Last Saturday Paula Cooper unveiled Kelley Walker’s solo show revealing his new vibrant body of work that captivates viewers through its combination of popular culture, art, advertising and politics. A work that consists of 190 silkscreen and acrylic ink panels takes over the entire back room and brightens the space. The assemblage of panels, some color and others grey, encompasses a large rectangular room of stark white walls, allowing the viewer to be completely consumed by it.
It is quite a sensation standing in the dead center of the room surrounded by scattered panels on the wall. As you get closer silkscreened Volkswagen Beetle advertisements from the 1950s-70s are unmistakable, they seem as if they are about to lift of the flat surface. Each of the ads are contorted and punctured that nearly look 3-D on a flat panel. Walker manipulated a 3-D modeling process called Rhino and figured out how to force the program to accept 2-D images. It’s almost a mind trick considering the intense contrast between the folded or rolled VW advertisements and the ultra flat, 100 percent opaque colors behind them.
As beautiful as the piece is, it is hardly just aesthetic. Walker is known for his politically and culturally charged work. Here he chose to use the Volkswagen Beetle advertisements demonstrating the power of the media in creating and also transforming this iconic image.
“The directness and humor of the VW campaign is largely responsible for the now iconic status of the Beetle and for rebranding a product that, only a decade before, was widely associated with the Third Reich (the ‘People's Car’)”
Kelley Walker takes it upon himself to re-contextualize this iconic campaign into something of his own, into something of our current culture and time.
Last week RxArt took a trip to Chicago to celebrate the grand opening of La Rabida’s stunning new Outpatient Center.
Image courtesy of Medical Construction & Design
Image courtesy of Medical Construction & Design
La Rabida Children's Hospital is the only hospital of its kind in Chicago. The hospital specializes in treating kids with lifelong conditions such as diabetes and sickle cell disease, as well as those with developmental disabilities, or who have suffered abuse or trauma. La Rabidaʼs young patients have medically complex conditions that require costly, ongoing management. Philanthropic support is critical since much of the care that has been proven to benefit patients is not adequately covered by insurance. RxArt’s support enabled La Rabida to make the additional step to alleviate pain by providing a comforting environment and healthy distractions with Keith Haring’s uplifting facsimile.
Image courtesy of La Rabida Children's Hospital
In collaboration with The Keith Haring Foundation, RxArt installed a 13’6” by 7’ work that adorns the entrance of the hospital’s new ambulatory wing. The work is meant to “brighten the days of the children, staff and visitors,” says RxArt founder Diane Brown.
Image courtesy of La Rabida Children's Hospital
Energy pulses through Keith Haring’s work like a strong steady heartbeat. Haring believed, “Art should be something that liberates the soul, provokes the imagination and encourages people to go further.” Combining process, theater, and supreme calligraphic and compositional skill, Haring danced his drawings, perceiving the act of creation as a performance and ritual of every day life. Painting for Haring was transformative process, providing a creative catharsis. The energy, optimism and spontaneity of this image will provoke the imagination and inspire creativity in the pediatric patients of La Rabida Hospital. This facsimile of Haring’s work captures the incessant motion of his line, bringing the universal symbols of the unconscious and collective imagination to the surface.
Image courtesy of La Rabida Children's Hospital
The project was made possible through the generosity of The Keith Haring Foundation, The Capitanini Family and the John T. Jackson Foundation.
On Monday, February 10th, a reception celebrating RxArt’s installation was held at The Langham Hotel hosted by RxArt Founder Diane Brown, Pamella and Alfredo Capitanini, and Beth and Dr. Richard Heller III. An icon on the city's skyline, The Langham, Chicago occupies the first 13 floors of a 52-story skyscraper designed by celebrated architect Mies van der Rohe. The reception was a joyous celebration and we are incredibly grateful to have been a part of La Rabida’s growing success.
“Art is some sort of interesting area where dysfunction is allowed,” said Mike Kelley in an interview by John Miller in 1992. Dysfunction dominates MoMA PS1’s immense retrospective of Kelley’s work from the 1970’s until his tragic suicide in 2012. First let me say how well the space of an empty public school turned art gallery fits his work that deals with the schooling system and challenges contemporary society. This exhibition felt as if we had entered the mind of one of the most influential, forward-thinking artists of our time.
