Sharing Inspiration: Noxer for Frontal Labotomy at Tender Trap

April 29th, 2015 | By | No Comments »
Lance de los Reyes

Lance de los Reyes. Photo by Darryl Nau.

Since reopening in Greenpoint, Tender Trap has hosted an ongoing series of shows curated by Andrew H. Shirley. The Frontal Labotomy series takes place biweekly in a 3′ by 4′ display case in the middle of the bar.

Russell Murphy

Russell Murphy. Photo by Paul Reubens.

Shirley explains:

The idea came to me from staring at my bedroom wall. I was thinking how psychologically explicit the assortment of objects and art I have displayed are- how they tell a story of me and my emotional being. I wanted to be able to create a setting where artists could display themselves the same way. That said, it’s totally up to them how they want to inhabit the box. It’s completely hands-off in the sense that I don’t have any involvement in the content outside of asking individuals to participate in the residency. In the future, I’m looking to curate people from backgrounds outside the world of art- plumbers, vagrants, clowns, convicted felons, and crossing guards in attempt to let the public look into their lives in a more intimate way.

Noxer

One of Noxer’s pieces for Frontal Labotomy. Courtesy of Noxer.

Tonight, April 29, Frontal Labotomy rotates and New York writer Noxer takes over the space. The opening reception starts at 7pm. Know for bringing his “black man robbing” character to graffiti, drawing, and puppetry, viewers can expect a mixed-media approach to the 4′ x 3′ space, including the above image.

Photos by Darryl Nau, and Paul Reubens, and courtesy of Noxer


Category: Gallery/Museum Shows | Tags: ,

The story behind this crazy Tod Seelie photograph

April 27th, 2015 | By | No Comments »

OutlandEmpire-TodSeelie-20

Tod Seelie is one of my favorite photographers, and his recent book is something that I seem to take off the shelf and show to just about anyone who stops by my place. You might be familiar with his work for any of a dozen reasons, but Vandalog readers are probably most likely to know his photographs of Swoon’s rafts, or his documentation of Bike Kill. His most recent body of work is Outland Empire, shot earlier this year in Southern California during a residency with Superchief Gallery.

In Outland Empire, Seelie explores the eccentricities and underground of Southern California, from the streets of LA to the characters in Slab City to crazy to the literal underground of storm drains. Seelie’s photographs oscillate from depicting the forgotten vestiges of humanity to wild moments full of energy, always with his unique eye and penchant for exploration. Outland Empire is a reminder that the world is more than just carefully manicured people and places. There’s still a bit of dirt and magic out there, for now.

In May, we’ll be exhibiting an expanded version of Seelie’s Outland Empire series at LMNL Gallery, a space I help run in Philadelphia. The show opens this Friday from 6-9pm.

There are a bunch of photos in Outland Empire that I’d love to get the back story on, but the above photo in particular seemed relevant to Vandalog, so I asked Seelie about it. Here’s what he had to say:

I shot this image while with some friends deep in the storm drain tunnels of LA. There is a spot, over a mile deep, where the floor is slanted so the water is more concentrated to one side leaving a “beach” area for hanging out. I have been down here with friends a few times for various things, dinner parties, live music, (there was flaming tall bike jousting, but I wasn’t there for that) and painting graffiti. It’s a very chill spot and worth the wet feet.

For more stories and photos from Outland Empire, check out this post on Hopes&Fears.

Outland Empire is also being exhibited this week at Tender Trap with Superchief NYC.

todseelie_1

Photo by Tod Seelie


Category: Featured Posts, Gallery/Museum Shows, Photos | Tags: ,

Sunday link-o-rama

April 12th, 2015 | By | No Comments »
"the beauty of un-advertising" by VladyArt in Catania, Italy

“the beauty of un-advertising” by VladyArt in Catania, Italy

Got a few things that caught my eye recently, so I’m going back to the old link-o-rama format for a day:

