Alibi (1998) by Graham Dean
I knew nothing of Graham Dean when I came across his work, Branding at Scope during Art Basel week. Like most of the art I see that I really like it sort of hit me over the head. Sure, sometimes I find art I have to think about interesting or art that I have to look at for awhile. All that is intriguing but then there are pieces where my tiny, tiny brain says to me; you have to remember this one. Thank God for video cameras (he did invent them right?). Anyway Dean uses a unique watercolor painting process in his works which is best described on his website, www.grahamdean.com. It is refered to as “reverse archaeology” and uses layers of paint, separately laid onto porous paper. Not what you usually think of with watercolors…or at least not what normally springs to MY mind.
Godzilla Impressions #1
and his series of Godzilla paintings might anger some artists who become enraged over self-consciously primitive or child-like images. I have no such rage. I have other sorts of art rage but this usually relates to the over-use of images of Marilyn Monroe in any new piece of art.I call for a moratorium right now. Anyone who violates this will lose a finger.Ok, possibly not but they should.I digress. I meant to talk about these Godzillas and why I do like them. First, they are child-like and primitive. But I challenge you to duplicate them or to get your kids to--keeping a special eye to the use of color that could only come from someone with an eye for such things. I cannot elaborate, not being terribly articulate, but these are works that are both fun and complex to my eyes.I even had to come back to them. They were part of pantings displayed by Licht Feld Gallery.
Godzilla Impressions #2 and my pitch to buy you an art collection.
This is a short video of me first seeing the art of Lori Hyland
and other artists in the Timothy Yarger Fine Art
booth. Timothy Yarger are located in Beverly Hills, with an office in Bangkok. Yarger told me Hyland would be there the next day.That article, which will be extensive and in the Interview section here, will be from Hyland's perspective. This is mine. I have a strange attraction to art that looks almost like a different piece from different distances from the piece. I saw Lori Hyland's piece, Matrix Fragment, and ran over to it. My initial perspective on the piece dovetails with the artist's intent. These piec
es are, in one sense, a way she relaxes. The painting is, not precisely, peaceful. the iridescent green makes the piece alive. It makes it almost breathe. It is the sea or an emerald forest or whatever gives you the peace it gives Hyland.Look for pieces by Hyland and the interview within the next two weeks in the Interview section.
photo by Marcela Aguero
Miguel Paredes’ Reception at The National on Miami Beach was one of several events focusing on the artist and his work during Art Basel 2010. Paredes, an artist whose inspirations range from his children and urban roots to his growing up in New York City, is becoming an artist even people who don’t pay special attention to art recognize. Or they recognize his work anyway. He works not only in oil but in the digital medium and others.
Art Basel has been a significant part of the development of Paredes career.
"Art Basel has been an instrumental platform for raising awareness on my work, galleries and projects. Without it, I may not have had the opportunity to meet and introduce my work to art enthusiasts and media from around the world that the events attract year after year. And things are only getting better!” he says.
This can be evidenced by the four events, including celebrating the opening of his new studio in Miami’s Wynwood neighborhood (it actually opened earlier in the year). Many who don’t make it to Miami often, or ever, might be surprised at how much of an art center the city (and nearby municipalities like Miami Beach) has become. Areas where, ten or so years ago, you would have been foolhardy to walk, are now full of artistes.
This year has seen a massive increase in events around Paredes and his art during Ar Basel. “Over the years, my Art Basel projects have grown in magnitude and increased by the numbers as a result of the previous years' success. For example, last year I held one exhibition and reception on Lincoln Road, whereas this year, I hosted a series of events at one of Miami Beach's iconic landmarks, The National Hotel, which I completely transformed into the Miguel Paredes National Gallery, as well as several receptions at my Wynwood space, Paredes Fine Art Gallery, and new Lincoln Road Pop Up Store. While I'm still recovering from the excitement, I'm already looking forward to planning what's in store for 2011!" says Paredes. It truly was transformed into the Miguel Paredes National Gallery. In addition to Paredes’ paintings Pulgha merchandise was on display. Pulgha is an animated character created as part of Paredes digital piece, Pulgha & Birds Digital Art series.Paredes' Pop Up Gallery is on display in Miami Beach at 412 Lincoln Rd until January 5th. Paredes work has hints of graffiti, Japanimation but can also be realistic (the collection, Los Ninos, for instance). And while his works are often sold to collectors the art itself is certainly not elitist. It can appeal to a wide swath of art aficionados and even folks who don’t, generally, give much thought to art. For more information head to the Miguel Paredes Website, www.miguelparedes.com.
