Jonathan Ferrara Gallery Blog

Malcolm McClay, Pat Roig, Dan Tague in The Times-Picayune-NOLA.com

2012-02-22T11:39:00.000-06:00

STAFF PHOTO BY STEVEN FORSTER / THE TIMES-PICAYUNE

Good Children Gallery "Hard Art DC 1979" opening Saturday January 14, 2012. Malcolm McClay, Pat Roig, Dan Tague.

Robot Wednesdays Blog Features David Buckingham's Artwork

2012-02-17T14:20:00.000-06:00

Artist Skylar Fein Discusses Graffiti Art Advocacy with the Times-Picayune

2012-02-17T14:10:00.002-06:00

Times-Picayune/ NOLA.com interviews Jonathan Ferrara Gallery Artist Skylar Fein about graffiti art in New Orleans and the commission at the new Rice Mill Lofts.

Hannah Chalew's Steady Creep picked as a favorite on WYES's "Steppin' Out'

2012-02-15T11:01:00.001-06:00

Arts writer John Kemp names Hannah Chalew's Steady Creep Exhibit at Jonathan Ferrara Gallery

a not-to-be-missed event

Click here to watch full episode, Hannah Chalew mentioned at 25:45 mark

Click here to view work from "Steady Creep" online

Marcus Kenney "State of Nature" Exhibition Walkthrough Video

2012-02-13T13:18:00.000-06:00

Newly represented Jonathan Ferrara Gallery artist, Marcus Kenney, discusses the inspiration for his first solo show at the gallery "State of Nature".

Wired.com uses Marcus Kenney Installation for Article "How to Raise Racist Kids"

2012-02-13T12:46:00.000-06:00

Marcus Kenney. U.S. 2007. 300 Individual Plaster Sculptures. Telfair Museum, Savannah, Georgia

READ ARTICLE

Marcus Kenney in The 22 Magazine

2012-02-13T11:29:00.001-06:00

Gallery and Interview showcasing the work of Jonathan Ferrara Gallery Artist, Marcus Kenney

THE 22 MAGAZINE: Where did you grow up in Louisiana?

MARCUS KENNEY: I was born in Franklin Parrish which is north of Baton Rouge in a little isolated community named Cooter Point. Cooter Point is the area where the Bayou Macon and the Tensas River converge. I grew up in the middle of two cultures. My mother's family are Catholic Cajuns and commercial fisherman, and my father's are Protestants and farmers. We lived on my dad's farm and I spent a great deal of time searching for Native American artifacts in the soil. I found hundreds of arrow heads and tools over the years.

22: Did your childhood affect your outlook or work in any way?

MK: Its hard to signify exact elements but for sure there are many aspects of my work that I pull directly from my own history. The taxidermy pieces for example are a direct response to my mom's decoration of a large buck she has displayed in her home. Each season she will attire it with appropriate décor such Santa hats and Mardi Gras beads, etc. I lived on the banks of the Bayou Macon and often experienced large snakes and alligators, so there was always the presence of danger which tends to find its way into my narrative work. I went to the same school building from kindergarten through high school and graduated with the same 22 kids that I began with. I think it is those types of things that are expressed in my work. I was not exposed to art or culture outside of what was created around me but I was allowed a lot of freedom to roam the countryside and the rivers. That lead to many situations and experiences that very few will ever have.

22: Tell me about Savannah. How did you end up there? What about it appeals to you?

MK: I had a friend from college that transferred to S.C.A.D. [Savannah College of Art and Design]. I had recently graduated from University of Louisiana Monroe, so I tagged along. A short while later I enrolled at S.C.A.D. and earned an M.F.A. in Photography. After graduation I weighed the option of New York and the other major cities and decided that Savannah had all the necessities I needed to have a career and raise a family. Because of my involvement with S.C.A.D. and the art community I have been able to have dinner with Robert Rauschenberg, spend an evening with Dan Cameron, have Nick Cave visit my studio, and party with DJ Spooky. That is the advantage to living in Savannah as opposed to larger city. It is small enough that it doesn't overwhelm and still gives me access to exciting things.

22: Tell me a little about the provocative nature of your work and how people respond to it.

