ART INTER(VIEWS)

CONTEMPORARY ARTIST INTERVIEWS 
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Rest In Peace - Harold Ramis (Egon Spengler)

Posted 2014-02-25 11:00:46 | Views: 9,503
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)
 

Swedish Artist - Peter Hammar Interview

Posted 2014-02-23 11:01:02 | Views: 13,458
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. 

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

Posted 2014-02-18 12:18:10 | Views: 10,432
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

Local Crit - Group Show - Nov. 27th

Posted 2013-11-23 22:48:17 | Views: 9,261

Interview: Cynosure Andrew-Lozano

Posted 2013-11-16 19:38:19 | Views: 10,932
Cynosure Andrew-Lozano
Cynosure Andrew-Lozano
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1. How did you first get into Guitar-making? Did you have a mentor starting out?


A lot of my art is built on a multitude of influences and inspirations, surreality and reality, Modernism and Postmodernism…I am directly and indirectly influenced by everything I see and everything I think. From an early age, music was the most impactful source of expression and individuality that I could identity with. After growing up listening to bands from The Beatles, The Eurythmics, Led Zepplin, Gary Numan, Marilyn Manson and The Sex Pistols to name very few, I realized another world existed. A world full of unlimiting potential, self-expression and creative ideologies. I had always wanted to be a part of the music industry, whether that meant playing in a band or otherwise. After self-learning how to play the guitar from the rudimentary, yet fundamentally important, guitar scales to semi-advanced shredding, I knew this was a life-changing paradox. I wanted to create something new, not just conceptually but physically; and since I knew how to play Guitar, it just seemed so natural to progress into the mechanism of the instrument and its creation. I had never had the luxury of knowing Guitar-builders nor taking any wood-working/carpentry classes, but purely relying on my own skills, honing my talent, putting tools to wood and creating the objects that I had birthed in my mind. After much research I set out to build an Electric Guitar, focusing my study of research into the engineering aspects that made a Guitar what it is. In particular, using specified wood varieties for sound delivery, stylistics and conceptualization for aesthetic appreciation and technology for innovation. Utilizing my own designs based around ergonomic comfortability and visual specification, the Cyberpunk Guitar was born. Ultimately, in each of my Art creations is a systematic message and representation of reality expressed through a variety of metaphor - this progeny was concepted through the decadence and degradation of a dystopic future dichotomized with the ever-evolving obsession with technology and dataspheric information. Always maintaining its distinction as a fully-functional instrument, this Guitar no longer aspired to the demographic of cliche models, more a departure, an aberration of commonality and into the realm of surrealism and art.

You are so good with detail, what's the preparation for it and is it okay to make mistakes with this kind of work?


I always spend a vast quantity of time designing my Art, but adhering continuously to the concept I choose to base it upon. From the construction of the shaping to the meticulous detailing of small intricacies, the Guitar exists on paper before the chisel carves the wood. Mistakes are common-practise and always accidental, yet inevitable…without the advantages of computerized assistance, human error is somewhat ineludible. Mistakes, dependent on their severity, can mostly be incorporated into the design, whether obvious or not…sometimes mistakes are serendipitous and add to the complicity of the concept.


Do you play your own self-made instruments?


Yes. In order to build Guitars, you need at least a basic acknowledgement of playability. The famous 20th century Russian composer, Stravinsky once said, "…Musical form is close to Mathematics - not perhaps to Mathematics itself, but certainly to something like Mathematical thinking and relationship…"

Guitar-building and Luthiery is indeed implicit within Mathematics as you are always calculating, using Mathematics in angles, design, scale, parameters, permutations and precise measurement. Playing the Guitar is much the same…to work as both a Luthier/Artist and a Musician utilizes the balance of a mutualistic-symbiosis needed to create my instruments.



You made your very first Acoustic Guitar recently. How is it different than making Electric ones?


