I got to visit OLIVIA SWIDER at the 2 person show, just before it came down.
‘THE TEXTURE OF WANT’ – OLIVIA SWIDER & DALIA AMARA
FEB 24 – MARCH 17, 2018
MOUNTAIN, 284 SEIGEL ST, 1B. BUSHWICK, BROOKLYN 11206
the show’s postcard
Image: Olivia Swider, 2018
OLIVIA SWIDER, Mountain Gallery . . Sat, March 3, 2018
Ms. Swider also co-founded, & now solely runs SELENA, also a Living Room / apt gallery . . . in Bushwick, Brooklyn.
left: DALIA AMARA, ‘Touching a Cactus’, 2014.
Archival pigment print. 14 x 21.5 in.
right: OLIVIA SWIDER, ‘Muy Picante’, 2018
Lace, felt, rosary, wire, spray. 5.5 x 17 in.
while both artist’s works are ‘wanting’ to express desire, need, & need-to-understand (!!), self-identity and, ultimately, longing . . . their approach could not be more different. Dalia is about the ‘narrative’ of longing, and is on an . . inner search. contemplation. observation. thought. process. all done with a well-tempered ‘coolness’, even distance. Olivia on the other hand, is all about screaming out, tearing to shreds, and intense, hands-on expressionism.
Dalia’s work centers around her ‘self’ / through many self-portraits, as well as the formal distance of recording .. of herself, & inanimate objects / in very patient, realistic ways & settings.
Olivia’s work is self-portraiture . . through created, and often explosive ‘fictional’ narratives. both artists express . . ‘I want’ / not only as ‘desire’, or a ‘longing’ for self-knowledge, but also, as a verb . . as in a ‘demand’. an ambition, as in: I want . . ‘to be heard’, ‘to be understood’, ‘to be felt’ !!
OLIVIA SWIDER, ‘Muy Picante’, 2018
lace, felt, rosary, wire spray. 5.5 x 17 in.
talk about . . ‘I Want’.
as in ‘I demand’ !! to be heard, and understood / my fave piece in the show.
it looked more like a snake’s giant ‘fang’, than an embroidery sentiment. more of a demand, than a . . ‘wish’. it also spoke to Olivia’s cultural mash-up of a DNA background / Polish (the stern cross), and Mexican (the vibrant red lace, the seashell chain) / composed on a very contemporary, ‘shaped’ ‘platform’, 3D.
it was like an arrow, though being in the rough shape of a hot pepper, probably a better metaphor might be – a kind of ‘stake’ . . to the heart of the matter of things.
‘things’ . . being ‘things – in motion. creative, & emotional momentum !!
nothing is standing still, here.
detail, ‘Muy Picante’.
Olivia told me the rosary had been her grandmother’s.
I liked how it referenced the ‘texture’ in the title. plush carpet, silvery, thin metallic snaking chain, more solid souvenir trophy, & the abrupt, plastic pink, of the shiny, retro, vinyl rosary ‘envelope’.
OLIVIA SWIDER, ‘My Rosary’, 2018. another fave.
Rosary, vinyl, plastic, spray on rug. 11 x 17 in.
this one was more subdued, more sentimental. more story-telling.
more . . I was a young femme teenager once, filled with . . longing / the very definition of: want.
I liked how it referenced the ‘texture’ in the title. plush carpet, silvery, thin metallic snaking chain, more solid miniature souvenir trophy, & the abrupt, plastic pink, of the shiny, retro vinyl rosary ‘envelope’.
it had a longing, and a delicacy – that could not be denied.
two gallerist/curator/artists: OLIVIA SWIDER and MICHAEL FLEMING.
throwing some luck-of-the-Irish, in . . with the big drama of the Polish and Mexican !!
Michael Flemming runs his gallery space in his Bushwick, ground floor apartment living room. so it’s quite deliberate, both casual and intense / aspiring, and intimate.
yes. real people live here. art ultimately belongs in homes.
though this might be the last show for Mountain, in this space – word is . . Mountain and Selena are combining forces, and looking for a bigger . . living room !!
those are DALIA AMARA’s works on the wall.
top: ‘Rose with hair extension’, 2017.
archival pigment print. 14 x 2.5 in.
lower: ‘Simulation’, 2017.
Full HD Video.
