Marisa Olson's Some Nice Looking Sound Files
Some Nice Looking Sound Files #11
Some Nice Looking Sound Files #10
Fleisher/Ollman Gallery's Love Explosion exhibition featuring Alex Da Corte's Run Run Run
Q: How did you get into making art?
Alex Da Corte: My mom taught me how to draw Snoopy and Mickey Mouse. I would draw them holding hands and going camping together. That was the beginning for me. - (Nothing Magazine)
Louise Bourgeois' Spider @ Philadelphia Museum of Art, 2006
The spider, weaving her web, stands as the gatekeeper to her work. She reappears frequently; the ultimate domestic power-house, the spider's web is both home and weapon. In interviews, Bourgeois explains that it is a symbol of her best friend, her mother. As the family business was tapestry repair, the spider is perhaps logical, but also a compelling symbol of the trappings of domesticity. - Jessica Ferri (More Intelligent Life)
Liu Ye's "Who's Afraid of Madame L," 2005
"But as with fairy tales themselves, something sinister sometimes creeps onto Liu's canvases. In “Who's Afraid of Madame L,” a pretty woman dressed as a schoolgirl holds a cane with her outstretched hands..." - Anna Sansom (Whitewall)
Henry Geldzahler interviews Diana Vreeland in her garden in hell
Slideshow
An Appreciation of Brooke Astor
About Me
Professional Affiliations
Otto Zitko at Cheim & Read
Using nothing but a roller and red-orange paint, the Austrian artist has covered a high dome-shaped gallery in a manic lattice of loops and zags. The result is like a gorgeously vandalized chapel. Everywhere you look, kinked clutzy crimson lines switchback across the white walls. Zitko's method is sort of high-octane scribblism, like Dubuffet with Alzheimer's. Nothing in Chelsea is more energetic or lovely. (The New Yorker)
Listen (The Chemical Brothers)
Favourite Links
- ...love Maegan
- 303 Gallery
- A CUP OF JO (Joanna Goddard)
- Alan Rosenberg
- Alan Rosenberg - Works of Art
- An Aesthete's Lament
- BUNNY TOMERLIN
- Cerealart
- Danziger Projects
- Dilettantsia (Snobber)
- Epicly Later'd (Patrick O'Dell)
- Kathy Osborn
- M. A. Belle (Michelle Adams)
- Moss
- Mrs. Deane
- NEUE GALERIE
- New Museum
- Other Criteria
- Pamela Talese
- Patrick J. Buchanan
- R 20th Century
- Rubie Green (Michelle Adams)
- SEESAW
- SILVER HILL HOSPITAL
- Style Court (Courtney Barnes)
- The McLaughlin Group
- The Moment
- The Sartorialist
- The Year In Pictures
- Todd Merrill Antiques
- Wright
Obsession
Oiva Toikka's Majakka (Lighthouse) and Pikku-Majakka (Little Lighthouse)
Martha Argerich
Blog Archive
- August 2008 (11)
- July 2008 (23)
- June 2008 (16)
- May 2008 (11)
- April 2008 (9)
- March 2008 (6)
- February 2008 (9)
- January 2008 (9)
- December 2007 (9)
- November 2007 (20)
- October 2007 (19)
Murakami's My Lonesome Cowboy
Not everything he did is cute. As is common in the Okatu and manga world, there is sometimes a pervy undercurrent of nerdy sexual obsession. Some short videos on a plasma screen show a CG character - an adolescent alien boy with no hair, a huge head, and beady eyes - obsessing over the uniformed Japanese schoolgirls in the midst. In one piece, he returns home after school and lying in bed he remembers a girl classmate and as a result his (plaid?) pants poke up. His face gets a look of confusion and horror. Other fabricated mannequin-like sculptures (My Lonesome Cowboy) show a manga boy spurting a massive steam of jism out of his hard on. - David Byrne (www.davidbyrne.com)
Thomas Bangsted's Mockin'bird Hill, 2004
Ryan McGinley's Dash (Delivery), 2002
"This is a typical night in 2002 for me. Dash Snow on the horn with our dealer. The couch he’s sitting on used to belong to me and my roommate Teddy. We gave it to him as a housewarming gift when he moved to Avenue C with his then wife, Agathe Snow, a bunny named Gary, and a parakeet named Sergeant Slaughter. The couch was rumored to have a missing bag of blow lost in it. One night we tore it up like archaeologists looking for a precious artifact. We never found it. A few years later Dash planted a tree in the hole we dug out of it and sold it as a sculpture to Charles Saatchi." - Ryan McGinley (Vice)
Link List
- Artoc Ltd.
