All posts tagged: Thundercut

Electric Windows: Thundercut and Street Art in “North Brooklyn”

Electric Windows: Thundercut and Street Art in “North Brooklyn”

Together with new neighbors and old friends from back in the city Thundercut are steadily creating a cultural festival built around one of their first loves: Street Art.

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The Street Art couple known as Thundercut are not the first Brooklyn artists to head to Beacon, New York, a picturesque phoenix on the Hudson River 59 miles north of Grand Central Station. Kalene Rivers and Dan Weise are just two of the most visionary and fun to talk with.

Once a town known for it’s hat making, Beacon (pop. 16,000) had a reputation as a sketchy drug and crime ridden place when Dan and Kalene were growing up in the Hudson Valley during the 80s and 90s. When the Dia Arts Foundation (also of Dia:Chelsea in Manhattan) renovated a 34,000 sf former factory in Beacon to create Dia:Beacon and to house a collection of Warhol paintings, hulking Richard Serra sculptures, and fluorescent Dan Flavin monuments, among other post 1960 art, interest grew in the town and an artist community largely from New York began to blossom. Many of the original artists who had brought a bohemian caché to rundown neighborhoods like Williamsburg, Greenpoint, and Red Hook in Brooklyn relocated to Beacon as their neighborhoods blanded in the mid 2000s. Much like those original artist enclaves, Beacon has become home to artist collectives, house parties, and experimentation.

Tina Darling poses in front of her work at Electric Windows (all photos courtesy and copyright of Thundercut)

Tina Darling poses in front of her work at Electric Windows (all photos courtesy and copyright of Thundercut)

While DIA was an important catalyst when it opened in 2003, Dan says the new residents brought a creative community that grew organically in it’s own direction.

“The people that have moved here have a very DIY spirit and have created something very special that continues to reinvent itself each year,” says Dan. In addition to Dan and Kalene opening their own gallery, Open Space, which shows fine art by many friends and artists in the street art scene, they recount inititiatives by neighbors who organize live concerts, have annual open studio events, host drawing nights at home, and began non-art related groups like soccer and ping pong clubs. Open Space itself has hosted a series of comedy nights that play to packed houses.

Says Dan, “If someone sees something missing in the community, they try to make it happen.”

Begun as a place to house their graphic design business, Open Space took root as a gallery and a community gathering spot. Explains Kalene, “We are both very passionate about giving something back to the community, from bringing new artists to show in the gallery, to organizing events like Electric Windows, these are things that we think are great and we are excited to share them with the town.”

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Which brings us to the third year of Electric Windows, a project that fills the eyes of a moribund electric blanket factory with new canvasses painted live on the street by artists while the public mills about. Now in it’s third year, with thirty artists, three buildings and live performances, EW is organized with their neighbors Jon Miles, Jeff Ashey and Nicole Romano.  With support from the mayor, a grant from the county arts council, donations from businesses of supplies and money, and even neighbors who are opening their homes to house the visiting artists, Electric Windows is thoroughly a community celebrating the creative spirit and the talent of Street Artists. The artists are traveling from Australia, Portland, San Francisco, St Louis, Milwaukee, New Jersey, and of course, Brooklyn without compensation and are all doing it for the love of the project.

Thundercut at work against a backdrop of lush Hudson Valley trees (© Thundercut)

Thundercut at work against a backdrop of lush Hudson Valley trees (© Thundercut)

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Brooklyn Street Art: How did the Electric Windows project first develop?
Dan Weise:
The Electric Windows building is what we see when we look out of the windows of Open Space. It is a beautiful turn-of-the-century factory building which, when we first got the space, still had the partially broken glass windows in the frames. It was a postcard for urban decay and having just moved up from Brooklyn, felt like home. Shortly after we opened the gallery, the owner removed all the glass and installed grey plywood window protection in its place. This was far from an improvement in our opinion, so we started discussing what could be done to bring life back to the building. This is when we began seriously talking about the idea of “Electric Windows”.

Our neighbors at the time, an art store named Burlock Home, really loved the idea and were on board to help make it happen. The four of us teamed up and put the whole project together in three months.

Elbow Toe returns this year to Electric Windows (© Thundercut)

Brooklyn Street Artist Elbow Toe returns this year to Electric Windows (© Thundercut)

BSA: This year features 3 buildings, instead of one.  Do you have enough artists?
Kalene Rivers:
We are excited about expanding the project to include more locations in the same area and all surfaces are accounted for. Everyday we think about how lucky we are to know so many incredibly talented artists and we just keep meeting more and more. Not only are they talented but they are amazing friends willing to donate their time and talents to events like Electric Windows for the love of making art and supporting positive projects.

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BSA: Street Art is normally associated with large metropolitan areas. How does Beacon fit in to the equation?
Dan:
Historically, Beacon was a town of manufacturing and the evidence still remains. There are some really phenomenal factories here in town, some vacant, some in the process of renovations and others like the Nabisco Factory, which now houses DIA, have been transformed into something new. I think this helps bring a bit of an urban feel to a quaint little upstate town. Also, when we moved up here we realized that not many people even knew about Street Art. This being the something that we are both very passionate about we wanted to open the gallery and share this world with people beyond the Bronx. Open Space Gallery was formed, Electric Windows was conceived, and slowly the infiltration has begun!