DALIA AMARA, ‘Simulation’, 2017.
video focused on her ‘self’ . . in physical space / and, stance.
there’s a sense of curiosity, and poise.
running in a ‘window box format’, these ‘projections’ . . were inward-focused.
Olivia, meanwhile is never . . in the box !!
quite the contrast.
case in point:
OLIVIA SWIDER, ‘Party Frog’, 2018.
ceramic, el yucateco hot sauce, ceramic plate. 5 in. tall.
it’s like one is a ‘science’, (Dalia), and the other is a ‘science experiment’ (Olivia).
or: the full range of: want !!
DALIA AMARA, ‘Posing’, 2017.
Full HD Video.
the title says it all / looking into the mirror.
realism & questioning. finding, and . . wanting to understand, more ?
DALIA AMARA, ‘Posing’, black & white.
DALIA AMARA, ‘Posing’ . . black leotard, glass, and mirrors. steel.
& meaning – their textures, not just their colors. but, their surfaces. almost non-textures. hard, pristine, definitely narrative, realist shiny, reflective surfaces.
OLIVIA SWIDER, ‘Hello Liar’, 2017.
Bleach, tajin, sand, acrylic on hand towel. 16 x 26 in.
hello: YIN, yang !!
Dalia and Olivia.
polar opposites of expression, steel vs thick textile.
in both concept & literal texture / precise observation vs sandy, screaming !!
grace . . vs ripping to shreds, lol.
differences of texture – make the world go round.
yet, it’s still: always . . endless wanting, between the both of them.
I want you to look = at this. see me in my projection – Dalia.
see me in my acting out . . Olivia.
crusty. fried. angry. sad.
you were NOT, what I wanted !! LIAR !!
Lena Dunham: this towel has your name on it.
my heart is out there / and, I’m so . . over you.
‘The Texture of Want’ / is the Theory of Want . . . in 360 degrees.
from the precise, optical autobiography of the unblinking camera lens / to the shredded, crying, ripped-up towel of . . dude, it’s ‘over’.
PHOTOS: NANCY SMITH
~OLIVIA SWIDER & DALIA AMARA . . ‘THE TEXTURE OF WANT’ / MOUNTAIN GALLERY / PHOTOS |
Posted in The Bomb | By Nancy Smith | March 27th, 2018, 9:19am
NICK POE / SOPHIE STONE
OPENED FRI MARCH 23, 2018
the show runs thru . . APRIL 22, 2018
SAFE GALLERY, 1004 METROPOLITAN AVE, BUSHWICK, BROOKLYN 11211
HRS: SAT & SUN / 12 – 6 PM
read more: SOPHIE STONE & NICK POE – SAFE GALLERY
SO . . .
I came for the ‘tapestries’, and left . . with a pencil-toned drawing of flowers in a vase, embroidered on my heart.
SOPHIE STONE . . .
I had admired her re-purposed, orange-toned, hand-worked ‘rug’, done so painterly . . it was a ‘tapestry’ !!
when I first caught sight of it, at the Safe Gallery booth at this year’s recent NADA.
Sophie Stone received her BFA from RISD / Rhode Island School of Design in 2009.
She lives & works in New York.
detail, SOPHIE STONE, ‘Piano Rug’.
SOPHIE STONE, ‘Piano Rug’, 2018.
Cotton, plastic, sisal, paint. 48 x 48 in.
re-storing / re-claiming . . old & worn-out household objects – that was a big topic at the ESSEX FLOWERS collective, last month.
that’s definitely the way to go. honoring both old & new skills / sustaining resources. bringing the depth of diverse cultural life, and a sense history home. and most importantly, giving a wonderful old, yet newly functional object . . another 100 years of joyfully spinning . . on the dance floor !!
all the while admiring . . the new vision, creative repairs & art-worthy embellishments – that brought new life.
and spirit.
SOPHIE STONE, ‘Untitled (Two Hammocks)’, 2017.
Cotton, sisal, wire, house paint, 78 x 120 in.
textile repair . . is so fascinating, beyond just the sustainable / renewed / skills / innovation aspect . . and, of course renewed . . function.
as someone who hand-stitches old quilts back to life, myself, I know . . part of the attraction, is just getting to understand, in a real hands-on way – how things were made. and thus, understanding how lives were lived.
