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
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.
Ryan De La Hoz interviews Nick Mann aka Doodles. His show Astral Rise is running now at Gallery Heist here in San Francisco through July 23rd. Travel, train hoping, spiritualism, murals, paintings, and this summer he'll be traveling across the US on an artistic and spiritual project under the title Crystal Eyes.
I'm Nick Mann, I live and work in Oakland, CA when I'm not traveling. I'm
currently 23 years old.
RD: Can you describe your path to being an artist? When did you really get
I got into visual art through playing music and growing up in the Pacific
Northwest. I've been playing guitars since I was 10. Painting has
channeled some of the same creative visions/moods that I previously
expressed through music. After I had slowed down my post-high school
musical output, I wanted to change my creative process. Painting and
drawing both indoors and outdoors gave me room to breathe artistically. I
really got into making visual artwork probably around the age of 19.
RD: Describe your ideals and how they manifest in your work.
My ideals are to live a balanced, well-traveled life in harmony with our
universe and mother earth. I think that it's important to let our creative
visions grow and be open to change. When we put a block on these visions or
translate them into symbols of what's hip and safe, problems arise within
our souls. My work is made through a process of intuition and mistakes.
Through this intuitive process, each piece has potential to develop and grow
on its own. Once I finish a piece, I look at it as a manifested symbol of
my subconciousness at any specific moment or phase in my life. Upon the
completion of a piece, I am also able to rationalize its meaning and
relevance to our universe. The best art speaks a universal language that
communicates to beings of every culture in and out of this world. A
balanced, holistic life is contingent on listening to our subconscious side
while coupling it with rational insight. This dichotomy is illustrated
universally with Lunar (female) and Solar (male) energies.
RD: Is music a part of your studio time? What do you listen to?
Recently: Big Blood, Michael Gira, Thou, John Fahey, Michael Hurley, Des
Ark, Godspeed, Diane Cluck, Sun Ra, Blind Blake, American primitivist guitar
music, world music. I play guitar on breaks from painting.
Via Wiki: Gary Baseman (born 1960) is a contemporary artist who works in various creative fields, including illustration, fine art, toy design, and animation. He is the creator of the Emmy-winning ABC/Disney cartoon series, Teacher’s Pet, and the artistic designer of Cranium, a popular board game. Baseman’s aesthetic combines iconic pop art images, pre- and post-war vintage motifs, cross-cultural mythology and literary and psychological archetypes. He is noted for his playful, devious and cleverly named creatures, which recur throughout his body of work.
Interview By: Daniel Rolnik - daniel[at]fecalface.com
How hands on were you with the actual animation of “Teacher’s Pet?”
I was the creator, executive producer and production designer on “Teacher’s Pet.”
During the series and the feature film, I was there every day working with my wonderful crew. Originally, I drew and painted the original characters, backgrounds, etc., to establish the look and feel of the series. Then I oversaw my amazing team of artists to follow and execute the episodes. I worked closely with my director Tim Bjorklund who wanted to make sure the series looked like my hand-painted work, so all the backgrounds were painted on canvas. Tim was an amazing animator. I am not an animator. Our storyboard artists, timing directors, etc. created a template and we sent them oversees to our talented animation studios, who would sent over rough animation. We edited, recorded, and produced music and dialogue here in the States. Does that answer your question?
How does an artist pitch a cartoon to a network?
When I started back in the ‘90s, Nickelodeon actually came to me asking if I had any interesting ideas for an animation series. I lied and said yes, then came up with a dozen ideas to pitch. We actually made two fully animated pilots for the same series “Louie n Louie,” but unfortunately, they weren’t picked up. Then I did decided at that point (after doing well in illustration) that I would concentrate on pitching for TV shows and moved back to LA from New York, where I got an agent who got me meetings with TV executives. How do you pitch a series? You sing and dance and put your heart on your sleeve. Cartwheels help too.
What’s your favorite weird movie?