MK: I try to make my work rounded enough that it is able to be provocative and aesthetically pleasing at the same time. I love getting responses to my work that vary greatly from the general perceived interpretation. It seems because most of the art world is thought of as being liberally biased that art is too often read within that pretext. However if the viewer has a belief in an opposing version of a political hot topic they may see something supporting their view and I am completely open to that. Otherwise art becomes propaganda. I have no interest in choosing a side and making work to promote a particular view. As a contemporary American artist I want to create works that convey the times in which we live. Sometimes there is success. I have had people give opposing views of the same work of art and be so sure that they knew exactly what I was thinking when I created it. I think when I am most successful it really becomes about the viewer and all of Marcus Kenney is swept aside. The most recent work is getting away from the overt political and moving into different directions.

22: What is your idea of kitsch? Do you think you work within the realms of that?

MK: I hope not but I could see on first glance where the viewer would go there. If the appropriate attention is dedicated to my work I don't see how anyone could stop at kitsch. People confuse kitsch with craft and that is a mistake. I think kitsch is a modern disorder that a culture who has lost all hope suffers from. Let us make ourselves feel better by filling our lives with meaningless things.

22: Is there any particular reason you use children more often than adults in your work?

MK: I think I was doing what I was familiar with. I have three children and it seemed natural. I am evolving out of that phase now.

22: Do you think your artwork is a commodity?

MK: Of course my work is a commodity. Our culture has to attach a value to everything to make it seem meaningful.

22: Tell me a little about your recent taxidermy series?

MK: I grew up in a hunting family so having deer around the house were quite common. As I said before, each season my mother decorated the taxidermy with the appropriate holiday attire. It seemed natural to the evolution of my work to create my own version. I obviously have taken it to another level by embellishing taxidermy to present the animals as deified beings instead of a trophy that symbolizes conquest. A deer adorned with the trappings of royalty—a pearly headdress and a lace backdrop—is no ordinary deer. I am interested in transforming the animals into more than a trophy and into something that resonates beyond the material aspects and deeper into the spiritual not unlike altarpieces or relics. I try to give each one its own particular identity and work in a way that the sculptures develop themselves over the course of several months. Items brought into my studio tend to find their way onto a particular work as if it belonged there since its inception. I have found this way of working quite rewarding considering my previous two dimensional work was mostly narrative. These have allowed me to work a lot more intuitively and let the pieces themselves dictate the direction a piece follows.

GO TO SOURCE

Marcus Kenney in ARTNOW discussions at Morris Museum of Art

2012-02-10T14:03:00.002-06:00

Art Now, the Morris Museum of Art’s new series of talks with cutting-edge contemporary artists, opens Thursday, Feb. 9 with Marcus Kenney. The evening begins with his talk at 6 p.m., followed by food, drink and music by DJ Joycette.

Kenney creates intricately detailed collages that incorporate bits of unusual materials to portray images that range from the humorous to the provocative and unsettling.

Writing in Art Papers, critic Jerry Cullum said of Kenney’s work, “… the technique of collage has rarely been put to more intelligently entertaining uses.”

Born in Louisiana in 1972, Kenney now lives and works in Savannah. He earned a Master of Fine Arts in photography from Savannah College of Art and Design. He has had solo exhibitions of his work in New York, Boston, New Orleans and Atlanta, and has shown in museums and galleries throughout the United States and Europe.

The Morris has installed a sampling of his works in the Education Gallery next to the auditorium where his talk will be held.

VIEW FULL ARTICLE - The Augusta Chronicle

ALSO OPENING THIS FRIDAY Feb 3rd 6-9pm: Hannah Chalew Steady Creep: New Sewn Drawings, Mixed Media Constructions and Pen and Ink Drawings

2012-02-01T11:25:00.001-06:00

Jonathan Ferrara Gallery is proud to announce Steady Creep,a solo exhibition featuring pen and ink drawings, cut paper constructions, sculpture and sewn drawings by artist Hannah Chalew. The gallery continually strives to introduce new creative voices and give emerging artists a forum to exhibit alongside established artists so that new ideas can flourish. The exhibition will be on view in JFG's middle gallery from February 1 - March 10, 2012 with artist receptions on Friday, February 3rd and Saturday, March 3rd from 6-9pm.

