tag:blogger.com,1999:blog-187036822024-03-12T17:34:20.684-07:00drowningarts websitecarmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.comBlogger45125tag:blogger.com,1999:blog-18703682.post-22087448559703162902013-02-27T18:00:00.001-08:002013-02-27T18:00:23.872-08:00PULSE Art Fair: Art Basel Miami<div dir="ltr" style="text-align: left;" trbidi="on">
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<em>Mixed Greens Gallery booth with PULSE Director Cornell DeWitt. Photo by Alejandro Fi</em></center>
<br /><br /><br />On the second day after arriving to Miami we wrote to the PULSE Art Fair to get a preview and compare our findings with the other festivals that we had visited. In Miami during these first few weeks of December, contemporary art is everywhere as are many bleary-eyed curators, artists, and art appreciators. At PULSE we were met with a receptive and welcoming invitation and we unexpectedly spent a large part of the day reveling in the discoveries and discussions with both gallery owners, artists and festival staff in what amounted to a refreshing look and experience with a festival that has taken its time to bring diversity and unique experiences to the thousands of crowds looking to receive some creative insights and inspirations. <br /><br />We were taken on a personal tour of the <a href="http://pulse-art.com/" target="_hplink">PULSE Art Fair</a>, Miami 2012 with the festival's director Cornell DeWitt. A youthful and well-informed director, he shared his passion and enthusiasm for the artists and galleries exhibiting this year during the time he spent with us. We asked him about the highlights of PULSE as well as some insights of what makes this art fair one that is not to be overlooked amongst the 27 others that have descended on Miami during these first weeks of December. What stood out was how the diversity and quality, the festival landscape and layout, and programming of Pulse Special Projects and the Pulse Prize has kept this festival one that is well recognized and established. <br /><br />Every year the PULSE PRIZE is awarded to an artist exhibited in the IMPULSE section of the fair by a selection committee. The finalists are announced on Thursday afternoon and the winner is announced on Friday. The IMPULSE section features new artists and galleries, and often the PULSE prize winner will garner attention of curators and the galleries showcasing the winner will graduate into the main section of the fair in years to come. <br /><br /><center>
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<em>David Ellis, Mixed media assemblage chandelier, kinetic sound art, Joshua Liner. Gallery photo by Alejandro Fi.</em></center>
<br /><br /><br /><br /><br /><strong>DeWitt:</strong> There is definitely a mix of galleries which include fairly well established galleries and young galleries. In the main section we have some galleries that have been established for 20 and some 30 years that continue to showcase incredible work. Our young cutting edge galleries showcase artists that are just getting their start, and then we have much more established galleries. There is really something for everybody. The key is diversity, and we often place a younger gallery showcasing a newer artist right next to a much more established gallery to highlight the growth of artists.<br /><br /><center>
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<em>Dinh Q. Le: "The Virgin Mary of Medellin." 2011. Wooden carts, painted wood mannequin, and fruit. Courtesy of Elizabeth Leach Gallery photo by Alejandro Fi.</em></center>
<br /><br /><br /><br /><br />Another unique feature of PULSE is the <a href="http://pulse-art.com/miami/pulse-projects/" target="_hplink">Pulse Projects</a> section of the fair. This year 16 artists and projects are being exhibited both inside and in the outdoor courtyard of the fair. <br /><br /><strong>DeWitt:</strong> <blockquote>
The special projects are fun for us to do. We really enjoy being able to work directly with artists. We really trust them and they are required to show the artist that they propose. The galleries show the artists, once the gallery makes it through the application process its really up to them to curate their booth. Through the special projects its our opportunity to really work directly with the artists. <br /><br />We have two ends of the spectrum with the critical and curatorial and more popular independent artists. The gallery committee is from all over, we have one from NY, one from Los Angeles and two from Europe, one from Germany and one from Spain. They are our eyes and ears all over the world. Once all of the galleries have been selected, they are encouraged to submit and propose special projects. They have the opportunity to propose a special project or video program. We select work that fits within the context and different properties available in the festival. What is great is that we have a lot of outdoor space that can be allocated to this aspect of the festival. This fair offers an opportunity to enjoy the outdoor environment and indoor environment in a layout that is fairly easy to navigate. You can pop outside, get a bite to eat, a drink and come back in refreshed to look at the art. <br /><br />The first satellite fairs that opened up in Miami were very young fairs. The collectors wanted something that was more mature, more professional and establish a place where the work could grow. Now we have more then half a dozen ADAA galleries in PULSE. They wanted a place where established galleries and artists could exhibit that was separate from Basel. We are definitely one of the more established satellite fairs during this art week in Miami. </blockquote>
<br /><br />Some of the artwork that Cornell DeWitt drew our attention to at PULSE included some of the PULSE Projects, and special features such as the artist Maria Lai shown at the Nuova Galleria Morone in the main gallery room. Her work has used inspiration from her native land to create a new world, an infinity of images and shapes that have made famous far beyond her birthplace and have consolidated her links with her origins. DeWitt said, "Maria Lai is in her 90's and very well known. Joan Jonas meets Louise Bourgeois. They [Nuova Galleria Morone] have a number of works of hers that are just stunning." Maria Lai was born in 1919 in Ulassai and this exhibition the Italian-based gallery showcases the last work that she created before being bedridden in these later years of her life. <br /><br /><center>
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<em>Maria Lai. Courtesy of the Nuova Galleria Morone. Photo by Alejandro Fi.</em></center>
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<em>Maria Lai. Courtesy of the Nuova Galleria Morone. Photo by Alejandro Fi.</em></center>
<br /><br /><br /><br />Another project that we were pointed to was Jenna Spevack's PULSE Project entitled "Seeding the City."<br /><br />DeWitt notes, "Jenna's work is about getting into the local community. She was finding ways to redo this project in Miami, and in doing so she found these urban gardens across the city and began working in the poor communities to start growing food. This is an ongoing project of hers."<br /><br /><center>
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<em>Jenna Spevack: "Seeding the City." 2012. Mixed media including ink on paper, furniture, microgreens and earth, dimensions variable and site specific. Courtesy of Mixed Greens Gallery. Photo by Alejandro Fi.</em></center>
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<em>Jenna Spevack: "Seeding the City." 2012. Mixed media including ink on paper, furniture, microgreens and earth, dimensions variable and site specific. Courtesy of Mixed Greens Gallery. Detail photo by Alejandro Fi.</em></center>
<br /><br /><br /><br /><br />We had the opportunity to meet the artist Zackary Drucker while on our tour with Cornell DeWitt. Zackary Drucker tells us: <br /><br /><blockquote>
"This is the most recent work that I was planning last year with Sabrina who I've known since I was 16 years old and who has been a very monumental and influential person in my development. We made this film together, just the two of us with a Bolex camera. Sabrina is in her 70's so we were using the technology of her era. We recorded it and put it together as an experimental auto ethnography work." </blockquote>
<br /><br />Luis De Jesus called Cornell DeWitt while he was traveling in Europe to enthusiastically suggest that this piece be included in the Special Project section of PULSE after seeing it. Luis is in his first year on the PULSE selection committee and his participation has been -- in the words of Cornell -- "a phenomenal addition to the fair." Cornell had seen Zackary's work previously, so when Louis made the suggestion he became very interested.<br /><br /><center>
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<em>Zackary Drucker outside of viewing booth of film at PULSE. Zachary Drucker: "At least you know you exist." 2011. 16mm film transferred to digital format, color, sound, 16min. Courtesy of Luis De Jesus Gallery. Photo by Alejandro Fi.</em></center>
<br /><br /><br />Another artist that has been getting great acclaim and Cornell DeWitt commented on as we passed by was the PULSE Project by Shantell Martin. DeWitt notes, "Shantell Martin created this piece in about two hours. She is an artist who has been getting a lot of attention."<br /><br /><center>
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<em>Shantell Martin: "Continuous Line." 2012. Ink on wall, polished stainless steel, LED's; dimensions variable. Courtesy of Black and White Gallery/Project Space. Photo by Alejandro Fi</em></center>
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<em>Shantell Martin: "Continuous Line." 2012. Courtesy of Black and White Gallery/Project Space. Detail photo by Alejandro Fi.</em></center>
<br /><br /><br /><br /><strong>PULSE ART FAIR </strong><br />Dec. 6-9, 2012<br />The ICE Palace, 1400 North Miami Ave, Miami, FL</div>
carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-35474695990310843412013-02-27T17:59:00.001-08:002013-02-27T17:59:23.543-08:00Street Art in Abbot Kinney<div dir="ltr" style="text-align: left;" trbidi="on">
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<em>Photo by Nicolas Luciani</em></center>
<br /><br /><br />Indeed. Your favorite local neighborhood is receiving a new mural on one of the most recognized establishments along Abbot Kinney. Puerto Rican public muralist and artist <a href="http://alexisdiazart.blogspot.com/p/murales.html" target="_hplink">Alexis Diaz</a> (aka <a href="http://www.la-pandilla.com/" target="_hplink">La Pandilla</a>) has painted a mural on the 35-year-old institution, the <a href="http://www.roosterfishbar.com/" target="_hplink">Roosterfish</a> bar. An extension of the exhibition held downtown at the <a href="http://www.grworks.com/" target="_hplink">GR Works gallery</a> entitled "Back Alley," this mural was facilitated by the <a href="http://www.doartfoundation.org/" target="_hplink">Do Art Foundation</a> and Pilar Castillo of <a href="http://www.sparcmurals.org:16080/sparcone/" target="_hplink">SPARC</a>. A young artist, Diaz is making big waves in the urban art community through curating the internationally acclaimed mural festival in San Juan titled <a href="http://losmuroshablan.wordpress.com/" target="_hplink">Los Muros Hablan</a> in the month of December. His Abbot Kinney mural shows his focus on the fictitious evolution and cross-section of species, in this case a rooster, a fish and a bit of human. His attention to detail is aptly placed along the street, allowing the passersby the experience and access to appreciate the etched fine lines up-close. See the finalized mural in person while visiting the area. <br /><br />Alexis Diaz:<br /><br /><blockquote>
Muchos artistas diariamente influellen en el Trabajo de uno , no solo artistas plastico, tambien musicos, actores,escritores,etc uno absorve imagenes e ideas de todos lados.<br />Al igual que muchos te sirven de motivacion mas que influencias!<br />En mi caso la tecnica fue influenciada por <a href="http://es.wikipedia.org/wiki/Alberto_Durero" target="_hplink">Alberto Durero</a>, y el quien me motivo e influencio a salir a la calle a Pintar fue <a href="http://www.huffingtonpost.com/2012/05/02/happy-birthday-keith-hari_n_1471352.html" target="_hplink">Keith Haring</a>.</blockquote>
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Several artists influence my work on a daily basis, not only plastic artists, but musicians, actors, writers, etc. I absorb images and ideas from everywhere. Different artists will have an effect on me some of them will influence my work, and others will just be pure motivation. In my case, the technique was specifically influenced by <a href="http://es.wikipedia.org/wiki/Alberto_Durero" target="_hplink">Alberto Durero</a> who encouraged me, and the inspiration that influenced me to go out paint on the street was <a href="http://www.huffingtonpost.com/2012/05/02/happy-birthday-keith-hari_n_1471352.html" target="_hplink">Keith Haring</a>.</blockquote>
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<em>Photo by Nicolas Luciani</em></center>
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Mi experiencia pintando en Venice a sido expectacular una de las mas agradable que e tenido, la gente es muy amigable, el lugar tiene una vibra unica , rodeada de tantos artistas de diferentes generos, con diferentes maneras de pensar , de diferentes lugares del mundo , Cada uno con su historia particular , definitivamente inspira!</blockquote>
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My experience painting in Venice beach has been among the most spectacular and joyful that I ever had. People are very friendly and the area has a unique vibe. I was surrounded by so many artists of different genres that have a diverse ways of thinking, and that come from all over the world, each one of them with his own history. To be in such a fertile environment is definitely inspiring!</blockquote>
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Mi Trabajo , la idea no es que lo perciban como yo quiera , es para que el espectador y la comidad lo perciban a su manera, cuando escucho a Cada uno creando una historia , o buscandole un significado al mural q todavia esta en proceso , ya tengo una satisfaccion inmediata y se que dio resultado.</blockquote>
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My intention is that my work won't be perceived by me, but it is for the viewer and community to perceive it in their own way. When I listen to people reenact stories about my work, or when I see them looking at an ongoing work for meaning, I have an immediate satisfaction that my work have touch them.</blockquote>
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<em>Photo by Nicolas Luciani</em></center>
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Mi obra se trata de la vida , yo simplemente le doy mi significado particular a Los elementos , y creo mi propia historia basada en las caracteristicas de Los animales o lo q conosco o percibo de Ellos aveses hasta le invento, son un Tipo de naraciones subreales, para que Cada ser humano se refleje a su propia vida, le encuentre su significado particular de acuerdo a lo que le a tocado vivir en su historia. Cada ser humano es un mundo aparte , Cada uno tiene distintos tipos de sentimientos unos mas desarollados q otros con diferentes maneras de interpretar la vida.</blockquote>
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My work is about life, I just give my particular meaning to the elements and create my own story based on the characteristics of the animal or of what I perceive or know of them. Sometimes I give them a story, a sort of surreal narration, so that every human can personify themselves into the characters, and find a particular meaning according to roles and what it could have represented in their own life. Every human being is a world apart, everyone has developed a different set of feelings and with different ways of interpreting this existence.</blockquote>
