~R.I.P. D.I.Y. / D.B.A.

RIP DBA / DEATH BY AUDIO – DEATH BY ART


along one wall ran a big selection of archival photos from the storied DEATH BY AUDIO . . nights.
a rip-paced history . . through their various venues, and stagings.
it was called: R.I.P. D.I.Y.
D.I.Y. FOREVER. amen.
because the place was surely . . a-r-o-c-k-i-n’.


APACHE BEAT, GLASSLANDS GALLERY – photo by JACKIE ROMAN.


CHAT LOGS, DEATH BY AUDIO – photo by WALTER WLODARCZYK


JEFF The Brotherhood, 285 Kent – photo by KEITH MARLOWE


EDAN WILBER, 285 KENT – photo by KEITH MARLOWE

EDAN WILBER and MATT CONBOY ran the DBA events – (underground) music and art.

read more about DBA: DEATH BY AUDIO


MATT CONBOY had a video installation in the DEATH By ART show – a drum battle royale . .


archival footage of an apparently epic battle of the drums . . GREG SAUNIER of DEERHOOF vs BRIAN CHIPPENDALE of LIGHTNING BOLT.


GREG SAUNIER . . video by MATT CONBOY

I bet that DBA Conboy has a ton of video gold – stored away, talk about . . D.I.Y. !!

just thinking, maybe that’s one of the layers of ‘inspiration’ behind those gold ‘viruses’ that crept in all over the place, more like cubic ‘smoke’. than anything else, or anything evil. contagious, or hacked.
kind of ‘static’ but moving, as in moving in all over the place – wide open, as in ‘variable’ – site specific – art ‘music’ . . by SMHOAK, whoever you are . .
can’t keep thinking about them. such a far-out multi-layered concept.


BRIAN CHIPPENDALE . .


GREG SAUNIER . .


GREG SAUNIER . .


BRIAN CHIPPENDALE – CHIPPENDALE is also very well known & respected, and indeed with great awe . . on the underground art scene for the blow-apart alternative world art works, mostly silkscreen prints and collages, and his epic narrative ‘comic books’ . . which he has shown in NYC – at CINDERS, including that flat-out feverish warning in crayon colors, of a society in meltdown . . that was shown this past summer at the big Cinders 10th Anniversary group show at the seaport, just before all hell broke loose: the three E’s . . . ebola, environmental entropy, and . . extremist militants slicing their way, in an ironic – well: tragic and sick, as in sad / twist on D.I.Y. – one journalist at a time . . onto the global game board.

D.I.Y.

rockers vs fascists, the ultimate showdown. long live the rockers.
death by art . . f-o-r-e-v-e-r.

PHOTOS: NANCY SMITH



~DEATH BY KUSZYK, UPHUES, SMHOAK & SPURLOCK . .

RIP DEATH BY AUDIO – DEATH BY ART / DBA
A GROUP EXHIBIT CURATED BY MARK KLEBACK & JOE AHEARN
NOV 6-22, 2014
49 SOUTH 2nd St, BROOKLYN


DBA


‘FUCK YOU SHANE’ – NICK KUSZYK


detail, ‘FUCK YOU SHANE’ . . NICK KUSZYK aka R ROBOT


CHRIS UPHUES . .


CHRIS UPHUES . .


CHRIS UPHUES . . DBA MAN
note: it’s raining gold cubes.
metaphors . . abound.
love . . their scale – so ‘nano-like’.
love how they switch out from dark to light. so smoke-like. for cubes !!
dba viruses by SMHOAK.


CHRIS UPHUES . . DBA GRAPHIC


CHRIS UPHUES . . DBA GRAPHIC


CHRIS UPHUES . .
oh oh – note the left hand side – ‘virus’ creeping in.


dba ceiling virus by SMHOAK.
smhoak viruses started showing up . . everywhere, in other places when you least expected it.
very very .. very. good. intense. strange. industrial, dynamic. counter-intuitive . . the gold sheen really made the game plan . . take off.
smoke signal gone industrial. from ‘puff’ to ‘cube’.


MATT CONBOY of DEATH BY AUDIO – has the SMHOAK virus over his shoulder . .


PRESTON SPURLOCK . .


cryin’ baby eyes !!


WAH – WAH.

RIP DBA.

PHOTOS: NANCY SMITH. NOV 8, 2014



~DEATH BY . . VICE ?

RIP DEATH BY AUDIO – DEATH BY ART
A GROUP EXHIBIT – DBA
CO-CURATED BY – MARK KLEBACK and JOE AHEARN
NOV 6-22, 2014.
49 SOUTH 2ND STREET, BROOKLYN.

I saw all the buzz about the big VICE party.
all I can say is . . gentrification is a snake that eats its tail.

first come the hardcore artists, and then the hyper-marketed ‘hipsters’ take over, and the rents go sky-high. hopefully the artists, and musicians move on, to tell another tale, and bring another forgotten, and neglected neighborhood to life.

so, yes . . time to post the pix of:

DEATH BY ART – the last hurrah / closing party exhibition put on by DEATH BY AUDIO . . which lost it’s space to VICE – which bought up the whole entire block.


it’s a sad scene when a hardcore space . . that screamed raw life and talent . . goes under the never-ending real estate knife.


even the trash on the outside said . . wild life and wild days moving on, money moving in.


if mailboxes could speak . .

I was thinking . . VICE should have built their new corporate headquarters around DEATH BY AUDIO, and left it as is – as a little chapel to real artistic freedom, but who am I.


but seems nobody else had the vision . .


or desire. and in come the celebs and out go the hardcore artists, meaning of course obviously the musicians and the gear geeks, too. etc. etc.
damn. we want their money, but we don’t want them. it’s a hard thing to figure out, look at Miami Basel.


so, DEATH BY AUDIO – STAY SALTY . . is all I can say.


death to art by vice, greed . . pumped up ‘style’. pumped up ‘cool’. savvy packaging, dumb-ed down content, whatever. a kind of pseudo jargon ? of the street, but I never really felt it was cutting edge.
it’s just the way of the world. when the masses collide, authenticity and originality . . take a dive.


the deathly dark doorway in, was . . fab.


a road map to DEATH BY ART, presented by RIP DEATH BY AUDIO. DEATH BY VICE.
taken done by VICE, how sweet, not. surprised, not.
maybe somethings are just meant to have life, take on a spark in the moment. some of the best things – they are not meant to last forever. their profoundness in fact, often comes from their very fleeting, and therefore very free . . nature.
but still, people were feeling it. were feeling . . dark.
were feeling . . loss.