Mike Kelley in the Boiler Room at MoMA PS1. Photo courtesy of MoMA PS1.
In each of his works we see his profound understanding of our society, of capitalism’s affect on us, of human emotional instinct and of unconscious desire. However, he also understood our culture to the point that he realized the importance of aesthetic appeal. This explains the huge line of people—which doubled in length in 1 hour after I had arrived—outside of the room where the giant masses of fluffy, colorful stuffed animals, Deodorized Central Mass with Satellites hung.
Deodorized Central Mass with Satellites. 1991/1999. Photo courtesy of MoMA PS1. Image courtesy of Perry Rubenstein Gallery, Los Angeles. Photography: Joshua White/JWPictures.com.
In Kelley’s memory paintings, hanging masses of stuffed animals, floor sculptures and various other works throughout the run down public school, he pulls off the execution of attention-grabbing art objects that have multiple levels of meaning. Without being kitsch or overtly critical his worn down stuffed animal sculptures and memory paintings open the eyes of viewers willing to spend more time with the objects, allowing them to penetrate the surface, and realize somewhat stupefying conditions of our modern consumer society.
As we entered the huge room where his Day is Done installation stands, the sounds of each separate video intermingle with each other creating a cacophony, pulling our attention in every which way. It seemed to me that being in this room could be compared to being in the mind of Mike Kelley. It is both incredibly relevant to our time of overstimulation and indicative of our microscopic attention spans.
Installation view of Day is Done at MoMA PS1. 2013. © MoMA PS1; Photo: Matthew Septimus.
Viewing over 200 of Kelley’s pieces in one space revealed a sort of brilliant chaos that took over his mind, a type of chaos responsible for the constant creation of thought provoking, beautiful, confounding work. Personally I found myself visually/mentally exhausted while simultaneously moved and overwhelmed, even confused, by the time I hit the top floor of PS1.
Kenny Scharf opened his exhibition 'Kolors' last night at Paul Kasmin Gallery. It was a colorful affair complete with a particularly delicious collaboration between Scharf and The Doughnut Plant. Known for his colorful paintings, murals, and close friendships with artists Keith Haring and Jean-Michel Basquiat during the East Village art scene of the 1980s, Scharf was one of the first artists to inject street culture into mainstream contemporary art. He continues to incorporate imagery from cartoons and pop culture into his exuberant painting and sculptures. Scharf took some time out of his day to answer a few questions about his work and new exhibition.
Let's start from the beginning. How did you get your start making art?
My earliest memory was finger painting in nursery school. I can remember vividly the excitement I felt and the visuals like it was yesterday.
You're from LA - do you think being from there influences your work?
Growing up in LA definitely influenced my art. I was constantly being bombarded with imagery that spoke of the space age in cars, architecture, and media. The colors and imagery are still fresh in my mind.
Then you came to New York and became friends with Keith Haring and Jean-Michel Basquiat. What drew you to each other?
Fate - they were some of my first friends I made immediately upon arrival.
With Keith you made blacklight installations called 'cosmic closets,' which eventually caught the interest of the Whitney, who then asked you to recreate it for their Biennial. How did that come about and what was that like?
Keith and I lived in a decrepit townhouse near Bryant Park - I converted an old large closet into an installation after I came upon a blacklight and began to put items from the street garbage into the room and painted them florescent. It began to grow and became the "closet," and then the "cosmic cavern." It became the site of a lot of fun parties!
A lot of your work prominently features cartoons characters and pop iconography. What about that interests you?
That I own these icons because they are personal to me, yet they are also shared by millions!
You have a series of doughnut paintings. What about doughnuts interests you?
They look good, taste good, yet are bad for you. They have a hole in the middle and resemble the universe. Some scientists think the universe is shaped like a doughnut. They are the ultimate good-to-look-at, bad-for-you consumer object. They're fun to paint.
Through your work you have developed a fully formed world with characters. You've translated this into animation in the past - will you be making more in the future?
I would very much love to make more animation.