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<em>Photo by Nicolas Luciani</em></center>
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Pues me motiva mucho mas Pintar en una pared , por que pienso que el Arte debe ser para todos, como para el que vive en la calle como al Abogado mas exitoso, nunca me a encantado la idea de tener una pieza dentro de un lugar enserado donde solo lo puedan apreciar la gente que solamente visite ese lugar especifico. Creo que el Arte debe ser libre , que te encuentre el a ti , q lo pueda apreciar el mundo, que le llegue a todos , me emociona y me llena saber que quisas de alguna manera u otra pueda influenciar o cambiar aunque sea un segundo la persepcion del espectador , solo saber que detuve su rutina diaria por un momento , es super gratificante , salir de la rutina y ponerlo a pensar , ya se que funciono , quisas le alegre su dia o lo moleste, pero lo importante al final es que logro su objetivo , lo puse a pensar , ya hay logro un cambio, y para mi no hay nada mas gratificante q poder regalar un pedaso de mi mente y alma y la gente se sientan conectados o le encuentren relacion con su vida diaria. </blockquote>
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<em>Photo by Koury Angelo</em></center>
<br /><br /><em><blockquote>
I feel more motivated when I paint on a wall. I think that art should be accessible to everyone, from those who live on the streets to the most successful lawyer. I have never been thrilled to the idea of having my work enclosed in a place where only I can appreciate and people who only visit that specific location. I believe that art should be free, that it should have the ability to find you. Art should be appreciated by the whole world. It excites and is fulfilling to know that art can influence or change the perception of the viewer even if it is for one second. Just knowing that it stopped them in the monotony of their daily routine, is very rewarding. If I manage to step that person out of the routine and make them think, it makes me know that my piece has been successful. I also hope that I can have a positive influence, although that is not the objective, in the end the goal is to make them question. There is nothing more rewarding then to share a piece of my life and soul with them in this way.</blockquote>
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<em>Photo by Nicolas Luciani</em></center>
<br /><br /><br />Finished Mural:<br /><center>
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<em>Photo by Koury Angleo</em></center>
<br /><br />YouTube Video by LA Street Art Gallery:<a href="http://www.youtube.com/watch?v=ZxurwlMnZpk&feature=youtu.be" target="_hplink"> Interview with Alexis Diaz</a>:</div>
carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-71153207111215757222012-10-19T16:06:00.001-07:002012-10-19T16:25:45.579-07:00"For Dogs Sake"<br />
In this 'dog eat dog' world the new <a href="http://www.thelondonpolice.com/NewTLP/News.html" target="_hplink">London Police</a> exhibition entitled "For Dogs Sake" at <a href="http://www.coreyhelfordgallery.com/" target="_hplink">Corey Helford Gallery</a>, is a uplifting and humorous twist on urban culture, placing our fine four-legged friends in the spotlight. <a href="http://www.thelondonpolice.com/NewTLP/News.html" target="_hplink">The London Police</a> is a multi-disciplinary English street art duo whose Culver City debut features a 'DOGumentary' film premiere incorporating songs from their new album 'Dogsongs', a selection of ink paintings on linen, incredible fiberglass sculptures created specifically for this show, and (drumroll...) dog fashion! The London Police see their art as "a habit journeying through life trying to be positive," companioned by dogs "unconditional love that would be a boon to the spirit of mankind." On view are works modeled during the dog-fashion show which took place during the opening reception. In this exclusive Haute Couture line, you will see one-of-a-kind dog-jackets designed by <a href="http://www.thelondonpolice.com/NewTLP/News.html" target="_hplink">The London Police</a> and artists such as <a href="http://www.obeygiant.com/" target="_hplink">Shephard Fairey</a>, <a href="http://www.dface.co.uk/" target="_hplink">D*FACE</a>, <a href="http://workhorsevisuals.com/new/" target="_hplink">Logan Hicks</a>, <a href="http://en.wikipedia.org/wiki/Galo_Canote" target="_hplink">Galo</a>, and more! This show is taking place through to November 3,2012 - not to be missed!<br />
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"In this world of ups and downs, happiness and sadness, confusion and crisis, love and fear, we make a celebration of our four-legged friends" - The London Police </blockquote>
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- photo by Dave Lewiscarmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-44422141627842369652012-10-19T12:29:00.003-07:002012-10-19T16:12:20.402-07:00Magic Is Real<br />
In the shadows of the Hammer museum's current show, <a href="http://hammer.ucla.edu/exhibitions/detail/exhibition_id/218" target="_hplink">Graphic Design: Now in Production</a>, I spoke with the Los Angeles artist team <a href="http://www.cyrcle.com/" target="_hplink">CYRCLE</a> who recently finalized their mural <em>'Magic is Real' </em>in Echo Park. The Hammer's major international exhibition explores how <em>"people outside the field are mobilizing the techniques and processes of design to create and publish visual media."</em> I wanted to find out more about <a href="http://www.cyrcle.com/" target="_hplink">CYRCLE's</a> approach to art-making in the scope and discussion of where art and design converge, as their visual content is deeply informed both by typography, brand and urban culture.<br />
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We try to create work in two parts. Message and aesthetic. Art and design... Meaning if you don't understand the message at least it will look good ;) - CYRCLE</center>
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CZ: <strong>What are your artistic goals? </strong><br />
CYRCLE: <em>To blur the lines between art and design, sculpture and canvas, gallery and experience, and ultimately life and death.</em><br />
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CZ: <strong>For you, is there a separation between Art and Design? If so, please explain.</strong><br />
CYRCLE: <em>Art is loose, design is tight. They are symbiotic. There are equal amounts design and art in each other. Design is the curation of negative space. It is the methodical process of deciding what goes where and how... art is why!</em><br />
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<img alt="2012-10-19-IMG_8755copy.jpg" height="266" src="http://images.huffingtonpost.com/2012-10-19-IMG_8755copy.jpg" width="400" /> photo by Carlos Gonzalez<br />
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CZ: <strong>What subjects and messages are you interested in conveying to your audience? </strong><br />
CYRCLE: <em>Positive messages that reinforce what we all already know. Things that are inherently true about life and existence. We all struggle, life is not easy, if you fail, try try again. We do not care to suggest opinions on current affairs or popular culture. That is for Banksy. Exploring timeless subjects is for CYRCLE.</em><br />
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<img alt="2012-10-19-IMG_1138.jpg" height="270" src="http://images.huffingtonpost.com/2012-10-19-IMG_1138.jpg" width="400" /> photo by Carlos Gonzalez<br />
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<img alt="2012-10-19-IMG_8611.jpg" height="266" src="http://images.huffingtonpost.com/2012-10-19-IMG_8611.jpg" width="400" /> photo by Carlos Gonzalez<br />
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The main reason behind the timeless concepts in our work is so that we can connect with any age, color or class.- CYRCLE </blockquote>
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CZ: <strong>Give examples of how your public work has imparted value in the communities that you've placed it in. </strong><br />
CYRCLE: <em>The best feedback you can get is from the people of the community. If they are not pleased then its back to the drawing board. Sometimes they are unsure until it is complete and then they are like ah ha... It's beautiful. We try to create work in two parts. Message and aesthetic. Art and design... Meaning if you don't understand the message at least it will look good ;)</em><br />
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CZ: <strong>How is your studio work informed, compared to the projects you create in the streets? </strong><br />
CYRCLE: <em>To elaborate on the public work, we approach each piece as a site specific creation, taking in the consideration of where it is, what shape it is and what we want to communicate to its surroundings. With the Internet making things very easy to spread world-wide its great to be able to now not only speak to the local population but to the world. Creating more expansive concepts for the walls that hopefully can be felt by anyone who sees them.</em><br />
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CZ: <strong>Tell us more about the 'Magic is Real' mural. What led you to create and select the images?</strong><br />
CYRCLE: <em>In regards to the design... The statement magic is real is a nod to life itself and an explanation between science and god. The snake eating its tail is the ouroboros... an alchemic creature of mythology. It represents self sufficiency and perfection... But flesh is weak, and life is fragile. Hence the sections of anatomy, muscle, organs, bone, and atoms seen throughout the piece. What makes up life is truly magical.</em><br />
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<img alt="2012-10-19-IMG_7152.jpg" height="266" src="http://images.huffingtonpost.com/2012-10-19-IMG_7152.jpg" width="400" /> - photo by Carlos Gonzalez<br />
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CZ: <strong>How is your work evolving? Where do you see it a few years from now? </strong><br />
CYRCLE: <em>Without order nothing can exist. without chaos nothing can evolve. We feel like we are experiencing equal parts chaos and order and working on a system to keep it that way. </em><br />
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<img alt="2012-10-19-IMG_1875.jpg" height="275" src="http://images.huffingtonpost.com/2012-10-19-IMG_1875.jpg" width="400" /> - photo by Carlos Gonzalez<br />
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CYRCLE is an art collective out of Los Angeles. Among a variety of murals and a collaboration with JR in France, they also participated in the Hong Kong group show "Daydreaming With...James Lavelle" and the Arrested Motion group show "City of Fire". They're also gearing up for their second solo show happening in Mid-November.<br />
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CYRCLE manifesto:<br />
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WE LEFT OUR FAMILIES</center>
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WE ABANDONED OUR HOMES<br />
WE WORKED FOR NOTHING<br />
WE SLEPT ON FLOORS<br />
WE PARTIED HARD<br />
WE LOST OUR MINDS<br />
WE DANCED WITH THE DEVIL<br />
WE FACED OUR FEARS<br />
WE SWALLOWED OUR PRIDE<br />
WE GAVE OUR HEARTS<br />
WE TRIED AND FAILED<br />
WE FOLLOWED OUR DREAMS<br />
WE ARE CYRCLE<br />
WE NEVER DIE!carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-56493340383675504802012-10-19T12:29:00.001-07:002012-10-19T16:12:36.877-07:00CardBoard Art<br />
What is Cardboard Art and the Global Cardboard Challenge? It is a movement to be creative and stretch your imagination around anything and everything that can be made out of cardboard. This Saturday, October 6 from 11 a.m.-5 p.m. the <a href="http://www.blogger.com/blogger.g?blogID=18703682" target="_hplink">Global Cardboard Challenge</a> will be launched. From Boyle Heights Los Angeles, a 10-year-old Caine first created a cardboard arcade at his father's used Auto-part store, and his story has touched the hearts of millions world-wide.<br />
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<strong>SNEAK PREVIEW!</strong><br />
<a href="http://www.davidchoe.com/art.html" target="_hplink">David Choe</a>, and urban cardboard artists such as <a href="http://laist.com/2012/06/06/photos_street_art_brings_surf_city_to_la_river.php#photo-1" target="_hplink">Calder & Wildlife</a> and <a href="http://www.pri.org/stories/arts-entertainment/arts/artist-ramiro-gomez-paints-cardboard-cut-outs-of-la-s-invisible-workers-10522.html" target="_hplink">Ramiro Gomez</a> will be exhibiting their cardboard creations alongside local artists Cryptik, Yuki Miyazaki, John Park, Mimi Yoon, Hans Haveron, Griffith One, David Selkirk, Gretchen Shannon, Christina Angelina, Courtney Collins, Sarah Aspinall and many others including a guest appearance by the <a href="http://www.blogger.com/://www.thelondonpolice.com/NewTLP/News.html" target="_hplink">London Police</a>. This special Cardboard Art exhibition will be hung in a pop-up Gallery on-site hosted by the <a href="http://www.doartfoundation.org/2012/09/05/call-artists-join-global-cardboard-challenge/" target="_hplink">Do ArT Foundation</a>. A silent auction for the artwork will be held at the location the day of to raise money toward the <a href="http://cainesarcade.com/imagination/" target="_hplink">Imagination Foundation's</a> project goal, to find, foster and fund kids like Caine, and nurture and promote children's creative thinking. <a href="http://sidestreet.org/" target="_hplink">Side Street Projects</a> will be facilitating cardboard crafts for kids of all ages! A guest appearance of Mayor Villaraigosa is set to take place in the afternoon, and a kids 'Hi-Five Cardboard Parade' led by artist group <a href="http://www.facebook.com/DiatomaceousLove" target="_hplink">Diatomaceous Love</a> will happen around 3p.m.<br />
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Location: Hanger across from: 538 N. Mission Rd, Boyle Heights, CA 90033<br />
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<a href="https://maps.google.com/maps?q=538+N+Mission+Rd,+Boyle+Heights,+CA+90033,+United+States" target="_hplink">Google map and directions</a><br />
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<small>Calder, 'Robot'</small></center>
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David Choe, 'Untitled' <em>with Caine inside</em><br />
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<small>Dave Selkirk, 'Rhino'</small></center>
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<small>Gretchen Shanon, 'PeacePipe'</small></center>
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<small>Griffin ONE, 'Treehouse'</small></center>
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<small>John Park, 'Gorilla Head'</small></center>
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<small>Ramiro Gomez, 'La Michocana' (one of 4 works for sale)</small></center>
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<small>Yuki Miyazaki, <em>in progress</em> -- Kids Cardboard Maze inspired by 'Castle in the Sky' by Hayao Miyazaki</small></center>
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<small>Mimi Yoon, 'ArtHouse'</small></center>
<br />carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-39517587692979475632012-10-19T12:27:00.001-07:002012-10-19T12:28:12.258-07:00"When I Leave, They Will Want to Buff my Mural"<br />