Does it have to have “weird” in the title? Is “Memento” weird? I love that movie. I love how it is set up and how it is played out. I often feel like the main character in Memento.
Do you often sketch out everything you are going to paint ahead of time or do you leave room for improvisation?
No. I don’t like to sketch things out. I need to feel spontaneous, vulnerable, and organic when I create. The last thing I want to do is work everything out and just follow through. That said, I draw in my sketchbook all the time. I work through my themes in my sketchbooks, but I only use them as an emotional template. So I put ideas down and see what stays with me. But I don’t usually paint those images directly on canvas. In fact, I have about 50 sketchbooks that have been archived recently, made since I moved back to LA in 1997.
5 years ago we first learned of Josh Keyes work - not sure how, but when we saw it, we loved it. A studio visit later and we were certain. Josh's work is brilliant, precise, thoughtful and timely. We've kept up with his successful career, showing across the US and beyond, as the years passed. He's a master in his own time, and we're very pleased to open his solo show Magician's Garden @FFDG on April 7th (7-10pm). If you're unaware, here's a little taste to fill you in on what you've been missing.
Writhing - 30"x40"
Writhing (detail) - 30"x40"
What can viewers expect from your upcoming show at FFDG in San Francisco opening April 7th?
The four new paintings and graphite drawings I am working on for the show touch in a satirical way on the delicate and controversial subject of genetically enhanced and modified plants and organisms. The subject raises serious issues about the long term implications of corporate modified products intended to both enhance and streamline products designated for mass consumption. Monsanto along with other companies are producing both products and organisms that have already been introduced into the environment and are causing major disturbances in ecosystems worldwide. The fear is that these genetically engineered plants and organisms will have a devastating and irreversible effect on the natural balance in these living systems. I have taken a few of these ideas to an eco-surrealist and absurdist extreme.
Waking - 30"x40"
Your work obviously focuses on the juxtaposition of the decay of modern society/ its potential demise and the animal world. What are your feelings toward our society as of now? Do you foresee a collapse? Are you frightened or concerned about an environmental or man made end of our societies and/ or man?
I have mixed feelings about the state of the world and our future. The balance between our ability to sustain or destroy all life on Earth is a condition and mindset we have adapted to since the invention of the atomic bomb, and now with the threat of catastrophic oil spills and what has become very clear the dangers of nuclear power. I think the crisis in Japan though originally caused by the tsunami is a loud awakening that there are certain technologies that we are still learning to control, and in this case it seems clear that we should step away from the path to reliance on nuclear power. At the root is the power of corporations, driven by profit and not by that which is both good for the environment and in this instance safe for all living organisms. The film Gas Land touches on this very well. I am speaking about alternative environmentally safe sources for generating power, like solar, wind, and water. I have serious doubts if we will see this kind if change happen in the US anytime soon, as we are witnessing the rise of the right wing and the growing influence of the tea party movement, and the fall of the power of individuals and the rights of unions. I am terrified, just today the federal funding for NPR was cut, all I can do is try to pay attention, be active where and when I can, and vote. Though they make me mad as hell, I do find listening to progressive left wing radio stations both liberating and encouraging, and that there is a large majority of people out there who want to see a real change in this country and not towards the extremist right.
