Denver based Joseph Martinez is opening the show, A Little Piece of the Bay, on March 7th at Public Barber Salon (571 Geary) featuring his teeeny tiny matchbook oil paintings of his favorite San Francisco artists that inspire him like Kim Cogan, Henry Lewis, Sam Flores, Mike Giant, Barry McGee, etc.

Check out his other great matchbook paintings.

Some skate-ski with video workage by ol' Fecal Pal, Dan Wolfe who now handles video in house there at DLXSF.

After seeing McGee's Berkeley Art Museum exhibition last fall, this show was not what I was expecting, but it was perfect. Instead of a large-scale museum installation, the works were hung haphazardly on pins, just like any other student show which would take place in this gallery. A small crowd flowed into the gallery and then out into the hallway where they served cookies and popcorn, and where legends like McGee could look at student work hung in display cases. The artists were present, adding to the inclusive environment, and many students passed by on their way to class without realizing that there were stars in their halls. It was a great little show, and was probably highly encouraging to students who are just starting their art careers. It was as if the artists took a step back to show just how far they have come and, maybe, just how far they can go next.

The geometric-ness of Barry McGee

Henrik Haven has been hanging with ROA for a week and brings us some work-in-progress shots as ROA was working on all the excellent pieces for the "Stop Over" show at BODSON-EMELINCKS in Bruxelles, Belgium.

The Tens got a photo of us Trippes at FFDG last week. Nice one.

Photo: The Tens

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Photo: Tanner Ballengee (Topeka, KS)

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Identical twin brothers How and Nosm (Raoul and Davide Perre) recently completed this huge mural in the TL here in San Francisco at Hyde St & Turk St. The duo were born in Spain, German in heritage, and currently residing in New York. Their show Late Confessions concludes Saturday in NYC at Jonathan Levine.

Check this awesome mural they did in LA with Dabs and Myla 2 years ago.

Photos & video by Merlin Jackson

Hate to say that it took 10 years for us to finally check out the "new" location of the Asian Art Museum, and it's much more incredible than we all had thought.

Last night we attended the preview party for the Asian Art Museum's new show China's Terracotta Warriors: The First Emperor's Legacy (Feb 22 - May 27) featuring 10 life-sized terracotta soldiers which were hand-crafted in approx. 300 BC to protect China's first Emperor, Qin Shihuang in the afterlife... In 1974 they excavated this massive site where thousands of statues were discovered where these originated.

We waited in a long line for some drinks (later discovered the shorter cafe line), we listened to the energetic Extra Action Marching Band, we checked out the incredible terracotta soldiers, but the best part was taking in just a small piece of the museum's massive collection of Asian artifacts. With only 20 minutes before the night was to conclude, we raced to the 5th floor and tripped out on the Southeast Asia collection.

PHOTOS

Extra Action Marching Band going for it amongst the crowd. Love these guys and gals.

At the time they were buried, they were hand painted in bright colors but the paint almost instantly faded when excavated.

Easy, son.

Over three months on the road (about six months for Conner) with nothing but a road in front of me, a motorbike under me, a backpack behind me, and a set of rules to live and die by. These are what made the "Harsh Barge" the grim and dirty adventure that it was. Rule #1: Never pay to sleep. That meant no hotels, hostels, motels, guesthouses, bungalows, etc. Rule #2: Only travel by motorbike (aside from necessary flights).

Those were the rules that defined the trip. The other rules—never wash white t-shirts or jeans, no shaving, no meat, no wasting beer, etc.—only made it more interesting. Sure, we got plenty of strange looks and into lots of odd situations, like when I woke up on the ground outside a hospital in Siliguri surrounded by a police officer and fifteen confused Indians; but it made the experience more real, more raw. Call us disgusting, call us over-privileged Americans, call us anything. (Just don't call us hippies.)

Illegal camping and getting drunk on beaches with prawn farmers in Vietnam, avoiding landmines and border patrol hassles in Cambodia, sexual assaults by a monk at a Buddhist temple in Thailand, sleeping in an abandoned building and waking up to AK-47's in our face in Nepal, and Conner getting hit by a car and run over by a truck in India is just a small taste of the fun that we endured on the Harsh Barge.

I'm not saying do exactly what we did—I wouldn't encourage anyone to do that. It's not for everyone, but it was for us. I'm just saying that you should go do what you want before it's too late. Before you have that career/marriage/child. Take some time off school. Quit your day job. Buy that plane ticket. Barge.

Paintings by Alexandros Vasmoulakis are up at Lebasse Projects in Culver City through this Saturday, the 23rd. We've featured some of his massive fragmented murals he's done in China and Europe in the past here. Enjoy his style.

Alexandros Vasmoulakis was born in 1980. He studied painting at the Athens School of Fine Arts.

While creating an image for my Something to Weigh series, I decided to photograph myself sitting alone on the Times Square stairs to capture my solitude in a busy crowd.

After developing the film, I noticed that a man was standing behind me being photographed by an attractive blonde woman. Rather than pose for her camera, he was sneering at me behind my back. Five minutes later and at another location, another man turns his back to gawk at me while I am photographing myself sitting at a cafe table.

I have always been aware of people making faces, commenting and laughing at me about my size. I now reverse the gaze and record their reactions to me while I perform mundane tasks in public spaces. I seek out spaces that are visually interesting and geographically diverse. I try to place myself in compositions that contain feminine icons or advertisements.

Otherwise, I position myself and the camera in a pool of people... and wait. -Haley Morris-Cafiero

For more of Haley Morris-Cafiero's photography, please visit: http://haleymorriscafiero.com

Paul Wackers has an exhibition of all new paintings up at New Image Art Gallery in LA from February 16th to March 30th. He sheds some light on his inspiration, creative process, new work and his experience of being an artist in NY in this interview with Kristin Bauer.

"Early Romantics" Paul Wackers at New Image Art Gallery
Feb. 16- Mar. 30, 2013
7920 Santa Monica Boulevard
West Hollywood, CA 90046

I will be showing about 12 new paintings all made since the beginning of 2013, so pretty quickly. One is the largest painting I've ever made which was really fun to do. The rest are a mix of objects in the landscape and very paired down still lifes or almost abstract compositions. I think this show is a really good follow up from my show at Alice gallery in Brussels last year. So continuing to build a bit off an internal narrative for the work and some parameters from my subjects to exist within and seeing where it goes from there.

Yeah, I think that is all in the work, but the work is rarely from direct observation. It's more like a kind of assumption of what something is and that leads to being open to the possibilities within anything. I know that's pretty cheesy, but when you spend 7 days a week in your studio the regular stuff around you and your walks there get really interesting. Funny bits of trash or strange trees and blandness become stages for things to happen. Being able to expand on the boring bit to see how it might be something unique is a hard thing, but a worthwhile search I think. But maybe ask me tomorrow and I won't see anything in it. It's all in the moment.

I like to play with those ideas in some of the paintings. Its strange that what I might see as just background noise that is easy to ignore because it has no focus, other people see chaotic stuff. I love how every person reads them so differently. That's why I usually like to let people tell me what they see before I say what I think is going on, since it is that play and disconnect that I love. If I give away my intention too soon then the person looking usually just ends at that, but when it stays ambiguous I think it remains interesting and the discussion can begin after that. But that being said, sometimes I will try to make images that I think can't possibly work, and then they start to click and I have a whole new thing to explore. So I guess finding some disharmony has been very beneficial to my process.