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Home FEATURES Artist Interviews Andrew Schoultz Interview

Andrew Schoultz Interview
Monday, 27 November 2006 04:13
SF based muralist and painter has been producing amazing work for years.

With his work covering walls on streets and alleyways around San Francisco, Andrew Schoultz has been painting murals for the past several years like it was going out of style. He painted so many in fact, that I was surprised to learn that some of my favorites were painted by him years ago. Andrew has also created art and painted murals all across the country and at times outside of the US. Sometimes working alone, sometimes collaborating with other heavy hitters of the mural and art world, his early work was written about in a SF Weekly piece by Sam Chennault that is well worth the read.

That is Andrew Schoultz part one. Part two involves the ever growing number of gallery shows that have included his work. His intricate lines and imagery have won him an audience all over the country, all of whom have written gushing reviews of his work. Hopefully you get the point... I'm more than pleased to bring Andrew Shoultz to Fecal Face for some questions about OCD, blood, and the 'mural art scene'. -Jesse Pollock

What do you do and where do you do it?

I make things. I make a lot of paintings and drawings, some sculptures and whatever else comes to mind. I have been super into mixed media on paper recently. I do it here In San Francisco, the greatest city in America. I also paint murals where ever I can, when I can.

Now that the rain has started again are you still loving San Francisco? Do you have any plans to move or are you going to stick around for a bit?

I have no plans to move. I am from Milwaukee originally, so this rain doesn't really faze me. I will take rain over freezing cold snow any day. San Francisco needs the rainy season to clean all the sidewalks, streets, and alleys. People who live here or have been here know exactly what I am talking about.

I keep talking about food in my interviews but I've gotten some really great restaurant tips so far. What's your favorite restaurant in the city?

When I can afford it, The Slanted Door at the ferry building is a divine treat. I love Hanabi on lower Haight Street, and El Toro Taqueria on Valencia. I actually like eating at home though too. My wife is an excellent cook and I am not too shabby myself.

The majority of your early work was with murals and street art. When that SF Weekly piece came out, they basically heralded you as the next big start of the "mural and street art scene". However, most of the work I have been seeing of yours recently has been in galleries. Would you still consider yourself as a street artist and muralist?

I don't know if I've ever classified or labeled myself a "street artist". I have done a ton of art on the streets, but I never really have found any separation in my work on the streets versus my work in the studio. I have been drawing since like age 3 which was long before any street art happened. I definitely still have a huge interest in doing work on the streets and will hopefully be getting to that soon.

Is there a point where you would take one over the other?

I don't know. I like them both. I like to do them both at the same time. That's when some serious development has happened in the past. Working on a mural all day and then drawing or painting at night. They both can kind of fuel each other. I would like to be doing a lot more murals these days, but it is very hard to find walls and even harder to find any funding. It's hard to find good walls for murals not just location wise, but it has to be an appropriate addition to that specific environment. Sometimes in the past I have been offered walls that just didn't seem like appropriate places for murals and I didn't do them. I try to approach painting murals in a pretty responsible manor. I am always concerned with who has to look at it everyday and making the mural work with the environment so as not to be intrusive.

I've read multiple articles describing you as essentially being drawn to making art in public spaces (i.e. murals and installations). Can you speak to that point? Is this something that you agree with?

I guess I would say I am not as drawn to making art in public places, as I am drawn to the general audience of the public. I like that audience. It is the most truly diverse audience that you can address with art in America today. Your audience could literally be anyone and I like that possibility. It also eliminates the element of preaching to the choir because it would be impossible to predict who that choir would be on a consistent basis. I think this is the fact that really changes the way you go about doing art in the public space versus in the gallery. Children are also an important audience to me and are often an audience that is almost non existent in the gallery world.

A lot of your work is pretty immense and sprawling at times. Do you enjoy working large as opposed to working smaller?

I do like to work very large, but I do also like to work very small as well. The large work is definitely the most fun stuff for me to do since it's always exciting to paint something huge. Large and small are two things that also work really well together for me. I am very much into different scale in terms of sizes of things in my work. It's fun to toy with many different scales in the same piece and especially on an immense level when doing large work. I love immense imagery right next to tiny delicate imagery and I think scale works almost the same as color in that respect. Color is essentially defined by what color is next to it and I think this also works with scale too. A tiny image appears even smaller next to large image.