. . through the materials, whether they be woven or patchwork, whole cloth, or industrial dye-jobs, and as well, the level of craftsmanship that went into each piece.
conceptually, as you work on these projects, you get a real sense of what. . random, and infinite mean.
random, in the random, worn-out & very varied ‘pieces’ . . that come your way / as if by fate.
infinite, with regard . . to the infinite creative possibilities / ceaseless innovation that goes onto making each one – first strong, according to it’s needs, and then . . lively . . according to your mood !!
the only given is this: it is worn-out / fix it.
detail, ‘Two Hammocks’ . . .
setting to work on a lowly, worn textile . . for a craftsman / artisan / artist . . is a total delight / a never-ending potential, for self-expression.
SOPHIE STONE, ‘Pee Stains’. 2018.
cotton, acrylic, plastic, sisal, ink. 131 x 77 in.
trying to hide a hole, or a stain – gives new meaning to the term: turn a lemon into . . lemonade !!
it’s such a creative . . jumping-off-point.
detail, ‘Pee Stains’.
it’s like a game / of real skill, and . . courage.
how to . . hide the damage, esp the bio-stains, lol.
detail, border, ‘Pee Stains’.
and, then once the piece is shored up, strengthened, and made . . presentable !!
it’s time for the real games – to begin.
the joy is – self-evident.
and very much – a part of the contemporary art / cutting edge – canon.
NICK POE, with his framed pencil drawings.
a native New Yorker, born & breed on Great Jones St., in Lower Manhattan.
“his work captures the subtlety of architectural elements and magnifies these details to compose new experiential occasions.” ~gallery
NICK POE, ‘Pool Table (with Flowers)’, 2018.
Gandy 8 foot pool table, custom printed billiard felt, pool balls, pool cues, and hanging lamp.
58.5 x 105 x 31 in.
pairing Sophie Stone’s colorfully jubilant work with Nick Poe’s tapped-down, grey-toned minimalism, was such an interesting contrast / concept.
each artist’s work was in effect, brought to ‘greater’ life . . by the contrast.
NICK POE . . was all about new things, new infrastructures, new functional / house-hold objects; most of which he designed & built himself, the bookshelf, the bar / he designed the custom felt on the pool table.
EXCEPT, for one very important non-variable: the classical / truly retro, catalog illustration of a still-life, the vase & flowers scene, which inspired and anchored his new house-hold ‘objects’.
though, here again, there was that still that sense of a random . . jumping-off-point / something seen, an illustration . . in an old publication . . made new, again.
just flipping . . pages, and zooming in.
an old illustration, and a very low-contrast one at that, in terms of tonality & subject matter . . . gets a second dance !!
and, a whole new . . lifetime of enchanting a new gen of viewers.
the work is also obviously about . . skills / craftsmanship.
and, vision.
detail, NICK POE, ‘Bookshelf (with Flowers)’, 2018.
latex on wood, painted frame with flatbed print on dibond, bouquet wrapping paper, white oak, wax.
70 x 96 x 12.5 in.
detail, NICK POE, ‘Bookshelf (with Flowers)’.
NICK POE, ‘Bar (with Bar Back)’, 2018.
latex on wood with tempered glass and mirror, Duralex drinking glasses,
41 x 39 x 24 in (bar) / 48 x 96 x 11 in. (bar back)
NICK POE, ‘Drawing (with Flowers)’, 1,2,3, 2018.
Painted frame, with pencil on paper, uv plexi, bouquet wrapping paper, white oak, wax.
21 x 24 x 1.25 in.
PHOTOS: NANCY SMITH
~NICK POE & SOPHIE STONE . . SAFE GALLERY / OPENING PIX !! |
Posted in The Bomb | By Nancy Smith | March 24th, 2018, 10:20am
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
up thru APRIL 22, 2018
MARTOS GALLERY
there are a few great books about DAN, available to browse though, when you enter the gallery, on the desk.
one, a hardback, is very rare . . so it’s a definite / stop & browse.
titled . . ‘DAN ASHER – GUESTARBEITER on the PLANET’
it was published by AUREL SCHEIBLER Gallery in Koln / Cologne, Germany . . sometime pre-1993.
Aurel showed & sold Dan’s work in Europe for a time, and quite well, enabling Dan to live in Germany for few years. it was there that he had access to a clay workshop.