the road map to the show was printed on newsprint, printed in black and handed out for free. it is actually a pretty nice piece all on its own. an archival artifact, a graphic design with ‘soul’, I guess the word is: character.
a defining Brooklyn . . moment, that’s for sure. it had a very solemn ‘cast’.


inside it was dark, too.
with an amazing hardcore ‘industrial’ light fixture – by SEAN MCINTYRE hanging in the immediate entryway.
now, that’s . . cutting edge.


a programmed ‘gamelan’ – by AARON TAYLOR KUFFNER stood in the small foyer.
all the while it was pitch dark, and so this is a photo – illuminated by flash, sometimes you just have to be there. it was eerie, and gothic. cathedral-like . on the underground scale of things.

it was really a statement, an experience . . to walk past the dark decline on the street, into the small dark entry with a very beautiful artist-made light fixture overhead, casting a pale glow, and an artist-made gamelan, moving gongs and all, playing all by itself, no people. it was definitely art, music, and ‘machinery’ . . invention. inquiry. statement. purpose. poetry.


the ancient percussive instruments . . played by themselves.


all you had to do was choose a button and press it, to set them in motion.


all I can say is: S-K-I-L-L-S.
damn. if skills, isn’t one letter away from . . KILLS.


there was a real sense of history, as well.
these instruments seemed quite old and authentic . .
pots and pans and . . the origins of music. did come to mind.
and, well . . male / female – as well.


not to forget the big gong at top.


the digital presence was divined by the small glow of blinking ‘machinery’ lights behind, like I said it was dark, and the sense was really of exquisite surround sound, no people. lots of history, lots of art – entrancement, is all I can think of.


MARK KLEBACK . . co-curator DEATH BY ART.


his website: KLEEBTRONICS

here’s a few images, just the tip of the iceberg.
Kleback – is apparently some kind of central . . hub to the scene.
cog. gear . .


ZORB – image: KLEEBTRONICS


MOSHMURAL – image: KLEEBTRONICS

THAT SHOULD KEEP YOU BUSY, for awhile.
more pix of the ‘DEATH BY AUDIO – DEATH BY ART’ show . . posting shortly.

PHOTOS: NANCY SMITH – unless otherwise noted.
PHOTOS TAKEN ON SAT EVENING – NOV 8, 2014



~LUKE MURPHY . . at CANADA at NADA

wow. I didn’t realize til just now, that CANADA . . and NADA rhyme.
there has to be something to that, no ?

at any rate, the other artist to watch out for during MIAMI ART FAIR WEEK 2014, is also at NADA . .

the amazing LUKE MURPHY, who is kind of a poster child for the explosion of mental creativity that happens when deep thoughts, about the universe and ‘being’ . . of course (!!) hit hardcore hands-on . . digital knowledge.

I’ve been fascinated by Luke’s work ever since I happened upon his early solo show ‘Slope Of Anxiety’ in 2001 at the very earliest CANADA gallery venue, when it was located, in the aftermath of Pseudo’s ‘Quiet’ – in the basement of that grimy storefront building on Broadway, deep downtown . . where we had staged that blow-out million dollar Millennium Party, WE LIVE IN PUBLIC . . and I was collecting the rent for Josh.

looking back, that seems so apt, so auspicious . . so meaningful, so MAGIC, so TRUTHFUL, so RANDOM !!
so how the Universe – works.
to stumble across LUKE – like that . . in the ashes of that . . huge, futuristic, 99+ artist, wired, early social network grid of a creative art party / blow-out.

LUKE was like the single ‘seed’ of the future, peeking it’s head out – from the burned-out chaos.

it’s hard to define the realms that LUKE MURPHY traverses, except that the interactive ‘random’ animation – that appears as an ongoing ‘banner’ at the top of this page, pretty much . . says it all.
we don’t live in a ‘solid state’ . . in any more !!
and everyone is . . connected.

LUKE will be showing 3 (very different) digital projections at the CANADA, NADA MIAMI BOOTH 2014 . .
he writes that they are “about drawing, suspended potential, and trying to recognize truth, i.e. pretty lines and colors on a small screen.”
!! x !! x !!


LUKE MURPHY, ‘Watching Potential’, 2014


LUKE MURPHY, ‘KuniyoshiX Genz’, 2014


LUKE MURPHY, ‘Test Patterns’, 2014

you can actually, watch ‘Test Patterns’ on his website: ‘Test Patterns’/Works

it’s not just the color intervals, and how that ‘adds’ up to: BLACK, and . . the ‘VOID’ – but it’s also about the speeds at which ‘events’ happen, and with Luke that means randomness, and ‘generated’ numbers.

the other super interesting piece on that WORKS PAGE, is . . ‘Bad Eye Good Eye’. not only . . as an animation, and that it . . steps into real world ‘bio’ human imagery, but also because – it serves as an example of Luke’s . . dark side !!
!! x !! x !!

watch: LUKE MURPHY, ‘Good Eye, Bad Eye’.

so what I mean, is Luke also moves, image-wise – between the totally abstract, and the real (human) world.
in this universe, it’s all inter-connected – particles, patterns and . . humans. birth and decay, repeat.
oh yeah, I forgot: reproduce – i.e. pattern.
birth, reproduce, decay.

you can wander around in his multi-faceted world for yourself: LUKE MURPHY/LUKELAB

but maybe, the text in the ‘Happy Sad Bones’ project . . will help shed some light ?

and yes, that little green glass frog . . emits radioactive signals, which is picked up by the microphone, which in turn generates the ‘random’ numbers. of the digital animations.
that little frog is actually a piece of vintage, so-called ‘vaseline’ or uranium glass . . !!

it’s part of the . . RANDOMNESS – section


LUKE MURPHY . . in his Harlem studio, NYC. SEPT 1, 2014
PHOTO: NANCY SMITH

LUKE MURPHY – artist, magician, code developer, pattern animator, randomness-maker, philosopher . . !! x !! x !!
all I know is . . this is a guy who lives 9 lives, and if half of them are SECRET, the others are surely: ‘half life’ – as in . . the ‘longevity of radioactive particles’.

in other words:
in the huge world of ‘art’ today, witness this Miami Art Fair week – LUKE MURPHY is a one-of-a-kind, in other words: he is a . . singularity.

so check out, Luke’s . . ‘projections’ at the CANADA / NADA MIAMI 2014 BOOTH.



~BARRY McGEE x BEATS . . at NADA

super fun !!
totally love it.

NADA just announced a ‘partnership’ with Beats by Dr. Dre for Miami Beach 2014.