As artists are in motion and Urban Art is on-the-global-move, cultural identity is being transported and transferred to foreign streets by visiting artists. Artistic lines and boundaries are being explored, and the native territories of local artists are perceived by some to be under threat. On a recent visit to Montreal, a graffiti artist <a href="http://omen514.com/" target="_hplink">OMEN</a> and friend that attended art school with me met me for coffee. In our discussion he expressed that he was upset (<em>mild interpretation</em>) about international artists descending on his city. He felt that native artists who had put the years and time into the street movement were being overlooked. As many barriers and boundaries are crossed in public art, there is a question of<em> 'Who has the right to express themselves here?'</em> Take the famous <a href="http://arts.guardian.co.uk/pictures/image/0,8543,-10105256016,00.html" target="_hplink">Banksy piece</a> as an example. Did he have the 'right' to make <a href="http://matadornetwork.com/abroad/searching-for-banksy-on-the-west-bank-wall/" target="_hplink">artwork on the walls</a> of the West Bank?<br />
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UK artist DFACE also commented about the cultural differences he sees in the Street Art movement: <br />
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"As a whole I think there is more of a social or political comment that is being made in Europe or at least in the UK. I'm not saying that artist in the States don't have social or political agendas. I just think that in the UK that is something that is more evident. There are those in the States however who are getting a message across without question." -- <em>interview by Manuel Bello, Fecal Face Dot Com</em>. </blockquote>
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Los Angeles-based artist MEARONE recently was making a mural in the UK and faced a lot of scrutiny about his piece. He recently shared his thoughts and experiences with me that I wanted to share as it informs the subject of cultural boundaries, understanding and acceptance in Street Art:<br />
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I came to paint a mural that depicted the elite banker cartel known as the Rothschilds, Rockefellers, Morgans, the ruling class elite few, the Wizards of Oz. They would be playing a board game of monopoly on the backs of the working class. The symbol of the Free Mason Pyramid rises behind this group and behind that is a polluted world of coal burning and nuclear reactors. I started noticing that the people were giving me some strange looks. Suddenly a car pulled up and some dudes got out, some kids from across the street walk up and everybody is asking me, "Why am I painting the sign of the Illuminati in their neighborhood?" & "Do I believe in Satan?"</blockquote>
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I was feeling some serious heat and anger.<br />
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I said I was creating this piece to inspire critical thought and spark conversation. I heard "f***** American" said, and "f*** the Illuminati!" They said my mural wouldn't last till the morning and I should just quit now. I continued to express my intent but they were not trying to hear me.<br />
I felt that I was all alone, but I continued to paint when another larger group approached with older men & women telling me to cross it out and this is a symbol that has haunted their people down for over a 1000 years. So much passion and they were very versed with the taboo subject of a secret government banking cartel and they didn't quite get me. I explained my mural & how these elite few were living easy lives on the backs of the working class, I wasn't in promotion of these thieves. They said then write something on the wall to convince us that you mean what you say. I walked over and wrote, "The New World Order is the enemy of Humanity!" They started talking and I couldn't understand. A few walked away, a few said OK, and some stayed and talked with me about our money system and how they see us Americans. It wasn't directed to me as much as is was shared. I had no Idea this was going to be such an intense experience from the get go and still running. The next day I painted the bankers in with the playing board and I noticed people were becoming more curious. Some of the people from the day before were saying hello a few said good job. My third day I got the working class holding up the game board painted in and people were smiling and saying how much they were enjoying its evolution. They were getting it! This was empowering and gave me fuel to work out the meticulous details.<br />
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This whole adventure was very draining but suddenly my energy was back. Come the fourth day there was a street fest going on and people were engaging with me with total knowledge of the subject matter in my mural. Older white men to young Muslim children were talking to me, explaining how we Americans spend beyond our means and how we don't know what our military does around the world. Our money is worth nearly 50 percent of their Pound$. For America to fall all the world has to do is nothing and an economic war can be waged and won. A lengthy conversation of post 9/11 America and foreign policy. My mind was blown, this experience transformed my whole understanding of the game. I finished my mural and drank a beer, smoked a joint, and conversed with the people, my dream to paint a mural that would rally people together and inspire conversation of things that matter, was just realized and it was a bit humbling and emotional. I feel as if I can never see the world the same again, I came into London and was treated as a third world citizen and given my first world privileges back only to be confronted by the same culture and people the UK and America are waring against. I feel very close to all the people I met at the Shoreditch District and Brick Lane, these people shared there lives and thoughts with me unfiltered.<br />
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We are all earth people. -- MEARONE, 2012<br />
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<br />carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-19782735172253373902011-10-11T08:05:00.001-07:002011-10-11T08:05:14.490-07:00<img alt="2011-10-11-IMG_5042.jpg" height="333" src="http://images.huffingtonpost.com/2011-10-11-IMG_5042.jpg" width="500" /><br />
During the end of September I attended the InterZona festival held as a biannual festival between San Diego and Tijuana. I went specifically to observe a project created by an artist who I have worked with, Alfredo LIBRE, native to TJ but living in Mexico City. This project was a celebration of Urban Art in its highest and most resonating form. LIBRE organized artists from around the world to come together and discuss how their 'street art' translated across boarders and in environments displaced from their urban roots. These artist converged to work in an isolated and impoverished community so remote from the city center that a local friend got lost for an hour trying to drive us there (despite innumerable directions from countless people we asked along the way who also didn't recognize the area). The artistic results were explosions of color and energy that were infused into a neighborhood where chickens, steep dirt roads, abandoned dogs, shoeless children, and re-bar poking out of unfinished foundations became touched with positive affirmation. <br />
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I interviewed Shawni D who works in Los Angeles as an advocate and activist for Urban Art after having a conversation with her recently at an art event. You don't need to look across the boarder to see communities in need of creative expression, nor look for examples on how this type of art can garner positive results in neighborhoods across the financial spectrum. I wanted to illustrate some of the points I found interesting as a comparison. <br />
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Zella: <strong>Who approached you to create this program for the Tijuana INTERZONA festival?</strong><br />
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LIBRE:<br />
<blockquote>Ava Ordorica, (one of the organizers) told me about 2 years ago that she wanted me to organize an event involving graffiti artists from different countries. This year the project could finally be created, and it was named "Encuentro Internacional de Arte Urbano". It included a live painting performance during the presentation of a catalog on urban art from Oaxaca, and after that we had a panel discussion with each artist participating to explain the concept of art, graffiti, urban art, in their own words, and approach to art through their life and career development.</blockquote><br />
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Zella: <strong>Who were the artists that were included in this project and please briefly explain why you chose them.</strong><br />
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LIBRE<blockquote>The selection was made based on style, country of origin and the way that their work would influence the community that the project was going to be created in. The artists were: colectivo Asaro, colectivo La Piztola and colectivo Arte Jaguar (from Oaxaca, Mexico), Itxaso Larranaga (France), Pablo A (England), Dabs & Myla (Australia), Tyke (LA-Vietnam), Shente (Tijuana, Mex) and me (Libre-Tijuana, Mex) initially. Then the project grew and other artists started to join such as Yneez (Czech Repuplic), Ofier (LA-Mexico city), Tfour (Tijuana,Mex), Dual (Tijuana, Mex), Edhr (Tijuana, Mex), Kafy (Tijuana, Mex), 1102 (Tijuana, Mex), El Norteno (Tijuana, Mex) and Pein (Tijuana, Mex).</blockquote><br />
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Zella: <strong>Who decided on the idea of where to create these murals and why was that area selected?</strong><br />
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LIBRE:<blockquote>The neighborhood is called Granjas Familiares (Family Farms) and it was selected because it as long been ignored by cultural and government projects, recently there has been an outreach to this neighborhoods (by SEDESOL a government program) so we thought it would be a good idea to bring color -with the mural project- to the area so it would attract more attention to it, because it is never enough in this kind of regions where it's to far from the center of the city that often takes years to bring pavement, plumbing, public lighting, etc.</blockquote><br />
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Zella: <strong>How did the community respond and the city of Tijuana respond to this project?</strong><br />
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LIBRE:<blockquote>For the community it was an overwhelming project. The families were very happy with the outcome, and we literally ran out of paint. We were planning on painting 10 walls and ended up painting 24. At the end the artists were being asked by neighbors for us to return and paint more walls. Coincidentally, all of us focused on giving messages to the kids and making the murals as accessible and simple as they could be. For the city of Tijuana this was a great project because of the diversity and scope of the artists involved. Many local artists were very enthusiastic about their presence and went to the conference and followed us during the development of the murals and interaction in the neighborhood.</blockquote><br />
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Zella: <strong>How did the foreign artists and artists native to Tijuana interact amongst each other, and how did the community where they were painting respond to both?</strong><br />
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LIBRE:<blockquote>There was a very good interaction between the foreign and local artists, especially because the artists from Tijuana knew the work of the international artists from magazines, videos and internet. For them to meet in person and interact with these artists was a very good experience. The community was impressed by the murals and to see someone not Mexican painting in their neighborhood was very exciting for them. Also, the reaction when the kids and teens helped with the murals was great, because after we leave, they are the ones who live with the paintings. Since they were involved in the creation of the works, they somehow become also invested in the art.</blockquote><br />
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Zella: <strong>How does Mexican culture and the city of Tijuana respond to murals? How did this project contribute to the reflection of murals in Tijuana?</strong><br />
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LIBRE:<blockquote>Muralism in Mexico is a very old tradition, since the Mayans, Aztecs, Toltects, etc., and in Tijuana has been a constantly developing movement over the last 50 years. Renowned artists have been painting big format murals in cultural centers in Tijuana, such as ave Revolucion, the border crossing between Mexico-USA. This project was a major contribution because it involved the participation of local artists and famous artists of different nationalities gathered in a city, in a neighborhood just for one cause, to paint the walls, to rehabilitate a surface with their styles. What made it have more impactl was that this area wasn't in a "pretty neighborhood" and we placed it where we saw the most need.</blockquote><br />
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Zella: <strong>Do you think that murals are an important part of community and urban environments? Please explain.</strong><br />
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LIBRE:<blockquote>They are a huge part of an artistic manifestation because they take the brown and grey from the streets and walls in a battle against commercial and political propaganda. They fill areas with color and texture where it used to be deteriorated and neglected. This is especially true for in the community of Granjas Familiares where the Interzona project was developed. There it used to be all tagged and grey, with decaying surfaces that looked depressing.</blockquote><br />
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Zella: <strong>Describe one outstanding moment from this experience.</strong><br />
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LIBRE:<blockquote>At a point in the project a lady in the community said "why are you here? this neighborhood? nobody will see it here" and we responded, "Cause we need to be here maam! This is the area that needs color intervention.".</blockquote><br />
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Zella: <strong>What is your involvement with the mural movement and advocacy in LA?</strong><br />
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Shawni D.:<blockquote>My involvement with the mural movement began in June of 2010, when collaborating with Bryson Strauss, Founder of L.A. Art Machine, and iconic L.A. graffiti/muralist Mear One on behalf of The Loft at Liz's and the Miracle Mile Art Walk. It was during this time I learned about the ban placed on murals in 2002. I quickly discovered how confusing and complicated the ordinance as written was, and the fines and legal issues involved affecting both artists and property owners blew my mind! Ironically, hundreds of murals have been painted all over our city since 2002 and to this day continue to be. In addition many artists have been fined, arrested, jailed and property owners have also suffered by having to pay exorbitant fines for allowing murals to be painted without knowing the legalities involved.<br />
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Fast forward to 2011. In May two incidents happened both related to murals. In the district I represent a mural that had been commissioned by Julie Newmar, and was painted by many very famous graffiti/spray paint artists was illegally buffed - this story is very well publicized so I won't go into too much detail about it. At the same time there was a motion to be voted on by the MCWCC asking for funding to hire a graffiti removal company to appoint community volunteers to remove anything they considered tagging (crime) or graffiti (art, not a crime) without having to go through any proper channels. As the arts chair, I was very uncomfortable with the way the motion had been written and was also very concerned with the timing because of what had happened to what I like to call the Goo wall (the above mentioned mural is located on the sidewall of the hair salon called Goo on Fairfax.) In all fairness, prior to our meeting, I was able to work with the person who heads the committee that wrote the motion and had the wording changed to protect public urban art to the best of my ability. However, the motion was approved by majority rule (not including my vote) and the funding was granted to remove "tagging" not art. <br />