The Boston Center for the Arts is such a great venue for both shows and artist studios (among other things). Very few cities have a facility like that, not to mention such a sprawling, multi-faceted one. I think it's really cool that you were able to do an installation there. How did that whole thing come about?

It came about pretty simple. My friend Caleb Neelon, who is an excellent writer, wrote a proposal for a show there because he was particularly psyched on the large space. The director of The BCA, Laura Donaldson, liked his proposal apparently and gave us the whole space pretty much to do what we wanted. This was definitely different from most of their past exhibitions. Laura was semi-familiar with our work but really put a lot of trust in us and gave us freedom. I really have to give it up for her on that because it's really awesome when curators and galleries have faith in the artists they are working with. Sometimes curators and galleries are very controlling and want to know every detail of what's going to happen. In my case - most of the time I don't even know, which can make it difficult. When I do installations and murals I like to keep the element of spontaneity alive, otherwise it can get boring and predictable. I hate formulas and I don't want to eliminate or ignore any good ideas that come along during the process. Of course I always have general ideas. We had some ideas for the Boston show, but pretty much went in there with no plan or maybe a 'half-plan' at best. We also had a lot of time to install. We installed for almost two weeks, going for 12 to 15 hours a day. A really great young artist named Brian Wilmont had his work in the project room and you should check him out if you get a chance. All and all I think the show turned out really good.

Elephants, towers, medieval imagery... How did you decide upon some of the re-occurring themes in your work?

A lot of the reoccurring themes have to do with the fact that I am drawn to story telling (In a non-definitive way). In stories, characters re-occur and build themselves. I like the idea of developing a character or image. Painting and drawing something over and over again seems like a very natural way to develop something. Undoubtedly, if you paint the same thing hundreds of times, it is naturally only going to get better and better and development can't help but happen. Repetition also stems from being involved in graffiti for the last half of my life. Writing the same word over and over, and slowly it changes, and finds a meaning. Some of the imagery I have been using as of late is sort influenced by a cross section between 15th century German map making, and Indian miniature painting from around that same time period. Most of the purpose behind these two art movements was for conquering new frontiers, telling stories of war, spirituality, belief systems, and also for the recording of history of those time periods. I am trying to form a parallel with this time period but sort of contemporize it, and address the same subjects that they were addressing but in a present day sense. There is something interesting about using this type of imagery that was based on older times of war and conflict, to talk about the present day mess that the US is in. This war is insane, and I can't help but vocalize this in my work. You know the saying "If you don't know history, it will repeat itself" (or something like that)? It sure seems like in history the pursuit of greed and power has been a re-occurring theme. The only thing that has really changed is technology and convenience.

It seems like traveling in your life has taken you to a lot of interesting locales.. Can you talk about making art in places like Indonesia? (In comparison to the US, I guess.)

I don't even know where to start with this one. I could go on and on for hours. I feel very fortunate to have gotten to go so many places to do art. For the most part it is always awesome to travel places with a purpose, versus being a tourist. People react a lot differently to you and I think there is a lot more acceptance and respect given up. Going to Indonesia and participating in the project 'Samasama/You're welcome' was a life changing experience. It definitely has had a profound effect on who I am today and the art I make, but it all seems like a big dream to me at this point. In 2003 myself and five other artists from San Francisco went to Jogjakarta, Indonesia for two months painting murals and working with an artist collective there called Apotik Komik. After we went there, we brought four of the artists from Apotik Komik here to San Francisco for two months to paint murals and have an exhibition. The Indonesian group had some similar aesthetic interests as compared to the American artists, but definitely approached things in a way different way. The thing you have to take into consideration when talking about public art in Indonesia, is that they have only had freedom of their public space since 1998, which was when the over throw of Suharto's regime happened. Before '98 it was very risky to be doing anything in the public space, let alone painting a wall. Apotik Komik was out there doing it even before '98 and for this they became quite famous across Indonesia. When we were there it was 2003, and quite honestly it still was a far step for most of Indonesian society to see walls being painted in the public spaces - let alone by a white person. So it was definitely an intense experience. It's crazy to have a lot of pre-conceived notions about places and then actually go there and see them first hand and realize how wrong your pre-conceptions were. It was an amazing project, and I still keep in contact with some of the friends I made over there. They are amazing people and I feel so lucky to have met them. There is actually a nice book about the project available through Intersection for the Arts for about twenty bucks.