Beats by Dr. Dre will be presenting a Beats x Barry McGee Special Edition Pill !!!!!

available for purchase in a special booth located in the lobby of NADA MIAMI BEACH . . .
The Deauville Beach Resort
6701 Collins Ave, Miami.

and . . BARRY McGEE will actually show up to sign his Beats Pill on: FRI, DEC 5 / 1 – 3 PM !!!!

so heads up !!

look at it, so cute !!
so . . bad.
so, Barry !!!



~ERIK DEN BREEJEN . . paints AHMET ERTEGUN MURAL

ERIK DEN BREEJEN PAINTS . . a wall-size, 2 floors in height, acrylic mural portrait. in his singular op-art, color-field ‘text’ brick-block style, of the legendary founder of ATLANTIC RECORDS . . . AHMET ERTEGUN, for their newly designed, Atlantic Records headquarters, in midtown Manhattan.


ERIK DEN BREEJEN beside his 2 story tall, very life-like mural of Atlantic records founder, and music industry legend: AHMET ERTEGUN.
just as AHMET ERTEGUN was larger than life, so this mural is larger than life. skillful, playful. hyper-real, hyper-narrative, hyper-lyrical, hyper-abstract – the total dynamic . . is a tour de force.
no doubt about it.
ERIK DEN BREEJEN: rock and roll !!


this high-lighted, i.e. larger ‘block’ – boldly states the simple, but powerful motto behind the man, and his success throughout the years:

“WE STARTED ATLANTIC SIMPLY BECAUSE WE WANTED TO SIGN A FEW ARTISTS WHOSE MUSIC WE LIKED AND MAKE THE KIND OF RECORDS THAT WE WOULD WANT TO BUY.”


otherwise the mostly uniform horizontal ‘lines’ are composed of hand-lettered ‘word-blocks’, or ‘bricks’ that convey the narrative, and also form the dominant infrastructure of the whole. in this case – the words running through those brickwork lines – are composed of . . one line of the actual lyrics, and the chorus of about 100 of Ahmet Ertegun’s and Atlantic’s biggest hits.
the songs are arranged in alphabetical order by artist.
as in all of Erik’s recent color-field, ode-to-music paintings, the words themselves play more as building ‘blocks’ of color, quietly lying amongst the dynamic rumble of the background, and only jumping forth upon closer, more focused inspection, or as in this case . . when a well-known phrase, really does . . jump out at ya.
“SITTING ON THE DOCK OF THE BAY” – OTIS REDDING !!


“WATCHING THE TIDE ROLL AWAY”.


“A LION SLEEPS IN THE MIGHTY JUNGLE, TONIGHT”.
something, like that.


this is Erik Den Breejen in top form. and he’s not fooling around with purist concepts, with a capital C anymore, or as much. the color-field ‘building’ text blocks are still there, but when he gets to the subject, the portrait – they are carefully hued for clarity, and depth – as much as for overall pictorial resonance. this portrait rings clear as a bell, it is very, in fact not only hyper-real,as in photographic – but it also astonishingly . . conveys great emotion, great depth of character.
and in that sense, this ‘commissioned’ mural differs from his most recent past solo show where the faces in the paintings – only coalesce into familiarity, under the compression of a camera lens. so in effect you really have to see them firsthand, otherwise you are seeing them compressed through a lens. very hard to explain in words, sometimes you really do need to ‘witness’ painting firsthand, in the flesh, on the wall.


it is a beautiful, and skilled rendering . . perfectly aligned, perfectly brought to totality.
Erik emphasized to me, that this “was NOT A PROJECTION.” it is all hand-drawn, in simple graphite pencil at first, then hand-painted in acrylic, with the color ‘charting’ being key to both the high contrast dynamics of the fluctuating op-art ‘background’, and the realistic ‘depth’ and 3-D shadowing, or contouring, of the central photographic portrait.

the mural, measuring 20 x 23 feet, is painted directly on a wall that spans two floors of a custom-made stairwell, carved out between 2 mid-height floors, in a huge modern midtown skyscraper.

the project was conceived by GENSLER, ‘an integrated architecture, design, planning and consulting’ firm whose motto, according to their website – is: “Leveraging the power of design to create a better world.”
I’ll say, right on !!


apparently one of the GENSLER architects saw Erik’s ‘DAVID BOWIE’ mural, on the side of the RAG & BONE at the corner of Elizabeth and Houston, on the Lower East Side last year, and set the ball – in motion.
that’s so . . New York !! you just never . . know.
who will see your work.
and . . where it will go.

this is a view of the mural from the top of the staircase – beautiful, and intense. sophisticated, musical, what more can one say – it all came together so well: concept, design, production. it’s a wonderful ode to the – man, AHMET ERTEGUN, because as we all know, if America has a heart, and it does – it beats to . . music !!

ps: a little hard to see, but check out that small bit of ‘hardware’ on the railing, near that black pillar – close to the right hand side.


yeah, it’s . . a go pro camera capturing the whole project’s unfolding, in fast forward.
so I guess even my brief visit . . is part of the digital – record !!


looking down at the nearly complete, but still unfinished work, from the top of the stairwell.
Erik started the project on Oct 6, 2014 – but it was totally cool to visit, and document it when I did, in early November 2014, when it was almost complete. that way I could get to access the true breath and gist of the finished mural, but also . . still be in place to catch some of the behind-the-scenes production . . also known as . . the action !!


shades of RED !!
little cups of carefully mixed, hand-blended acrylic paint still perched on the stairs.
to my way of thinking, above all – Erik Den Breejen is a color-field painter.
hue. tonality, contrast . . is everything.
or at least the backbone, the engine that does all the heavy lifting.
while the actual words, the song lyrics – are the deeper . . soul and spirit.


‘charting’ . . the right shade of red . . for different areas.
it’s called: skills.


work still-in-progress, at the very bottom of the wall . .
everything is hand-drawn out at first, the block outlines, and their text font/characters – with pencil. it’s a form of ‘primitive’ block calligraphy that is characteristic of Erik’s natural hand, then the letters and backgrounds are carefully painted, colored-in with carefully charted . . hues. maximized for effect, and in the subject’s face . . for 3-D depth, and clarity of expression. and, no doubt about it, that face does have an amazing . . emotion.
it’s a . . showstopper.


“TRY A LITTLE TENDERNESS”.

the fact that the word ‘bricks’ recall actual songs, just gives the whole piece a real ‘depth’, a real ‘soul’, in fact, an actual pictorial record, a code.
a written history of achievement . . which visually matches, the depth and vision – of the subject himself, Ahmet Ertegun.

a real love of music imbues the piece, from the painter’s point of view as well, as it does all of Erik’s work.
look it up.


‘scale’ also plays an important part in this mural, that’s that founder’s motto, “WE STARTED ATLANTIC RECORDS . . .” a kind of a musical/visual interplay, for sure. art and music – so hard to define in words, but esp when they come face-to-face, a real ‘beauty’ reigns. like a 5th dimension.


