DUKE RILEY – ‘See You at the Finish Line’
opened NOV 1, 2013
the show runs thru JAN 11, 2014
MAGNAN METZ GALLERY – 521 WEST 26th ST, CHELSEA, NYC.
DUKE RILEY, in full face ‘mask. I mean, it was the night after Halloween !!
but strangely, even though he was the only one in ‘costume’, and perhaps the only one in full dress shirt and bright blue tie (!!) – that only seemed to make him blend more, into . . the crowd.
the opening was so crowded, it was hard to see the art, in full. but no worries, it resonated throughout. there were large scale wall pieces, smaller drawings, ‘bird-eye’ view videos, artifact display tables, two charts of tiny pigeon ‘backpacks’, large scale fantasy Chinese zodiac animal masks, and more . . .
DUKE RILEY, look closely !!
it’s . . . ‘shell’ art. DUKE has exhibited large scale mosaic murals before, which were made with small ceramic tiles, but these gorgeous things, were composed entirely . . of seashells. and they were very mandala-like.
as opposed to ‘narrative’.
though come to think of it, they all did bear messages, as in, ‘letters’ / ‘words’.
oh, yeah. give me NEW YORK CITY over MIAMI, any day.
gritty over sandy, is my motto.
gritty vs sandy ?
MORE OPENING PIX – TO FOLLOW.
PHOTOS: NANCY SMITH
DUKE RILEY – ‘See You at the Finish Line’
opened Nov 1, 2013
the show runs thru JAN 11, 2014
MAGNAN METZ GALLERY – 521 West 26th St, Chelsea, NYC
close-up . . banner drawing for: DUKE RILEY, ‘See You at the Finish Line’.
Duke has the most graceful line drawing around, yet it also rings true . . to its nautical roots.
definite more folk art, than comic art . . that’s for sure, stylistically speaking.
and, that’s so, even with the very apparent sense of humor, and narrative storyline, that is imbedded in the work.
and, thus makes for a very intriguing, and . . interesting, dynamic.
I would also venture, it’s absolutely correct to say, that DUKE RILEY is truly the only working tattoo artist, in the world . . who can claim a bonafide role in the contemporary art world.
he’s the consummate insider/outsider.
MORE PIX FROM THE OPENING . . TOMORROW.
PHOTOS: NANCY SMITH
hold on to that . . DUKE RILEY, PATRIOT thought for a moment.
BREAKING NEWS: NORMAN ROCKWELL PAINTING BREAKS ALL RECORDS & SELLS FOR $46 MILLION at AUCTION.
Did we see that coming, or what ? for sure !!!!!
NORMAN ROCKWELL’S . . ‘SAYING GRACE’, sold at auction, yesterday, Dec 4, 2013, at SOTHEBY’S . . here in NYC, for $46 million dollars, setting a record for the artist & an auction record for the category ‘American Art’, as a whole.
the category is roughly defined as . . American art between 1850 and 1950.
the painting, some call it an “illustration”, appeared on the cover of the SATURDAY EVENING POST in 1951. it was sold by the family of KENNETH J. STUART Sr, Rockwell’s friend and art editor at the Post.
POST, post, and more . . post !!
according to the Daily News: Rockwell was paid $3,500 for ‘Saving Grace’ which appeared on the 1951 Thanksgiving issue, and . . the idea for the painting came from a “reader who saw a Mennonite family praying in a restaurant.”
apparently the bidding was quite fierce and fantastic, as the painting “blew” past the $20 million top estimate that the auction house had put on it.
the final price more than doubled the previous Rockwell high of $15.4 million paid for another post cover, ‘Breaking Home Ties’, which was set at Sotheby’s in 2006.
read more & see another great Rockwell, ‘THE GOSSIPS’: Norman Rockwell Painting .. Daily News
well, there’s being ripped off (!!), and then, there’s no . . . ripping off.
it’s interesting to contemplate the differences between ‘digital’ art, i.e. photos posted on the web vs paste art, drawings on paper that are pasted to the wall.
quelle funnie, how ‘paste’ and ‘post’ . . ‘rhyme’ !!
and then of course, when you get your mind around that a bit, you can contemplate:
roller, as in roof and pole art vs. paste and paper . . at street level.
somebody wanted this DUKE RILEY PASTE ART, but there was no way, it was gonna happen.
