~CINDERS OPENING PIX . . THE SOOTHE SAYERS: KELIE BOWMAN & JUNGIL HONG

CINDERS PROJECTS PRESENTS – DECADE OF DECADUNCE
JULY 2014 – POP-UP, DOSSIER SEAPORT, NYC
CINDERS

a soothsayer is someone who can tell the future.
and usually it was grim news: as it often foretold death.
in this show, there was lots of foretelling, and most of it – was if not outright grim, then dark. and stormy.

leave it to KELIE BOWMAN and JUNGIL HONG . . quiet contrarians both, to rise above the darkness and dance along the rim of ‘being’, and therefore be the poster girl prophets for . . CREATIVE MINDS = SOOTHING VIBES, no matter how dark the vision . . the vision itself is a powerful, many-splendored thing.
like I said, soothe-sayers.


KELIE BOWMAN, silkscreen. ($300- $700)

here’s the thing about Kelie’s work. in many ways at first sight upon entering this intense group show, it’s easy to write-off her work as an after-thought, a decoration. but, that would be wrong. very wrong.
like a heartbeat in the background . . it pumps the quiet magic that keeps the show afloat.
it’s easy to think of another piece not in the show, as in removed – and the show still going on, but if you minus Kelie’s wordless ‘worlds’ . . a dancer leaves the room, and the show becomes disjointed, verging on cold and cruel. absurdist. surrealist. literal, sad ? less musical, for sure.


they say we live in a uber-violent universe, we certainly live in a very violent world.
it’s been like that since day one, so the deal is . . to trip lightly, and spin out above the fray.
question: so, if we live in a violent universe, is there a peaceful universe somewhere out there, too ?
just asking.
and if so, what’s behind the two ? a big old Tibet Boddhi drawing yin yang circles, and every circle is another set of universes / we find it hard not to be able define, to lock down: the beginning and end of things.
mystery drives us . . crazy.
triangles intersecting is small slice of that mystery, a repeating infinity.


KELIE BOWMAN, silkscreen door panel.

KELIE is one of the two co-founders of CINDERS, and also one of the co-curators of this, their 10 year anniversary show, along with co-founder STO – so in a way, Kelie pulls together all these artists, many with dark thoughts . . but she herself is able to float (serenely) along knowing this crew, her crew . , is still bubbling along. ten years going strong. ok, maybe no more brick and mortar storefront – but most def . . still standing, still dancing, still . . singing the song.
a new age presence on the . . 24/7 digital web.


KELIE BOWMAN, this silkscreen ‘trim’ ran across the top of the exhibit – at places.

I’m thinking you most get the dynamic of Kelie’s energy, inside the show – with her small flag-like, banner-like roll-out that ran across the top of the wall – in certain places.
it reminded me of the multi-colored flags that often shimmer over swim meets, or marinas. it delineates a visual breeze, and a soothing, unifying one at that. also made more significant by being from a curator’s hand, at that.
they should string these things across the faraway deserts, and up over troubled city streets closer to home – just to tell people to chill out. lower the violence, tone it down, as opposed to dialing it up.
folded-up versions in pretty colors should come in gun cases.
I mean, ok we live in a violent universe – but can’t we evolve past the gun being the only way to settle things. I guess not. same old same old, from Augustus through Lincoln.

though on second thought, I got a few people I’d like to strangle to death – with a damn art banner myself. and with my bare hands, and let’s leave it at that.


so as you can see, Kelie’s banners stood for something, running along the top of the room, you can’t tell exactly what they stand for . . but whatever it is, it is generous, and easy . . on the living.


JUNGIL HONG, ‘Summer Snake 13′, letterpress on archival paper, edition of 11. ($150)

now JUNGIL HONG, was an entirely different cup of soothsayer tea, and yet . . just as radical . . if not more so. personally I think this was not only the most graphic piece in the show . . obviously, and if you just want to read it, experience it as such – a pure abstract narrative – go right ahead. but, if you know her past work . . . very dark, richly colored and deeply-felt pictorial ancestral myth-makers . . of animals, like crows amidst eerie spooky non-western landscapes . . then you have to figure she has gone past fables into the realm of the . . super futuristic !!


yes, there may be entropy, death, and destruction of things as we used to know them – esp on the bio, the fragile planetary biosphere plane – but there is also the WEB !! code. new ‘organization’, new pattern – not based so much upon our genesis ‘bio-ness’ . . as much as on digital-ness merged with bio-ness / in a word. code. code building blocks and very much patterned . . in a word: hi-tech ‘animation’.
apparently we only have 5 billion years to figure out how to flee this planet before our lovely but violent sun . . explodes.
so, this is the . . way forward.
slabs of organization. slabs and slices of harmony. or well, at the very least . . ‘code’ dominoes marching on.
domino.
domino effect . . is a hardly a harmonic connotation in (cold war) military terms – which just goes to show you, the visual effect of Jungil’s page. her creative stance, her effect.

she definitely skewers more positive and futuristic, and pure, than the old definition of domino effect, as in war, or car accident . . with Jungil, it’s all about ‘patterns’ and code. and futurism. of a good sort.

I’m thinking:


watch: KILOBOT ROBOT SWARM SELF ASSEMBLES. HARVARD / YouTube

then again, just to show how – these 2 soothe sayers lighten things up, Ima gonna close with a little . .

Urban Dictionary help:

domino effect – chain reaction

when a girl notices your bling

She liked my necklace so she started relaxin’, now that’s what the fk I call a chain reaction.

PHOTOS: NANCY SMITH



~CINDERS OPENING PIX . . THE LANDSCAPERS

CINDERS PROJECTS PRESENTS – DECADE OF DECADUNCE
JULY 2014 – pop-up exhibit at DOSSIER SEAPORT – SOUTH STREET SEAPORT, NYC
CINDERS

damn, if the landscape painters & photographers . .
don’t seem too thrilled about where we are heading, either.


DIANE BARCELOWSKY, ‘Town at Dusk’. ($450)

this seemed to be a happy rural point of view, but that winding black road – is UN-NERVING.


I mean the little house with the sweet bay window – has a sweet smile. but that road is damn near frightening. I mean paved roads are black, but still . . and maybe that’s the . . point.


from across the room, the trees look to be . . tears.
and that was pretty much – the happiest view – in the room !!


ALEX LUCAS, ‘untitled’, ink, acrylic, watercolor, gouache, silkscreen. ($3,500)

as ALEX LUCAS, made pretty clear.
with his unhappy scenario.
and yes, I do mean . . PRETTY. beautifully rendered.


shades of a masterpiece murder mystery, a car accident – global violence, or just entropy ?
the civilized world as we knew it.
going, going, gone.


‘N’ is for . . NANCY ?


‘JR’ is for .. JR ?


this bit reminds me of the news photos that followed upon that huge deadly tidal wave tsunami in Japan & the nuclear disaster swiftly following – that showed ancient markers along the coast – that actually read: DO NOT BUILD HERE.


CHERYL DUNN, ‘TEEN SEX’, digital c print, edition of 7. ($1,000)


you know what they say, a photo is worth . . a thousand words.


you can almost feel the ‘lost’ sperm, the spilt yellow seed . . oozing out of the condom, somewhere on the ground hidden behind the small rocks / unhappy images do come to mind, ‘KIDS’, ‘KENT PARK’.


RACHEL SUMPTER, ‘Igloo’, gouache on paper. ($1,300)
the future world tribal – vision ?
ghostly ?
with shards of colored light, tinkling overhead in a cold sky.


how ghostly ?
so ghostly.
impossible to photograph – ghostly, and ethereal.
though, dig that EXIT sign, for sure.
so there is serendipity – still, in the cards ?
or at the very least, in the act . . searching.
note: the twirling footpaths, like ribbons.


strange and haunting, a good case for: ART.


JOHN ORTH, ‘Fountains of embers sucked into the night’. ($200 ea.)

while JOHN ORTH . . plays the opposite card – the ‘graphic’ card.
but also making a good case for: ART.
so graphic and yet so also: haunting. ethereal.
full of mystery, but I’m sad to say, not much: promise.
also very Brit: graphic turn of the century Romanticism.
fairy tales and illustration.


and lays it down . . without a doubt.
it’s a dark road, the color tone – sets the tone – message.


just step back, there’s a bottom row . .


fairy tales and goth illustration. yep, so Brit.
there are . . figures entwined in the landscape.


they are naked, and they are seeking shelter under a huge man-made roof of burning embers, amidst sadly falling snow in an endless cold night.


wow, looks they could be doing the last dance: the humanity huddle.
as the last embers . . get sucked into the night.

