To read Tracey's article on attending the first ever Ghetto Biennale in Haiti, click HERE.
Friday, February 26, 2010
REAL TALK | 02.26.10
"If a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up."
-Richard Avedon
Thursday, February 25, 2010
Last Look Friday | Empty Museum Party | MINT MUSEUM OF CRAFT + DESIGN
Friday, March 5, 2010
6 - 10 p.m.
Mint Museum of Craft + Design
220 North Tryon Street
$10 Members & $20 Non-members
To make reservations, contact April Young by phone 704/337-2034
or e-mail, or use the convenient Google checkout option below.
Reservations encouraged by Friday, February 26.
Art Slacker? Not TRUE
Andrew Kuo makes the New York City slacker lifestyle seem, well, effortless -- except that he's actually one of the busiest guys around, an artist with more side gigs than Jack White. The multi-talented, bespectacled man about (down) town is always doing something different (depending on what time of day you catch him). In the morning, he might be "Earl Boykins," his blogger alter ego (earlboykins.blogspot.com) who posts graphic charts of his deadpan reactions ("Hm" is a measurement) to bands and live shows -- the blog's tagline "emo+beer=busted career" says it all. Later, Kuo turns into a serious columnist for the New York Times, creating pie charts for the music section. Afterwards, he could be working on a portrait of Chris Farley as the Chicago Bears guy from SNL. The nocturnal Kuo can be found either at Max Fish drinking a Bud Light and hanging out with his "bros" (aka other music nerds) or at Lit drinking a Bud Light and DJing with Harley and Cassie. On other nights, Kuo the guitar god emerges, as he jams out with a grab bag of Lower East Side rockers (from Mike Bones to Matt and Brain from A.R.E. Weapons). He's currently in two bands -- Sacred Elevators and Hex Message.
"When I decided to just have fun with my work was when things started to get really busy," says the self-professed anti-ironist. The 31-year-old New York-native studied printmaking and graphic design at RISD and had his first New York show of paintings and prints at Visionaire Gallery eight years ago. Known in the past for his intricate lace-like silkscreen work, Kuo has abandoned the medium for now and has embraced bolder, more irreverant moves on canvas. "I used to be afraid of holding a brush," he says. Kuo is currently prepping for a three-person show at the Swiss Institute. "I'm going to put all-new stuff in the show, but not sure what, though." Stay tuned.
Source
RENTAL GALLERY| The Armory Show | 03.04-03.07
RENTAL at
The Armory Show
Pier 94
Booth 741
March 4-7, 2010
Featuring:
Matthew Chambers
Brendan Fowler
Henry Taylor
Phil Wagner
RENTAL
120 EAST BROADWAY 6TH FL NEW YORK NY 10002
T.212.608.6002
WWW.RENTAL-GALLERY.COM
Image credit: Matthew Chambers, A Reality of her own Particulars, 2009
Oil and Acrylic on Canvas, 96 x 48 inches
Wednesday, February 24, 2010
ANDY WARHOL'S | The Last Decade | Modern Art Museum of Fort Worth
FORT WORTH, TX- The first U.S. museum survey exhibition to explore the work that Andy Warhol produced during his final years continues its national tour at the Modern Art Museum of Fort Worth through May 16, 2010. "Andy Warhol: The Last Decade" reveals a mature artist in full command of his complex repertoire, mixing forms and media with audacious fluency. Created amidst the bustle of Warhol's Pop celebrity, the works on view illustrate as never before the artist's vitality, energy, and renewed spirit of experimentation.
Warhol created more new series of paintings in the last decade of his life, in larger numbers and on a vastly larger scale, than during any other phase of his 40-year career. But far from a period of "Factory" production, it was a time of extraordinary artistic development for Warhol, during which a dramatic transformation of his style took place alongside the introduction of new techniques. The artist confidently utilized and combined hand painting, mechanical reproduction, representation, and abstraction. Collaborations with Jean-Michel Basquiat, Francesco Clemente, and Keith Haring were central to his pursuit of new ideas, and stimulated the artist to return to painting by hand.
The exhibition includes nearly 50 works lent by private collectors and institutions such as the Museum of Modern Art, New York; Baltimore Museum of Art; and Andy Warhol Museum, Pittsburgh. Along with an introduction to Warhol's oeuvre, it is divided into thematic sections based on significant Warhol series: abstract works, collaborations (featuring Jean-Michel Basquiat and Francesco Clemente), black-and-white ads, works surrounding death and religion, self-portraits, camouflage patterns, and a concluding section of the artist's Last Supper series—the largest series that he produced in his entire career. Several large-scale works 25 to 35 feet in width punctuate the exhibition.
In 1984, Warhol purchased a new studio building where he had the luxury of an expansive space in which to work. The paintings created there mushroomed in size to monumental proportions.
