This Wednesday, The Journal Gallery in Brooklyn opens a solo exhibition from German photographer Juergen Teller. The series on display, Irene im Wald (Irene in the Forest), focuses on the forest near Teller’s childhood home in Nuremberg and includes meditative exterior and interior shots that often feature his mother (Irene). Quiet and peaceful, the photos are a perfect introduction to autumn.
A monograph of the series is being released concurrently with the exhibition as a supplement to the journal 32, which is definitely worth picking up.
All images courtesy of the artist, Lehmann Maupin Gallery, New York, and The Journal Gallery.
Eric Yahnker‘s first NYC solo show, Virgin Birth ‘N’ Turf, is being held at The Hole, the two-year-old Bowery space that picked up some of the pieces left when Jeffrey Deitch changed coasts. The show, which opens tomorrow night, is looking like quite the banger. Some HUGE (10 ft.) drawings will be on display in addition to sculptural and installation works. See more from Virgin Birth ‘N’ Turf after the jump, and if you’re looking to get even more hyped on the Los Angeles artist, watch our video interview with him from last year.
Ice Man, beauti-loser, and love letter scribe Steve Powers is hitting NYC’s Joshua Liner Gallery with a solo show on September 6th. You can expect some pretty tasty typography and graphics from the artist this go-round. The show is entitled A Word is Worth A Thousand Pictures and is definitely one to check out in person. The works on display range from 10-x-8 in. to 10-x-10 feet, and include Powers’ “Metaltations”- spontaneous enamel works on aluminum. And if you can’t make it over to Chelsea before September 29th, check out a preview of the show below.
…These visions were frozen in a time capsule on Gallifrey, only to be unearthed when the time and relative dimension in space felt right. Opened in 2012, the images resembled paintings like Michael Bevilacqua’s layered chrome and black attack, Chris Bors’s post-pop pseudo-propaganda, David Humphrey’s surreal suburban wet dreams, Ketta Ioannidou’s chaotic spiraling vegetation, Todd James’s bright cartoons from our Id, Allison Schulnik’s luscious thick impasto, Aaron Zimmerman intricate fever dreams and Jeremiah Teipen’s psychedelic sexual video.
NYC artistic heavyweight Chris Bors curated Spacegrass, a group show at Bloom Projects in New York (95 East 7th Street, downstairs) opening September 8th. The exhibition features works from a couple B/D favs including Allison Schulnik, Todd James, and Aaron Zimmerman. Check out some preview shots after the jump.
These photographs are taken from two series by NYC photographer Amy Stein: “Domesticated”, and “Halloween in Harlem”. The photos were put together a while ago now, but I’ve always loved them. And, as Ms. Stein seems to be dealing with an issue involving use of her work without permission and $40,000, I figured she deserved some love.
“Domesticated” depicts real stories ivolving animals and humans culled from local news stories. Stein used often used taxidermied animals in her perfectly positioned shots, which include bobcats confused by newfound construction and curious bears checking out backyard pools.
“Halloween in Harlem” is pretty straightforward: Stein’s eye set to run freely capturing the spirit of the holiday and creepy children in masks on the street.
Typographical force of nature and NYC-based graff artist Andrea von Bujdoss (Queen Andrea) just closed a show at Erik Foss’ Fuse Gallery. Here are some images of the work in the show, Typograph. The Queen is one of the cleanest out there for this type of thing. And the show was packed to the gills with references to super heroes and comics, 8-bit tribal patterns, and lazer-quality lines from the artist. Von Bujdoss is also a fairly prolific designer/illustrator, pulling down some large clients. Check it after the jump.
Last night, Jonathan Levine Gallery in Chelsea, NYC opened a group show entitled Détournement : Signs of the Times. The show includes works from some big names including Ron English, Shepard Fairey, Jamie Reid, Steve Powers, and Aiko Nakagawa. “Détournement” refers to the practice of altering the face of public signage to change their respective meanings. From curator Carlo McCormick (editor of PAPER magazine):
Employed brilliantly by the Situationists, whose great philosopher Guy Debord laid out the socio-aesthetic framework for this practice, détournements twist the terms of mimicry in ironic parody using the a semblance of the easily recognizable to dissemble and redirect the literal meaning of signs so as to construe a more honest picture of their deceptive intentions.
A natural response to the lies and coercions we are fed on a daily basis, the détournement has been the reactive impulse of all those who question reality, from the Punks who adopted it in the 1970s through Culture Jammers, Adbusters, contemporary street artists and the winding legacy of protest movements from WTO to Occupy.
Marion Bolognesi makes emotive watercolor portraiture that seems to appear out of the nothingness of their stark, white backgrounds. She often uses drips and large blots to echo the transient feelings that make us human. This technique also adds a nice aesthetic to the artist’s work, which has spawned a few biters and copy artists. Bolognesi demonstrates a lot of economy- the artist’s ability to do a lot with a little is commendable. With such fundamental subject matter, it’s probably best to keep things simple anyway. It’s not always easy to capture the deeper elements of life with grace, but she pulls it off. The artist, who also does illustration and design work, lives in NYC.