Chalew says of her first solo show:

"Steady Creep is an exploration of the effects of time on the post-Katrina New Orleans landscape. Abandoned structures that have fallen into the backdrop of the city's psyche have the full attention of Mother Nature as she slowly reclaims them. These spaces become new ecosystems, surreal environments that are both tragic and fascinating. This body of work is made primarily with paper, pen and ink, and thread, with small strips of wood. . .to walk the tenuous line between civilized and wild and to emphasize the ephemeral nature of that line. I see my drawings as records of these places but also as memorials and meditations on the loss they bespeak. . . Steady Creep examines the wear of time as it marches on and over the past. "

Hannah Chalew is a New Orleans artist, (born and raised) who chose to return home after graduating from Brandeis University with a BFA. Chalew also attended the well-known New Orleans Center for the Creative Arts (NOCCA). Chalew is one of the founders of T-Lot, a studio and installation space for emerging artists in the St. Claude Arts District in New Orleans. She works from direct observation to bring the experience of place to the viewer. Her work examines the post-Katrina landscape emptied of human life. These spaces speak for their inhabitants as a statement about the inextricable link between culture and nature, our past and inevitably our future.

Chalew has exhibited work at the Acadiana Center for the Arts, T-Lot and other venues. She was 2010 No Dead ArtistsJury Winner as well. Her work was recently on view in the NOLANOW exhibition, curated by Amy Mackie, at the Contemporary Arts Center, New Orleans. Her work has been featured in Satellite Magazine, Designtripper, NOLA Defender, and The Times-Picayune.

To preview selected works from Hannah Chalew's Steady Creep exhibition, please click here.

Pictured Above:

Hannah Chalew
Lapeyrouse Takeover
pen and ink on paper
30.25 x 44 x 0.75 in.

SPECIAL NOTE:

THE FEBRUARY GALLERY OPENING WILL TAKE PLACE ON FEBRUARY 3rd FROM 6-9PM.
HANNAH CHALEW WILL ATTEND AND WALK VISITORS THROUGH HER EXHIBITION.

Jonathan Ferrara Gallery Announces State of Nature: New Mixed Media Sculpture and Collage by Marcus Kenney

2012-02-01T11:20:00.001-06:00

SPECIAL NOTE:

THE FEBRUARY GALLERY OPENING WILL TAKE PLACE ON FEBRUARY 3rd FROM 6-9PM.
MARCUS KENNEY WILL ATTEND AND WALK VISITORS THROUGH HIS EXHIBITION.

Jonathan Ferrara Gallery is proud to announce Marcus Kenney: State of Nature, New Mixed Media Sculpture and Collage. This is the first solo exhibition by newly-represented artist Marcus Kenney, who is well-known for his multi media collage works. The exhibition will run February 1 - March 17, 2012 with artist receptions on Friday, February 3rd and Saturday, March 3rd from 6-9pm.

Marcus Kenney is widely recognized for his signature mixed-media pieces composed largely of found and appropriated materials. Kenney collects castoff items - old photographs, magazines and newspapers, paint-by-number works, wallpaper and other familiar objects - which he assembles into compelling, skillfully composed works of art. Marcus Kenney is a creator of provocative and often unsettling works of art.

Originally from rural Louisiana, Marcus Kenney has lived in Savannah, GA for the last 15 years. He earned an MFA from the Savannah College of Art and Design in 1998. Kenney works in many mediums including collage, sculpture, paint, photography and installation. His work has been exhibited in New York, London, Miami, Chicago, Atlanta, Hong Kong, Paris, New Orleans, and St. Louis. He has been included in numerous group shows, art fairs, and solo exhibitions including a major ten year survey featuring nearly 50 works at Jepson Center for the Arts, a collection of his work titled"Marcus Kenney" was subsequently published by SCAD.

Marcus Kenney's work is in numerous private and public collections throughout the U.S. including Museum of Contemporary Art of GA, Atlanta, GA; Masur Museum of Art, Monroe, LA; Fidelity Investments, Boston, MA; College Of Charleston, Charleston, SC; Memorial Hospital, Savannah, GA; Savannah College Of Art and Design; Bank One, Monroe, LA; Jepson Center for the Arts, Savannah, GA; SABA Photos, New York, NY; Molloy College, New York, NY; Telfair Museum Of Art, Savannah, GA; King and Spalding, Atlanta, GA.

Kenney has been featured in numerous publications including Art in America, ArtPapers, The New York Times, South Magazine, Oxford American, ARTNews, The Boston Globe, Atlanta Journal Constitution and New York Arts Magazine. He has twice been featured in New American Paintings Southern Edition in 2004 and 2011.

In his current body of work State of Nature, Kenney has expanded his assemblage practice to even more sculptural results.

