Kill Pixie Solo in Brisbane

Kill Pixie/Mark Whalen is one of the most talented Australian artists connected with the street scene, so I’m always interested when he does something new. Brisbane isn’t exactly my favorite city in the world, but I wouldn’t mind making a quick trip there next week to check out Observatory at Edwina Corlette Gallery, which from the preview looks like it will be another great show from KP. It even looks better than his last two shows, and I enjoyed them. Take a look at some of my favorite pieces below (with Kill Pixie, I think the trippier and busier the work is, the better) and, if you’re in Brisbane, head over to the gallery and let me know what things are like in person. I’d like to review it in the April issue of The Art Street Journal.

Here’s a studio shot that helps give a sense of size for some of the pieces.

Pics via Kill Pixie and Edwina Corlette.

- Elisa

Sneak Peek: Nina Pandolfo at Carmichael Gallery

I’ve loved Nina Pandolfo’s work ever since Seth and I showed it in our first show here in LA in 2006. Having her as the first artist to exhibit in the new Carmichael Gallery makes the experience of settling into Culver City even more special for me and the work she’s made for the show is her best ever, in my opinion. It’s always so good to see artists you respect push themselves to more innovative usage of media and develop deeper thematic layers within their imagery. Nina’s mural along the main wall of the gallery builds upon the piece she painted for Deitch Projects x Goldman Properties’ Wynwood Walls in Miami (pics here and here) with her husband and brother-in-law osgêmeos and friend Finok, while the piece in the progress shot below is a multi-layered combination of acrylic on linen and glass with metal, light and artificial flowers. “Mixed Media” doesn’t really describe the end result, which is simply incredible; I’ve never seen anything like it before!

Nina has made another of these pieces that, in place of flowers, incorporates little beads that look like candies, plus a piece made entirely from Swarovski crystals, a series of large canvases and three hand-made fiberglass sculptures that are perhaps my favorite works in the show. Here’s a progress shot of one, hanging out with her kitty while her friends were in hair and makeup (if she were a real girl, she’d probably kill me for posting this).

Below is one of Nina’s canvases. Before I post it, I’d like to talk briefly about the connection between Nina and osgêmeos. It’s something a lot of people understandably wonder about, seeing as they’re family and have painted all over the world together for so many years. From my perspective, as a fan of both, it’s the simple magic that exists in their work that draws us in. All three possess an innate ability to transport us to a place that, whilst drawing upon the life we live, is much happier, brighter and devoid of the pressures that so often weigh us down. This place is one we can escape to and immerse ourselves in simply by gazing at their pieces, then come away with a more tranquil understanding of why things are the way they are.

The three Pandolfos are intelligent without affectation, kind without condescension, and positive without pretending that there aren’t things wrong with the world. I think that’s why people are so floored by shows like Vertigem (osgêmeos’ touring exhibit), Too Far Too Close (their 2008 Deitch show), the castle they and Nina painted in Kelburn with Nunca, the Wynwood Walls mural, and what I hope they’ll see in Nina’s show here – these artists touch a very tender nerve in us.

This, for me, is the connection between the Pandolfos, and yet at the same time, I feel their work couldn’t be more different. Nina’s characters and landscape have a very different flavor (that’s actually the title of the show, Life’s Flavor). When I look at what she does, what I admire most is her sophisticated melange of surrealist motifs, craftmanship that is as polished as the best in the Asian contemporary movement, and her passionate acknowledgement of Brazil’s colorful street scene.

Then there are the trademark children who populate her work. Unlike the frankly disgusting amount of work in the world that employs imagery of pretty girls to appeal to the viewer’s erotic fantasies (it’s obviously not hard to understand why this work is popular, but (and I’m no feminist) I simply think it’s wrong and I struggle to respect it), Nina’s presentation of youth and the female form could hardly be more different. Her preoccupation is with the return to innocence, to the core of our natural, dreamlike state. Close to bursting with exuberance, her young figures and their world capture a lightness that exists in all of us, even if we can’t always reach it.

Anyway, if you live in LA or will be in town this weekend, come say hello to us all and see Nina’s work in person at Carmichael Gallery, 5795 Washington Blvd, Culver City.

- Elisa

There Is No Such Thing As A Good Painting About Nothing

CircleCulture Gallery’s group show There Is No Such Thing As A Good Painting About Nothing opened on Friday evening. The show includes work from three artists: Marco “Pho” Grassi, Holly Thoburn and Katrin Fridriks. Holly knows I’m not her biggest fan, though her paintings are nice as decorative pieces, but Pho’s art is very interesting, and I’ve heard amazing things about what Katrin does and can’t wait to see some of her paintings in person.