  • A group of anonymous artists installed a bust of Edward Snowden at a park in Brooklyn, but the piece was almost immediately taken down by the city. Luckily, as the artists noted to ANIMAL, “The fact that a risk was taken, the fact that an image comes out of that event that can be passed around can never be undone. So you can rip the statue out, but you can’t erase the fact that it happened and that people are sharing it.” It’s all a bit reminiscent of when the British government forced The Guardian to destroy hard drives containing files leaked by Snowden, even though there were other copies of the files outside of the UK. Of course the sculpture wasn’t going to last. Take it down or leave it up, it hardly matters. We have the photos.
  • Faile and Bast are showing at the Brooklyn Museum in July. So I’m looking forward to that, and you should be too.
  • But if you’re looking for something up now in NYC, definitely stop by Roa’s solo show at Jonathan Levine Gallery. ANIMAL very cleverly made a series of GIFs of the show. I had a pretty similar reaction to this show as I had to Roa’s show at Stolenspace last year in London. Basically, I went in with a negative attitude of thinking I’d seen the work before, and I left happy as a kid in a candy store because Roa’s pieces are so damn fun to experience and play with. It’s a really stupid fear/attitude that I have about Roa’s shows, and it’s one that the work always seems to overcome, proving my preconceived notions wrong. Good stuff, as always.
  • And if you’re in Paris, Know Hope just had a show open there.
  • Check out this spot-on anonymous critique of crappy stencils in Shoreditch by terrible street artist Bambi.
  • It’s great to see Aakash Nihalani getting some love from Juxtapoz for his interactive work.
  • Niels “Shoe” Meulman is retiring his use of the term “Calligraffiti”, because he feels his work is now better represented by the term “Abstract Vandalism,” now that his work is moving away from letters and becoming more abstract. Okay, he’s evolving as an artist, but really: who cares? That’s a pretty standard evolution these days for artists coming out of graffiti. Two reasons this is interesting. First, he’s published a short manifesto of Abstract Vandalism, which I love, and I highly recommend picking up a copy for the great little tidbits like “The difference between art and vandalism is only in the eye of the law upholder.” Second, Shoe is giving up admin control of the Calligraffiti facebook page, which has over half a million likes. In a few days, Shoe will be selecting new admins for the page, artists whose work he feels is in line with Calligraffiti now that his work is not. You can learn more about that, and suggest yourself as a new admin, here.
  • Gotta love Jorge Rodriguez-Gerada’s latest pieces.
  • I’ve never really cared for MTO‘s realistic figurative murals, even though they do play with space in an interesting way, but he’s really piqued my interest with a new piece for Memorie Urbane 2015 in Gaeta, Italy. The piece is a conceptual look into the future, a future where Google controls what information we have access to (oh wait, maybe this isn’t so futuristic…) in public space. The mural is a response to the Google Cultural Institute’s Street Art Project, which ostensibly acts as a digital archive for street art and murals. The project is highly curated and controlled, begging the question: Who decides what’s included, and what isn’t? MTO’s piece also hints at a future where augmented reality is the norm. The re:art has a great article with photos and analysis of MTO’s mural. For now, I’ll just add: I can’t wait for this mural to show up on Google Street View.

Photo by VladyArt


Category: Animation, Gallery/Museum Shows, Photos, Random, Videos | Tags: , , , , , , , , , , , ,

Cash For Your Warhol is coming to Philadelphia

March 23rd, 2015 | By | No Comments »

CFYW

For years, I’ve followed the saga of Cash For Your Warhol, the Boston-based art experiment that’s been bugging art collectors, confusing the general public, and entertaining the street art world for years. Now, Cash For Your Warhol is coming to Philadelphia with a show at LMNL Gallery, where I’ve been curating shows since last fall. No Questions Asked! opens at LMNL on April 10th.

Cash For Your Warhol is the brainchild of artist and photographer Geoff Hargadon. The project began in 2009 in response to the financial crisis, and to an art market that treats paintings and sculptures as investible assets similar to real estate and gold. Through stickers, stencils, plastic signs, and billboards, Cash For Your Warhol has been a subtly hilarious part of the urban landscape and the art market for over half a decade. In 2012, the Andy Warhol Museum in Pittsburgh even added a few of the signs to its permanent collection.

The Cash For Your Warhol project is such a simple and effective critique of art market and financial industry absurdity. From the moment I first saw the signs, I was hooked. The project is even more fascinating now that you can find Cash For Your Warhol art in galleries. That’s something I love, but I never expected. With No Questions Asked!, it’s all come full circle in a perfectly surreal way. Plus, it’s an opportunity to exhibit some of Hargo’s photos, and he is one of the best street art photographers active today.