Kenney says of his latest exhibition:

This body of work is a response to my growing interest in all things that have an indigenous quality to them. I am attracted to natural histories and native cultures and have molded this collection around that general idea. "State of Nature," according to the dictionary definition, is a term in political philosophy used in social contract theories to describe the hypothetical condition that preceded governments and what will happen when a government dissolves. Society would revert back to a "State of Nature" and become more tribal. With this body of work I imagine a postmodern society and the images and items found within it. A tribe where animals become deities and leaders along side their human contemporaries.

I grew up in a hunting family so having deer around the house were quite common. Each season my mother decorated the taxidermy with the appropriate holiday attire. Every Mardi Gras she would adorn them with beads and during Christmas she would embellish them with garland, balls and Santa hats. So it seemed natural to the evolution of my work to create my own version. I have taken it to another level by embellishing taxidermy to present the animals as deified beings instead of a trophy that symbolizes conquest. I am interested in transforming the animals into more than a trophy and into something that resonates beyond the material aspects and deeper into the spiritual not unlike altarpieces or relics. I try to give each one its own particular identity and work in a way that the sculptures develop themselves over the course of several months. Items brought into my studio tend to find their way onto a particular work as if it belonged there since its inception. I have found this way of working quite rewarding considering my earlier, two-dimensional work was mostly narrative. These Taxidermy Heads have allowed me to work a lot more intuitively and let the individual pieces dictate for themselves the direction it follows. - Marcus Kenney

Marcus Kenney: State of Nature, New Mixed Media Sculpture and Collage will run February 1 - March 17, 2012 with artist receptions on Friday February 3rd and Saturday, March 3rd, both from 6-9pm.

To preview selected works from Marcus Kenney: State of Nature, New Mixed Media Sculpture and Collage, please click here.

Pictured Above:

Marcus Kenney
Bohlanzoh
reclaimed taxidermy, twigs, fabric, feathers, foam, paper, cork, faux hair, yarn, beads, plastic, metal, etc. on wooden panel
62 x 29 x 27 in.

Artist's Krista Jurisich and Gina Phillips design "Crush Car" with their students at Hynes Charter School for the Monster Jam

2012-01-27T11:53:00.000-06:00

Jonathan Ferrara Gallery Artist's Krista Jurisich and Gina Phillips work in their classrooms at Hynes Charter School with Students to design "Crush Car" for the Monster Jam this weekend . . .

Throwdown.2 - Closing Party and Benefit Auction for Prospect.2

2012-01-24T13:56:00.000-06:00

Director and Curator of the Nasher and Dallas Group take a walkthrough the Prospect.2 Installations of Dan Tague and Gina Phillips with the artists

2012-01-23T11:45:00.000-06:00

Jonathan Ferrara Gallery and Prospect.2 Biennial Artists Dan Tague and Gina Phillips guide a group from Dallas, including the Director and Curator of the Nasher, through their P.2 Installations United States Department of Civil Obedience and Life Lasagna (respectively) at the

Contemporary Arts Center, New Orleans

The Portland Tribune: A Graphic Take on Gulf Oil Disaster (Brian Borrello)

2012-01-21T13:11:00.000-06:00

A graphic take on Gulf oil disaster

Portland cartoonist, columnist depict post-BP spill challenges

BY JENNIFER ANDERSON

Pamplin Media Group, Jan 19, 2012

The hand-lettered sign on the bar in the tiny town of Grand Isle, La., caught our eye at once.

“Oil & Water” is a new graphic novel

that chronicles the impact of the BP/Deepwater Horizon oil spill.

COURTESY OF FANTAGRAPHICS BOOKS

“Daddy’s Money,” it read. “Oil wrestling featuring the girls from Slidell.”

Amid the jukeboxes and fraternity-like atmosphere, tired bar owner Jack Jambon sat on a bar stool and told us how his family business had changed since the BP/Deepwater Horizon oil spill killed off the flocks of tourists and fishermen who used to come in. The girls — who used baby oil, not peak oil — helped bring the cash in.

Shannon Wheeler, the award-winning Portland cartoonist most famous for his “Too Much Coffee Man” series, and a regular contributor to The New Yorker magazine, sketched the scene that night, as he did for many other scenes throughout the 10-day tour of Louisiana, Mississippi and Alabama two summers ago by a group of Oregonians, including myself.

Wheeler used the image as the opening scene for “Oil & Water,” a new 120-page hardcover graphic novel that tells the stories — both real and fictionalized — of the people our PDX2GulfCoast team encountered.