ERIK DEN BREEJEN, taking me down the stairs, to see the more unfinished parcel of the mural.


at work on the lower level, it’s all hand-done, from start to finish.


first he pencils in the outlines of the block letter ‘calligraphy’. all caps !!
this more or less, grid charted, but free-form hand-lettering, also provided some fluidity, helped . . in fitting together the words – as they meet edges of the wall, or shaded-in the planes of the face.


“WANNA A WHOLE LOT OF LOVE” – !!

you can just make out the raw . . pencil marks, going forward – as yet, un-painted.


ERIK DEN BREEJEN . . PAINTS AHMET ERTEGUN. ATLANTIC RECORDS, NYC HEADQUARTERS, FALL 2014.

PHOTOS: NANCY SMITH. NOV 7, 2014

ps: for some interesting background . .

read: about Erik’s ‘DAVID BOWIE’ mural at RAG & BONE, KATYA KAZAKINA, BLOOMBERG NEWS.

where it is noted, in a currently – very timely (!!) fashion, that:
“in DEC, (that would be 2012), den Brejeen’s solo booth at UNTITLED Art Fair in Miami sold out during Art Basel Miami Beach with prices ranging from $7,000 to $20,000, according to NICK LAWRENCE, owner of FREIGHT+VOLUME which represents the artist.”

see: ERIK DEN BREEJEN artist page & other images – on the FREIGHT+VOLUME gallery website.



~JIM MANGAN . . KEN BLOCK ‘BLAST’ BOOK SIGNING

JIM MANGAN . .’BLAST’, a photographic ‘picture’ book collaboration with KEN BLOCK.
DASHWOOD BOOKS, PUBLISHER
the book signing took place last WED EVENING – NOV 19, 2014.
there is an exhibition of photos from the book – running at the gallery,
NOV 19, 2014 – JAN 15, 2015.
205-A, 205 AVE A – EAST VILLAGE, NYC


photographer JIM MANGAN . .

make that, hyper photographer . . JIM MANGAN


driver KEN BLOCK . .

make that, dare devil driver . . KEN BLOCK.


DAVID STRETTELL of DASHWOOD BOOKS.
he says, Dashwood is his . . middle name (!!).


co-founder of AVE-A, photographer AARON STERN


though usually worth a 1,000 words, photographs cannot convey the beauty of the book. it was made to be handled, the proportions are just right. large in plane, but not too heavy, easy to handle, beautiful paper stock, superb reproductions, great rhythm to the turning pages . . . an absolute exquisite cover. simple, but functional graphics rise to the state of an art form.


from . . ‘BLAST’.
damn, am I the only one to seek refuge in this need-for-speed winter ?
the 2014 FALL season on the underground art railroad was such a rush, from ‘PAT’S PIGEONS’, through JOHAN KUGELBERG’S ‘DEATH BY EBAY BOWLING’, the huge heat blast of SATAN CERAMICS, under the rebel leadership of miniaturist – JJ PEET.
the rushing ‘Utah desert’ of JIM MANGAN + PETER SUTHERLAND’S ‘FLASH FLOOD’ at MUDDGUTS . .
not to forget ANDREW GUENTHER . . holding up as the lone, but blazing mind-twister traditionalist i.e. – the guy paints, albeit thought-forms (!!) . . on canvas.


from ‘BLAST’.


large scale photos line the small storefront gallery, JIM MANGAN took the photos from a helicopter, as driver KEN BLOCK kicked up a storm, and tore doughnuts . . into the earth.
JIM MANGAN, ‘Untitled #10′, 2014. edition of 2, 24 x 16 in.
($1,200)


JIM MANGAN, ‘Untitled #13′, 2014. edition of 1, 50 x 34 in.
($3,500)


detail, JIM MANGAN, ‘Untitled #13′.


JIM MANGAN, ‘Untitled #14′, 2014. 36 x 24 in. editon of 2.
($2,000)


detail, JIM MANGAN, ‘Untitled #14′.


speaking of which, PATRICK McCARTHY aka the Bushwick Pigeoneer showed up just as we were leaving. I could talk to this kid forever . . he always has a take, and he always is ahead of the game.
his clay work at SATAN CERAMICS not only held it’s own, among a roomful of much more seasoned artists, but his pieces had an mistakable and unique . . ‘voice’. that show was such a blast – there goes that word again !! I was pretty sure Patrick had sold some pieces, and yes he did, a couple of mini ‘coops’ and some zine tablets. and probably more, he gets going and then he shuts up, I don’t blame him, look who he’s talking to – but come on !! how great.
he said they sold 80, or was that 800 ?!! SATAN CERAMICS T-SHIRTS. I think that number was 800, though Kate heard 500, impressive enough, what he doesn’t say is – that he designed them.
anybody with half a brain, who saw his show, PAT’S PIGEON CLUB at Muddguts this past summer – could remember the hand-writing on the ‘walls’, the pigeon supplies, and . . his zines !!

from CARRIER PIGEONS to RACING CARS, now that’s what I call . .
A-C-C-E-L-E-R-A-T-I-O-N !!

ACCCELERATION, S-P-E-E-D . . is the name of the game on the underground art railroad.
FULL SPEED AHEAD, while the mainstream art world, and all that sluggish artforum gibberish . . all the same names all the time, not one fresh face, have no idea what’s – hit them.
choke on the dust . . wannabes, is all I can say.
losers, move over.
either you have the talent, i.e. the goods, or you don’t, and you don’t.
while the underground voices just keep on . . rushing in.
and taking over.
and watching it happen, is SUCH A . . BLAST !!
there goes that B word, again.
talk about a need for speed, what a rush.
gonna be a big body count, let me tell you that, EN Restaurant and all.
it’s all fake, and it’s all . . gonna fall. fail, whatever.
and . . it’s been a long time coming.
yep, EPIC FAIL about to happen in NYC – watch out.
yep, we are talking . . FLASH FLOOD !!
and let artforum with it’s stagnant writing, not to mention pay-to-play board game – be the first to go under.

PHOTOS: NANCY SMITH



~JIM MANGAN . . KEN BLOCK: ‘BLAST’

PIX FROM THE ‘BLAST’ BOOK SIGNING . . POST SATURDAY !!