Alison from PMP shows kids how to screenprint (© Thundercut)

Alison from PMP shows kids how to screenprint (© Thundercut)

BSA: Would you say most of these artists are Street Artists? Or are there also graffiti artists, fine artists….
Kalene:
I would say that most of the artists are Street Artists but there certainly is a good group of graffiti and fine artists in the mix. Of course the first people we think to invite to the project are friends. Being involved in the Street Art scene for seven years means that these are the people we know best. However, it is wonderful to work with a variety of people from different backgrounds. The artists have to be able to paint big and fast so our selection of qualified participants is pretty limited to a certain kind of artist.

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BSA: What’s your favorite part of the event?
Dan:
Well, after we stress out for months planning and trying to take care of all the details, it is great to look up and see it all in action. Music filling the air, fumes wafting by, people admiring the amazing murals being created, children laughing and dancing. That is when it feels like it has all been worth it. But the event is just the beginning once the crowds leave and the art has been installed the projects gives back to the community, to visitors and to us each and every day.

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Returning Artists for Electric Windows: Buxtonia, BoogieRez, Chris Stain, Depoe, Elbow Toe, Mr Kiji, Michael De Feo, Peat Wollaeger, Rick Price, Ron English

New Artists for 2010: Big Foot, Cern, Chor Boogie, Chris Yormick, Elia Gurna, Erick Otto, Eugene Good, Faust, Gaia, Joe Iurato, Kid Zoom, Logan Hicks, Lotem & Aviv, Paper Monster, Ryan Bubnis, Ryan Williams, Skewville, Thundercut

Daryll Peirce at Electric Windows (photo © Thundercut)

Daryll Peirce at Electric Windows (photo © Thundercut)

This year’s event, which includes two days of preparation by the artists, a one-day exhibition and street fair, music and dancing by M*POWER ELITE TEAM, live screen printing by Buxtonia, and an Open Space after-party, is expected to draw approximately 5,000 people to Beacon’s Main Street corridor.

The line-up of live music at ELECTRIC WINDOWS includes: Ben Neill, Aabaraki, Hart Costa, DJ Birds in the Building, DJ Bobby Collins, DJ Krisis, Dr. Ambassador, Gold Monkey, and Scambler Seequill.

See Chor Boogie's "Romanticism" and other works by Electric Windows at Open Space online by clicking this picture.

See Chor Boogie’s “Romanticism” and other works by Electric Windows artists at Open Space online by clicking this picture.

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Electric Windows Beacon

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Welcome to the Jungle: HELLBENT’s Wild Kingdom

Welcome to the Jungle: HELLBENT’s Wild Kingdom

The self-styled punk rock street artist in the studio PREPPING FOR HIS PARTICIPATION IN AD HOC ART’S “WILLOUGHBY WINDOWS V 2.0”

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Welcome to the Jungle; Hellbent’s Wild Kingdom at Willoughby  VWindows 2.0

For the second year in a row, Ad Hoc is curating a block of defunct store window displays in a busted part of downtown Brooklyn with a series of installations by street artists. Opening officially tomorrow afternoon, the project brings to life a moribund block of 13 storefronts with 14 artists, each of whom have conjured themes from their imagination. A proactive public-friendly venture, WWII is yet another example of artists giving freely of their time and resources to encourage  conversations and add color and character to our public space.


A soon to be hand carved hummingbird by Hellbent in the studio earlier this week. (photo © Jaime Rojo)

This year sagacious smart-mouth HELLBENT is bringing his set-designing skills, which are many, to bear upon an abandoned storefront. In what he describes as a nod to the wild untamed nature of urban living, street art, graffiti culture, and the original wild kingdom, Hellbent’s ferocious animals rage and hiss at viewers from deep inside a lush field of plastic vegetation. The backdrop is a myriad of psychedelic dripping wall flowers and a BP oil spill of black industrial soot.

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In the studio, one of Hellbent’s ferocious hand carved snakes poses in advance of the show before a multi-layered colorful stencil background. (photo © Jaime Rojo)

The elephant, snakes, and hummingbirds are current favorites of Hellbent. To create heft and stability, he glued 2 layers of luan board together before sketching out the shapes and jigsawing them. The black painted surface is then carved out with a power drill and a lot more drill bits than you can imagine – as they only last 5-10 minutes before drilling.  “It cost me over $150 in drill bits – because they wear out so fast doing this kind of work. I was chasing these drill bits around town and I sold out every hardware store in the immediate area getting these.”

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Hellbent, on his knees carving the 7 foot tall elephant, “I’m just focusing on nature; the natural. Since graff is a predominately urban thing and we forget about animals and the wild, it’s a way to bring them back into the urban setting. They are like animals that are stuck in the city, like many people are.” (photo © Jaime Rojo)

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A peek at the “ANGRY ELEPHANT”, peeking back at you. Hellbent, “These are kind of menacing animals… it feeds back into the graffiti and street art aggressive nature, the determination to get your work out.  There is a lot of machismo out there so this work is kind of riffing on that. Like my name – it’s a play on words and on other themes – it sounds really fierce but it’s done in bubble letters, or a cursive hand, or in pastel colors – stuff like that.” (photo © Jaime Rojo)

Hellbent pimped out the lush vegetation in his diarama for the animals to frolic in.

Hellbent pimped out the lush vegetation in his diorama for the animals to frolic in.

The original model for the installation was quite a bit smaller than the final project installation.

The original model for the installation was quite a bit smaller than the final project installation.

