Carmichael Gallery Presents: “The Uncovering” New Photography by Boogie Plus a Show Case of New Work by M-City (Culver City CA)

Carmichael Gallery

Boogie "Attack" Image Courtsey of the Gallery

Boogie "Attack" Image Courtsey of the Gallery

Carmichael Gallery

THE UNCOVERING

New Photography by Boogie

Carmichael Gallery
5795 Washington Blvd
Culver City, CA 90232
June 5 – July 3, 2010

July 10 – August 7, 2010

Opening Reception: Saturday, July 10, 2010, 7-9pm

For Immediate Release:

Carmichael Gallery is pleased to present THE UNCOVERING, a powerful cross section of new photography by Serbian native Boogie. The exhibition comprises a series of limited edition silver gelatin, chromogenic and archival pigment prints whose thematic material considers the space, sensation and narrative depth between endings and new beginnings.

There will be an opening reception for THE UNCOVERING on Saturday, July 10 from 7 to 9pm with the artist in attendance. The exhibition will run through August 7.

Born and raised in the city of Belgrade, Boogie emerged as a documenter of Yugoslavia’s civil
war of the 1990s, capturing through his lens the realities of the violent rebellion that ransacked the nation around him. These early experiences shaped his intensely sober artistic voice and dark perspective of human existence. Upon moving to New York City in 1998, this attraction to hardship and chaos transitioned to a visual exploration of the streets and homes of Brooklyn, presenting gang members, prostitutes and junkies in an astonishingly honest, familiar manner.

Subsequent journeys have taken him to cities such as Sao Paulo, Tokyo, Istanbul, Cuba, and
Mexico.

THE UNCOVERING is both an extension and a departure from Boogie’s previous bodies of
work, reflecting a new phase in his personal life and professional evolution. Having recently
returned home to Belgrade for the birth of his son, his experimentation with new color palettes in several of his works engenders a potent sense of renewal. The vibrancy of these photographs enhances the dialogue initiated by the breathtaking black and white portraits for which he is more widely recognized.

Boogie’s reach in THE UNCOVERING is broad, but cohesive – images of vandalized property, storm clouds, public housing, youth and the elderly both stand alone and chronicle a more extensive, multi-layered story. As a photographer, Boogie is singular in his ability to remove his presence as the mediator between the subjects of his work and those viewing them from without.

His illumination of the complexity of the human condition without the imposition of his
own ego or ideologies presents a more compelling foundation for the contemplation of his
weighty subject matter and the socio-economic, philosophical and emotional currents that press from beneath.

Boogie currently lives and works between Brooklyn and Belgrade. He has published five
monographs: IT’S ALL GOOD (powerHouse Books, 2006), BOOGIE (powerHouse Books,
2007), SAO PAULO (Upper Playground, 2008), ISTANBUL (Upper Playground, 2008) and
BELGRADE BELONGS TO ME (powerHouse Books, 2008). He has shot for many high profile clients and has been published in world renowned publications, including Time Magazine, The New York Times, Playboy, Rolling Stone, Flaunt, Vibe, Source, Maxim and PDN.

Prior solo exhibitions have taken place in Paris, New York, Tokyo and Istanbul, however Boogie claims that his biggest achievement to date is being a father to Maya and Aleksandar, the two most photographed children in the world.

M-City Image Courtesy of the Gallery

M-City Image Courtesy of the Gallery

a showcase of new work by M-City

Opening Reception

Saturday, July 10 2010

7 – 9 PM

Please RSVP to rsvp at carmichaelgallery dot com
5795 Washington Blvd
Culver City, CA 90232

The exhibition is open to the public through August 7 2010

About Carmichael Gallery:

Carmichael Gallery exhibits works by some of the world’s most exciting emerging contemporary artists, with a focus on narrative and figurative painting, mixed media and sculpture. This is the gallery’s first solo exhibition of photography.

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BLU : Beyond Street Art, “BIG BAG BIG BOOM” (VIDEO)

Tackling the little stuff, Street Artist BLU addresses Evolution, the possible end of all life, and the the Big Bang Theory

Brooklyn-Street-Art-New-Video_Blu

We’re posting this video online just as New York is going to lunch – or more likely, is ordering lunch for delivery because nobody wants to venture out into the crushing heatwave.  This grand opus of animation and ingenious humor deserves the ten minutes you’ll need while crunching on your deli sandwich and potato chips.