PHOTOS: NANCY SMITH



~CINDERS OPENING PIX . . BRIAN CHIPPENDALE

subtitle: FEAR IN THE FACE OF ART, and make that, ‘comic book-inspired art’ . . no less.

or, more simply put: FEAR LURKS IN TISSELTON.

and, yeah: TISSEL RHYMES WITH . . FIZZLE !!

CINDERS PROJECTS PRESENTS . . DECADE OF DECADUNCE
a 10 year anniversary group show – that run thru JULY 2014
in a pop-up space at DOSSIER OUTPOST – SOUTH STREET SEAPORT, NYC.
the show is now down, but CINDERS IS ALWAYS OPEN . . ALIVE and well, with embers burning . . !!
keepers of the flame, the home fires.
‘Americana’ . . in a nutshell.
CINDERS – a BROOKLYN-based, free-roaming, 24-7 online indie art venue / project !!


BRIAN CHIPPENDALE, ‘Tisselton 2′, silkscreen. edition of 40. ($120 ea.)

every time I see Brian Chippendale’s work, my mind gets blown. literally, and my ability to write – short circuits. thus artlovers, quite seriously – artlovers has been offline for a few weeks, now.
so, no. it was not just summer break. it was Chippendale . . break-down.
fear . . to write about Chippendale is no laughing matter.
proper words can just NOT be . . as over-the-top, disconnected, distorted, truthful, and well . . distressed. child’s play ?
how to be . . a verbal witness ?
when it’s . . ‘for your eyes only’.


smoke signals. cartoon thought bubbles. communication, basic communication esp over . . distance.

heat. it’s like the zenith of summer. the bright white sear of a so-called ‘super’ moon.
it’s like the skull and cross bones vs. the man in the moon.
the intelligence ‘factor’ . . is that high.
the desire to communicate is that strong.
cloaked at first glance in a primitive scribble.

shake and bake smoke signals . . rocking your world.
the addition of ‘words’ just goes to show the ‘pictorial’ extent – to which he IS trying to communicate.

rough translation:

TISSELTON / TINSEL TOWN. you know . . Hollywood, the world, the media. the works.
the illusion of shiny things, the hiss of snakes.

what the F mess is going down / on .. in Tinseltown (the US ?, the world ? the planet ?)
(and) what will YOU do with it / about it ?
I don’t know.
commit more violence ?

you can’t make a ‘cake’ / a good thing. with (just) a plant and a dream.
so, let’s go meet ‘the’ maker.
so, face your maker / face your devils. and undo the hard-wire violence & planet entropy (???)


so, am I wrong, to think outside the . . box ?
love those primal screaming . . crayon colors.
red is for . . EBOLA.
green is for . . green slime in the great lakes.
yellow . . is for globalization. Isis ? the desert hordes, a warning.
yellow is for caution. Chippendale yellow. it’s not sure not for sun, surf and tanning.
more like, what made America great . . is coming back to bite us in the butt.
blue is for the . . devil.
blue is for .. choking, can’t breathe.


they are finding out we are hard-wired for violence against the ‘other’.
surprise, surprise.

I DON’T KNOW.
I DO KNOW. I KNOW / NOW.
CONNECT THE DOT (S).
COMMIT MORE VIOLENCE.

COMMIT MORE GLOBAL / ‘UN’ VIOLENCE.

UN for “one” . . it always comes down to the ‘one’. the single actions of the ‘one’ ?
singularity ?
or is that: UN for un-do !! un-do the violence. stop the violence.

omg – singularity. the collective consciousness of the web.
I just looked up ‘UN’ and I got this !!
omg – it’s an open-sourced, infinitely rebounding TINSEL TOWN universe . . after all !!
GEORGE CLOONEY & AMAL interjected into the the strife in Gaza, as if . .
but, CHIPPENDALE ?
apparently spot the dot / right on. shine on, TISSELTON !!


what I can’t express properly, this is where I short circuit . .
is how the work is a blown-apart / deconstructed composition / universe . . just from a purely, very academic artistic point of view, that also has . . big thoughts cloaked in primitive scribblings, and a real desire. a big literal desire, as in a literal ‘stab’ by using actual language & word play to enter your mind, and blow it up, too.
everything here aims for a state of mind – greater than the one where you were, before you entered the (Chippendale) picture.
or only possibly more simply:
if you can follow the breadcrumb trail, on the tippy toes of an elf – you are halfway there !!

yep, another hardcore prankster !!


it’s like literally . . the mind-thought cartoon ‘caption’ bubbles of a hardcore indie thinker coming at ya like smoke signals. blowing you away, and then blowing away, themselves.
dots that connect, add up, and disperse.

it’s a very kinetic, participatory art form.
your mind just feels like a cloud in your head escaping the cage.
is the best I can put it.


or, Tinsel town . . shine on !!
the bad pops up everywhere. in your home, on your streets, across the globe.
all we are missing . . is for the evil green alien monsters to (finally) land.


why, and what to do ?


oops, I thought it might have a happy ending, I thought I saw a little ‘heart’ around the edges ?
but no, more like the 21st century version of . . . ‘The Scream’.
more like a deer . . caught in the headlights. as in, fear-full.
my brain on . . Chippendale.

my very radar . . invaded, undone.
by the cartoon scribbles that strip us down to the bony skeleton of existence.
where all fear lurks.

Chip (away) at that dale.
it’s going, going, gone.

Brian Chippendale .. the new century James Joyce ?

PHOTOS: NANCY SMITH



~CINDERS OPENING PIX . . HARDCORE PRANKSTERS

BLOW MIRTH !!!!!!

CINDERS PROJECTS PRESENTS – DECADE OF DECADUNCE
JULY 10-30, 2014
DOSSIER OUTPOST, SOUTH STREET SEAPORT

under which sub-title, pranksters . . we are also going to include . . ‘portraits’.
yep, these bio-organism-based renderings, were either far-out, or . . completely off-the-wall.


NICK KUSZYK, ‘Floater’, acrylic on wood panel. ($200)
a small offering (something like 6 x 6 in.) from ‘everyman arch-nemesis’ NICK KUSZYK, who has left his famous tiny, hard working bio-robots behind – in the dust, and which literally kick-started the exhibit, it being the first piece as you entered.
full speed ahead. don’t look back, and wtf ?


BRIAN BLOMERTH, ‘Siiv Rounder, European Artist’, digital print. ($100)

also at the beginning of the exhibit, and setting the stage !!
celebrating the dance of creativity – for adressing life’s biggest questions.
aka . . the Deca-dunce !!
creativity rules . . in the land of chaos.
yeah dude . . in the face of it all: BLOW MIRTH !!


detail, BRIAN BLOMERTH.
how you can not . . love art ?!!
esp when it has ALL the moves, if not all the answers !!


KYLE RANSON, ‘Portrait 1′. ($400)

tongue-in-cheek, super smart ‘conservative’ rendering. very far-out. very beautiful. one of my faves for being so wicked yet serene, flat-out contrarian . . in the crazy wonderland that is . . Cinders.
I bet this guy has a wicked sense of humor.


KYLE RANSON, ‘Portrait 2′, pencil on weed. ($300)
haha, I meant: wood !!
damn, that’s one typo – I’m leaving IN !!

an absolutely great piece of art making. period.
profound on the formal levels, imbedded with a sly take, a great slice of life.
far out.


ANDERS NILSEN, ‘Untitled (black shape), ink on paper. ($640)

and, just as ‘far out’ in the other direction !!
yep I see a face, and that’s your brains . . on birdseed.
your thought bubble, always on the top of your head, for all to see, if only everybody lived in a comic / cosmic book universe.
like Anders does. google him.


left:
ISAAC LIN, ‘DFW CAT’, spray, Edition of 34. ($40)
right:
ISAAC LIN, ‘Night Light’, airbrush, ink on paper. ($850)

hardcore prankster, like ghost . . needs no words !!
invading your consciousness . . like a black light.


ISAAC LIN, ‘DFW’.
DFW is a ‘graff’ crew out of San Francisco, and other part which includes Isaac Lin, BARRY McGEE and ANDREW JEFFREY WRIGHT, so . . blow mirth or what ?!!
DFW ? damn f-cked world ?