So, what’s it like working on this larger scale? “It’s nice. It’s overwhelming.  It’s a little overwhelming, a challenge, you know.  I learn stuff as I go. I’ve learned stuff definitely. For example, how much stuff and materials it takes to make something like this.  I got a lot of stuff donated from friends, and a number of friends helped me figure this out – I definitely didn’t do this by myself.”

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Willoughby Windows V 2.0 opens Friday, May 14th, 2-6pm and runs through the summer.

Artists include C. Damage, Chris Mendoza & Pablo Powers, Daryll Peirce, Faust, Hellbent, Jef Aerosol, Joe Iurato, Laura Lee Gulledge, LogikOne, Ron English, Skewville, and Thundercut.

106 Willoughby Street (not Ave), Brooklyn, NY 11201
Downtown Brooklyn

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Punk Populism, Collectivism, and a “Murder Lounge” at Fountain

Fountain New York 2010 Art Fair at Pier 66

These are not heady times, but neither are they maudlin. We’re just getting really focused on some things that are a bit more consequential.

logo_logo_round_normalIf the Whitney Biennial 2010 is taking hits for being restrained due to budgetary cuts and the Armory is criticized for being overblown, you could say the Fountain show is optimized for impact.  Now in it’s 4th year, there wasn’t any fatty hype that needed to be trimmed. With some of the machine-fog of a bubbled art market clearing, it’s not surprising that there are some strong voices here.

Fountain for me is a kind of raw, dense, and measured survey of the moment, and curator David Kesting steers this 10,000 sf. ship of serious mis-content with an uncanny skill for cutting out the flim-flam.  Herding cats can be easier than directing artists, and a fair number of these felines may border on feral, but the bow is pointed in a surprisingly assured direction. Because of it’s outsider billing you could expect anarchy here but in many ways this collection of 20 or so galleries, collectives, and projects can be rather unified.

And it couldn’t possibly be more thoughtful – Whether it is a Swoon benefit rep speaking earnestly about sustainable communities, La Familia’s co-founder Jennifer Garcia explaining their nearly 50-member collective’s contemplation of the definition of family, Gregg Haberny’s  hyper-wrought stabs at oil oligarchy and hypocrisy in general, street artist Zeus’ dripping corporate logos, or Dave Tree’s shovel-blunt criticisms of agribusiness’s seedless produce, you get the idea that somebody is actually studying the underbelly.  All this frankness is refreshingly hopeful and many pieces are downright fun.  But if these are the artists in the margins that portend our future, we may be heading for a cultural awakening and radical realignment of society.

Greg Haberny (photo ©Steven P. Harrington)

The Guns & Roses album by this name came out the same year as the eco-disaster Exxon Valdez, according to artist Greg Haberny, who is showing for at least his second year here and is a favorite at Leo Kesting Gallery. (photo ©Steven P. Harrington)

Greg Haberny (photo ©Steven P. Harrington)

An artist working in a schizophrenic style, Greg Haberny says, “If I’m off the hook emotionally and not at rest I let my body just go into it and I continue to work in that mode.” Does it feel dangerous? “Yeah, but I love it” (photo ©Steven P. Harrington)

So THAT's how he gets so much energy! Greg Haberny's reworking of a logo reminds me of rollerskating at The Roxy! (photo ©Steven P. Harrington)

So THAT’s how he gets so much energy! Greg Haberny’s reworking of a logo may remind SOME people of of rollerskating at The Roxy in the 1990’s.  (photo ©Steven P. Harrington)

Greg Haberny (photo ©Steven P. Harrington)

” A lot of people come in and say, ‘Oh, it’s street art’ and I’m like ‘no, it isn’t.’ It basically camouflages itself as that. In actuality it is everything you’re not supposed to say.”  (A reworked and shotgunned Mobil sign by Greg Haberny) (photo ©Steven P. Harrington)

Swoon (photo ©Steven P. Harrington)

New York street artist Swoon has a number of pieces in the booth that is raising money for Idea For the Here and Now, a group exhibition of limited edition prints to benefit Transformazium, an emerging collaborative arts center in Braddock, Pennsylvania. (photo ©Steven P. Harrington)

Swoon (photo ©Steven P. Harrington)

Swoon (photo ©Steven P. Harrington)

We Are Familia (photo ©Steven P. Harrington)

Jennifer Garcia, co-founder of the project “We Are Familia”, “It is a collective of about 50 creative individuals from all disciplines. Our main project is this keepsake box project. Each box is made from recycled surplus materials and each is a collaboration of all of the members of the collective. Every keepsake box has completely unique contents and every form is completely unique and all are built a different way.” (photo ©Steven P. Harrington)

(photo ©Steven P. Harrington)

Jennifer thumbs through the contents of one of the Keepsakes, “The outside of this box was done by Fabian, Bedolla, and myself and then inside the box is 30-40 pieces of work.  It pretty amazing actually.  All the work is based on the concept of family.  Every person was allowed to interpret family however they wished, so there is just an enormous range of stuff in here; video, photography, print, zines, paintings, drawings, photographs.” (photo ©Steven P. Harrington)

Part of La Familia, street art duo Thundercut exhibits this 3-D woodcut shadowbox (photo ©Steven P. Harrington)

Part of la familia, the street art duo Thundercut is exhibiting this 3-D woodcut shadowbox (photo ©Steven P. Harrington)