Getting back to the point, in reality the world will die with the sun, I am sure by then we will have found another planet or two to call our new home. In the meantime, with the environmental crisis escalating and civil wars breaking out all over it feels like the world is having a mid life crisis. This could just be the fact that the Internet and viral sharing of information is at a level the world has never seen or witnessed before. The ripple effect is stronger now than ever before, its like the video footage of birds swarming and flying in undulating masses, that’s a metaphor for the virtual world mind, it flows and moves and is directed by emotion. It’s the cerebral cortex of the world, and its beautiful, seeing the exchange of information and thoughts on a global level gives me hope. Except for the viral buzz surrounding Charlie Sheen, someone should help him unplug and get onto the therapists couch. So when a catastrophe occurs we are virtually enveloped by it, it is amplified and then the news stations quickly turn it into a Hollywood production and mythologize it. This is the structure of how future events will play out in the public sphere. I find it interesting to compare different news stations and study how they deliver and filter the same information. That is why again with the attempted muffling of NPR we cannot allow FOX News to emerge as the sole source of world news. I tend to listen to a lot of audio books while I work and have been turning more and more Orwell, Aldous Huxley, and Naomi Klein and others who address issues of the adverse effects of the balance of power related to profit, progress and production. At the moment I am both horrified and ecstatic about the events in the world, revolutions, uprisings, natural and man made disasters, on and on. I keep waiting for a moment to catch my breath but I think those days are gone. I am however hopeful on the level of the green movement, and civil, and workers rights, there is a sense of coming together on a global level, and it will be interesting to see if the human population can organize and work together to influence and change the way certain governments and corporations operate to serve the interest of the many instead of an elite minority.
For those of you who claim size doesn't matter, you obviously have never met or seen the art of our latest Fecal Face feature, Jorge Rodriguez Gerada. He steadily gained momentum over the years both in the scale of his work and clarity of his craft. Originally from Cuba he relocated to the United States as a toddler. After a no doubtingly interesting and fascinating childhood he began taking his art causes to the streets.
It was in the early 90's with the art crew Artfux and Ron English, when he began crushing the streets, modifying street signs, developing "slap in the face" billboard campaigns, and using his art as a tool for the social consciousness and awareness. Since his pioneering days Jorge Rodriguez Gerada has expanded his artistic horizons, his geography and his ability to go big with incredibly photo realistic illustration on walls, streets and whatever medium he can get his hands on around the world.
In the words of a true poet Gerada says; "Charcoal fades away and becomes a memory, like the warmth after an embrace". With that in mind, Fecal Face is proud to bring you the boundless art and ideals of Jorge Rodriguez Gerada. - Manuel Bello
“Identity/David/London” 24’ x 16’ London England 2009
Tell us a little bit about your personal and artistic background.
I come from a Cuban exile family that moved to the States when I was three years old. I grew up in North Plainfield, New Jersey and moved into Manhattan when I was 19. I became one of the founders of the New York City culture jamming movement with the group Artfux. We were altering a lot of billboards and did a good amount of guerrilla art actions. By 1997 I stopped working with collectives and started to experiment more with urban semiotics by altering street signs as well. In May of that year I was interviewed by Naomi Klein for a Village Voice article that was later included in her book “No Logo”. Unlike my previous direction, I was purposely avoiding names and logos that have been engraved in society through advertising. I became disillusioned with the culture jamming movement because some of the major players involved at the time began using it as a stylistic device for personal media attention. It became apparent that it was just part of their marketing plan to sell a clothing line or toy line later in their careers.
“Terrestrial/Expectation” 340’ x 260’ Barcelona Spain 2008
“Identity/Tina/Ljubljana” 52’ x 30’ Ljubljana Slovania 2009
Wasn't going to write an intro for Ron English because if you're here at Fecal Face you should already be well aware of this iconic artist. If you need to know, read his bio below.
Thanks to Daniel Rolnik (danielrolnik[at]@gmail.com) for conducting this great interview for Fecal Face.
One of the most prolific and recognizable artists alive today, Ron English has bombed the global landscape with unforgettable images, on the street, in museums, in movies, books and television. English coined the term POPaganda to describe his signature mash-up of high and low cultural touchstones, from superhero mythology to totems of art history, populated with his vast and constantly growing arsenal of original characters, including MC Supersized, the obese fast-food mascot featured in the hit movie “Supersize Me,” and Abraham Obama, the fusion of America’s 16th and 44th Presidents, an image widely discussed in the media as directly impacting the 2008 election. Other characters carousing through English’s art, in paintings, billboards, and sculpture include three-eyed rabbits, udderly delicious cowgirls and grinning skulls, blending stunning visuals with the bitingly humorous undertones of America’s Premier Pop Iconoclast.