*guestarbeiter . . translates as immigrant / guest worker . . I believe in this case it meant ‘outsider’.
it also has a number of archival photos of Dan.
the other is a wonderful book – to buy, $10 / limited edition of 1,000.
DAN ASHER – ‘CLASS NOTES’
pages from notebooks 1991-92
published by Shoot The Lobster (Martos Gallery) / RATSTAR
2018 ed. 1000
soft cover / staple-bound / 42 pages
a wonderfully produced ‘zine’ it reads like a school ‘notebook’, and is in fact a selection from Dan’s many, obsessive, notebooks – filled with scribbled thoughts, random words, lists, appointments & sketches.
DAN ASHER / ANTHROPOLOGIST . .
Notes on being a . . man
DAN ASHER / ANTHROPOLOGIST
Notes on being a . . woman
DAN ASHER / ANTHROPOLOGIST
Notes on . . navigating society
DAN ASHER . . ANTHROPOLOGIST
Notes on . . observation !!
DAN ASHER . . ARTIST
how to find a way – through this ?
DAN ASHER . . PERSONAL DIARIST
Dan could be easily insulted, just the day-to-day hypocrisy of life insulted.
if you wanted to spend a day with him, without hassle . . better be sure to be armed with any number of random small jokes and . . soothing comments.
let’s just say . . I was eating lunch with him on a number of occasions, in any one of his favorite haunts / depending on how much dough ($$$) / he (or I ) had in pocket, from 4 star sushi bars, to Borscht with Challah slingers for $2 / when he sent a dinner plate flying like a frisbee !!
oh no – busted again / 86ed from another joint !!
it was mostly the vegan places that provoked him most, go figure – something about that healthy clientale.
DAN ASHER . . SHAMAN
PHOTOS: NANCY SMITH
~DAN ASHER . . a couple of books |
Posted in The Bomb | By Nancy Smith | March 22nd, 2018, 1:15pm
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
OPENED MARCH 16, 2018
the show is up thru . . APRIL 22, 2018
MARTOS GALLERY, 41 ELIZABETH ST, CHINATOWN, NYC
‘After reading ‘An Anthropologist on Mars’, (1995) by Oliver Sacks, DAN ASHER remarked to a friend, “that’s me!”. The story he was referring to is one of seven in this collection of paradoxical tales of neurological disorders and creativity. The titled tale is about Temple Grandin. Grandin said she could understand ‘simple, strong universal’ emotions but couldn’t comprehend … the emotional games people play. She spoke of heightened sensations to an almost excruciating level and had difficulty following usual codes of human interactions. “Much of the time”, she said, “I feel like an anthropologist on Mars.”
‘Before passing away in 2010, Dan Asher (b.1947, Cleveland, Ohio) exhibited internationally for almost four decades. A capricious (!!) character who worked like an anthropologist; observing and documenting human behavior, and admired the fine balance between both the inspiration and malaise of city life. Known for his photography, video, drawing, painting and sculpture, Asher always tried to push beyond what we know and are comfortable with, and what we fear. AS a result, his works reflect his infatuation with the human element and our poetic relations with one another.’
~gallery press release
having known Dan since 1981, I would add to that, that he was also a visionary (the iceberg & extreme wrestling photographs). a dramatic, tormented, and obsessive ‘scribbler’ . . parsing in ink, or pencil, his ‘codes’ to the universe. in a word, a shaman: both in his art works & as seen through his videos / one who could reach out and grab the heart of the matter, by the throat !! and then swish it out on paper – in few intense gestures, but who had difficulty ordering a bowl of soup, without getting thrown out / for making a rude comment. often erring on the funny, as opposed to the mean side of ‘civilization’ . . as we know it, inclined as we are as a group – to hypocritically accept life with all its quirks, and nonsense – something he could never understand.
note: on the occasion of ‘An Anthropologist on Mars’, there will be a short program of Dan’s ‘documentary’ films at Anthology Film Archives, April 3rd, 2018 at 7:30 PM.
see: SPECIAL SCREENINGS, ‘THE VIDEOS OF DAN ASHER’, APRIL 3, 2018 / ANTHOLOGY FILM ARCHIVES
PIX FROM THE OPENING:
DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’, MARTOS GALLERY, MARCH 16, 2018.
JOSE MARTOS, with . . BEN BERLOW, executor of the Dan Asher Estate.