Clowning by Miguel Paredes (photo ©Steven P. Harrington)

Clowning by Miguel Paredes, a Miami artist who is showcasing his “Los Niños” series, a collection in which he uses his children as the subjects in an array of startling yet beautiful paintings. The series depicts an unknown world of the 21st century shown through Paredes’ unique multi-media slant on the art world.  (photo ©Steven P. Harrington)

Miguel Paredes collab with 2ESAE and SKI from Destroy & Rebuild (photo ©Steven P. Harrington)

Miguel Paredes collaborated on a few pieces with New York based graffiti artists SKI & 2ESAE of Destroy & Rebuild (photo ©Steven P. Harrington)

Doug Groupp clowning around at the Open Ground booth (photo ©Steven P. Harrington)

Doug Groupp clowning around at the Open Ground booth  (photo ©Steven P. Harrington)

Emily Bicht uses cutouts and imagery of domesticity on this wall in the Open Ground collective's booth (photo ©Steven P. Harrington)

Emily Bicht uses cutouts and imagery of domesticity and luchadors on this wall in the Open Ground collective’s booth (photo ©Steven P. Harrington)

Subtexture (photo ©Steven P. Harrington)

Subtexture is the moniker of this artist in the “Murder Lounge” in the hull of the boat. “They were throwing away all these “sidewalk closed” old signs.  A few of them were really knarly, really chewed up. And I liked them. So I was developing this illustration style of projecting my photos and tracing them off, creating line drawings and bringing them into Illustrator and colorizing – I did a whole series like that.” (photo ©Steven P. Harrington)

Subtexture (photo ©Steven P. Harrington)

Sorry for the blurriness of this pic – “Xerox transfers – a whole series where I’ve been shooting shadows cast by street-signs. After the transfer I’ve been using steel wool and water just to distress them,” Subtexture (photo ©Steven P. Harrington)

Matthew Craven from the Nudashank Gallery booth (Baltimore) (photo ©Steven P. Harrington)

Matthew Craven from the Nudashank Gallery booth (Baltimore) (photo ©Steven P. Harrington)

Dave Tree (photo ©Steven P. Harrington)

Dave Tree did a number of pieces on shovels (and one wheelbarrow) called “The New American Dustbowl” series. “They are peasants from all around the world and the shovel is an international tool you’ll find everywhere. It’s not just about America, it’s about tampering with the whole process, genetic engineering, cross pollination, and seedless crops. I think that if we are going to survive we have to go back to a personal relationship with the land,” says the artist. (photo ©Steven P. Harrington)

Dave Tree (photo ©Steven P. Harrington)

“Everybody should be growing food somehow.  When I grew up my mother always had a garden.  My grandmother was part Mi’kmaq Indian so I got an appreciation of that. When I was confirmed, she gave me a tree,” Dave Tree. (by the way, Dave Tree is his “rock name”, according to the artist.) (photo ©Steven P. Harrington)

Gawker

Gawker Artists are showing this “Stripping Pen” painting by Steve Ellis, a portrait of downtown nightlife personality Amanda Lepore. (photo ©Steven P. Harrington)

ZEVS (photo ©Steven P. Harrington)

Well known Parisian street artist ZEUS has two canvasses in his typical style of dripping. Habib Diab, of Galerie Zeitgeist explains that the process is called “Liquidating.” (photo ©Steven P. Harrington)

ZEVs (photo ©Steven P. Harrington)

Travelling around the world to malign corporate logos and messages, ZEUs refers to his work as “Visual Attacking”, and sometimes includes “Visual Kidnapping” (photo ©Steven P. Harrington)

The projects in Fountain New York 2010 include NYC based collective The Art Bazaar, Christina Ray – Swoon Benefit for the Braddock PA Studios, Leo Kesting Gallery from New York, Galerie Zeitgeist from Paris, the Brooklyn based project Open Ground, Baltimore based Nudashank Gallery, We-Are-Familia artists collective which will be displaying their keep-sake boxes with work from Whitney Biennale 2010 artist Rashaad Newsome, LA based website ArtSlant, Shelter Island Projects Boltax Gallery and Sara Nightingale Gallery, CREON gallery, UK based Holster Projects and artists installations by: Alison Berkoy, Miguel Parades, Seth Mathurin, Temporary States and Gawker Artists.

Fountain NY 2010
Pier 66 at 26th St in Hudson River Park NY, NY 10011

Telephone: 917.650.3760
Email: info@fountainexhibit.com
Website: http://fountainexhibit.com
Dates: March 4-7; 11am–7pm


Tranformazium

Amanda Lepore “Cotton Candy”

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Pufferella Takes It Kinda Personal: “I know You Are But What Am I”

Pufferella Takes It Kinda Personal: “I know You Are But What Am I”

Factory Fresh Presents: Pufferella “I know You Are But What Am I” and Josh Mccutchen “Polymetrochromanticism”

It’s only a one-week show folks, and Adam has built a sit-n-spin ride that will make you blow all that Genesee Cream Ale like Linda Blair around the front gallery, so you don’t want to miss this opening!

 

Wanna Ride? Created by Ad Deville for Pufferella (photo © Jaime Rojo)

Wanna Ride? A sit-n-spin for four created by Ad Deville for Pufferella (photo © Jaime Rojo)

Before we go to the show, a little background; Street Artist Pufferella has played a pivotal role in the New York Street Art scene by running Orchard Street Art Gallery for 7 years with Ad Deville on the Lower East Side of Manhattan, opening the doors and clearing the way for many aspiring graffiti writers and street artists to show their work in a new public setting, many for the first time.

