PCP artist, Adam Wallacavage gears up for his first solo show in LA this weekend!
Via Arrested Motion…
March 18, 2011 – 12:03 AM
PCP artist, Adam Wallacavage gears up for his first solo show in LA this weekend!
Via Arrested Motion…
March 8, 2011 – 10:21 AM
Art, Access & Decay: New York 1975 – 1985
CURATED BY PETER FRANK & LISA KAHANE
APRIL 2 – APRIL 30, 2011
Opening Reception: SATURDAY, APRIL 2ND, 8-11PM (Valet Parking Provided)
Art, Access & Decay: New York 1975-1985, examines a new art movement that emerged in New York at this time, uninfluenced by commercial or academic input. This new movement wanted to avoid the elite confines set by the art market, and made little compromise. These artists wanted to produce artwork nobody had seen before but everybody could understand. They presented this artwork on the streets, in makeshift storefronts, and on public access television to ensure that it was widely available, as broadly cast and as affordable as possible.
Art, Access & Decay draws mostly from three overlapping phenomena: an artists’ collective called Collaborative Projects, or CoLab; Fashion Moda, a cultural center situated in the South Bronx, (then one of the most devastated neighborhoods in the country); and a corner of Manhattan, the East Village, that emerged as an alternative to SoHo’s increasingly upscale art scene. These phenomena emerged around 1980, but the spirit that engendered them was rampant by the mid-1970s. Do-it-yourself and guerrilla approaches to exhibitions and performances proliferated. The streets, whether in the financial district, Chinatown, Harlem or Times Square, were as legitimate an arena for art making and exhibiting as anywhere else. This mindset stuck well into the 1980s, as high art and commercial music began appropriating the look and energy of graffiti and hand-drawn posters, Xeroxed flyers and eccentric installations. The appropriation, however, merely skimmed the surface of the look and verve of this new artistic expression.
By the early 1980s, uptown and downtown audiences, the art market and art theorists alike, all began embracing street art. The embrace was mutual, but not automatic. The artists of New York’s new vernacular craved the acceptance of the art world and the public at large, but not at the expense of their street sensibility.
Participating Artists include John Ahearn, Liza Bear, Andrea Callard, Thom Corn, CRASH, Jody Culkin, DAZE, Jane Dickson, Stefan Eins, Coleen Fitzgibbon, Mike Glier, Robert Goldman, Ilona Granet, Keith Haring, Julie Harrison, Jenny Holzer, GH Hovagimyan, Becky Howland, Lisa Kahane, Christof Kohlhofer, KOOR, Joe Lewis, Michael McClard, Ann Messner, Richard Miller, Joseph Nechvatal, Tom Otterness, Cara Perlman, Virge Piersol, Walter Robinson, Judy Ross, Christy Rupp, Teri Slotkin, David Wojnarowicz, Martin Wong.
Tags: 1975, 1985, Access & Decay, Andrea Callard, Ann Messner, april 2, Art, Becky Howland, Cara Perlman, Christof Kohlhofer, Christy Rupp, Coleen Fitzgibbon, CRASH, David Wojnarowicz, DAZE, GH Hovagimyan, Ilona Granet, Jane Dickson, Jenny Holzer, Jody Culkin, Joe Lewis, John Ahearn, Joseph Nechvatal, Judy Ross, Julie Harrison, Keith Haring, KOOR, Lisa Kahane, Liza Bear, Los Angeles, Martin Wong, Michael McClard, Mike Glier, New York, Richard Miller, Robert Goldman, sheprard fairey, Stefan Eins, Subliminal Projects, Teri Slotkin, Thom Corn, Tom Otterness, Virge Piersol, Walter Robinson
March 7, 2011 – 7:09 AM
James Jean, Rebus
March 12 – April 30, 2011
Opening Reception: Saturday, March 12th from 11 am to 8 pm
Martha Otero is pleased to present Los Angeles based artist James Jean’s exhibition Rebus. For this new body of work, Jean will present paintings, drawings and a wall installation.
The subject matter is a fictionalized subconscious representation of deities in an apocalyptic decaying romanticized setting. Jean’s visual symbolism is composed of an amalgamation of lyrically gestural, expressionistic, energetic, abstracted forms from highly detailed images to freely inscribed graffiti.
The solidity of the paint belies the illusory nature of the narrative: these excavations into the subconscious are fraught with the misfires, inconsistencies, and contradictions of a dream.” James Jean
Jean’s automatistic and narrative approach is informed by popular culture derived from his comic book and illustrative mastery. His idiosyncratic language is based on references in historical and contemporary art.