Visit the Modern Art Museum of Fort Worth at : http://www.themodern.org/
SOURCE: AKN
The Naked Truth: the chair and the maiden gallery | BRIAN REED
Well look who got shut down by the NYPD. Forever ART lives!http://www.nytimes.com/2010/02/26/nyregion/26naked.html
Thursday, February 11, 2010
CANADA | Anke Weyer-Elena Pankova | MOTHER THE CAKE IS BURNING
Elena Pankova – Anke Weyer
Mother the Cake is Burning
February 12 – March 21, 2010
Opening Reception: Friday, February 12th from 6 – 8:30 PM
"Now all you children stay at home,
And be good girls while I am gone...
Especially you, my daughter Sue,
Or else I'll beat you black and blue."
Rhyme for the game "Mother the Cake is Burning", 1883
"Mother the Cake is Burning" refers to a schoolyard game from the late 19th century. The point of the game was for girls act to out what trouble could arise when mothers and daughters are neglectful of their kitchens. Here in the gallery, these women underscore the importance of rebuked responsibility and mischievous desires gone astray in paint. It is this delinquency that has consistently propelled these divergent practices.
Over the course of the last decade Anke Weyer has presented paintings that seem to defend and then discard the obvious traditions of craft and subject matter in painting. We have seen paintings that go from blackened landscapes to emotive dreamy figuration to coarse and degenerate abstractions all hanging within the same show. This latest exhibition is no exception. Decimated landscapes are returned to their animals, under-painting is washed with high chroma where unnatural color glows from behind a sometimes sludgy, sometimes lacy surface. Riffing on the dashed Fauvist
landscapes of Maurice de Vlaminck, Weyer tempers her color and brushwork. This restraint is lost when it comes to rendering form. Here a Kirchnerian freedom to place expression over the visual order of the real is consistently upheld.
In contrast to the unapologetic sprawl of Weyer’s works, Ms. Pankova offers us a series of stenciled face paintings on modest sized store bought canvases. The paintings are at once mysterious and plain. Ms. Pankova has often used a kind of installation to frame or modify a body of painting. Here they are re-contextualized through the bookends of domestic potted plants, referencing Marcel Broodthaer's home-built installation from 1968: ‚ Museum of Modern Art, Department of Eagles. This famous Duchampian "institutional critique" is re-interpreted here by Pankova. Broodthaers' ironic objects are both replaced and deflated with the charm of lowbrow sentimental painting. The less-coded contents of Pankova's museum employ pathos over wit. Here the critique can't even climb the institutions' front steps. Instead it loiters out front with the guy selling craft paintings on a blanket. The whole endeavor brings us down to the street where paintings are returned their humble ! and stupid root.
Both of these women stage a complex investment in how painting can fail. Both are insistent painters. Pankova is merciless in her deflation of painting but cant help to make a sincere picture when faced with the task. In doing so she insists on the freedom to make a painting as she sees fit even if she trips over pathetic on the way. Weyer's insistence is more to undermine than deflate. She will keep digging. Destined for avalanche, Ms Weyer holds a stubborn and illogical romance for light and shadow. There is a symbiotic relationship between these two practices that we are happy to finally have an opportunity to celebrate.
CANADA is located at 55 Chrystie Street between Hester and Canal Streets in New York City. Gallery hours are Wednesday through Sunday, 12 to 6 p.m. For more information, please contact the gallery at 212-925-4631or at gallery@canadanewyork.com.
www.canadanewyork.com
Thursday, February 4, 2010
NICK CAVE | Meet Me at the Center of the Earth Exhibition | Fowler Museum
Chicago-based artist Nick Cave's exhibition " Meet Me at the Center of the Earth" opened at UCLA's Fowler Museum displaying thirty-five of his African and Caribbean influenced "arte couture" suits. The idea behind these works is to reveal mythic ism as well as identity in Cave as well as other people of African & Caribbean American descent. This exhibit is on display until May 30, 2010. The Fowler writes:
"Experience the largest presentation of work by Chicago-based artist Nick Cave, featuring thirty-five of his Soundsuits—multi-layered, mixed-media sculptures named for the sounds made when the “suits” are worn. Reminiscent of African, Caribbean and other ceremonial ensembles as well as of haute couture, Cave’s work explores issues of transformation, ritual, myth and identity. His virtuosic constructions incorporate yarn, sequins, bottle caps, vintage toys, rusted iron sticks, hair, and more. Mad, humorous, visionary, glamorous and unexpected, the Soundsuits are created from scavenged ordinary materials that Cave re-contextualizes into extraordinary works of art. The Fowler is the first LA-area museum to feature Cave's work and the only Southern California venue for this traveling exhibition."
Wednesday, February 3, 2010
Sotheby's | Giacometti's "Walking Man" | $104.3 MILLION USD
Sotheby’s sold Giacometti’s mottled bronze six-foot tall Walking Man I for 65 million pounds or $104.3 million tonight in London, setting a record for the most expensive artwork ever sold at auction. The buyer was an anonymous phone bidder, according to Sotheby’s.
The previous record was held by Picasso’s rose and blue Boy with a Pipe, which fetched $104 million in 2004 at Sotheby’s in New York.
Bidding on the striding man started at 12 million pounds, according to Sotheby’s, and lasted for a marathon eight minutes. Ten prospective buyers competed. The final duel came down to two bidders on the phone with Sotheby’s CEO William Ruprecht and Impressionist specialist Philip Hook. Hook’s bidder was the victor.
