Opening

Heist Gallery Presents: “Till Death Do Us Apart” One Year Anniversary Group Show (San Francisco, CA)

November 8, 2010 , , , , ,

Heist Gallery

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TILL DEATH DO US PART

Gallery Heist One Year Anniversary Group Exhibition

GALLERY HEIST / SAN FRANCISCO (USA)

NOVEMBER 13 – NOVEMBER 27, 2010

Opening Reception – Saturday November 13, 2010 7-11PM

Gallery Heist is pleased to announce the opening for its One Year Anniversary

Show, “Till Death Do Us Part” a group exhibition celebrating a year of work

since the gallery’s inception. The opening will be held on Saturday, November

13, 2010 from 7-11pm. The exhibition will be located at the Gallery Heist Annex

at 1036 Hyde Street.

A new venue specific to the anniversary show.

The anniversary show will present the work of emerging and established contemporary figures from the Bay Area, as well as artists hailing from New York, Los Angeles, Paris, and Melbourne.  Along with paintings, photographs, mixed media works, and video, the show will include an installation by Ryan de la Hoz and a performance piece by Adam Rozan (of the Oakland Museum), as well as musical performances by Mark Aubert and TM.

Guest curators Allison and Garrison Buxton, of AdHoc gallery in NYC, will be co-curating and co-hosting the exhibition.

Featured artists include; Brett Amory, Adam Caldwell, Seth Armstrong, Mario Wagner, David Choong Lee, Oliver Vernon, Sean Desmond, Mike Giant, Mike Kershner, Gaia, Adam Flores, Justin Lavato, Ryan De La Hoz, Henry Gunderson, Mario Ayala, Roman Koval, Adam Rozan, Maja Ruznic, Ludo, Doodles, Helen Bayly, Miso, Daryll Peirce, Deborah Yoon, Allison Buxton, Garrison Buxton, Ezra Li Eismont, Shawn Whisenant and Bunnie Reise. These artists have come to represent what is and will continue to be the ethos of Gallery Heist.

The main location of Gallery Heist, at 679 Geary Street will feature an installation that will provide  an opportunity for viewers to observe the obscured process of curating and running an art gallery.

Included in the installation will be various pieces of ephemera from the first stages of opening the gallery through the thought processes behind every show; photos, videos, notes, business cards, correspondence between the curators and artists, writers, editors, and figures within the art community will be displayed.

In conjunction with the exhibition, the artists will have access to several walls around the city to use as their canvases and to promote the show while contributing to the burgeoning local art movements. This process will be documented and displayed during the exhibition.

The exhibition will be on view at 1036 Hyde Street from Saturday November 13 – November 27, 2010. Viewing hours will be Tuesday – Saturday 4-8PM and by appointment. Gallery Heist is located at 679 Geary Street San Francisco, CA 94102.

For further information please visit www.galleryheist.com or contact Julianne Yates. info@galleryheist.com 415.563.1708

ABOUT THE GALLERY

Art is an extension of our culture and communities, serving as a vessel for the visual definition of our times. Art is not a luxury; it is a necessity.

Our mission is to foster innovative artistic expression and provide a sanctuary for the creative process and its importance and role in the redefinition of contemporary culture. Gallery Heist is a place for artists to gain exposure and develop their careers.

We encourage freedom of expression and experimentation within their work and artistic ideas. The walls of Heist will continue to house work that is representative of the contemporary generation, offering a venue for artists who challenge and analyze our social and cultural responsibility, traditions, and behaviors; specifically those who are leading the front of a conscious art movement.

Gallery Heist was opened in November of 2009 by twenty three year old Julianne Yates and has since become a destination for urban & new contemporary art in San Francisco. Located blocks away from the commercial galleries of downtown San Francisco’s Union Square, the gallery lies near the historical Tenderloin, which sees a demographical mix that serves as a microcosm for the whole of San Francisco.

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Pandemic Gallery Presents: Richie Lasansky and Allison Read Smith “Sew Draw” (Brooklyn, NY)

November 6, 2010 , , , , , ,

Pandemic Gallery
On Friday, Nov. 12th Pandemic is very proud to host a dual exhibition of two astounding Brooklyn artists,

“Sew Draw”

Richie Lasansky and Allison Read Smith

The show, comprised of drawings, prints, and sculpture of various mediums
relays an incredible balance of styles and process, that when combined simply take ahold.
Absorbing the viewers into the compelling visions these two have portrayed.

