Barbara Kruger at Spruth Magers
Joyce Pensato Joyceland Installation view, Lisson Gallery, London ⬅ ➡ Grid ⤢
Joyce Pensato: Joyceland26 March – 10 May 2014
The New York-based Pensato will also transport the majority of her Brooklyn studio (which she refers to as ‘Joyceland’) to London, bringing her stuffed animals, talking toys, plastic action figures and collaged ephemera of postcards, found adverts and posters that she refers to and draws inspiration from for her paintings. Her working environment, documented for the first time in a number of new photographs by the artist, will be recreated as installations in the gallery, down to the paint pots, brushes, books and discarded scraps of newspaper that are similarly covered in the spatters, splashes and drips that result from her obsessive painterly method.
Her seemingly frenzied painting technique – actually involving the deliberate accretion of successive layers of bold linear gestures, rapid repainting and frequent erasures – results in alternately humorous and sinister imagery. Pensato paints almost exclusively in shop-bought black and white enamel, while also employing charcoal and pastel for smaller-scale drawings. There are occasional leaps away from the monochrome world she generally inhabits into sporadic bursts of colour, especially silver and gold.
While her prima facie subject matter derives from cartoon characters to famous figures in popular culture, her artistic progenitors include Alberto Giacometti, Willem de Kooning and the Abstract Expressionists, as well as her mentors Philip Guston and Joan Mitchell and contemporary painters such as Christopher Wool, who she shared a studio with at art school in New York.
In addition to excising her floating heads, eyeballs and comically grotesque noses from their original contexts of Gotham, Disneyland, Springfield or South Park, Pensato situates her figures in troubling psychological states and dark, indeterminate spaces. The true source of their meaning is concealed, not only by successive sweeps of paint, but beneath the guileless grin of Felix the Cat or the Caped Crusader’s eye-less mask. Lisson Gallery is representing Joyce Pensato in collaboration with Petzel Gallery, New York.
Damien Hirst “Allopurinol” & “Wretched War” at White Cube
Jake and Dinos Chapman at White Cube
Jon Kessler “Random Acts of Senseless Violence (Part 2)” at Deitch Projects
Paul McCarthy “Captain Morgan Poopdeck” and “Chocolate Silicon Blockhead” via Hauser & Wirth
Subodh Gupta “(Untitled)” via Hauser & Wirth
Willem de Kooning “Woman Study” at Matthew Marks
William Cordova, Carlos Sandoval de Leon, Mark Aguilar “Moby Dick” via Arndt & Partner
Tom Sachs “Viagra” at Thaddaeus Ropac
Angela de la Cruz
Angela de la Cruz
Angela de la Cruz
Larger than Life, 2004Oil and acrylic on canvas, 260 x 400 x 1050 cm
Angela de la Cruz disrupts the gallery with unruly works that sit between painting and sculpture. She engages with the discourse about the ‘problem’ with painting by targeting its basic anatomy: the stretcher, normally left to its job of keeping the canvas smooth and pliant. De la Cruz breaks convention, quite literally, by mangling the stretcher and piercing the flat edifice of the canvas to unleash it into three-dimensional space. Slashed, twisted and reformed into something approaching sculpture, there is a dark humour at play: “The moment I cut through the canvas I get rid of the grandiosity of painting”, she says. Convention punctured, her works seem to mimic aspects of human behaviour or states of mind – cowering, cringing, surviving – and, more recently, this sense of human scale has been bolstered by works incorporating items of domestic furniture, such as chairs and tables. Prostrate on the floor or hanging on the wall like macabre trophies, they are evidence of a violent process and, as such, confront it as something thrilling, fearsome and, whether soiled or slick, just beneath the surface. For recent works such as Burst (White)(illustrated right, 2012), the artist has violently yet playfully transcended the imposed boundaries of her medium, asserting painting’s three-dimensionality by causing the sides to burst as if about to tear or explode. “These works are about being on the verge of something, the liminal state between one form and another. There is a surface appearance and there is also what lies beneath. These pieces are quite aggressive but they are also in a calm state.”
Angela de la Cruz was born in La Coruña in Galicia, northwest Spain in 1965 and lives and works in London. She received a BA in philosophy from the University of Santiago de Compostela (1989) before moving to London, where she has a BA in Fine Art from Goldsmiths College (1994) and an MA Sculpture and Critical Theory from the Slade (1996). Solo exhibitions include Camden Arts Centre, London (2010), Centro Andaluz de Arte Contemporáneo, Sevilla, Spain (2005) and Museo de Arte Contemporanea de Vigo, Annex Space MARCO, Spain (2004). She was nominated for the Turner Prize in 2010.
