With some grey paint, a hobby store motor and a whole lot of creativity, James Theophanecreated a unique work of art from a lousy flea market painting.
The girl and her bizarrely over sized dog apparently just won’t load (darn!). The bottom half of the painting gets all pixel-y and the dreaded Mac spinning beach ball of death rears it’s ugly head. And you thought you only had problems like these in the digital world!
Dang! The Wall Art Crashed Again! | Apartment Therapy Unplggd
Sashie Masakatsu creates visions of a post apocalyptic future, where fallen Japanese civilization reemerges in imposing orbs of cultural detritus, hovering above decayed and desolate urban landscapes. We were first clued in to his paintings when some small works were displayed at Giant Robot 2, Los Angeles as part of their 2007 Gesai exhibit. At last year’s PULSE Fair Miami, we watched as several of our TAC members frantically snatched up all available pieces on view with Mizuma Gallery. On Nov. 28 the Tokyo based gallery launches “De Facto Standard,” a solo exhibit of new paintings, including those previewed here. - Click images for detailed views.
the art collectors » New Day Rising :: Sashie Masakatsu at Mizuma, Tokyo
Shake It Don’t Break It, 2009
Adrian Norvid
Flashe vinyl paint on paper
I’m really digging this. Thanks Eden!
“Art, Advertising, Activism & Alchemy:
The power of public art. The problem of ubiquitous, aggressive, and even illegal advertising. The renaissance of urban activism. The alchemical conversion of public spaces when these concerns meet. These four artists, with different but overlapping practices, represent the transformative intersection of art, advertising & activism. Speaking together for the first time ever:
Jordan Seiler, of the provocative Public Ad Campaign: replacer of advertising with beautiful art and organizer of the staggeringly ambitious New York Street Art Takeovers.
Gabriel “Specter” Reese: the pioneering Artist, emerging from a traditional graffiti background to become the creator of remarkably innovative street works that deal with socially marginalized people and places.
Jason Eppink: the Urban Alchemist transforming video ads into video art with a simple filter and trashed chairs into treasured seating by clever relocation.
Posterchild: the incredibly prolific creator of hundreds of conceptual and sensitive street works, including sculptural, kinetic, robotic and interactive installations, guerrilla gardens, stencils, and of course posters.
Come see these distinguished and award winning persons give individual talks about their practices, followed by a panel Q&A with all four artists. Also on display: 20 screens featuring past street works of all artists and the unveiling of new mural works by Posterchild and I Am. Drinks are available all evening.
Friday, November 20th, 2009
At Wonderland: 3801, 23rd Avenue in Astoria, Queens.
7pm: Doors open, 8pm: Artists talks, 9:30pm: Panel Q&A
Free to Enter”
Wooster Collective: One Not To Miss: Art, Advertising, Activism & Alchemy in New York
After a hugely successful run at the Boston Institute of Contemporary Art, Shepard Fairey’s museum retrospective opened today at The Andy Warhol Museum in Pittsburgh. The exhibit premiers just as new and disheartening information surfaces about the artist’s ongoing legal battle with theAssociated Press.
Read on for the full storyFairey sued the non-profit news organization in February, after beingaccused of stealing one of their photos for his hugely popular Obama Hope image. He has insisted he did not violate copyright laws, and that his appropriation of the photo falls within the guidelines of fair use because the original image, which featured Obama next to actor George Clooney, had been significantly altered. In March The AP countersued, arguing that Fairey has in fact committed copyright infringement by not properly crediting or compensating them. In addition, AP says Fairey did not use the Obama/Clooney photo he claims, but rather one of the future president sitting alone. The question over which photo was used is significant, as it is the basis for Fairey’ assertion that he “significantly” altered his source material
the art collectors » Shepard Fairey Exhibit Opens Amidst New Legal Controversy
After debuting a new installation at Perry Rubenstein in September, FAILE have officially announced the gallery is now representing them in the U.S. The artist duo will unveil the below series of Wood Paintings with Rubenstein at FIAC, Paris, which runs Oct. 22-25. FAILE also alerts us to a new print release through Paper Monster sometime this week. Stay tuned…
the art collectors » FAILE Debuts New Works with New Gallery
Just in are these images from Mr. Brown, Barry McGee’s new solo show at Galleria Alessandra Bonomo, Rome. As previously reported the show opened yesterday with no prior announcement, and coincides with McGee’s participation in the New York Minute group exhibition at the Macro Futuremuseum.
