Tag Archives: studio visit

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.

Posted in Street | Tagged , , , , , , , , | Comments Off

Important Showdown Updates

abstractshowdown

 

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:

  • When you submit your work, it must be within the style of “Abstract” ( you will be asked to “check a box”).
  • Your work cannot have been included in a previous Showdown or Saatchi competition.
  • Your submission (the Original and/or a Print)MUST BE LISTED FOR SALE during the entire competition.
  • Top 300 works must remain for sale for at least 3 months following the Showdown.

Note: an original must be available to show in the gallery should you win 1st or 2nd place.

Judging Process:

  • Your work will be judged singularly, instead pitted against another work of art as it has been in the past.
  • Your work will be judged on a scale from 1-5 instead of yes/no which had been the case in the past.

First Round: Community Voting + Curated Voting

  • The 50 submissions with the most votes will automatically advance to the second round.
  • An additional 250 submissions will be selected by the Saatchi Online team to advance to the second round.
  • This ensures that we have a selection of community favorites as well as work selected by our professional team.
  • Submissions begin Tuesday, February 28th.

Second Round Voting

  • Judging panel, which will be led by Rebecca Wilson, Director Saatchi Gallery London, will select 30 works to advance to the finals.

Final Voting:

  • Internationally acclaimed artist (to be announced) will select 1st and 2nd place winners from a group of 30 finalists.
  • Top two pieces will show at the Saatchi Gallery London.
  • 1st place ($1,000 US) | 2nd place ($500 US) prize money.

Good luck.  Have fun.  Stay tuned for details on our judge.

 

Posted in Art News, Featured | Tagged , , , , , , , , | Comments Off

Interview with Showdown Winner Kelly Susan

67723-7824327-7

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 Studio

Most 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
How cleanly do you work? I’ve refined my work in my use of photography, but if you ever let me near a paint palette, watch out!
Do you have any trinkets or photos of friends in your studio? My friends and I on my degree course used to draw pictures and stick them in each others studio spaces, my friend hannah did some particularly interesting drawings on our takeaway boxes from our lunch from the uni canteen.
Were you popular in high school? Not in the traditional sense but I had alot of friends.
Religion or Pop Culture? Aren’t they the same thing?
Which artist would you have decorate your home? Christo and Jean- Claude. Like a present!
Couch surf or hotel? Couch!
Would you rather see your art on a t-shirt or on a billboard? Billboard, I don’t know if the public would want to wear a picture of my stomach on their…stomach…

Posted in Art News, Featured, kelly susuan | Tagged , , , , , , , , | Comments Off

Hooray For Earth – (mayoverb 1)

Live at Public Assembly in Brooklyn, NY

Posted in Studio Visits | Tagged , , , , , , , , | Comments Off

Spring w/ Rebel8

Rebel8 release their Spring ’12 line.

Posted in Studio Visits | Tagged , , , , , , , , | Comments Off

Brian Willmont

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.

Posted in Studio Visits | Tagged , , , , , , , , | Comments Off

Nice LNY, Bronx

Nice LNY, Bronx

Posted in Shanghai | Tagged , , , , , , , , | Comments Off

Group Show at Patricia Low

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

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Group Show at Patricia Low
Group Show at Patricia Low
Group Show at Patricia Low
Group Show at Patricia Low
Group Show at Patricia Low
Donald Baechler
Donald Baechler
Peter Halley
Sue Williams
Sue Williams
Jonathan Lasker
Donald Baechler

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.

Link: Group Show at Patricia Low

Posted in Christopher Wool, Donald Baechler, Europe, Exhibitions, Geneva, Group Show, Jonathan Lasker, Mike Bidlo, Patricia Low, Peter Halley, Philip Taaffe, Ross Bleckner, Sue Williams, Switzerland | Tagged , , , , , , , , | Comments Off

Photo of the Day: 2/22/12

Photo: Scotty Liberatore (Santa Cruz, CA)

//////////////////~ submit your photos to: potd(at)fecalface.com ~ make sure they’re at least 700 pixels in width.

See more Photo of the Days

Posted in Studio Visits | Tagged , , , , , , , , | Comments Off

Three videos by Ernie Gehr on view at the Carpenter Center focus on verticality and urban sightseeing

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

Posted in News | Tagged , , , , , , , , | Comments Off