David Hilliard

"David Hilliard: Saturate," at Jackson Fine Art, featuring Trap.




"Trap," 2007, Chromogenic print reverse mounted on Perspex (4 panels), (40 x 120 inches), through Jackson Fine Art.

"He Said, She Said," 2005, Chromogenic print reverse mounted on Perspex (3 panels), (40 x 90 inches), through Jackson Fine Art.

Maarten Baas

Maarten Baas @ 2:02...(Groninger Museum)

Maarten Baas' Clay Chairs from the Clay Furniture series through Moss.

Mr. (Masakatsu Iwamoto)

Mr. poses with the Mona Lisa.

"MR.: Thank You for Your Hard Work." at Tomio Koyama Gallery.
Girlie Heads
Tomio Koyama Gallery recently presented a show of works by the now-internationally known artist who goes only by the name Mr., and who bases his colorful paintings of young girls on the characters in manga, or Japanese cartoons. The first assistant to Takashi Murakami, Mr. has closely worked with him since 1995 or so.
The exhibition at Koyama, called "Mr. Thank You for Your Hard Work," featured recent comic-style paintings, including one with a cartoon image of Carlos Ghosn, the president of Nissan Motor, who, as the first non-Japanese head of a top Japanese firm, enjoys a superstar status here. Also included were monumental sculptures of cartoonish heads of girls. New Yorkers had a chance to preview them in a show at LFL Gallery in Chelsea, along with works by two other Kaikai Kiki artists, Chiho Aoshima and Aya Takano.
Murakami, the most celebrated Japanese artist of his generation, put in an appearance at the July 10 opening, and allowed his many fans to pose for pictures with him.
- Kay Itoi (Artnet)


"GOLYMPIC-CHAN," 2004, fiber reinforced plastic (FRP) with acrylic paint (unique), (6 x 4 x 4 inches).


"The Boy Who Came To Ikebukuro," 2008, Offset print with silver, Edition of 300 (#102), (23.5 x 23.5 inches), through Kaikai Kiki Co., Ltd.

"You Girls," 2008, Offset print with silver, Edition of 300 (#119), (25.5 x 35.5), through Kaikai Kiki Co., Ltd.

"Don't Go Anywhere," 2008, Offset print with silver, Edition of 300, (680 x 680mm) through Kaikai Kiki Co., Ltd.

"V," 200?, Offset print with silver, Edition of 300, (20 x20 inches) through Kaikai Kiki Co., Ltd.

"Starting Over," 2008, Offset print with silver, Edition of 300, (1,000 x 500mm), through Kaikai Kiki Co., Ltd.

Ryan McGinness

"Ryan McGinness: NEVERODDOREVEN," at Galeria Moriarty.



“The Ownership Addiction," featured in NEVERODDOREVEN, 2006, Acrylic on Wood Panel, (48 x 48 inches).


"Untitled," 2006, Acrylic letterpress monoprint, (39 x 27.5 inches).

Whit Stillman

"...but most of what I said I, uh, believe."

The Last Days of Disco

Metropolitan

"...do you know what pulling a train means?"
Metropolitan

Karen Kilimnik

An artist of international stature, Karen Kilimnik is a native of Philadelphia, who lives in the region. In 1992, ICA presented her first museum show as part of the "Investigations" series of emerging artist work. Since then, she has received solo exhibitions at the Museum of Modern Art, Ireland; Kunsthalle, Zurich; White Cube, London. Her work is currently featured in the 2008 Whitney Biennial at the Whitney Museum of American Art in New York of which Peter Schjeldahl for The New Yorker writes "the few painters in the show are well chosen and register keenly."

Her 2007 exhibitions include an exhibition organized by L'Arc in Paris which traveled to the Serpentine Gallery in London and a show of her ballet-related art at Le Consortium in Dijon, France. In 2005, she created two major site-specific installations within the historic setting of the Fondazione Bevilacqua La Masa, Venice, and Kirschgarten Basel Historisches Museum, Basel. Important group shows include: "Plastic Fantastic Lover (object a)," 1991; "Post-Human," 1992; "Belladonna," 1997; and "Ideal Worlds: New Romanticism in Contemporary Art" in 2005. Monographic publications include: Karen Kilimnik: Paintings 1992-2000; Karen Kilimnik: Drawings, 1997 (both Patrick Frey Editions); Parkett (no. 52) and a monograph by JRP|Ringier books, 2007.