How do you teach yourself other artist’s techniques?
Trial and error. I had a gig painting landscapes a long time ago at one of those production houses where they taught me a lot of techniques. I also worked for a few different artists, so I had to learn how to mimic their styles.
What artists did you work for?
I did some paintings for Rohhny Decone, Larry Rivers, Marcus Darvy. When I first moved to New York in the 80’s I was a ghost painter. Yeah, it’s a good job to work and you get paid.
Was it frustrating to be a ghost painter because people wouldn’t actually know it was you who was the painter?
Oh yeah. It’s funny because I always get what I wish for, but it’s kind of like the old genie in a bottle thing – I wish that I could have people see all my paintings and the paintings I would make [for those artists] would end up in museums, it’s true. I always forgot to ask “could I sign them” but it’s not really your thing. It’s like if you go on tour with the Rolling Stones and you’re the bass player, you’re not really in the band and you don’t think you’re in the band –maybe after 30 years or so you think you’re in the band like Ron Wood [guitar]. It’s funny because it’s someone else’s art, they’ve built their own language, and if you went to art school there’s a certain amount of that stuff that you can just do. Their art was more about their concepts and I did it because I wanted to learn a lot of techniques.
Would you purposefully choose to work with certain painters whose style your wanted to learn?
Well Mark was probably the ultimate situation because initially there were only 3 other painters working with me, but later there were like 40. Guys were coming in from Russia and Poland, people who were trained as master painters and knew all the technique. And even from day one Clark Decarro was a classically trained painter from Canada, so he showed me how to make glazes, but it’s interesting to do something with someone sitting right next to you and where you can say “Why is this not working” and they’ll be respond by saying “here’s what you’re doing wrong”. They’re all there with you and I think that’s the best learning environment - when you can’t overcome something and there’s someone to show you how to do it right there. There are always bumps in the road, eventually you can figure it out on your own, you can read books, there are a lot of things you can do. If you want to get somewhere you’re going to get there, but it’s always nice to have a set of directions.
Do you have assistants help you with your paintings?
I have two assistants. One assistant comes in one day a week and stretches the canvasses and the other guy pretty much does everything - like all those weird houses with the comics all over them that are in the paintings. He puts together the houses and then puts the comic book collages on them and then he’ll set up the shot. When we were at Art Basil last week painting a big mural he took lined up and shook all the spray paint.
It’s kind of like being a surgeon and saying “Hooker Green ASAP” it really allows you to move like a motherfucker because you just reach your hand out and somebody’s putting whatever you’re asking for in your hand instead of you having to find it and shake it.
I mean all that time it takes to do that stuff slows us down and the fact that they are doing all that for us is just amazing.
Do you do anything to your spray paint cans to get them to behave in a certain way?
Sometimes they put too much pressure in the cans, so you turn them upside down and relieve some of the pressure. If you turn them upside down it just sprays, it doesn’t release the paint. And, as soon as you’re done spray painting you turn the can upside down so paint wont dry in the tip and ruin it. It’s also good if you want to do fine lines to make the pressure [in the can] super low. You never quit learning, you just don’t.
Do you read books on new painting techniques?
One of my friends learned a lot of his techniques from reading books, but I’m just not much of a reader.
I caught up with Corey earlier this week and asked him a couple questions that hopfully aren’t duplicative and the one question that everyone who has seen it wants to know, “When can we get the DVD?” The film is multi-layered and while skating plays a central role in the film, if was replaced by, let’s say pogo-balling it would not have hurt the main content of the film. Although, it would have been pretty funny to see Steve Olson on a pogo-ball.
I have a film called Machotaildrop that is playing at the SF indie fest.
Where is the film playing?
The screening will be held at the Roxie theater.
Have you been here before?
