The team at Arrested Motion have curated their second show, and it is set to open in LA next month. City of Fire opens June 5th at Stephen Webster. The show includes work by Ron English, Kid Zoom, Pedro Matos, Nick Walker, Rostarr, Jeff Soto, Judith Supine, TrustoCorp and others. For more info about the show, email exhibitions [at] arrestedmotion (dot) com.
India based designer Manish Arora took to the streets as inspiration for his debut collection of ready to wear at Paris Fashion Week. The clothes featured superimposed images of Judith Supine‘s famed work throughout the collection. Created to look like a high end city street, the catwalk was transformed with the help of several Parisian graffiti artists who spray painted their colourful tags.
While many artists are turning to clothes to sell products to the mainstream (hey we have Labrona creating shirts for us), it is interesting to see the fashion world turning to street artists to sell expensive wares to women. While Judith Supine may not be a name that most fashionable will be familiar, they certainly know that prints are in this season (yes this is my girly side showing). Most importantly however, it is evident that Supine’s work translates well into clothing. We already know that Shepard Fairey, Miss Van and Keith Haring all know how to make street art fashionable, but few artists besides Supine have translated their works into catwalk worthy creations.
We like the way NYC’s Opera Gallery integrated some of the more established street artists with the likes of Chagall, Picasso and Matisse in their current exhibit featuring a remarkably diverse range of portraits. The exhibit continues through February 19 at 115 Spring Street. Here are a few faces we captured when we stopped by this past week:
Last week, Paper Monster released the latest print from Judith Supine. It’s called “Give Up The Ghost And Put On Flesh” and like the other new piece we found from him recently, it seems that Judith Supine has been limiting the use of his formally trademark green tint. Each print in the “Give Up The Ghost…” series is unique. They are relief prints that have been individually handpainted with acrylic and watercolors. The series is an edition of 50 and they are available online for $625 each.
This week the Occupy Wall Street live streams have been very effective at distracting me from Vandalog, which I’m not too upset about. The violent and suppressive eviction of Occupy Wall Street is certainly more important that the latest swindle that some art gallery is trying to pull. Nonetheless, I have been paying attention even if I haven’t been writing, so here’s what’s been going on in the street art world this week:
This Saturday afternoon in Brooklyn, Todd James and Steve Powers are showing their work from their installation Street from the Art in the Streets show at MOCA in LA earlier this year. Other members of Powers’ ICY Signs studio will also be showing their work.
Swoon musical project in New Orleans, Dithyrambalina, is coming along. Artists involved in the collaborative installation are performing a show called The Music Box on November 19th and December 10th. Here’s a trailer, which includes some of their October 22nd performance. Beautiful work, but I’m sure it’s something that really needs to be seen in person.
Carmichael Gallery‘s next show is Playing Field, a group show of secondary market works. It opens this Saturday, June 18th and runs through August 9th. The line up hits most of the big names you’d expect to see as well as a few surprises: Banksy, Faile, Shepard Fairey, Sixeart, Os Gêmeos, Mark Jenkins, JR, KAWS, Barry McGee, José Parlá, Judith Supine, Swoon, Titi Freak, Dan Witz.
These sort of shows tend to be either really good or really bad. I’m liking the above piece by Barry McGee, so I’m thinking this should fall on the really good side of things. But LA residents can see for themselves starting on Saturday. The opening is from 6-9pm.
Last week I had the chance to check out Judith Supine’s solo show at New Image Art. While it probably doesn’t quite live up to the hype, Ladybody is definitely worth checking out. Supine’s head is a mysterious cacophony of strangeness, and the installation mostly left me confused, but I’m not sure if that’s my fault or Supine’s. Either way, it was interesting to see his art in the environment that he seems to prefer showing it. One part of the installation which is an exception and a highlight is this sculpture:
Smoke creeps out of the baby’s open mouth, and when you look inside, this is what you see:
Photos can’t really do justice to the creepiness of this piece and it is worth checking out Ladybody for this sculpture alone.
And then there were the more traditional pieces:
Whoever has the balls to hang the image of a doughnut dripping syrup onto a waffle in their home has my respect. It’s one of my favorite images from Supine in a while, but it’s definitely one of his most difficult to hang.
Judith Supine is one of my all-time favorite street artists, both for his indoor and outdoor work, which is why I am overjoyed to write this post. Supine has a solo show opening next week at New Image Art in LA. I’ve never been to a Supine solo show before, but by all accounts they have been something very unique. I expect this to be the case once again. Ladyboy opens on April 13th and runs for a month. While most people will say that the highlight of art in April will be MOCA’s street art show, I think Ladyboy may turn out to be almost equally unmissable.
Last time I was in NYC, I had the chance to speak with Supine, and he’s definitely got a few things up his sleeve for this event… One thing I saw when I met with him was an unfinished work that had me simultaneously laughing my ass off and absolutely disgusted, but in a good way. Arrested Motion has a preview of Ladyboy which I highly suggest checking out in full, but I’ve taken one image from their post because it is the completed version of the image that I found so interesting. It’s called “Cream Pie in the Sky”…
Looks like Judith Supine has been getting up a bit in NYC, which is always nice to see. These aren’t his most complex pieces ever, but I do like how the above piece interacts with its surroundings. It’s also kind of interesting to compare these to his recent indoor work. It seems to me like his street art is looking a bit more DIY while the gallery work is getting more refined (and I don’t just mean the super glossy coating on his canvases).