No Questions Asked! will be Cash For Your Warhol’s first exhibition in Philadelphia. The Cash For Your Warhol team did, however, visit earlier this year to install work around the city. The exhibition will include photographs from that visit, an interactive sculpture, and the complete collection of the 24 Cash For Your Warhol signs created since 2009.

As the opening of No Questions Asked! approaches, keep your eyes out for CFYW to make its message heard in Philadelphia in a big way. In the meantime, remember to dial (617) 553-1103 for all your Warhol-selling needs.

See you at the opening on April 10th!

cashforyourwarhol-flyer

Photo by Cash For Your Warhol


Category: Gallery/Museum Shows | Tags: , ,

“Common Thread,” a stikman solo show opening soon in Philly

February 25th, 2015 | By | No Comments »

sm-common

Today I’m very pleased to announce Common Thread, a solo show from stikman. It opens March 6th at Philadelphia’s LMNL Gallery, where I’ve been curating shows for the last six months or so.

I love working with stikman because his work just brings people so much damn joy. If you’ve been in Philadelphia long enough, or Boston, or New York, or Chicago, or Los Angeles, or Toronto, or any of a hundred small towns across the United States and Canada, you might know stikman. You just might not know that you know him. One of the most elusive and prolific street artists in America, one of the last truly anonymous street artists, stikman has been putting a smile on people’s faces with his street art for over 20 years.

The late DJ John Peel’s favorite band was The Fall, and he once described them by saying, “They are always different, they are always the same,” and I cannot think of a better way to describe stikman or the works in Common Thread.

For months, stikman has been experimenting with the latest evolution to his character, and he has developed what he calls “thread paintings” for the way the paint looks like masses of thread thrown on the ground or stretched out like webbing. Already, there’s variation among the pieces, as the technique is used on different surfaces and in different ways. With Common Thread, stikman will be showing this new body of work for the first time.

The show also will also feature a digital installation: A new series of stikman’s spy-cam-like photographs. The installation will also highlight how street art, and stikman’s work in particular, is simultaneously always different and always the same. One of the highlights of …in the house…, the last show I worked on with stikman, was a photo installation. It was definitely the most commented-on piece. I suspect this digital photo installation will be similarly popular and surprising, but that’s all I’ll say about it for now. If you’re curious, you’ll just have to come to the show to see it for yourself.

Common Thread opens at LMNL Gallery (1526 Frankford Ave, Philadelphia) on March 6th with a First Friday launch from 6-9pm. The exhibition will remain on view through March 27th by appointment.

Photo courtesy of LMNL Gallery


Category: Gallery/Museum Shows, Vandalog Projects | Tags: ,

“Bob-omb,” an all-GIF augmented reality exhibition in NO AD

February 20th, 2015 | By | 1 Comment »
A screenshot from Bob-omb, featuring stills of art by James Kerr (Scorpion Dagger) and Dave Whyte.

A screenshot from Bob-omb, featuring stills of art by James Kerr (Scorpion Dagger) and Dave Whyte.

Wow. That headline is full of some jargon and gibberish… Sorry. Let me explain…

Today marks the launch of the latest exhibition in NO AD, a new evolution for the smartphone app that simulates a world in which New York City’s subway station advertisements are replaced with public art. NO AD, which I’ve written about before, uses augmented reality to digitally replace the ads on your phone’s screen. Here’s how it works.

NO AD has become a really interesting exhibition space, somewhere between a digital exhibition and a guerrilla street art exhibition. The very platform is an artwork, so NO AD’s art exhibitions exist within another work of art, and the platform gets you thinking as much as the art it displays.

I’m honored that the NO AD creators (between PublicAdCampaign, The Heavy Projects, and The Subway Art Blog under the umbrella of Re+Public) asked me to curate the first exhibition NO AD made up entirely of animated GIF art. That exhibition, titled Bob-omb, launched today and includes artwork from by The Barkers, Caitlin Burns, Dave Whyte, Hrag Vartanian, James Kerr – Scorpion Dagger, Jeremyville, Maori Sakai, Molly Soda, Paolo Čerić aka Patakk, Ryan Seslow, The Current Sea, YoMeryl, and Zack Dougherty.