I have been there a few times. We actually shot a small piece of the film there with Frank Gerwer. Who hopefully knows about the screening. He is a very hard man to get a hold of. Frank if you read this we would love to see you there!
Corey Adams photographed by Isaac Randozzi
I know you are sick of this question but it is all people want to know. When can we get our hands on a DVD of Macho Tail Drop? Or will it be in theaters before that?
Well we are hoping for both. I am learning that getting a film out for people to hold in their hands is a very difficult task when you don’t really own the entire film. Others have there hands involved so we are dealing with higher powers.
Heroes & Villains is a photographic portrait project by the photographers Tatiana Wills and Roman Cho that spotlights a wide array of innovative contemporary artists who drive popular culture today... The subjects include both well recognized and emerging artists within the world of alt comics, street, graffiti, painting and illustration. All the subjects have roots in emergent underground.
Interview by Daniel Rolnik (danielrolnik[at]gmail.com)
Gabrielle Bell by Tatiana Wills + Roman Cho
Mr. Cartoon by Tatiana Wills + Roman Cho
When did you start taking portraits of the artists for Heroes & Villains?
The Heroes & Villains project got started in Los Angeles around 2005. Roman Cho (my co-photographer) and I knew it would be a long-term project and turn into a book, but we weren’t quite sure who would be in it. We just knew who the first people would be and it just kind of snowballed from there.
I was photographing a lot of street artists prior to the project because they were friends of my husband, who was an avid collector of Sheppard Fairey’s work. I’d go with the artists on their missions and because my husband knew them they didn’t put up too much of a stink about me being there. I went to their houses, hung out, took some photos, and it developed into where I gained their trust and was able to take their portraits. Because the street-artists didn’t want their identity revealed, I would always reassure them I was just taking portraits for a personal project and I was going to keep them to myself for now.
As time went on, Roman Cho and I were looking for personal work to do because I wanted to shoot more portraits but couldn’t find the time. Roman was assisting photographers and I was a pretty busy lady working full time at a day job as well as freelancing. We had worked together before when I was at an ad agency and we complimented each other’s strengths and weaknesses. We felt that working with another photographer would motivate us more to finish the project. He initially thought of photographing comic book artists to compliment my portraits of street-artists, but we started to notice there was an overlap between the styles that was indefinable.
Like David Choe?
And Travis Miller, Jordan Crane... it was LA, it was a particular niche of artists all hanging out and doing their thing.
I actually ended up working with David Choe for a very brief time. He had a comic book for sale at an ice cream shop that I used to take my daughter to. My husband and I bought it and brought it back to the agency where we worked. The creative director loved it and hired Choe to illustrate something. I don’t know if he ended up working with them much more than a day. It was most likely his first and last foray working for the man. That was in 2004, a really interesting time because street-art was getting co-opted by movie studios who were trying to do subversive ad campaigns. It became pretty clear that the street-art movement was starting to get a lot more attention. I certainly wasn’t there at the beginning of any of this happening, but I was for sure at the right place at the right time to explore it to the fullest.
Fresh off his first solo show in NYC, 'THIS CITY WILL EAT ME ALIVE', this Australian transplant and aerosol wizard, Kid Zoom, answers a few our questions to get a lil' better perspective on how this young talent ticks.
Ron English called him Rembrandt with a Spray Can... He's damn talented.
How has the transition to NYC from Australia been so far? How long have you been in the States?
I moved over in May. The transition has been amazing, the winter is taking a little adjusting, but it's been a great experience, I feel really at home in New York.
Why are Australians so cool?
We have a culturally ingrained system of ego destruction called tall poppy syndrome, which basically cuts anyone who's head rises above the crowd off at the knees. It helps keep us all pretty down to earth, but it's a blessing and a curse, especially when you're in a creative field.
How do you feel about Ron English giving you such a glowing recommendation? That's got to feel pretty good.
Ron has been someone I've looked up to for a long time and to have him be so supportive of my move to New York and of my work has been amazing and very surreal.