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Factory Fresh Gallery Presents: “Among Darkened Woods” A Group Show

Factory Fresh Gallery

Factory Fresh Gallery

Factory Fresh Gallery

Appropriating an image from the opening lines of Dante’s Inferno as visual and thematic source material for the exhibit, the artists in Among Darkened Woods present works that seek to represent the derivative potential of darkness, to probe the obscure, to lend plasticity to shadows and other forms evanescent, to perceive presences and apparitions in that which seems to have disappeared.

While Dante’s infernal quest leads him from the selva oscura of life’s proper path gone astray, as it were, to visions of the most profound reaches of physical suffering, punishment and ceaseless decay, the works here suggest an earlier stopping point, a less hellish locus, a place perhaps only subtly subterranean where forms have not yet dropped into the abyss of a falling apart, evoking instead the ordered calm of a falling away.

Featuring paintings, drawings, sculptures and mixed-media works by Tim Kent,
SHM Kim, Adam Collison, Amanda Nedham, Mary Kate Maher, Monika Zarzeczna
and Paul D’Agostino, and featuring an essay accompaniment by Paul D’Agostino.

Image Courtsey of the Gallery

Image Courtsey of the Gallery

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Pandemic Gallery Presents: “Fuck Don Pablo Pedro”

Don Pablo Pedro

Don Pablo Pedro

Don Pablo Pedro

Image Courtesy of the Gallery

Image Courtesy of the Gallery

Pandemic, established in Williamsburg, Brooklyn in 2009, is an artist-run space dedicated to showing work from up-and-coming, unknown, and well-established talent alike.  Embracing (but not confined to) urban street art, Pandemic is attracted to artists who think outside the confines of conventional normalcy — artists whose fresh concepts and unique visions inspire a broad audience.

Beginning on July 31, 2010, Pandemic will present the work of Don Pablo Pedro.  Don Pablo Pedro draws on the technical conventions of Old Masters such as El Greco and Hieronymus Bosch, and provocatively blurs the lines between perversity and sensuality, sacred and profane, suffering and ecstasy.  Don Pablo Pedro’s work has previously been profiled by P.S.1 and Brooklyn Street Art, and the artist maintains a website at http://donpablopedro.blogspot.com/.

There is no cover charge for this event; we attach a press release with additional details below.  For further information, please contact our Media and Development Director, Megan Canter, at meganecanter@gmail.com (copied here) or by telephone at 973-220-5032.

OPENING SAT. 7/31/10 7-11PM
@ PANDEMIC
37 BROADWAY
BROOKLYN, NY 11211


(L subway to Bedford stop or Q59 bus to Broadway/Wythe)
Gallery open daily 11am-6pm

—-
Pandemic Gallery
37 Broadway between Kent and Wythe
Brooklyn, NY 11211
www.pandemicgallery.com

pandemic logo 1.jpg

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Images of the Week 07.04.10

NYC in summer is always about abundance.  Lots of cheap or free fun available for everybody. For music lovers there is the multitude of free  concerts. For theater there is free Shakespeare in the Park and free outdoor movies in many parks. Foodies have the many street fairs with a cornucopia of deliciously exotic food from everywhere in the world. The sporting sort can play free in the many parks – baseball, volleyball, soccer, Frisbee, tag, hide and seek. This weekend brings parades and fireworks and block parties and hotdog eating contests

For those that love all sorts of arts and street art in particular the city’s streets are also abundant and are talking loudly and singing beautifully, like the mockingbirds at night in the Brooklyn trees.  Recently Swoon and Imminent Disaster are giving us tons of eye candy and food for thought. Over Under is trying his free hand at painting and presenting his nudes, as is Celso. And Chelsea just got a new Jeff Soto.  Well known, well weathered, or well underappreciated, artists continue to call the streets of New York their gallery.