CHARLES SHEDDEN, ‘Untitled’. ($200 ea.)
$200 each ?
damn, that’s a steal. DTS !!


CHARLES SHEDDEN.
yeah, that’s a reflective surface / background.
yeah, that’s . . the hand that feeds ya.


STO, ‘Facial Recognition’, letterpress. ($40)
bad photo, great piece. it’s really a super shade of almost cerulean blue.
and, yeah. that’s your face, well I guess your mind, your brain . . stripped of the outer layer of eyes, skin, nose and mouth !!
aka bio inter .. FACE.


HISHAM BHAROOCHA, ‘Step Sequence’, acrylic on hand dyed fabric. ($750)
or as Hisham puts it so nicely . . your INTERFACE !!
(. . is a mystery to me).

PHOTOS: NANCY SMITH



~CINDERS OPENING PIX . . PART 4 / CURIOUS

as in, VERY CURIOUS, INDEED !!

BENJAMIN BUTTON, you ain’t got nothing on us. but, close !!

I guess by now you can see where that title, ‘DECA-DUNCE’ kicks in. as in, the smart-ass fools !!
the CINDERS family is. for sure, they are NOT the slow & dumb folks, ‘dunce’ is supposed to reference, but the fast and furious . . ‘ironic’ & ‘comic’ bio-folks / ‘creatives’ as we like to call them in NYC . . trying to clue us in, into just how surely . . our cosmic orb of a world, that little spinning bio-globe we call home – is heading for the big dive.
whether it be war, slow toxins in our food & environment, and/or gradual mutation ?
or, just a slow but steady mental degradation into our cartoon collective media consciousness.

CINDERS PROJECTS PRESENTS – ‘DECADE OF DECADUNCE’
OPEN THRU JULY 2014 – THESE BE THE LAST DAYS / 12-7PM
DOSSIER OUTPOST – SOUTH STREET SEAPORT


MEL KADEL, ‘Double Reach’, ink, collage on paper. ($650)
watch out, that dance is scarier than it first appears, dot dot dash.


KEVIN HOOYMAN, ‘Untitled’,. ($100 ea.)
watch out, that forest is way scarier than Little Red Riding Hood . . .


detail: KEVIN HOOYMAN. old school !!!

KEVIN HOOYMAN . . the new Brother Grimm ? ya think ?


JORDIN ISIP, ‘Heresy’, mixed media on wood. ($400)

looky up, this is your world, people. and it’s . . curious.


HIDEYUKI KATSUMATA,’The Barbarous Invaders’, sumi ink on paper. ($220)

what do we know ?
why do we dance ?
for sure we are hard wired to . . fight.


TOBY GOODSHANK, ‘Far Beyond Driven’. ($200)

well for sure we are hard wired to . . love.
but, are we hard wired to . . morph ?


JEREMY TAYLOR, ‘Territorial Pissings’, walnut ink on paper. ($400)

answer me.
the bitter sweet ‘dunces’ at Cinders want to know.


detail, JEREMY TAYLOR.
though some of them seem to be already, crying.


RON REGE Jr, ‘What Parsifal Saw’, letterpress, Cinders Ediitons. ($50)

while others can still reach for the divine celestial dance.
just goes to show you, how versatile . . a line drawing can be !!


detail: RON REGE Jr.
has an interesting morph of his own going on, his line drawings have a cartoon aspect, that is all his own.


detail: RON REGE Jr.
they stand on both sides of the line, that line being . . ancient history and future vision.


hello.
they are like future child meets ancient Greek map of the constellations up in the sky.


BRENDAN MONROE, ‘Ripple’, gouache on paper. ($850)

and then, poof !!
the ultimate mother of all . . line drawings !!
all celestial dreaming, all toxic warnings, suck it up – it’s over.

but is it really . . the end ?
or are there tiny microbes in those crevices, ready to start the impetus to life, and maybe great civilizations, all over again.

just spin that big TV dial.
the answer probably lies somewhere between ‘Say Yes to the Dress’, ‘Teen Mom’, ‘Lincoln’, and ‘Pre-History Evolution in Australian Fossils’ with a good dose of ‘Inca Mummies’ thrown in for the ‘X’ – as in cosmic factor . . as hosted by Nev of MTV’s ‘Catfish’ !!

catfish !!
talk about ancient and future-talk !! morph !!

yeah. come to think of it, I am so sick of Morgan Freeman, and not just on TV, he has ruined so many pretty good sci-fi movies too, him and Donald Sutherland. cameos, ugh.
I hear his voice I flip channels.
enough already. move over.
I vote Nev to narrate all science and astronomy shows – from now on.

and who’s taking notes ?
$10 to the first person who puts Nev in a sci-fi flick !!

PHOTOS: NANCY SMITH



~CINDERS OPENING PIX . . PART 3 / TROUBLE

oh oh, TROUBLE in PARADISE !!

CINDERS PROJECTS PRESENTS – DECADE OF DECADUNCE
OPEN THRU JULY 2014 – 7 DAYS A WEEK / 12-7PM
DOSSIER OUTPOST – SOUTH STREET SEAPORT

make that more trouble in paradise.
looks like the organic, sunny-side of the street – is no more !!
or as MARK CROSS . . put it: sad humanity – lying curled-up, and wasted on . . the city streets.
it’s NOT a happy life out there.
the yellow orb of the sun, the yellow yolk of the egg, has gone . . rancid.


MIKE TAYLOR, ‘She had to leave’, ink on paper. ($400)


ALLYSON MELLBERG, ‘Return from Florida’, walnut ink, iron Gall ink, and egg tempera on paper. ($500)


in the center:
SWOON, ‘Myrtle Ave’, block print on paper on found wood. ($10,000)


detail: SWOON, ‘Myrtle Ave’.


detail: SWOON, ‘Myrtle Ave’.


SUZANNE SATLER, ‘Passive Poker’, pencil on paper. ($1,800)


LAURENT IMPEDUGLIA, ‘Hahaha’, acrylic on canvas. ($275)

damn.
if CINDERS isn’t living up to its name .. thru the fire, or wtf else . . is left ?


LAURENT IMPEDUGLIA, ‘Church’, acrylic on canvas. ($275)


XANDER MARRO, ‘The Hunt’, silkscreen. ($150)


MATT FURIE . .
left: ‘Pavor Nocturnus’, ink, watercolor, pencil on Bristol. ($300)
right: ‘Save It’, ink, watercolor, pencil on Bristol. ($300)


MATT FURIE, ‘Save It’.
her t-shirt reads: SAVE THE RAIN FORESTS.


MICHELLE BLADE . .
left: ‘Day 347′. ($450)
right: ‘Day 214′. ($450)


MICHELLE BLADE, ‘Day 214′.

oh oh future world, not looking so good. a bit toxic, mutated, feverish, and, well: doomed.
just ask the use-ed to be . . all tulips and windmills and wooden shoes – Dutch !!
depending where you were seated,
go up in a plane and turn to .. cinders, DNA mulch on the burnt ground.
or free-fall to earth, and come home in rubber body bags.
wtf are you thinking in the long seconds – as you spin to earth.
do you kick your feet and try to brace for impact, or do you embrace the ultimate dive of dives.

what do you think . . is going to happen when you build surface-to-air missiles.
I don’t know anybody, who doesn’t like to play with their toys.
ok, a mistake ? or just not playing by the rules. no diff.
and anyways . . that’s how our American founding fathers won their War of Revolution. they had frontier sharpshooters pick off the British generals on their horses, a big no no.
talk about American ingenuity, and stolen from the Native Americans, no less – !!

what ever happened to psychedelic mushrooms, talking furry friends, and love-based .. bonding ?
apparently, as far as we got was: re-cycle your trash or be fined.

PHOTOS: NANCY SMITH



~CINDERS OPENING PIX . . PART 2 / MARK CROSS

WATCH OUT: CROSS – OVER !!