DUKE RILEY PASTE ART
24th St. below 10th Ave, Chelsea, NYC
PHOTOS: NANCY SMITH, NOV 21, 2013
the low-fi ‘poster’ invites you to his current show,
DUKE RILEY, ‘See You At The Finish Line’
Magnan Metz - 521 West 26th St, Chelsea, NYC
the show opened Nov 1, 2013 and runs thru JAN 11, 2014.
but of course I was at the opening. the lovely and sea-worthy MARY GO-ROUND sang nautical ditties, whilst accompanying herself with a soulful accordion, and DUKE was serving drinks at the bar in the back, in full ‘mask’. (it was the night after Halloween.)
photos coming up . . next.
in the meantime, check out: DUKE’S online portfolio.
and remember, paws off other people’s work !!
or, as this piece is aply titled: BE GOOD, or BE GONE !!
DUKE RILEY, ‘Be Good or Be Gone’, 2008 / IMAGE: DUKE RILEY FLAT FILE / ARTIST+PATRIOT
TAKE NOTE: NORTHSIDE MEDIA, L MAGAZINE & PADDY JOHNSON, & .. ALL OTHER PHOTO THIEVES !!
the biggest & BEST NEWS to happen in the art world this year, happened last week . . when a Manhattan judge upheld copyright laws and came down strong, on the side of original content . . including that which is posted to the web.
it’s been a long time coming.
and the ‘disrespected’ photographer won big time: $1.22 million.
after a 4 year fight.
YES, L Magazine of all places . . lifted my photo of art world celebrity JEFFREY DEITCH, right off artnet where it was posted & clearly credited under my byline . . and brazenly re-posted it to their magazine, as if it were a ‘staff’ photo of their own creation.
as if !!
most notably, it was re-published without ANY PHOTO CREDIT, whatsoever.
never mind a link to the original source. let alone with permission.
and forget standard use fees. what fees ?
and contrary to Ms. Paddy Johnson’s gung-ho platform of supposedly spouting on the side of political correctness & standing up for artist rights,
it’s another, big . . . as if !!
further, she really missed the point when as Art Editor of L Magazine she replied something to the tune of: she . . didn’t know my photos required ‘fees’ ???!!
what about the common courtesy of, at the very least . . a photo credit ? dimwit.
and that’s a kind choice of words. hypocrite, unprofessional, and, outright criminal, as in copyright theft .. do come to mind.
yes, I’m saying: PADDY JOHNSON, not exactly the most ethical, or sharpest knife in the art studio drawer . . are ya ?
WHAT’S also of very monumental consequence in this major, major landmark court ruling . .
not just for artists, but for everybody who posts photos online, duh !! in this internet/ digital era . . was the added twist that, Haitian photographer DANIEL MOREL’s photos had been re-tweeted by an unauthorized second party.
and, guess what.
the court said: so what !!
this court ruling made made it absolutely clear, that the onus is on the publisher to seek out & confirm the original source.
and p.s. it only takes a couple of pertinent questions, esp when it comes to documentary/journalistic photos.
in fact most of the time, it’s very elementary.
it’s one very simple question: were you there ?
the court also made it absolutely clear that re-publishing any photo without first asking for permission and determining lawful copyright . . is a big, big, NO NO.
and it can result in . . . BIG, BIG FINES.
so, keep your paws off the pix.
as in, dear L Magazine . .
was anybody on your staff, including contributing writer BENJAMIN SUTTON . . actually there at the DEITCH PROJECTS / DEARRAINDROP OPENING of 2004 ????
yes, BENJAMIN SUTTON, who currently also writes for artinfo, might be shocked to know that DANIEL STEDMAN, owner/publisher of NORTHSIDE MEDIA, and thus of . . the ‘inglorious’ L Magazine, clearly laid the theft, the blame at Ben’s feet !!
writing that, our “young” writer . . “didn’t know any better” ?
as for the Art Editor of L . . the self-trumpeting artists’ issues ‘crusader’ PADDY JOHNSON, whose job it is to oversee such situations, never mind set the professional tone for an up-from-the-grass-roots ‘arts’ publication which presumes to speak for the cutting edge ‘creative’ contingent in this town . . she wrote that wasn’t “her” or the writer’s fault, that the Editorial staff of L MAG at large . . provides the photos.
well, low-life trash parading as the definitive & presumably original . . ‘take’ on the art world
. . is low-life trash.
trash is trash is trash.
is there any other better way / to put it.
maybe now there is. as in: see you in court, losers.
and kindly take note:
this is the SECOND TIME !! Ms. PADDY JOHNSON, art editor and art blogger . . spouting on CNN and the like, as a ‘rep’ of the NYC art scene – has been associated with the theft of one my published photos.
so spout on Ms. Johnson, we got your n-u-m-b-e-r.
and bogus. is a kind word.
following, is a screen grab of . . the original L MAG post:
and screen grabs, don’t . . lie.