"Riche Lasansky "Fish Girl" engraving. copyright 2010. Image courtesy of the gallery

"Riche Lasansky "Fish Girl" engraving. copyright 2010. Image courtesy of the gallery

Richie Lasansky
Born in La Paz, Bolivia, while his parents were in the peace corps, Lasansky’s interest in drawing and art stems from an age when he could first hold a pencil. His parents being music and dance performers, he traveled around with them, constantly drawing everything he saw. For a while he thought his interest in animals would lead him to a career in science. After graduation from Hebron Academy, he studied biology at Brandeis University in Waltham, Mass., but upon graduation, moved to Iowa to study printmaking formally with his grandfather – Mauricio Lasansky. He spent eight years in this apprenticeship.
As a printmaker, Lasansky feels many artists are not involved in an important creative aspect of the process by allowing their work to be printed by others. He prefers the complete approach. Intaglio printmaking is “such a sensual, tactile medium that if you don’t get your hands dirty and experience the feel of drawing on copper and printing the plate, you’ll never really know what the medium can do.”  Lasansky makes all his ink from scratch. This personal investment in the process is evident in his work. “A lot of artists’ work is heavily conceptual now, but mine is process-oriented,” said Lasansky. “It’s mostly figurative, not abstract.” He’s not one to analyze his art beyond that, however, preferring to quote his grandfather: “Artists and fish die the same way, by the mouth.”  Lasansky has lived in Costa Rica, New Hampshire, but was raised mostly in Maine, including a year on the Island of Vinalhaven. He now lives with his wife in Brooklyn.
Allison Read Smith "Frog King" sewn rubber. copyright 2010. Image courtesy fo the gallery

Allison Read Smith "Frog King" sewn rubber. copyright 2010. Image courtesy fo the gallery

Allison Read Smith
Allison Read Smith was born and raised in Memphis, TN and has lived and worked in NYC for the past twelve years. Merging Southern storytelling with the more brisk pace of New York she has generated a body of work that uses pedestrian materials, such as newspaper, magazines, postal stamps, cardboard, and rubber. For this exhibition she relies mainly on roofing rubber to generate a cartoonish, malleable dark humor. Her work has an intoxicating effect as the imagery she puts forth draw so many questions for the viewer. Asking what is really relevant and meaningful in our day to day lives. As a sculptor she combines many different elements into three dimensional creations of skewed beauty and wondrous theory. Pushing past the antiquated confines of sculptural work and into her own realm of an almost intangible essence.
PANDEMIC gallery
37 Broadway btwn Kent and Wythe
Brooklyn, NY 11211
www.pandemicgallery.com
Gallery hours:
Tues.-Fri. 11-6pm
Sat. & Sun. 12-7pm
closed Monday
or by appointment

L train to Bedford ave, J train to Marcy ave, or Q59 bus to Broadway/Wythe

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Ready for Bedtime? Faile Tells the Story Tonight

November 4, 2010 , , , , , ,

“It’s not a typical show for us where it is like a huge thematic production. It’s a much smaller intimate show,” says Faile’s Patrick McNeil.

Faile partner Patrick Miller strikes a satisfied note, “It’s good, I feel confident about the work. I feel confident within about where we’re at within a given time. You can always go and tinker and keep playing but I’m happy with the body of work.”

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Photo © Jaime Rojo

Okay, so sometimes we get too excited. Not by spectacle, or hype, or insider clubbiness – but by the art. Somehow Faile made this painted wood show feel electric.With fragments of images, snippets of phrases out of context, flashes of celebrity, skin, and irony, “Bedtime Stories” is an apt analogy for a lucid dream state, big city life, and our current fascination with glowing digital rectangles of all sizes.

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Detail Photo © Jaime Rojo

The white box gallery isn’t always suitable for Street Artists; The raw energy of the street can feel stale when trapped inside and shows like this sometimes merit criticism from those who want to “keep it real”. But in typical Faile fashion, “Bedtime Stories”, opening tonight at Perry Rubenstein Gallery in Chelsea, is a considered, well presented multimedia manifestation that energizes the space.  The one sculpture, a tree-trunk of titillation in the center of the chamber, serves as a jagged graphic lightening rod for the flashing neon particles that swirl around the space.