Depressed by the images of the April 2010 catastrophe — which killed 11 men and spilled almost 5 million barrels of oil into the sea — our group of 22 Oregonians wanted to do something about it, but felt helpless from 2,500 miles away. So, in “Seven Samurai” style, each of us from different fields — art, writing, teaching, conservation, sustainable business, social work — were recruited by Mike Rosen, a Southeast Portland resident who organized the tour and is passionate about education and environmental issues.

We set out to “bear witness” to how people were coping with the disaster — socially, economically and environmentally — and bring it back to Portland to share, in hopes that it would inform the choices we locals make every day.

The bizarre scene at Daddy’s Money that night was just one of the situations we encountered that made us chuckle, yet pause to think, as we tried to hold back on passing judgment with our West Coast urban sensibilities.

Who were we to judge that the Tulane professor we met was more credible than the lifelong crabbers and shrimpers we boated with, or the retired folks who played pinochle at a community center and praised BP’s cleanup efforts?

And what does it matter, anyway, when the oil spill happened halfway across the country?

That’s exactly the point, says Rosen, the graphic novel editor and project leader. When it comes to sustainability, we all have the same lessons to learn, Rosen says: “We’re all consumers; everyone here consumes the product that comes out of the Gulf.”

Artists’ take on eco disaster

As the newspaper reporter character in the book, I can attest — 100-percent objectively, of course — that the book is at once tragic, funny, poignant and thought-provoking.

Local visual and literary artists, as well as environmental leaders, say the book is an astute reminder of the social, economic and ecological impacts of the BP/Deepwater disaster and those yet to come.

“What I think these guys have done, and I’ve tried to do, is leave an archive, evidence, a conversation piece, to stimulate a conversation and dialogue about what happened and what continues to happen,” says Brian Borrello, a New Orleans native who lives and works as a public artist in Portland, having done city-commissioned projects along the Interstate MAX line.

“These types of mistakes have long-term implications, and we can’t forget. We have to keep people’s memories stimulated through things like this graphic novel and other artistic representations.”

Borrello was similarly inspired to create art out of the BP/Deepwater tragedy.

Just after the disaster, Borrello walked along the beaches of Pensacola, Fla., with his daughter and collected some of the oil that washed ashore. He applied it to canvasses as a brown haze across the New Orleans skyline and sold the series of prints as living room art.

Brian Borrello

New Orleans Skyline, 2010

digital print, BP's Deepwater Horizon Oil

36" x 15"

Edition of 100

Raising, not answering, questions

The “Oil & Water” team is going a mile-a-minute these days, promoting the book around town, as well as regionally and nationally, with signings, readings and panel presentations, including a December reading at Powell’s.

Oregonian newspaper columnist Steve Duin, who authored the book based on his travels with our group, says he and Wheeler didn’t come away with any grand epiphanies.

In fact, he says, the book raises more questions than it answers. “We did not have a gold-plated message for everybody,” Duin says. “We weren’t going to approach it like ‘Inconvenient Truth.’ ”

Michael Ring, owner of Bridge City Comics on Portland’s North Mississippi Avenue, says the graphic novel format tells the story in a unique way that attracts readers from all walks of life, young and old.

“Comics aren’t just superheroes,” Ring says. “They have things that appeal to everybody. … People are realizing graphic novels can tell a story in words and pictures in some cases more powerfully than just words.”

Since its fall release, the book has been selling well, he says, although it requires some extra effort to sell because the event happened close to two years ago. “We’ve been playing up the local angle. People in Portland are very responsive to graphic novels made in Portland and (exploring) local issues.”

Noted environmentalist Bill McKibben, based at Vermont’s Middlebury College, wrote the introduction to “Oil & Water,” summing up its significance on the environmental stage.

“It’s clear by now that the Gulf spill was not the wake-up call many imagined,” he wrote. “With huge amounts of money (though still small compared to BP’s profits), the oil industry managed to hit the snooze button on this alarm clock. The feds tightened the rules a bit on deepwater rigs, but that was never the real issue. The real issue is oil, and all that it means in our economies and in our lives.”

Click to read full article in The Portland Tribune

Gina Phillips Video Interview

2012-01-18T11:12:00.000-06:00

In-depth video documentation and interview of Gina Phillips, her artistic process, development of her work, and her recent exhibition at the Contemporary Arts Center New Orleans for Prospect.2 Biennial.

