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Interview w/ Heidi Norton
Written by Alexis Mackenzie   
Friday, 09 March 2012 09:00

I discovered the work of Chicago-based artist Heidi Norton via EBERSMOORE, and became an instant fan of her unique installation-based approach to photography and sculpture. Norton frequently uses living plants as a sculptural element, encasing them in layers of colored wax in conjunction alongside other studio ephemera. I sent her a few questions about her processes and approach via email, and here is what she had to say.

Interview by Alexis Mackenzie

"Circle Template for Glass Sculpture" (2011). Archival pigment print, 19 3/4 x 15 7/8 inches.

Many of the materials you use in your work rely on, or are significantly affected by, their relationship to humans. Such as wax, which is naturally occurring but rarely observed in a natural state; houseplants, which rely on their owners to keep them alive and healthy, and man-made products built from natural materials (books, pallets), etc. Is there a specific aspect of these relationships you are addressing?

I think I am more interested in man's relationship to these materials versus man's interventions with them. The symbiotic relationship--a reciprocal relationship-- is what intrigues me. For example, the bee's reliance on man to help maintain their hives and the product man receives from this maintenance. My parents were beekeepers and I often assisted them as a child, learning this relationship from a young age. In order to reap the benefits of domestic plants, you must care for them. In Controlled Environments, there is an installation of shelves that are exact recreations of my windows of my studio. Here you can see plants in varying stages of life. Beside plants, there are objects, detritus, and remnants; collections that either reference these relationships or are products thereof.

"Controlled Environments" installation view. Mark Wolfe Contemporary Art, 2012.

Last summer I was given a queen bee cage, which looks more like a coffin for a queen bee. When making a beehive, one must introduce the queen bee, as she has not been raised with the collection of worker bees. One side of her cage/coffin has been drilled out and filled with "bee candy". As the worker bees are exposed to her pheromones, they chew through her bee candy plug. Once the plug is chewed through, she can escape and live in harmony with the other bees.

Another example of this was over the summer while making work that is currently on view in Chicago at Johalla Projects, Reasons to Cut into the Earth; I had trapped a butterfly in the hot wax that I was pouring into holes that I had dug as molds. I felt guilty that the butterfly died in my art, but liked the way it became the trophy of the piece. The next morning I had found that a community of ants had eaten out the inside of the butterfly. With that my guilt subsided--one organism contributed to the life of another.

 
Josh Peters Interview
Written by Ryan Christian   
Thursday, 08 December 2011 09:54

Josh Peters is a La based painter/ curator/ cool guy/ I chatted with him recently about his work, here it is. -Ryan Travis Christian

So Josh, tell me a little bit about yourself.....

I'm from Massachusetts.. moved to NYC after grad school at Rutgers, spent 10 years there.... about half of which was spent art-making and half playing in a band. It got to the point in NYC where I was spending too much time working to support myself and not enough painting...so I moved up to Northampton, MA where I was able to afford to take a couple of years just getting back into it. In 2007 I taught painting for a semester at an art college in Oslo, Norway and then did a 3-month residency in Los Angeles, wanting to be back amongst a larger group of artists and a more active gallery scene. The residency was sort of to test the water in LA, and I loved it so ended up moving out here.. where I've lived for two years now... teaching and making my work.

So let's get down to business. Tell me a bit about the characters and places in your pieces, they seem utopic, but with a underlying darkness. It also feels like the work is just out of reach from narrative...

The source material for the paintings are film stills... usually older ones where the sunspots and grain reference a previous era. In the newest work, the proportions of the canvas actually mirrors that of a widescreen cinema format. I choose the frames that strike an emotional chord with me, hoping that they will also resonate with viewers. So it's really done intuitively, without much thought to 'theme' but there are obviously common threads... groups of people isolated in nature and an ambiguity in terms of their identity and what exactly is taking place, as you pointed out in your question. So I would agree with that and say that it's intentional, as it hopefully creates a kind of compelling mystery and draws viewers in.

I should also say that the pieces that I'm working on now might well be the last that come out of this process; the process of finding a single, pre-existing image and translating it into paint.

I view these paintings as a kind of pop art because of this; they are pre-existing images in the culture, though of course not as recognizable as product packaging or celebrities.

The original image is also going through more of a transformation because the use of the materials is painterly and not deadpan, as in pop art, but just the same, I feel that with these paintings, once the frame has been selected, the die is cast and the work is half done... I'm hoping to start working more interpretively, more from the imagination, with chance and chaos coming into it more. I want to push beyond the nostalgia of these paintings.

 
Interview w/ Alex Ziv & Quinn Arneson
Written by Kid Yellow   
Wednesday, 07 December 2011 09:39
SF based artists Alex Ziv & Quinn Arneson are in their final year at the San Francisco Art Institute and open the two person show UNIBROW: BRIDGING THE GAP Thursday, Dec 8th at Gallery Heist.

Kid Yellow interviews.