You've made a few sculptures: one for your show at Honor Fraser and your sculpture at the Standard Hotel. What is it like seeing your characters move from the 2D realm to 3D?
Ive actually made many sculptures over the past 30 years, but these new ones are different and I think more successful in their bright, colorful, shiny boldness. It is natural for me considering all the paintings incorporate imagery that has a "3D" look.
You often refer to yourself as a customizer and have transformed objects ranging from household appliances to Cadillacs. What about that interests you?
Taking everyday usable objects and turning them into art is a great way of incorporating the everyday task and transforming it into a magical art experience, thereby uplifting the banal into beauty and experience.
Tell me about your collaboration with Kiehl's - what was it like to make over a product as iconic as the Crème de Corps? How was that process?
It was great to work with Kiehl's as they have such a good graphics team - they made it super easy for me!
What are some of your new inspirations and what are you looking forward to?
I am very exited about the present and future. Besides my show opening next week, I am about to make another mural in NYC on Hudson and 14th Street, I'm showing in a "futures" exhibit in the museum in Mobile Alabama in May as well as painting a mural there, and I am also customizing a 70s Pontiac in a new and very exiting way as well as some other fun stuff that I can't mention yet!
This post has been updated to include the time-lapse video:
I wish that after writing this post, I could encourage readers to head to Feature Inc. to witness Kylin O'Brien's ethereal creation, Amo Legomandala, but alas, the experience lasted for just three days and now lives on in photo and video documentation.
Drawing upon the tradition of Tibetan sand mandalas, Kylin created a mandala entirely of LEGOs on the floor of the 131 Allen Street gallery. The Tibetan Buddhist ritual of creating and subsequently destroying an ornate sand mandala after careful construction was playfully redone with children's construction pieces. Using a medicine mandala as inspiration, Kylin and her assistants (which included our fabulous intern, Jillian) mapped out the mandala over the course of several months, meticulously measuring and structuring the piece. Finally, the LEGO mandala was constructed on the gallery floor over a three-day period.
Kylin's mandala was unveiled at the opening reception on Friday, March 22nd, during which attendees carefully walked around the massive structure, maintaining several feet between themselves and the freely-lying blocks on the ground so as not to disturb the structure. (When a woman walked into the gallery with a dog in her arms, Jillian and I both had momentary heart palpitations as we imagined the dog streaking through the center of the piece...a recurring nightmare of Jillian's in the days leading up to the show!)
After a full-day viewing on Saturday, all were invited back on Sunday the 24th to transform the piece and assist in its disassembly - or reassembly, depending on how you view it. Viewers took an active part in changing the entire structure of the piece, experiencing what Feature Inc. called an "opportunity to become aware of our contribution to collaborative change."
Jillian commented that the finished, modified product was reminiscent of a "futuristic space station." The atmosphere during Sunday's reconstruction was quiet and calm as participants fell under the spell of the thousands of colored blocks.
The full process - from the build-out of the original piece to the ultimate deconstruction - was recorded with an overhead camera in the gallery; a time-lapse video will soon be released to document the experience.
In the meantime, here is an installation shot from the calm before the storm at Friday night's opening. Congratulations to Kylin on a beautifully whimsical and innovative installation.
Photograph by Morgan Jacobs
Founded in 2006 by David Kesting, Lincoln Capla, and John Leo, with roots deep within the independent Williamsburg, Brooklyn art scene, Fountain Art Fair has grown to represent sixty of the most avant garde, edgy, and experimental international galleries. Fountain was created in an attempt to leverage support for smaller independent galleries, collectives and artists who wish to gain access to a larger audience of collectors and critics. The fair’s alternative model and genuine dedication to the galleries and artists is inspirational and exciting. Artists and galleries are accessible and enthusiastic as they engage the global art market on their own terms.
This year, Fountain Art Fair was held in the location of the original 1913 Armory at the 69th Regiment Armory. Packed with art and featuring live music and performances, the lively event was bursting with artistic vision forging the way for contemporary art.
View some of the highlights below.
Boat by Dennis McNett at Republic Worldwide. Photo Courtesy of Paper Magazine.