- carlier | gebauer
- Cheim & Read
- Cinders Gallery
- Delaware Art Museum
- Edition Schellmann
- Fleisher/Ollman Gallery
- Foley Gallery
- FREEMAN'S
- Fuse Gallery
- Galería Moriarty
- Galleri Nicolai Wallner
- Guggenheim Museum
- Jackson Fine Art
- Kerlin Gallery
- LEHMANN MAUPIN
- Locks Gallery
- M+B
- Monika Sprüth Philomene Magers
- Paul Kasmin Gallery
- Peter Blum Gallery
- Richard Heller Gallery
- Sperone Westwater
- team (gallery, inc.)
- The Kitchen
- Tomio Koyama Gallery
- Tyler School of Art
- White Cube
- Yossi Milo Gallery
Jeff Koons
Puppy, 1998
Faile
Bunny Boy Sculpture - Lavender
Vanessa Beecroft
Upon her arrival in the Sudan, Beecroft hurries to set up a photo shoot, hiding the cameras from the orphanage's sisters, calling the babies “these poor creatures.” Which baby should she photograph? “Either one or the other,” she says, “it doesn’t matter." - Logan Hill (New York)
Granger Gonsalves Pincus
“C.B.K. had the best hair in the world,” says Plum Sykes, a dedicated student of glamorous hair. “The ultimate."
Gryffin Gonsalves Pincus
Gryffin Barnaby Gonsalves Pincus wearing Goyard at his 3rd Birthday Party.
Otto Zitko
Untitled, 2006
Elliott Puckette
Untitled 6, 2006
Ernesto Caivano
Floral Veins, and Conduits: 088, 2006
Alex Katz
Summer Game
Karen Kilimnik
Favorite palomino pony and dogs at the hovel
Wes Anderson's Rushore (1998)
Wes Anderson's The Royal Tenenbaums (2001)
Wes Anderson's The Life Aquatic with Steve Zissou (2004)
Wes Anderson's The Darjeeling Limited (2007)
Tim Davis' Un Coin d'appartement, 2004
Some may frown on Tim Davis' photographs of famous paintings. For one thing, it appears that his camera's flash intrudes upon and harms each masterpiece. However, the artist doesn't use a flash at all, instead relying on the light provided by sources within the museums where the works are housed. Davis shoots them from angles that accentuate the available light and then creates prints that reveal the physique of the paintings. The added beams of light modify our sense of these mostly familiar images. In certain pieces the light reveals texture (the aged paint cracks in Corot's Evocation of Love); in others it alters the figures (notably the child, now resembling a specter, in Monet's Un Coin d'Appartement). - Omar Sommereyns (Miami New Times)
Takashi Yasumura's Sliding Doors, 1998
Anthony LaSala: What is it about his images that captured your eye?