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About one week later, another spray paint artist who is also very famous that I am publicist for, learned a mural he had been commissioned to paint in 2010 on a Children's Youth Center in DTLA had been buffed over without warning by the new renter. I then contacted Isabel Rojas-Williams who is Executive Director of Mural Conservancy L.A., asking for advice on how to go about rectifying the damage done to both artists and walls, as well as how to work with the graffiti abatement group in order to protect urban art the MCWCC area. Isabel introduced me to Tanner Blackman who I mentioned earlier. At this time, Tanner was in the process of inviting a select group of longtime muralists, graffiti artists, street art curators, and art advocates, as well as area arts reps to work together giving guidance allowing him to re-write the legal language of the ordinance as well as introduce him to stakeholders in areas. This is why he invited me to work with this group, Mid City connects Venice and Downtown L.A. So, my involvement and advocacy started at the same time.</blockquote><br />
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Zella: <strong>In your words, why are murals an important part of our cultural heritage and community?</strong><br />
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Shawni D: <blockquote>As mentioned, I have lived here since 1967 and have many vivid memories of beautiful works of art all over L.A., and parts of Orange County. In the 70's and through the eyes of a young girl, they told stories that I could understand and also provided huge resources of inspiration for me to paint, or draw or do what I could with color; I know if I was affected in this way others must have been too. They told the stories of the original Angeleno's and represented a large portion of society that had been overlooked or shunned because of the color of their skin, or because they didn't speak the language and this was their way of telling the world that they matter, here is our story, we will be heard, this is what we have lived through and where we are today, as well as preserve their culture through art for generations to come. I include east L.A, West Adams district, Santa Ana, downtown Placentia, areas that were considered impoverished and places to stay away from. Yet, the vibrancy was amazing and the sense of community was thriving and very real. At that time "street art" as it is known today didn't exist, there were two visual experiences happening at the same time, the murals and the graff and they both intersected. And it goes without saying a lot of the graff was gang related, but some of it was also there to inspire the community and provide hope - not to mention making political statements in a way people in those communities could understand, it was their language, their alphabet and well respected. It is very sad that most of those masterpieces are gone today. Studies and research has proven that areas that incorporate murals increase property value, actually keep crime away, and prevent tagging, not the opposite as some would like the general public to believe. This is one reason I feel they are vital to economically challenged areas of metropolitan cities as well as suburbs.</blockquote><br />
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Zella: W<strong>hat is happening currently in the political realm with the mural ordinances?</strong><br />
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Shawni D.: <blockquote>This is very exciting news to share! Last Friday, Tanner sent an e-mail (as written) to our group letting us know on October 12th at 3:00pm, there is a Joint Special Planning & Land Use Management and Arts, Parks, & Neighborhood Committee Meeting with the City Council. The joint-committee will discuss policy regarding murals from approximately 3:30 pm on. The Council members are expected to give the departments direction for the mural ordinance before draft language can be released to the public to take it to the next level. The motions to be discussed are as follows: <br />
Motion #1 (Huizar - LaBonge - Krekorian) relative to declaring a moratorium on the issuance of notices to remove murals that property owners have evidence were completed prior to April 2002; and the creation of a working group to investigate how the City can restore funding for a program to convince building owners to maintain murals located on their properties for a set number of years.<br />
Motion #2 Motion (Rosendahl - Reyes) relative to instructing City Planning, with the assistance of the DCA and the DBS, and in consultation with the City Attorney, to prepare and present an Ordinance to define murals as something other than signs and establish a Citywide program for permitting murals. All are welcome, the public is encouraged to attend, fill out a speaker card and be heard! <strong>ROOM 350, CITY HALL - 3:00 PM* 200 NORTH SPRING STREET, LOS ANGELES, CA 90012</strong></blockquote><br />
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Zella:<strong>What role does graffiti play in the discussion of urban art and murals?</strong><br />
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Shawni D.:<blockquote>An extremely important and vital role. Today, in most art circles and discussions graffiti is synonymous with both; one cannot be mentioned without the other. The traditional muralists that painted many of the walls throughout Los Angeles and Orange County, including the many long gone commissioned works along the freeway were painted primarily with brush or airbrush. I am honestly not sure how many painted with spray paint, which is kind of a defining line that is considered the tool of most graffiti artists today, both letter writers and those who paint figurative cartoons, portraits, landscapes, etc. or abstract works. Traditional brush paint as well as airbrush are still used as well.</blockquote><br />
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Zella:<strong>How does American society differ in terms of its relationship and appreciation of public art as compared to other countries in your opinion?</strong><br />
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Shawni D: <blockquote>Many in our society LOVE public art and are doing what they can to secure its well deserved place in art history forever. However, at the same time it is also a very misunderstood form of art because of the stereotype placed on these visionaries, rebels, introverts, truth tellers.</blockquote><br />
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<img alt="2011-10-11-IMG_5107.jpg" height="333" src="http://images.huffingtonpost.com/2011-10-11-IMG_5107.jpg" width="500" />carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-52553986634811351272011-07-13T18:19:00.000-07:002011-07-13T18:19:39.022-07:00I went to <a href="http://www.mahs.org/" target="_hplink">Manual Arts High School</a> during the fall of 2010, on a tip from some of the street artists who have done work there. It exceeded any description I'd been given or picture that I had formed in my mind. I immediately recognized the value of what Mark Aialla had accomplished at this South Central L.A. school as an art teacher, and I wanted to participate in any way that I could. Through the <a href="http://www.doartfoundation.org/" target="_hplink">Do ArT Foundation</a>, I was able to add more international artists into the project before Mark was laid off and the program was shut down. Now that he has finished his last term, I interviewed Mr. Aialla to shed light on his experience at Manual Arts High. His story of what one person's vision can accomplish amidst a crumbling education system with perseverance, dedication, respect and love is a film-worthy script that reflects the most inspiring all-American classics of our time. <br />
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<strong>Carmen Zella:</strong> Tell me about the community that you're working in at Manual Arts High School, and how your art program has affected the students.<br />
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<strong>Mark Aialla:</strong> I feel blessed to be able to speak on it in that way. In the short four years I've seen change happen within the building itself, within the faculty, within the staff and within the students, too. The only art history that kids really have an awareness of is the art that is within their community, so it's specifically graffiti art, right? When it comes to students' interest, even within their own cultures, a lot of students do not have that self-awareness. Since I give them that kind of history at the school and bridge on some prior knowledge that they already know, there is a curiosity. I create allies within the art classes, because you're telling me about my community, which ultimately you're telling me about myself. <br />
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We had a kid that came through that had that kind of history. He ended up taking the art classes. He already had sketches of his own graffiti art and had picked out a name and was committed to creating this alias. He did [graffiti] with a number of kids and was fairly well-known within the community because of the people that he was associated with, as well as he was pretty good at his craft. Long story short, he took Mr. Lasko's class, then he became one of my TAs, and we kind of took him on this journey. We schooled him in not only the history, but what happens within the school is that it gives the students the best examples of something that may be seen as a eyesore within the community. It does that by opening up the boundaries of what's possible. Its not just sort of a spaghetti colorful letters and intricate patterns; it's something that literally speaks to them and, in time, teaches them many things. <br />
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Another teacher got him an internship through the internship program with <a href="http://obeygiant.com/" target="_hplink">Shepard Fairey</a>, and that blew his mind, for someone who was interested in graffiti. His goal was probably just to go "all city" after getting out of school, and ultimately that could end up causing a lot of drama for kids -- rather than going to college, he's trying to crush the city -- so this opened him up to all kinds of possibilities, and just last week he told me that he's having an art show at a local place that I'm down to support. He has pieces throughout his evolution as a student at Manual in different stages all around the campus and in the classroom. <br />
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<strong>CZ:</strong> How did you start this project at Manual Arts?<br />
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<strong>MA:</strong> At first it happened through Mr. Lasko, who started incorporating student silhouettes on the walls. They were formed for the school and the principal at the time to combat the graffiti that was happening on the walls, because custodians were complaining that they were spending too much time with that. I got hired, and I said that I could build on that with a community that I'm loosely associated with and have a lot of history with. The school said, "OK, let's see what you can do." My first people are at the <a href="http://www.moca.org/" target="_hplink">MOCA show</a>, L.A. artists, <a href="http://therestitutionpress.com/" target="_hplink">Restitution Press</a>, <a href="http://tworabbitsstudios.com/" target="_hplink">Two Rabbit Studios</a>, <a href="http://www.bomit.com/branded.htm" target="_hplink">Branded</a>, <a href="http://www.journalofaestheticsandprotest.org/6/antiwar/lavrswar.html" target="_hplink">John Carr</a> and the <a href="http://yopeace.org/" target="_hplink">Yo Peace Collective</a>.<br />
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They were the first wave that I did -- it wasn't just one artist -- and started causing lots of ripples. That's what happened. Mr. Lasko kind of opened the door, by starting off something that was student-invested. Students actually did their own silhouettes to put on the walls, and so the graffiti stopped, for the most part -- not overnight, but it was a dramatic difference. It added color and pattern, but in my opinion, it was a potential, kind of, for bigger and better things to happen.<br />
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<strong>CZ:</strong> What are some responses that kids have had to some of the artists?<br />
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<strong>MA:</strong> It's awesome to see kids when they are in front the art, to just hear them casually dialoguing, having aesthetic exposure through a conversation that they would not otherwise have. I get little soundbites of these things that are heartwarming and really beautiful, about their experiences in their school, how they look at their school differently, how they look at their community differently and how they ultimately experience the world differently. I am intentionally binding local artists to national artists and, with [the <a href="http://www.doartfoundation.org/" target="_hplink">Do ArT Foundation</a>'s] help, international artists. In a community that is South Central, and South L.A. that is predominantly very localized, this really opens them up -- in more ways than one. It makes them feel that people around the world, like when <a href="http://www.freddysam.com/" target="_hplink">Freddy Sam</a> came through and told them that they are going to school in a very unique space in the world, and that they should really feel that their footsteps are very special, and how he incorporated that in his mural, that was really important to them to hear that. For the kids in the art classes, that was, I think, transformational. <br />
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Many of the artists have touched them. The <a href="http://unurth.com/filter/ROA" target="_hplink">ROA</a> mural from Belgium blew their mind; the <a href="http://www.herakut.de/" target="_hplink">Herakut</a> and CASE piece across the street that [the <a href="http://www.doartfoundation.org/" target="_hplink">Do ArT Foundation]</a> helped with was a big deal, too, because it saw the project larger than the school now. I think people like <a href="http://www.buffmonster.com/" target="_hplink">Buff Monster</a>, and some of the surprising ones, like we have a large owl, and kids want to get these things tattooed on their bodies, which shows me how much they appreciate them. <br />
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<strong>CZ:</strong> Tell me about how you have integrated programs and exhibitions outside the school with the students in your art classes.<br />