The Austin Chronicle: Dan Tague and Gina Phillips' Prospect.2 Exhibitions Reviewed

2012-01-14T10:59:00.000-06:00

P.2 Day Deux

BY ANDY CAMPBELL AND KATE X MESSER, 11:00AM, FRI. JAN. 13

Not all the art was worth commenting on at the CAC, but there were some standouts… first amongst them, and given the pride of place was Dan Tague, whose fictional U.S. Department of Civil Obedience is meant to be a reflection of the current state of surveillance and Democracy. Official-looking museum vinyl lettering informs you that the exhibition has been underwritten by the USDCO and a second message, smaller and placed near the baseboards of an adjoining wall, further tell you that “You Are Under Surveillance”. Turn around and look up and sure enough – a camera is pointed right at you. Is it real? The light blinks red…. Andy stared the camera down, hoping to break it with his Marina Abramoviæ-like concentration, but to no avail. The USDCO’s faux-logo is an iconic image of a rattlesnake, mouth-open, poised to strike. Tague’s work is, in fact, the visual equivalent of that ominous reptilian rattling sound – it’s all irony until it’s not, and by then you’ve been fanged.

Dan Tague's Crisis Car, part of USDCO exhibition at the CAC

Gina Phillips, whose large sewn fabric panels and quilts, also made a strong showing at the CAC. Phillips, a kind of SWOON for the sewing set, relies on a limited set of visual signifiers – teeth, birds (often carrying human hands), water, clouds and decapitated heads – which are all realized in bright threads and fabrics. Eavesdropping on a couple of P.2 visitors I heard one exclaim that a new element had been added to the installation since he had last been by. Who knows if it’s true, but I’d like to think it is. I imagine the artist using the exhibition time not to rest on her laurels, but challenging herself to incubate more, making more decisions on what else belongs or doesn’t belong.

Life Lasagna installation by Gina Phillips, CAC

Click here for full feature in The Austin Chronicle

Daniel Canogar "River of Forget"- Museum Borusan Contemporary, Istanbul

2012-01-13T12:31:00.000-06:00

"Goldie Gallop's Chaos, Destruction & Shovels Extravaganza"- a solo exhibition by Alissa Polan

2012-01-12T11:22:00.000-06:00

EXHIBITION DESCRIPTION:

"Goldie Gallop's Chaos, Destruction & Shovels Extravaganza"

Opening: Friday, January 13, 2012 @ 7 - 8pm

Goldie Gallop is a new kind of Western heroine. She stands and poses. The pose becomes a photograph. The Wild West as we know it became popular for its gunslingers, heroes, villains and trail riders through believable storytellers, exhibitions, photographs and drawings. Later, Hollywood made the West infamous and synonymous with an elaborate fantasy that still resonates today.

Growing up in the shadows of Hollywood and the birthplace of the Wild West show- stopper identity I envisioned my own Wild West character for the contemporary city. Much like the Wild West, she would be bold, brave and adventurous. She would go through trials and tribulations. There will be drawings made about her escapades, photographs taken of her in her trailblazing outfits. The show is complete with a simulation of one of her scenes for exhibition goers to pose and participate.

I am interested in how narrative is created through fragments of photographic evidence and psychological context. This work focuses on story making through isolated surrealistic imagery and new kinds of product placement. "Goldie Gallop’s Chaos, Destruction, & Shovels Extravaganza" is promoting it’s own set of severed Western inspired moments that exist somewhere between action and pose, heroine, sell-out and fake by mixing up signals of the Wild West and the anti-west. I am promoting Goldie’s version, drawing parallels between her life and ours: lives that would be forgotten without validation, documentation and popularization.

IMAGE FEATURED:

Victory (Breaking Ground at Lonely Cactus)

2011

photocollage, colored pencil, duct tape, gouache, acrylic and paper on hardboard

13" x 13"

"Goldie Gallop's Chaos, Destruction & Shovels Extravaganza"

Opening: Friday, January 13, 2012 @ 7 - 8pm

Mauve? Office of Exhibition

2000 Center St., 2nd FL

Berkeley, CA

To be let into the building please call 510-642-2413

R.I.P. AND RUN: Skylar Fein Talks to Street Artists The Bourghog Guild About Tagging Banksy, Getting Punched Out By L.A. Guns and the USA (via NOLA DEFENDER)

2012-01-07T19:15:00.001-06:00

Marigny-Bywater residents mystified by the recent wave of R.I.P.-themed graffiti may find solace (or rage) in the following: the drippy messages that say things like "R.I.P. Cy Twombly," "R.I.P. Banksy" (on top of an actual Banksy), and "R.I.P. Swoon" (on top of a Swoon), messages that have declared the death of writers, politicians and food items, are the work of two young men, and perhaps more, who live in the 9th Ward and work under the name Bourghog Guild.