YES, I am saying that:
in a post by BENJAMIN SUTTON, dated . . JAN 22, 2010.
L MAG published this PHOTO of a major art world celeb . . and ran it for 3 years !!
WITHOUT A PHOTO CREDIT. PERIOD.
LET ALONE being accompanied by a bonafide link to the original source, never mind authorization, and .. fees ?
what fees ?
KEEP YOUR PAWS, OFF THE PIX.
BUT, ESP . . . ALL YE ART WORLD CRUSADERS, POSERS & FAKES.
DAMIAN STAMER . . ‘SUNDAYS’
OPENED NOV 21, 2013
the show runs thru JAN 4, 2013
FREIGHT+VOLUME – 530 WEST 24th ST, CHELSEA, NYC
artists, from left: CHRIS MUSINA, originally from Toronto, meet Damian at grad school in North Carolina, UNC. he is now Brooklyn-based.
center: DAMIAN STAMER, the man of the night, works out of studios in both North Carolina and Brooklyn, and, at the right: PETER ALLEN HOFFMANN.
yes, check out: CHRIS MUSINA
SARAH CHRISTMAN and PETER ALLEN HOFFMANN.
Ms. Christman is a filmmaker, and you can see her work: here, SARAH CHRISTMAN.
Mr. Hoffmann, whose work is inspired by American quilts is Brooklyn-based, and also shows with the FREIGHT+VOLUME Gallery.
you can see Mr. Hoffmann’s work on the F+V website: PETER ALLEN HOFFMANN.
the subject of the work, broken down to the ultimate bottomline, was . . the ‘work’, or ‘mark’ of time on old southern architecture, expressed thru the ‘work’ or ‘mark’ of the artist . . ranging thru the extreme ends of the drawing spectrum, that is, from realist . . to far-out flung wide, decomposed expressionism.
all composed in monotone, and yet very very dynamic.
very very romantic.
in the 3rd room were a set of 3 smaller pieces that expressed that range, from the totally graphic to the . . ‘washed-out’. these were the first two.
the last of the set.
talk about a gorgeous . . ‘wipe-out’ !!
at the opening, ERIC WHITE.
yes, check out his work: ERIC WHITE / EWHITE.COM
as ERIK DEN BREEJEN . . heads off, into the night.
yes, for sure check out: ERIK DEN BREEJEN
PHOTOS: NANCY SMITH
DAMIAN STAMER . . ‘SUNDAYS’
opened last nite, NOV 21, 2013
the show runs thru JAN 4, 2013
FREIGHT+VOLUME – 530 WEST 24 ST, CHELSEA. NYC.
DAMIAN ‘splits’ his time between North Carolina, and a studio here in Brooklyn, on the edge of McCarren Park.
DAMIAN recently graduated from the M.F.A. program at Chapel Hill, UNC, and has received numerous prestigious awards, among them, a Fulbright Grant and a Jacob Javits Fellowship. He exhibits his work extensively in the U.S. and abroad, and notably has a solo show upcoming at Galerie Michael Schultz in Berlin, this March 2014.
ALI, has recently moved to New York . . where she is a writer on global and local NYC fashion for REFINERY 29, she has already filed over 160 posts.
ghostly and yet oddly assertive .. it was Damian’s work, that had everybody mesmerized.
his work is full of contradiction. the compositional ‘chaos’ and ‘expressionism’ is held in check by an eerie yet architecturally correct, and historical record. all the work is monotone, yet speaks to reality and landscape. some of the work is very ghostly, just traces merging with the background, while others are very graphic, with higher tonal contrasts.
it’s new and old. it speaks to old dreams and the relentlessness of time passing. perhaps most strange is to experience the ‘depth’ of the pictorial narrative .. which possesses his subjects, the degrading yet forever sweet and charming old Southern structures which is contrastingly rendered . . physically, on a very very shallow surface.
esp for oil paint !!
he uses some kind of thinning medium, that renders his paint very very thin, in fact a kind of ‘wash’. this thinly applied technique ‘sweeps’ in turn across a masonite panel, which is in turn framed, and held firm by wood supports, in the back.
cloud masses . . and linear divisions, contrast. and, yet . . it works.
one of my favorites.