CINDERS PROJECTS PRESENTS – DECADE OF DECADUNCE
runs thru JULY 2014 – 7 DAYS A WEEK – HRS: 12-7PM
DOSSIER OUTPOST – SOUTH STREET SEAPORT


MARK CROSS, BLANKET. ($2,000)

one of the most intense and striking pieces in the show, and not just because it was the largest, and the only one spread on the floor – was this custom photo woven blanket by MARK CROSS, a tattoo artist whose stature as an ‘artist’ – might just eclipse his tattoo fame.


the piece was intense for several reasons, but mostly for how the homeless man curled up into his sleep, how the photo curled up into its own orientation on the blanket, and then how the piece itself . . curled up into its installation niche.

SO, I guess we have to revise . . sunny-side up !!
it’s apparently, not so sunny – out there. mean streets invade the utopian dream.
maybe the better why to quick code ‘label’ the Cinders vision and community – it just that: community. people-minded, bio-sphere minded, concerned with the present, future and sometimes even magical, or in this case downtrodden . . state of our planet’s bio beings, humans and animals, alike – and the landscape they inhabit.

and so in that sense, I have to stop and say that this 10 year wave of artists – does in fact, have a ‘political’ bent that they share with the newbie 170 SUFFOLK wave, though the CINDERS fellowship comes down . . a little more to the ‘organic’ side of 170 SUFFOLK, which is more hardcore and in a sense urban ‘radical’.

in a word: both art groups – are very pictorial, and both are very ‘statement’ – oriented.


anyways, looks like there is trouble on the downside of the ‘sunny-side’ of the street. some call it: urban living, this man looks so beat-up, broken, so weathered and it’s so sad to see him curled up in a fetal position on a grate, seeking heat. it’s not like he’s a drunk, he’s just an unfortunate homeless man, and many urban dwellers, esp the free thinkers and the ‘un-promoted’ artists among us – know . . there for the grace of God, go I.


I’m thinking, it’s really the intense graphic & straightforward documentary photo – that carries the work, and speaks the truth. this is/was . . a real moment.
the way the gallery goers walk over the image – becomes an on-going moment, speaks volumes and metaphors could cascade, so you can supply your own faves.

I first saw ‘artwork’ by MARK CROSS, originally from San Francisco and now NYC-based – at the recent ‘It’s An Invasion’ group show at the National Arts Club. the piece was similar in format, except it was termed, a ‘carpet’ – as opposed to ‘blanket’, and it was also strikingly placed. in the ‘INVASION’ case – just beneath an upper crust piano / and hi-gloss fancy wood coffee table type scenario. in that piece the photo was also of a homeless man lying asleep on a grate, but the guy looked more like he was on a bender, and was kind of well, looking like his predicament was his own fault. in this Cinders scenario – the man looks more vulnerable, like he just slipped though the sunny-side of the street – the cracks are a-many. the works being placed on the floor in both shows, and with no security barriers/gates around them, means you can walk on them, or watch other people walk on them, as in: ‘walk all over me, man – I’m already so far down and out, what’s the dif’ – makes a big statement, and renders the piece kinetic’. as opposed to being large standard print on paper photographs hung on the wall, or even ‘blankets’ hung on the wall.
the foot traffic – most definitely added to the power of the ‘content’ within.

so, in any case – I also just came to realize, seeing the work a second time – how important the photo image itself was, both in subject matter and in graphic design, how it sits in it’s composition, the cropping – the takeaway was, I felt this ‘tattoo ‘ artist was also a bonafide photographer. these had to be his own images, they were too loaded – and powerful, not to be – but you never know, ‘appropriation’ being what it is today, okay it wasn’t in Gagosian Gallery and the name on the label wasn’t RICHARD PRINCE (!!), still I felt I better do double check before mouthing off. so late at night a day or so ago, yeah, I cyber-stalked MARK CROSS – and found a contact and wrote and asked him.
yes, was the reply – “these are my photos”.

again that’s also an integral characteristic of the CINDERS crew – they are very hands-on, DIY owning their own images, and all the power to them. and of course – these raw photos, including their custom woven format – define grit, and, really – one needs say . . no more.
it’s also a very ‘contemporary’ stance, as opposed to say, ‘art for arts’ sake 70s focused purely ‘abstract’ work.


if you follow this site, and . . admit it !! you have been making dough or what ?!!
you know the art hustle is a very lively ‘art’ to me – on it’s own terms.
it’s how I keep a step ahead of sleeping on the grates myself !!
skills, skills, skills, !!
I would say putting down $2 grand on this piece would be a very savvy way to spend 2 grand, and enjoy it too.
just don’t throw it in the washing machine.
plus, large scale works do better at auction, as does very unique and provocative imagery.
so it’s win win.

ps:

cyber-stalking MARK CROSS is actually quite a fun journey. lots of instagram and tattoo stuff comes up – though none of the rugs or blankets, as of yet. and none of the urban photos, as far as I could find.
just make sure you add ‘NYC’ to the search mix.

you can find a new enterprise he is connected with, too – apart from the tattoo shop he works out of – it’s a new gallery in Brooklyn, Greenpoint: called MUDDGUTS, which he runs in partnership with LELE SAVERI. located at 41 Montrose Ave, there is in fact an opening tomorrow night . . FRI JULY 18, 2014 / 6-9PM, showcasing the dark and ‘gritty’ urban photos of DAVE SCHUBERT.
the show has a rather poetic title: ‘SCATTERED SCRAPS of MEMORY’.


the MUDGUTTS LOGO, (by CHRIS LUX). it’s animated, so . .

check out: MUDDGUTTS

and, see: MUDGUTTS ON INSTAGRAM


MARK CROSS CARPET, ILLUSTRATION – via LINDESFARNE GOSPELS

the other thing interestingly, that also pops up – under a very late night ‘MARK CROSS CARPET’ cyber-search, is this wonderful, historic illustrated ‘cult’ gospel archive, which actually fits . . right into the CINDERS artisan, humanity-centered creed, or what ?!!

decorating the beginning page of each intricately worked ‘LINDISFARNE’ gospel, the date we are talking lies somewhere in the 634-687 range (!!), was a . . ‘carpet’ page, which was actually called a ‘MARK CROSS’ CARPET page, because the illustrations were inspired by woven designs that – delineated the ‘cross’ orientation – on holy prayer rugs.

check it out for yourself: Carpet pages – LINDISFARNE Gospels Tour – British Library.
lyrical, and . . illuminating !!
don’t miss the ‘cult’ . . references !!

and here we are still talking ‘holy grail’ carpets, 1400 years later.

PHOTOS: NANCY SMITH



~CINDERS OPENING PIX . . PART 1

CINDERS PROJECTS PRESENTS – DECADE OF DECADUNCE
the show opened JULY 10, 2014
and runs 7 days a week throughout the month / 12-7PM
DOSSIER OUTPOST – SOUTH STREET SEAPORT


a large group show of about 100 artists, with small works arrayed ‘salon’ style.


individual pieces were numbered in pencil on the white wall, with the numbers corresponding to the artist list, in long-honored Cinders tradition.


real art interlopes – on tourist territory !!
and, wait a minute . .


talking about things nautical, damn, if that isn’t a DUKE RILEY tattoo snaking up her back !!

MORE PIX TO FOLLOW.

PHOTOS: NANCY SMITH



~where it’s at, CINDERS & 170 SUFFOLK . .

give me INDIE, or give me – nothing.


CINDERS PROJECTS PRESENT:
DECADE OF DECADUNCE – CINDERS CELEBRATES 10 YEARS
CURATED BY STO LEN & KELIE BOWMAN
DOSSIER OUTPOST – SOUTH STREET SEAPORT
the show opened last THURS, JULY 10, 2014
HOURS: OPEN EVERY DAY FROM 12-7PM in JULY 2014

so I am now facing the blogger’s worst nightmare, I just started writing up 170 SUFFOLK, which ran MAY 31-JUNE 5, 2014, and then along comes CINDERS . . with a summer show that is currently up and running, and so do I continue with 170 SUFFOLK, which is down – or do I jump to the present ?
and then go back to 170 SUFFOLK, cause that’s not falling thru the cracks, no matter what ?
I guess so.

serves me right for comparing the 2 shows in the first place, and my BAD !!
as I remember the post – I believe CINDERS got the short end of the stick – something about local NYC kids being more grit !!!
well guess there’s 2 sides to GRIT – after all.

both are Indie group shows put on by artist curators / both are pop-ups, both are collective consciousnesses with no tangible brick & mortar homes – hey, the whole world IS your oyster . . when you have talent.
170 SUFFOLK is relatively new to the scene, or, rather in manifesting it’s presence – their first real collective roaming exhibit – was 15 WARREN of this New Year’s 2014.
so they are celebrating their FIRST YEAR.
CINDERS is celebrating their 10th year.
yes, it’s true CINDERS represents a broader spectrum of artists, from all over, incl zines out of BERLIN (re-surgo), but esp of the states, while 170 SUFFOLK remains very much a New York City born & bred tight knit group.
and, yes while 170 SUFFOLK hits the metal with a harsh and gritty slash, in its own way CINDERS hits the – edge too, as in the ‘ashes’ !!
you know, through the flames – burn the ashes.
grit = ashes.

yeah, after I saw the Cinders show, yes I did make the opening – I had to re-work the math !!

and what I came up with . . was really old knowledge: the yin and the yang.