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Detail Photo © Jaime Rojo

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Detail Photo © Jaime Rojo

Faile “Bedtime Stories”

Perry Rubenstein Gallery

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Faile Tells You “Bedtime Stories”

November 3, 2010 , , , , , , , ,

The first New York gallery show in three years for Street Art collective Faile opens tomorrow at Rubenstein Gallery; a heavy graphic quilt of past, present, and “jimmer-jam”. With the 12-piece “Bedtime Stories”, Patrick and Patrick debut a densely packed wood painting show of story, texture and humor in a quite intimate setting.

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All Hands on Blocks

Checking on progress as they finished final pieces last week, Brooklyn Street Art was treated to completed block tapestries and works in progress in their buoyantly buzzing studio. Long days have turned to long nights at the end of this parsing of pieces, and the output exceeds the storage.

It’s a hard charging exploration of process, with the selective re-combining of broken-apart wood canvasses.

“Bedtime Stories” is a glut of hand-packed eye candy; steel girded graphic thoughts crashing and merging deep into the diamond mine of Faile’s visual verbiage, delivered with storytelling finesse. Each individual piece is a near-dizzying puzzle of pop plied with rigor chock-a-block against the restraints of an unbending welded frame.

Brooklyn Street Art: These new pieces feel very dense.

Patrick McNeil: It’s like eating chocolate cake with chocolate ice cream and chocolate pudding and a cup of hot chocolate. They are a lot to take in.

Patrick Miller: They need space.

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As they talk you get the idea that they needed some psychological space from the constrictions of a themed show and they became enamored with the wood painting process more than the exact outcome. It’s clear that the new approach has been gratifying.

Patrick McNeil: This isn’t really an exhibition about message, it’s more about process. Not to say that it is devoid of any message. It’s just been more about building than about going out and trying to make a statement with the visual.

Patrick Miller: Yeah I think that’s more what we talked about a little before – about how it was about getting loose and have fun making images again and not feeling like it was one big overarching theme that was going to drive the whole body of work. Given that we were really interested in exploring the medium, I think the message is kind of coming through in the process.

Patrick McNeil: Yeah I think our last two shows were so theme related that I was like, “Let’s not think about the space as much.’ It’s more like, let’s just make a body of work and when it’s show time let’s collect it all and see what hangs right and looks good in the show and go about it that way. We wanted to be more organic in the process instead of so structural.

Patrick Miller: Some of our recent previous shows were “a series of” paintings that either ran together or lived together in some way –although these actually do too in a way.

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Brooklyn Street Art: Well each piece contains your DNA so they kind of have to reflect your story.

Patrick Miller: Right, they all start as a bigger piece, and then those get broken apart and built back into other pieces. I feel like when you look at them all and they are all spread out you can really see; “Oh, that’s a part of that, and this is a part of that”. So in that way I feel like it is a “Faile” kind of thing.

Faile "Let's Get Smashed" Street Stencil (Photo © Jaime Rojo)

Faile “Hey Yo Let’s Go Get Smashed” Street Stencil (Photo © Jaime Rojo)

In the middle of the studio a large wooden canvas painted blue with a black lined pulp inspired tryst is lifted by three studio assistants to rest on blocks against the wall so that it’s bottom can be painted. Later this thick wooden canvas will be sawed into cubes, but for now it is a complete 4’ x 6’ duotone.

The process of creating can encompass many pieces developing at once. A smaller or midsize piece that grows beyond its’ original boundaries is re-located into a larger frame where it has more freedom to grow.

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“We don’t want to see any go out without enough lovin’, ya know”

Often a piece will get re-worked multiple times to finally strike the balance that it needs – a intuitive sense that both Patricks have and trust in the other. Studio assistants have also learned the language of Faile and can tell when something probably needs reworking.

Patrick McNeil: There’s a lot of made up words; Shimmer-sham, Jimmer-jam….

Brooklyn Street Art: Shimmer-sham? Jimmer-jam?

Patrick McNeil: Yeah you’ll be like, “That needs a little shimmer-sham right there and some down there.”

Brooklyn Street Art: And does shimmer-sham mean the same thing, have the same definition for everybody?

Patrick McNeil: Yeah, pretty much.
Patrick Miller: Pretty much.

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Ask the studio assistants, and they’ll tell you the same; In a close-knit group that works long hours together making art, it’s not unusual to develop a vocabulary and shorthand that speaks to the art and the process.