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<strong>MA:</strong> The last year that we were there, since the beginning of the school year, I knew of the possibility of the "<a href="http://www.moca.org/audio/blog/?p=1522" target="_hplink">Art in the Streets</a>" show. So the curriculum that I focused on, specifically for the drawing and painting class, kind of changed around artists that would be exhibited in the show that were street artists or graffiti artists. After doing projects on <a href="http://www.haring.com/" target="_hplink">Keith Haring</a> and <a href="http://basquiat.com/" target="_hplink">Jean-Michel Basquiat</a>, <a href="http://www.barbarakruger.com/" target="_hplink">Barbra Kruger</a>, and <a href="http://www.warhol.org/" target="_hplink">Andy Warhol</a>, they're very much aware of the historical precedents in this town. So three-quarters through the year, we worked with <a href="http://www.jetsetgraffiti.com/" target="_hplink">L.A. Free Walls</a>' Daniel Lahota, who does that terrific project in the <a href="http://www.ladad.com/" target="_hplink">Artist District</a> downtown, bringing all these international players to make it beautiful down there. He had helped me bring <a href="http://roaweb.tumblr.com/" target="_hplink">ROA</a> to the school for our auditorium piece that ironically ended up being featured in the <a href="http://mocastore.org/products/art-in-the-streets" target="_hplink">"Art in the Streets" catalog</a>, which is awesome for the school's history. That connection for the kids was mind-blowing, as well. A friend that I met at one of <a href="http://www.mymodernmet.com/profiles/blogs/roa-hits-los-angeles-18-pics" target="_hplink">ROA</a>'s outdoor pieces in downtown was a contributor to the <a href="http://mocastore.org/products/art-in-the-streets" target="_hplink">"Art in the Streets" catalog</a>. I reached out to her, and she gave us a guided tour through <a href="http://www.moca.org/" target="_hplink">MOCA</a> for that show, which was really awesome for the kids to see, to see the best examples in the world, and the evolution of the whole movement. And then, after that, we took kids to <a href="http://en.wikipedia.org/wiki/Little_Tokyo,_Los_Angeles" target="_hplink">little Tokyo</a>, which many kids have been living in California their whole life and never even been across the 10 freeway, so as small of a detail, like they have lunch and have green tea ice-cream, that was a big deal for them. Then we went to the <a href="http://www.holdupart.com/" target="_hplink">HoldUp gallery </a>in little Tokyo, and so they got to see an exhibit of some of the same artists. <br />
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So to see artists who are at the school, in the museum, out on the streets of Los Angeles and in galleries, for them, tied together with the projects that I was doing, as well as the visual artists who were at the school, was probably one of the most dynamic teaching experiences. When I had another contributor to the <a href="http://www.moca.org/" target="_hplink">MOCA </a>show there [at Manual Arts High], I heard echoes of, "Well, this looks like MOCA" in the hallways. <br />
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It is amazing, as I never would have thought of that. But for my kids to have that similar experience at a moment when they are defining their reality out of adolescence, for that core group of people, that was a beautiful, memorable experience. Administration, or any of the politics or drama that I had to go through to pull those strings to make it happen, could never overshadow what I see in kids when they are experiencing those moments. That may be the best, most holistic way of teaching, at least for me and my personal history within this movement that could have fell together, and came together. It was sick. Not a lot of people get to meet, let alone know, the name of an artist. For kids to be engaged in that, and get black-book drawings and have conversations, and get vibes and get stickers and t-shirts and posters, I mean, that's amazing. <br />
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There's this one kid when I first started -- he was there probably every time I had a local Los Angeles <a href="http://unurth.com/index/filter/Pasteup" target="_hplink">paste-up-guy</a> come through. He's probably got one of the sickest, earliest collections of posters in the city from just being around. <a href="http://therestitutionpress.com/" target="_hplink">Restitution Press</a> and <a href="http://www.buffmonster.com/" target="_hplink">Buff Monster</a> asked if he could help them out, and he said, "No problem," and then he talked to me about how he has a <a href="http://www.fatcap.com/artist/zoso.html" target="_hplink">Zoso </a>over his bed and how cool that is. Now the kid, while in school, owns his own silkscreen press and is making his own t-shirts and making his own posters in his junior year. It made him want to get kind of entrepreneurial, you know?<br />
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<strong>CZ:</strong> What have been your struggles to make this happen?<br />
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<strong>MA:</strong> When we first started the project, pretty much for the first three years we had unconditional support. Our school is really unstable, so we pretty much have a different principal every year, and so their relationship to the arts changes. <a href="http://www.laspromise.org/" target="_hplink">Promise L.A.</a>, at the time called MLA, who gave us a grant to initially start doing a section of bungalows where we did 20 artists and 20 murals in one day on a Saturday, kind of pulled this coup. The attitude started to change because of maybe a little bit of slack for the <a href="http://unurth.com/878423/Roa-Manual-Arts-Los-Angeles" target="_hplink">ROA </a>piece that we did. Some of the communities who didn't really look at the piece, I think they got a little bit of static from the Alumni Association saying all the animals were rats. But if you look more than five seconds at the mural, there are no rats whatsoever. The <a href="http://www.blogger.com/www.nhm.org" target="_hplink">Natural History museum</a> representative was there every single day that we painted it, and they are all animals that are native to that area and that come out at nighttime. I guess they had gotten some phone calls to the school about what the mural was about. We got really great input when we were doing the mural from the community; people would walk by and say, "This is how our community should live. We should be sort of sleeping here, playfully, at peace with one another. We are all different races and religions, just like this mural has different species," but these people don't call the school. <br />
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Anyway, so the reigns got a little bit tighter in our last year. So outdoor murals were rejected because of subject matter, and it was a little disheartening to know that it was only maybe a couple of people that were making the decisions for an entire community of what kind of murals should go up, and according to what subject matter. Some were assistant principals, and some of the people were the deans, I believe. And this is according to probably their subjective experience with art. I've never put anything in the school that I thought was going to be controversial where it couldn't be a learning experience to talk about an issue. Teachers were walking through the building, using the school as an outdoor classroom to discuss their lessons. So there was this conflict going back and forth: how the art spoke to the kids in a very specific way, and how it spoke to an older generation. I mean, if <a href="http://www.moca.org/" target="_hplink">MOCA</a> had difficulty having this kind of art at a museum, which has art already, what are you going to get in an academic environment with a staff that is not familiar at all with this movement, that has negative associations with anything done with spray paint, even if it's a portrait of Nancy Reagan. It's ridiculous; the medium is totally bastardized. So my mission was to kind of change that. I think I did, but I still got static, you know. I was only able to do pieces on the inside of a building where the art classes are, so I just decided to get as obnoxious as possible and just press it top to bottom. <br />
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Lockers, ceilings, doors, stairways, balconies, I mean anything -- to the fact where it was literally every week, students and staff were walking around and trying to see what was new. It was kind of like walking down <a href="http://visualingual.wordpress.com/2009/01/05/san-franciscos-clarion-alley/" target="_hplink">Clarion alley</a> in San Francisco, a beautiful working environment. You know that your school is not dead and beige and grey, but that it is alive and peeling all these creative skins on a weekly basis. They told us, "No, you can't do it on campus." So I went elsewhere, and went across the street to some of the community members who saw the <a href="http://www.flickr.com/photos/roagraffiti/5355284965/" target="_hplink">ROA</a> mural and were like, "Hey this is amazing for our community," and, "I have a business that's getting tagged on a daily basis, whenever you want to do something, can you do something?" <br />
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And I pulled that card, and it ended up happening when we did the <a href="http://www.montana-cans.com/news/2011/05/herakut-and-case-in-the-usa" target="_hplink">Herakut and CASE </a>piece. And so you can kind of see even when there is adversity at the school, there is still opportunity with people who aren't necessarily involved in their own agendas and aren't thinking necessarily about the student's curiosities. <br />
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I mean, none of the murals that I had were anything that they aren't seeing in creative films in our youth culture, from "<a href="http://www.transformersmovie.com/" target="_hplink">Transformers</a>" to "<a href="http://m.harrypotter.warnerbros.com/harrypotterandthedeathlyhallows/" target="_hplink">Harry Potter</a>" to things like that. They are not violent at all, but some of the imagery is kind of fantasy and surrealistic, and it incorporates art history movements. And why should that not be in school? It's got to be responsible, but I think I'm responsible when I give administration articles about the artist, sketches by the artist on the site, sometimes even photoshopped walls on the site, bring the artist in to talk to them. Sometimes, with the mural that got rejected, they didn't even give time to call the artist, and that's really, really pathetic. That mural never happened. <br />
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<strong>CZ:</strong> What are your plans now that you won't be teaching at Manual Arts?<br />
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<strong>MA:</strong> I hope to be able to maintain the art that's there. I hope that it continues to be there and the people don't decide to edit it, or paint certain ones out. I hope it all gets to stay. I could almost scientifically prove its beneficial impact on the whole culture there, because it has already been so transformational. <br />
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But because of budget problems and a third of our staff -- 55 members -- being cut, the arts being completely attacked, no funding for teachers, let alone a librarian at our school, I'm not going to be at Manual. We're working on a book on Manual, to talk about the whole experience. All photographed by <a href="http://www.urbanasiaphotos.com/" target="_hplink">Kirk Pederson</a>, <a href="http://www.zeropluspublishing.com/" target="_hplink">Zero + Publishing</a> is going to do a book on it, so it will be time-capsuled, in that way. We are probably going to work on it this summer, so I'm not sure technically when it will be available, but probably the sooner the better. I'd like to continue doing this in other schools and other sites. So I hope I can do that more -- we'll see.<br />
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Angus Braithwaite,<em>The Moment of Conception</em>, JTG Gallery 2010<br />
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The <a href="http://www.friezeartfair.com/" target="_hplink">Frieze Art festival</a> in London this year opened a window not only to contemporary art from around world, but also to the economic climate of the arts market and artists' response to major budget cuts in funding. Over the week, as I attended various events, and spoke with artists and saw the threads connecting their works, one question emerged clearly in my mind: where does art fit into our current culture of recession, dichotomy and class?<br />
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One piece in particular strongly articulated questions and subjectivity relating to this topic. Cartier award winner, <a href="http://www.frieze.com/issue/article/simon_fujiwara/" target="_hplink">Simon Fujiwara</a>'s work '<em>Frozen</em>' stopped people literally in their tracks who walked into the temporary Frieze Festival gallery in Regents Park. A litany of glass panels on the floor of the tent displayed dug outs in the earth, housing a treasure of artifacts and tools laid out to resemble an architectural dig. These glass floor panels and archeological 'sites' appeared intermittently in the walkways between the labyrinth of galleries. The installation also had a performance element to it: mock archeologists in the center of the festival space "excavating" and documenting on a drafting table, drowned in measurements and relics illustrating the "authenticity" of the dig. The meta-comentary of this installation was genius, as <em>Frozen</em> delicately poised so many layers of meaning amidst the highbrow art, (soon to be artifacts) filling every corner of the Frieze tent. As Simon Fujiwara states, "I am working with these modes of presentation for 'Frozen'(archeology), but since the city is complete fiction, I can use them to tell my own history - in this case a story about the origins of this ancient desire to collect and find value in art, which is something I wonder about myself when I'm making work... From the outset, I wanted this ancient civilization to raise questions about today's culture... The starting point for my work is that all art is autobiographical - that whatever an artist exhibits will be read against their life story, against the clues revealed by their name, their date of birth, their origins. This is the condition of art: it's about people, it's about the imagination of the individual and it's about life. That's why we love it.". <br />
<img alt="2010-10-29-Frieze_installationperformance.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_installationperformance.jpg" width="375" /><br />
<img alt="2010-10-29-Frieze_installationperformance_3.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_installationperformance_3.jpg" width="500" /><br />
'<em>Frozen</em>', installation/performance, <em>Simon Fujiwara 2010</em>.<br />
<br />
A dominant aesthetic seen throughout the galleries at <em>Frieze</em> was a kind a conceptual throwback in the style of Arte Povera. Arte Povera was introduced in Italy during the period of upheaval in the 1960s, promoting the notion of a revolutionary art, free of convention, the power of structure, and the market place. Media and constructions that used recycled or low-cost materials in the celebration and expression of simplicity rather then ornate refinement and extreme detail stood out in numbers at the exhibition. (see pics)<br />
<br />
I also attended <a href="http://www.monikerartfair.com/" target="_hplink">Moniker</a>, the street art festival in East London which runs as a counterpoint to Frieze. This festival was created to showcase galleries and artists aligned with the Street Art movement. <br />
<img alt="2010-10-29-Moniker_opening.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Moniker_opening.jpg" width="500" /><br />
<em>Moniker art opening.</em><br />
<br />