What celebrity's vagina would you like to photograph posed with one of your sculptures?
Very good question!! But somehow I can’t find an answer to this, strange isn't it? It might be the reason that I don't search I just find.
Where's the best surfing spot you've encountered?
For me it is the north coast of Spain, between France and Portugal.
The irregular coastline gives many different kinds of beaches. Every evening I decide the best beach for the next day by looking at the wind and wave forecast. I drive to this beach with my van and the first thing in the morning after waking up is surf. Spain is the only south European country where it is legal to sleep at the beach in your car. I never go to Mundaka though…
How do you convince beautiful women to pose naked?
I don't believe in convincing. I just work with women that like and enjoy to be naked. I’m also interested in wired, non-fashion, non-porn and politically incorrect photos.
Anthony Ausgang is one of the original godfathers of Low Brow art. Most of you
will recognize his recent painting for MGMT’s record cover Congratulations. He is a
master of painting psychedelic cats, and was a trailblazer in artistic method - he was
doing improved art (painting over already famous paintings) well before Banksy and
his reworking of Monet.
Interview by Daniel Rolnik
In life do you prefer to own cats or dogs?
I prefer to own cats since they use a litter box, unlike dogs that need to go out
on “walks”, a process that should be more accurately termed “shits”… Nevertheless, I
appreciate dogs and enjoy their idiotic enthusiasms.
Who is your favorite dub artist to listen to while you paint?
I mostly listen to different online stations so the mixes are always different. These days I
have been listening to Sir Coxson Sound, Twilight Circus, BLOOD, Alien Dread, Yabby
You, Sound Ministry, Mentor Kolectiv, Dublab, just a whole mess of weird stuff. There
are a few strange stations that play “Ethnodub”, a hybrid dub from India and other off
beat places featuring Jahtari Riddum Force, ah Seal, Zomby, Jah Batta & Bullwackies All
Stars, Ustad Sultan Khan & Sunidhi Ch, Kid Gusto, Sanchez Dub and Phat Boy Singh.
You use photoshop to manipulate your sketches before you paint them. Once you
finish your process in photoshop how do you transfer that image onto your canvass?
Are you working with Photoshop CS 5?
First off I just wanna say that I seldom try out color combinations on the computer, I
prefer to work with “real” colors in “real” light. Anyway, I print out the line drawing
then project it onto the canvas with a large opaque projector. I use Photoshop CS5 or CS2
depending on what computer I’m using.
I'm not sure how many people are lucky enough to have The San Francisco Giants 3 World Series trophies put on display at their work for the company's employees to enjoy during their lunch break, but that's what happened the other day at Deluxe. So great.
SF skateboarding icons Jake Phelps, Mickey Reyes, and Tommy Guerrero with the 3 SF Giants World Series Trophies
When works of art become commodities and nothing else, when every endeavor becomes “creative” and everybody “a creative,” then art sinks back to craft and artists back to artisans—a word that, in its adjectival form, at least, is newly popular again. Artisanal pickles, artisanal poems: what’s the difference, after all? So “art” itself may disappear: art as Art, that old high thing. Which—unless, like me, you think we need a vessel for our inner life—is nothing much to mourn.
Hard-working artisan, solitary genius, credentialed professional—the image of the artist has changed radically over the centuries. What if the latest model to emerge means the end of art as we have known it? --continue reading
"Six Degrees" opens tonight, Friday Jan 16th (7-10pm) at FFDG in San Francisco. ~Group show featuring: Brett Amory, John Felix Arnold III, Mario Ayala, Mariel Bayona, Ryan Beavers, Jud Bergeron, Chris Burch, Ryan De La Hoz, Martin Machado, Jess Mudgett, Meryl Pataky, Lucien Shapiro, Mike Shine, Minka Sicklinger, Nicomi Nix Turner, and Alex Ziv.