The Giacometti was formerly in the corporate collection of Dresdner Bank AG, and sold by Commerzbank which acquired Dresdner in 2009. The piece is from a 1961 life-time cast, created in an edition of six, with four artist’s proofs. Dealers say another version, cast after the artist’s death, is also on the market.
Another star lot was Gustav Klimt’s verdant Kirche in Cassone which sold for $43 million, a new auction record for the artist. The Klimt was also acquired by an anonymous phone bidder.
Source
I.HEART.ART featured on ADVOCATE.COM
I am honored and pleased to be featured on Advocate.com as part of their "Artist Spotlight" section. I sat down with Photo Editor Albert Smith as we discussed everything from virgins, motivations, and much more.
Artist Bio
Tyrus Rochell Townsend was born in 1977 in North Carolina and studied at both the University of North Carolina in Charlotte and Georgia State University in Atlanta. A freelance writer whose work has appeared in the The Advocate, Crème Magazine, and Essence.com, Tyrus runs and operates I.HEART.ART and The Noir Arts gallery sites. As editor in chief of Bleu Magazine, Tyrus is responsible for introducing and connecting the urban man to arts, culture, and fashion nationally and internationally. Since 2005, Tyrus has been experimenting with 35-millimeter photography and has produced such series as 'The Red Bike Diaries," "The Graffiti Files," The Bars," and more. HIs works can be found in private collections throughout the United States. He lives and works in Harlem.
To read the article in detail as well as view images from my portfolio, click HERE.
MOMA Nights: 02.04.10
MoMA is open until 8:45 p.m. on the first Thursday of each month. Stop by after hours on Thursday, February 4, to enjoy full access to the galleries and theaters, a cash bar, DJ, and a special prix fixe dinner in Cafe 2. This will be a great opportunity to see the Tim Burton exhibition without the crowds! Regular Museum admission applies.
Buy tickets now!
Current Exhibitions
Gabriel Orozco Through March 1
Monet's Water Lilies Through April 12
Tim Burton Through April 26
Performance 7: Mirage by Joan Jonas Through May 31
Film Screening
Free with Admission
Ed Wood. Directed by Tim Burton. 127 min. 8:00 p.m., Theater 1
Pick up tickets at the film desk or at the lobby information desk.
Gallery Talks
Free with Admission
MoMA educators give engaging talks in the galleries at 5:30, 6:30, and 7:30 p.m. Groups meet the lecturer on the second-floor bridge next to the Marron Atrium. Gallery talks are approximately 45 minutes in duration. For enhanced hearing in the galleries, FM headsets and neck loops are available at the meeting spot.
MoMA Audio
Free with Admission
To hear dynamic commentaries on the Museum's collection and special exhibitions, connect to MoMA WiFi on your own wireless device or pick up an audio player at one of the MoMA Audio desks, located on the first and sixth floors.
Suggested audio program: Gabriel Orozco
Featuring commentaries by Orozco and exhibition curator Ann Temkin
Prix Fixe Dinner
6:00–8:00 p.m., Cafe 2 (floor 2)
In addition to the regular menu, a special prix fixe dinner created by Chef Lynn Bound is available for $25 (not including beverage).
Cash Bar
5:30–8:00 p.m., Marron Atrium (floor 2)
Music
DJ Alex Pasternak (Lemonade, ZZK)
From Turkish Cifteteli and North African Rai to samba-reggae and Folklorico, Pasternak's repertoire includes a great many tastes, textures, and tambours. In addition to his passionate pursuit and study of international music, he's versed in the sounds of the modern dance floor, including UK funky house, two-step, grime, kuduro, and cumbia digital.
Can't make this event? MoMA Nights will also occur on March 4, April 1, May 6, and June 3.
Source
Tuesday, February 2, 2010
Bonhams | FINE AFRICAN-OCEANIC-PRE COLUMBIAN ART SALE | 02.09.10
Please Join Us
Fine African, Oceanic and
Pre-Columbian Art
Please join us for a private viewing and reception
Tuesday February 9, 6-8pm
Kindly RSVP by February 5
+1 415 503 3390 or events.us@bonhams.com
Auction: February 12, 2010
10am
San Francisco
www.bonhams.com
MOCA 30 Works for 30 Years | SARAH LUCAS
Sarah Lucas, Mussolini Morning, 1991, ceramic vase, wire, and c-prints on card with tape, 23 x 16 x 16 in., collection of The Museum of Contemporary Art, Los Angeles, purchased with funds provided by The Buddy Taub Foundation, Jill and Dennis Roach, directors, photo by Brian Forrest.
30 Works for 30 Years
To celebrate MOCA’s 30th anniversary and the exhibition Collection: MOCA's First Thirty Years, you will receive an image of a featured work or works from the museum’s world-renowned collection of postwar art each week for 30 weeks to preview and share with your friends.
On view at both of MOCA’s downtown Los Angeles locations, this remarkable presentation is the most comprehensive long-term installation of the museum's collection to date, showcasing key selections of more than 500 works by more than 200 artists.
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