s paintings of the night struck my because of depth. Often when I see paintings of night scenes they seem flattened, geometrical but not Young's. To me, anyway, there is depth in nuance even in the darkness. It isn't simply depth provided by the depth of a street light in the painting but a depth almost metaphysical. You, of course, won't get any of this from my crude video.Young's work was displayed by Washington D.C.-based, Civilian Art Projects, as part of the The Scope Art Show during
Art Basel 2010. Young, on the Civilian Art Projects website, says his paintings represent mental space and that each painting is like him moving into a new room.It is interesting to reading his description because each of his paintings, should you see them, will bring you to some space you've been or imagined. At least that was my reaction.
I liked the extended dark space on the bottom of the painting, Night Pumper (above). In some little way it works against conventional thought. Doesn't your brain want the painting to cut off a few inches higher?
I say this was the only thing I was going to tape in the Red Dot Fair at Art Basel (YES I know..this isn't reeeeally part of Art Basel but I am just simplifying). It isn't true. I taped some other things to be sure to remember them and it may turn out that I use one or two.In any case these are some of the works of Romero Britto who is ubiquitous in Miami. His store on Lincoln Road is highly trafficked and his art work is seen in public all over South Florida.Bring his name up to many artists, however, and they go apoplectic. They just hate him. Some, I am sure, dislike his success. Artists are, after all, supposed to starve. Others have more principled objections.But I am prepared to defend Britto in that it is unfair to judge his accessible, illustrative work as if it is Picasso, Kandinsky or Pollock.
Judge it along side Nagel, Neiman et al and you would be more on the mark. I admit I associate the store itself with spending good times along Lincoln Road with my baby son. But if the store was full of Flemish Expressionist paintings would those memories be as happy?Come on artistes...Cut Britto a LITTLE slack.
Years ago, when I was young and foolish (or more foolish), I scoffed at the notion of photography as art. Then, in grad school, seized by a psychotic episode I took two classes over and above my graduate classes, on photography. One was an actual photography class and the other a history of photography class. Specifically the former taught me I was not much of a photographer. I could take a picture of my thumb with a SLR which is quite a feat.
The history class taught me that I was an idiot. And one of the pictures from the book in that class was the one below by Andre Kertesz. I didn't learn much from the professor but the text was fabulous.
They also have a wonderful painting by Frank Auerbach (which I originally got the name wrong), called Building Site Near St. Paul's, Winter. This painting is maybe my favorite piece in the Art Miami Fair. I do not include a picture as it will not translate that way. There were also some wonderful Henri Cartier-Bresson and Iriving Penn photographs....and damn, also Alec Soth.