I think it was the high bridge (?) running along the top, that caught my attention over and over again.
it was beautifully rendered, just exactly between here, and .. NOT.
it also had a nice Japanese woodblock feel.
this photo catches the soft interplay of ‘light’ and a kind of fragile dark at work in these monotone renderings.
a ‘romantic’, gentle rendering of chaos and detail, erosion and .. yet, ‘still’ standing.
talking about, ‘rays’, this is a man who knows how to party !!
FREIGHT+VOLUME will be exhibiting work by gallery artists . . in 4 different venues at the upcoming MIAMI BASEL WEEKEND.
check the F+V website, or gallery for details.
speaking about . .
the BROOKLYN COMICS & GRAPHICS FESTIVAL, VICTOR KERLOW . . outside on the street, at the FREIGHT+VOLUME DAMIAN STAMER opening, had a wonderful table . . at the 2011 BC&GF.
MOST DEFINITE, check out: VICTOR KERLOW . . ‘SOMETHING BIG’.
MORE PIX FROM THE OPENING – TO POST EARLY NEXT WEEK.
PHOTOS: NANCY SMITH
DAMIAN STAMER . . ‘SUNDAYS’
OPENS TO-NITE, THURS, NOV 21, 2013 / 6-9PM
the show runs NOV 12 – DEC 28, 2013
FREIGHT+VOLUME – 530 WEST 24th ST, CHELSEA, NYC
see: PIX FROM THE EXHIBIT
and read: more about the artist/scroll down
IMAGE: DAMIAN STAMER, ‘Patrick Rd.’ 2013, oil on panel, 48 x 72 in. / FREIGHT+VOLUME
so, the BC&GF / BROOKLYN COMICS & GRAPHICS FESTIVAL . . seems to have had a huge flame-out.
not to fear, GABE FOWLER of DESERT ISLAND, apparently came to the rescue, and re-mounted the show . .
solo as: CAB / COMIC ARTS BROOKLYN.
they had their first run this past NOV 9, 2013 . . and though their PR machine doesn’t seem to be quite up and running, they have a great blog going. and though, just a personal opinion . . the on-site pix aren’t totally up to snuff, the wild creativity is !!
ALL THERE !!
I will definitely make a point of catching it next year, and so should YOU !!
regarding the BC&GF flame-out, I can only imagine.
comic book artists and the people who publish & sell the work . . are NOT the easiest going people in the world, contrary to what you might think.
and let’s leave it at that.
if you want a good history of the BC&GF fest & the absolutely definitive take on the ‘break-down’, check out: ‘BC&GF ENDS’ by TIM HOLDER, THE COMICS JOURNAL
and a sense of the past: BROOKLYN COMICS & GRAPHICS FESTIVAL
anyways, I always wondered why ‘GRAPHICS’ was included . . in the first fest’s name.
it seemed a little defensive. re: the fine ‘art’ status of comic book artists.
there never were . . any ‘pure’ graphics exhibited anyways. and that was an ‘association’ that missed the boat, completely. and with REASON.
so . . ALL GOOD !!
MATTHEW THURBER signs . . his book: ’1-800-MICE’
at the 3rd . . 2011 BROOKLYN COMICS & GRAPHICS FESTIVAL.
sadly, the FEST is no more . . .
but the comic art and the people who love them . . are still here.
truck on, comic book artists !!
ARCHIVAL PHOTOS: NANCY SMITH. DEC 5, 2011. BROOKLYN, NYC.
which describes the book as: “an anthropological study of the imaginary city of Volcano Park where flying mouse couriers have replaced Fed Ex with a soap-opera-styled fractured narrative & a cast of thousands.”
& they offer this ’1-800-MICE’ . . sampling:
PICTUREBOX . . . is proud to present a signing & reception for MATTHEW THURBER’S new book: ‘INFOMANIACS’.
FRI NOV 22, 2013 / 7-9 PM
DESERT ISLAND – 540 METROPOLITAN AVE – WILLIAMSBURG, BROOKLYN.
‘INFOMANIACS’ . . “is a graphic novel printed on paper all about the Internet. A hilarious detective story that manages to critique and explore digital culture . . ‘INFOMANIACS’ is marked by Matthew Thurber’s restless questioning and heightened sense of the absurd . . .
Think of it as the Long Goodbye for the tumblr generation.”
MATTHEW THURBER, ‘INFOMANIACS’
8 x 10 in. 200 pages, black + white, hardcover.
published by PICTUREBOX, more info
while you are at DESERT ISLAND, be sure to pick up any free copies of SMOKE SIGNAL, that might still be available.