Swoon
Swoon (Photo © Jaime Rojo)

Swoon Detail (Photo © Jaime Rojo)
Swoon Detail (Photo © Jaime Rojo)

Swoon Detail (Photo © Jaime Rojo)
Swoon Detail (Photo © Jaime Rojo)

Swoon Detail (Photo © Jaime Rojo)
Swoon Detail (Photo © Jaime Rojo)

Jeff Soto
Jeff Soto (Photo © Jaime Rojo)

Overunder
Overunder (Photo © Jaime Rojo)

Imminent Disaster
Imminent Disaster (Photo © Jaime Rojo)

Imminent Disaster Detail (Photo © Jaime Rojo)
Imminent Disaster Detail (Photo © Jaime Rojo)

Celso (Photo © Jaime Rojo)
Celso (Photo © Jaime Rojo)

Swoon
Swoon (Photo © Jaime Rojo)

Owl
Owl (Photo © Jaime Rojo)

Swoon
Swoon (Photo © Jaime Rojo)

Swoon Detail (Photo © Jaime Rojo)
Swoon Detail (Photo © Jaime Rojo)

Overunder
Overunder (Photo © Jaime Rojo)

Imminent Disaster
Imminent Disaster (Photo © Jaime Rojo)

TrexNYC
TrexNYC (Photo © Jaime Rojo)

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JMR’s Transition to a Black and White World

JMR’s Transition to a Black and White World

You’ve been seeing a new direction for Brooklyn Street Artist JMR recently. Instead of huge multi-colored abstracts that sometimes contain a portrait within, we have seen a number of smaller black and white wheat-paste portraits. We’d heard that JMR was a doing a new series about white men and their consternation. Understandably that seems like a timely topic. BSA wanted to ask JMR what’s driving this change in direction.

Jim Rizzi (Photo © Jaime Rojo)

Jim Rizzi (Photo © Jaime Rojo)

It took a little bit, but we found JMR. As it turns out, he’s abandoned NYC for the moment and is in a frigid underground vault in Texas, to hear him tell it.

“I am held prisoner to my air conditioning, as the sun burns all vegetation around me to a light umber. No one wanders aimlessly in this climate. It is as if the outside were contaminated by nuclear fallout and my neighbors are holed up in their backyard bunkers.”

Jim Rizzi

Jim Rizzi (Photo © Jaime Rojo)

BSA: So what is going on with these white guys? And why has the human form become clarified and less abstract?
JMR: I haven’t written a cohesive description of what I am doing in ages, and have begun to wonder exactly what that is. Not what to write, but what I am doing. In the push to stay relevant as an artist, there is a fine line between putting your name out, and putting out something relevant.

In a nutshell, ultimately, and I use that word loosely, my goal is to express some sort of emotion in these portraits. I’ve spent much of my artistic career in the dark shadows of abstraction, but to put abstract work out to the general masses seems less affective. A black and white paste-up seems more relatable than an abstract one. Not that I am trying to get people to recognize the humanity around them, because I am not. I am trying to portray some humanity in my art.

Jim Rizzi (Photo © Jaime Rojo)

Jim Rizzi (Photo © Jaime Rojo)

While that explanation was clear enough, you can’t say with certitude that this is where he’ll stay. It may in fact be a transition stage to where JMR is going. He gave a funny sort of series of observations that reveal a funny sort of self-reflective artist who may be at a turning point. He even gave this startlingly clear analogy that sounds a lot like the race for recognition among artists in a city full of artists, everyone following a source of light in hopes of sustenance or recognition.

“I take my daughter to feed these giant carp at the lake nearby and there are hundreds of them (carp, not lakes). When you throw whatever it is you’ve brought to feed them, they frenzy; thrusting their open mouths to the surface in hopes that something falls in. It’s violent. Some fish actually get pushed to the point where their whole bodies are out the water. I can’t help but equate that to all of us, regardless of craft or profession, and what we are aiming to do; Trying to stay at the top of the pile. Just to get those pieces of bread, cereal, stale pretzels, bagels, hotdog buns.”

Jim Rizzi (Photo © Jaime Rojo)

Jim Rizzi (Photo © Jaime Rojo)

Take that for what you may. I’m taking it with an icy cold six-pack of PBR out on the lake. Have a nice Saturday everybody.

JMR

One of JMR’s murals from a more colorful abstract period way back last year. (photo © Jaime Rojo)

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Fun Friday 07.02.10

Fun-Friday

It’s Only Street Art When It’s On the Street

So you might as well move the furniture out on the sidewalk for your 4th of July Bar-B-Que this weekend and enjoy the best of both worlds.  Look, some guests have already arrived!  Pictured below on the Brooklyn street are Veng (RWK), Imminent Disaster, El Sol 25, Yote, and Andrew Michael Ford. Is the beer cold yet?