Acoustic Guitars differ greatly in manufacture to Electric Guitars…undoubtedly, it is an entirely different process. From the design aspects to the manufacturing-tools needed, the Acoustic Guitar has its own set of ideals and idiosyncrasies…unlike the Electric Guitar, the Acoustic relies heavily on the vibrations of the wood-open space ratio. Without prior knowledge of Acoustics (and a deal of ignorance), I had to research and learn the construction methods, the wood parameters, shaping, thickness, bracing and countless other facets; building an Acoustic Guitar was a laborious challenge in itself. I built an Acoustic Guitar for the Herradura Tequila Barrel Art Program, in which I built my first Acoustic from a Tequila Barrel. featuring an abundance of synonymous metaphor to relate to the History and Culture of Mexico; fortuitously, the barrel is curved and as I composed its architecture of the guitar on the Mariachi Guitar (well known for its arched back), it was simply a matter of developing a stable design to incorporate and necessitate this feature. Electric Guitars depend ultimately on the 'Pickup' or 'Humbucker' which are essentially copper-coiled magnets that act as a Transformer, enheightening the sound output of the the plucked/strummed strings. this is the reason that you see Electric guitars built from an assortment of materials, such as wood, metal, composite, carbon-fiber, plastic, plexiglass/perspex, whereas the tonal qualities of the Acoustic Guitar are delivered by resonant, porous and malleable materials, namely, wood…thought, you can research and find the odd carbon-fiber or metal Acoustic but thats certainly not the norm.



you mentioned that you work with themes of PostModernism/PostApocalyptica. Can you explain further, what do you do for keep-up with the trends of the industry?


The Guitars I build are unique in most ways. I do not adhere to any industry-standard method with an exception of the Mathematical scale length and composition of materials used to maximize the soundscape. My Guitars primarily focus on Industrial aspects, taking inspiration from surrealism, literature, cult film and music. Essentially, I create a physical representation of what is in my mind. Currently, I am working on a series of guitars each focused on the concept of Postmodernism and PostApocalyptica yet with individual thematics. For instance, the Cyberpunk Guitar, as aforementioned, is a 25.5" scale, Swamp Ash solid body with a real working fan, skeletal framing and light-up LED fret-markers…certainly not something you'd see in a Guitar shop!! the fan serves no purpose other than as a manneristic purveyance of Postmodernism…a stylized art-form that literally delivers a creation devoid of practicality or understanding. I do keep-up with trends of any industryas, to me, this is something of a conformist approach to produce inferior work. I have my own style, my own influences and inspirations and aspirations. I cannot accept categorical reasoning nor compartmetalized ways of thinking. I believe that life is quantum. Everything exists in fluidity and it is the greatest travesty of human nature to believe itself to be subject to socio-ritualistic methods and practices. I am an artist, a creator, an inventor, an innovator...not just in relation to guitars and the industry, but every single aspect of my life is unbound by limitation. 



Making a Guitar is an art-form, but have you dabbled with more traditional fine-art mediums?


I am an artist firstly before anything. I do despise labels in any form as its not natural to me in any sense or demographic. I can produce fine art or plastic art or visual art, though whatever the medium, I consider myself an Artist without any prefix. 

I used to paint in both Water Colour and Oil mediums, but was always attracted to more 'physical' realms of expression. 

You may notice I am comfortable to use the term 'Artist'. This is because I do not consider it a label, per se, however, a means of identifying characteristic traits of professional approaches to such mediums. Art to me is GOD, and to me, GOD is Art. The definition of 'CYNOSURE' in the dictionary is "…something that attracts attention by its brilliance…". My name itself is another word for visual captivation, or 'Art'. In essence, Cynosure is Art and Art is Cynosure. 


Any words for anyone wanting to get into Guitar-making?



Research. Create your own style and personal approaches. If you want to be recognized as an Artist or individual, you need to acquire a 'signature',  both artistically and dynamically. Have you ever heard of the Charles Caleb Colton phrase, "…imitation is the sincerest form of flattery…"? Well, in the Art-world, this does not pass. If you want to be like me, be yourself.

To learn more about cynosure andrew-lozano visit his site right here. 

post modernism/PostApocalyptica art guitar maker Cynosure andrew-lozano takes some questions about his non-confirmist way of being.  