McGee has also completed a storefront installation as part of the current Armory Center for the Arts’ 20th Anniversary celebration in Pasadena, California. Images can be seen on Sour Harvest, via our friend Andrew Hosner.
the art collectors » Barry McGee at Galleria Alessandra Bonomo
Cleon Peterson opens his first show in Brussles at Alice Gallery this Saturday, Sept. 12. ForUnconsoled, the Los Angeles based artist continues to portray violent yet playful depictions of an anarchic dystopia, exploring the dangers imminent in a pleasure seeking society consumed by excess and indulgence.
Over the past few years Peterson has gained considerable attention for his paintings, as well as for graphic design work with Shepard Fairey’s Studio Number One, where he recently designed shopping bags for upscale clothing retailer, Saks Fifth Avenue.
(Via the art collectors » Cleon Peterson Spreads Anarchy to Brussels)
![eloisemoorehead:
Claes OldenburgBedroom Ensemble, 1963Wood, vinyl, metal, artificial fur, cloth, and paper
“I wanted to make a general bedroom set … I drew on some memories … I remember a bedroom ensemble I saw in a motel along the highway … and they had rooms furnished according to some animals … I was struck by the humour of them. They had a pseudo-functionalist look - like they were made to be enjoyed or to be seen rather than used.” — Claes Oldenburg
In 1963, Oldenburg started a series of sculptures related to the theme of the home. “Bedroom Ensemble” is the most complex. It employs many ironic inversions - hallmarks of Oldenburg’s wit and humour. By choosing hard surfaces, sharp corners and an atmosphere of stark coldness, he makes a witty comment on, as he said, the “softest room in the house and the one least associated with conscious thought.” The shapes of the furniture are skewed as if rendered in a perspective drawing, giving an exaggerated illusion of depth. The theme of illusion is continued in the textures and materials of Oldenburg’s Bedroom - in the commercial imitations of marble, fur and leather. None of the furniture is real; none of the accessories operate: the entire work is an illusion of functionalism. Even the series of fake abstract expressionist paintings made from decorating fabric contributes to the ironic humour of the piece. [source]](http://10.media.tumblr.com/tumblr_kpms8ocGhU1qzvxbko1_500.jpg)
Claes Oldenburg
Bedroom Ensemble, 1963
Wood, vinyl, metal, artificial fur, cloth, and paper“I wanted to make a general bedroom set … I drew on some memories … I remember a bedroom ensemble I saw in a motel along the highway … and they had rooms furnished according to some animals … I was struck by the humour of them. They had a pseudo-functionalist look - like they were made to be enjoyed or to be seen rather than used.” — Claes Oldenburg
In 1963, Oldenburg started a series of sculptures related to the theme of the home. “Bedroom Ensemble” is the most complex. It employs many ironic inversions - hallmarks of Oldenburg’s wit and humour. By choosing hard surfaces, sharp corners and an atmosphere of stark coldness, he makes a witty comment on, as he said, the “softest room in the house and the one least associated with conscious thought.” The shapes of the furniture are skewed as if rendered in a perspective drawing, giving an exaggerated illusion of depth. The theme of illusion is continued in the textures and materials of Oldenburg’s Bedroom - in the commercial imitations of marble, fur and leather. None of the furniture is real; none of the accessories operate: the entire work is an illusion of functionalism. Even the series of fake abstract expressionist paintings made from decorating fabric contributes to the ironic humour of the piece. [source]