From CircleCulture:

A new vanguard emerged in the early 1940s, primarily in New York, where a small group of loosely affiliated artists created a stylistically diverse body of work that introduced radical new directions in art – and shifted the art world’s focus. Never a formal association, the artists known as “Abstract Expressionists” or “The New York School” did, however, share some common assumptions. Among others, artists such as Jackson Pollock, Willem de Kooning, Franz Kline and Mark Rothko advanced audacious formal inventions in a search for significant content. Breaking away from accepted conventions in both technique and subject matter, the artists made monumentally scaled works that stood as reflections of their individual psyches – and in doing so, attempted to tap into universal inner sources. These artists valued spontaneity and improvisation, and they accorded the highest importance to process.

The exhibition “There is No Such Thing As a Good Painting About Nothing“ focuses a comparable artistic habitus finding its provenance in graffiti and street culture. It is interesting to observe, that approximately 70 years later, in the early 21st century, three artists located in different countries developed their work independently from each other as a new form of abstract expressionism. They build upon the paradigms of graffiti writing and street art but distance themselves radically from established clichés. Ultimately, by doing so, they generate an avant-garde direction within the genre of urban art.

Marco “Pho” Grassi (Milan) translates his background as a bomber to his vast abstract paintings by referring to graffiti writing’s traditional elements: the word, the rhythm of the line and a performing dynamism. By recovering elements from the daily life like torn manifestos and wooden pallets he postulates an hommage to the street.

Katrin Fridrik’s (Paris) works bring a third dimension, which modernizes abstract expressionism and reinstates it for our times.  She invents a new pictorial language: the “human-generated” computer images. And she shows us that the human still produces better than the machine.

Holly Thoburn (London) has traveled the world extensively, photographing street art, graffiti, derelict walls, alleys and doorways – all of which find their abstracted way back into her work as themes and motifs of urban living.

Katrin Fridricks

Holly Thoburn

Marco Pho Grassi

James Jessop at High Roller Society

James Jessop’s latest solo show, Beauty and The Beast, opens this Friday (March 19th) at High Roller Society in London. I’m very bummed that I’ll be out of the country for the opening of this show (more on that in a few days). Honestly, I don’t care for the painting that HRS has put in the press release, but usually I really enjoy James’ artwork. Demonology and Subway Ghosts are two of my personal favorites. Beauty and The Beast will only have four paintings in the entire show, but James’ paints on a pretty huge scale.

From High Roller Society:

After recent solo exhibitions in São Paulo and Copenhagen, four of James Jessop’s finest works will see their UK debut at High Roller Society, the newest gallery to London’s progressive East end. Titled BEAUTY AND THE BEAST, this solo show reveals Jessop’s trademark style: large-scale spoof horror paintings that present a visual feast of transcribed B-movie posters, 60s sex/sleaze paperback book covers, and 1980s New York subway graffiti. The exhibition launches on Friday, 19 March 2010, with the release of a limited edition 5 colour screen print based on his notorious King Kong painting series.

Jessop burst into the London art scene in 2004 with terrifying impact at Charles Saatchi’s infamous New Blood exhibition which featured an epic 5 metre-long panoramic painting entitled Horrific. Since then, Jessop‘s repercussions have continued with bigger and bolder studio work and a consistently strong dual street presence through his own rigorous dealings in graffiti. “My whole life has been mixing up graffiti with high art,” he states, “the message in my work is to make a painting that has huge impact”. Jessop feeds off of his obsession with certain sub-cultural movements, such as graffiti and drum n’ bass, the energy of which fuels his work, regardless of where it is executed. “It is never ending, I love this way of life, painting everyday, doing graffiti at night… I am living my dream.”

A graduate of the Royal College of Art, Jessop’s energy is nonetheless skillfully controlled and highly focussed. Every minute area in each of his paintings is considered in order to achieve the best visual effects. Varied impasto textures, fluid brush strokes, vibrant colour combinations, and delicate glazing techniques are executed differently throughout each piece, and help to emphasize the texture of every element in the composition. Jessop’s painting approach and many of his intertwined components are clearly influenced by key movements throughout art history such as the Renaissance, the Baroque, and Futurism. Yet, like a B-movie needs junk food, Jessop’s cross-movement style integrates Uni Posca paint pens, spray-can effects, and the familiarly bizarre imagery of popular culture.

Jessop’s big-screen works were recently part of the Animals Contemporary Visions exhibition held at the Martini Arte Internazionale in Turin, where he was subsequently invited to be the 2010 Artist in Residence at the Cultural Centre Cesare Martini, in Cavagnolo, Italy. Before undertaking this venture later in the year, James Jessop’s frightfully astonishing selection of works to date will be showcased at High Roller Society until 24 April.

Dan Witz: New Night Paintings

Dan Witz, who in my opinion makes some of the best and unpretentious street and gallery art out there today, just opened a show of new night paintings at DFN Gallery in New York. I didn’t make it to the opening on March 10th, unfortunately, as we had to head back to LA on the 7th to start prep for our next show here (Nina Pandolfo – I’ll post install pics soon!), but I did get to spend some time with Dan at his Brooklyn studio, so I can tell you that the works look spectacular in person. Make sure to stop by the gallery if you’re in New York to see them for yourself.

