to express every piece of knowledge on the canvases. The strokes on the canvases are more loose and whimsical because they represent that urge.

How would you describe your current style?

The work is Urban-pop with influences of conceptual art.

Your character FADO still features prominently. Share the story of FADO with us please.

FADO is a character that represents the idea of confusion and curiosity. I first created FADO with the idea of personal expression, but I've quickly learned that the simplicity and originality of this character is able to represent many concepts and connect with many people.

Your pop art inspiration is obvious in subject and style. Where lies the appeal in pop art for you?

For me, it is interesting to create things that no one has ever created and share them with the world. The imagination is the most powerful thing we have and as I paint or animate these ideas I am able to express that. The popular culture aspect of this "pop art" is interesting to me because it is able to travel and affect many people around the world.

You reference Andy Warhol especially often . What do you admire about his work?

What is most interesting about Andy and his work is the simplicity and the ability to create work that can transcend into different cultures all over the world.

You also created your interpretation of the Campbell’s noodle soup can for your current exhibit at Wyn317 in Miami. Can you elaborate on your version?

My take on the Campbell's soup is very similar to some of the other popular tributes. I usually base tributes on people but in this case the soup can is a symbol that is able to take people to a personal mind set and connect on a more personal way because of their actual experiences.

Where do you see your art going?

I see my work grasping on to conceptuality and social awareness more than anything at this moment.

How has your work been received in New York versus Miami?

Both cities have been great. Miami is a city that is growing as an artistic town, so people are very much receptive of art but it lacks on constructive criticism and collectors. Miami is also a city that has a unique essence of creativity. New York is already an established city for art so there is constant appreciation and criticism which is very convenient for an artist like myself who looks for constant change and inspiration.

What projects are you currently working on?

Upcoming exhibitions in New York, California, Miami and new concept in collaborations with a space/furniture designer. We call it "urban architecture". It involves imagery of my art turned into a 3D creation that serves as public furniture and art installation.

You are also working on some new murals. Can you share the locations and your vision for those murals please?

The last mural I created is on NW 54th Street and 6th Avenue in Miami. It references Steve Jobs and Apple Corporation. It's a piece that explores the idea of technology and how it has affected us in a positive and negative way.

How important is it to you to do both, murals and gallery work?

It's very important but only because I enjoy working in both scenarios.

GG


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CROCS AND SLIDES
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UGGS AND NIKE SHORTS
DISTRESSED CLOTHES


Clean Dressed, Dirty Mouth

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A group exhibition curated by David Marsh featuring works by Atomik, Hest, David Marsh, Arnaud Pages, Pucho,Kiki Valdes and Kerry Ware
CLEAN DRESSED, DIRTY MOUTH
Atomik
Pucho
Jel Martinez
Arnaud Pages
Atomik
Pucho

Arnaud Pages

David Marsh
Hox
Hest
Kristen Soller Marsh, Jill Weisberg
Luis Berros
Kiki Valdes
Kerry Ware
Pucho
Pucho
Atomik
Luis Valle


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FACIAL HAIR
NOT MATCHING OR ALL ONE COLOR
Beards are tricky to pull off, and most often end up looking a little 
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Baggy clothes like sweats and basketball shorts are meant for wearing when participating in athletics. If you would like to wear them at other times, keep it in your home.
People you've seen:
Nina Newman
Henry Benschoter
Peter Rees-Eissler
Accessories that don't match aren't very pleasing to the eye. When wearing an accessory of one color, try to incorporate it in your look at least one other piece.
People you've seen:
John Walters
Antonio Skillicorn
Brian Mayor
SWEATS OR BASKETBALL SHORTS
ACCESSORIES THAT DON'T MATCH
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DRESSING FOR THE WRONG SEASON
Dressing for winter while it's summer, or dressing for summer while it's winter is just dumb, not to mention you look very out of place. Your outfit may be cute, but please save it for the right season.
You've seen:
Abigail Boswell
Deborah Zachgo
Darrion Williams 
Wearing similar shades of denim is awkward, and not very pleasing to the eye. If you want to wear multiple pieces of denim, try drastically different shades.
You've seen:
Kendall Brice
Grace Fullerton
Don Haynes
DENIM ON DENIM
           
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H  E  L  L  E
TYRA BANKS 
WEIGHS IN
WORST FASHION FAUX PAS FROM 
TIM GUNN
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9
CELEBRITIES 
SPOTTED
&