One of the reasons that I returned to the East Village so soon was that my previous August art stomp with David Carbone ran longer than expected and we did not get to visit The Sweet Life, a local candy store on Hester Street. So before David and I headed off to see what the art world had to offer, my sweet tooth had to be placated with chocolate cherries and licorice Scotty dogs. What we found after David slapped me out of my diabetic coma was much like the selection at The Sweet Life, extremely surprising and varied. Read more »
This summer, for lack of a better description, has been unusual in that it has been busy for the art world. For those of you who don’t know me in the writing forum: in my other life I own an art shipping company, and we have been busy! As have many of my competitors! Good for everybody. Read more »
Bradley Rubenstein: Let's get the background stuff out of the way -- the rest will be more interesting. You are from Ohio. Was starting out there influential in any way other than making you want to leave?
Sean O'Connor: I started out experimenting in my hometown just out of high school and was heavily influenced by the music scene at the time. There was a little art scene booming in Cleveland at the time, and there still is, but I was really into artists like Derek Hess and other illustrators like that. Read more »
Bradley Rubenstein: I want to talk about your work, but first I want to mention your writing. I totally fucking love your daily, aphoristic pieces. You use Facebook like your own personal Little Red Book. You wrote one about your approach to the art world, I think, but it probably applies to pretty much everything: "If you aren't invited to the table, bring a chair. If they don't serve you, pack lunch. When the bill comes, wash the dishes." It's like a manifesto.
Dylan Neuwirth: Yes, this is this idea. I'm pretty sure it reads like a tweet-length thought, since that's where I spend most of my digital time. I also follow a fair amount of people no one has ever heard of who trade these kinds of thoughts. Within the beautiful limitation of 140 characters we can convey the most perfect idea without the trappings of aesthetics or decoration or the diminutive garbage of class diluting the concepts beyond recognition. Only the pure idea. Read more »
Head, a new exhibition at BOSI Contemporary, orbits eccentrically around the notion of the human head as an avatar for the human condition. Curators D. Dominick Lombardi and Robert Curcio have gathered 36 idiosyncratic examples of the head as social signifier, troubled mask, and dream-like presence. The eleven artists represented here unsettle us with their evocations of head as the repository of the psyche which demands to make itself known. Read more »
James Franco is finishing a joke. "Natalie Wood…get it? What kind of wood doesn't float?" Everyone is very hung over this morning, but fortunately Franco sent his Maybach Landaulet and driver to whisk us to Chlamydia, the new Bobby Flay café in Chelsea, where we are drinking revivifying Bellinis and an assortment of other smart cocktails with Vito Schnabel, Slavoj Žižek, Natalie Portman (or possibly Keira Knightley, or Keira Knightley's body double), Sasha Grey, Heath Ledger, Michael Lee Nirenberg, Lena Dunham, Chloë Sevigny, and a Thai/Puerto Rican pre-op transsexual Franco introduces as "Pinball." Read more »
Heraclitus wrote, "Nothing is constant but change," illustrating succinctly his philosophy of the nature of the universe; with her current exhibit, Battle Armor, Karen Heagle illustrates this adage, with paintings that show that old motifs can have new life breathed into them, in the right hands. In the past, Karen Heagle has made reference to heroic figures in her paintings, including the Incredible Hulk and Xena: Warrior Princess; in her recent show of paintings on paper at Churner and Churner in New York, she revisits some of the same themes, and sense of the heroic, through her choice of subject matter -- primarily medieval armor -- and combines it with a painterly style that draws from great nature morte and vanitas artists such as Hals, Chardin, and Soutine. Read more »
"Kick out the jams, motherfuckers!" MC5, Detroit, 1968
The Guggenheim Museum's Gutai: Splendid Playground presents the work of Japan's most influential avant-garde collective of the postwar era. Founded by the visionary artist Jirō Yoshihara in 1954, the Gutai group was legendary in its own time. Read more »
Bradley Rubenstein: Can you give me a little of your backstory? I know you went to Yale for painting, but you have also been a sign painter and worked in movies and TV, and you are also a musician. How has all of that informed your work?
John Paul: In St. Louis I had solid training, and at Yale exposure to cutting-edge thinking.
The St. Louis years were dominated by the importance of Max Beckmann, who taught there after the war until the Fifties. His canvases were a part of a student's daily diet, lining a corridor between the schools of art and architecture. Read more »
Susan Bee is a painter, editor, and book artist who lives in New York. Bee is represented by Accola Griefen Gallery, New York, where she will have a solo show of new paintings from May 23 to June 29, 2013.
Criss Cross: New Paintings will be accompanied by a catalog with an essay by art critic and poet Raphael Rubinstein.
Bradley Rubenstein: Susan, I just saw this piece by Roger Denson in the Huffington Post: "Mira Schor and Susan Bee, the Thelma and Louise of the Feminist Painting and Crit set, pose the biggest threat to male domination of the medium and criticism of painting in that they are critics as wellas painters, and editors to boot, whose joint imprimatur has been pulsing out the feminist-left political art journal M/E/A/N/I/N/G since the mid-1980s." (Huffington Post, May 1, 2012) Read more »
For Peter Williams's first solo exhibition at Foxy Production, he is showing work from two distinct but interconnected bodies of work:large figurative paintings depict fanciful, fractured narratives that mix cultural and personal histories with fields of pattern and color; and a set of smaller paintings that distil and intensify visual moments from the larger works, magnifying and expanding them. Williams's paintings tell entropic tales, with figures caught in moments that show their fragility -- scenes of everyday life, both seen and imagined. Read more »
Bradley Rubenstein: You are known primarily for your film work, but this show, Robots, is paintings. Is painting a new venture for you, like an extension of filmmaking, or something new?
Amos Poe: I am a filmmaker and have been making various art objects for years; the similarity is that they both take over my conscious and subconscious, and I'm compelled to get them out. Painting is a new discovery, or at least the pleasures of it are new. A new love. I started having dreams of robots in May of 2012, and the first painting came about a week later. I've been painting these robots since then, and the dreams still come regularly. I think everyone should have a robot in her or his life.
BR: You are a seminal New York filmmaker, so it almost seems beside the point where you are from, or studied, or whatnot -- but I'm going to ask you anyway. Read more »