http://www.youtube.com/watch?v=5z0rpGn-LKs
Free Tibet inspired solo show by Lydia Emily, opening March 15th at LabArt LA.
http://www.youtube.com/watch?v=5z0rpGn-LKs
Free Tibet inspired solo show by Lydia Emily, opening March 15th at LabArt LA.

We are excited to launch the next Showdown. Community participation over the past several months has been extraordinary. Of course we’re thrilled for our winners who were each given the opportunity to show their work in London at the Saatchi Gallery. Perhaps this time it will be you?
As you may have noticed, the past two showdowns were “themed” (Drawing & Collage). What’s more, we invited internationally acclaimed artists, Dexter Dalwood and Wangechi Mutu to judge the finals, two updates that have proven very popular. In that same vein, our next Showdown will be style based- – Abstract Art and will be judged by another internationally acclaimed artist (announcement coming soon).
As we continue to evolve the competition so that artists and collectors alike have a great experience, we wanted to update you on a some additional changes. We’ve received a great deal of feedback and have made what we feel are very positive adjustments. Changes are as follows:
Submissions:
Note: an original must be available to show in the gallery should you win 1st or 2nd place.
Judging Process:
First Round: Community Voting + Curated Voting
Second Round Voting
Final Voting:
Good luck. Have fun. Stay tuned for details on our judge.

Showdown Winner: Kelly Susan
“collage 4″ is available for prints for $50.00
Where are you from? South-East London
What attracted you to the collage process? I use a very mixed media approach in my work, I chose whatever medium is appropriate to the concept I am trying to get across, collage seemed to extend what I was trying to communicate in some of the photographs I was taking of my body.
Found materials or created materials for your collages? Created materials from photography, although I have considered introducing found imagery.
What themes do you pursue? Identity, female body perception, obesity, extreme weightloss, phototherapy and body manipulation.
How many years as an artist? Well I’m only 22 and I’m still growing as an artist. I still question what an artist is, is everyone an artist?
Sketchbook? My current sketchbook that the work “collage 4″ came from is a standard black spiral bound sketchbook that contains a series of collages where I experimented with body manipulation, distortion and abstraction within my work. The sketchbook is essential for experimentation, although, I feel it can sometimes become self indulgent. I would often photograph/photocopy these collages as soon as possible and put them on the wall in my studio for others to react to and make comment upon so I could determine what was being communicated and what the initial reaction was to my work. This also helped me in confronting my own body and becoming less apprehensive about revealing myself as I began to look at my body critically as a form and not as an entity struggling for normality. What is normality? What is this form? What has it been through? Where are the marks? How can it twist and turn and stretch? And where can I take it next?
Kelly’s StudioMost important tool you use? It depends on when you ask me and where I find myself in my work, currently it would be be fair to say primarily photography
Favorite font? Ariel Black
Where is your studio? Currently I don’t have one since I finished my degree last June and am currently studying for a PGCE, we have studios but haven’t made full use of them yet…my last studio space I think was my bathroom!
Tattoos? Yes one, on my foot. My two sisters and I have the same tattoo.
iTunes or records? Itunes, although I remember having vinyl records when I was about 5 years old and love the sound quality I dont currently own a record player and like many enjoy the convienience of downloading digitally.
Favorite cuss word? I cuss too much. I shouldn’t really say I have a favourite because I’ve tried several times to stop.
Succulents or Cigarettes? Succulents.
Everyone has a vice. Care to call yourself out? I talk too much! Cussing would probably be one of my vices too.
What’s around the corner from your place? The river Thames…not the pretty part!
Prefer to work with music or in silence? I actually prefer the radio, for some reason it helps me concentrate more. However, if i’m in a photography studio then it’s usually silence.
Where can we find you outside the studio? Lately, in school on my PGCE placement. Or somewhere I can be inspired.
Who are your favorite writers? In art terms, I’m very interested in Bourriaud’s ‘Relational Aesthetics’. However, I grew up on Harry Potter.
Favorite contemporary artist? Overall, I would say Louise Bourgeois as her work spans across time and medium.
What could you not do without? Freedom of expression.
“bound” is available for sale for $62.00 at Saatchi Online
Day job? PGCE student teacher.
Process> Concept or Process<Concept? Concept is primary, process strengthens the concept.
Would you rather be able to make a living as an artist now or become famous after you die? Living, how else would you reflect upon it and make further progress?
Going deaf or going blind? Going deaf, although I think the sensory experience of my work through other methods than the visual could be interesting to explore.
If you couldn’t be an artist, what would you do? I always say if I wasn’t making art I’d be working as an usher in a theatre. Art and drama have always been my biggest interests since primary school.
Favorite sound? Double base.
Favorite smell? Chips and vinegar
What was the uncomfortable situation you have ever survived? Just ONE situation??
Art School or Self-taught? Art school.
What do you collect? Pictures and dresses.