CINDERS’ heat . . is about the earth, feelings and thoughts about the earth, and the way we live and where we are going . .

170 SUFFOLK’s heat . . was more hard-pressed, combustible, politics driven.

CINDERS’s heat . . was like skating, the skate’s blade racing along the far-most rim – or edge of the sun’s orb, while 170 SUFFOLK, was like the harder edge, let’s say of a knife – or a metal rim. colder. more precise.
CINDERS is more dreamy, and 170 SUFFOLK is more hardcore.
2 sides of the coin. yin / yang
with the rim of coin itself . . being the cutting-edge.

though seriously, it’s NOT just about content – it’s about style, it’s about: SENSORY SENSATION.
both shows lean heavily to the pictorial, narrative, and far-out.
as opposed to the personal, or even sexual. there was not one naked, sexxxually charged image in either show.

both shows were cutting edge – that is, coming down on . . right now. both shows had the talent, and the excitement – that is sorely missing in the art world’s mainstream and more established streets.

so, let’s get on with the PIX – and I’m betting 170 SUFFOLK will still be relevant, even after the CINDERS pix finish, it’s just like one big circle, the fox chasing his tail.
the mind chasing it’s dreams.


opened SAT MAY 31, 2014 and ran thru JUNE 5, 2014.
170 SUFFOLK ST, CURATED by SEAN VEGEZZI, ABELINE COHEN & ANDREW KASS.

170 SUFFOLK was presented in a formal setting, well – as formal as Indie gets !!
the ‘borrowed’ venue was a real estate deal that left open 2 weeks to put on a show, before the space changed hands.

it was in the heart of the enemy, the Lower East Side, and it was gorgeous – with high ceilings, exposed beams, even a skylight. rust, decay, entropy, and even history were taken for granted, de-constructed elegance was the name of the game, there were only 13 artists – and everybody had plenty of space to to make their statements. from ‘found’, bold and graphic, to hyper-realism, SPENCER TULLIS had an ‘Egyptian’ in a kind of time travel capsule . . to the supremely sublime: the out-of-town ‘trash’, does that fall under – ‘realism’ ? of TOMMY MALEKOFF to the poetic ramblings of CODY RANALDO and his ‘construction next door – from the large, the balance beam of KEEFE BUTLER, to the mini-mini flags of JACK SHANNON, to the empty, yet threatening, designated fenced-in space of SEAN VEGEZZI.
it was a very hard-core take-away.

“just kids” – ha, those famous last words reigned supreme, and came back like a glass-sharp frisbee to haunt the neighborhood naysayers !!

CINDERS . . also popped up in the heart of enemy turf, the enemy in this case being the ‘tourist’. but you know what – art wins when the tourist comes in and buys a piece of work by BRIAN CHIPPENDALE, or anybody else in the CINDERS SHOW, I would even put it in the same sentence as that Central Park caper that Banksy pulled off, selling his work (for $60 each) to unsuspecting strollers.

CINDERS, DECADE OF DECADUNCE, oh oh, look out !!
. . . had more – well, humor !!
it was more about works on paper, drawing, and it was more like a taste, a ‘sampling’, than a full plate of serious statement – !! as per 170 SUFFOLK, but you know – all good.
both venues made the most of what – they had to work with.

CINDERS has close to 100 artists on display, and the work was selling like hotcakes the night of the opening.

I heard that sales were prevalent at 170 SUFFOLK, too.

in a nutshell, it’s not about commercialism, it’s about talent.
rebel, rebel. against the status quo & the big $$ galleries/Artforum ho’s.
when the cutting edge talent can get the gigs/venues, and make dough/$$ outside the mainstream – it’s a win , win.
a bonafide: ‘scene’.
an underground scene – going nautical – as in topside. New York City style – as in, free style.
now that’s what I call: grit. so, whether you like your eggs . .
sunny-side up as in CINDERS, or hardcore-boiled as in 170 SUFFOLK – they’re coming with a big side . . . of g-r-i-t-s.

PIX OF THE CINDERS OPENING – WILL BE POSTING SHORTLY, hopefully tomorrow.



~DG . . R.I.P.


archival photo – a young DG.
FACEBOOK via New York Post

yeah, for sure – the week leading into JULY 4th, 2014 – was hot. heavy. humid – intense, loaded. or is fraught with tension, the best way to say it. at least I was just ‘spinning’ out . . in my head.

DG aka JASON WULF, 42 – not so lucky.

I didn’t cross paths with him, but I’m sure I have many photos of his ‘DG’ street tag in my street art photography archives, going way back to 1985. they were writ large, in large letters all over the place. I always wondered what DG stood for. and I still don’t know. DG = DOG / WULF = WOLF ?
most taggers had more letters that they worked with than just 2. according to the news report – he was the founder of NWC – New Wave Crew.
so at least that clears up: NWC.
code is code is code.

at any rate, sadly, he was electrocuted by the third rail in the 25th St. subway station in Sunset Park, Brooklyn – this past WED, JULY 2, 2014.Brooklyn, in the midst of that week of intense heat that commemorates the War of Independence, and now apparently – that other big attack on NYC.
(9-11).

as DG is being hailed as an ‘underground legend’ – and, therefore a ‘warrior’ / a revolutionary of sorts – I think it would fitting to take a moment to reflect that there is underground, as in underground art scene, and there is underground, as in art done way down below the city’s constant hustle, in the underground tunnels and subways.

SEAN VEGEZZI of the 15 WARREN & 170 SUFFOLK enterprises – can attest to that, as in: been there, done that.

read: Graffiti legend dies in subway – NEW YORK POST / JULY 5, 2014

WATCH: DG in ‘EPISODE 19: RIDGEWOOD’ – produced by MOTIONGRAFF/YouTube

this clip is gorgeous, by all ways & meanings – and is probably the best way to commemorate DG & share his art and the huge contribution ‘underground’ NYC tagging has made to the ‘above-ground’ culture at large – esp re graphic design & font ‘play’. it’s to the Post’s credit that they included the clip link – in their article.

when we say, an artist speaks with an ‘authentic’ voice – this is what me mean.
when we say an artist works out of his own ‘time’ – this is what we mean.
when we say a graffiti tagger / writer – is an ARTIST . . this is what we mean. and so, yeah – please skip the quotation marks around ‘artist’, already. s’il vous plait.
it’s bad enough these guys get demonized instead of recognized, you don’t have to question their role as genuine artists, i.e. talent – constantly in the mainstream press.

anyway, besides the beautiful grace of the draftsmanship, the visual ‘rhythms’ of these free-form ‘running’ fonts – how they were colored in, and even how in turn the color fields, became just as broken up – and also ‘morphed’ – into say: ‘drips’ – it’s clear in this brief clip – how the ‘art’ form that sprung up from the streets – local kids, with no formal art training – only the city that inspired them – developed. you can watch this – as the clip progresses, and the ‘line’ gets increasingly more complex, and ‘colored-in’ – it’s laid-out simply – like a pure visual narrative, right before your eyes.

you can also ‘key’ into the actual visual influence of those subway trains themselves . . racing rapidly by – by the way in which the MOTIONGRAFF filmmakers have integrated actual footage of the subway cars racing by . . so we get, why these guys were so fascinated with the subways – the morph, the flow, the speed – and how, and why their tags – race by too, in a whooosh, but always maintaining that ‘subway’ silhouette, that slight jiggedy-jag, that twists and turns. that comes to a full stop, and then .. takes back off.



~170 SUFFOLK . . hell-o !!