"Snake Eyes Bug Boy" by Alex Ziv

"SF is So Chill" by Quinn Arneson

Hello, please introduce yourselves

AZ: Alex Ziv, artist, 23 years young, born and raised in San Francisco, avid cigarette smoker, passionate art lover, motorcycle obsessive.

QA: Hello FFDG world. My name is Quinn Arneson and I am 24 year old artist. I am from Los Angeles, California but currently live and work in San Francisco.

This is the first two person show you've had, why did you choose each other for this show?

QA & AZ: Julianne Yates from Gallery Heist had been watching us both or about a year or so and approached us both about potential shows. She made the connection that both our works had multiple commonalities that seemed to click. We both simply find humor in art while remaining religiously serious about our practice.

Were there any guidelines you followed or did you work independently?

QA & AZ: We definitely chatted about making work that would be super cohesive, but remaining distinguishably independent from each other. We had things we wanted to accomplish independently, one being increasing the scale of our work.

We pondered our differences and attempted to "bridge the gap" between our different styles.
Both of our works have definitely changed over the course of making for this show as we attempted to increase the amount of mutual visual aesthetics apparent in our work.

"Parasitic Sacrifice" by Alex Ziv

"On Everything I Love" by Quinn Arneson

 
Blek Le Rat Interview
Written by Trippe   
Wednesday, 07 September 2011 11:00

Decades before the term street art was being uttered from ad executives' mouths, Blek Le Rat was bouncing about Paris throwing up political, thoughtful and humorous stencils... Banksy was quoted as saying, "Every time I think I've painted something slightly original, I find out that Blek Le Rat has done it as well. Only twenty years earlier..."

A new book on Blek Le Rat is due out this winter along with the solo show 60/30 at 941 Geary here in San Francisco to celebrate the 30 years that Blek has been creating works in the street. We emailed him a few questions below to see what he's been up to since we last spoke with him in '08. -Trippe

Where did the name Blek Le Rat come from?

In the 1960s children used to read a lot of comic strips; I took on the name of Blek le Rat in reference to an Italian comic strip called Blek le Roc. I changed it into Rat, because I painted rats and the word "rat" is the anagram of the word "art" (something Banksy hadn't thought of!).

How do you create your stencils? Are they xeroxed photo copies that you enlarge or do you draw them out yourself? Please explain.

In the 1980s I drew all of my stencils, nowadays it depends on the stencil. Often I still draw the stencils because I am inspired by photographs that are not of a quality that lends itself to the stencil making process. I also use xeroxed copies on occasion, but not very often. I like the "handmade" aspect of the stencil, in both the preparation and the final image. Stenciling, though an antiquated medium, also has a very modern look and is ideal for street art, which is why so many street artists employ it. I also prefer black and white—I do not like colorful stencils much.

Your forth coming book explains that it will feature half street art and half fine art. We're familiar with your stencil works. What kind of "fine art" do you do?

Street art is ephemeral and it is very important to keep a memory of what has been done in the street. It is important to me that my fine art reflects the street or urban/public landscape in some way. I try to reproduce the ambience of the street where I often work at night when shades of black and white are dominant. I use the same characters in the street as well as in the work I produce intended for the gallery.

Are you producing much work on the streets in Paris these days?

No. I don't work in the streets of Paris anymore because I know each and every inch of Paris. I love to work in places I don't know because these locations allow me to get in touch with a new atmosphere, new lights, and new people. If I continued to work in Paris I would have the instinct to do the same thing over and over again, without making any progress.

To me, the most interesting aspect of street art is the constant opportunities to be surprised and/or amazed. I lose interest when something becomes routine.

 
The Day That No Birds Sang
Written by Trippe   
Wednesday, 07 September 2011 08:00

Originally published on Fecal Face February 18, 2008

NYC based photojournalist, Lyle Owerko, was one of the first photographers to the World Trade Centers on September 11th and captured some disturbingly intense photographs, one of which ended up on the cover of Time Magazine. These are his words and images of that horrible day.

Sept 11 Time Cover by Lyle Owerko

     On September 7th 2001 while on a plane flying back to New York from Dar Es Salaam the previous 5 weeks flashed through my mind. I had been photographing everything from elephants fighting each other, to documenting street clashes to driving my friends through a storm of tear gas and burning tires during a riot. The reason to go back to New York was to shoot an Ad campaign. Part of the trip home meant changing planes in Johannesburg. The layover continued my preoccupation of being torn about flying home. While sitting in the transit concourse I watched a molten orange African sunset burn an unforgettable hole in sky outside the lounge windows. Every day in Africa delivers a unique visual which makes it so hard to leave. It is a constant razor's edge of tragedy and beauty. Leaving was if I was abandoning all that was poignant and tangible in my life. Yet, I felt I had to be in New York for a purpose.

Four days later, just after 8:47am on September 11th found me sprinting through the neighborhood of Tribeca chasing down the source of the worst sound I've ever heard in my life. The final destination was the World Trade Center complex, now marred with a gaping hole in the north tower. Within minutes of reaching the complex another plane began its suicide approach. It struck the Towers looming above me with a punch beyond description. In defiance of the fireball and ensuing shower of glass and steel I managed to click off a series of pictures. Within 10 minutes of leaving my apartment I shot the image that made the cover of Time magazine.