Brooklyn Street Art (to studio assistant Sarah): If one of the Patricks said, ‘we need more Jimjam over here’…
Sarah: Jimmer-Jam (laughter)
Brooklyn Street Art: What would that mean?
Sarah: Um, it really depends on the context I would say.
Patrick McNeil: And the gesturing involved.
Sarah: And the gesturing, yeah
Brooklyn Street Art: So if the gesturing is very insistent, then it might mean…
Sarah: It usually is in reference to something that’s already happening. If it needs more of something or less of something. Also Zibber-zabs.
Brooklyn Street Art: Zibber-zabs? Which is analogous to
Patrick Miller: Which is very different! You could have a problem..

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Brooklyn Street Art: Are there other vocabulary words?
Sarah: Um, those are the two that are most frequently used. Jimmer-jams and Zimmer-zabs. (to the others) Can you guys think of anymore?
Maggie: Did you say Shim Shams?
Male assistant: “Could use a little more lovin’ ”
Sarah: Yeah, that’s a P. Miller one.
Brooklyn Street Art: What would ” lovin’ ” mean in this context?
Patrick Miller: It’s like ‘you need to push it a little more’
Brooklyn Street Art: More attention?
Patrick Miller: Yeah. We don’t want to see any go out without enough lovin’, ya know

It’s not likely that would ever happen in a Faile show, they care too much. A loose tension. Structure and play. The rebel yell. Details don’t slip by, meanings are hardly incidental, and everything is considered. Smartly aware of concepts like brand and marketing, they stay on message and deliver the goods. New patterns and texts must be vetted and go through a background check. Just kidding.

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Faile Street Stencil (Photo © Jaime Rojo)

Faile Street Stencil (Photo © Jaime Rojo)

“Block Shock”

Brooklyn Street Art: What is “Bedtime Stories”? – A reference to your parents, your mates, your children, Madonna, Peter Rabbit?

Patrick Miller: I think we’d been searching for a title. We’d been talking about different things along the way. One of the pieces in the show is called “Bedtime Stories” and it’s a part of one of the new images. I think one thing we kept thinking about was that there was a period when we were both really interested in quilt making. We did a lot of research on it.

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Brooklyn Street Art: Quilt making?

Miller: Yeah, and we kept saying throughout this process to each other how quilt-like these wood paintings were to us in a way. How much the process reminded us of that kind of craft feeling; Old American quilt making and that tradition. There was something about that – and bedtime, and beds. And then “Bedtime Stories” obviously refers to the narrative quality of the pieces and there is so much of that built in. As they come together and we take bits out of one thing and put it into another thing it starts to make new stories. There is sort of this tension between the pieces and how much visual experience that is in all of them and the bedtime being this quiet special moment. All those things, for me, made me feel like bedtime stories was a good fitting title.

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Brooklyn Street Art: (to McNeil) You didn’t have anything to add to that?

Patrick McNeil: That’s pretty much it.

Patrick Miller: It won out over “Block Shock”! (laughing)

Brooklyn Street Art: Yeah, that name has a certain alliterative quality right?

Patrick McNeil: It really is shocking through blocks. They are kind of shocking pieces in the sense of the denseness of them and how much is in them.

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Projekt Projektor in Dumbo, Brooklyn as part of Under the Bridge Festival September 2008 Image of Mary by Faile photo by Jaime Rojo for Brooklyn Street Art

BSA’s “Projekt Projektor” in Dumbo, Brooklyn as part of Under the Bridge Festival September 2008.  Image of Mary by Faile ( photo © by Jaime Rojo )

Brooklyn Street Art: In a way these pieces are also analogous with dream states and what you remember the following day.

Patrick Miller: It’s true.

Brooklyn Street Art: They could be very intense pieces but…

Patrick Miller: And dreams, like, your memories of them are so fragmented. You are kind of left with “I remember this part and that part”, and that’s how these pieces are. They are assembled parts that make up this kind of weird tapestry.

Brooklyn Street Art: Right, and the parts of the dream that you remember are the most vivid, emotionally charged ones, or psychologically charged parts, not the subtle parts.

Patrick Miller: Yeah, and that’s a great way of seeing it.

Brooklyn Street Art: And you guys are not really marketing subtlety

Patrick Miller: No, not in this show.

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All Photos © Jaime Rojo

BSA………………………BSA……………………. BSA………………………BSA…………………….