‘NEBRASKA’ – a film by ALEXANDER PAYNE. WRITTEN BY BOB NELSON. MUSIC BY MARK ORTON.
is . . an artists’ movie, no doubt about it.
made by artists: storytellers, cinematographers, musicians, prop guys .. who pretty much followed their inner guts . . and kept it, real.
to be viewed by artists.
esp those who live in big cities, far from the sparsely populated and old-school American prairie homeland, or heartland .. as is called, and with good reason.
this low profile, small budget .. yet sweeping American panorama will be viewed by artists, of all genres . . with profound appreciation, as the simple but compelling story unfolds across a wide screen of stark, yet absolutely picturesque, black and white midwest landscape.
the raw-feeling footage was shoot across 4 states.
BRUCE DERN, 77, won BEST ACTOR at CANNES for his work in this film. it’s a beautiful multi-layered performance that is so nuanced with ‘cluelessness’ . . it’s scary.
WILL FORTE carries off the role of the son perfectly. it’s his ultimate ‘kindness’ to his aging dad, who apparently hadn’t been that kind or good to him in childhood .. that is the redeeming factor of this movie, and the ‘key’ on which it all turns.
as the younger son, he could have been, well . . judgmental. impatient. all the way to .. blaming his alcoholic, unambitious ‘bit of a loser’, not much of a dreamer, either .. dad for his already washed-up going nowhere existence . . I dunno maybe that’s just a New York thing ?
but instead . . he rises to the reality of life’s ‘last call’, with tenderness, patience and no .. belittling.
an absolutely riveting low fi character ‘capture’.
the only, very small flaw that caught my attention was the portrayal of the dad, Woody’s .. long suffering wife, Kate Grant, as played by JUNE SQUIBB. she almost almost nails it, but seems too ‘happy’. too happy to have landed the plum gig of her life, out of nowhere. and at this age.
we don’t totally fall into the depth of her being, as we do with father and son.
I’m thinking she should have been a touch more tired, a touch more bitter, a touch more ‘angry’. a touch more in touch with the dialog. it’s not so much that she should be a ‘shrew’, as just more disappointed. and well, fed up. though I did love her screwball moments exposing the underside of small town sex life.
too much info, mom !!
watch out my young ‘uns.
as your baby boomer parents head into their last chapter . . you could do well to watch this, and prepare yourselves . . for what’s ahead !!
more than anything, BRUCE DERN as WOODY GRANT reminded me of . . DAN ASHER.
same mannerisms. same not . . ‘getting it’.
and, that’s exactly how Dan dressed too, even to the glass frames.
same rumpled plaid shirt, same jacket. same physical build. walk.
same everything. except for the wife and kids, of course.
and, not even close to 77 .. of course.
DAN ASHER. a brilliant, quirky, real-life character on the NYC art scene going back to the 80s, who had had some success, but ultimately considered himself a failure . . career-wise. there was no ‘air’ left to breathe, for the rest of us when Jean Michel’s concurrent star ascended and fell.
that was DAN, cantankerous, and stubborn. frustrated by life and where it took him.
the most telling moment, and a wonderful testament to a great fiction portrayal by an actor in any film .. ever, takes place in this bar. when some big mouth from Woody’s past, spills a few too many beans, to his son, also played almost musically, it’s so pitch perfect a performance by WILL FORTE.
it’s the scene where the son, David Grant learns he almost was .. well, NOT.
that his dad Woody had had a moment where he thought he had ‘really fallen in love’, with a half-breed over in the reservation, before he returned to the fold of married life.
the amazed David looks back to his dad . . who just sort of half nods with unspoken guilt, as we see him lost in thought, time traveling back to the brief days of a long long ago, forbidden, and probably .. quelle steamy session.
that look was priceless.
that look was .. Dan Asher.
I did catch the film’s writer, BOB NELSON in person .. at an advance Writer’s Guild screening.
he said, that .. yes this was his family. Alexander Payne, the film’s director grew up in Nebraska, and BOB NELSON grew up in the midwest .. so no wonder the film comes across with such authenticity.