Over the next couple of hours I filled multiple rolls of film with assorted images of people leaping from the Towers and absolute carnage beyond words. Most of those images have remained in my archive silently frozen in memory of that day. What the images will never convey is the aural soundscape I have inside my head. It's hard to reiterate the screams and shouts of horror that erupted from the crowds of onlookers as they viewed the ballet of death occurring above the street that morning. Even now, which is over six years past the event, my ears scan any sound I hear out of the normal in New York. Is it a shout of pain? Is it danger? Did that sonic boom come from a jet in peril? Everything goes through an internal assessment filter making sure my perception is right. The day of 9/11/2001 completely stole my innocence, as it did with many others. Though I've seen many horrible things before then and many after, I've never been in a situation where I felt so helpless to contribute. There are many instances where I've passed up on taking pictures to simply to err on the side of helping, but that day was overwhelming. All I could manage to do was click the shutter to document something I had no cognition of and probably will never fully assess. I remember the policemen yelling at me that morning and encouraging me to keep shooting and keep documenting what was going on around us. They understood the importance. In the images of that morning I hoped to capture the dignity and grace of the people who jumped and to somehow define the decision they made with integrity and peace.

They are not easy pictures to look at, especially when our daily world is an oversaturated media landscape of manufactured realities and the new rising class of "celebritocray" - where disingenuous shock and awe on camera leads to fame and fortune. Stepping out of that bubble and looking at the tangible "real" of the actual moment between life and death is very hard, it forces us to come to terms with so many things including our own mortality. I simply hope these pictures pass on through the generations as an informative tool for future members of this planet to see and understand that all life is precious and beautiful. And yet to grasp how easily innocence can be snatched away in the blink of a second. -Lyle Owerko

This shot was taken about 30 seconds after the second hijacked plane hit the South Tower of the World Trade Center complex. The air was cluttered with white business papers - which scattered in the sky like giant pieces of confetti following the initial rain of airplane parts and building debris.

The beginning of the jumpers. You can distinctly see this mans hand with fingers spread grasping outwards as he falls.

Jumper.

Jumper.

Jumper. This photo was taken as I started my journey out of the WTC site to a vantage point of greater safety. The North Tower is in the shot, which collapsed not long after this picture was taken.

September 12th/2001 - A burnt out Fire Truck on the corner of the World Trade Center complex at Vesey and Church Streets. This photograph was taken on the same corner where I had stood the day before.

© Lyle Owerko, all rights reserved

owerko.com
wikipedia.org/wiki/Lyle_Owerko

 
Jacob Tillman Interview
Written by Bryson Gill   
Friday, 02 September 2011 10:24

BG: So Jacob, before I enquire about your upcoming September show (Fri, Sept 9th) at Mark Wolfe in San Francisco, I'm inclined to ask a few brief but personal bio questions about your history and upbringing because I think you have an incredible past.

Interviewed by Bryson Gill


Small Moon, 5 x 3 inches. Gouache and spray paint on postcard, 2011

Can you tell me about where you grew up, about your father as a Minister and the story about how that affected you (and your family), and also how and why you ended up in the Bay Area and finally in Los Angeles?

JT: I grew up in Colorado near Boulder. Until I was aged 14 my dad was a pastor in Christian churches. The earlier church where he was assistant pastor was very much like the famous "Evangelical" churches that are featured in the documentary "Jesus Camp". There were miracles, spectacles, speaking in tongues, a pool for baptizing. Sometimes church members would line up around the stage and my dad would lay his hands on their heads and pray. When this had gone on long enough, the person would be knocked over by the power of God, falling into the waiting arms of deacons to lay on the floor crying from the experience. I was suspicious, so one time I got in the line. My dad put his hands on my head, I think my arms were in the air, and then I fell.

I was a child being lead to believe in the full text of the bible, the beginning, immaculate conception, worldwide flooding from rain, eternal suffering in Hell, and everlasting life in Heaven.

There I was, laying flat on my back asking myself if I had been knocked over by supernatural force or what? I went up knowing I was going to fall so was this a real thing? I had my doubts. Somehow I always felt like I was being tricked, and I still feel like that sometimes. Now I mostly feel like other people are being tricked and I'm not, but I catch myself back on the other side of that line occasionally. When my dad started his own church the theatrics were toned down a little, but the belief was notched up. No fakers. I think I could fill a book with the stories from my childhood and the lessons I learned from questioning my surroundings, this is just a teaser. My love for skateboarding and punk rock lead me to the Bay Area and I moved to LA to attend grad school at UCLA.


Still Life with Sculptural Element (Water), 60 x 60 inches. Oil on canvas, 2010

BG: How do you like LA? Do you have a favorite food cart or any sketchy food cart stories?