BedtimeImage16

FAILE
Bedtime Stories
Perry Rubenstein Gallery
November 4th – December 23rd, 2010

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Fifty24SF Gallery Presents: Erica-il-Cane Solo Show “We Were Living In The Woods” (San Francisco, CA)

November 2, 2010 , , , ,

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Erica-Il-Cane (Photo courtesy of the gallery)

Erica-il-Cane (Photo courtesy of the gallery)

FIFTY24SF Gallery presents We Were Living in the Woods
New Work by Erica il Cane

FIFTY24SF Gallery, in association with Upper Playground, is pleased to present a solo exhibition by Italian street muralist and fine artist, Erica il Cane, entitled, We Were Living in the Woods. The exhibition will be the second solo show that Erica has held in the United States.

As a major contributor to an increasingly progressive and elaborate street art and mural movement occurring in Europe over the past 5 years, Erica il Cane (translating to “Eric the Dog”) gained international recognition for his anthropomorphic building-sized animal murals throughout Italy and the continent. With fellow contemporaries Blu, Sam3, Escif, and San, Erica’s large-scale murals have been viewed as fine art done within the public’s view. We Were Living in the Woods will feature works on paper and on-site installations.

Born and studied in Bologna, Italy, Erica’s evolution to gallery work has seen depictions of animals in unique, human situations rendered in Victorian-like style illustrations, etchings, and short animated films. The art is often described as imagery from a dark fairy tale, in which animals are shown within the darkness of human nature, focusing on themes of alienation, satire, existentialism. Both gallery and mural work has also been hailed as influential works advocating vegetarianism and animal rights.

Erica il Cane has shown throughout Europe, including Lazarides Gallery, Banksy’s Santa’s Ghetto, the Fame Festival, and gallery shows in Milan, Rome, London, and Barcelona. He has also shown in Los Angeles and Chicago. 

 “We Were Living in the Woods” will run from November 11th – December 30th, with an opening reception on Thursday, November 11th, from 7:30PM – 10:00PM.

Relevant Links:
FIFTY24SF Gallery: http://www.fifty24sf.com/
Erica Il Cane: http://www.ericailcane.org

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Bose Pacia Gallery Presents: Aakash Nihalani “Overlap” (Brooklyn, NY)

November 2, 2010 , , ,

“Overlap”

Aakash Nihalani "Play Ground" 2010 (Image Courtesy of the Gallery)

Aakash Nihalani "Play Ground" 2010 (Image Courtesy of the Gallery)

Aakash Nihalani’s Overlap brings the possibilities of public space indoors and turns discrete linear square forms into active and organic compositions. Well-known for his frequent and impromptu public interventions of tape installation, Nihalani addresses the interconnected parts of the whole, both literally and metaphorically, in his newest exhibition. The show, which includes photography, sculpture, tape installation, painting, and interactive digital imagery, can be seen as a more permanent investigation into his existing conceptual framework.

In 2007, Nihalani began what has become an ongoing project of tape installation throughout New York City. He has since applied his artwork on urban landscapes throughout the country, as well as abroad, including Austria, India, and most recently, France. With the aid of fluorescent tape, the artist highlights and emphasizes elements of layering and depth already present in the urban environment. By drawing on points of urban design and architecture (bricks, grates, doorways, sidewalks, scaffolding, etc.) endemic to that setting, Nihalani creates playful opportunities for passersby to interact with the often ignored environment and to find intrigue in mundane spaces. Just as he sets the stage for creative trompe l’oeil possibilities outdoors through permutations of isometric shapes, so too does he allow for physical and philosophical points of perceptual slippage in his more permanent works.

The common denominator of all works in the exhibition is the overlapping of isometric square shapes to create new forms that move towards figurative representation. This exploration of multiplicity produces increasingly elaborate compositions that thoughtfully and innovatively manipulate positive and negative space. The artist has used metal to create works that integrate the ephemeral energy of his outdoor works into the more static and permanent space of an extended gallery exhibition, while several other works continue to use tape and cardboard as the basic medium. Also included within this new body of work are photographic documentations. Such documentation typically accompanies Nihalani’s outdoor works as these fleeting installations exist predominantly through digital reiteration in online public spaces.

In a move towards permanency, the artist has engaged in the rather timely challenge of navigating current modes of artistic production with the recent decline in the contemporary art market. Nihalani’s works explore the trajectory of such practices for the newest guard of young artists, while the elaborate tendencies of recent “big production” art icons have come into question. Between the push and pull of do-it-yourself techniques and outsourced production, the artist was able to negotiate the demands of today’s art market and perceptions of value in relation to scale and material. Play Ground can be seen as one such example where a common image takes on multiple forms for the sake of production exploration. The central image, a big pink dog, exists simultaneously as a cardboard and tape construction, as an image in a photograph, and as a smaller, commercially produced, metal sculpture. In this way, Nihalani has taken the iconic balloon animal from the realm of bankruptcy-inducing exclusivity and returned it to the space of attainability. Through the development of these works the artist not only brings to discussion the nature of production, but also authorship, finance, and the unavoidable realities of artistic production for the future generation of artists.