Behind the Scenes Images of Kelly Casting Herself
Which living or dead artist would you most like to meet? Santiago Sierra.
Greatest achievement? Losing ten and a half stone whilst at university and showing strangers what happened after…
Finish the sentence: “I would never be caught dead….” in those shoes!
Final Cast of Kelly’s Stomach
Live at Public Assembly in Brooklyn, NY
Rebel8 release their Spring ’12 line.
Brooklyn based Brian Willmont updates his site with new works which he describes as exploring new realms such as portals, abyss, sparks, and bullets. Interesting works worthy of your time.
Artists: Donald Baechler, Mike Bidlo, Jonathan Lasker, Peter Halley, Ross Bleckner, Philip Taaffe, Sue Williams, Christopher Wool
Venue: Patricia Low, Geneva
Exhibition Title: The Bewildered Image: American Painters from the 1980s
Date: November 3, 2011 – March 10, 2012
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Patricia Low, Geneva
Press Release:
Patricia Low Contemporary is pleased to present “The Bewildered Image: American Painters From The 1980s”, featuring Donald Baechler, Mike Bidlo, Ross Bleckner, Peter Halley, Jonathan Lasker, Philip Taaffe, Sue Williams, and Christopher Wool.
Titled after Achille Bonito-Olivia’s seminal 1980 essay “The Bewildered Image”, this exhibition reinvestigates works by leading figures of the International Transavantgarde as a means of indentifying models of practice that set precedent for addressing today’s shifting contextual framework. Though the making processes and aesthetics of these artists are individually unique, collectively their works are historically lionised for their reconciliation of traditional painterly values with the 1980s radical new ideas of popular culture and mass media. Three decades on, this era represents a paragon for the current cultural climate of post-internet and globalistic flux. Featuring new works alongside iconic paintings of the 80s, “The Bewildered Image” re-evaluates their approaches to the pictorial (including its most abstracted conceptions) as a locus of astute and proactive criticality.
One of the fundamental paradoxes of these American painters is that, in its strictest sense, their image is not ‘image’: it is a platform for artistic negotiation and exploration, a departure point from the familiar to visual, emotive, and intellectual extremity. Their very concept of image is a constantly elusive fascination. In Baechler’s works on paper – all from his most recent flowers series – this notion manifests through his intense process of pictorial aggregation and obliteration: his collaged surfaces – built up from found material, some original, some adulterated through rigorous drawing and re-drawing – form fragmented planes, pre-charged with overloaded information and meanings. These networks of interconnectedness (of everything and nothing) function akin to visual white noise, their constant background hum a stark reminder of the technological anxiety that belies the primal imperative of his mark making and central motifs; a duplicity made totemic through his accompanying sculptural silhouettes.
Halley’s high-impact canvases hyper-intellectualise pictorial grammar: their hard-edged compositions like flat-pack architectures, condensing systematic power. In “The Bewildered Image”, Halley’s practice is represented by canvases spanning 1991 to 2010, tracing the progression of his image-diagrams from the redressed concerns of modernism and early pomo (with their battleground ideologies) to more closed circuit configurations, aggressive with their totalitarian pop; their clinical geometry a perfect image of the contemporary ‘real’, articulated in interchangeable units. Hovering between pictorial cognition, instinctive response, and dislocated memory, the image for Bleckner is no less intangible. His canvases from 1992 and 2010, both floral arrangements, speak with rarefied poignancy of the human condition. Used as classical metaphors for temporality and the cyclical, Bleckner’s ephemeral motifs dissolve as phantasmal impressions, giving way to liquid-slippery veneers of paint, its raw malleability and allusive command, to truths too excessive for language.
For each of the artists in “The Bewildered Image” the pictorial might be considered the result more of cause than effect: image has become the standard of alter-modern communication, the currency by which all transactions are governed. Image extends far beyond representation, becoming the very superstructure for thought, the politicised site of progress and revolution. In the 80s these artists were the first to navigate this evolving terrain; today their influence is beyond measure, their works more future-thrust and relevant than ever.
Photo: Scotty Liberatore (Santa Cruz, CA)
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CAMBRIDGE, MA.- The Carpenter Center for the Visual Arts at Harvard University presents Ernie Gehr: Picture Taking on view in the Sert Gallery from February 14 through April 1, 2012. This is the second exhibition in a newly created space for viewing moving image works located on the third floor of the Carpenter Center. Programming will run on three monitors mounted on the exterior wall of the Sert Gallery. “PICTURE TAKING is part of an ongoing cycle of new works on New York City that began with SURVEILLANCE, a 4-channel installation exhibited in Madison Square Park in 2010, opening in late March at the Smithsonian Museum of American Art in Washington DC, as part of their permanent collection (Watch This! New Directions in the Art of the Moving Image). PICTURE TAKING is focused on “verticality” and urban sightseeing as well as on some of the pictorial