Yossi Milo: The quality in composition, color and subject matter of Takashi Yasumura's work initially captured my eye. The artist prints his work by-hand and does an extraordinary job with producing very color-saturated, captivating prints. There is something that is distinctly Japanese and contemporary about his work that allows his work to stand out as pieces that are both aesthetically beautiful and relevant. - Anthony LaSala (Photo District News)
Karen Kilimnik's The Matterhorn at night, dreamland, 9pm, 3am, Zermatt, 2007
Drawing correspondences between romantic tradition and consumer culture, Kilimnik's work brings a haunting and contrary sense of beauty to contemporary art. The world of the ballet and childhood, romantic painting and pop music, icons of film and fashion, signs of witchcraft, time-travel, and murder comprise an imagery that has been culled from the historic and recent past into an unsettling present. In a world where the forces of nature, youth, and terror, have taken awesome hold, Kilimnik's art rematerializes a quest for the romantic sublime. - Ingrid Schaffner (Institute of Contemporary Art | University of Pennsylvania)
Pamela Talese's The McKean and The Firefighter Rendezvous at the Navy Yard
Pamela Talese's small, quietly observed works, painted from life, honor the plein-air tradition that many assume to be dead by turning to industrial subjects and pushing the style slightly toward documentary photography. Fittingly, they record a dying phase of New York history: the piers, buildings, cranes and docking equipment of the Brooklyn Navy Yard, along with tugboats, fireboats and ships in and out of dry dock. The subjects have all seen better days, but the images are not nostalgic. And despite the paintings' documentary aspect they clearly could not be photographs; they record places of honest work in part by exemplifying it. They are carried by an unforced accuracy abetted by a subtle color sense and straightforward surfaces that are neither finicky nor juiced up. - Roberta Smith (The New York Times)
Phil Collins' Young Serbs (Bojan), 2001
The artist Phil Collins often works with documentary formats, and has made several bodies of work from within international 'trouble spots'. KultureFlash spoke to him about Young Serbs, his renowned photographic series. Young Serbs consists of strangely intimate portraits of men and women lying in the grass.
KultureFlash: Why did you choose to portray them lying in the grass?
Phil Collins: I was thinking about the tyranny of recent representations of Serbs, the way photojournalism had cornered the market like a bully. I was thinking about the representational field and those who lie either inside or outside it. I was thinking how Keats wrote fairy-tales at the time of the Poor Law riots, and yet how for him this might also have been a political strategy. To look away from the spectacular and to employ quite simply the lush, the beautiful, the luxurious. What could this mean? I wanted to create an intimate situation (for when else do we see someone lying down?) because intimacy, I was figuring, was one of those values denied by reportage. Ambivalence. Tenderness. Accusations. Invitations. So as well it was written as a kind of love letter. Or more specifically I wanted you to fall in love with them. Or lie with them. Like a shoddy pimp would. Or an evangelist. - (KultureFlash)
Beate Gütschow's Untitled (S_13), 2005
A rising star within the contemporary art circuit, Beate Gutschow has taken a wealth of analog images around the world, which she then converts to digital and stores according to their location. Each work is a composition created from the layering of between 30 to 100 pieces, taken from her extensive catalogue and arranged into a panorama. In her second body of images 'S', Gutschow moves from the seemingly idyllic to post-apocalyptical scenes of urbanity. Her shift to black and white photography signifies the transition to a bleak world-view, and a look into what the future may have in store. Although the interface between the combined images is flawless, there is often a contradiction within Gutschow’s use of light and shade, giving her work an almost sinister edge. - (Wallpaper)
Faile's Nothing Lasts Forever featuring Bunny Boy
Manuel Bello: Who is the bunny boy and what is the history and what the fuck is he doing to that rabbit?