Aakash Nihalani’s practice is an active dialogue between the many forms of public space (literal and virtual) and the conceptual notions of multiplicity and replication in visual art. Please join us for this unique installation of both permanent and temporary works as the artist fills the gallery with solid objects and the neighborhood with ephemeral installations. Immediately following the opening reception will be an after party at 17 Frost with performances by Das Racist and other special guests.

Born in Queens, NY in 1986, Aakash Nihalani studied at New York University and obtained a BFA from the Steinhardt School of Culture. He has participated in group and solo exhibitions throughout the United States and internationally. Overlap marks the artist’s first solo exhibition with Bose Pacia. Nihalani lives and works in Brooklyn, New York.

BOSE PACIA

163 Plymouth Street
Brooklyn, NY 11201
USA
P 212 989 7074
F 212 989 6982
mail@bosepacia.com
Tuesday – Saturday
11.00 am – 6.00 pm

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Carmichael Gallery Presents: “Block Party” A Group Show And A Showcase of New Works by Sixeart (Culver City , CA)

November 2, 2010 , , , ,

Carmichael Gallery

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Sixart "Turkey in Motion" Image courtesy of the Gallery

Sixart "Turkey in Motion" Image courtesy of the Gallery

Four brand new works on paper from Sixeart will be on display in the gallery showcase room from November 13 to December 11.

Carmichael Gallery Invites You to Attend

Block Party

Boxi, Krystian Truth Czaplicki, Gregor Gaida, Simon Haas, Dan Witz

&

A Showcase of New Works by Sixeart

5795 Washington Blvd
Culver City, CA 90232

November 13 – December 11, 2010

Opening Reception: Saturday, November 13, 2010, 6-8pm

please RSVP by email rsvp at carmichaelgallery dot com

Carmichael Gallery is pleased to present Block Party, a group exhibition featuring Boxi, Krystian Truth Czaplicki, Gregor Gaida, Simon Haas and Dan Witz. Block Party aligns the disparate creative practices of five internationally-based contemporary artists. In doing so, the shared intrinsic presence of themes of isolation, beauty and reflection upon self and surroundings in their works are augmented, inviting new dialectical dialogues and considerations.

Artworks included in the exhibition range from works on canvas, wood, MDF and paper to mixed media sculpture, a large site-specific mural installation and a video presentation.

A showcase of new works on paper by Sixeart will be displayed concurrently in the gallery’s largest project room.

There will be an opening reception for the exhibition on Saturday, November 13 from 6 to 8pm with Boxi and Simon Haas in attendance. The exhibition will run through December 11, 2010.

Boxi (b. 1974 Kent, England) A dark, disillusioned romanticism pervades Boxi’s work; material boundaries are dissolved and perceptions are altered by means of hand cut, multi-layered, often life-sized stencils that offer a comforting solidity within the smoky abstraction of his grey-scale landscapes. In addition to new works on canvas and MDF, he will create an elaborate site-specific installation on the gallery’s main wall.

Recent solo and group shows include Between a Dream and an Excuse, Kunstverein Buchholz, Nordheide (2010), Remap, Ad Gallery, Athens (2009), Urban Art – Collection Reinking, Weserburg Museum for Modern Art, Bremen (2009) and Grey Area, Carmichael Gallery, Los Angeles (2009). He lives and works in Berlin.

Krystian Truth Czaplicki (b. 1984 Wroclaw, Poland) Krystian Truth Czaplicki combines found materials with existing objects large and small to create simple but effective abstract artworks that reveal an astute understanding of architectural and natural structures. He will present a series of new mixed media works on canvas and a slide compilation of the urban installations that have informed his gallery practice.

Recent solo and group shows include Young Creative Poland, London (2009), Experimenta Design, Urban Play, Amsterdam (2008), The 5th Young Triennial, Centre of Poish Sculpture, Oronsko (2008), Truth, BWA Gallery, Sanok (2007), Urban Irony, BWA Gallery, Wroclaw (2007), Transformation, CCA Ujazdowski Castle, Warsaw (2006) and Simplicity, Entropia Gallery, Wroclaw (2006). He lives and works in Wroclaw.