JT: I love LA. People are very free to express themselves here, and not just in a politically correct, socially accepted way. Anything goes. "Beto's" is my favorite food truck. It's on Jefferson near Burnside from 7:00-11:00pm and I highly recommend their tacos al pastor. The food is not sketchy.

BG: How was UCLA and who did you work with there?

JT: UCLA was really great. I pretty much stuck with the painting faculty, they offer a genuine painting program where you go into the studio and work. I think it's what people expect from MFA programs but rarely find. I was very inspired by Lari Pittman, Roger Herman, and Don Suggs and worked with them repeatedly. UCLA a real gem! The library is AMAZING!!! Because I was a grad student and UCLA is a research institution they let me check out as many books as I want and for like 2 months at a time. I still have a lot out even now! I'll have to return them soon though as I'm moving to NYC.


Outer Space Series 1, 12 x 8 inches. Gouache, graphite on gessoed paper, 2011

BG: Your last show at Mark Wolfe was right after graduate school and you had made a pretty extensive group of paintings. How would you describe that show and how are you thinking this show will be different in terms of approach and art work?

JT: I was still in school for the last show, and I had nothing to do except paint! It was so nice. There were paintings in that show that I really felt were good and others that I was suspicious of, in spite of the ample time I had to work. Now I have to work full-time to pay for my studio practice and bills and every moment I have to make art is precious. It gives me a different appreciation of the dedication I have to this conversation of art. I feel very privileged to make art with my spare time. It doesn't hurt that I enjoy my work at the wood shop very much as well. I'm glad to do both kinds of work.

 
Dabs & Myla Interview
Written by Trippe   
Monday, 29 August 2011 10:25
This Australian couple, now living in Los Angeles, collaborate on every piece of art they create. Splitting their works between acrylic on canvas and the murals in the streets, they're participating in the Australian street art show Young & Free: Australian Contemporary Street Artists opening up at 941 Geary on September 10th. We emailed them a few questions as they wrap up their work for the show.

So you've been in LA via Melbourne, Australia for 2 years now... How has the transition been?

It’s been great! We really love it in Los Angeles...quite quickly it felt like home here, which was something we didn't expect! But the transition was really smooth for us. After a few months to settle, and just once we wrapped our heads around some of the small differences like allowing 40 minuets to get somewhere - even if its 5 miles away -and learning to use inches and feet over centimeters and meters!

What have been some of the pluses and minuses of being in LA?

There is definitely more pluses than minuses! I think the main pluses are the weather and the people. We have met so many great people here that have become very close friends. And the constant sunshine and blue skies is just ridiculous! I don't think we will ever get sick of that!

Do you consider LA your permanent home now?

At the moment, yes. We can definitely see ourselves being here for many more years...But you never know what the universe has in store.

It seems that your works are divided between murals and paintings. Which came first?

It was different for both of us. I started painting graffiti in the mid 1990's. I had been painting pieces for years before returning to Art School and learned how to paint with acrylics.

Myla on the other hand, had been painting with a brush for most of her life, and it wasn't until we met that she started using spray paint.

Which medium works best to translate your work? Walls with spray paint or brushes while creating paintings?

I'm not sure... We really love painting graffiti and it’s such a big part of our overall influence and style. Painting graffiti letters is so important to us, and we love painting big characters on walls too. The way we go about painting with spray paint is similar to our brush paintings, but also completely different.

The characters are the same, and the content, but outside we paint with heavy lines and strong bold colors. Whereas on our paintings with acrylic, its a lot softer and harmonious approach. With subtle colors and no outlines...and we love working that way too!

 
Damon Soule Interview
Written by Kid Yellow   
Wednesday, 17 August 2011 11:40
Damon Soule's third solo show Then What Happened opens @FFDG in San Francisco Saturday, August 20th (7-10pm). Gerald Anekwe swung by his studio a couple weeks back to see what he has brewing for his show.

San Francisco Art Institute graduate, Damon Soule's newest paintings take what he's been doing for years further into a mind bending reality. Beautiful.

You've had two solo shows with FFDG in the past, what are some of the things you are taking into consideration while working on this one?

FFDG is a small space, so it's a great place to put together a cohesive experience. That's all you really have to worry about.

How would you describe your work to someone?

Aw man, that's always hard. I usually just describe it as crazy paintings. If I was painting things that I could describe in a simple sound bite, I would be disappointed with myself.

All At Once - 66" x 74"

In addition to SF, you've lived in Portland and NYC. What are some of the things you've enjoyed about living and working in these cities?

NYC is great because you can always get something to eat nearby anytime of day. Portland is cool because people are relaxed and know how to have fun. No one'ss really trying very hard there which I find refreshing.

What brought you back to SF?

I love the community vibe in the Bay Area. It feels like things are really happening which I didn't get in NYC. That may be just my perception but since that's how I feel, I had to come back here. As far as I'm concerned SF rules! However, I like to keep it fresh and that means not getting too comfortable.

Second String - 24" x 36"

You've been exhibiting for over a decade, what would you say is the most important thing you've learned along the way?