Ancient Art Gets Modern
by Patrick Ogle
I went to Cando Arts Co-Op at 309 23rd Street on Miami Beach on the way to another event. I hadn’t intended to go there but they had a variety of interesting work by artists such as Miguel Hine. On one of a series of mosaics I saw a name Robert Altman, listed as a photographer. I started asking if this was one and the same as the director of The Player, MASH and a host of others. It wasn’t but my curiosity led to a conversation with Jonathan Schweiger, vice president of Mosaic Legends. Schweiger came over to disabuse me about my Robert Altman notions and to chat about this new take on the mosaic. Essentially these mosaics are a large image of an artist (in most cases) made up of smaller pictures of the same artist. But it is more than just that. “It is art with a mobile app. Every single photo that makes up the collage you can load and send. Each has information attached. This takes a thousand year old art form and, literally, brings it into the 20th Century.” says Schweiger. “The Dead took pictures from each show on tour. There is also a video. Behind every small picture is a story about The Dead.” This is the basic M.O. for all the mosaics. And you do not have to own the actual artwork to get the virtual images. You can download the mosaics at the Apple Store. “With most of the apps we have artist’s approval. We could do a Bob Dylan but haven’t out of respect. We want the artists on our side.” he says. Mosaic Legends do the work and the art and that art leads back to the artist’s work and artist websites (and might well add to the revenue stream). Having the right to do it is one thing but having the artist co-operation can make the experience special for the fan. And it isn’t just artists that are represented here. “Essence magazine has a mosaic made up of every Essence cover for 40 years.” says Schweiger.
Jonathan Schweiger, Exec. V.P. Mosaic Legends (left) photo by Marcela Aguero
And, as you might imagine there are commercial applications. The American Museum of Natural History in NYC has a mosaic with dinosaurs and an educational application. But if you are not in the mood for prehistory education and are still a fan of New York the Derek Jeter mosaic may be more your speed. Sports memorabilia items are offered in conjunction with Steiner Sports. They have a version under $1,000. Derek Jeter, Nick Swisher and other Yankees are represented.
“We do private commissions, work with advertising companies and have done sponsorships.” he says.
But probably the most interesting and informative are the music pieces.
“I learned so much about Bob Marley with this app that I wanted to buy his first album again.” says Schweiger.
There are three components to these pieces: the fine art print, the mobile app and the web images. Every single picture that makes up the mosaic can be uploaded. There are those, steeped in the fine arts and disdainful of cold hard cash that might dismiss these pieces. They can feel free to do so but the pieces are clever and, if nothing else, they offer fans a unique way to own a piece of an artist’s career. It also is something of a springboard of the imagination. Sure Mosaic Legends’ aims are commercial. Making art IS actually a job (or it is to be hoped that it is). But this sort of use of, incorporation of, technology certainly has applications for less commercially minded artists. What specifically? I have no idea. I’d leave that to the artists.
The exhibition that is currently up at the Co-Op, Wet, is there until January 10.
I am not sure of the intent of artist Zhou Yulin in these two paintings, What is in Mouth is Not Yours 1 & 2. Both were part of the Scope/ Art Asia Fair in Miami during Art Basel week (I have yet to point out that none of the events I have been writing about are technically part of Art Basel). Explaining why I like them might also expose some deep seeded psychological issues best left to a mental health professional. But I will go so far as to say I find a sort of wry humor in at least #1 but then I have a strange sense of humor and no idea about the location of Mr. Yulin’s funny bone. The two paintings are more striking in person than on the page, as is usually the case. He is a native of Hangzhou Zhejiang Provence and graduated from the China Fine Academy of Fine Arts (also in Hangzhou where the artist resides). He has had a number of solo and group exhibitions in China as well as exhibitions in Luxembourg and Germany These paintings are for sale via Fabine Fryns Fine Art in Los Angeles. Fabien Fryns is also the founder of the F2 Gallery in Beijing. What is in Mouth Is Not Yours #2
What is in Mouth is Not Yours #1
by Patrick Ogle
When I mentioned Julian Lennon and his photographs to one person their reaction surprised me. It was hostile. The gist was; “Why should I like his photos because he is someone’s son?” Of course, you shouldn’t. But likewise you shouldn’t hold that against anyone. People cannot help who their parents are. And Julian Lennon’s photos are good. Do not attempt to judge them by a photo in the newspaper (or even most glossy magazines). Certainly do not attempt to judge them by the crappy video above. DAMNED reflective glass! Lennon’s photos also incorporate another of his strengths, as a writer. He is something of an overlooked songwriter , most likely because of his famous father. Lines of verse accompany some of his more striking images. Be sure to check out any exhibit of his photos. The relatively small group at the Scope Fair at Art Basel Miami was worth a look.