Gregor Gaida (b. 1976 Chorzów, Poland) Gregor Gaida merges timelessly classic ideals with an unquestionably contemporary sensitivity. Characterized by a muted palette and meticulous employment of texture, both his figurative and more abstract expressions feel all but alive. He will present sculptural works from several new series, including Fragments, Kingdom, Drummer and Pissing.

Recent solo and group shows include Summe der Geschichten, Galerie Adler, Frankfurt (2010), Gregor Gaida – Kunst im Foyer, Nolde Stiftung Seebüll Dependance, Berlin (2010), HangART-7, Edition 14 Mal was Deutsches, Hangar-7, Salzburg (2009) and Gaida-Schiela-Kim, Galerie Epikur, Wuppertal (2009). He lives and works in Bremen.

Simon Haas (b. 1984 Los Angeles, USA) Simon Haas’ elegantly executed, subtly hued portraits of himself and others transit to viewers an intensely emotive perspective of various psychological states of being. He will present new oils on canvas and works on paper.

Recent solo and group shows include Instant LA Summer, Carmichael Gallery, Los Angeles (2010), Volume, AT1 Projects, Los Angeles (2010), Manifest Equality (2010) and Solo Show, Untitled Gallery, Los Angeles (2007). He lives and works in Los Angeles.

Dan Witz (b. 1957 Chicago, USA) Dan Witz employs light and darkness to supreme effect in his oil and mixed media works. A glowing warmth pervades each canvas, fashioning a haunting atmosphere that feels at once lonely and comforting. He will present several works from his Nightscapes and Bar Shrines series.

Recent solo shows include New Night Paintings, DFN Gallery, New York (2010), Dark Doings, Carmichael Gallery, Los Angeles (2009), New Street Works, Sid Lee Collective, Amsterdam (2009) and Night Paintings, Stolenspace, London (2008). He lives and works in Brooklyn.

Sixeart (b. 1975 Barcelona, Spain) Sixeart combines psychedelic abstraction and mysterious coded formulas with vividly rendered figuration to produce a highly personal visual language. The childlike innocence and almost hallucinogenic sense of second sight of his work has a dreamlike quality that shows an affinity with Surrealist artists such as Joan Miró, another native of Barcelona. He will present four new works on paper.

Recent solo and group shows include Mundo Animal – Transmutation Intercontinental, A.L.I.C.E. Gallery, Brussels (2010), Booked, Carmichael Gallery, Los Angeles (2010), De Chillida a Sixeart, Galeria Mayoral. Barcelona (2009), Guerreros, N2 Galeria, Barcelona (2009) and Street Art, Tate Modern, London (2008). He lives and works in Barcelona.

About Carmichael Gallery:

Founded in 2007 by husband and wife team Seth and Elisa Carmichael, Carmichael Gallery focuses on a select group of artists breaking ground in painting, mixed media, photography and sculpture. Their annual program consists of a series of solo and group exhibitions that document the progress of these artists.

For information on current, past and upcoming shows, visit www.carmichaelgallery.com. For additional information and press materials on this show, please contact the gallery by email art at carmichaelgallery dot com or call +1 323 939 0600.

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Vladimir Restoin Roitfeld and Andy Valmorbida in collaboration with Giorgio Armani present: “Richard Hambleton New York – The Godfather of street art” (London, UK)

November 1, 2010 , , , , ,

Richard Hambleton

brooklyn-street-art-Richard-Hambleton-The-Dairy-Gallery

Vladimir Restoin Roitfeld and Andy Valmorbida in collaboration with Giorgio Armani present “Richard Hambleton New York –  The Godfather of street art”, an exhibition of works by Richard Hambleton

London, November 2010 – Elusive New York artist Richard Hambleton will be the subject of an exhibition at The Dairy in London, following  highly successful exhibitions in New York, Milan, and Cannes. The exhibition, opening on 18th November, will be curated by Vladimir Restoin Roitfeld and Andy Valmorbida in collaboration with Giorgio Armani.

Richard Hambleton rose to fame in the early 1980’s when like his contemporaries, Jean-Michel Basquiat and Keith Haring, he used the streets of New York, San Francisco, Berlin, Paris, London and Japan as his canvas for visually arresting public art, most notably his “Shadowman” and “Crime Scene” series. Hambleton has now been labelled ‘The Godfather of Street Art’, influencing artists such as Paris based street artist Blek le Rat and English street artist Banksy.