Andrew-MIchael-Ford-yote-imminent disaster-el-sol- 25-veng-rwk-web

(image © Jaime Rojo)

Let Jimi Put You In the Mood for a Patriotic Weekend

In Manhattan – Street Artist Dennis McNett’s Wild Kingdom Runs 50 Feet of Barney’s Windows

Brooklyn-Street-Art-Dennis_McNett-Barneys-July2010

Brooklyn based artist Dennis McNett totally smashed the windows at Barneys with his imagination. “Passerby’s can see over sized wolf, owl, and skull masks paired with mannequins dressed in evening wear with a backdrop of psychodelic starbursts and swooping wolfbats. Dennis’s woodcut blocks, prints, masks and paper mache sculptures adorn the mannequins and window interiors. His imagery from nature, folklore, mythology, and story telling mixed with the graphic carved wood patterns from wood block prints sets a very unique stage for the store and this part of town.”

Barneys NY Madison Ave. between 60th and 61st through July 12th
They are best seen at night as they have been professionally lit.  Check out Dennis at www.wolfbat.com

Biggie on the Street at 17 – Where Brooklyn At?

You’ll Hear This One At Least ONCE This Weekend

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“Paper Monster Ate That Little Boy” Opening Tonight (PHILA)

Brooklyn-Street-Art-KITTY-PaperMonster-BattleHardened-

Who’s the Paper Monster?

Who’s the Little Boy?

And who are all these ferocious kittens that Paper Monster features on the street and in the studio and gallery, with their piercing sharp stares and barbed wire bangs?  The young NYC street artist isn’t sharing too much about the inner psyche of the creator, but our armchair analyst will only charge you 50 cents to connect the Freudian dots, and it’s worth every penny.

Brooklyn-Street-Art-PaperMonster-2SoloPrevJul

According to the press release for the show opening tonight, “each piece is a beautiful combination of layered imagery, textures and colors conveying themes of love, anger, fear, passion and mystery.” Truth is, Paper Monster has been banging out successively more intricate and polished stencils of these comely ladies, with their alter-ego wild sides, in the quietly  consistent manner of a panther. Once you get past their jet-black razor wire exterior, you find a lawless riot of fluorescent color and shapes, decorative and comic, leaping and pouncing about inside.

Paper Monster Image Courtesy of the Artist
Paper Monster Image Courtesy of the Artist

Enjoy these pics of Paper Monster and his new show, six months in the making. If you are in Philadelphia tonight, stop by and give him a shout out from BSA.

Paper Monster Image Courtesy of the Artist
Paper Monster (Image courtesy of the artist)

Paper Monster Image Courtesy of the Artist
Paper Monster at work. (Image courtesy of the artist)

Brooklyn-Street-Art-PaperMonster-SoloPrevJul

“PaperMonster Ate That Little Boy” running Friday July 2nd to Saturday July 31st

Opening Reception: Friday, July 2nd 6pm-9pm

Vincent Michael Gallery
1050 N. Hancock St. Suite #63
Philadelphia, PA 19147

More information and RSVP Contact: 215.399.1580 x.703 or info@vincentmichael.com

http://papermonster.wordpress.com/

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Elbow Toe Creates Fictions With Little Bits of Shredded Truth

The Street Artist talks about New Collage Series, NPR, and Haiku

Heat waves shimmering
one or two inches
above the pavement.

This is New York right now. Blistering smells of bubbling soot from the street.  Like no other time of the year most of these summer streets are a haven for life and freedom. School’s finally out, few summer jobs are available, and there are more service cuts on the bus and subways.  But in this time of lowered expectations the parks are still open and the free concerts and block parties and parades hint very little at the stress that so many are under.

Elbow Toe

Elbow Toe (Photo © Jaime Rojo)

The Brooklyn artist and poet of the streets whose moniker is Elbow Toe gets up early to “go to work” on the subway, where he rides and draws portraits of his fellow riders in a sketchbook before returning to his studio.  It’s there, in the air-conditioned underground, that he wakes up and re-connects to his city, loosening up the lines so that they can wend and bend freely, and jotting a little text as it manifests.