EBONY L. HAYNES, Martos Gallery director, who produced the show / and, who, without ever having meet the mightily brooding man himself, captured his intensity . . nonetheless.
you got the full sweep, and contrariness of emotion . . of Dan’s work immediately upon entering.
the generous platform of small, ‘anthropomorphic’, robed, and teasing clay forms – and then all around, the deliberate lay-out of the paintings and drawings, with again, a generosity of spacing / just enough open, empty quiet a space to let you ponder . . the full thought, painterly gesture, & raw emotion.
to take in, the ‘scream’ of the ultimate, solitary ‘outsider’ . . who could not understand why?, he didn’t just flow with the rest of the river, when he so understood the powers of art and music.
you walked among the works / as if in a garden of strange fruit, and even stranger . . trees.
the biggest is 12-1/2 x 8-1/2 x 8 in. / the smallest: 5.8 x 3.4 x 5 in.
white clay, fired but not glazed . . they date from 1994.
some were like shelters. some were little monks, some were like books. some were like beckoning, shy sirens.
Anthropology defined . . in a handful of clay.
DAN ASHER, ‘Untitled’, 1980s.
oil on canvas. 59 x 52-1/2 in.
DAN ASHER, R.I.P.
ghost army . . of one.
KUBI NNAMDIE . . of RESTAURANT PROJECTS.
the work on the wall:
DAN ASHER, ‘Untitled’, oil on canvas, 1980s.
MARTOS GALLERY, Chinatown, NYC. 2018.
DAN ASHER, ‘Untitled’, 1980s.
painting on canvas, 71 x 58-1/2 in.
DAN ASHER . . . Anthropologist
DAN ASHER . . . Shaman
on the left:
DAN ASHER, ‘Untitled’, 1985.
oil on canvas, 78 x 71 in.
om the right:
DAN ASHER, ‘Untitled’, 1980s
oil on canvas, 59 x 24-1/2 in.
PHOTOS: NANCY SMITH
~DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’ / MARTOS GALLERY / PIX FROM THE OPENING |
Posted in The Bomb | By Nancy Smith | March 20th, 2018, 12:02pm
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
up thru APRIL 22, 2018
MARTOS GALLERY
DAN ASHER, ‘Untitled’, 1980s
painting on canvas. 71 x 58-1/2 in.
($40,000)
IMAGE VIA MARTOS GALLERY
~DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’ / MARTOS GALLERY / LARGE PAINTING on CANVAS |
Posted in The Bomb | By Nancy Smith | March 19th, 2018, 10:14am
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
MARCH 16 – APRIL 22, 2018
MARTOS GALLERY, 41 ELIZABETH ST., CHINATOWN NYC
HRS: TUES-SUN / 10AM – 6PM
OMG, WHAT A GORGEOUS SHOW !!
I WAS SCREAMING, ON THE INSIDE: DAMN YOU, DAN !! DAMN YOU, SIMON – for not being around to see this !!
R.I.P.
DAN ASHER, ‘Untitled’, 1980s.
oil stick on paper, 25-7/8 x 18-7/8 in.
($10,000)
DAN ASHER, ‘Untitled’, 1982
oil stick on paper, 26 x 19 in.
($10,000)
DAN ASHER, various (fired) clay sculptures
ranging in height, from 2 to 7 in.
($2,000-$4,000)
ARCHIVAL PHOTO: SIMON CERIGO, DAN ASHER, and NANCY SMITH
TRIBECA, NYC. 1981.
COLLECTION: KATE & THEO CERIGO / 1981 PHOTO TAKEN BY A FRIEND.
FOUND ON ONE OF SIMON’S NEWSPAPER PIECES, with blue oil stick outline.
PHOTOS: NANCY SMITH – UNLESS OTHERWISE NOTED
~DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’ / MARTOS GALLERY |
Posted in The Bomb | By Nancy Smith | March 17th, 2018, 1:24pm
DAN ASHER – ‘AN ANTHROPOLOGIST on MARS’
OPENS FRI MARCH 16, 2018 / 6 – 8 PM
the show runs thru APRIL 22, 2018
GALLERY MARTOS, 41 ELIZABETH ST., CHINATOWN, NYC
HRS: TUES-SUN / 10AM – 6PM
with . . NEVER BEFORE SEEN WORKS FROM THE ESTATE !!!!