Patrick Miller (Faile): It is one of those things where it is really to each his own. That it is just one of those images that's best left as a mystery. It's always been something that we always turn back on people and say "what does it mean to you?" And on that we have heard a ton of different things. The best one being, there was this little boy walking by with his dad while we were shooting some of the sculptures and the young boy says "what is that little boy doing?" His dad responded, "I don't know." The boy then whispered in his dad's ear, "I think he's telling him a secret." For us that was a new one and there was just something so innocent about it, coming from such an honest place that made it really special. So again it's whatever you want it to be. - Manuel Bello (Fecal Face)
Jason Kronenwald's Gum Blond XLVIII (Britney Spears) featured in Just Britney
"We just couldn't get enough of all things Britney this month, so Friday night we decided to head out to Steven Corfe and Thairin Smothers' Just Britney art exhibit opening party at the World of Wonder gallery in Hollywood. The list of attendees included legendary former New York club kid James St. James; Vincent Gallo, who decided he didn't want his picture taken but offered to take a picture of us instead ("Why do you want my picture, I'm just an old man," said he); working supermodel RuPaul, as well as snot-nosed YouTube sensation Leave Britney Alone Guy. The show featured glorious pieces commemorating the troubled singer, like Jamie Boling's Snake Charmer and Jason Kronenwald's Gum Blond XLVIII, which was made up entirely of chewed up bubble gum." - (Defamer)
Inventaire
- Alex Katz (1)
- Alfredo Häberli (1)
- Alison Hawkins (2)
- Alyse Bernstein (1)
- Andrea Salvetti (2)
- Asprey (1)
- Beate Gütschow (2)
- Bruno Fattorini (Colors Table / Troy Soho / 1)
- Campana Brothers (10)
- Charles Pachter (1)
- Claes Oldenburg (1)
- Claudy Jongstra (1)
- Corey Arnold (3)
- David Hilliard (2)
- Duane Michals (1)
- Edna Andrade (3)
- Eileen Neff (2)
- Elizabeth Paige Smith (1)
- Elliott Puckette (2)
- Emma van Leest (2)
- Ernesto Caivano (6)
- Ezra Stoller (2)
- Ezra Stoller (2)
- Fabio Novembre (1)
- Faile (7)
- Frank Gehry (1)
- Fratelli Toso (Lamps, pair / 2)
- Funhouse Mirror (Troy Soho / 1)
- Gavin Turk (1)
- Graphic Thought Facility (1)
- Helen Frankenthaler (1)
- Hella Jongerius (6)
- Jaime Hayon (6)
- Jakob Kolding (1)
- Jane Irish (1)
- Jason Kronenwald (1)
- Jean Arp (1)
- Jeff Koons (2)
- Jon Conner (1)
- Jorge Pensi (Cassina / 1)
- Karen Kilimnik (9)
- Katherine Wolkoff (1)
- Kathy Osborn (4)
- Kehinde Wiley (4)
- Kent Rogowski (5)
- Lisa Eisner (1)
- Maarten Baas (9)
- Marc Newson (1)
- Marion Ettlinger (2)
- Marisa Olson (9)
- Mark Khaisman (1)
- Martin and Muñoz (2)
- Matthew Hollister (1)
- Maurice Vellekoop (1)
- Mendelson Joe (1)
- Mitch Epstein (1)
- Mr. (1)
- Otto Zitko (2)
- Patrick O'Dell (3)
- Phil Collins (2)
- Philippe Starck (Caadre Mirror / 1)
- R 20th Century (Lamp / 1)
- Robert Motherwell (1)
- Ryan McGinley (2)
- Ryan McGinness (2)
- Shin Sugino (1)
- Simen Johan (1)
- Sto (2)
- Studio Job (2)
- Takashi Murakami (1)
- Takashi Yasumura (1)
- Thomas Bangsted (4)
- Tim Davis (3)
- Tom Dixon (1)
- Turf One (1)
- Vik Muniz (4)
Otto Zitko
Untitled, 2004
Ryan McGinness
The Ownership Addiction
Karen Kilimnik
Janus, the debonair general + the cowgirl (asleep, or thinking of a spell) in the deserted island manor house on a dark + stormy night
Ernesto Caivano
Inside the Armor Shell 1
Alex Da Corte
Run Run Run, 2008
The List
- Mr.