The lamp pieces below are inspired by Dan’s visits to Park Avenue lobbies near the gallery. His ability to transform something so simple into something you just can’t take your eyes off of is something quite extraordinary.

And his bar shrines are just plain awesome…

- Elisa

Re-Creation II at Ogilvy & Mather New York

Last week, Carmichael Gallery took over the Ogilvy & Mather offices in New York for Re-creation II, a show with installations and/or paintings from Will Barras, Simon Birch, Boxi, Ethos, Mark Jenkins, Labrona, Aakash Nihalani, Nina Pandolfo and WK Interact. The show will be on until the end of July, so there’s plenty of time to stop by if you’re in New York.

Ethos

Will Barras

All these Aakash Nihalani artworks look great next to each other:

Aakash Nihalani

Labrona

Boxi

My favorite part of Re-Creation II has to be all of the things that WK Interact did:

WK Interact

WK Interact

Lots more photos of the show on Carmichael Gallery’s flickr…

Armsrock and Imminent Disaster: Refuge

Last night, Armsrock and Imminent Disaster opened Refuge, their two-person show at Thinkspace, and Seth and I went along to check it out. I’d been looking forward to this show for some time, and although the installation and overall presentation didn’t flow quite as well as I was expecting it to, I thought there were a number of fantastic individual pieces. I particularly liked Armsrock’s small drawings and large charcoal and graphite works on paper. It’s always so wonderful to see his work in person; the immense power of them doesn’t always come across online.

Across the room from Armsrock, I felt that Imminent Disaster’s piece, “Crossing The River”, needed a bit more breathing room than it was able to have in the gallery (it’s 96 x 108 x 120 in – gigantic!), while Seth admired her wall of smaller works.

My favorite part of the artists’ installation was their piece in the gallery’s front window – I like the minimal play with bright colors amidst their characteristic use of black and white.

Both Armsrock and Imminent Disaster are important voices in the street scene so I urge everyone in LA to visit Refuge while it’s on view, particularly because it’s Thinkspace’s last show in Silverlake before relocating to Culver City next month! They’re going to be on the same street (Washington Blvd) as us (Carmichael Gallery) soon!

- Elisa

Retna at New Image Art

The next show at New Image Art is Desaturated, a solo show from Retna. The show opens March 20th. It looks like the artworks are similar to this photo (maybe NSFW). Some people love Retna, some don’t, but what really can’t be argued is his influence on the LA graffiti scene.

Retna was born in Los Angeles, California in 1979. Since first creating a name for himself in the early 1990s, Retna has become an “eternal broadcaster” of sorts, shining a light to the kinetic urban soul of Los Angeles. The name RETNA itself evokes the timeless power, movement and visual vibrancy behind the artist’s acclaimed work. His work merges photography with graffiti style and paint, time with color, couture with street culture, the spiritual with the sensual, and fluidity with grit. Whether his paintings hang in a gallery or wall on the streets of Los Angeles, they serve as a retina through which we view the urban journal of contemporary art.

At an early age, Retna was introduced to L.A.’s mural culture. While still in high school, he led one of the largest and most innovative graffiti art collectives the city has witnessed. He is perhaps best known for appropriating fashion advertisements and amplifying them with his unique layering, intricate line work, text-based style and incandescent color palette reflecting an eclectic artistic tradition. RETNA became just as notorious for his ornate painting technique as his timeless style: he used paintbrushes mixed with the traditional spray can. Many of his pieces synthesize the line between fine art and graffiti, between power and opposition, between tradition and advancement.

Today, Retna traverses between the galleries and streets with ease. Retna is a member of the Art Work Rebels and Mad Society Kings Art Groups. In December 2007, he contributed to a large-scale mural project with El Mac and Reyes called “La Reina del Sur” at Miami’s Primary Flight during Art Basel. His most recent projects include an exhibition titled “Vagos Y Reinas” at Robert Berman Gallery and a mural called “Seeing Signs” at the Margulies Warehouse for Primary Flight.

Solo show from Anthony Lister

Anthony Lister can be one of my favorite painters. He was once described to me as “an extremely talented painter, who happens to use a spray can,” and I completely agree with that assessment.

Terms of Engagement by Anthony Lister

Lister’s next solo show is at Lyons Wier Gallery in New York City, and it opens on March 19th. Should be pretty awesome.

Also, Lister recently painted a mural at the Pulse art fair in NYC for the Lyons Wier Gallery.

This Is Us: Matt Small and Zac Walsh

Matt Small and Zac Walsh have a two-man show, This Is Us, opening on Thursday at Signal Gallery. Matt is one of my favorite painters in the UK, so I’m really looking forward to seeing his new work.