In the past, the vast majority of content in NO AD has been static images, but Bob-omb takes full advantage of the platform by focusing exclusively on animated pieces, transforming static advertisements into dynamic artworks.

Bob-omb is an effort to weaponize GIF art as a tool for reimaging public space while simultaneously highlighting the variety and depth possible with the medium. The artists range from filmmakers to illustrators to journalists, and their work varies from hyper-short documentary videos to abstract digital illustration.

To view Bob-omb, simply download NO AD for your iPhone or Android device (or update it if you’ve already got the app on your phone), find a New York City subway station, open the app, and start pointing your phone at the ads. Or download/update the app and try the test image below.

I want to give a big thank you to all of the artists in Bob-omb and the team behind NO AD for this opportunity.

test image

Test image: Download NO AD and use this image to see how it works.

Images courtesy of NO AD


Category: Featured Posts, Gallery/Museum Shows, Vandalog Projects | Tags: , , , , , , , , , , , , , , , ,

From New Yawk City Walls to virtual reality

February 2nd, 2015 | By | 2 Comments »

Concrete to Data

This weekend, a particularly forward-thinking yet historically mindful street and graffiti exhibition opens at Long Island University. CONCRETE To DATA, curated by Ryan Seslow, explores the history of street art and graffiti from golden age of NYC subway graffiti through to the emerging potential for digital public art in forms such as virtual reality environments and animated GIFs.

CONCRETE To DATA includes work by many Vandalog contributors and friends including Caroline Caldwell, Gaia, ekg, and Yoav Litvin. Seslow also included my book Viral Art and our collaborative project Encrypted Fills in the exhibition. On some level, CONCRETE To DATA feels like vindication and the physical manifestation of Viral Art, albeit through the eyes of another curator. Seslow and I both have a deep love for early street art and graffiti, as well as a belief that some contemporary digital art is created and disseminated in that same spirit.

In a fitting coincidence, the exhibition takes place at the Steinberg Museum of Art at Long Island University in Brookville, NY and will run during the 10-year anniversary of Tawkin’ New Yawk City Walls, an exhibition curated by John Fekner that took place in the same space in 2005. Tawkin’ New Yawk City Walls was actually conceptually similar to CONCRETE To DATA, not just another street art exhibition in the same space. Ahead of his time as always, Fekner included digital works in Tawkin’ New Yawk City Walls and arguably even hints at the possibility of viral art in the exhibition’s curatorial essay. A decade later and the world predicted in Tawkin’ New Yawk City Walls has come to fruition, and artists are creating new works for a new world, as seen in CONCRETE To DATA. In this way, Seslow provides an important and expansive update to his friend Fekner’s exhibition.

But CONCRETE to DATA is more than an exhibition to promote digital media as a route for contemporary street art and graffiti. It’s also an exhibition that attempts to capture, again much like Tawkin’ New Yawk City Walls, the most interesting elements of the contemporary streetscape in NYC and place those in a historical context alongside the best of previous generations. There’s work from Adam VOID, Swoon, Gaia, Fekner, Cash4, and many others. So, there are visuals to enjoy too.

Adam VOID's installation at CONCRETE to DATA

Adam VOID’s installation at CONCRETE to DATA

CONCRETE to DATA opens on Friday, February 6th from 6-9pm and runs through March 21st. Learn more here. I’ll be missing the opening because I’ll be at Sam Heimer‘s Why Are You Here?, opening that same night at LMNL Gallery in Philadelphia, but I’m really looking forwarding to checking out CONCRETE to DATA in person soon.

Photos by Ryan Seslow


Category: Gallery/Museum Shows | Tags: , , , , , , , , ,

Making history from coast to coast this week

January 7th, 2015 | By | No Comments »
Curiot

Curiot’s piece for La Familia at Thinkspace Gallery. Photo courtesy of Thinkspace Gallery.

This week folks in LA and NYC have reason to celebrate with two historic shows opening in those cities.