Local Crit - Wed, Nov. 27th 2013

Posted 2013-11-14 09:34:26 | Views: 9,531
L   O   C   A   L     C   R   I   T 
Presented by: 
MICHAEL MARGULIES ARTIST AGENCY 

CAROL PRUSA

JILL HOTCHKISS

JEN STARK

NATALIA REPARAZ

FRANCIE BISCHOP GOOD


JESSIE LAINO

JESSY NITE 

SHEILA ELIAS

NICOLE BURKO

MARIANA MONTEAGUDO

Presented by:
Michael Margulies 
Artist Agency 
Opening Reception: 
Wed, Nov. 27th 2013 
Show runs Jan. 21st  

300 SW 1st Ave. Suite 1300 Fort Lauderdale, FL 33301 (at Las Olas Riverfront) / [email protected]

Artists: 

Local Crit - Wed, Nov. 27th 2013

Posted 2013-10-18 15:46:54 | Views: 9,861
LOCAL CRIT 


Presented by: 
MICHAEL MARGULIES ARTIST AGENCY 


   
FRANCIE BISCHOP GOOD
JEN STARK
CAROL PRUSA
JILL HOTCHKISS
NATALIA REPARAZ
SHEILA ELIAS 
JESSY NITE 
NICOLE BURKO
JESSIE LAINO 
MARIANA MONTEAGUDO 

300 SW 1st Ave - Ft. Lauderdale, FL. 33301 (at las olas Riverfront) 6pm - 10pm / [email protected] 
MarguliesAgency.com 

Carol Prusa - "Optic Nerve" - 2013 

                W E D N E S D A Y ,   N O V E M B E R  2 7 T H  2 0 1 3

Jessy Nite: The Overdose

Posted 2013-10-17 17:19:46 | Views: 10,734
JESSY NITE  LIVES IT DAY AND NITE


How did you get into incorporating pills into your work? 

most of my work is about my relationship with drugs and behaviors/people that surround them.  Whether they lean toward molly or prescriptions, pills speak to a certain kind of high and dependency that I like to play with.  They are the friendliest and most fun drug to use.  (in my art or real life haha)

You have a strong connection with graphic design, how much does it play into your art practice in the studio? 

I use it seamlessly throughout my process these days.  I use all of my own content throughout my pieces (all type styles are my creation and all illustration is done by

JESSY NITE IS AN ARTIST AND DESIGNER ORIGINALLY FROM NEW YORK BUT NOW CALLS MIAMI HOME. HER WORK TAKES YOU ON A CRAZY TRIP THROUGH COLOR FIELD INSTALLATIONS AND HER SIGNUATURE SYSTEMATIC PILL CALLIGRAPHy PIECES will MAKE EVEN THE SOBER O.D. 
All Photos by David Cabrera. View all photoshere. 
hand to start off) so everything begins with my technical drawing skills.   My graphic design skills allow me to work on a larger scale and with variety of mediums, and influence my concepts and aesthetic.


Are you really into nightlife? Where are some places you like to hang out that may inspire your work? 

I've always been a party animal and was exposed to nightlife culture when I was young.  I work my ass of these days so I don't get out as much as I used to, but every now and then I love to get totally wasted and go to the mega clubs like LIV, Story or The Wall.  I love the whole show…the music, lights, performers and even the hilarity within the crowd.  Its such a bizzaro world with two very contrasting realities.  In-the-moment is one thing but the reality of it all is another.  That South Beach club world is really not my scene but its fun to visit for sure!!!  





























(Interview continues below) 
(Interview continues below) 
Tell us a little bit about your current show right now at the Hollywood Art and Culture Center. 

Behavioral Patterns is a group of new works that reflect a lot of personal experiences.  Its a survey of the bad behaviors that I continue to repeat and struggle with.  The stories are personal and reflect my feelings toward a very specific area of my life.  One piece reads "Tried & True" in one direction, and "Tired & Thru" in the other….that is about relationships and the kind of people I always choose to be with.  "Roll Model" is the duality of the party girl in-the-moment and after.   Although, those serious undertones are clouded by the sentimental nature of the sayings and the colorful and clean presentation.

Working on anything currently? 

This November is going to be so busy!  First up I am releasing a dope new print and a very limited edition of pill jewelry that matches my "Roll Model" piece, then a large installation going up in the Filling Station in Wynwood, a new building takeover on Calle Ocho, a giant rainbow vortex for a show in Ft Lauderdale, and perhaps a little surprise for Basel…I gotta keep you posted on that last one!


Lowest point in your art career was when? 

No low points…I keep it positive!

Highest point in your art career at this point has been? 

I get higher everyday...

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Learn more about Jessy Nite right here.