The last influential surviving member of the East Village Art Movement, Hambleton saw what fame and drug use did to his close friends, and for the last 20 years has led a relatively reclusive life on the Lower East Side of Manhattan. Despite a low public profile, Hambleton has continued to create and his works can be found in the permanent collections of The MoMA, the Brooklyn Museum, The Houston Museum of Fine Art, The Check Point Charlie Museum and The Zellermeyer in Berlin; the Andy Warhol Museum, the Austin Museum of Art, the Milwaukee Art Museum, the New Museum of Contemporary Art, the Queens Museum, and Harvard University. He was chosen for the Venice Biennale in 1984.

Giorgio Armani says: “I have long been a fan of Richard Hambleton. Richard’s work is of the streets, and for me stands as a reminder that art in all its forms is first and foremost driven by individual passion and creativity”

Vladimir Restoin Roitfeld and Andy Valmorbida say: “Richard Hambleton’s brush stroke as an artist is genius and is in a league of its own. Most significantly, he is the most important and influential living street artist in the world today, with a story and career that is unparalleled. It is also a privilege for us to collaborate again with Giorgio Armani and we’re pleased to present it in such a prestigious space.”

The Richard Hambleton Exhibition will be open to the public from November 19th to December 3rd. During that time the pop-up gallery at the Dairy, at 7 Wakefield St in London will be open Monday to Friday from 10am to 7pm. Of the 45 pieces, 30 works (including 25 never before seen works) will be for sale.

Moreover, eight custom made light-boxes with photography of Richard Hambleton’s original street art from the early 80’s will be presented.

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Mr. Hush NYC Solo Show “Found” At The Angel Orensanz Foundation (Manhattan, NY)

October 29, 2010 , , , ,

HUSH

Image Courtesy of the Artist

Image Courtesy of the Artist

HUSH’ Solo Show NYC “Found”

Reception: Friday Nov. 19 7 pm 10 pm

Gallery open Nov 20 and 21 from 12 pm to 5 pm

Presented by White Walls San Francisco

Angel Orensanz Foundation For Contemporary Art

172 Norfolk St. New York, NY 10002

For guests list please email:

info@argotandochre.com

Hush’s work has been described as a sensory assault of shape, color, and character. Inspired by the portrayal of the female form in art, the artist builds up and tears down layers of paint and images as he works, “letting the canvas and marks take their own path.” The result is an enigmatic synthesis of anime, pop-infused imagery and graffiti that exposes the conflict between power and decay, innocence and sexuality, and the fusion of Eastern and Western culture. Hush continues to evolve his style with this latest batch of pieces, which merges his early anime and pop-art influenced graffiti technique with an exploration of Romanesque iconographic imagery. The new works are bigger, deeper and richer than anything he has produced to date. About the Artist: Hush is stimulated, influenced and driven by his cross cultural experiences. Having originally trained as a graphic designer and illustrator at Newcastle School of Art and Design, his work has taken him across Asia and Europe, whilst simultaneously developing his prominence as a contemporary artist. Hush now resides in the UK painting in his studio daily. EMAIL: mail@studio-hush.com

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Vincent Michael Gallery Presents: Jordan Seiler Solo Show “Taking From The Tip Jar” (Philadelphia PA)

October 29, 2010 , , , ,

Jordan Seiler
brooklyn-street-art-jordan-seiler-vincent-michael-gallery

After a few years of large scale organizational projects and other collaborative efforts, I am happy to announce I will be opening up my first solo show in 5 years at the Vincent Michael Gallery on November 5th in Philadelphia. New works will include 16 multimedia drawings, a small video installation, and a few street pieces. Anyone familiar with my work knows that some sort of outdoor advertising has to be challenged with anything I do and this show is no exception. All of the drawings are framed in phonebooth advertising structures procured from the streets of NY over the past few months. While I know many of you will not be able to make it down to Philadelphia, the entire catalogue will be available online in the next few days and any inquiries can be directed to the Vincent Michael Gallery.

Thank you kindly for your support and I hope to see some of you in Philadelphia.

Event Details
What: Taking From The Tip Jar: A Solo Exhibition Featuring New Works From Jordan Seiler
Where: Vincent Michael Gallery
1050 N. Hancock St. Suite #63 Philadelphia, PA 19123
When: Exhibition runs November 5th – December 3rd
Opening Reception Friday, November 5th 7PM – 10PM
More information 215.399.1580 x. 704 / International – 1.877.291.1138 or press@vincentmichael.com

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