IN THE MEANTIME, FEAST ON THIS . . KEN BLOCK HAD A ‘BACK-UP’ PARKED OUTSIDE THE 205-A GALLERY.
NEEDLESS TO SAY, THE GRAPHICS – AND COLORS, WERE BUILT FOR SPEED, TOO.
BEAUTIFUL PAINT JOB. and LOGO’D UP . . HARDCORE FAB.
THE CAR LOOKED GREAT AGAINST THE NEW YORK CITY NIGHT – WINTER CHILL & ALL.
I-N-D-U-S-T-R-I-A-L.
A-M-E-R-I-C-A-N-A.
S-K-I-L-L-S.


the side door was open . .


all the better to get a glimpse . . inside.
wow. now, that’s what I call: graphics . . on speed.
as in . . GRAPHIC DESIGN, and A-R-T – y’all.
BUILT TO SPILL.
BUILT TO STEAL . . THE IMAGINATION, AND . . BREAK ALL LIMITS.
LIKE THEY SAY, PEDAL TO THE METAL.
or, as PETER SUTHERLAND WOULD SAY, in a nutshell: ‘FUCK FEAR’.

THIS CAR WAS KIND OF A ‘POCKET’ – 3D PAINTING, IN MY MIND – NO DOUBT ABOUT – IT.
POCKET ROCKET, or what.
THE BOOK IS JUST AS BEAUTIFUL. JUST THE COVER ALONE – IS ‘DEATHLY’.
yeah, JIM MANGAN and KEN BLOCK are talking . . . ‘BLAST’.
on all . . levels.

PHOTOS: NANCY SMITH



~JIM MANGAN . . COLOR’D

watch: a 4 min. video by JIM MANGAN – ‘COLOR’D’

“if you ask for a journey, I guarantee you, you will have a journey.”

‘COLOR’D’
DIRECTED, CREATED & PRODUCED BY: JIM MANGAN
DIRECTOR OF PHOTOGRAPHY: ANDREW SUTHERLAND
PETER SUTHERLAND . . IS ONE OF THE ‘ACTORS’.

put a little heat into your heart . . on a cold cold day.



~KEN BLOCK vs JASPER JOHNS . .

really:

PETER SUTHERLAND, JIM MANGAN & . . KEN BLOCK vs JASPER JOHNS

a JASPER JOHNS FLAG PAINTING, signed and dated 1983 . . just went for $36 MILLION in the recent NOV 11, 2014 – SOTHEBY’S CONTEMPORARY ART AUCTION – here in NYC.
see: JASPER JOHNS’ FLAG PAINTING – NEW YORK POST

KEN BLOCK’S ULTIMATE GYMKHANA SIX GRID COURSE / NEED FOR SPEED . . VIDEO – has over 23,505,507 hits and c-o-u-n-t-i-n-g !!

and it is GORGEOUS, esp from an artist’s point of view, no doubt about it.

so all you collectors, put on your thinking caps !!
and put two and two – together.
I can’t do ALL your homework for you.
but here’s a big hint:
it’s all about . . the SPEED !!
‘FLASH FLOOD – JIM MANGAN & PETER SUTHERLAND’ at MUDDGUTS.

FLASH FLOOD.
yeah, you could kinda call this . . a ‘flash flood’ art review $$$ WARNING !!


the $36 MILLION AMERICAN FLAG PAINTING BY JASPER JOHNS – IMAGE: REUTERS via NEW YORK POST

watch: NEED FOR SPEED: KEN BLOCK’S GYMKHANA SIX – ULTIMATE GYMKHANA GRID COURSE

this baby – is NOT just for car geeks, teens, GO PRO FANATICS, and speed freaks !!

it’s all about the art of speed, the design of the course, and THE CONCEPT.

this baby – is for ARTISTS & GRAPHIC DESIGNERS.
THIS BABY IS: DESIGNERS & ARTISTS & CREATIVE TYPES In GENERAL – AT FULL THROTTLE PEAK.


omg, is that a real, live person on the course ?


yep.


in fact, there are TWO of them !!
and that Ken Block . is doing tight circles round them – at very high speed, leaving them in the dust, so to speak.


love it, they have POLICE on the back of their uniforms – kind of like a real action lego set, or what ?!!
graphics-wise, for sure.


inside the car – things are still . . colorful !!


the landscape is ace, and the graphics on the car – are, too.


nice job, KEN BLOCK !!

so what about that JIM MANGAN ‘BLAST’ collaboration picture book with KEN BLOCK ?

it launches next week, WED NOV 19, 2014 – at 205-A, EAST VILLAGE, NYC.

continues . . .



~JIM MANGAN . . BLAST !!

re: ‘FLASH FLOOD’ at MUDDGUTS.

don’t get me wrong, I would have bought a JIM MANGAN photograph, no sweat.
it was just beyond – my current price point.

but interestingly, just in time for the holiday gift buying season, yikes !!
JIM MANGAN has a book coming out from DASHWOOD – it’s called . . . ‘BLAST’.
no joke !! it looks to be action-packed and fab.
a fab, fab. full-on . . picture book.

the book launch is . . WED NOV 19, 2014 / 6:30 – 8:30 PM
205-A, 205 AVE A, in the East Village.

so you too, can get in on the action, go buy a copy and have it . . SIGNED !!


JIM MANGAN, from ‘BLAST’ – image via DASHWOOD BOOKS

JIM MANGAN, ‘BLAST’, DASHWOOD BOOKS, 2014
HARDCOVER FIRST EDITION – $45

“Professional rally car driver KEN BLOCK known for his enormously popular viral video series, GYMKHANA, took his deft driving skills to the remote southern Utah landscape between Capital Reef and Goblin Valley to collaborate with photographer JIM MANGAN.”

more info & pix: BLAST/DASHWOOD BOOKS


PHOTO BY JIM MANGAN – image via JIM MANGAN tumblr


PHOTO BY JIM MANGAN – image via JIM MANGAN tumblr

bye the way JIM MANGAN maintains a pretty impressive tumblr page, and page . . is not the word.
and, they are not all desert photos, or even landscapes. there’s a couple of human bodies rolling around in the mix, too.

most definite, check it out: JIM MANGAN tumblr



~PETER SUTHERLAND . . MUD FLAPS to CHARIOTS !!

INDUSTRIAL, don’t you love the resonant hard core . . chime !!

after writing up that ‘FLASH FLOOD’ show, I got to thinking more about those PETER SUTHERLAND mud flaps. they were so well done, so well fabricated.
so artisanal and hardcore mechanical – all at the same time.
the design / image, the concept, the ‘in-joke’ , in a nutshell . . the ‘product’ was so well integrated, and . . so unique.