Mr. Nelson said his real-life uncles were all like that. they didn’t say much, and what they did say was football, or cars.
in ten words, or less !!
his family fought, but it was mostly over . . “toasters”.
my family fights over missing vintage 1950′s 18K gold charm bracelets. guess that’s what I get . . for being an immigrant New Yorker with roots in Montreal.
hope my kids don’t fight over .. the Dan Ashers.
see: the trailer
about the music. which is really like a kind of silvery Americana on-the-road ‘silence’ in this film.
below is a brief clip of TIN HAT band member, MARK ORTON . . who wrote the score, and performs on the soundtrack. in it he hits the nail on the head, as to why .. the soundtrack is so on-point. which is that 9 times out 10, it plays along to visual footage, without any concurrent dialog.
turns out, homeboy Jay Z was the anonymous buyer of BASQUIAT’S 1982 ‘MECCA’ last week, at SOTHEBY’S.
he plunked down $4.5 million, and that’s considered a ‘steal’ .. as there was no real ‘bidding’ war for it.
that could be because .. the acrylic & oil stick painting was on the minimal side ?
personally that’s what I think makes it over-the-top great.
JEAN MICHEL BASQUIAT .. ‘MECCA’.
IMAGE via NEW YORK POST
the veil has been lifted.
the mystery buyer of the FRANCIS BACON triptych, sold at CHRISTIE’S last week for a record $142 million, the highest price ever – for a work of art sold at auction was:
QATAR’S SHEIKHA MAYASSA aka “the most powerful woman in art.”
the daughter of the former emir of Qatar, and sister to the current Emir, “she is said to control billions of dollars that the royal family wants to spend on art for museums they are building.”
her oil rich family spent a record $158 million of Cezanne’s ‘Card Players’ last year . . .
apparently, what Sheikha wants, Sheikha . . gets.
‘Three Studies of Lucian Freud’ – the FRANCIS BACON triptych .. at lats week’s auction.
PHOTO: CHRYSTIE’S IMAGES Ltd / Handout via Reuters via NEW YORK POST
it actually looks quite a lot better in this installation/event photo than the catalog image. I guess that’s because of the way the light has been made to pin point on it, in a more dynamic and pleasing way. instead of coming across so bland and flat, in particular the center of the composition, and the figure, appears more dynamic and nuanced.
a little lighting can go a long way, ask any wedding planner.
looks very oriental in this image.
SHEIKHA MAYASSA of QUTAR.
PHOTO: AFP/Getty Images via NEW YORK POST
I was thinking about RAMBO, because when I was looking up the archival footage for MARTIN CREED, I found a few RAMBO pix from that time too.
they popped even more than usual . . because actually BANKSY referenced the kind of ‘tag’ work RAMBO does, in his recent ‘rejected’ op ed piece / rant . . for the NEW YORK TIMES !!
BANKSY: “Nobody comes to NEW YORK to bathe in your well-mannered common sense. We’re here for the spirit and audacity, of which One World Trade has none. Instead you have to look to the rooftops – to the chorus of precariously roller painted names and slogans over the skyline like poison ivy.”
by “roller painted”, he means wide paint rollers on long handles, as used in house painting for ceilings/walls.
I also have a vague recollection of reading somewhere . . that these crude but hi-risk, acrobatic ‘tags’ were like ‘lace’ or ‘crochet’ on the city skyline.
when the work plays off an existing ghost of an advertising text . . IT is a bonus.
in this case it’s particularly brilliant, and done up, to the max . . by XAVIOR.
(please) MASTER YOUR BODY THERE’S A SOUL WITHIN – XAVIOR.
how they actually get up there and do the gravity-defying deed, and without being detected, is beyond my knowledge. but I guess those ladders on the extreme left, are a clue.
ARCHIVAL PHOTOS: NANCY SMITH. JUNE 2010, NYC.
used to do this type of action, too. back in the day when he was a young kid wannabe growing up in Jersey. I know this, because you can still catch an early ghost of a KAWS roller ‘tag’ on an industrial roof line on the main drag into the city, the tunnel into New York City .. from the Jersey City side.
kind of near that big HOME DEPOT.
will try to catch a photo, next time I go by.
OPENED NOV 8, 2013.
the show runs thru DEC 21, 2013.
GAVIN BROWN’S enterprise – 620 GREENWICH ST – WEST SIDE, NYC.
a Brit model of an American car. the driver’s side was on the right hand side. the car pops to life every few minutes. first the ignition comes on, purrs very loud. then the doors and trunk and hood pop open, and a soundtrack engages that mimics a real time sports radio.
it is very surprising, when it engages.
inside, the pyramid.