Time Out says
Posted: Mon Jul 21 2014
Tate Modern gets all the attention, but the original Tate Gallery, founded by sugar magnate Sir Henry Tate, has a broader and more inclusive brief. Housed in a stately Portland stone building on the riverside, Tate Britain is second only to the National Gallery when it comes to British art. It’s also looking to steal back a bit of the limelight from its starrier sibling with a 20-year redevelopment plan called the Millbank Project: conserving the building’s original features, upgrading the galleries, opening new spaces to the public and adding a new café. The art here is exceptional. The historical collection includes work by Hogarth, Gainsborough, Reynolds, Constable (who gets three rooms) and Turner (in the superb Clore Gallery). Many contemporary works were shifter to the other Tate when it opened, but Stanley Spencer, Lucian Freud and Francis Bacon are all well represented, and Art Now installations showcase up-and-coming British artists. Temporary exhibitions include headline-hungry blockbusters and the annual controversy-courting Turner Prize exhibition (October-January). The gallery has a good restaurant and an exemplary gift shop.
Writing my personal statement was really inspiring and I thought about integrating various subjects. Looking at aspects combined into art. Thinking about art, fashion- hair and makeup becoming integrated.
Meadham & Kirchoff
Holly Rowley, Lucy Snow, student work- Hair and Make up
Franis Bacon- Three Studies of a self portrait
Francis Bacon- William Blake
Henry Moore- Shelter Drawings- Three Fates
Egon Schiele Self portrait with naked shoulder
Playing with fire: Burning Man Festival 2009 kicks off in the Nevada desert
The art theme for 2009 is “Evolution” and proposes the questions of "what are we as human beings, where have we come from, and how may we adapt to meet an ever-changing world?"
What I think : I really love this image, the heavy makeup on a man and the blue lipstick, with the candle wax dripping down his face is brilliant. It's not natural which is why its so fascinating. The layout of the candles seem to form the appearance of a castle or boat, the white of the candles contrast against the skin tone of his face. It looks classy and makes me imagine so many possible concepts which would match. To me the concept that it has of evolution is hard to match with the appearance of the image. I like the concept it is not obvious and makes me think further about this suggested issue. The candles on his jacket reminds me of snow.
Fantasy Hair and Makeup
Fantasy Hair and makeup
I like in the above picture how the hair has been altered into a type of sculpture. It made me think of all the possibilities that can de done to alter the natural appearance of hair and makeup.
Dan Colen Rama Lama Ding Dong
Dan Colen Rama Lama Ding Dong
Rama Lama Ding Dong
enamel, and moulding paste on wood
134.6 x 101.6cm
Dan Colen’s text paintings, such as Rama Lama Ding Dong, are a practical response to his time consuming realist work. Quickly scrawled in spray paint over plywood boards which are built up with sanded layers of moulding base and acrylic, they retain a tension between immediacy of expression and perfection of surface. Spelling out song lyrics, random thoughts, or absurd slogans Colen’s texts create a form of urban poetry, conjuring effete images through word association and bereft aesthetics. Often times Colen hand-renders these works, creating the effect of aerosol through painstaking brush technique.
I love this work. I love art that is different and doesn't make sense that it seems like the concept is inferior.
Dan Colen Candy Sculpture
Dan Colen Trash
Dan Colen En Greve-2010
Dan Colen- Dunk scooby
Dan Colen- On Dunk scooby
Peter Brant still isn't sharing his long-term plans for the former home and studio of Minimalist maestro Walter De Maria, but a small exhibition of work by Gagosian gallery artist Dan Colen held at the space this week lends credence to speculation that Brant will turn the place into an art center.
Located on East Sixth Street, the four-floor building, a former Con Ed substation, dates to 1920. De Maria purchased the property in 1980 and converted it into a live-work space. It hit the market following De Maria's death in 2013, age 77, and the Brant family snatched it up through BFAB, LLC., for a cool $27 million in August, confirming months of rumors (see "Who Bought Walter De Maria's East Village Studio?" and "Peter Brant Paid $27 Million for Walter De Maria's Old Studio").