Performance artist Mideo Cruz at Grace Exhibition Space. Photo Courtesy of Hi*Fructose
Vicki DaSilva. Photo Courtesy of Fountain Art Fair
Nina Sky performing at Fountain Art Fair. Photo by Kendra Heisler. Photo Courtesy of Fountain Art Fair
Performance artist and director Willard Morgan of Ideal Glass at Republic Worldwide. Photo Courtesy of Hi*Fructose
Jean-Michel Basquiat’s comical, vigorous, and tortured spirit reigns at the Gagosian Gallery. The artwork spans Basquiat’s brief but remarkable career, featuring over fifty works from public and private collections and producing an exhibition that simulates an emotional roller coaster.
Rousing highs are found in works such as “Eyes and Eggs,” made on a large white painter’s drop cloth with sneaker prints on it. Pictured is a black line-cook in a white cap with the name “Joe” written on his white shirt. Joe holds a frying pan containing a pair of red steaming, sunny-side up eggs whose yolks mirror his crazed goggle eyes.
There are dark plummeting lows found in works like “Riding with Death,” painted in 1988, Basquiat’s last year of life. Moments of fear and rage are experienced in “Untitled (Two Heads on Gold).” Painted in teal, gold, black and white on a canvas over 10 feet wide, this image depicts a double portrait of a reoccurring funny but scary figure of a skeletal black man with dreadlocks, hollow eyes, sneering teeth and lanky limbs. According to Ken Johnson of the New York Times, Basquiat was responding to “…the tragically absurd calamity of racism in America” (2013). The discrimination prevented him from becoming all that he wanted and is ultimately what drove him insane. Johnson states Basquiat worked rapidly with brushes, spray paint, markers, and other implements on found boards, stretched fabrics, wooden doors, and professionally stretched canvases, conjuring an artistic persona who mumbles and chortles to himself as he compulsively improvises his chart like compositions of cartoon images, glyphic signs and enigmatic word lists. Bringing viewers along for the ride, Gagosian pays perfect homage to Basquiat's brilliant madness.
"Eyes and Eggs" courtesy of Gagosian Gallery
"Riding with Death" courtesy of Gagosian Gallery
“Untitled (Two Heads on Gold)” courtesy of Gagosian Gallery
Halcyon Days, from the Greek myth of Alcyone, are the seven days in winter (either side of the shortest day of the year) when storms never occur. Halcyon Days recall an earlier time remembered as idyllic, a time when the winds were restrained and the waves were calmed in favor of peace. Bill Cosby times.
Jayson Musson’s sweater “paintings” at Salon 94 Bowery are made from mercerized cotton Coogi sweaters that are disassembled and stitched back together in abstract designs and then stretched across a canvas. To certain American consumers, sweaters by Coogi, an Australian clothing company, are immediately synonymous with popular culture icon Bill Cosby, who, as Dr. Huxtable on the Cosby Show, embodied the funnyman Jell-O pudding-eating, sandwich-birthing dad that everyone wished they had. And for twenty minutes each week (and during the re-run years, for twenty minutes each day), we did. A Cosby-esque sitcom allowed Americans to lose themselves in a world that introduced a small crisis, solved it, and wrapped it all up with an oversized bow in twenty minutes with just a few commercials.
Removed from the context of a human body, the sweaters function beautifully as painterly abstractions. In one, I saw an aerial view of a riverbank with shades of woven crimson and orange snaking through horizontal bands of green. Another deconstructed sweater painting conjured images of ribosomes and vacuoles seen in biology textbooks and videos. Another one made me think of a dandelion seedhead in summer -- swaying in the wind and releasing its tiny airborne seeds. Musson managed to disassemble a marketable product and put it back together in an organic and accessible way that honored the movement and rhythm of the originals.
Jayson Musson also works in photography, illustration, and video where he performs as alter ego Hennessey Youngman. Although the show has come down, you can still keep up with Musson and Youngman through his web videos and his newest project, a petition demanding a feature length film about the SNL character, Toonces the Driving Cat. I’ll keep the sweater paintings, but feel free to join the charge.