After losing their lease due to greedy landlords, they moved to Bushwick in Summer 2008 to open Factory Fresh, another gallery that opened it’s arms to emerging and better-known street artists and fine artists.  On her own, Pufferella has quietly established her own fine art work, consisting primarily of sewn pieces that may be more traditional flat “canvasses” or full-blown soft sculptures.

 

Pufferella

“That sewing machine is like my baby,” Pufferella (photo © Jaime Rojo)

Taking a break from the sewing machine, Pufferella shows us the inner sanctum of her office at Factory Fresh, which is carefully hung with fabric pieces for the show, effectively blocking all eyes from seeing in the window or over the counter.

The collection of new pieces are brightly colorful, boldly warm. The shiny solid shapes and figures are stiffly posed in simple arrangements, floating in awkward proximity to one another, creating a momentary scene or flash of action.  Sewn on lush fabrics, they can take special importance because of the spareness in number and bluntness of geometry.

It’s when these pieces are finished and seen together as a group that Pufferella can get overwhelmed with their significance and she questions if she has been too open as an artist.  Speaking about her art and her life, a dual set of impulses emerge – frequently warring with one another.  It may be this ongoing conflict that gives many of the pieces a raw energy that is captured in action.

Brooklyn Street Art: I don’t see as much sexual activity in this show as I thought I would.
Pufferella:
Oh, yeah?  There’s I’d say a good third of the show has those themes. There are some other things going on. Like the tigers!  They are so cute I want to take them home with me.

 

Pufferella

Two new tigers hanging out by Pufferella (photo © Jaime Rojo)

Brooklyn Street Art: So, about these various couples in positions… do you like to imagine sexual relations in unusual places?
Pufferella:
I think these are all personal things.  Stuff I’ve done or things I think about.  I’m very private but I’d say I’m a little wild in certain places.

Brooklyn Street Art: Well, this is the thing; You feel like it is very private and yet you are holding an exposition of it in a very public way.
Pufferella:
Isn’t that what art is? Aren’t you supposed to put your soul into it? If I was like, “what am I doing?” then I would produce graphic design.  So for me it is that pure.  I’m not doing it to sell it, necessarily.  So that’s why it’s like, “I think it would be funny if cotton candy fell in love with carrot.”

 

Hanky-panky in the castle with the prince. Pufferella (photo © Jaime Rojo)

A little hanky-panky in the castle with the prince. Pufferella (photo © Jaime Rojo)

Brooklyn Street Art: Do you ever have problems or fights with your sewing machine?
Pufferella:
Yeah, I mean, I have to oil it, take care of it. I know what the problems are. That sewing machine is like my baby.

When stuff falls out of place, like the pins fall out or I get sliced by stuff, I get pissed. Like when stuff moves and you get a ripple and you have to go back… I spend a lot of time fixing stuff.  But I also know what I’m doing wrong.  There’s a backing that I’m supposed to put on all of this and my mom gives it to me.  She’s like, “Why aren’t you using this?” but I don’t like the way it comes out.  It comes out so “crafty”.

So I like it to be a little messed up.  Like those kinks and things, I think for me, are what really keeps it “art”. I don’t know.

Brooklyn Street Art: So it’s an effect that you don’t like when you see it, like it has too much of a “finished” quality.
Pufferella:
Well, I come from quilters too, and I went to art school and they didn’t because they were farm people who made beautiful quilts, to keep them warm, and they did them nicely.  So, I try to differentiate.  I know what that (quilting) is, and I’ve tried but I’ve come close.

Brooklyn Street Art: You are afraid of becoming too “crafty”?
Pufferella:
Definitely. I think people expect this work to be “craft”. It’s like “appliqué”  – like what’s the defining line between me and appliqué?  Very little, but I’m hanging on to it.

Brooklyn Street Art: Right, there is a fine line… where suddenly someone is saying, “Can you make a pillow for me?”
Pufferella:
And I have done that. Like I did Abe Lincoln Jr.’s bird. But I made it poop and poop-balls came out of it. Yeah the other thing that makes it “art” is the idea.  I think when people make quilts they look at patterns.

 

A Cat and Dog scene from Pufferella's 2005 show at Pink Pony (Image courtesy Pufferella)

A Cat and Dog scene from Pufferella’s 2005 show at Pink Pony (Image courtesy Pufferella)

Brooklyn Street Art: Some of these themes are related to circus or performance or childhood fantasy?
Pufferella:
Yeah, I guess that I feel like it is always coming back to those things. Like my 2005 show at Pink Pony, where I made a circus.  I guess that is just what I think about a lot.  Funny, carnivale, freaks.  I feel like I’m very normal on the outside but very weird on the inside.

Brooklyn Street Art: Can you give me three adjectives?
Pufferella:
For me?

Brooklyn Street Art: Don’t think about it.
Pufferella:
Shiny. Giggly. Dark.

 

Pufferella (photo © Jaime Rojo)

More action on the fairgrounds. Pufferella (photo © Jaime Rojo)

Brooklyn Street Art: Okay.
Pufferella:
Like I think there is that dark humor to everything.

Brooklyn Street Art: Like “Funhouse” humor.
Pufferella:
Yeah.