"[Satire] is important because it brings out the flaws we all have and throws them up on the screen of another person," said Turner. “How they react sort of shows how important that really is.” Later, he added, "Charlie took a hit for everybody." -read on
Jacob Magraw will be showing embroidery pieces on cloth along with painted, gouache works on paper --- Rachell Sumpter paints scenes of colored splendor dropped into scenes of desolate wilderness. ~show details
NYC --- A new graffiti abatement program put forth by the police commissioner has beat cops carrying cans of spray paint to fill in and cover graffiti artists work in an effort to clean up the city --> Many cops are thinking it's a waste of resources, but we're waiting to see someone make a project of it. Maybe instructions for the cops on where to fill-in?
The NYPD is arming its cops with cans of spray paint and giving them art-class-style lessons to tackle the scourge of urban graffiti, The Post has learned.
Shootings are on the rise across the city, but the directive from Police Headquarters is to hunt down street art and cover it with black, red and white spray paint, sources said... READ ON
SAN FRANCISCO --- The Headlands Center for the Arts is preparing for their largest fundraiser of the year set to go down on June 4th at SOMArts here in the city. Art auction, food, drinks, live music, etc and all for helping to support a great institution up in the Marin Headlands. ~details
ABOUT HEADLANDS Headlands Center for the Arts provides an unparalleled environment for the creative process and the development of new work and ideas. Through a range of programs for artists and the public, we offer opportunities for reflection, dialogue, and exchange that build understanding and appreciation for the role of art in society.
We haven't been featuring many interviews as of late. Let's change that up as we check in with a few local San Francisco artists like Kevin Earl Taylor here whom we studio visited back in 2009 (PHOTOS & VIDEO). It's been awhile, Kevin...
If you like guns and boobs, head on over to the Shooting Gallery; just don't expect the work to be all cheap ploys and hot chicks. With Make Stuff by Peter Gronquist (Portland) in the main space and Morgan Slade's Snake in the Eagle's Shadow in the project space, there is plenty spectacle to be had, but if you look just beyond it, you might actually get something out of the shows.
Fifty24SF opened Street Anatomy, a new solo show by Austrian artist Nychos a week ago last Friday night. He's been steadily filling our city with murals over the last year, with one downtown on Geary St. last summer, and new ones both in the Haight and in Oakland within the last few weeks, but it was really great to see his work up close and in such detail.
Congrats on our buddies at Needles and Pens on being open and rad for 11 years now. Mission Local did this little short video featuring Breezy giving a little heads up on what Needles and Pens is all about.
Matt Wagner recently emailed over some photos from The Hellion Gallery in Tokyo, who recently put together a show with AJ Fosik (Portland) called Beast From a Foreign Land. The gallery gave twelve of Fosik's sculptures to twelve Japanese artists (including Hiro Kurata who is currently showing in our group show Salt the Skies) to paint, burn, or build upon.
Backwoods Gallery in Melbourne played host to a huge group exhibition a couple of weeks back, with "Gold Blood, Magic Weirdos" Curated by Melbourne artist Sean Morris. Gold Blood brought together 25 talented painters, illustrators and comic artists from Australia, the US, Singapore, England, France and Spain - and marked the end of the Magic Weirdos trilogy, following shows in Perth in 2012 and London in 2013.
San Francisco based Fecal Pal Jeremy Fish opened his latest solo show Hunting Trophies at LA's Mark Moore Gallery last week to massive crowds and cabin walls lined with imagery pertaining to modern conquest and obsession.
Well, John Felix Arnold III is at it again. This time, he and Carolyn LeBourgios packed an entire show into the back of a Prius and drove across the country to install it at Superchief Gallery in NYC. I met with him last week as he told me about the trip over delicious burritos at Taqueria Cancun (which is right across the street from FFDG and serves what I think is the best burrito in the city) as the self proclaimed "Only overweight artist in the game" spilled all the details.
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.
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.
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
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
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.
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.
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.
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