Keep it personal and challenge yourself. If you get bored, flip it upside down. Life is short, so don't get stuck in a rut.

 
An Interview with Water McBeer
Written by Kid Yellow   
Monday, 25 July 2011 11:00
In a stale state as the SF art scene is, the most successful art dealer and gallery owner in America, Water McBeer is a breath of fresh air to invigorate this horrible mess. His currated show at Ever Gold opens this Saturday July 30th (6-10pm).

First off, tell me some things about yourself and your history/ background in the arts?

My name is Water McBeer owner and founder of The Water McBeer Gallery, a small gallery space dedicated to art excellence. I have also been a prominent art dealer for over 28 years. I received my BA in business economics and my MFA in art criticism from the San Francisco Art Institute and went on to become the most successful art dealer in America. I was raised by my teenage parents in a small hippie commune in Northern California hence the name Water. At the age of 14 I inherited my distant grandfather's extraordinary art collection of over 500 pieces from the most important artists of the 20th century. I own the most valuable art collection of any private collector in San Francisco and my extraordinary Self-confidence, determination and belief in personal freedom have made me the most successful art dealer and gallery owner in America.

What initially got you interested in starting an art gallery?

Well, I've done just about everything, made billions of dollars traveled the world, won a game of golf against Bill Clinton, partied with every celebrity, own 15 cars, a 195 foot yacht, 3 mansions and so it was the only thing left to do.

Can you tell me more about the art you inherited?

My grandfather collected everything from Van Gough to Duchamp and over his lifetime built up an impressive collection among the collections trophies is Pablo Picasso self-portrait yo, Picasso. His collection was worth 1.5 billion dollars. He had an eye for great art. I not only inhereted his collection, but his impeccable sense of taste.

Why did you choose San Francisco, rather than NYC or LA to open a gallery?

Sadly San Francisco stands no chance against LA or NYC. It is my goal to show world class artists in my gallery to highlight San Francisco's artists among the rest of the art world so that they may shine bright in a sea of art darkness. I am here to save San Francisco from its artistic doom and stimulate the art economy with my wealth and power.

It's pretty noble of you to invest your time and money in an art gallery, what are some of your long term goals for the gallery?

I foresee a future of endless possibilities for the Water McBeer Gallery and its artists. I am investing in the future of the San Francisco art community, a future of great wealth and boundless creative expression.

 
Anthony Michael Sneed Interview
Written by Daniel Rolnik   
Friday, 08 July 2011 14:32
The Shooting Gallery here in San Francisco opens Grand Illusion, work by Anthony Michael Sneed Saturday, July 9th 7-11pm and runs through July 30th. In addition to paintings and handmade wooden object installations, Sneed will be releasing a print with a portion of the proceeds being donated to the San Francisco LGBT Community Center. Daniel Rolnik interviews Sneed covering his process, his musical past and how he was once part of a Christian cult. Featured here in this interview is some recent work and previous works.

Do you sketch everything out before you paint it?

I do it all in the computer.


The print with a portion of the proceeds being donated to the San Francisco LGBT Community Center

What program do you use?

Photoshop. I could probably do it in illustrator way better, but illustrator and I don’t get along.

How do you transfer the sketches from the computer onto canvass?

I don’t mean to sound like a geek, but it involves a series of math that I have to do. There’s a tool in Photoshop under the analysis menu called record measurements, where you can record each pixel. I lasso one row of pixels and it tells me how many pixels it is. Let’s say it measures 256px across in Photoshop and my actual canvass is 55.5 inches wide. I’d divide the two numbers; find out how big each pixel is, and then make custom rulers out of tape that equal those measurements. I make an x/y axis and cover the piece in tape - I don’t grid it out in pencil. I use an x-acto to cut the lines out on the x/y axis, pull it out, and paint it in. Eventually, I got to the point where I was making them like a manual screen-print, I would see where the color would be and paint huge blotches to save me a lot of time. It’s all math.

Wouldn’t it be easier to use a projector?

The lines wouldn’t be perfect because all types of weird shit can happen to lenses since they can get bumped or curved.

Is it true that you found out about the horror film you were in, Bad Biology, from craigslist?

That’s a lie. This girl I was hooking up with at the time had this TV show on the style network and was friends with the rapper R.A. Thornurn who was the produer and co-writer of Bad Biology and I knew of him since I was doing hip-hop music at the time, believe it or not. Anyways she asked me if I wanted to audition and I thought I’d give it a try even though I didn’t really think I’d get it, but I ended up getting the role which was cool.

What was your rapper name?

Chief Sneed. I’ve had like 7 different names and they’re all bad.

Did you take all of your rap offline?

Hell yeah. You can actually find some beats I produced for a record that we put Jay Z vocals over - which everyone and their mother has already done. Rob Swift from the X-ecutioners did all the cuts on it, which is cool. It’s called Native American Gangster because the vocals were taken from the American Gangster record that Jay Z did and the fact that I’m a quarter Cherokee Indian. My family lives on a reservation in North Carolina.