PETER SUTHERLAND, ‘Fuck Fear’, 2014
Mud Flap, 17 in. x 20 in.
SOLD – $300/pair
COLLECTION: NANCY SMITH

so I wrote to MARK CROSS of MUDDGUTS and asked him . . to tell me, more about them.
I was so, so totally thrilled by his response:

PETER had them . . “made by a guy who makes mud flaps for trucks. They’re legit. They are molded and I’d imagine some sort of screen printing is involved. Very industrial.”

oh god I love that, ‘industrial’ is so the right word.
industrial and hardcore just rhyme . . so right – !!


detail, PETER SUTHERLAND, mud flap corner, ‘Fuck Fear’.

from a collector’s point of view what could be better.
the work, the image, the concept, the design . . is sure fire.
so is the trajectory of the artist.
the price, sure is . . right !! 2 solid well-sized pieces for $300 ?!!
plus unlike so many works in this price range, this IS not a work on paper that needs careful handling, and framing. this is a solid slab of almost 1/2 in. thick rubber, that attaches to the wall, and with 2 screws, and you can not get more sturdy or industrial, than that.


ALBERTO GIACOMETTI, ‘CHARIOT’ – image via SOTHEBY’S
SOLD – $100,965,000
COLLECTION: STEVE COHEN

when I first saw this 1950 GIACOMETI, approx. 5 ft. high sculpture, a chariot-man, publicized in the WALL STREET JOURNAL, just prior to the big art auctions this month – my heartbeat started racing, right off the map . . wow – I knew right away, only somebody really really smart would buy this. even though it was priced high, or high enough !! $100 million !!
it was just so . . ‘industrial’, ha.
so perfectly conceived and balanced and drawn-out !! just like a perfectly pitched . . bell.
hardcore, metal. hardcore stance – conceptually, too. Alberto G. was not messing around.
not only that, . . BUT:
“this version was cast in an edition of six, but only two are left in private hands”, plus . . “it’s also the only one version he ever painted gold.”
!! !! !!

sure enough, super smart, smart enough to stay out of jail, while his firm tanked and others took the rap !! hedge fund billionaire-collector STEVE COHEN snapped it up. they say he was the only bidder. he’s worth $11.1 Billion and apparently he’s proud to declare that he spends 20% of his income on . . art.
see: ‘BILLIONAIRE STEVE COHEN PAYS . . ‘ – PAGE SIX

if there’s one thing I’ve learnt from over 3 decades of collecting, trading, and hustling my art street smarts to make a living, or as we like to joke a . . “killing’ !!
you know . . death by art – it’s a tough survival game at the extreme cutting edge !!
. . is that there is no diff between the super rich and the dead broke artist-trendsetters who get in, at the very bottom.

$300 vs $100 million – no diff !!

same thrill !!

same percentage of GAIN !! maybe even more on the start-up side. both sides entail a RISK FACTOR but that just fuels the heart beat, gives you the rush. because you know you are coming out ahead, as always !!

fuck fear. like they say at Muddguts.
fuck everything in between, middle class collecting, what a joke. could it be any more banal.
the uninspired masses, the sheep leading the sheep, the blind leading the blind, the wannabes . . .

yeah, me and STEVE COHEN, we both got lucky this week. CA-CHING !!

PHOTOS: NANCY SMITH, except where noted.



~FLASHFLOOD . . JIM MANGAN, PETER SUTHERLAND / JULIAN GILBERT & ASGER CARLSEN

‘FLASH FLOOD – JIM MANGAN & PETER SUTHERLAND’
OCT 3 – OCT 17, 2014
MUDDGUTS – 41 MONTROSE AVE, BROOKLYN, N.Y.

this was a seriously awesome, and moving . . show.
so I’m putting up the pix right now, before they fall thru the cracks.

ERIK DEN BREEJEN paints a mural at ATLANTIC RECORDS – is up next.
DEATH BY ART, and . . 170 SUFFOLK will follow & we’ll leave the CAB/BROOKLYN COMICS ART FEST coverage for a little later – just in time to sync with, brighten & lighten the lead-in to the xmas holidays. time passes so quickly once you hit October, and then the summer is up and over and . . it’s Christmas ?!!


JULIAN GILBERT was handling the gallery the day I dropped by – Julian has a B.F.A. in Photography from SVA, class of 2009. he’s also a native New Yorker – having grown up on the east side of Manhattan, around 14th St. and trust me – that counts for a LOT !!

behind him is a large piece by PETER SUTHERLAND, ‘Seen, Not Heard’, 2014.
wood/vinyl, 4 ft. x 6 ft.
($9,000)

this was a nice lead-in piece to the show, silent – but immense in emotion, beautifully proportioned. speaking to the vast desert, and the ever-shifting, but also cohesive – infinite nano particles that compose it. a footprint, looking like concrete, and looking like sand shifting before your very gaze – a classic image – re-formatted.
speaking to deep friendships, passage of time, and finally . . to making – ‘your mark’.


yes, that’s an ASGER CARLSEN t-shirt, Julian is wearing.

check out: ASGER CARLSEN’S PORTFOLIO

and, follow some of this: ASGER CARLSEN GOOGLE SEARCH


actually, JULIAN GILBERT . . has a pretty amazing website, himself !!
that logo/banner: ‘dumbluck’ is . . a riot, and a great VISUAL.
like we like to say around here: indie NYC . . rules.

check out: JULIAN GILBERT / dumbluck


but, back to the show !!

JIM MANGAN, ‘Untitled (#23)’, 2014.
ink jet print, 50 in. x 33 in.
($1,800)
(11 in. x 17 in. edition of 3 – $500 ea.)
(24 in. x 16 in. edition of 2 – $900 ea.)

it’s exciting to see shows at MUDDGUTS, not only because they are so on the edge, but because the place itself – has a great hardcore, from-the-streets up . . vibe.


the desert, it’s loneliness, mystery.
JIM MANGAN also captures in exquisite compositions – it’s profound capacity for graphic . . tracery.


in the face of amazement at how pink things were – out there, I forgot to ask: what is this ?


JIM MANGAN, ‘Untitled (#21)’, 2014.
ink jet print, 60 in. x 40 in.
($2,500)
(11 in. x 17 in. edition of 3 – $500)
(24 in . x 16 in. edition of 2 – $900)

this photo – had a more literal snippet of a narrative, a red truck or monster SUV pulling a huge RV – and flying down the road, snow banks adding to the horizontal, never-ending journey . . .


JULIAN turned me on to the pretty obvious – JUM MANGAN likes to get to the tallest point around in any particular location and zero in, I get that.
I like doing that to the art I see, bringing up the details, the nano-world. ‘scale’ – is just so much of the – the real deal / total picture.


he must use a very high definition large format camera, most definite on tripod.
the pixel-ation up close – is intense. very very ‘active’, most def adds to the ‘unseen’ or ‘hidden’ emotionalism of the pieces – for sure.