Would you ever live anywhere else?

No I don't think I would have any interest in taking up permanent residence anywhere else although I am looking forward to potentially traveling to Sao Paulo, and Copenhagen in 2007. I wouldn't mind staying some places for a couple of months, but I love SF. I feel lucky to live here and even more fortunate to have met so many great San Francisco people.

What's the typical time frame for a piece (murals included)?

There is no real time frame for the pieces or murals that I do. They are done when they are done. Most of the time has to do with a deadline. I could literally go on forever with murals and installations, so sometimes having a deadline makes it be done. It's good sometimes to be forced to be done with something.

What kind of music do you listen to while you're working (if any)?

I listen to lots of NPR and BBC when I am working and generally listen to an eclectic mix of stuff. Recently, I have been listening to such bands as Neurosis, Funeral Diner, The Smiths, My Bloody Valentine, Kayo Dot, Ghosts and Vodka, Don Caballero, Angel Hair, and Mastodon to name a few. My favorite type of stuff definitely leans toward heavier angular stuff like metal, hardcore and a lot of Chicago bands from the mid 90's. We are lucky here in the Bay Area because there are such great local bands here. Some of the bands playing around SF currently that are just awesome and worth while to check out would have to be King City, Django Obscura, The Enablers, Gypsy, Monuments to Masses and Funeral Diner just to name a few. Django Obscura is so amazing. They play Django Reinhart compositions and the lead guitar player is mind blowing. Seriously one of the best guitar players I have ever seen. One of my favorite things to do is see live music. I used to be out at shows a lot more though in the past, although right now I have just been too busy.

Do you think music plays an important part in the creation of art (yours or general)? Can you play anything?

Music does play a very important role fore me in making my work. A lot of times I literally have theme songs for different pieces when I am making them. Generally most of the art I make is along a similar vibe to the music I am listening too at that time. I wish I could play an instrument. I tried to play the guitar for a brief stint, but it didn't really workout, but then again I didn't really fully commit to it. I have always had sort of a one track mind. I tend to dedicate everything to that one thing I am trying to do. Other things like skateboarding and art, have always seemed to take precedence over playing an instrument. I have a lot of respect for people who can play instruments and make music though.

When I look at one of your pieces, I feel my OCD start acting up and it makes me appreciate it on a whole different level. How does it feel to have OCD people everywhere become fans of yours?

Yeah I definitely qualify as an OCD person. It's funny because people who are OCD really can't help themselves. A couple years back I was trying to take a lot more of a minimal approach to my work, and it just didn't feel right to me. Now, I just recognize it as being a part of who I am and instead of trying to push it away, I choose to just embrace it and push it forward. It's funny though, I am very Obsessive compulsive about my work but when it comes to having a clean studio or stuff like that, it no longer really holds up. If other people who have those kind of tendencies are psyched on my work, then that's cool. I definitely look at and appreciate things from both sides of that fence.

For some reason when I look at a lot of your pieces, I see things that remind me of blood. I don't know if anything in those pieces is actually supposed to be blood, but I end up taking that from it more often than not. Is that just me or is that represented in the work?

Blood Huh? That's interesting. I think that's the first time I have heard that. In all honesty, I try to keep my work pretty open and non-definitive. There are specific things I am addressing and talking about for sure, but I would not eliminate the viewer's ability to draw other conclusions then what I am talking about or what I intended. I am not really that hung up on intent with art work. I think it becomes alienating to the viewer and in many cases, does not allow them to form their own opinions and conclusions. Right now I have been focusing more on trying to have a general feeling to a piece versus having a narrative. A lot of my work is addressing the subject of war, so seeing blood in my work is not actually far off at all.