His impressive body of work continues to grow and develop both on the streets and, in the last couple of years, into galleries on both coasts and across the pond. Recently kicked out of his studio (another New York artist story), he has settled in to working at home on a new collage series using ripped and shredded paper to create quite detailed pieces that from a distance look like paintings.

*****************

BSA: How’s the new studio? Have you done any work in it yet?
Elbow Toe: The new studio is suitable. I lost the last space when the landlord got in a dispute with the owner and forced us all out. I have been in the new space for a couple of months at this point and it has seen it’s fair share of work. I am primarily working on collages.

At this point I have converted part of my residence to a studio. It is a weird mix because we don’t have any walls in our place per se. And I don’t want to ruin the floors so I had to build a wall that could balance on the floor to provide privacy yet let in some light. I have done well over a half dozen collages at this point so the space is pretty broken in. If I had one complaint it would be that I wish I was in a studio building again so that I could just shut the door at the end of the night. As it is, the pieces sort of nag away at me. Who knows, it might make them just that more intimate with my psyche.brooklyn-street-art-elbow-toe-jaime-rojo-2

She’s seen it all. Two of Elbow Toe’s figures stretch from Madonna’s eyes as Elbow Toe adds to MBW (Photo © Jaime Rojo)

BSA: What’s informing your art right now? What’s inspiring you?
Elbow Toe: I have to hold the cards for what is informing me pretty close to my chest, as I am still engrossed in working out the imagery for the show. But I can say that I spent the better part of a year working out the boundaries and technical hurdles in my approach to collage. Though I am doing some portraits still, the new works are exploring narrative frameworks. I would say that I am creating fictions with a little bit of truth.  I do my best to let my imagination play with the hopes that it know intuitively what stories I want to tell.

Elbow Toe

Elbow Toe (Photo © Jaime Rojo)

BSA: You touch on political and social themes in your art. Are you a news junkie?
Elbow Toe: I am a news junkie. It certainly doesn’t help that I get into bouts of listening to NPR for 8 – 10 hours a day. It really makes for great light small talk in social situations, let me tell you.

brooklyn-street-art-elbow-toe-jaime-rojo-7

Elbow Toe (Photo © Jaime Rojo)

BSA: What’s your best way to get news right now? Radio, TV, or internet?
Elbow Toe: I primarily stream NPR in on my computer.

BSA: What’s the environment that you like to create in your studio while you work?
Elbow Toe: When I start a piece I like the studio to be pristine. By the time I have completed the piece there is very little space to stance, and it is quite visually painful as there is basically a storm of color all over the floor. I generally get so pulled into the process that the chaos works to my advantage as I tend to know where every piece of paper is amidst the chaos. The real problem that arises is when I set my  keys down in the studio by accident.

Elbow Toe

Elbow Toe (Photo © Jaime Rojo)

BSA: You’ve referred to classic and modern art masters in your work. Is there anybody in the current crop of contemporary artists who do you admire and with whom you would like to collaborate on a piece with?
Elbow Toe:
There are a lot of artists out there that I really admire. I am always looking. Cutting up Art Forum magazines for my collages keeps introducing new artists to me. As much as I like their work, I am really not that interested in collaborating with any of them. I prefer honing my own vision.brooklyn-street-art-elbow-toe-jaime-rojo-5

Elbow Toe (Photo © Jaime Rojo)

BSA: You are known to write a bit of poetry – what brings it forth? People on the street? Books you read? Music?
Elbow Toe: The quotes that I write around town… They tend to just well up from somewhere inside me. I go draw (in my sketchbook) on the subway in the mornings to warm up, and when I really drop into the work, they just sort of present themselves.

brooklyn-street-art-elbow-toe-jaime-rojo-6

Elbow Toe (Photo © Jaime Rojo)
Elbow Toe

Elbow Toe (Photo © Jaime Rojo)

BSA: Who is your favorite poet? What resonates about their work?
Elbow Toe: I like the Haiku masters Basho, Buson and Issa. There is such a compactness to the form. And the work is so humble.

I have been a fan of Sharon Olds for some time. There is such a vocal quality to her work. The rhythm is so strong that it completes the ideas perfectly that she is conveying. A particular favorite book of hers is The Father. Amazing.