JIM MANGAN, ‘Untitled (#20)’, 2014.
ink jet print, 45 in. x 32 in.
($1,800)
(11 in. x 17 in. edition of 3 – $500)
(24 in. x 16 in. edition of 2 – $900)

nature-made, not – man-made.


this desert / world . . has so much pink in it.

JIM MANGAN and PETER SUTHERLAND turn out to be close friends, who met in college. as the gallery notes: their works “celebrate a shared affinity for nature, particularly the mountainous regions of UTAH and COLORADO.” but, while JIM MANGAN remains Utah-based, with a very nomadic lifestyle, PETER SUTHERLAND lives and works here in NYC. but he’s also known to be very ‘nomadic’, in that he travels, and documents those travels, a lot – as well.
according to the Muddguts notes . . Peter Sutherland is also known as The Aging Skater, The Prophet Dube, Tree Beard, and best of all . . Prince Peh Peh !!


PETER SUTHERLAND had a huge, and very real ‘crystal’ on display, wonderfully imbedded with a man-made element / i.e. the human touch. the colors and details of this giant ‘translucent’ rock crystal – beautifully echoed that previous photograph by JIM MANGAN.

I can’t give you very much more info on it, as it’s not included on the gallery works list – except to say: it was sold immediately . . during the opening.
collectors of cutting edge art, take note, you just can’t blink.


a dissected crystal, that’s so metaphorically . . un-bound, organic, lush. almost porn – in it’s sensuousness. in contrast to . . it’s cold hard surface.
esp when one considers – a man-made ‘boundary’ runs through it.
in that, it very much echoes those photograph landscapes of JIM’S: I was . . here.


PETER SUTHERLAND’S . . wall.
although known mostly as a photographer and filmmaker, in fact Peter SUTHERLAND had more ‘objects’ in the show than . . photographs.


this is one of 2 vertical displays of . . hand-painted, silver reflective paint, ‘mud flaps’ – by PETER SUTHERLAND.


PETER SUTHERLAND, ‘Back Off’, 2014.
mud flap, with reflective silver paint, 17 in. x 20 in.
($300/pair)

$300 – for the PAIR, unique images . . on heavy-duty rubber ????

count me . . in !!!
I bought this set, on the spot.

PETER SUTHERLAND, ‘Fuck Fear’, 2014.
mud flap, 17 in. x 20 in.
(SOLD – $300/pair)


and my ‘friend’ who came with me to see the show, bought this set !!
after I bought mine, and I got so jealous – because then I noted her’s actually had “Peter Sutherland” inscribed around the lower right half of the ‘sun’.
damn, there is NO winning – even when you’re winning !!
fuck it – I still like MY ‘face in a truck-box’ – !!
it’s those sad sack – carton eyes . . that got to me.
and, come-on . . muddguts – mud flaps, hysterical funny, or what !!!!!!

PETER SUTHERLAND, ‘Keep On Truckin!’, 2014.
mud flap, 17 in. x 20 in.
(SOLD – $300/pair)


I would have bought this one, too – but I was tapped out.

PETER SUTHERLAND, ‘E-Z Trip’, 2014.
mud flap, 17 in. x 20 in.
($300/pair)


JIM MANGAN, ‘DISC’, 2014.
aluminum/stickers
($1,500)

Actually JIM also had some non-photographs in the show, he had some really colorful vintage aluminum snow discs, or one-person ‘sleds’ hanging from the gallery ceiling. they were covered in what I’m assuming were the vintage stickers, that the original ‘kid’ owner had put on them.


these were essentially very scary fast, one man sleds, that you hopped onto and held onto for dear life, as you went spinning, and hurtling – down the snowy slopes.
we used to do that a lot when I was a kid growing up, in Montreal. we used to head up Mt. Royal, in 3 or 4 layers of clothing – you know, that big mountain in the center of the city, and how we survived, I do not know. there were trees and brushes. no supervision, and everywhere – dare devil kids speeding by – right on course to hit you. man, you had to be . . quick. it was friggin steep, and icy !! you had to, literally – rock and roll your way out of danger, on those discs – as you hung onto those small leather straps, with your double layers of snow-encrusted, icy frozen mittens.

I bet they don’t let the kids do that – anymore !!

PHOTOS: NANCY SMITH. FRI, OCT 10, 2014.



~KEITH HARING – PHOTOS by BAPTISTE LIGNEL

there is NO . . escaping . . NYC !!

NEEDLES & PENS in SAN FRANCISCO . . .
IS PLEASED TO PRESENT A BOOK RELEASE & SIGNING FOR . . .
‘KEITH HARING STUDIO – 30/10/1988 – BAPTISTE LIGNEL’
SAT NOV 8, 2014 / 4-6 PM
the photographer, BAPTISTE LIGNEL was only 14 years old – when he took these photos.
NEEDLES & PENS – 1173 VALENCIA ST, SAN FRANCISCO, CALIFORNIA

I found a few more images floating around in cyber space:


KEITH HARING STUDIO PHOTO – BY BAPTISTE LIGNEL via OMS/ORIGINALMUSICSHIRT


KEITH HARING STUDIO PHOTO – BY BAPTISTE LIGNEL via OMS/ORIGINALMUSICSHIRT



~ANYA DAVIDSON . . OPENS TO-NITE at TOMATO HOUSE

ANYA DAVIDSON – ‘CHARACTER FLAWS’
OPENS To-NITE, FRI NOV 7, 2014 / 6-10 PM
the show runs thru DEC 6, 2014
TOMATO HOUSE – 301 SARATOGA AVE, BROOKLYN, N.Y.

FACEBOOK – TOMATO HOUSE

“TOMATO HOUSE . . is thrilled to present a solo show by acclaimed cartoonist, printmaker and musician ANYA DAVIDSON. ‘Character Flaws’ features a new series of 50 ink and marker drawings, a taxonomy of imaginary creatures and real people reminiscent of HOKUSAI’S sketchbooks, SEYDOU KEITA portrait photography and DUNGEONS & DRAGONS monster manuals.

. . . Her story ‘Barbarian Bitch’ appeared in Kramers Ergot 8 and her graphic novel ‘School Spirits’ was published in 2013 by Picturebox. ‘Band For Life’, her Ignatz-nominated online comic about the trials and tribulations of a group of young musicians, appears weekly on VICE.”

ANYA DAVIDSON IMAGES – COURTESY TOMATO HOUSE.



~DEATH BY ART . . CHRIS UPHUES

did you . . catch the: CHRIS UPHUES website ??!!

on that DEATH BY ART / DEATH BY AUDIO LINK ?

my most . . fave-rave-er-it !!!!