Pyramids seem to hold a special attraction to this artist.
so when you’re good and sick of ‘dots’ . . you know where to head.
unlike that 2010 ‘male rising’ clip . . this one spoke to bio ‘fragility’.
the subjects were ‘physically’ challenged, ‘gravity’ was a challenge.
let’s just say they were various: ‘gimpy’, and leave it at that.
this guy was my fave. even though he looked to be all there . . he had to hop across that intersection, which just happens to be the intersection that faces the gallery at Greenwich. check: the Fed Ex office.
though it did oddly also reference . . the BEATLES.
I had no issues, since the accompanying music, a song composed and performed by Martin Creed himself .. was so snappy. so snappy it made me want to dance.
a dancing fool, not so far ‘mentally’ from the impaired ‘strollers’ ? hmm.
a dancing fool .. in close proximity to the physically impaired ?!!
it was a strange tension, to feel so moved to move, while witnessing people who barely .. could.
THE BHQF vs the impaired, now there’s a thought.
hmm, why are these paintings so much more interesting so small, as opposed to large ?
MARTIN CREED, ‘Work No. 1749′, Gabriella, 2013. Acrylic on canvas, 12-3/4 x 9-1/8 in.
intersecting the space:
MARTIN CREED, ‘Work No. 1784′, 2013. I-Beams. 97-3/4 x 240 x 6-1/2 in.
there’s brick walls, and then, there’s brick walls.
you can run into a brick wall, but there’s always … eventually, the corner where it ends, and you can do a ‘turn around’.
in life, as in art. as the saying goes.
a nice definition of: finite.
while the ‘principle’ itself, is: infinite.
come to think on it, that’s alot of what this show is about . . hidden order.
MARTIN CREED, ‘WORK NO. TBC”, Acrylic on canvas, 18-7/8 x 15 -7/8
yep, with the contemporary art world in a bonafide fever, this season . .
it’s the whip smart pyramid-obsessed Brit, MARTIN CREED vs. the Japanese dot-obsessed 84 yr. old dame, YAYOI KUSAMA.
like I said, when you’re tired of being ‘dotty’, you can go get . . ‘lucky’.
PHOTOS: NANCY SMITH
FLASHBACK TO: SUMMER 2010 ..
I’m thinking maybe MARTIN CREED was struck by the particulars of the GAVIN BROWN Gallery, when he presented that summer 2010 show.
like many other big spaces on the West Side aka the MEAT PACKING DISTRICT, part of the gallery was originally a meat packing plant, and thus it had proximity to the street and loading docks.
I’m saying: check out that car !!
on the extreme left hand side.
ARCHIVAL PHOTO: NANCY SMITH. JUNE 2, 1010, NYC.
opened NOV 8, 2013
the show runs thru DEC 21, 2013
GAVIN BROWN’S ENTERPRISE – 620 GREENWICH ST, WEST SIDE, NYC.
if the explicit video loop in MARTIN CREED’S last show, came across as a ‘manual on human reproduction’, taking place inside a space ship; the other part of the exhibit, a custom ‘floor’ was . . a totally ‘inverted’ gallery experience.
‘gravity’ was thrown under the bus, again.
literally, in that you walked on .. the art.
MARTIN CREED, ‘Work No. 1697′, 2013. Brick and mortar, 156 x 156 x 12 in.
so, I bring up the past .. to help make sense of the present.
a vast wall, as opposed to a floor. but it’s still: SPATIAL PLAY.
ARCHIVAL PHOTOS: NANCY SMITH. JUNE 2, 2001. NEW YORK CITY
CURRENT PHOTOS: NANCY SMITH. NOV 8, 2013. NEW YORK CITY.
MARTIN CREED vs ‘GRAVITY’ the film ?
HINT: it’s the silence. it’s the spaceship ambience. it’s the ‘bio’ ness of our fragile race. it’s feeling: lost in space.
it’s MARTIN is . . just an ‘A’ away from being: MARTIAN.
it’s MARTIN turns everything upside down, and comes up: roses.
which is just another way of saying . . .
in light of the great Brit success at Christie’s this week, and the beautiful, gorgeous sunshine streaming down on a brisk New York City today . . .
you might want to get yourself downtown, close to the open spaces of the west side . . and the water, where you can check out a Brit . . who not only comes with a strong secondary market already attached . .
but, who also happens to be more importantly, a bonafide: LIVE WIRE.