In the non-curated forum of the city streets, artists created works that spoke of impermanence, messaging, and street codes. The exterior walls displayed the full expression of this movement, notably spray-painted mural size pieces, but only a selected number of better-known participants in the festival were permitted to paint due to the limitation of wall space. Inside the works were sectioned by galleries and archived on canvases, hanging from white partition walls, and stocked throughout Moniker's relatively small brick building. In this environment and scale, many artists lost impact when confined to canvas, devoid of the context of their work in public urban space, which frames their legacies, influence and historical relevance. But of course, artists from the streets foray into the festival/gallery world as documented by the Moniker festival is an product of our economic climate. Many of these pieces seemed to be tokens of their larger outside work, a notable manifestation of the element of commodity and exchange that is an awkward albeit necessary part of the economy of the art market. Without any additional funding sources to support artists who shape our cultural aesthetic and history - and, in this cityscapes, some fiscal exchange needs to take place, and one resolution has become the creation of wall size art for collectors and people to purchase. Having said this, some street art did and does translate onto canvas, retaining the lines, intentions and articulation that the artists developed within the urban landscape. <br />
<img alt="2010-10-29-Moniker_Herakut.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Moniker_Herakut.jpg" width="500" /><br />
Moniker Art Fair, Herakut 2010.<br />
<img alt="2010-10-29-Moniker_Faith47.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Moniker_Faith47.jpg" width="375" /><br />
Moniker Art Fair, Faith47 2010.<br />
<br />
Once revealed, the symbiosis of art and economy was visible everywhere throughout London's landscape. My friend <a href="http://www.onesmallproject.com/pagescontributors/contributorsoria.html" target="_hplink">Chino Soria</a>, an Argentine sculpture and installation artist introduced me to the extremely vibrant alternative art scene where experimentation and reflection, instead of commodification, is reflected in the collections of numerous non-profit institutions, galleries, and art collectives. (see links below) At a banquet table in the <a href="http://jtg.org.uk/" target="_hplink">JTG Gallery</a> top floor of the space, artists, intellects, art professors and writers discussed a host of topics relating to the budget cuts, while a large exhibition filled the basement, ground and adjacent rooms on the second floor. <br />
<img alt="2010-10-29-JT_banquet.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-JT_banquet.jpg" width="500" /><br />
<a href="http://www.no-w-here.org.uk/" target="_hplink">no.w.here</a> & JTG event.<br />
<br />
JTG is not a traditional gallery space, but is best described as an artist occupation of a 25,000 sq foot space in the East End awaiting finance for its planning permission for conversion to luxury flats. (sound familiar?) The event, entitled '<em>Recessional Aesthetics</em>', was a durational, discursive event produced, staged, and facilitated by the context of the space and the conditions of our present moment. The event took place on the second floor of the gallery, and the preface was to create a day that 'will act as a durational discursive event, a coming together of individuals as a part of a collectivity operating in the threshold of the public and the private, an image, a staging and an active discussion'. From the event's literature: <br />
<blockquote>We are witnessing different strategies of mobilization across the breadth of cultural production and we know that the arts are not alone, the public sector as a whole is to be cut and as such we all have different questions and pressures we are asking of ourselves on fundamental levels.</blockquote>. <br />
<img alt="2010-10-29-JT_2_LeeHolden.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-JT_2_LeeHolden.jpg" width="500" /><br />
Lee Holden, JTG Gallery, 2010<br />
<br />
<a href="http://jtg.org.uk/" target="_hplink">http://jtg.org.uk/</a><br />
<a href="http://www.no-w-here.org.uk/" target="_hplink">http://www.no-w-here.org.uk/</a><br />
<a href="http://carrotworkers.wordpress.com/" target="_hplink">http://carrotworkers.wordpress.com/</a><br />
<a href="http://formcontent.org/" target="_hplink">http://formcontent.org/</a><br />
<a href="http://www.serpentinegallery.org/2009/06/edgware_road.html" target="_hplink">http://www.serpentinegallery.org/2009/06/edgware_road.html</a><br />
<a href="http://www.basementartprojects.org/" target="_hplink">http://www.basementartprojects.org/</a><br />
<a href="http://www.antepress.co.uk/" target="_hplink">http://www.antepress.co.uk/</a><br />
<a href="http://callandresponse.org.uk/" target="_hplink">http://callandresponse.org.uk/</a><br />
<a href="http://www.fivestoreyprojects.com/" target="_hplink">http://www.fivestoreyprojects.com/</a><br />
<a href="http://or-bits.com/" target="_hplink">http://or-bits.com/</a><br />
<a href="http://shiftgallery.com/default.aspx" target="_hplink">http://shiftgallery.com/default.aspx</a><br />
<a href="http://www.ravenrow.org/" target="_hplink">http://www.ravenrow.org/</a><br />
<a href="http://www.theshowroom.org/" target="_hplink">http://www.theshowroom.org/</a><br />
<a href="http://www.drawingroom.org.uk/" target="_hplink">http://www.drawingroom.org.uk/</a><br />
<br />
<img alt="2010-10-29-Frieze_46_KutlugAtaman.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_46_KutlugAtaman.jpg" width="375" /><br />
<em>Frieze</em>, Kutlug Ataman 2010<br />
<img alt="2010-10-29-Frieze_31_Tariq_Alvi.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_31_Tariq_Alvi.jpg" width="375" /><br />
<em>Frieze</em>, Tariq Alvi 2010<br />
<img alt="2010-10-29-Freize_4_Lisa_Lapinski.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Freize_4_Lisa_Lapinski.jpg" width="500" /><br />
<em>Frieze</em>, Lisa Lapinski 2010<br />
<img alt="2010-10-29-Freize_7_b_Ugo_Rondinone.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Freize_7_b_Ugo_Rondinone.jpg" width="375" /><br />
<em>Frieze</em>, Ugo Rondinone 2010<br />
<img alt="2010-10-29-Freize_10a_Freidrich_Kunath_.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Freize_10a_Freidrich_Kunath_.jpg" width="375" /><br />
<em>Frieze</em>, Freidrich Kunath 2010<br />
<img alt="2010-10-29-Frieze_11_Frances_Stark_marcfoxx.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_11_Frances_Stark_marcfoxx.jpg" width="500" /><br />
<em>Frieze</em>, Frances Stark 2010<br />
<img alt="2010-10-29-Frieze_11_Mateo_Tannant.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_11_Mateo_Tannant.jpg" width="375" /><br />
Frieze, Mateo Tannant 2010<br />
<img alt="2010-10-29-Frieze_11a_amaliapica_marcfoxx.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_11a_amaliapica_marcfoxx.jpg" width="375" /><br />
Frieze, Amalia Pica 2010<br />
<img alt="2010-10-29-Frieze_12_Simon_Denny.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_12_Simon_Denny.jpg" width="500" /><br />
<em>Frieze</em>, Simon Denny 2010<br />
<img alt="2010-10-29-Frieze_14.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_14.jpg" width="500" /><br />
<em>Frieze</em>, 2010<br />
<img alt="2010-10-29-Frieze_16_Seb_Fatane.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_16_Seb_Fatane.jpg" width="375" /><br />
<em>Frieze</em>, Seb Fatane 2010<br />
<img alt="2010-10-29-Frieze_19_GabrielOrozco_KurimanzuttoGallery.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_19_GabrielOrozco_KurimanzuttoGallery.jpg" width="375" /><br />
<em>Frieze</em>, Gabriel Orozco 2010<br />
<img alt="2010-10-29-Frieze_19a_AbrahamCruzvillegas.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_19a_AbrahamCruzvillegas.jpg" width="375" /><br />
<em>Frieze</em>, Abraham Cruzvillegas 2010<br />
<img alt="2010-10-29-Frieze_20_Sean_Landers.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_20_Sean_Landers.jpg" width="500" /><br />
<em>Frieze</em>, Sean Landers 2010<br />
<img alt="2010-10-29-Frieze_24_Yani_Burbama_.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_24_Yani_Burbama_.jpg" width="500" /><br />
<em>Frieze,</em> Yani Burbama 2010<br />
<img alt="2010-10-29-Frieze_27_Paul_McCarthy.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_27_Paul_McCarthy.jpg" width="375" /><br />
<em>Frieze</em>, Paul McCarthy 2010<br />
<img alt="2010-10-29-Frieze_36_CarlosBevilacqua.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_36_CarlosBevilacqua.jpg" width="375" /><br />
<em>Frieze</em>, Carlos Bevilacqua 2010<br />
<img alt="2010-10-29-Frieze_43_AlloraCalzadil.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-29-Frieze_43_AlloraCalzadil.jpg" width="375" /><br />
<em>Frieze</em>, Allora & Calzadil 2010<br />
<img alt="2010-10-29-Frieze_43b_DamianOrtega.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_43b_DamianOrtega.jpg" width="500" /><br />
<em>Frieze,</em> Damian Ortega 2010<br />
<img alt="2010-10-29-Frieze_51_DamianHirst.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_51_DamianHirst.jpg" width="500" /><br />
<em>Frieze</em>, Damian Hirst 2010<br />
<img alt="2010-10-29-Frieze_53c.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-29-Frieze_53c.jpg" width="500" /><br />
<em>Frieze</em>, Unknown 2010carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-66490457156109718512010-10-12T15:18:00.000-07:002010-10-12T15:39:37.006-07:00<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6a6xzQA9UpJYgXkSW0wQFGimqFn-q10XcN2x1Ecvf3oQjRVau-WfxFM9bZmRNmLiiqVWLjHz_0_bKdDLLrG9n9ipgivI-kKwOnI_IqwxwuFxb-cHV49zpnp5YdjPyI_kDpipXUg/s1600/Kofie_whitewalls_detail3.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">-detail</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6a6xzQA9UpJYgXkSW0wQFGimqFn-q10XcN2x1Ecvf3oQjRVau-WfxFM9bZmRNmLiiqVWLjHz_0_bKdDLLrG9n9ipgivI-kKwOnI_IqwxwuFxb-cHV49zpnp5YdjPyI_kDpipXUg/s1600/Kofie_whitewalls_detail3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIpbLpEcuDkuDrjvZyUXWDanOFv-8aD3gRxZ0uMlptmr3ut8MFzSkBEiA8VZfYYo_9bn_DA5soqkWTzMgD1GdM1sHqT4dyjolbEPBTC2P-DscqmJip0o0rlrAiWVv6_7VlWN7_A/s1600/Kofie_whitewalls3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2g8qjtOhwkDqu8dcULy6dW1KKgp37Za6Rn9W943JSLAOP4hZM4Y9BU53yie986esJLu3ieWt39OaMQf8ESRWJ80u6hXXjq4OUHnN9iV348wnTpXIBoMA2ztHhEoJdfPYjdDH9Ww/s1600/Kofie_whitewalls2.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">-White Walls opening</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2g8qjtOhwkDqu8dcULy6dW1KKgp37Za6Rn9W943JSLAOP4hZM4Y9BU53yie986esJLu3ieWt39OaMQf8ESRWJ80u6hXXjq4OUHnN9iV348wnTpXIBoMA2ztHhEoJdfPYjdDH9Ww/s1600/Kofie_whitewalls2.jpg" style="margin-left: 1em; margin-right: 1em;"></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIpbLpEcuDkuDrjvZyUXWDanOFv-8aD3gRxZ0uMlptmr3ut8MFzSkBEiA8VZfYYo_9bn_DA5soqkWTzMgD1GdM1sHqT4dyjolbEPBTC2P-DscqmJip0o0rlrAiWVv6_7VlWN7_A/s1600/Kofie_whitewalls3.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">-Kofie at White Walls opening</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIpbLpEcuDkuDrjvZyUXWDanOFv-8aD3gRxZ0uMlptmr3ut8MFzSkBEiA8VZfYYo_9bn_DA5soqkWTzMgD1GdM1sHqT4dyjolbEPBTC2P-DscqmJip0o0rlrAiWVv6_7VlWN7_A/s1600/Kofie_whitewalls3.jpg" style="margin-left: 1em; margin-right: 1em;"></a></div>A key player in the Urban Art movement of Los Angeles, Augustine Kofie, opened his solo show at <a href="http://www.whitewallssf.com/" target="_hplink">White Walls</a> gallery in San Francisco this past Saturday evening. I went up to the Bay area specifically to document the event and lay eyes on his new body of work. During this extremely well attended night, I often saw people leaning in closely to absorb the collection of vintage drafting items, old letters, and historic images suspended and framed in the futuristic architectural geometry of his art. One of the remarkable elements of Kofie's style is his attention to detail and the layering and construction/deconstruction that is a part of his landscape. Kofie also included an installation in the show of a draftsmen's/artists workplace to give viewers a window into the process and creation of the work in the gallery. I asked White Walls owner/curator Justin Giarla a few questions about the show.<br />
<br />
<img alt="2010-10-12-Kofie_whitewalls.jpg" height="281" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls.jpg" width="500" /><br />
<br />
<b>When did you first get introduced to Kofies¹s work?</b><br />
<br />
<blockquote><i>I was first introduced to Kofie's work around 5 years ago but I really responded well to it in February of last year when he was in the group show,"Never a Dull Moment", that we had here at White Walls</i>.</blockquote><br />
<img alt="2010-10-12-Kofie_whitewalls_art2.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls_art2.jpg" width="500" /><br />
<br />
<b>Kofie's style is very unique to the Urban Art scene, as it reflects upon a period of yesteryear, and echoes something somewhat vintage, but his approach is categorized as very contemporary street art. In what way is Kofie's work inspirational to the Urban Art scene that<br />
makes him unique to this movement. </b><br />
<br />
<blockquote><i>Well I think Kofie's work is extremely unique in the context of Urban Contemporary or Street Art as you don't see anyone else of his standing in the community doing art like him. It's very original in that setting and thus definitely sets him apart from his peers. I think his work shows people you can be a street artist in a completely new and fresh way. I actually think Kofie is a Modernist/Futurist painter first and street artist second... it's all FINE ART but he shows you a way of doing it differently and really breaking rules and standards of what a street artist is. His work is extremely mature and well thought out and that inspires me.</i></blockquote><img alt="2010-10-12-Kofie_whitewalls_art4.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls_art4.jpg" width="500" /><br />
<br />
<br />
<b> Can you discuss his work comparatively to other artists that youhave shown at White Walls?</b><br />
<br />
<blockquote><i> I would compare Kofie to other artists I represent like I would compare a professional athlete and a concert pianist: they are both the best in what they do, but they are in different fields. All of the artists I represent are all very different from each other but they are the best at what they do. The only comparison you can make is that they are street artists, but again... anyone who puts up art in the streets is a street artist. A lot of the artists I show are originators in their style - Shepard Fairey, Blek Le Rat, HUSH, ABOVE, etc. And Kofie is no different - he's the original at what he does.</i></blockquote><img alt="2010-10-12-Kofie_whitewalls_art6.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls_art6.jpg" width="500" /><br />
<br />
<b><br />
What is the connection to Kofie's work as a street artist and his interest in architecture and drafting as you see it? </b><br />
<br />
<blockquote><i>That's a really good question because I actually don't see any connection at all with the two. The wonderful thing about street art is its artistic freedom and that any artist doing any medium or genre can be a street artist - just do it in the streets and you're a street artist. The cool thing about a traditional graffiti artist or spray can artist is that typically their gallery work is completely different or altered enough that it's not the same style. Often enough the gallery work is very different because the venue is different. I think trying to find a connection in Kofie's work would be forcing it and it should be left up to the viewer to come up with their own interpretation of the idea. </i></blockquote><img alt="2010-10-12-Kofie_whitewalls_detail.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls_detail.jpg" width="500" /><br />
<br />
<b>In the show at White Walls, did you have a specific focus in mind considering this is the first solo show of Kofie in San Francisco?</b><br />
<br />
<blockquote><i>When we talked about his solo here at White Walls I told Kofie I wanted him to focus more on quality then quantity and that I wanted masterpieces, and he delivered. I also told him I wanted color and he delivered again. I really felt that this was his biggest show yet in his career and that it was important to make a big statement and to put his soul into this show, and he has.</i></blockquote><img alt="2010-10-12-Kofie_whitewalls_mural.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls_mural.jpg" width="375" /><br />