CHRIS UPHUES . . image via CHRIS UPHUES GALLERY



~DEATH BY ART

DEATH BY AUDIO – is closing, forever . . on NOV 22, 2014.

the good news is they are opening up the total space to a huge huge 16 day pop-up art show, installation, archive, you name it, which will be free and open to the public – this weekend, and next, from 2 PM – 7 PM – until NOV 22, 2014.

so, if you are heading to the COMIC ARTS BROOKLYN FESTIVAL this weekend, you can also pop over there.

the OPENING PARTY / RECEPTION is this THURSDAY, NOV 6, 2014 – beginning at 8 PM.

the whole list of participating artists and other installations – is here:

check out: DEATH BY AUDIO – ART SHOW

you should definite check out that link, because every artist is linked to their own website or venue – so you can time travel from your phone or desk – and see for yourself – just how huge !! – the indie art scene is here.



~HAPPY HALLOWEEN . . EVIL SWORD !!

HAPPY HALLOWEEN . . from EVIL SWORD (2013)
a zine out of PHILLY – made by KATE FERENCZ and BEN FURGAL.

see: EVIL SWORD on . . SINGLE GIRL MARRIED GIRL

see: NEWS . . SINGLE GIRL MARRIED GIRLS

EVIL SWORD: BEN FURGAL, KATE FERENCZ, and YIANNI KOURMADES, drummer.
PHOTO via EVIL SWORD – SINGLE GIRL, MARRIED GIRL

ps: KATE FERENCZ . . penned those super ferocious words, and the band would like to give a shout-out to ANDREW MAHER, for his – inspired lighting !!



~CODY HOYT . . STUDIO AT A GLANCE

GREENPOINT, BROOKLYN, N.Y.
SAT OCT 25, 2014


the fun thing is, when you turn the corner to access BRIAN WILLMONT’S own studio, from the public exhibition space of his GREENPOINT TERMINAL GALLERY, you get to see the workplace of artist / master ceramist . . CODY HOYT.


this being the season of ‘CLAY’, ‘SATAN CERAMICS’ downtown , and uptown ‘FIRE’ – and all . . I wondered why I hadn’t made note of his work, although I had seen it, and even very recently at the big CINDERS tenth anniversary group show this past summer.


I think the oversight was based on . . 2 factors.

1. esp in the CINDERS showing, Cody’s work had to compete with so much other really strong pictorial visual art, and the pieces they showed by him were not large enough in scale, or well-lit enough, or whatever . . to compete.

2. Cody’s work requires more of a ‘setting’ to stand out in all it’s functional, playful weirdness and . . beauty. nobody should ever display his work, standing alone – on a cold empty shelf.
his work also needs . . plants, gorgeous living plants, and flowers. as in: greenery !!
to come alive. these pots need settings. lights. camera, action.
contrast, life, and – drama.
ok. well, they look pretty good ‘stand-alone’ on his website, but then they are just competing within their own context, and in some sense are re-inforced by that.


his sculptural shapes need an array, to make the whole and the individual . . come alive in all their wild inventive diversity, and well . . even: music.
of form.
and rhythm . . of design.
as I saw here, where there’s variety, ironically there’s also a chance to note the great restrained order of things. in these clay pieces. function, balance, order, raw-like surface finish, inner volume, outer volume, gesture. presence. etc, etc.

SO,
from now on CODY HOYT here’s some advice . .
don’t let anyone ever again, just pop a couple of your hand-wrought geometric vessels on a shelf. instead, build a setting for them, like you have in your studio, and let them stand tall, and be graced in all their gorgeous minimalist primitive clay being . . by the very contents for which they were designed and made to hold: and that is: g-r-e-e-n-e-r-y.
greenery and hand-built clay, a full-blown life force.
now, that’s what I call . . a win win.

definite, see more: CODY HOYT

PHOTOS: NANCY SMITH



~BRIAN WILLMONT . . STUDIO VISIT

BRIAN WILLMONT STUDIO VISIT – GREENPOINT, BROOKLYN. N.Y.
SAT OCT 25, 2014

upon visiting the big and intense (!!) ‘DUCKS’ group show at his gallery, GREENPOINT TERMINAL – when Brian mentioned his studio was in a space just adjacent, of course – I asked to check it out.

if the whole, and really . . explosive – if you consider how mundane a show focused on ‘ducks’ sounds in the first place – visual and conceptual content contained in that small gallery space expanded it’s actual physical space by a factor of at least a 1,000 with the vibrancy of ‘DUCKS’ – then what can I say, the journey . . just kept on growing.


BRIAN WILLMONT with his work behind him, whole worlds opened up . . on the physical plane of the painted canvases . .


I’m thinking . . Halloween, of course, on some dumb seasonal primordial level, but also, really more !! more on how . . the depth that comes to an artist-run gallery, is usually reflective of the deep creative reach or vision of the artists who helm those start-up galleries, and what drives them, so strongly.


close-up you can see small slits of reflecting foil, or other shiny materials reflecting the darts of light – that light up the deep pool of the whole brooding mass. deep pool, is the recurring metaphor.


as my eyes adjusted to all the work, and works-in-progress, and other props in the room – I began to pick out pieces that made me feel I was in the presence of a formal . . illusionist.
or in art terms – somebody who plays with light !!
and shape.
and not . . just soccer balls.


but, let’s back up a moment, at the work/computer/desk station . .


I got to see some of Brian’s earlier works, and so the journey was multi-leveled, took many paths. I got the feeling that unlike many other artist-gallerists, Brian was also more open in the dialogs, as opposed to narrow or more focused agendas – he wanted to bring to his gallery space. that’s so rare, I found that a big breath of fresh air.


an earlier installation archive – re-inforced this experience.


BRIAN related that he grew up in NEW MEXICO on many folk stories about magic, rituals, witches, and all.
if you consider New Mexico was the birthplace of AGNES MARTIN, the great non-objective ‘abstract’ painter – than things start falling into place.

you can see more of his work, on his: website


on the other side of the studio . .
note: I should have grabbed a better photo, but that small romantic/visionary/ritualistic figure, a coppery and white plaster-type statuette – in the foreground, on the big table is . . by NICK VAN WOERT.
you can see a better photo of the work, if you scroll down the exhibition pix from Greenpoint Terminal’s last show, called aptly enough: ‘RITUAL MAGIC’.


another wall, for a smallish space – this studio packed a pretty big punch !!


close-up of a work on that wall.
yeah for sure, I was in the presence of an illusionist with a background in formal painting, magic and a big wide open . . mind ready and willing to populate the scene with new stuff, new people, and new visions.
look out: a new ghost army masses . . on the horizon.

PHOTOS: NANCY SMITH