‘THE KING’ – IS IN THE HOUSE !!!!
DAN ASHER, ‘UNTITLED’, 1980s, oil on canvas. 56 x 56 in.
IMAGE COURTESY: MARTOS GALLERY.
~DAN ASHER . . GALLERY MARTOS, NYC / OPENING FRI MARCH 16 / 6-8 PM !! |
Posted in The Bomb | By Nancy Smith | March 15th, 2018, 10:59am
$100 – CASH & CARRY !!!!!
ORIGINAL ARTWORK – SIGNED & DATED !!!!!
WE GOT – 3 !!!!!
‘VELVET ROPES’ / a guest ‘performance’ at the Agatha/Vi Ser Pa Kunst, booth . . NADA NYC, Sun March 11th
was presented by GIFC/GOT IT FOR CHEAP a project of . . O-Ola, L.A.
it included over 60 artists’ original works on paper – all priced at $100.
all signed & dated / cash & carry.
ANDREW GUENTHER, drawing & cigarette on paper. approx. 11-1/2 x 16-1/2 in. / GIFC $100. / SIGNED & DATED 2018.
towards the end of the last day, while I was retrieving my ‘SpongeBob’ fleece/quilt, from the ‘ESSEX FLOWERS – HOME EDITION’ booth, my kid Theo went to check out ANDREW GUENTHER’S work . . at GIFC/’VELVET ROPES’ – at the Agatha/Vi Ser Pa Kunst booth. Andrew had posted about it – on his Instagram: @andrewguenther_art
lol, he came back . . with 2 !!
ANDREW GUENTHER, white & black paint (clock ‘face’), & black ink drawing (her body) on photo print, approx. 11-1/2 x 16-1/2 in. / GIFC $100. / SIGNED & DATED 2018.
this image harked back to a much earlier painting series of Andrew’s, that had originated in part with paper plates, & maybe Picasso ? . . and, which later morphed into his ‘Mother Nature – Earth Mother’. . pendant series.
see: ANDREW GUENTHER / EAT THE LEAF: Earth Mother Pendant
(& yes, we have 3 !!)
& yes, they were both signed, and dated on the front, & in both cases – in the left-hand corner.
I had – to see this !!
CHRIS REXROAD . . of GIFC/O-OLA GALLERY, L.A., and VICTORIA DUFFEE, co-editor of Vi Ser Pa Kunst Magazine, Norway.
O-OLA . . is a gallery “located in Chinatown, Los Angeles, CA & home base for the traveling show series: GIFC/GOT IT FOR CHEAP.
VICTORIA DUFFEE is . . “an American artist based in Oslo. She received her BFA from SVA/School of Visual Arts in NYC and is now an MFA candidate at Oslo National Academy of the Arts. Her work has been exhibited in New York City and Los Angeles, as well as at Yale University in Connecticut.” ~Vi Ser Pa Kunst
Vi Ser Pa Kunst / (We Look at Art) . . published out of Oslo, Norway / is edited by ANDREAS BREVIK & VICTORIA DUFFEE.
see: Vi Ser Pa Kunst / viserpakunst.com
the GIFC art works were displayed in a few large binders, and there were quite a few works for offer, in the ANDREW GUENTHER ‘section’.
all $100 – CASH & CARRY.
this one was . . . amazing !!
detail, ‘male reproduction parts’ / looking like long white candles, hand-painted on folk art pottery, on a
‘national geographic’ photo . . ANDREW GUENTHER / GIFC series.
ANDREW GUENTHER, ‘CLOCK’ . . some were very graphic.
this painted & collaged piece, was very . . post-modern.
ANDREW GUENTHER, ink & crayon, possible self-portrait (!!!!).
approx. 11-1/2 x 16-1/2 in. / GIFC $100. / SIGNED & DATED 2018.
my fave !!
was still, the very first one. the crazy, mad one / the naked dude on a deserted island !!
but, still . . dancing.
it might be . . just a guess, but guess – I will:
I think this is how Andrew feels, a lot of the time / art world be damned.
yes. I know – the feeling.
and. just like that.
you throw your money down, you get the work !!
Vi Ser Pa Kunst . . .
the magazine is quite – the riot !!
esp for an art – mag !!
designed like a retro American ‘How to’/’crafts’ book, it has a nice shiny feel, and a great, small paperback book . . ‘weight’.
slim. really lively graphics – throughout. fun to turn the pages.
with a great range of articles inside, some quite colorful.
it’s not afraid to be nationalistic & homey, either.
so surprising, so refreshing. so dis-arming !!