Impossible Conversations at the Met
“You know, Miuccia, I hate talking to designers,” says Elsa Schiaparelli in the first of a series of eight short videos in the Met’s exhibit, “Schiaparelli and Prada: Impossible Conversations.” The two Italian designers sit at opposite ends of a long dark rococo table separated by a glass chandelier and champagne flutes. Miuccia Prada’s black sweater, crisp white blouse and simple slicked back hair are in perfect opposition to Schiaparelli’s polished eccentric look -- red lipstick, a tailored black blazer on top of a white blouse whose impossibly big bow mimics the finger waves in her coif. When the two designers raise their glasses in salude, they are just out of each other’s reach, an appropriate recurring motif that represents the designers’ individual and overlapping strengths as well as the history that stretches between them.
The script for the videos, written by curator Andrew Bolton, was culled from excerpts from Schiaparelli’s autobiography, Shocking Life, and a series of interviews conducted by Bolton with Prada. Prada comes across as poised, reflective, and private, and I often felt like we were engaged in a game of reluctant secret sharing, especially when she expressed her subtly feminist motivations in the ‘Hard Chic’ section that featured military inspired all black ensembles from both designers. “I tried to make the men more human and the women more powerful,” Prada says quietly. Schiaparelli (impersonated by Australian born Judy Davis) comes across as a parody of herself and her eccentricities are pushed on the audience relentlessly, but eventually the viewer is able to ignore the affected accent and gestures and appreciate the revolutionary nature of her work.
Visually, I did not find the layout of the show particularly different than walking through a boutique in half darkness that paired modern couture with haute vintage, and I kept feeling stupidly glum over not being able to try on the padded black brocade jacket with the cream colored French baroque style trim. But one of the most memorable chapters of the show, “Waist Up/Waist Down,” juxtaposes Prada’s skirts and shoes with Schiaparelli’s hats, jackets, and accessories. “Schiap” (as she called herself) designed clothes for the social needs of a café society, which relegated women to their seats in public and emphasized adorning the upper half of the body. Prada, on the other hand, is fascinated by what goes on below women’s waists: “Sex, giving birth, being attached to the Earth,” and calls it madness to have “all this mess” around one’s head and face. It is these little moments where the designers playfully quibble that allow the viewer to suspend disbelief and wonder about these two talented designers as Schiaparelli did, “If we had lived at the same time, would we be friends…or foes?” Prada says, “I think friends,” and I think so too.
Do check out the exhibition before it closes August 19th, and let us know what you think!
“Maybe she’s all people brought together in one human…”
These words from a dazed Liverpuddlian boy sizing up the central figure of Picasso’s Weeping Woman, which is situated just behind the camera and out of the frame in Rineke Dijkstra’s twelve minute, continuously looping 3 channel HD video, The Weeping Woman, 2009. The student (one of nine in the video), whose consistently furrowed eyebrows and quivering mouth indicate his concern with what he is seeing, gets at the universality of the Dutch artist’s subjects and thus the empathy they elicit from the viewer. Dijkstra (the beginning of her name is pronounced like ‘dichotomy’) focuses on young people whose expressions and postures vacillate between ostentatious playfulness and extreme self-consciousness with regard to their changing bodies and the maturation of their world. The portraits recall 17th century Dutch painting in their scale and expertly printed even tone, but the subjects are relatable. They make us remember when we were awkward – and how we still are.
Make no mistake, though – while some of the work is quite serious (think blood-spattered Spanish bullfighters and a nude mother clutching her infant hours after birth), there are moments of pure joy. The video mentioned above is one of these. I stayed for two loops of the twelve-minute discussion about Picasso’s painting among these children, who come up with some startlingly perceptive observations. One boy says, “I think she is quite lovely and afraid.” Another says, “Maybe Picasso just wanted to do a colorful picture."
If you haven't seen this exhibit, check it out. It runs through October 8th at the Guggenheim, and I would highly recommend attending the Curator's Eye Tour with Jennifer Blessing, Guggenheim's senior curator of photography, on Friday, August 24 at 2pm. It's free with the cost of admission and well worth the time to learn about Dijkstra's connections to her subjects and the dialogue she creates between the images with the layout of her show. Or just enjoy the pictures.
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