MARTIN CREED – GAVIN BROWN’S ENTERPRISE – 620 GREENWICH ST – DOWNTOWN WEST SIDE, NYC
NOVEMBER 8 – DECEMBER 21, 2013
FLASHBACK TO: JUNE 2010:
yep, that . . MARTIN CREED.
this was the first time I saw anything by MARTIN CREED, in person.
it was the summer of 2010, it was a real hot summer for art.
but this screening at GBE . . aced it.
it was absolutely jaw-dropping . . presented when GBE first debuted that new annex.
it was so ahead of the usual art game . . it was: SCARY.
oh momma, it was bold. it was silent. it was huge. it was vast.
it talked to space, and to .. bio-ness. the human condition, the human ‘creed’. and yes, you did feel lost in space.
the exhibition space was . . that huge and raw.
the gallery space still retained its original industrial rawness.
the looped footage was so primal, so graphic, so in your face.
it was: scary.
it was everything in 2 mins. that ‘GRAVITY’ in 2 hrs .. was NOT.
esp silent, and . . awesome.
GAVIN & CREED vs BULLOCK & CLOONEY, well you know who wins that.
I guess you could call it .. CREED RISING. it was a loop of you know .. what.
the force of nature, that opposes gravity. that ‘rises’.
that keeps us . . going. as a race. reproduction.
it was definite one of the top ten art events . . I’ve ever witnessed.
not that I haven’t seen a ‘dick’ rising in my lifetime.
it was the confluence of factors. esp the rawness of the yet untouched new space.
so industrial vs. the loop: which was so, bio.
the room would go completely bright, full of natural & artificial light, to stark and completely dark, and the single most important ‘cornerstone’ to human welfare . . would loop. no words. no soundtrack.
zero. no adornment of any kind.
I was speechless. I was completely dumbstruck.
it was very physical. but it was also absolutely . . conceptual.
there was a bunker mentality to the place, that reminded me of . . JOSH HARRIS and QUIET. ten years ago.
so it was an experience for me, that was both past and present.
and FUTURE .. with a really big capital ‘F’.
I would even say, the ‘space’ felt like QUIET did, more a ‘spaceship’, than a white box exhibit.
MARTIN CREED also had some small black ‘pyramid’ paintings on the wall facing the huge screen . . which made perfect sense, in that context.
the hugeness of the notion of ‘human’ creation vs. the smallness of the actual human ‘stab’ at creativity.
the struggle to articulate both the infinite principles we are subject to, and the finite properties of the life we live.
the humble ‘small’ gesture small paintings .. vs the huge primal ‘male’ principle of the universe.
the black and white paint echoing the black and white of the video loop ..
the ‘pyramid’ gradation of the painting, going to wider yet smaller bands, well you get the picture . . ‘rising’ !!
universal ‘principles’. duh.
or ‘doh’. whatever.
I think the real beauty of the thing, the small paintings . . lie in their size vs the hugeness of the ‘cosmic’ principles, they imply.
art vs. the beauty of basic science.
I think this work, and the new show in total . . will resonate strongly with many young New York painters, as they seem to be very much into abstract art right now. and they are all also searching . . for when & how, that strict non-objective ‘spatial’ compositional dynamic . . takes a leap off the surface and becomes a .. ‘dance’.
a thing of the heart.
a live wire.
MORE PIX FROM THE NEW MARTIN CREED SHOW . . . TO FOLLOW.
ARCHIVAL PHOTOS: NANCY SMITH. JUNE 2, 2010, NEW YORK CITY.
CURRENT PHOTOS: NANCY SMITH. NOV 8, 2013, NEW YORK CITY.
PS: if you’ve got the time. we’ve got the pix !!
that’s over $50 MILLION more than the ‘starting’ price !!
I still think it’s a total wash as a painting, but huge bucks flying .. at the auctions is always .. good. the buyer, bidding by telephone .. remains “anonymous”.
and apparently fly they did.
with the WALL STREET JOURNAL reporting that: “Christie’s total easily met the auction houses own $500 million expectations, with collectors in designer suits and fur coats chasing nearly everything on offer – and applauding and whopping on occasion.”
most interesting tidbit to come out so far:
“Connecticut paper magnate PETER BRANT scored big selling off JEFF KOON’S shiny, shipping container-size replica of an orange balloon animal to another telephone bidder for $58.4 million — making Mr. Koons the priciest living artist at auction. The sculpture, ‘Balloon Dog (Orange)’ was priced to sell for $35 million to $55 million”.
the free standing sculpture stands 12 ft. high and is made of stainless steel.
it is one in a series of 5, with the other colors in the series, yellow, blue, magenta, and red owned by financier collectors STEVEN A. COHEN, ELI BROAD, FRANCOIS PINAULT and DAKIS JOANNU.
see: HOLLYWOOD REPORTER