“STREET ART/VEGETABLE FARMING – HOW TO BE A SAMI ARTIST” . . . . LOL !!!!!!!
see: Vi Ser Pa Kunst – Facebook
ps: I’m so digging, how the color palette & ‘vibe’ of the mag cover – works so well, with the Andrew Guenther ‘Desert Island’ drawing, above.)
lone male artist dancing / lone female artist painting. sunsets / sunrises. swirls of pink & blue. pale yellow.
a moment of . . random visual sympatico, for sure.
“I DON’T GET IT!”
“OK”.
DRAWING BY MARTIN SKAUEN
lots of male parts . . in this post.
interview . . with ‘GEIR TORE HOLM: HOW TO BE A SAMI ARTIST.’
see: GEIR TORE HOLM – INTERVIEW ONLINE
that’s . . just how I talk to my huge Akita puppy !!
can definitely . . relate.
the Table of Contents . . .
got my eyeball – on you !!
Vi Ser Pa Kunst is published at irregular intervals / online & offline.
For advertisements, contributions and inquiries, contact: viserpakunst(at)gmail.com
www.viserpakunst.com
supported by ARTS COUNCIL NORWAY
PHOTOS: NANCY SMITH
~ANDREW GUENTHER . . GIFC, Agatha/Vi Ser Pa Kunst, NADA / NYC 2018 |
Posted in If I had $200, The Bomb | By Nancy Smith | March 14th, 2018, 11:37am
one of the highlights of strolling through NADA was catching this crazy, new age ‘pointillist’ (!!) painting by ANDY CAHILL. it absolutely floored me.
though it . . surprised me, NOT !!
that not one of the usual suspects / art bloggers, including the main stream art press – mentioned this work in their art fair coverage ?
how could anybody be so . . absolutely clueless about the strength & brilliance of Andy’s work ?
“one snake to another” / pretty much sums up the whole . . scene.
does, nothing ever change ?
you could define the term ‘herd mentality’ – by the art fair weekend, if nothing else.
ANDY CAHILL, ‘One Snake to Another’, at the SAFE GALLERY booth at NADA NYC 2018.
lookin’ good, Pal !!
too wonky – for words.
it reminded me of ancient Roman mosaics – on steroids.
SAFE GALLERY co-directors: SARAH WELSH ELLIOTT and PALI KASHI.
a gorgeous textile piece, ‘Double Runner’ by SOPHIE STONE, and pedal-pushed-to-the-floor . . assemblage by KARI CHOLNOKY, behind them.
PHOTOS: NANCY SMITH
~ANDY CAHILL . . SAFE GALLERY, NADA / NYC 2018 |
Posted in The Bomb | By Nancy Smith | March 13th, 2018, 11:45am
‘AUTO BODY Presents: SACRED STUDIO OBJECTS’ . . at 6BASE in the BRONX
OPENING RECEPTION . . TO-NITE / SAT MARCH 10, 2018 / 5 – 8 PM
the show is up thru APRIL 22, 2018
6BASE – 728 E.136th ST., 6B, BRONX, NY 10454
HRS: SAT & SUN / 12 – 5 PM or by appointment
The tomb of Bobby Smith, tiplet pigeon, will be on loan from the Babylon Cemetery for the next 6 weeks, to AUTO BODY’S presentation of sacred studio objects – at 6BASE in the BRONX.
IMAGE VIA INSTAGRAM @pigeon_pat
“Founded in 2016 by MARINA GLUCKMAN, 6BASE is a rotating artist’s studio & exhibition program in the South Bronx, New York. Artists are invited to use the space as their studio for a month and present their work in an exhibition following their stay. Occupying a floor of an industrial warehouse built in 1931, 6BASE is located in a loft that is divided into 7 bays. 6BASE is in one of these bays (approx 450 sq ft) & the others are the artist’s studios.”
read more: 6BASE/about
~AUTO BODY . . incl PAT McCARTHY / 6BASE in the BRONX / OPENING TO-NITE SAT MARCH 10 / 5 – 8 PM |
Posted in The Bomb | By Nancy Smith | March 10th, 2018, 1:40pm