Brooklyn Street Art: Did you go to state fairs, or county fairs when you were a kid?
Pufferella:
Yes, and I think I have that dual nature because my parents were raised on farms, but then they moved and raised us in a different life. We traveled and did all these things that they didn’t really do. So I think there is that dual thing.  Like sometimes they were having us milk cows but then taking us to New York City.  It was always that way.  I grew up in Morristown, New Jersey, which is just outside New York.  I did the whole club thing at 16, but I had these roots where I would go back to Michigan and see my Grandma.

 

"The Perfect Wife" by Pufferella (photo © Jaime Rojo)

“The Perfect Wife” by Pufferella (photo © Jaime Rojo)

Brooklyn Street Art: Did you tell me this is the ideal woman?
Pufferella: “The Perfect Wife” Yeah, that piece is about how I don’t feel like I get heard a lot of times. Like I have to say stuff a bazillion times. I might as well be like a video game playing and I might as well have my shirt off.  That’s the whole thing with guys. Like I might as well just be serving drinks, playing music, with the mute button on.

 

Pufferella (photo © Jaime Rojo)

Pufferella (photo © Jaime Rojo)

Brooklyn Street Art: What about this powerful image? Can you describe her?
Pufferella: “You Must Be This Tall To Ride” – this porn pose, like she is stripper dancing, but giving you a rule. It’s like a sign for entering an amusement park ride.  So the top of the leg would indicate the height the person must be, and then the other meaning could be for sex.  Like it could say “to ride me”, but it doesn’t.  That one came about from preparing for a show I was supposed to do with Thundercut and Gaëtane (Michaux), but it got cancelled.  So we were all supposed to do a sign.

Pufferella

“You Must Be This Tall To Ride”, Pufferella (photo © Jaime Rojo)

Brooklyn Street Art: So it is this “come-on” pose coupled with this rejection at the same time.
Pufferella:
It is, isn’t it? It could be used for a boy or a girl. She’s very bold.  I think that’s the boldest piece I’ve probably done, with all that hair.

Detail

Detail from “You Must Be This Tall To Ride”, Pufferella (photo © Jaime Rojo)

Brooklyn Street Art: It’s full of energy and action and movement and power.
Pufferella: Yeah, it’s funny, I have a hard time looking at that one.  Sometimes when I’m all done, I actually cry. I don’t really like my work.


Brooklyn Street Art:
Really?
Pufferella:
Yeah, like I had a breakdown. Just looking at all of it and what it all means, and really kind of having that put in your face, in a way, it’s like “maybe this is the reality”. Like “What am I trying to say? Why is this what comes out of me?”

Brooklyn Street Art: It’s revelatory, perhaps.
Pufferella:
Yeah, I guess. Like I do the drawing, and I guess it doesn’t mean as much as what it ends up being in the end when it comes to life.


Brooklyn Street Art:
That’s interesting how it causes discomfort and emotional turbulence.
Pufferella:
Yeah, I probably wouldn’t do this show if I could back out now.  Now that it’s all ready to go I would probably not show it. Because it is like “what am I doing?”  The work is very personal I guess.

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Pufferella has been sewing creations for the front room and Josh McCutcheon will be showing himself publicly for the first time in the back room.

And now for your viewing pleasure, a promotional video for the show done by Pufferella’s dearest friends at PLAZTIK MAG

Polymetrochromanticism

The Artwork of Josh Mccutchen

Josh McCutchen lives and works in Bushwick, Brooklyn and this is his debut show at Factory Fresh. His narrative works are about mythology, science & technology, social commentary, body image, polymorphic shapes, and abstract urban landscapes.

As a television personality Josh hosted “Does This Look Infected” on MTVU network from 2005-2007. When he’s not painting modern masterpieces, Josh is the host, writer, producer, and editor of the Josh McCutchen Show. You can see him in action at http://www.youtube.com/joshmccutchen

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Pufferella’s Site is HERE

Factory Fresh Site is HERE

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AD HOC hurtles BKMIA to Miami right on Time!

When your van breaks down and dies en route to Florida from New York, you might get a little cranky and freaked out because you have 40 people’s art in the back and are somewhat behind schedule.

You haven’t met the Buxtons.

Ad Hoc and Eastern District in Miami Thursday Through Sunday
Ad Hoc and Eastern District are in Miami as BKMIA Thursday Through Sunday

Brooklyn gallerists Garrison and Alison from AdHoc found themselves at a U-Haul truck rental agency when it was obvious that fixing their jalopy wasn’t going to happen anytime soon.

“Yeah we’re definitely making some tangy lemonade out of the lemons we’ve been collecting,” says he.

With a show to mount and open in 2 days (Today) in Miami, they asked for a 14 foot or 18 foot truck but U-Haul was out of that size. So they upgraded to the 26 foot, which made the whole process of moving art a lot easier, and together they steered the MIGHTY BKMIA SHIP southward.

“We just got another beautiful space today”, says Garrison, now that they’ve arrived with a truck of Brooklyn Street Art in the land of orange groves and mobs of art-hungry models in stilettos.  They are spreading out into their new giant space on 4141 Northeast 2nd Avenue, which is right across the street from their original space. They had a lot of people’s work with them, “Yeah there was no way it all was going to fit in the original space we had”

And the art itself?  One of the first things to be unpacked was this badass sculpture.