<i>-mural piece</i><br />
<br />
<br />
<br />
<br />
<img alt="2010-10-12-Kofie_whitewalls_art.jpg" height="375" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls_art.jpg" width="500" /><br />
<br />
<img alt="2010-10-12-Kofie_whitewalls_art7.jpg" height="500" src="http://images.huffingtonpost.com/2010-10-12-Kofie_whitewalls_art7.jpg" width="375" /><br />
<i>-installation</i>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com1tag:blogger.com,1999:blog-18703682.post-13061416220866452872010-09-24T12:44:00.000-07:002010-09-27T13:22:55.737-07:00<b>'German Art on the Streets of LA'</b><br />
<br />
Art helps us to understand - at times only retrospectively - how events of great importance have left their mark on the lives not only of artists, but have also informed the collective consciousness of whole societies. Art is a seismograph of experience which often reveals the common intersections within cultures. Looking at how this cross-pollination can enrich our cultural experience in Los Angeles is to travel without ever needing to get on a plane. This week, we are landing in<strong> Germany</strong>.<br />
We made several stops in LA this week to report on work from <strong>contemporary German artist</strong>being made on our local streets. The following events are essential to anyone wanting a peek into the window of what is being created over in Europe, and learn about some key artists in the international art scene. We were fortunate enough to interview and photograph some of the artists involved in these events.<br />
<img alt="2010-09-24-Herakut_profile1.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-24-Herakut_profile1.jpg" width="500" /><br />
<img alt="2010-09-24-Herakut_10.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-24-Herakut_10.jpg" width="500" /><br />
<img alt="2010-09-24-LebasseProjects.jpg" height="200" src="http://images.huffingtonpost.com/2010-09-24-LebasseProjects.jpg" width="134" /><br />
<strong>Herakut - 'Hope's Reply'</strong><br />
Lebasse Projects - Culver City<br />
German collaborative art duo, Jasmine (Hera) & Falk (Akut)<br />
<em>Solo show</em><br />
<strong>September 18 - Oct 30</strong><br />
<a href="http://www.lebasseprojects.com/" target="_hplink">www.lebasseprojects.com/</a><br />
<strong>This is not your first time in Los Angeles. Will you be working on any mural pieces while you're both in this city?</strong><br />
<strong>Akut: </strong><br />
<blockquote>"Hope´s Reply" is our second show in LA and just like the first time we are leaving you with a little Herakut piece on a wall that we painted downtown. I am also working on some more murals for the Goethe Institute. I´m doing those with Case and Rusk from my graffiti crew MaClaim. </blockquote><strong>Germany has a fantastic reputation for fostering a rich contemporary art scene. How does America, and especially California, fare in its international reputation for urban art among artists like yourselves?</strong><br />
<strong>Hera: </strong><br />
<blockquote>You invented Lowbrow! We feel a strong connection there. Maybe even stronger than with what Europe has to offer. What comes out of the European art scene tends to take itself dead-serious. We like meaningful, we like dark, but we do like a little humor to go with that.</blockquote><strong>What is it that interests you about doing street art? How does your work relate to hip hop culture (if at all)?</strong><br />
<strong>Akut: </strong><br />
<blockquote>Hip hop culture is our home base. It is where we started from. It combines those four (what four?) - or some like to say five - artistic elements, with graffiti being one of them. We have painted at so many hip hop festivals, performing in front of huge crowds while there were beat-boxing contests going on around us, or we would be painting the backdrops of breakdance competitions. I guess, without hip hop culture there would be no Herakut. </blockquote><strong>Hera: </strong><br />
<blockquote>We would always describe our wall pieces as one of the far ends of graffiti. But what it all comes down to is this: walls are just so much bigger and cheaper than canvas; it is much, much nicer to use spray-paint outdoors than indoors, and last but not least, working on the street always gets you an immediate response to what you are doing - which can be tough but is probably the reason why we have become artists in the first place.</blockquote><strong>Your figures have this surreal/otherworldly quality to them, somehow based in a realm of fantasy, with somber expressions...Are these characters created from both of you equally, or one more then the other? What qualities do each of you bring individually to the collaboration?</strong><br />
<strong>Hera: </strong><br />
<blockquote>I like to say that I do the searching to find the right lines, build the skeleton of any figure or composition. Akut then gives this mess that I have constructed a nice and tangible texture. He is responsible for the entire photorealism part. It is basically his work that bridges between dark and beautiful.<br />
</blockquote><strong>Text is not a predominant element in your style. What are your thoughts about the inclusion of text as a communication element in your artwork?</strong><br />
<strong>Akut: </strong><br />
<blockquote>We communicate through our pieces. We share our thoughts with anyone interested. It might not look like the predominant element, but it sure is important. It is another tool to transport a message. In fact, any piece of Herakut artwork has had its roots in a dialogue between the two of us. So, every piece starts off from words.</blockquote><img alt="2010-09-24-Herakut_1.jpg" height="500" src="http://images.huffingtonpost.com/2010-09-24-Herakut_1.jpg" width="333" /><br />
<img alt="2010-09-24-Herakut_3.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-24-Herakut_3.jpg" width="500" /><br />
<img alt="2010-09-24-Herakut_2.jpg" height="500" src="http://images.huffingtonpost.com/2010-09-24-Herakut_2.jpg" width="390" /><br />
<br />
<br />
The next two events were in conjunction with one another and in collaboration with <strong>LA ART MACHINE, Goethe Institut</strong> and supported by the <strong>GERMAN FOREIGN OFFICE<br />
</strong><br />
<strong>MA'Claim - VOX HUMANA</strong><br />
Large-scale mural installation on the side of Boombang (corner of Motor and Palms Ave)<br />
German graffiti legends MA'Claim (AKUT, TASSO, and CASE).<br />
<strong>Sept 20 - 24th</strong><br />
<a href="http://laartmachine.com/voxhumana/" target="_hplink">http://laartmachine.com/voxhumana/</a><br />
<strong>GOETHE INSTITUT LOS ANGELES <br />
September 25th</strong><br />
2:00 - 6:30 p.m. <em>Live Painting installation</em><br />
7:00 p.m. Conversation with <strong>Ma'Claim, Retna</strong> and <strong>Tom Kummer</strong><br />
<img alt="2010-09-24-MAClaim_LA.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-24-MAClaim_LA.jpg" width="500" /><br />
<img alt="2010-09-24-TassoCase.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-24-TassoCase.jpg" width="500" /><br />
I interviewed Bryson Strauss of<strong> LA Art Machine</strong>.<br />
<strong>What is your interest in bringing German Urban art to Los Angeles?</strong><br />
<strong>Strauss</strong>: <br />
<blockquote>In the context of the Vox Humana program, I'm interested in what is happening globally with street art and public murals. Plus I'm having a love affair with Germany these last few years. This is an international effort, which fits perfectly with the flavor of Los Angeles as a city of the world. And it's what I personally want for my hometown. It's what I want to see when I drive through the streets of L.A. so in essence, with Vox Humana I'm taking action to help create the world I want to live in.</blockquote><strong>Can you speak a little about how LA Art Machine is involved with Stroke Art Fair in Germany?</strong><br />
<strong>Strauss: </strong><br />
<blockquote>The relationship with the STROKE Urban Art Fair started about three years ago before either the L.A. ART MACHINE or STROKE had fully surfaced. I was living in Berlin and stumbled into Intoxicated Demons, a cool little gallery in Kreuzberg off of Oranienstrasse. That's where I met Marco Schwalbe, the co-founder of STROKE. He was a super cool cat and we got talking. Both endeavors were real do-it-yourself projects, you know make it happen hell or high water. I really respected that in Marco. He's a great curator and designer and a hard ass worker. So, at the beginning of this year we formed a partnership to help bring this hugely talented and exciting but horribly disorganized global artistic movement into focus. Now we share artists, organize events together, and cross promote on the two continents. </blockquote><strong>Why did you choose to bring together an acclaimed LA street artist (Retna), an infamous rebel borderline journalist from Germany (Tom Kummer), and the photorealistic German graffiti crew MA'claim? What are the topics that you will approach in this panel discussion?</strong><br />
<strong>Strauss: </strong><br />
<blockquote>With MA'Claim, Retna, and Tom Kummer it's a conversation about the subversive arts. Graffiti, as you know, is overtly and inherently subversive as it constantly challenges corporate and governmental control of public visual space. On the other hand, Kummer is probably the most controversial writer in contemporary German print-media history. He's the progenitor of conceptual journalism and literally a major troublemaker. He's brilliant and he's a punk.</blockquote><br />
<strong><br />
What can we expect to see on Saturday at the Goethe Institut?</strong> <strong>Strauss: </strong><br />
<blockquote>What is happening at the Goethe Institut is really interesting. Stefan Kloo from the Institut, who has been photographing graffiti in L.A. for years and who loves street art, found a way to make this project happen and I think he's been really smart about it. The event on Saturday covers a lot of ground. It's a live art performance by MA'Claim. They will be working on large-scale canvases for the better part of the day and then that will be followed up by a panel discussion and a book signing. So you have the entertainment and artistic part of graffiti art supported by a rich conversation about the subject of street art, public visual space, and other social and political issues surrounding what these guys all do. I'm really looking forward to the conversation.</blockquote><img alt="2010-09-27-Maclaim_EchoPark.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-27-Maclaim_EchoPark.jpg" width="500" /><br />
<img alt="2010-09-27-Maclaim_EchoPark2.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-27-Maclaim_EchoPark2.jpg" width="500" /><br />
<img alt="2010-09-27-Maclaim_EchoPark3.jpg" height="500" src="http://images.huffingtonpost.com/2010-09-27-Maclaim_EchoPark3.jpg" width="334" /><br />
<img alt="2010-09-27-Maclaim_EchoPark4.jpg" height="500" src="http://images.huffingtonpost.com/2010-09-27-Maclaim_EchoPark4.jpg" width="334" /><br />
<img alt="2010-09-27-Maclaim_GoetheInst.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-27-Maclaim_GoetheInst.jpg" width="500" /><br />
<img alt="2010-09-27-Maclaim_GoetheInst2.jpg" height="334" src="http://images.huffingtonpost.com/2010-09-27-Maclaim_GoetheInst2.jpg" width="500" /><br />
Written by Carmen Zella, Photographed by Koury Angeleo<span style="background-color: transparent; color: black; font-family: Arial; font-size: 10pt; font-style: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> </span>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com2tag:blogger.com,1999:blog-18703682.post-1028491345030845862010-06-30T19:00:00.000-07:002010-06-30T19:00:57.685-07:00SCOPE<br />
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margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOcZG8ozaprv3E9Rf5bBjIXshWty_CPF6fX_mHBIqKbC_2AhllQka_MufhTBhyphenhyphenP0WaCewxmYduCllHgCTvxGOBHZtA04l18tFEltSQqiqt2j9Wm4D1_NGqd19Ph4WeioI2Rhs5Wg/s320/IMG_0264.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqDVg7APx0vJn7ucV6jb3nQfvLP-GWkOOaNjnxzomABi3-MDGHh80A2QSkxd8PtKEP_oULA72snGzcoTbJ85CjlJrBUAF4-ReY5kfbSJgp94kGDx2oH64iWzaSDfYVX7oLXyrvg/s1600/art-scope-2010-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqDVg7APx0vJn7ucV6jb3nQfvLP-GWkOOaNjnxzomABi3-MDGHh80A2QSkxd8PtKEP_oULA72snGzcoTbJ85CjlJrBUAF4-ReY5kfbSJgp94kGDx2oH64iWzaSDfYVX7oLXyrvg/s320/art-scope-2010-4.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI9J2jm70mH0MBpznNtPE_OEi22c3ICRsE9q80x63RpJY56UEZHdM9JPRBPjSRLDNKqlSxv-88RUmM0-zNaFzfpaojVL4L1s30xmeklmICF4lbJ09bzy6EYxLAD4XTUGLe19cwLw/s1600/art-scope-2010-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI9J2jm70mH0MBpznNtPE_OEi22c3ICRsE9q80x63RpJY56UEZHdM9JPRBPjSRLDNKqlSxv-88RUmM0-zNaFzfpaojVL4L1s30xmeklmICF4lbJ09bzy6EYxLAD4XTUGLe19cwLw/s320/art-scope-2010-6.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSrxGgPSo5dYvPAiPgRDU0h0U54WyZ0Wk_ZD8ot_spiIHwGq5Ip5gmPbu1nkZG2-5OnU5T6we4is47w2MPCGk-8UYxuf00NNPocRC1REjmMiY9PfAk5599xmqsfk_APDMdAaGNGw/s1600/art-scope-2010-9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSrxGgPSo5dYvPAiPgRDU0h0U54WyZ0Wk_ZD8ot_spiIHwGq5Ip5gmPbu1nkZG2-5OnU5T6we4is47w2MPCGk-8UYxuf00NNPocRC1REjmMiY9PfAk5599xmqsfk_APDMdAaGNGw/s320/art-scope-2010-9.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Nu9MoN3AzybqaPHlJSEYrpBXHGydpT3rPxMpuMIpRxKibOx1QYf9JljGHoY2pSVxGmIUPnU4sk-aqz9g6Rp-1gnMAs6g8WyOrQ7MxN4M7FLaCMIyvElY6FeGko708CsLqvUnfA/s1600/art-scope-2010-16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Nu9MoN3AzybqaPHlJSEYrpBXHGydpT3rPxMpuMIpRxKibOx1QYf9JljGHoY2pSVxGmIUPnU4sk-aqz9g6Rp-1gnMAs6g8WyOrQ7MxN4M7FLaCMIyvElY6FeGko708CsLqvUnfA/s320/art-scope-2010-16.jpg" /></a>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-33515484962892583842010-06-28T15:00:00.000-07:002010-06-30T15:18:59.202-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRNPZzxA63GdrKt1pyWK9TtOVAXis78e6_t-2tiT7Fad31YJgY7Z_zvEBq6JDZ1g67TkQYW8WHdh-InxmT-p6WbY2nUhmsYjjLbVysFvblDugSWH6oqMp_j-4h5CtBJvIQmGmSQ/s1600/Art-Basel-2010-17.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5487948005704530610" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRNPZzxA63GdrKt1pyWK9TtOVAXis78e6_t-2tiT7Fad31YJgY7Z_zvEBq6JDZ1g67TkQYW8WHdh-InxmT-p6WbY2nUhmsYjjLbVysFvblDugSWH6oqMp_j-4h5CtBJvIQmGmSQ/s400/Art-Basel-2010-17.jpg" style="cursor: pointer; height: 300px; width: 400px;" /></a><br />
<a href="http://www.artbasel.com/go/id/elj/">Art Unlimited</a><br />
<i><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; font-style: normal; line-height: 15px;">JACK PIERSON<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Romance, 2009<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Romance was created in 2009 for Jack Pierson's first exhibition at Christian Stein in Milan. At the center of the space the word 'romance' unfolds like the fallen columns of an ancient ruin. The letters are made of iron, studded with scores of light bulbs, and evoke ambiances dear to modern artists: the circus, the venues of night life or perhaps the great gambling palaces of Las Vegas. At first glance amusing, playful, and dreamy, Pierson's work is nonetheless imbued with the melancholy of the sublime, and the very idea that happiness, fortune, and love are short-lived. The word 'romance' has many nuances. It expresses the sentimental and emotional aspects of Romanticism, while at the same time the fleeting intensity of a brief affair, a summer romance. The theme of love – be it platonic Eros, romantic love or unleashed sexuality – takes on a central role in Pierson's work. Love is fragile and implies an end, with ecstasy comes the void</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiMFtZ_6CORGipoudukjgv0KeJvzK4jlfmM3SU0wM3VyHYzbH82q2Z6B3RU17A3u1X6o0OuDFU_mPASehm3sMyt4K9UT-rNG3DpNdR9jCEXCjO7ICWO5P58mcGmgLWz2mybwB9CA/s1600/Art-Basel-2010-20.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5487968030336342626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiMFtZ_6CORGipoudukjgv0KeJvzK4jlfmM3SU0wM3VyHYzbH82q2Z6B3RU17A3u1X6o0OuDFU_mPASehm3sMyt4K9UT-rNG3DpNdR9jCEXCjO7ICWO5P58mcGmgLWz2mybwB9CA/s400/Art-Basel-2010-20.jpg" style="cursor: pointer; height: 400px; width: 300px;" /></a><br />