On the West Coast, Thinkspace Gallery has their La Familia 10th anniversary group show, which will be historic in the sense of looking back over the first decade of a great gallery. Thinkspace is one of my favorite West Coast galleries, so it’s exciting to see them celebrating 10 years. For La Familia, Thinkspace are reuniting with the myriad of artists they’ve shown and supported over the last decade for a group exhibition of over 120 small wood panels from as many artists (panels provided by Trekell). I’m not usually one for overloaded group shows, but this is one that I can get excited about. La Familia opens on Saturday, January 10th. Learn more here.

Painting from KATSU's Android Selfies series. Photo courtesy of The Hole.

Selfie: Feng-shui 1 by KATSU. Photo courtesy of The Hole.

And on the East Coast, NYC’s The Hole is holding Remember the Future, a KATSU solo show. Of course, this show has the potential to be historic for being KATSU’s first solo show. It’s no secret that I’m not usually fan of The Hole’s program, but this is an important exception. KATSU is one of the most mysterious, groundbreaking, and potentially influential graffiti writers to come to prominence in the 21st century. He’s a member of BTM and F.A.T. Lab, and he’s produced innovations in traditional graffiti as well as net art/digital pranksterism. The few pieces of KATSU’s gallery work that I’ve seen have ranged from absolutely awesome (see above) to hokey. Although the press release offers some ideas, I’m still not totally sure what to expect from KATSU’s first solo show, but I’m optimistic that it will be pretty damn impressive and I’m sure it will be something to remember. Remember the Future opens at The Hole on Thursday, January 8th.

Photos courtesy of Thinkspace Gallery and The Hole


Category: Gallery/Museum Shows | Tags: , ,

108 solo show in in Grottaglie

December 11th, 2014 | By | No Comments »

108-tela-verde

Angelo Milano, founder of Studiocromie and FAME Festival, is one of the most brilliant crazy people I know. When it comes to art and culture and politics, we don’t always agree, but I have a deep respect for him. Angelo is one of a handful of people to whom I can confidently say, “Whether or not I see what you see in this artist or this artwork, if you say it’s special, it’s special.”

Today, Angelo emailed me about an artist whom he thinks is special: 108. Frankly, we haven’t really covered 108 at all on Vandalog (just one passing mention), but I’ve admired his murals for years. Later this month, Angelo will be holding a 108 solo show in Grottaglie, Italy.

st.160x200

108 is an Italian street artist who, like Angelo, developed in a small Italian town, away from the hustle and bustle and hype. Arguably as a result of that, his work doesn’t cater to the whims of the street art bandwagon, nor even really the Graffuturism bandwagon, which is the closest comparison that could be made. Instead, according to Angelo, 108’s work was a precursor to the current wave of abstract muralism in Italy. 108’s murals are fantastic abstract combinations of boldness and subtlety. His canvases, which admittedly I’m not quite sold on, are reminiscent of Miró. How many artists in the street art or graffiti worlds can say that?

108’s show, Solstizio D’Inverno, opens next week at Studiocromie Grottaglie, Italy. To echo Angelo’s message, “to the interested ones, don’t miss it.”

SOLSTIZIO-D'INVERNO-02a

Photos courtesy of Studiocromie


Category: Gallery/Museum Shows | Tags: , ,

Link-o-rama

October 19th, 2014 | By | 1 Comment »
Gane and Texas in Philadelphia

Gane and Texas in Philadelphia

Sorry if some of these links are a bit dated, but hopefully they’re still interesting:

  • Don Leicht, the original Space Invader, has a exhibition of his work on now at Mary Colby Studio & Gallery on City Island in the Bronx. Leicht has been making space invader characters for the street and for galleries since 1982, often in collaboration with John Fekner. Both Leicht and Fekner have never really embraced the spotlight in the way that others from their generation have (particularly in recent years), and so Leicht’s place in early New York street art often goes unacknowledged. Whereas Space Invader’s characters are generally lighthearted and fun and more about interesting placement than interesting content, Leicht’s content is political. His invaders, painted in camo, serve as a reminder/warning that war is real and of the relationship between videos games and the military.
  • The app NO AD, which I was pretty excited about when it launched and even more excited about once I got to try it out myself, recently announced their next exhibition on the app. NO AD is working with the International Center of Photography to display images from their current exhibition, Sebastião Salgado: Genesis. I love that the ICP is into this idea. NO AD is a fantastic exhibition platform, but it’s also a bit of an odd one, so it’s very cool to see the ICP embracing both augmented reality technology and an anti-public-advertising platform. Click here for more info on the exhibition.
  • Speaking of public advertising, this crazy thing happened in Hong Kong.
  • And over on Hyperallergic, Julia Friedman addresses the major discrepancy in how  New York City enforces laws relating to public advertising. Essentially, the current enforcement strategy seems to punish artists and activists while leaving corporate interests to do whatever they please.
  • I really enjoyed this article on the painfulness of advertisers appropriating street art and graffiti for their own ends, to the point that Perrier actually replaced a mural of Nelson Mandela with an advertisement featuring the hashtag “#streetartbyperrier”.
  • Speaking of water companies, street art and hashtags…  The folks being the for-profit bottled water company WAT-AAH (aka Let Water be Water LLC, or as I like to call them “Evian for Kids”) sent The L.I.S.A. Project NYC a cease and desist letter for using a hashtag that they claimed to own the trademark for (they don’t). Animal has more on that ridiculous story.
  • Jorge Rodríguez-Gerada created a massive piece on the National Mall. Impressive piece. Impressive location. Good stuff.
  • Conor Harrington had a great show in NYC, at a pop up space with Lazarides Gallery from the UK. I went up for the opening, and despite the space being lit like a haunted house and seemingly pumped full of mist from a fog machine, the work looked even better than I had anticipated. Plenty of artists can paint traditionally beautiful paintings, and plenty of artists can use drips and tags and half finished elements and things like that to make their paintings look “street” or to make it look like they are saying “screw you traditional notions of beauty and fine art painting!” Few artists can do what Conor does, which is to utilize all of those styles and techniques, from beautifully staged scenes painted with perfection to all the different ways to make a painting look rough and cool, but utilize those things in the right balance and with respect. To Conor, it looks like a drip is no different than the a detailed brush stroke. The “disruptive” elements look like they belong. He isn’t trying to destroy painting. He’s trying to bring it to new heights, and he’s much better at it than most.
  • It was a surprise to see that Jonathan Jones at The Guardian actually liked a recent Banksy piece, but then again it was a good piece with an even better story in the end.
  • This article on the utter failure of a major “street art biennial” in Moscow is an absolute must-read.
  • This fall I’ve seen (online) two interesting pieces of endurance art, both of them by female artists in New York City who took to endurance art to address what they see as crises.
    • gilf and Natalie Renee Fasano walked 15 miles barefoot around the city. 60 million or more people worldwide live every day without shoes. Interestingly, Gilf’s project was not so much an awareness campaign as an opportunity for self-reflection that she documented and publicized. None of her Instagram posts on the performance provide information about what can be done about this problem, and the video documenting the work provides no context except the text “A day in the Shoes of the Shoeless with gilf!” On some level, I find that frustrating. But of course the work wasn’t about raising national awareness for this issue. gilf’s own description of the project makes that clear. It was more a project for herself. And that’s great and useful too, but on some level I can’t get over the missed opportunity here to make the project more than personal suffering/meditation and self-promotion. Why not simply say, “And if this project is bringing the issue of people without shoes to your attention and you want to help, here’s something you can do.”? Yes, it’s a personal project for self-reflection, but it’s also an artwork that was promoted all over the web. So, I’ll close by saying that if you do want to help provide shoes for people in need, Soles4Souls seems to be the place to go (thanks to Animal for that tip).
    • Emma Sulkowicz has to be one of the bravest, most impressive people I’ve read about in a long time, and I almost hesitate to call what she’s doing an art piece, lest it devalue her actions in an age when so much art is devoid of the kind soul this particular performance/way of living requires. For nearly two months, Sulkowicz has been carrying her dorm room mattress with her to every class, every lunch break, every party, and everywhere else she goes, constantly, and she says she will continue to carry her mattress with her “for as long as I attend the same school as my rapist.” More about this piece, and the reaction she’s received from her fellow students at Columbia University, at Hyperallergic.

Photo by RJ Rushmore


Category: Art News, Festivals, Gallery/Museum Shows, Photos, Random, Videos | Tags: , , , , , , , , , , , , , , , , ,