UFO and Ryan Doyle at BKMIA
UFO and Ryan Doyle at BKMIA (photo courtesy Ad Hoc)

This is an interactive kinetic piece by Ryan Doyle and UFO of 907 crew.

What'r YOU lookin' at? (courtesy Ad Hoc)
What’r YOU lookin’ at? (courtesy Ad Hoc)

According to the artists, it’s made of found objects and crafted using caveman spaceship technology. Amazingly similar to the squidlike image in the photo below, this sculpture is mechanized with two worm head, gear drive electric wheelchair motors, and is fully operational with a joystick. And yes, Martha, he does look like a writer (check out the fat marker in his tentacle).

Perhaps a sketch? (photo ©Jaime Rojo)

Perhaps a sketch? (photo ©Jaime Rojo)

Ad Hoc is partnering with Brooklyn neighbor Eastern District in a conceptual gallery called AE District to show off some of Brooklyn’s finest street artists, graff writers, and related contemporary artists in a 40+ name show. Names you might know like London Police and Gaia and Morning Breath will be joining talented newbies like NohJColey and Mario Brothers.

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Two Andrews talk about “From the Streets of Brooklyn”

An unprecedented show of Brooklyn street art starts off 2009 at ThinkSpace gallery.

Bam! The year has barely started and the momentum from the previous giant year for street art blows clear into January with a new show of 50 artists from the streets of Brooklyn.

ThinkSpace Gallery, a warm-hearted community space and home of rockin’ shows in L.A. since 2005, plays host to it’s brothers and sisters across the continent with a salon-style show of street artists, graff writers, a hot photographer, and live on-the-street work by the chalk artist from BK.

In the middle of the installation craziness, the curator of the show, Andrew Michael Ford (gallery director at Ad Hoc), and Andrew Hosner (co-founder of ThinkSpace), talked with Brooklyn Street Art about the show:

BSA: So how did AdHoc and ThinkSpace hook up to do this show?

Andrew Hosner: Andrew and I have been friends for a while, and met while he was still doing some curating before hooking up with the Ad Hoc crew. One day we were just shooting the s**t about some show ideas and I tossed out the idea of bringing Brooklyn to Los Angeles…

Andrew Michael Ford: I’ve followed what ThinkSpace shows for quite some time and I was always very impressed with the work. I also have always felt that the folks who run ThinkSpace and myself have very similar tastes as far as curating art goes. Something like this has been talked about or at least thought about for quite some time and when Thinkspace approached us about doing it I felt like it was the right place and right time.

BSA: Is it a kind of East-West cultural exchange?

Andrew Michael Ford: The show is about bringing a large group of Brooklyn street artists and graf writers to Los Angeles. We haven’t discussed bringing LA artists to Brooklyn but I would be open to talking about something like that for the future.

Thundercut (courtesy ThinkSpace and AdHoc)

Thundercut (courtesy ThinkSpace and AdHoc)

BSA: Brooklyn’s streetscape is pretty dense and is largely accessible by foot. Do you think the L.A. scene is more spread out? How do the two differ, in broad strokes.

Andrew Michael Ford: I have never been to LA but I heard you need a car to get anywhere out there so I assume it’s gotta be pretty spread out.

Andrew Hosner: I think you nailed it on the head, Brooklyn is much more condensed and has more of a community vibe to it I feel, whereas LA is the true meaning of urban sprawl, being one of the most spread out and varied big cities out there. There’s no real community vibe, save for lil’ pockets here and there, but the breadth of the city kind of goes against the notion of all that.

Dan Witz "Scott" from show "From the Streets of Brooklyn" (courtesy ThinkSpace and AdHoc)

Dan Witz "Scott" from show "From the Streets of Brooklyn" (courtesy ThinkSpace and AdHoc)

BSA: Maybe this is impossible to put your finger on, but what would be a couple of characteristics that distinguish Brooklyn street art from other cities in the world?

Andrew Michael Ford: For me it started in NYC. I mean, graf started in Philly but really came into it’s own in NYC. I just don’t see that kind of history anywhere else. I see the lineage of graf into street art and that is why so many graf writers have been invited to this show. It’s not just about who is doing a lot of street art. It’s about who is getting up and staying in the streets of Brooklyn regardless of tools being used. I don’t like it when street artists from other cities look at graf here in NYC as some kind of background for their work. It’s a massive slap in the face to all graf writers. Brooklyn street artists have a lot more respect for graf than street artists I have met from other cities, especially from Europe. Maybe that’s the thing that distinguishes what’s going on in the streets of Brooklyn from other places.

Imminent Disaster (earlier work) (courtesy ThinkSpace and Ad Hoc)

Imminent Disaster (earlier work) (courtesy ThinkSpace and Ad Hoc)

BSA: You are showing a LOT of artists…did you have enough (Think) Space?

Andrew Hosner: Hahaha… it will be a very packed show hung salon style, going off of color palette and style. Should look amazing, but it is going to be a visual overload for sure. Patrons will be overwhelmed by Gaia and Rachel Lowing’s thought provoking install immediately upon entering the gallery, then passing through the entry area will be met by a tidal wave of artwork, coming at them from all directions, floor to ceiling… before turning the corner into our project room in the back where Disaster’s massive undertaking will greet them.

BSA: A bit like herding cats?

Andrew Michael Ford: Not really. Honestly, everyone involved believes in this show so much and have been very supportive and helpful in putting it all together.