Elbow Toe

Elbow Toe (Photo © Jaime Rojo)

Elbow Toe (Photo © Jaime Rojo)

Elbow Toe (Photo © Jaime Rojo)

You can see Elbow Toe’s newest piece tonight at the Perry Rubenstein Gallery in a collage based group show, “Shred”. See the press release and his piece HERE.

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San Diego Museum of Contemporary Art Presents: “Viva La Revolucion: A Dialogue with the Urban Landscape” Featuring works by Prominent 20 Street Artists from Eight Countries

San Diego Museum for Contemporary Art

Date Farmers, Me No Sugar, 2008, mixed media and collage on found metal. Courtesy of Jonathan LeVine Gallery

Date Farmers, Me No Sugar, 2008, mixed media and collage on found metal. Courtesy of Jonathan LeVine Gallery

For the first time in history, the majority of the world’s population lives in urban communities. The urban setting and its corresponding lifestyle are major sources of inspiration in contemporary culture. This is an historic revolution in visual culture, in which the codes and icons of the everyday—found on the streets in graffiti, signage, waste, tattoos, advertising, and graphic design—have been appropriated and used as an integral part of contemporary art-making. The urban landscape inspires and serves as both a platform for innovation and a vehicle for expression for many artists. The city itself, its buildings, vehicles, people, and advertisements, are not only the surface where the art is applied. The city fuels the practice.

A multifaceted exhibition that explores the dialogue between artists and the urban landscape, Viva la Revolución: A Dialogue with the Urban Landscape features works both in the Museum’s galleries as well as at public sites throughout downtown San Diego.

The exhibition includes a diverse range of 20 artists from 8 countries that are linked together by how their work addresses urban issues — Akay (Sweden), Banksy (U.K.), Blu (Italy), Mark Bradford (U.S.), William Cordova (U.S.), Date Farmers (U.S.), Stephan Doitschinoff [CALMA] (Brazil), Dr. Lakra (Mexico), Dzine (U.S.), David Ellis (U.S.), FAILE (U.S.), Shepard Fairey (U.S.), Invader (France), JR (France), Barry McGee (U.S.), Ryan McGinness (U.S.), Moris (Mexico), Os Gemeos (Brazil), Swoon (U.S.), and Vhils (Portugal).

Viva la Revolución: A Dialogue with the Urban Landscape is curated by guest curator Pedro Alonzo and MCASD Associate Curator Lucía Sanromán.

Members Opening: Viva la Revolucion

Saturday, July 17 at MCASD Downtown, Jacobs Building
7-10 PM
Members: Free
General: $20

1100 & 1001 Kettner Boulevard
(between Broadway and B Street)
San Diego, CA 92101
858 454 3541

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Mighty Tanaka Presents: “City Scapes” A Four Person Photography Show Featuring the Works of Vinny Cornelly, Mari Keeler, Shane Perez & Bryan Raughton

Mighty Tanaka

Mighty Tanaka

Mighty Tanaka

Mighty Tanaka is excited to present our next show entitled CityScapes, a four person photography show that delves into and documents a variety of perspectives in and around NYC.  Featuring the work of Vinny Cornelli, Mari Keeler, Shane Perez & Bryan Raughton, each photographer individually deciphers their own unique interpretation of the City through a myriad of techniques and inspirations.

CityScapes invites the visitor to explore the seemingly ubiquitous and familiar environments of New York City through the eyes of the photographers, as they excavate new vantage points through their exceptional observations.  From grand panoramas to the subtle details, the show looks to provide the viewer with an in depth examination of the urban environment that most people are likely to overlook.

From multiple exposure photography and models posing in precarious locations to textured urban environments and the grimy gems of the City, this New Century art exhibition aims to uncover the hidden treasures constantly found on the streets of NYC and fuse them within our daily lives.

Featuring the photography of:
-Vinny Cornelli
-Mari Keeler
-Shane Perez
-Bryan Raughton

OPENING RECEPTION:
Friday, July 16, 2010 – 6:00PM-9:00PM, and closing August 6, 2010

Mighty Tanaka
68 Jay St., Suite 416 (F Train to York St.)
Brooklyn, NY 11201
Hours: M-F 12PM to 7PM, weekends by appointment only
Office: 718.596.8781
Email: alex@mightytanaka.com
Web: http://www.mightytanaka.com <http://www.mightytanaka.com/>;

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