170 SUFFOLK
MAY 31 – JUNE 5, 2014
170 SUFFOLK STREET, NEW YORK

a smallish, stylish & absolutely cutting edge awesome pop-up group show – brought to you by the same three indie curators & friends: SEAN VEGEZZI, ANDREW KASS, and ABELINE COHEN . . who brought you – the ground-breaking, and shaking . . 15 WARREN ST, the notorious indie group show that opened this new year, 2014.
with . . a huge bang. bang, bang, outlaw indie no-budget nailed it.

unlike 15 WARREN – I couldn’t make this opening, which I heard was a way wild party bye the way, which I do not doubt for a moment – but I definitely made it my priority to see the show.
just as stunning, 170 SUFFOLK – was completely different in many ways – and yet remained . . a soul sister. no, these guys are not going to repeat themselves, or go formula-istic on you.
yes, they are gonna shake things . . up.
and, yes. they are going to invade, stake a claim, and visually ‘break’ into their ‘found’ site – and, yes, they are going to break-down . . with some really happening, cutting edge art.

coming off our recent artlovers posts . . on alternative/artist efforts . . such as ELSEWHERE, CINDERS, and even, artistswhodothings – including some grassroots JULY 4 patriotism !! – will hopefully lend a little more understanding, a little more context & depth to just what makes these 3 young artist/curators of 15 WARREN ST & now 170 SUFFOLK ST – so uniquely NYC, and that is, in a word: . . . gritty.
hardcore, art gritty.
with a real voice, and not – just an ‘aesthetic’ voice . . of their own.

trying to put it simply, it’s 10 years on now, from when the raw pictorial energy, and ‘new age’ life-force of CINDERS hit the Brooklyn scene, and blew up.
it’s a whole new ‘visual’ voice . . that speaks forth from – 15 WARREN and 170 SUFFOLK.

try this road map . . .
it’s as if the very open and free-form creative energy, future speak narrative of CINDERS went through the mid-decade shock transformation ‘new psychology’ and, graphic elements of PHILIPPE MAYAUX, and came back – in-your-face, NYC free style. and, s-e-r-i-o-u-s.
playful, but serious. not so much in your head, in your dreams, in your personal trip; as in . . your world, the place you have to wake up to everyday. eat breakfast, and go forward.

I think one part of the story is that 15 WARREN ST, and it’s soul sister 170 SUFFOLK – are produced by, and showcase work by local New York City kids, who grew up in NYC schools and streets. and one big part of their specific story – is that their formative years were impacted by 9-ll, which happened right before their very, 10-year old eyes.

another part of the equation is that from day one, in the their strollers and then as they walk the streets, on their on – – they inhabit and breathe in, a very very art-centric city. perhaps the mean streets make you grow up savvy, but irregardless, for sure all New York City kids dwell in a fantastically rich visual world. a mecca of cutting edge media & design, the streets of NYC – are suffused, if not saturated with, in a word: talent. from street tags, to corporate logos. Andre the Giant to COCA-COLA.
street artists and graphic designers, the masters of the universe – for sure.
they get to see a lot of ‘art’ proper too, in this city of multi museums with all their fluttering art-infused banners, and hi-def ads everywhere. kids in New York City know more about art, just from the vantage point of their strollers, and school trips, than you might imagine. just ask any transplanted young artist who comes here, from let’s say Santa Fe, following his art dreams. it’s the first thing they will tell you. how jealous they are of how art savvy the local kids are. even the ones that don’t consider themselves artists, that hang at the few bodegas that haven’t been gentrified, have an amazing eye. you know – they call it street style, and it bubbles up, big.

as for 9-11.
I don’t think anybody has done the definitive study yet, or even really really comprehended its impact, but New York City . . took a big hit with 9-11, and this generation, this group of artists, who were at the most, 10 or 11 at the time, that is . . just beginning to formulate / process the world around them – seem to have been impacted to a degree to which nobody has really addressed, or computed yet.

contrast this to CINDERS, whose 2 co-founders were transplanted New Yorkers, I know Kelie grew up in FLORIDA, I forget exactly where STO hails from – and who both no longer reside here, bye the way. They both came here more or less in their early twenties – and further, most of the Cinders artist roster come from beyond New York City as well. not that that’s a bad thing, the CINDERS culture and mind-set was a huge contribution to the city’s art scene – just saying by way of trying to bring the voices of the new decade – into sharper focus.

when you start to contrast the groups, it seems fairly obvious that while the creative rebels of CINDERS speak up against mass society & global degeneration as a whole, the pop-up shows of SEAN VEGEZZI, ANDREW KASS, and ABELINE COHEN . . are definitely more specifically NYC-centric, and still grappling with the 9-11 attack, and the consequent backlash.

in a word, their shows, 15 WARREN & 170 SUFFOLK are deeply reflective of the aggression and chaos of war – that tore up the very turf of their childhood – i.e. the ‘ashes’ of 9-11. encapsulated in a word, their art is more POLITICAL, often hyper-real, and leaning to the side of more ‘graphic’ – vs/as opposed to the alternative shamanistic & organic mind-set dream ‘visions’ that flowered around the ashes of the ‘old order’ – that CINDERS & crew stomped on . . so gloriously.

further, most of us were NOT 10 or 11 when the Twin Towers went down, we had other milestones that crafted our lives & cultural understandings, be it Woodstock or ANDY WARHOL. so we’re not quite on the same page. it’s a little jarring, and sad – to see where these kids are coming from, and how intense they are about things as basic as – urban security.

but, if like me – you are catching any of the JULY 4 history narratives on TV, specifically HISTORY CHANNEL – and it’s still not even noon – it’s amazing, it’s absolutely stunning . . to hear how the history books are being revised, with a harsh nod to 9-11.
hello, 15 WARREN & 170 SUFFOLK !!

summing up the American War of Independence . . this line is tossed about more frequently than you might imagine, and I don’t recall it being so overtly stressed – before.

to wit: “this 1770′s British naval invasion on New York City was the greatest attack to ever happen on American soil, and on the port of New York City . . . until 9-11.” !!

so put that into your red, white and blue . . crepe paper bunting, while you think back on when you went to school, and 9-11 was not in the picture, or the textbooks, let alone the national dialog . . on July 4th.


in the midst of the cookie cutter galleries that over-populate the Lower East Side and actually, deliberately ‘aspire’ to commercial white boxy-ness, a dirty little interloper, with true finesse – and very chic – in the real meaning of the word . . popped up like a 2 week blooming flower in a city yard full of year-long weeds.


170 SUFFOLK took a raw space and made art, like a master chef takes raw fish and makes .. sushi.


ha.
the decades-old letters on the street entrance said, ‘NO’ !!
all the better to say: YES !!


unlike 15 WARREN, this show was smaller, more formal, and more contained, in that things though still site-specific were more orderly, and almost grid-like in how the room was divided among the 13 artists.
repeat, almost.
though if anybody could make heads or tails of the artist accreditation ‘map’ print-out – all the power to them, because I sure couldn’t. but at least unlike 15 WARREN, 170 SUFFOLK did attempt to give names – to the artists behind the works.


it was a match-up made in heaven, the high ceilings and the exposed beams, the found ‘patina’, the deep rectangular viewing space. the works took on an awesome presence, that honed . . their inherent ‘presence of mind’.
translate as: content. in a magical space. win, win.
hardcore beauty.

and, yes that is . . natural light streaming from a skylight in the back.


and, yes that is a tiny American flag, embedded into a small rock, detail installation – by JACK SHANNON.
Happy July 4th !!

MORE PIX TO FOLLOW.

PHOTOS: NANCY SMITH



~Happy July 4th

from JERSEY CITY HEIGHTS. NEW JERSEY.
on the other side, of MANHATTAN. the HUDSON RIVER.
vs BROOKLYN. the EAST RIVER.

where ole school grass roots ‘creatives’, still . . get the LAST word !!


they took some ‘bunting’, and matched it up to their evergreen tree, and, voila a JULY 4th clown !!
sweet.
American ingenuity never fails.

PHOTOS: NANCY SMITH



~PHILIPPE MAYAUX . . NAILS it !!

WARNING: GRAPHIC CONTENT !!

switching gears, some great graphics, & content / thought / code . . from FRANCE.

from a website called: artistswhodothings

a beautiful, and emotive, informational graphics book by PHILIPPE MAYAUX.

this is the image that first caught my attention.