Matt Siren (courtesy ThinkSpace and AdHoc)

Matt Siren (courtesy ThinkSpace and AdHoc)

BSA: Will you have time to give Mr. Ford a tour of the sickest sites while he’s there?

Andrew Hosner: It’s hard to say since the focus will be our show, but hopefully on Saturday after the show has passed we will get out to see some of the hotter spots about LA to enjoy works outside. With so many coming to town for the opening, there’s a good chance we’ll be able to watch some of Brooklyn’s finest… cool thing is, all will be able to watch Ellis G. on opening night doing his thing on our block, and I can’t wait for that.

Andrew Michael Ford: I would love to see some stuff by Saber if possible. But really anything good being done would be great to check out.

Ellis G. (courtesy Ad Hoc and ThinkSpace)

Ellis G. (courtesy Ad Hoc and ThinkSpace)

BSA: The Brooklyn scene keeps evolving rapidly; what is one trend that you are seeing that is telling you about the future?

I see more and more people throwing up wheatpastes in the streets that I don’t feel are well executed or well placed. I mean, there is room for everything and I love to see what people feel they need to put up but it does worry me sometimes when I see tons of poorly crafted wheatpastes thrown all over the place with no thought to where it is being placed or the quality of the imagery they are producing. I would just like to see people take a little more time in the creation of their art and in the selection of the spots they decide to hit.

Elbow-Toe (courtesy ThinkSpace and AdHoc)

Elbow-Toe (courtesy ThinkSpace and AdHoc)

BSA: Whose work is exciting to you right now, and what does it say to you?

Andrew Hosner: I love the work of Elbow-Toe, whose work is really a statement on the state of things in our society right now. His every man piece is by far one of the most powerful and extremely well executed works of this past year. You can look at that work 20 years from now and know that it was referencing the economic struggles were going through currently, while also hinting at the 1st great depression. Powerful work.

Also very inspired by the works of Imminent Disaster, due to her strength in so many different creative outlets… Chris Stain also is someone who should be looked up to. Thought provoking work and just a great overall cat.

Stikman (courtesy ThinkSpace and AdHoc)

Stikman (courtesy ThinkSpace and AdHoc)

Andrew Michael Ford: I think that street art needs to interact with the space where it is placed (good placement is key) and it needs to engage the viewer. Working big can sometimes do this but sometimes it can be a big massive nothing. It’s tough to point to a specific artist but if I had to pick one I can say I’m really intrigued by what the artist Stikman does, as he uses a wide variety of mediums and techniques and always catches you off guard with the placement of his work. Very smart work.

Anera (image by Luna Park) (courtesy Luna Park, ThinkSpace and AdHoc)

Anera (image by Luna Park) (courtesy Luna Park, ThinkSpace and AdHoc)

BSA: What impression do you think the gallery-goer in L.A. is going to come away with about the Brooklyn street art scene?

Andrew Michael Ford: That’s a great question but sadly one that I have no answer to. I haven’t got a clue what kind of reception we will get when we arrive. I am hoping this can be a positive experience for everyone involved.

Andrew Hosner: I hope they come away feeling inspired and filled with the desire to visit the streets of Brooklyn in person, so they can experience these works as they were originally meant to be, and also feel compelled to explore the works of each in the show further, hopefully coming away with a new favorite that they will watch in the years that lay ahead.

I think many will also be surprised at the sheer breadth and quality of work on view – it is definitely an eye opener type of exhibit. Hopefully this will help to open their eyes to the beauty that is all around them in Los Angeles and abroad. So many walk through their city with blinders on, and it really is a revelation when you start to take in and appreciate the work of urban artists.

ThinkSpace Gallery

AdHoc Art

From the Streets of Brooklyn

More stuff on ThinkSpace and Andrew Hosner from the art collector blog

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“From the Streets of Brooklyn” at thinkspace (L.A.)

“From The Streets Of Brooklyn

Curated by Ad Hoc Art at thinkspace

January 9th – February 6th, 2009

Opening Reception: Fri, Jan. 9th 7-11PM

Featuring installations from:

Gaia (front entry area)

Imminent Disaster (project room)


Street installation:

Ellis G.


Main Gallery:

Abe Lincoln Jr.

Acne

AIKO (aka Aiko Nakagawa)

AnerA

Avoid Pi

avone

Bast

Bloke

c.damage.

Celso

Chris Stain

DAIN

Dan Witz

Dark Clouds

Elbow-Toe

Ellis G.

ELC (aka Endless Love Crew)

Faro

Gaia

Graffiti Research Lab (aka G.R.L.)

Imminent Disaster

infinity

jm rizzi

Josh MacPhee

Juse One

Kuma

Matt Siren

Maya Hayuk

McMutt (aka Dennis McNett)

Michael DeFeo (aka The Flower Guy)

MOMO

Peru Ana Ana Peru

PMP (aka Peripheral Media Projects)

Rate

Royce Bannon

Skewville

Slept

Sometimes

Sonet

Stikman

Thundercut

UFO

Unplate

+ A selection of street art photographs by LUNA PARK


SNEAK PEEK images
here: http://www.flickr.com/photos/thinkspace/sets/72157607658942787/

thinkspace
4210 Santa Monica Blvd.
Los Angeles CA 90029
Thurs-Sun 1-6PM
http://www.thinkspacegallery.com/

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