A lot of your murals tend to be collaborations. Is that something at you enjoy? Does it make things more challenging?

Collaborations are fun. It's always fun painting with people. Some of the collaborations I have done have turned out great and some were disasters. My favorite ones were the ones that I did with Aaron Noble. I also really liked the installation that I did wit Chris Natrop last year at the Headlands Center for Arts. It really turned out great. I definitely don't enter into them as lightly anymore. It's a situation where you really have to trust the artist that you're working with. It's seems to me that a collaboration works best when each artist can be distinctly represented in the piece, without overbearing or competing. It should all work together to make a picture that is interesting.

Anyone or anything you are really excited about right now?

I am excited about my upcoming solo show at Taylor De Cordoba Gallery in LA that's opening on December 2nd and I'm feel really good about it. I am also excited about the upcoming release of my book that's due out toward the end of December. It will be available through Park Life on Clement Street. On a totally other note that doesn't have to do with art.. There is a series of shows and exhibitions coming up next year at Intersection for the Arts that will be focusing on the Industrial Prison complex. I was there last week, and it was really both exciting and inspiring to meet this lawyer named Charles Carbone. He is a prisoner rights activist who mostly works for prisoners serving life sentences or on death row. Basically he works for people and on a subject that has been easily swept under the rug by most of society. I was not totally uninformed about the industrial prison complex by any means, but hearing first hand about it in such detailed terms was really alarming and eye opening to say the least. It kind of made my stomach hurt. It is always so humbling to meet people like Charles, who are doing such selfless work in a community that very few are doing. Indeed many of these people are criminals who did horrible crimes, but that doesn't mean they should be denied basic human rights and treated like rats. Being an artist can easily become a very self involved activity. I think it's very important as an artist to be socially conscious and aware of what's going on in the world to some extent and try to participate in it on some level. It's very powerful to find ways to be active in the community with art, music or whatever it is that you do. It takes you out of the realm of yourself and challenges your comfort level with what is normal.

You can see more of Andrew's work at his website: www.andrewschoultz.com

Also check out Andrew's upcoming show at Taylor De Cordoba Gallery in LA on December 2nd and his new book set for release sometime soon.

{moscomment}

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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.


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"How To Lose Yourself Completely" by Bryan Schnelle

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Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery

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Jeremy Fish Solo Show in Los Angeles

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The Albatross and the Shipping Container

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Flavio Samelo's Downtown Sao Paulo Murals

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

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Project M/3 in Berlin curated by NUART

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"Arrangement" by Michelle Fleck
Friday, 18 April 2014 10:23

This morning we take a closer look at this beautiful painting by San Francisco based Michelle Fleck now showing at FFDG.

Arrangement measures 24"x30", acrylic and aerosol on panel - inquires: info(at)ffdg.net

Michelle Fleck is a painter living in San Francisco. Her work focuses on the relationship between man and the landscape, and the marks we leave on it. Influenced by everyday life in the city, her paintings serve as snapshots of an ongoing intersection of the natural and man-made world. She strives to make work that has a sense of relevancy in a culture driven by a need for change and newness.

 

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Wednesday, 16 June 2010 16:39


Nychos Friday @Fifty24SF
Thursday, 17 April 2014 10:46

SAN FRANCISCO --- You've seen the murals pop up around town the last week from this Austrian street artist as he prepares for his solo show at Fifty24SF opening this Friday, 4/18.

GET THE SHOW DETAILS --- a bunch of NYCHOS

 

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Wednesday, 25 April 2012 10:56

 

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?

 

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

 

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

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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

 

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Wednesday, 25 August 2010 11:50


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Ferris Plock - Online Show, April 25th

FFDG is pleased to announce an exclusive online show with San Francisco based Ferris Plock opening on Friday, April 25th (12pm Pacific Time) featuring 5 new medium sized acrylic paintings on wood.


GOLD BLOOD, MAGIC WEIRDOS

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.


Jeremy Fish at LA's Mark Moore Gallery

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.


John Felix Arnold III on the Road to NYC

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FRENCH in Melbourne

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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.


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