 
David Young V Interview
Written by Shaun Roberts   
Friday, 08 July 2011 10:28
David Young V is on a mission. Shuttling between two studio spaces in the Tenderloin district of San Francisco— frequently in the dead of night—he engages in the business of recovering fragments from a future world. To hear him speak about the tomorrow he foresees; a world of zealots, martyrs, psychotic orphans and armed bike couriers, one is reminded of Mad-Max… if it had more military training and dabbled in cryptography and linguistics. The hard edged, high contrast, near religious iconography of David’s new work is an encrypted enigma, gnashing it’s teeth at you, challenging you to decipher it. It wants you to look hard. Maybe it will tell you…if you make an effort. — Shaun Roberts

David Young V’s show “Make an Effort” opens Saturday July 9th, 7pm at White Walls Gallery on 835 Larkin St (@Geary), San Francisco.

D Young V, Are you actually the fifth David in your family?

Yeah, my father is David and it goes back five generations, but it got restarted, so it really goes back about eight people. The original David Young III got killed so his brother named his son after this guy. So the son became the first in my line.

Were there a lot of creative people in the Young family line?

No, there wasn’t a lot of artistic people in my family.

Then how did you get involved in art?

It’s all I really know, I’ve been doing art for so long...I’ve always wanted to do it. I’ve been doing it my whole life and I never want to stop. I was always drawing on the backs of my papers and on tests during class. I loved free drawing sessions, I always had fun in art class. I never really liked art projects, I always just liked drawing whatever I wanted to draw. Honestly I don’t think I was ever that good at it, but I just enjoyed it. I didn’t decide to take it seriously until I was in college, I didn’t even know what a fine artist was but if it let me do anything I wanted to do, then I’ll try to be a fucking fine artist.

What was your work like back then?

Well when I was 18 I was doing these Micron pen drawings but they were totally different in nature, they were much more intricate than the work I do now, and they were more fantasy based. After that, I really got into abstract art using charcoals as well as murals. I was really into de Kooning, Pollock, Basquiat, Picasso, Braque, Kandinsky and other 20th Century Abstract art. I was obsessed with that for a number of years and I was just continually making abstract work.

 
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Banksy's Mobile Lovers
Wednesday, 16 April 2014 10:47

Speaking of Banksy (wait, were we speaking of Banksy?)... In any case, love his newest creation "Mobile Lovers" located in Bristol, England.

I love you, dear.... Huh? Wut?

 

//////////
Wednesday, 16 June 2010 16:39


Jeremy Fish Opening a Solo Show in August at FFDG
Tuesday, 15 April 2014 09:33

Met up with Jeremy Fish last night to catch up and discuss his upcoming solo show opening this August at San Francisco's FFDG. Don't want to give too much away, but the guy is very busy these days. You know the giant pink bronze statue will be built and installed at the corner of Haight and Laguna welcoming those to the Haight (check) in 2015? Going to be incredible.

Check photos from his last San Francisco solo show in 2012, and mark your calendar for August as his next solo show opens at FFDG.

Beering with Fish at his favorite watering hole, Zeitgeist

 

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Wednesday, 25 April 2012 10:56

 

Statue Of A Homeless Jesus Startles A Wealthy Community
Monday, 14 April 2014 10:20

Sculpture of Jesus as homeless and sleeping on a park bench is "freaking out" the neighbors of this wealthy NC suburb. The sculptor, who has an affinity for street art, created it to remind us that "We believe that that's the kind of life Jesus had," Buck says. "He was, in essence, a homeless person." ~READ ON

 

Art or Vandalism? See the World’s First Graffiti Drone
Saturday, 12 April 2014 10:30

I attached a cradle with a spray paint can and other hardware to the drone. I created a series of paintings that are larger, about maybe 3 feet by 3 feet all the way up to 25 feet by 15 feet … And basically, I achieved the perfect air pressure, the perfect weight of the paint and the perfect materials so that the drone didn’t freak out when I attached these mechanisms to it, Katsu said. --continue reading

Think how high those throw ups can be now.

 

OB Shirt by Tucker Nichols
Thursday, 10 April 2014 11:01

Tucker Nichols emailed over this new OB shirt he did for our friends at Park Life which can purchased here for $28.

Speaking of Ocean Beach, if you know, you know, but if you don't... it's not what the average american thinks of when thinking of a California Beach (missing 14 yr. old yesterday). Can't believe we used to drunk naked swim at 3am in the dead if winter... being surfers probably helped us not dying.

 

Open House Sunday - Headland Center for the Arts
Friday, 11 April 2014 16:12

Have you been to the Headland Center for the Arts in the Marin Headlands?

Located in the beautiful ocean-side Golden Gate National Recreation Area, the Headlands artists programs support artists of all disciplines—from visual artists to performers, musicians, writers, and videographers—and provide opportunities for independent and collaborative creative work.