Art Unlimited<br />
<i><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; font-style: normal; line-height: 15px;">HAEGUE YANG<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Doubles and Couples – Version Berlin, 2010<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Haegue Yang's installation Doubles and Couples – Version Berlin consists of five groups of metal vitrines – each filled with venetian blinds and lighting appa - ratuses. The shape of each individual box is based on the size of the artist's home appliances, and each sculpture is made by pairing two of the abstracted machines. The objects encounter one another in a realm of visual and narrative ambiguity, evoking images of a couple grappling with their fundamental separation as physical beings. Her applied use of the form of household machines derives from her interest in themes such as dedication and commitment as well as her quite literally bifurcated existence, living in both Seoul and Berlin. Yang draws attention to the silent presence of these machines in private and domestic spaces, especially the kitchen, as representing a peaceful battlefield for engaging difficult themes.</span></i><br />
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Art Unlimited<br />
<span style="font-style: italic;"><a href="http://www.superflex.net/floodedmcdonalds/">SUPERFLEX - Flooded McDonalds</a> </span><br />
<i><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; font-style: normal; line-height: 15px;">Flooded McDonald’s, 2009<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />In this film, a replica of a McDonald's restaurant gradually floods with water – no customers or staff are present. Slowly, the water level rises until eventually the space becomes completely submerged. Tables and chairs are lifted, glossy French fries float adrift, and a lightweight fiberglass Ronald McDonald bobs up and down on the water surface. The source and the reason of the threat are unseen, but it is certain that there is no escape. Emphasizing this dramatic build-up, Flooded McDonald's makes use of the editing and camerawork of Hollywood disaster movies. The film examines the consequences of consumerism.</span></i><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJm65g5VtDdPz6RqzznRjJPuereqqisrSVo-PNPKIef0RofoqBKdvIlZHOWlFiRENKMqz5OHVepPj-in9_9v01wH_i_3Bep1FbsU8kZgmiUogj4VaTkxwDNbCrGNYeEI_oVH1JA/s1600/IMG_0305.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJm65g5VtDdPz6RqzznRjJPuereqqisrSVo-PNPKIef0RofoqBKdvIlZHOWlFiRENKMqz5OHVepPj-in9_9v01wH_i_3Bep1FbsU8kZgmiUogj4VaTkxwDNbCrGNYeEI_oVH1JA/s320/IMG_0305.JPG" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 15px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: medium; line-height: normal;">Art Unlimited</span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 15px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: medium; line-height: normal;"></span>MARIO MERZ<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Pythagoras' Haus, 1994<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Mario Merz ranks among the most celebrated Arte Povera artists from Italy, and his works have been shown with the Konrad Fischer Galerie since 1970. Pythagoras' Haus (Pythagoras's House) is a glass and steel construction shaped like an igloo, partly covered with slate and marble plates fixed with clamps and decorated with brushwood and (his ever favorite) Fibonacci numbers in neon. In general, the igloos, which Merz began constructing in 1968 within the context of the student demonstrations in Italy and France, are perhaps the best-known and most typical works within the oeuvre of the artist.</span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYx6uXEhHIPq_oZ-2pTdUI0ywqzq7Awr39rqf_qoYnkIwDhoiZSvokz_wfSLaeMhSOkWQmS7MBT_ShESaDcBySi-ARGxxeOOivbNbIgBgo9neZFxQ17iA2W4292iEaDzZ6WdBFeg/s1600/IMG_0302.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYx6uXEhHIPq_oZ-2pTdUI0ywqzq7Awr39rqf_qoYnkIwDhoiZSvokz_wfSLaeMhSOkWQmS7MBT_ShESaDcBySi-ARGxxeOOivbNbIgBgo9neZFxQ17iA2W4292iEaDzZ6WdBFeg/s320/IMG_0302.JPG" /></a></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 15px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: medium; line-height: normal;">Art Unlimited</span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 15px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: medium; line-height: normal;"></span>TIM ROLLINS AND K.O.S.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Animal Farm '92 (after George Orwell), 1992<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Animal Farm is a huge painting depicting various international heads of state quite literally as 'heads' on the bodies of animals, like subversive satyrs or monstrous minotaurs. A collaboration between the artist and the Kids of Survival (K.O.S.), a group of young people from troubled backgrounds, the work was created in the South Bronx, where the Tim Rollins's studio is located</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXAqhGoTsGs0l1L24MgPyBHfy-CRRtnk4QLbcoekGa7nOeGCIBanq_Wq4oyAcdwC1W16BpUWgokAWhEe0b2TfOh6pKsb-pFZ53E9Vl_z938zagl8v2t676a6qqiT1R-rGxpqvi4A/s1600/IMG_0306.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXAqhGoTsGs0l1L24MgPyBHfy-CRRtnk4QLbcoekGa7nOeGCIBanq_Wq4oyAcdwC1W16BpUWgokAWhEe0b2TfOh6pKsb-pFZ53E9Vl_z938zagl8v2t676a6qqiT1R-rGxpqvi4A/s320/IMG_0306.JPG" /></a></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 15px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: medium; line-height: normal;">Art Unlimited</span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 15px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: medium; line-height: normal;"></span>ZHANG HUAN<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Hero No. 1, 2009<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />'Living as a child in the Central Plains and Henan Province of China, oxen were common. They populated the villages and even lived in your home. To me, oxhide is closely related to the architecture of nature. After I left China, I felt a strong sense of unfamiliarity, so when I see the hide of an ox now, I feel close to it, and my use of it is constituted from this type of complex emotion. Constructing sculptures out of oxhide involves thousands of possibilities. There is no way to determine what the hides will look like or how the skins will appear once attached to the outer surface, and there are as many possibilities of stitching them as there are for apparel. In the end, the face was sewn with a complex stitch style while the rest of the sculpture received the most basic stitch, and the hides were left untrimmed. In this way I've preserved the essence of the hides while expressing the beauty from my heart. Hero No. 1 is born from the primitive passions that inform our future and expresses our wish for rebirth from deep within us. Everybody is his own hero and a part of the biologic evolution.' (Zhang Huan)</span></div><div><span class="Apple-style-span" style="color: #070707; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 15px;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div>Art Basel<br />
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</div><span style="font-style: italic;">This sculpture consisted of a large fan pointing down onto the circle. A very thin circle of film floated, suspended by the air current that was captured from the circle barrier on the floor. It dances and floated completely on its own. This pic doesn't look like much, but the piece was amazing.....</span><br />
<span style="font-style: italic;"><span class="Apple-style-span" style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Y7pBlW5271BwFFHjWltWhV2ZhddC_T5jc2a2RMzJ8cuLz26W2-UwTWGyFc13vBLcwWNKGbprfZE-blq3C0RVEYzZU07ry6rgNgtk5xB2W6S23mCkH0mdCpxNCreHIsbv_iFsHQ/s1600/34034_399339328052_740263052_4447899_7692477_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Y7pBlW5271BwFFHjWltWhV2ZhddC_T5jc2a2RMzJ8cuLz26W2-UwTWGyFc13vBLcwWNKGbprfZE-blq3C0RVEYzZU07ry6rgNgtk5xB2W6S23mCkH0mdCpxNCreHIsbv_iFsHQ/s320/34034_399339328052_740263052_4447899_7692477_n.jpg" /></a></span></span><br />
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</div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-style: italic;">Louis Bourgeouis</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3HZpvTxLOK31QKjhFpvsbG8zJUUnbc755v6ThiETHqbAOE7oErQSZDmVHx8IM9JG1SMX5bM2wJ1V34rEIR5kD2emgO8WI8AjnSeDXMKbVbfVtMWUUMAQNQXpAiZKrIYCCAXTTow/s1600/IMG_0322.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3HZpvTxLOK31QKjhFpvsbG8zJUUnbc755v6ThiETHqbAOE7oErQSZDmVHx8IM9JG1SMX5bM2wJ1V34rEIR5kD2emgO8WI8AjnSeDXMKbVbfVtMWUUMAQNQXpAiZKrIYCCAXTTow/s320/IMG_0322.JPG" /></a><i> (painting) </i> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ3rHoL2LkCsg5JhrywGOtFSX5IV4xiFfIlOo5oUJDcKq928RMOjSliPcMjgxHuitslmpJsZj2aP6MNYTdHtXzfmJ8TA0SNOUVrSJ9GvwzCNJWebLHNt2I-GuVk5f8WqHc2F7bzw/s1600/IMG_0321.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ3rHoL2LkCsg5JhrywGOtFSX5IV4xiFfIlOo5oUJDcKq928RMOjSliPcMjgxHuitslmpJsZj2aP6MNYTdHtXzfmJ8TA0SNOUVrSJ9GvwzCNJWebLHNt2I-GuVk5f8WqHc2F7bzw/s320/IMG_0321.JPG" /></a><i>(photo of her hands)</i></div><i><br />
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<span style="font-style: italic;"> </span>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-8423453046791038012009-07-19T20:32:00.000-07:002010-06-28T16:31:08.177-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwrLioHhkCOHBtucP4TKQL0M45B49JXwA_uZYomqrNNg8rnUMY-WHiLaZUtkLhEvQM7S9qZHS75v059A2mRMMnuK6cPyb6AF50hUawR5117PqFi59cHSCXOI8NhkqxZHwfZjnd-w/s1600/Book+on+dirt.jpg"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwrLioHhkCOHBtucP4TKQL0M45B49JXwA_uZYomqrNNg8rnUMY-WHiLaZUtkLhEvQM7S9qZHS75v059A2mRMMnuK6cPyb6AF50hUawR5117PqFi59cHSCXOI8NhkqxZHwfZjnd-w/s400/Book+on+dirt.jpg" alt="" id="BLOGGER_PHOTO_ID_5487970481599459410" border="0" /></a>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-3287894893426401452009-06-13T09:53:00.001-07:002009-06-13T09:53:54.394-07:00"No maguellers a la tierra / no aprietes a la olorosa, / Por el amor de ella abájate, / huéla y dale la boca."<br />(Do not trample the earth, do not crush the sweet-smelling fruit.<br />For love of it, bend down, smell it and give it your mouth.)carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-54625647610656795802009-06-13T09:47:00.001-07:002010-06-28T16:09:46.113-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY2QUL4Pcg6kgdplL-N8yJsTD5MTdAIQSXZdW99bxy3lbc0jsoXNz5tNUfd7Om7ndxr5ngXyxbab2ZmRp_qBw3ITkMWNF8nmEUeoDAofzszDAynH7xP7PpjnyXkhzCIMMhEi3IXA/s1600/300px-DasUndbild.jpg"><img style="cursor: pointer; width: 300px; height: 380px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY2QUL4Pcg6kgdplL-N8yJsTD5MTdAIQSXZdW99bxy3lbc0jsoXNz5tNUfd7Om7ndxr5ngXyxbab2ZmRp_qBw3ITkMWNF8nmEUeoDAofzszDAynH7xP7PpjnyXkhzCIMMhEi3IXA/s400/300px-DasUndbild.jpg" alt="" id="BLOGGER_PHOTO_ID_5487965477452253746" border="0" /></a><br />At the point where language falls away<br />from the hot bones, at the point<br />where the rock breaks open and darkness<br />flows out of it like blood, at<br />the melting point of granite<br />when the bones know<br />they are hollow & the word<br />splits & doubles & speaks<br />the truth & the body<br />itself becomes a mouth.<br /><br />This is a metaphor.<br /><br /> *<br /><br />How do you learn to spell?<br />Blood, sky & the sun,<br />your own name first,<br />your first naming, your first name,<br />your first word.carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-84672180831268692512009-05-21T11:16:00.000-07:002010-06-28T15:31:48.413-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqx2R99Nm9eBCT0QWAHi9fqE4_iI1iAIMXh_bxcjGt2znOtIAFPCpLOqRWD23XSrdTD05VE_r9TG7_Gnmfsajtdb2_KA8C91sa52L7ayZbT5Y5MSBUxjTtkzp9POqbL0DyMPjcQA/s1600/art-scope-2010-9.jpg"><img style="cursor: pointer; width: 400px; height: 288px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqx2R99Nm9eBCT0QWAHi9fqE4_iI1iAIMXh_bxcjGt2znOtIAFPCpLOqRWD23XSrdTD05VE_r9TG7_Gnmfsajtdb2_KA8C91sa52L7ayZbT5Y5MSBUxjTtkzp9POqbL0DyMPjcQA/s400/art-scope-2010-9.jpg" alt="" id="BLOGGER_PHOTO_ID_5487954004001706338" border="0" /></a>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com1tag:blogger.com,1999:blog-18703682.post-9411445042412756902009-01-12T00:38:00.000-08:002009-01-12T00:44:10.612-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5f3_B9SCWxd0AypyIKyScxa4yZeOvCvjKgoh32dwouHbcTFOqV8TYZsgTzE2QHgp_ZXlbOZ4OHBrHml8YHWK8NNH1pHvYsSrjNDuk7XW3NLrNheOjFp1Av4GLo_S2A70R2XROJg/s1600-h/IMG_0100.JPG"><img style="cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5f3_B9SCWxd0AypyIKyScxa4yZeOvCvjKgoh32dwouHbcTFOqV8TYZsgTzE2QHgp_ZXlbOZ4OHBrHml8YHWK8NNH1pHvYsSrjNDuk7XW3NLrNheOjFp1Av4GLo_S2A70R2XROJg/s320/IMG_0100.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5290324771159005922" /></a>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com1tag:blogger.com,1999:blog-18703682.post-1163048171450269132006-11-08T20:53:00.000-08:002006-11-08T20:58:09.703-08:00<a href="http://photos1.blogger.com/blogger/8126/1836/1600/Hurricane%20Celestial.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/8126/1836/400/Hurricane%20Celestial.jpg" border="0" alt="" /></a>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-1149964349263723802006-06-10T11:29:00.000-07:002006-06-10T11:37:09.006-07:00<a href="http://photos1.blogger.com/blogger/8126/1836/1600/open.jpg"><img style="cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/8126/1836/400/open.jpg" border="0" alt="" /></a> <br />"open" 50"x60" acrylic on canvascarmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com1tag:blogger.com,1999:blog-18703682.post-1149889001089936572006-06-09T14:31:00.000-07:002006-06-10T11:38:48.626-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/8126/1836/1600/women%20of%20juarez2.jpg"><img style="cursor: pointer;" src="http://photos1.blogger.com/blogger/8126/1836/400/women%20of%20juarez2.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/8126/1836/1600/women%20of%20juarez2.jpg"><span style="color: rgb(51, 51, 51);">"women of Juarez" 40"x30"(2) sand on canvas, hair on canvas</span></a>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-1149888642884367292006-06-09T14:21:00.000-07:002006-06-10T11:40:25.456-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/8126/1836/1600/korean2.0.jpg"><img style="cursor: pointer;" src="http://photos1.blogger.com/blogger/8126/1836/400/korean2.0.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/8126/1836/1600/korean2.0.jpg"><span style="color: rgb(51, 51, 51);">"korean" 15"x50" 15"x70" acrylic,plastic, wood, on canvas</span></a>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-1149887526857058992006-06-09T14:10:00.000-07:002006-06-10T11:41:15.100-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/8126/1836/1600/sinking.jpg"><img style="cursor: pointer;" src="http://photos1.blogger.com/blogger/8126/1836/400/sinking.jpg" alt="" border="0" /></a><br /><span style="color: rgb(51, 51, 51);">"sinking" 20"x60" acrylic, wood on canvas</span>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-1149887412134052082006-06-09T14:08:00.000-07:002006-06-10T11:41:51.103-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/8126/1836/1600/magnetic.jpg"><img style="cursor: pointer;" src="http://photos1.blogger.com/blogger/8126/1836/400/magnetic.jpg" alt="" border="0" /></a><br /><span style="color: rgb(51, 51, 51);">"magnetic" 50"x60" acrylic, plaster on canvas</span>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0tag:blogger.com,1999:blog-18703682.post-1149887259691461752006-06-09T14:04:00.000-07:002006-06-10T11:43:09.526-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/8126/1836/1600/collage.jpg"><img style="cursor: pointer;" src="http://photos1.blogger.com/blogger/8126/1836/400/collage.jpg" alt="" border="0" /></a><br /><span style="color: rgb(51, 51, 51);">"korean II" 18"x70" acrylic, thread, wood on canvas</span>carmenzellahttp://www.blogger.com/profile/09979503671602237492noreply@blogger.com0