James Jean was born in Taiwan in 1979. He works and lives in Santa Monica, CA. He has exhibited at The Japanese National Museum, Los Angeles, CA; The Museum of Modern Art, New York, NY; His work is in the collection of the Asian Art Museum, San Francisco, CA; In 2008, his work was featured by Prada in a worldwide campaign as they incorporated his drawings into clothing, advertising, and store installations for their Spring/Summer collection; He is the recipient of highly distinguished awards including the Bronze Lion, Cannes Festival; he received seven Eisner Awards, three Harvey Awards and three Gold medals from the Society of Illustrators. In 2008, Jean was nominated for a Grammy Award, Los Angeles, CA.
www.marthaotero.com
Tags: james jean, Los Angeles, marth oteroo, prada, rebus, saturday march 12
March 4, 2011 – 3:05 PM
REVOLUTIONS: THE ALBUM COVER ART OF SHEPARD FAIREY
OPENING RECEPTION: MARCH 12TH, 2011, 8-11PM
EXHIBITION DATES: 3/12 – 4/23/1
ROBERT BERMAN GALLERY C2 / 2525 MICHIGAN AVE / SANTA MONICA, CA 90404
OBEY GIANT ART X SUBLIMINAL PROJECTS X ROBERT BERMAN GALLERY ARE PROUD TO PRESENT REVOLUTIONS, A PROJECT FEATURING THE ALBUM COVER ART OF SHEPARD FAIREY. ON EXHIBITION FROM MARCH 12TH THRU APRIL 23RD AT ROBERT BERMAN’S C2 GALLERY, WILL BE OVER 80 PIECES OF PUNK, ROCK, NEW WAVE, JAZZ, AND HIP-HOP INSPIRED ARTWORK BASED ON THE 12″ RECORD COVER FORMAT. TO MARK THIS OCCASION, TWO SPECIAL LIMITED EDITION ALBUM COVER PRINT BOX SETS WILL BE RELEASED FOR THE EXHIBITION. PLEASE JOIN US FOR THE OPENING CELEBRATION ON SATURDAY, MARCH 12TH, 8-11PM.
“LONG BEFORE I KNEW ABOUT ART GALLERIES OR EVEN STREET ART, I WAS EXCITED ABOUT ALBUM COVER ART, IF ONLY BECAUSE IT WAS THE VISUAL COUNTERPART TO THE MUSIC ON THE RECORDS I LOVED. ALBUM COVERS CONJURED A EUPHORIC ASSOCIATION WITH THE LISTENING EXPERIENCE. MOST OF MY EARLIEST HOME-MADE TEE SHIRTS WERE STENCILS BASED ON PUNK ALBUM COVERS. I’VE HAD SOME VERY MOVING ENCOUNTERS WITH ART IN MY LIFE, ESPECIALLY IN THE STREET, BUT ALMOST NOTHING CAN COMPARE WITH THE FIRST TIME I HEARD THE BOOTS MARCHING AND FIRST CHORD OF THE SEX PISTOLS’ HOLIDAYS IN THE SUN, OR THE AIR RAID SIRENS LEADING INTO “TOO BLACK, TOO STRONG” ON THE INTRO TO PUBLIC ENEMY’S IT TAKES A NATION OF MILLIONS TO HOLD US BACK, OR THE OPENING GUITAR SCREAM OF BLACK FLAG’SRISE ABOVE. THOSE SONGS DID, AND STILL DO, MAKE MY ARM HAIRS STAND UP. MUSIC IS VISCERAL AND ACCESSIBLE, BUT ALSO HAS THE ADDITIONAL POWERFUL LAYERS OF THE LYRICS, WITH THEIR CONTENT AND POLITICS, AND THE STYLE, POLITICS, AND PERSONALITIES OF THE MUSICIANS THEMSELVES. NO MATTER HOW MUCH I LOVE ART, OR TRY TO CONVINCE MYSELF OF ITS RELEVANCE IN SOCIETY, THE FACT REMAINS THAT MUSIC IS A LOT COOLER AND WAY MORE ABLE TO REACH PEOPLE’S HEARTS AND MINDS’ BUT I’M A POPULIST AND I LOOK AT THIS WAY: I MAY NOT PLAY AN INSTRUMENT, BUT I’M GONNA ROCK IT HARD AS NAILS ANYWAY. WITH MY ART I TRY TO CAPTURE THE SAME ENERGY AND SPIRIT THAT MAKES MUSIC SO POWERFUL AND DEMOCRATIC. REVOLUTIONS IS A CELEBRATION OF ALL THE GREAT MUSIC AND ACCOMPANYING ART THAT HAS INSPIRED ME OVER THE YEARS.”
- SHEPARD