- Andy Warhol
- Collier Schorr
- Cory Arcangel
- Damien Hirst (Wallpaper)
- Diana Vreeland
- Elliot Puckette (Painting)
- Ernesto Caivano
- Esko Männikkö
- Esque Design
- Fernando and Humberto Campana
- Hella Jongerius' Polder
- Jaime Hayon
- Jakob Kolding
- Jamaica
- Jeff Koons
- Kara Walker
- Karen Kilimnik
- Kathy Osborn
- Kehinde Wiley
- Maarten Baas
- Marc Newson
- Marisa Olson
- Mickey Smith
- Oiva Toikka
- Olafur Eliasson
- Pamela Talese
- Patrick Tsai and Madi Ju
- Paul Evans
- Paula Hayes
- Peter Hujar
- Rached Howard
- Raphael Maneo
- Richard Barnes
- Ronan and Erwan Bouroullec's Cloud
- Ryan McGinley
- Ryan McGinness (Painting)
- Sarah Morris
- Saul Leiter
- Serge Mouille
- Studio Job
- Superstudio's Quaderna (Zanotta)
- Tejo Remy's "You Can't..."
- The Sitwells
- Thomas Demand
- Tina Barney
- Tina Chow
- Tom Dixon
- Trisha Donnelly
- Vanessa Beecroft
- Vanessa Beecroft
- Vik Muniz
- Will Cotton
Eileen Neff
The Field and the Plane
Ryan McGinley
Jake's Eyes
Tim Davis
Alponse Dandet et sa Fille
Simen Johan
Untitled #136 (Foxes)
Martin and Muñoz
The Cliff
Phil Collins
you're not the man you never were #2
Mitch Epstein
Untitled NY (oranges and blue curtain)
Beate Gütschow
Untitled (LS_17)
David Hilliard
He Said, She Said
Alex Da Corte
Activity #9, 2007
Faile
Poison Boy 2
Karen Kilimnik
The Royal Little Red Riding Hood, 2007
Gavin Turk
Bag Sticker
Helen Frankenthaler
Bilboa
Ryan McGinness
Untitled, 2006
Faile
Bunny Boy Sculpture - Yellow
Asprey
Facet Ashtray, 2006
Philippe Starck
Caadre Mirror (Fiam, Italy), 1998
R 20th Century
Table Lamp (Italy), 1960's
Fabio Novembre
Org Console
Jaime Hayon
Showtime Vases
Raymond Loewy
DF-2000 cabinet, 1965
TROY SOHO
Funhouse Mirror, 2005
Faile
Bunny Boy Sculpture - Green
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12 comments:
Ryan McGinley
April 3rd – May 3rd 2008
Reception on Thursday April 3rd at 6:00PM
Team is pleased to present an exhibition of new work by the New York-based photographer Ryan McGinley. Entitled I Know Where the Summer Goes, the exhibition will run from the 3rd of April through the 3rd of May 2008. Team Gallery is located at 83 Grand Street, cross streets Wooster and Greene, on the ground floor.
- Team Gallery
wow, these are incredible.
"Crouching Rollerskate" is classic McGinley. I agree with snobber, this new work is incredible.
These photographs are beautiful!
wow you have the most art-packed blog I've ever seen.. Most of these artists I've never even heard about(And I claim I know a little something about art haha).
The second shot is other-worldly. Beautiful. Love all the 'space'.
love ryans work, I was at the opening that night hanging out with him because thats what former interns do with their former bosses, right? haha
[and I agree with the comment you left in my blog, there has been much worse and this seasons stuff was safe and clean on hermes end and just enough punch on the YSL front. Chanel...hot mess, but I love Karl regardless]
the color and perspective is so great in these. thanks.
- Jessie -
I juste love the both last pictures...
I love this whole series. The last one is what I feel an out of body experience would feel like.
i love mcginley's work.
thanks for stopping by.
I will confess, despite my earlier comments, the middle image is absolutely exquisite.
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