NEW PSYCHOLOGY, hurray !!


up in the clouds, hurray, hurray, and more hurray.
PHILIPPE MAYAUX . . nails it.


the book is called: ‘Le 4e Clou’ – or, ‘The Fourth Nail’.
metaphors abound, 4th dimension . . does spring to mind.
the 3rd wheel ?!! NOT !!
is this not – gorgeous, or what ?


that ‘nail’ is as slick, and cold as ice, while that orange border – is so warm and, well: ‘bio’ !!
hot and cold sensations – run through the mind . . . a race between thought ‘processing’, and pure visual – delight.
the reflective silver, always changing ‘tone’ . . the hand of the artist. ultra, and forever . . ‘creative’. thinking. measuring. building.
the opaque orange. constant. dense. the wheel of the world, the logic of the ‘organism’.
the ‘earth’/ the ‘ground’.
the ground rules / the code of ‘life’, in a visual . . nutshell.


PHILIPPE MAYAUX, ‘Le 4e Clou’, 2008.
publisher: editions Dilecta.
160 pages.
limited edition of 150, each signed and numbered by the artist.
there’s only ONE left, so – be my guest !!

for more info, see: PHILIPPE MAYAUX, ‘Le 4e Clou’

ps:

artistswhodothings . . . was created in NOV 2013 by LUCAS HEES and STEPHANIE BRIVOIS.

LUCAS is a writer, an art critic and director of Editions Enigmatiques (a publishing house dedicated to artist’s books).
STEPHANIE BRIVOIS is director of DERNIER AVERTISSEMENT (last warning) – an association of support for the artistic creation – and curator of the cycle of exhibits: ‘in bed with my artist’. (!!)
from: about/artistswhodothings

LAST WARNING ?
I like that, too.



~CINDERS CELEBRATES 10 YEARS . .

STO and KELIE . .

INVITE YOU TO CELEBRATE the 10 YEAR ANNIVERSARY of CINDERS, the once BROOKLYN-based exhibition space & book/zine store, and now nomadic, online-based whirly-ghirly of an alternative art ‘space’ . . they call CINDERS, with a huge huge group show.

CINDERS GALLERY PRESENTS – ‘DECADE of DECADUNCE’
THE OPENING RECEPTION WILL TAKE PLACE: THURSDAY JULY 10, 2014 / 7-10 PM
& WILL BE OPEN EVERYDAY 12-7 PM / WITH “LOTS OF EVENTS” HAPPENING THROUGHOUT THE MONTH.
DOISSER OUTPOST, SOUTH STREET SEAPORT
FULTON ST btwn FRONT & SOUTH ST, LOWER MANHATTAN

talking bout . . DOSSIER OUTPOST,
can’t believe I missed that INDIGO DYEING WORKSHOP !!

but back to CINDERS:
for the artist line-up so far, see: CINDERS CELEBRATES 10 YEARS
also check out: CINDERS GALLERY

ok, if I had a knife pressed up against my throat and had to pick 2 artists, whose work I would really want to see, that would be: BRIAN CHIPPENDALE and JUNGIL HONG.
ok, make that 4. add ALLYSON MELLBERG . . & JEREMY TAYLOR.
Look for RON REGE JR to be in the show as well. and KEVIN HOOYMAN.
the list is really . . unstoppable.

SOME PIX from the ARTLOVERS ARCHIVE . . .

‘EARLY WORM GETS THE BIRD’, with BRIAN CHIPPENDALE, JUNGIL HONG & KEVIN HOOYMAN
the show ran NOV 16 – DEC 30, 2007.
CINDERS, when it was at . . 103 HAVEMEYER ST – in WILLIAMSBURG, BROOKLYN.


BRIAN CHIPPENDALE, collage painting.


BRIAN CHIPPENDALE, with his work behind him – at the opening.


JUNGIL HONG, painting.


KELIE BOWMAN, left, with JUNGIL HONG at the opening.


KEVIN HOOYMAN, detail, drawing.


KEVIN HOOYMAN at the opening.

& FROM:

‘AN UNEARTHLY CHILD’ – new works by ALLYSON MELLBERG.
SEPT 10 – OCT 10, 2010.
CINDERS – 103 HAVEMEYER, WILLIAMSBURG, BROOKLYN.


ALLYSON MELLBERG.
ALLYSON uses home-made pigments, made from walnuts and such.


ALLYSON MELLBERG, detail, ‘Compulsive Consumption’.


ALLYSON MELLBERG, and STO – at the opening.

ALL PHOTOS: NANCY SMITH, except for the ‘DECADE of DECADUNCE’ card at the top.



~RON REGE JR vs JEFF KOONS ?!!


RON REGE JR via CINDERS

thought it might restore some fun, and order . . in the universe, to put RON REGE on the art media map in the same breath as the big JEFF KOONS WHITNEY RETROSPECTIVE.
scroll down that page to see images from the exhibit.
just btw, I did see the original exhibit . . . of the early suspended basketballs, at one-time k-e-y hot spot: INTERNATIONAL WITH MONUMENT, which has apparently been resurrected on facebook. the place was a very big deal in its time. it totally switched up the ‘gears’ on the East Village art scene of the mid 80s. I clearly remember being . . stunned.
and quelle mystified.


JEFF KOONS, ‘Made in Heaven’, 1989. lithograph on paper on canvas.
125 x 272 in. Rudolf & Ute Scharpff Collection. copyright Jeff Koons via WHITNEY

and, I did see the original ‘Made in Heaven’ show at Sonnabend, cusp of the 1990s. it was one of the most glorious, shocking, vulnerable, and in-your-face ‘things’ I had ever encountered. although no explicit image from the show is on the family-friendly Whitney website, I’m thinking from the the press statements, there are parental warnings, that there might be some in this retrospective, which makes it a must-see.

KOONS sort of fell from grace after that show. the only reason being that the usual suspect New York City art critics always miss – the top 1%.
by 2002, when I started working at artnet (2002-2004), he was sort of a dead fish in a stagnant pond, but I managed to contribute to his re-boot, by being his biggest fan on . . artnet.
then when things got super hot for him, again, par for the course, I lost interest.
to my way of thinking, things had gotten mundane. played-out. and that was 30 years ago already !!
cutting edge, NOT.


JEFF KOONS with legendary art dealer ILEANA SONNABEND, at one of his many openings at her gallery, this being the gallery in Chelsea, NYC. NOV 9, 2002
PHOTO & COPYRIGHT: NANCY SMITH


JEFF KOONS opens ‘POPEYE’ at SONNABEND, NYC. NOV 8, 2003.
PHOTO & COPYRIGHT: NANCY SMITH

and, so in true contrarian underground style, I bring you: RON REGE JR.

check out: CINDERS INTERVIEWS RON REGE JR, JUNE 2014 !!


RON REGE JR, ‘THE CARTOON UTOPIA’, via CINDERS

P.S. did somebody take some go west !! . . shrooms, peyote, or what ?
maybe it was just a . . hike in the mountains at sunset ?
I mean, compare this archival photo of RON from 2009 (below) – to the full-on psychedelic RON REGE JR, today !! – on that Cinders interview link !!
omg lordy !!


RON REGE JR in 2009, at the very first BROOKLYN COMICS & GRAPHICS FESTIVAL, NYC DEC 5, 2009.
PHOTO & COPYRIGHT: NANCY SMITH

yep, check out: the original RON REGE JR 2009 post !!

damn, if it’s not . . PARALLEL UNIVERSES.

RON REGE . . morphs from ‘straight man’ – to ‘magician’ uber-man !!
while JEFF KOONS . . morphed from ‘porn star’ to family man with a gazillion kids.


RON REGE JR, “MAGIC IS NEITHER WHITE NOR BLACK, FOR NATURE HAS NO MASTER”.
image via artlovers NOV 2009
*magic = science.
*and further, life on this worldly plane = ghosts.
yeah. go back and hit that: link



~CINDERS . . goes BUSHWICK ART BOOK & ZINE FAIR

CLOSER TO HOME . . our friends

from CINDERS will be at the . .

2nd ANNUAL BUSHWICK ART BOOK & ZINE FAIR

this weekend, JUNE 20 – 22, 2014

with BBQ by MILES AWAY

BEER provided by PBR/PABST BLUE RIBBON

for: more info !!

SIGNAL – 260 JOHNSON AVE, BROOKLYN.