This Sunday's Open House runs 12-5pm - FREE & DETAILS

 

Is It Curtains For San Francisco's Art Scene?
Tuesday, 08 April 2014 09:35

We all know that San Francisco is going through aches and (growing?)/ shrinking artist pains these days as San Francisco property values sky rocket due to the tech infestation going on around the entire Bay Area. Maybe you work in tech and love it, but since this is an art website, we're interested to how this is affecting artists trying to make ends meet.

Some galleries have been forced to close due to 300% rent hikes. Many artists have fled to Oakland, LA and NYC in search of affordable housing and a more vibrant art scene... But we wanna know what you think of how it's going here in San Francisco. How are you making it work? What's your take on the art scene or lack there of? Do you think things are on the up and up or down and out here in San Francisco? Are artists a bunch of complainers and every thing looks great or is it curtains for San Francisco's artistic community? Thoughts

The Rena Bransten Gallery is packing up their 77 Geary space to make way for tech company MuleSoft

 

Nikki McClure at Needles & Pens, Friday 4/11
Wednesday, 09 April 2014 09:42

SAN FRANCISCO --- Nikki McClure, known for her painstakingly intricate and beautiful paper cuts, returns to Needles & Pens with an opening reception this Friday, April 11th - She'll be showing original papercuts for the book, "May the Stars Drip Down" - show details

This approach was born and bred out of the Olympia, Washington independent music scene. There, local artists emphasized everything handmade and self-published. The idea was to do a lot with a little. The result was a rich community sharing artistry and ideas. McClure found herself deeply embedded in this community which shaped an ethic of hands-on and accessible artmaking. - show details

 

Richard Colman Mural on 12th
Monday, 07 April 2014 09:14

SF --- on the corner of 12th and Folsom is this Richard Colman mural... Speaking of Colman, check this wonderful show from him in 2010.

 

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Wednesday, 25 August 2010 11:50


+SF

+NYC

+LA

FULL CALENDARS: BAY AREA | NYC | LA

 


 

 

 

Henry Gunderson at Ever Gold, SF

Ever Gold opened a new solo show by NYC based Henry Gunderson a couple Saturday nights ago and it was literally packed. So packed I couldn't actually see most of the art - but a big crowd doesn't seem like a problem. I got a good laugh at what I would call the 'cock climbing wall' as it was one of the few pieces I could see over the crowd. I haven't gotten a chance to go back and check it all out again, but I'm definitely going to as the paintings that I could get a peek at were really high quality and intruiguing. You should do the same.


Mario Wagner @Hashimoto

Mario Wagner (Berkeley) opened his new solo show A Glow that Transfers Creativity last Saturday night at Hashimoto Contemporary in San Francisco.


Serge Gay Jr. @Spoke Art

The paintings in the show are each influenced by a musician, ranging from Freddy Mercury, to Madonna, to A Tribe Called Quest and they are so stylistically consistent with each musician's persona that they read as a cohesive body of work with incredible variation. If you told me they were each painted by a different person, I would not hesitate to believe you and it's really great to see a solo show with so much variety. The show is fun, poppy, very well done, and absolutely worth a look and maybe even a listen.


NYCHOS Mural on Ashbury and Haight

NYCHOS completed this great new mural on the corner of Haight and Ashbury in San Francisco on Tuesday. Looks Amazing.


Sun Milk in Vienna

With rising rent in SF and knowing mostly other young artists without capitol, I desired a way to live rent free, have a space to do my craft, and get to see more of the world. Inspired by the many historical artists who have longed similar longings I discovered the beauty of artist residencies. Lilo runs Adhoc Collective in Vienna which not only has a fully equipped artists creative studio, but an indoor halfpipe, and private artist quarters. It was like a modern day castle or skate cathedral. It exists in almost a utopic state, totally free to those that apply and come with a real passion for both art and skateboarding


"How To Lose Yourself Completely" by Bryan Schnelle

I just wanted to share with you a piece I recently finished which took me 4 years to complete. Titled "How To Lose Yourself Completely (The September Issue)", it consists of a copy of the September 2007 issue of Vogue magazine (the issue they made the documentary about) with all faces masked with a sharpie, and everything else entirely whited out. 840 pages of fun. -Bryan Schnelle


Tyler Bewley ~ Recent Works

Some great work from San Francisco based Tyler Bewley.


Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery

While walking our way across San Francisco on Saturday we swung through the opening receptions for Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery in the Mission.


Jeremy Fish Solo Show in Los Angeles

Jeremy Fish opens Hunting Trophies tonight, Saturday April 5th, at the Los Angeles based Mark Moore Gallery. The show features new work from Fish inside the "hunting lodge" where viewers climb inside the head of the hunter and explore the history of all the animals he's killed.


The Albatross and the Shipping Container

Beautiful piece entitled "The Albatross and the Shipping Container", Ink on Paper, Mounted to Panel, 47" Diameter, by San Francisco based Martin Machado now on display at FFDG. Stop in Saturday (1-6pm) to view the group show "Salt the Skies" now running through April 19th. 2277 Mission St. at 19th.