The Dan Colen show features empty hand-blown glass beer bottles and hand-painted cigarette butts strewn about the 16,400-square-foot space; the artist's stud paintings hung on the walls. According to New York Magazine, Colen tripped on the bottles, which appeared to have been consumed by a drunken sculpture of Scooby-Doo, on more than one occasion during the opening.
Among the attendees were gallerist Tony Shafrazi and art collector and former Andy Warhol superstar "Baby" Jane Holzer.
The Brant Foundation Art Study Center, a former stone barn in Greenwich, Connecticut, that has been revamped by architect Richard Gluckman as a gallery space, holds two exhibitions of contemporary art each year, drawn from Brant's collection. Art world glitterati and celebrity guests flock to the verdant property twice a year for openings. A New York City art space for the Brant family would provide an interesting contrast to Greenwich's sprawling polo fields, and could be far more accessible throughout the year.
PR representatives assure artnet News that this week's mini show is not officially affiliated with the Brant Foundation. Colen did team up with the organization earlier this year: in August, the New York Observer reported that the artist gave 100 children from New York's department of homeless services a tour of his retrospective "Help!" at the Brant Foundation in Greenwich for Free Arts Day.
hahaha. Why Everyone Hates Dan Colen
Why Everyone Hates Dan Colen
Dan Colen. I didn’t know much about him. Then I read an ArtFagCity blog that just tore him to pieces. I didn’t get it. His art wasn’t THAT bad, was it? Gum on canvas and motorcycles. Sure, maybe like Damien Hirst, money is just around him, so that is purchased the motorcycles and then came up with the ‘genius’ to tilt them over. I thought to myself, why is Paddy Johnson being so harsh on this guy? He’s not that bad, is he? Then I saw this video: http://www.5min.com/Video/Art-Talk-with-Dan-Colen-517137483 The salient quote is this: “Go to art school cause you can’t go anywhere else… then eventually you take it seriously” So, artists, or just Dan Colen, do not start out to do anything in particular. Yet still there is failure. Part of me wanted to look for more videos where Colen might redeem himself, but this one was near insufferable. I made it at least 2:25 into the video, and at this point Colen mentions that he doesn’t do his own work. This practice is acceptable now, but he just makes it sound even worse than most people perceive it to be. I mean I thought Barnaby Furnas http://www.youtube.com/watch?v=MDYspQej9g0 was a BIT poor at discussing art, and a lot of artists cannot speak to their work very well, perhaps this is an artifact of ineffable beauty or complexity. But sometimes, there is just not much to say about some kinds of art. And when there is something said, it’s not much. This is what Colen is about. - See more at: http://beckyjewell.com/why-everyone-hates-dan-colen/#sthash.WzYPUcjV.dpuf
Marti Cormand- formalising their concept- sherrie levines fountain
Formalizing their concept: Sherrie Levine's "Fountain (Buddha)",
2014Medium:Lapiz sobre papel strathmore algodón 500Size:90 x 76 cm. (35.4 x 29.9 in.)Catalogue:Martí Cormand, Tuesday, December 16, 2014 8 p.m. EST–Saturday, February 14, 2015Price:
Kate and Pete
Lucio Fontana Crocifisso
Mike Kelley City 00
Niki de Saint Phalle Nana
Tom Wesselmann Blue
Banksy Sid Vicious
Barbie becomes punk
Barbie goes punk
john chamberlain- all that is the lovely in men
John chamberlain- untitled couch
John chamberlain- silver plait
John chamberlain- mezzomangle
Nobuyoshi Araki: Painted Photographs
Nobuyoshi Araki (Japanese, b.1940) is a prolific Contemporary Japanese photographer known for his diaristic capturing of everyday life. He began to work exclusively as a photographer in 1972, and has since produced hundreds of photographic prints and books. Araki’s work documents the quotidian elements of life: clouds, flowers, vibrant karaoke bars, Japanese toys, Tokyo cityscapes, and images of ordinary people. He is perhaps most well known for his nude photos of women.
Many of these oft-controversial nudes depict women tightly bound with ropes in the Japanese bondage style known as Kinbaku. Considered by some to be pornographic, these works draw upon the tradition of Japanese Shunga, woodblock prints from the 17th century.
Araki has also worked as a filmmaker, and has photographed musicians Bjork and Lady Gaga. His works are part of numerous collections, including the Tate Modern in London and the San Francisco Museum of Modern Art.
During this exhibition we will be showing 60 different uniquely painted photographs.