- The Institute of Contemporary Art (University of Pennsylvania)


"Rapunzel (Edition for Parkett 52)," 1998, Hank of gold thread (hair) on bed of moss, Plexiglas box, Edition of 50, (4''h x 8''w x 10''d).



"Dawn," Porcelain plate with gold border, Edition of 150, (10.25 inches), through New Museum.



"The Royal Little Red Riding Hood," 2007, Print with hand-applied glitter, Edition of 200, AP 23/25, (20 x 16.75 inches), through The Kitchen.



"the sparkly splendid Lippazanner at the battle of austerlitz," 2007, Gicleé print on sunset cotton etching with hand-applied glitter, Edition of 200, (image size: 8.75 x 7 inches, paper size: 14.25 x 12 inches), through Institute of Contemporary Art (University of Pennsylvania).



"The Matterhorn at night, dreamland, 9pm, 3am, Zermatt," 2007, Hand printed lithograph on inkjet print with hand-applied glitter, Edition of 75, (22 x 18.75 inches), through Aspen Art Museum.



"Janus, the debonair general + the cowgirl (asleep, or thinking of a spell) in the deserted island manor house on a dark + stormy night," 2007, water soluble oil color on canvas, (9 x 12 inches), through 303 Gallery.


"Karen Kilimnik" at Monika Sprüth Philomene Magers.



"Muffin and snowflake on vacation in the Highlands," 2007, Pencil on paper, (9 x 12 inches), through Monika Sprüth Philomene Magers.


"Favorite palomino pony and dogs at the hovel," 2007, Pencil on paper, (14 x 11 inches), through Monika Sprüth Philomene Magers.

For Wendy B.

Paul's Postcard: Esko Männikkö

"Untitled (Brown horse, closed eye)," 2005, C-Print framed by the artist, (71 x 74 centimetres).

"The strangest thing about new..."

"The strangest thing about new Italian film Golden Door is that it ends with its characters swimming fully dressed across a sea of milk, to the same Nina Simone song that ended David Lynch's Inland Empire. I mention this first only because - slightly ill-judged dream sequences apart - there's not much that's surreal about Emanuele Crialese's drama."

- Jonathan Romney (The Independent)

Ryan McGinley

MM Are you ambivalent about showing your work at a mainstream museum like the Whitney?
RM No way. I want the widest possible audience to see my photographs. If you show at the Whitney, you're getting people from all around the world, from little kids to really old people. That's why working for Vice is great: It's free, and you're going to get the weirdest motherfuckers reading that. People read magazines, and it affects them. As much as we don't want to admit it, magazines make changes. I had an article about me in this really, really trashy porn magazine. Amidst all these hard dicks and really disgusting Chelsea guys-it was a really gross magazine, too-there, on page 32, were my photographs. I thought, Damn. This is so great. This is exactly where I want this image to be. Not necessarily around hard-core porn images, but in the sense that photography can work on all different levels. It's nice to be in Artforum, but it's also nice to be in Vice. And it's also nice to be in a porno magazine.

- Michael Martin interviews Ryan McGinley (V Magazine, 2003)


"Jake's Eyes," 2003, Chromogenic print, (30 x 40 inches), through Team Gallery.


V What initially attracted you to Morrissey?
RYAN McGINLEY When I was about 12, my older brother Paul was really into the Smiths. I loved the cover of Meat Is Murder, and I took his record and taped it in my locker at school. I didn’t really get into the music until I was 16. My friend had a brother who was one or two grades ahead of us who listened to Morrissey. We all wore Doc Martens and big army coats and sat in his basement listening to it. I couldn’t believe how someone so far away could speak so directly to me. How he could speak so simply, addressing so many of the issues I was dealing with. He’s having a laugh and, at the same time, he’s being deadly serious. He has a way of saying exactly what I need to hear. These are my songs just like they are everyone else’s, but they are still mine.
V What will the photos in your show at Team Gallery look like?
RM The exhibition is about the Morrissey concert experience. The photos are made from when the music starts until it ends. The pictures are of the individual fans, the audience, the front row, in the middle of the crowd, and Morrissey onstage.
V What’s your favorite part of the show?
RM The time right before he goes onstage is so peaceful and also exciting. It’s dark and quiet but the anticipation is intense. It feels very religious. Fans start chanting “Morrissey, Morrissey, Morrissey.” I also love the encores. It’s a tradition for fans to jump up onstage and express their love for him. They hug him, they kiss him, they cry. I love their desperation.