The Marsh Barge - Traveling the Mississippi River from Minnesota to the Gulf of Mexico

For some reason I thought it would be a good idea to quit my job, move out of my house, leave everything and travel again. So on August 21, 2013 I pushed a canoe packed full of gear into the headwaters of the Mississippi River in Lake Itasca, Minnesota, along with four of my best friends. Exactly 100 days later, I arrived at a marina near the Gulf of Mexico in a sailboat.


Flavio Samelo's Downtown Sao Paulo Murals

Our buddy Flavio Samelo down there in Brazil does all kinds of great work including this recent mural project in downtown Sao Paulo in front of one of the most important modern buildings of Oscar Niemeyer from the 60's, THE COPAN.


John Trippe, FFDG and Fecalface.com Founder, Stepping Down From Daily Operations

John Trippe, founder, owner and curator of FecalFace.com and the Mission District art gallery FFDG, announced today that he will stepping down from daily operations of the two ventures to seek new career opportunities.


High 5s - Get Your Feet Wet

I purchased one of the first digital cameras when Fecal Face went online in 2000. It was a massive Kodak with 2 mega pixels


"Touching Base" by Schuyler Beecroft

San Francisco based Schuyler Beecroft emailed over the great new series of paintings he's completed entitled "Touching Base", 16x20in on mounted wood panel. Like them.


Flume - Space Cadet (ft. Ghostface Killah & Autre Ne Veut)

Buddies Jay Howell & Jim Dirschberger did this great video produced by Forest City Rockers.


Fire Shelter for Papay Gyro Nights 2014

Last year we posted photos from another one of Simon Hjermind Jensen's Fire Shelters he's made in Copenhagen. This time around the Copenhagen based artist/ designer created one for the Papay Gyro Nights 2014 way up in on the Orkney Islands in Northern Scotland.


"Portrait of a Slugger 19" by Hiro Kurata

Beautiful painting by NYC based Hiro Kurata now on display at SF's FFDG through April 19th as part of the group show "Salt the Skies".


"Veins of Octulen" by Curiot at FFDG

"Salt the Skies" opened on the 21st at FFDG and features this great piece by Mexico City based Curiot (Favio Martinez) whose sold out 2013 show Age of Omuktlans ran at FFDG. His forthcoming solo show is slated for March 2015.


Rome's Alice Pasquini ~Mural+

Rome based multimedia artist Alice Pasquini emailed over a recent mural completed in the historic working class neighborhood of Rome called Tufello.


Project M/3 in Berlin curated by NUART

BERLIN --- Project M is a temporary art project with the objective to improve the neighborhood, to push creativity and to connect people. At regular intervals Urban Nation with director Yasha Young invites a group of internationally reclaimed contemporary urban artists to re-design the facade and shop windows of a prominent residential building in Berlin, while it is being reconstructed.


John French with Hasselblad by Lola Dupre

"John French with Hasselblad", photo collage/ hand cut paper on wooden panel, by Lola Dupre which will be part of tomorrow's opening of "Salt the Skies" at FFDG in San Francisco. 2277 Mission St. (6-9pm) - RSVP here.


"Salt the Skies" at FFDG Opening Fri, Mar 21st

FFDG's spring show "Salt the Skies" is set to open on Friday, March 21st (6-9pm) -- Featuring works by Brett Amory, John Felix Arnold, Mario Ayala, Jud Bergeron, Curiot (Favio Martinez), Christopher Burch, Lola Dupre, Michelle Fleck, Matt Gonzalez, Hiro Kurata, Marty Machado, Mark Mulroney, and Nicomi Nix Turner


Brian Barneclo's 225' Food Chain Mural

San Francisco based Brian Barneclo was commissioned in 2006 to paint a HUGE mural on the side of Foods Co on Shotwell at 14th Streets. After some time on its own, it got pretty taxed by misc graffiti and pigeon shit.


A short documentary following the late artist, Shawn Whisenant

Shawn Whisenant is a born and raised San Francisco Bay Area artist whose art can be found lurking in the streets or galleries and museums across the USA, Australia, and Europe. He has been working on the streets of the Bay Area since the mid 1990's, where his images continue to endure on walls, mailboxes, and other surfaces around the city. He enjoys making books and stickers, taking photos, painting signs, and moving about in the citys shadows. In the streets and galleries, his work has seen many different forms. From rare-hand crafted books, to skateboard films and a signature pair of Osiris shoes, his creating doesnt end with painting. RIP Shawn Whisenant.


John Felix Arnold @BRIC House, Brooklyn

In the year or so that I've known Felix, almost every one of his shows has had a live musical element and it seems perfect that he would be included in a show called Art Into Music. He commandeered the corner of the gallery to create an installation that houses not only his drawing, but also an entire drum kit, amps and a dude playing a guitar. The warm wood paneling stands out in contrast to the matte grey boom-box tower and the muted wall of album covers and looks like a beacon calling to the crowd saying "this is what you shoud be looking at." However, it's not in a "look at me" attention-starved desperation, more like a welcoming invitation into his world.


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