~ELSEWHERE . . goes 9/50


MELISSA VANDENBERG and PAUL HOWE stage a trial of ‘Sew to Speak’, Summer 2013, Elsewhere Storefront Theater.
image via ELSEWHERE P.R.

ELSEWHERE . . is an artist-run, non-profit contemporary art organization, set in a former thrift store in downtown Greensboro, NC / North Carolina.
Utilizing the massive 58-year inventory, Elsewhere’s environment of art and everyday objects invokes new models for creative response, living, doing, and exchanging in our downtown neighborhood and across the world.

SO, a team of curators from Elsewhere will be presenting at the ATLANTA CONTEMPORARY ART CENTER’S - 9/50 SOUTHEAST PRESENTERS SUMMIT – this weekend.

according to the press release:

This year’s 9/50 Summit was organized by the Atlanta Contemporary Art Center, Seed Space and Elsewhere.
… the organizers, the summit exists as an “attempt to bring Southeastern nonprofit and independent contemporary art presenters and publishers together under one roof to showcase rigor, excellence, ambition, and uniqueness in their local context.” Eighteen organizations from the nine represented southeastern states will be presenting, as well as keynote presenter BARRY BLINDERMAN from the Illinois State University College of Fine Arts.”

hello – BARRY !!
anybody who was on the Lower East Side / Downtown NYC art scene of the early 80s – knows Barry.
why am I not surprised to see his name – popping up here !!

SO, Elsewhere’s exhibit will present its Southern Constellations fellowship program. Now entering its second year, Southern Constellations is a National Endowment for the Arts funded initiative that builds an expanded network of experimental, interdisciplinary art practices to support collaboration across the region.

PRESENTATIONS . . at the ACAC are FREE and OPEN TO THE PUBLIC.
this event is happening this weekend:
SAT JUNE 21, 2014/11am-5pm and SUN JUNE 22, 2014/12pm-5pm
at the ATLANTA CONTEMPORARY ART CENTER in ATLANTA, GA / GEORGIA

ELSEWHERE . . will host performances by Atlanta musicians ERIC FONTAINE and MAJID ARIAM of graphic scores – created by Alabama based composer and musician ANDREW RAFFO DEWAR, who was a Southern Constellations Fellow in 2013.

for sure, check out: the tumblr roll !!

3 of my fave posts: then, and . . NOW !!


presentation by the . . . OHR-O’KEEFE MUSEUM OF ART


focusing on the incomparable ceramics .. of the wild & truly genius – ‘mad potter of Biloxi’, Mississippi – GEORGE OHR !!


hello, GREEN GATES !!



~PAUL BRANCA, TAKAO ONO, KIMBER SMITH & FRANKO SOPRANO . . CLOSING PARTY / TO-NITE FRI JUNE 20

MORTADELLA, LAMBRUSCO . . & A FEW ‘CLASSIC’ BEAUTIES, i.e. PAINTINGS !! . . at LONGHOUSE PROJECTS, LOWER WEST SIDE, MANHATTAN.

LONGHOUSE PROJECTS INVITES YOU TO THE CLOSING RECEPTION for:

PAUL BRANCA . . ‘Commedia (Nut Delight)’
FRI, JUNE 20, 2014 / 6-8 PM

Meats from Di Palo’s will be sliced & served by . . FRANKO SOPRANO

PAUL BRANCA’S ‘Commedia (Nut Delight)’, TAKAO ONO’S ‘Summertime Fragment’, and paintings by KIMBER SMITH will be on view thru SAT JUNE 21, 2014.

LONGHOUSE PROJECTS
– 285 SPRING ST. just west of HUDSON – WEST SIDE, NYC


PAUL BRANCA, LONGHOUSE PROJECTS


PAUL BRANCA, LONGHOUSE PROJECTS


TAKAO ONO, LONGHOUSE PROJECTS


TAKAO ONO, LONGHOUSE PROJECTS


TAKAO ONO, LONGHOUSE PROJECTS


KIMBER SMITH, LONGHOUSE PROJECTS

more: about the show & artists



~170 SUFFOLK ST – OPENS SAT – DON’T BLINK !!

don’t blink – & – BIG PAR-TAY, for sure.

170 SUFFOLK ST – OPENING PARTY – SAT MAY 31, 2014 / 7 – 10 PM
the show runs for only 5 days / thru THURS JUNE 5, 2014
HRS: SAT MAY 31 – THURS JUNE 5 / 12 PM – 6 PM
170 SUFFOLK ST, NEW YORK, NY – LOWER EAST SIDE

CURATED BY THE 3 PERSON CREW BEHIND . . . the fab NEW YEAR’S EVE 2014 / 15 WARREN ST:
SEAN VEGEZZI, ABELINE COHEN & ANDREW KASS.

guess this is the SUMMER’S EVE 2014 EDITION !! featuring work by:
KEEFE BUTLER, SEAN VEGEZZI, MATT JACKSON, JACK IRVING, JACK SHANNON, MERCER TULIS, ABELINE COHEN, ANDREW KASS, ALEC MARTIN, SPENCER TULIS, LORENZO BUENO, TOMMY MALEKOFF, and CODY RANALDO,

bound to be a . . BLAST.



~’IT’S AN INVASION’ . . GHOSTLY !!

‘IT’S AN INVASION’
APRIL 29 – MAY 10, 2014
CURATED BY JOSH HUBBARD, KELSEY BENNETT and LELE SAVERI
PHILLIP SPRADLEY, PROGRAM DIRECTOR
NATIONAL ARTS CLUB

EXHIBITION PIX – PART IV

GHOSTLY . . .


LUCK YOU COLLECTIVE, MASKS BY LUCK YOU, VARIOUS.
(Price upon request)


LUCK YOU COLLECTIVE, MASKS BY LUCK YOU, VARIOUS.
(Price upon request)


LUCK YOU COLLECTIVE, MASKS BY LUCK YOU, VARIOUS.
(Price upon request)


DAN SANTORO, ‘Hunter’, 2014.
acrylic and pencil, 16.25 x 24.25 in.
($1,000)


ABEL MACIAS, ‘So Real’, 2013.
charcoal, gouache, book cover. 12 x 13 in.
($2,000)


ABEL MACIAS, ‘Fast and Painless’, 2013.
charcoal, ink, book. 13 x 10 in.
($1,800)


ABEL MACIAS, ‘Telepathy’, 2013.
charcoal, acrylic, book. 13 x 10 in.
($1,800)


SEAN MAUNG, ‘Uptown Couple’, 2010.
C-print. 8 x 10 in.
($150)


SEAN MAUNG, ‘Gates Avenue’, 2013.
C-print, 8 x 10 in.
($150)


MERYL SMITH, ‘(Sculpture) Untitled’. 2014.
wire, mesh screen, paper mache, synthetic fur.
($5,000)


ADAM ROSSITER, ‘Weapons’, 2014.
Lenticular. 35.5 x 23.5 in.
($3,200)


ADAM ROSSITER, ‘Weapons’, 2014 – seen from a different angle.


ASGER CARLSEN, ‘Untitled’, 2010.
pigment print. 40 x 32 cm.
($1,900 edition 2/5)


ANDREW SUTHERLAND, ‘Hourglass (1)’, 2013-2014.
archival ink jet print in artist frame. 41 x 31 in.
(Price upon request)


PETER SUTHERLAND, ‘Gimme the Ice Scraper’, 2007.
mounted archival inkjet print in frame. 20 x 24 in.
$1,500)


CHERYL DUNN, ‘I Probably Don’t Fucking Like You’, 2010.
Raw print. 20 x 30 in.
($1,400 edition of 5-1AP)


CHERYL DUNN, ‘Paddy Cake in the Bronx’, 2013.
Raw print. 20 x 30 in.
($1,400 edition of 5-1AP)


THOM STEVENSON, ‘Monsters are Real’, 2011.
acrylic, china marker, gouache, xerography on paper. 8.5 x 11 in.
($1,100)


THOM STEVENSON, ‘Anatomical Study of a Failed Marriage’, 2011.
acrylic, china marker, gouache, xerography on paper. 8.5 x 11 in.
($1,100)


PRISCILLA JEONG, ‘Did My Soap Expire Yesterday’, 2014.
mixed media. 3 ft. 8 in. x 14 in.
($2,500)

ghosts, don’t need . . no words.

PHOTOS: NANCY SMITH