- Ryan McGinley on his series Irregular Regulars (V Magazine, 2007)


"Untitled (Morrissey 29)," 2007, from the series Irregular Regulars, Chromogenic print, (40 x 30 inches), through Team Gallery.

Alyse C. Bernstein

Alyse C. Bernstein (Fiber artist / Printmaker / Sculptor) on her Fiber Art series: Re-Living Room:
"THIS STORY YOU ARE ABOUT TO READ WILL SCARE THE HELL OUT OF YOU" are the words in capital letters that inhabit the first page of the true-crime novel Helter Skelter. It lay silent like a body in a coffin inside my mother's avocado green kitchen drawer until I pulled it out to view the section darkened on the sides from the photos that crept to the edges, never daring to read the contents. I could only stare at the crime scene photographs within the narrative and wonder what horrors lay beneath the imposed whiteout on the photo surface that covered the bodies of the victims. Like the hand of a mother covering her child's eyes, this barrier protected me from the horrors of this brutal crime. This veil lifted upon my completion of the novel.

With the common, everyday reporting of murder, I began to think about translating the photos from the murders at the Tate/Polanski estate into common, everyday objects. In Re-Living Room I interpreted the victim found in a car as a needlepoint and the remaining victims found on the ground as large hand-knotted hook rugs, an object walked upon without much thought. The viewer is required to look down upon the subject as the forensic photographer while considering the practical application of the object.


"Murder Rug II: Voytek Frykowski," 2001, Hand Knotted Hook Rug, (71 x 36 inches).

The Sitwells (Edith, Osbert and Sacheverell Sitwell)

Sitwelliana, two elephants and a family photograph.


John Singer Sargent's "The Sitwells", 1900, (From left: Edith, Sir George, Lady Ida, Sacheverell, and Osbert Sitwell).

Graphic Thought Facility

The "Looking Glass Mirror" is the result of a collaboration between Graphic Thought Facility and the Victoria and Albert Museum. This work, from a limited edition of 50, was created by using the combined silhouettes of 23 historical looking glasses from the Victoria and Albert collection. Designed by Graphic Thought Facility, the images include a Dutch silver filigree mirror, c.1700, an English hand mirror made of pear wood, 1901, and an Italian silver-gilt frame mirror from the 18th Century. The mirror is hand silvered on bevelled glass.



"Looking Glass Mirror," 2007, Hand silvered on bevelled glass, (33 x 22 inches).

Pair of Lamps (The Estate of Geoffrey Beene)

"Large Table Lamps (Italy)," 1960's, Pair of red/orange glass globe lamps (spheres vary in shade and size) with polished nickel finish,(40''h x 7''d).

Corey Arnold

Corey Arnold: Featured on the Discovery Channel's "Deadliest Catch", Arnold's photographs reference his experiences of crab fishing on the Bering Sea, life in Norway and journeys of far off places he has stumbled upon along the way.

- Richard Heller Gallery


"Icy Bow," 2006, C-Print, (16 x 20 inches).

"Opilio Morning," 2006, C-Print, (20 x 25 inches).

"Vardo Street," 2007, C-Print, (31 x 40 inches).

Andrea Salvetti

Andrea Salvetti's Ortofrutta open box was created by making a negative mold in sand using slats of wood, leaves and other organic materials, from which a positive mould in wax was created. The Ortofrutta open box was then cast in aluminum, and highly polished.



"Ortofrutta open box," 2004, Cast polished aluminum, (10.75 x 21.5 inches).

Fernando and Humberto Campana

The Campana Brother's Jenette Chair.




"Jenette Chair," 1999, set of four yellow moulded chairs made from rigid structural polyurethane with a metallic core, flexible bristle backrest is covered with approximately 900 stalks made of rigid PVC that mimic the look and feel of a broom, (36.5''h x 16''w x 19.5''d).


A Favela in Rio de Janeiro.



The Campana Brother's Favela Chair through Edra.


"Favela Chair," 1991, contructed piece-by-piece from Brazilian Pinus wood, hand-glued and nailed, (29''h x 26.33''w x 24''d).

Tom Dixon

Tom Dixon's Pylon Chair (Blue) through Cappellini.


"Pylon Chair," 1992, constructed of iron wire with a blue lacquered finish, (50.39''h x 26.38''w x 23.62''d, seat height: 16.14'').

Fratelli Toso

Table lamps through KIMCHEROVA.




"Table Lamps (Italy)," 1950's, Pair of Italian table lamps with hand blown globes, (10 x 9 inches).