I met them at the recent Bombthreat graffiti show on Washington Ave., where they were wearing masks and working on a mural of two giant demonic faces, and they agreed to meet later to speak on the record.

They arrived for their interview dressed identically, in red flannel shirts and black, wide-brimmed toreador hats. They opened a metal ammunition case and dumped its contents onto a table, then carefully arranged them--chunks of myrrh, a rusted padlock, a copy of War of the Worlds, a roll of jute twine, a jar of dirt, religious statuettes, a wooden wheel, a rib bone inscribed with some sort of scrimshaw - as if it were an ordinary and obvious preface to the conversation. Then they placed a sack of black-roasted nuts between us and sat down.

Below, the self-described gods may answer some of your questions though not necessarily your prayers.

Photo by Sam Ballen

Skylar Fein: I'm here with the Bourghog Guild. Did I pronounce that correctly?

Bourghog Guild: BORG-hog. It is of Germanic descent, and then it kind of becomes part of unreality.

SF: Are you two separate people?

BG: [In unison] No. We're one person.

SF: Can I interest you in some dessert wine? This is Madeira, aged 5 years. I would get the 10-year, but--

BG: Who the fuck cares about the second five years?

SF: We see eye to eye. What is the Bourghog Guild?

BG: We've been described as post-punk dadaists. We're the anti-anti-anti-modern modern. We're creators, we're agitators, we're materialists. We're seeking out reality to create the REAL real at all times.

SF: The first time I saw your work, it said "R.I.P. Cy Twombly." I wondered whether you were declaring the death of art.

BG: We are. All these people are dead. We are saying, fuck them, they are dead--even if they are alive. We are making them dead in our minds. New Orleans, it's time for more history... Got any more weed?

SF: Are you a graffiti artist?

BG: [Together] No.

SF: But you do paint on buildings.

BG: We're fine artists. And we're not the only person writing R.I.P. My cousin's brother died last week, they're going to write on the wall. We're not the only person doing it. You can't pin us down. It's the same as someone writing about their cousin.

SF: How about the one that says R.I.P. Teen Summit?" Are you referring to the television show that was on BET--

BG: No. Teen Summit was a 1990's New Orleans-bounce-Superdome-weekend fest for teens, that Q93 was involved with. And then they became Clear Channel, and all that filtered away. We're saying, we're here, the youth misses it. Someone said, "I thought some hood kid wrote that!" They did! We ARE that hood kid!

SF: Have you ever been attacked for your work?

BG: I just got knocked out by the manager of the L.A. Guns in front of Siberia--Paul Markham.

SF: The hair rockers? What precipitated that?

BG: I wrote "R.I.P. L.A. Guns" on their trailer hitch--

SF: Wait a second, you only wrote on the hitch? On the trailer hitch?

BG: Well, on the box, the hinge--the door of the trailer.

SF: Okay, on the door of their tour trailer.

BG: Next to some stickers. It was clean, yeah. I understood why I got knocked out. I deserved it.

SF: And this was picked up on a security camera. And it's on

YouTube.

BG: 48,000-plus hits! It's a YouTube phenom! That has not stopped what we do. We did that, we did the Bombthreat show, and we just painted another mural. We're on a roll.

SF: Most people who do graffiti refuse to talk about it in political terms.

BG: They're in a different part of the graffiti spectrum. "I'm going to just do giant burners everywhere, they're going to be beautiful, and I'm going to put my name on it."

SF: And yet every piece they do attacks and violates one of the core principles of our society, which is private property. If it isn't a political act, then why is the political machinery militating against it?

BG: Everyone defines political in their own way.

SF: Who are the artists that you think about?

BG: Twombly! Basquiat! We always find ourselves in Basquiatic moments. "The act of creating every line is the line itself!" Lots of Dash Snow.

SF: How about street artists in New Orleans?

BG: Oh, we follow everyone! That's why the Bombthreat show was so fun, because we got to meet people. We met Lo-Fi, and he said, "You pegged R.I.P. over my big spray," and we were like, "That was all love!" and he said, "Yeah, I thought so!" It was a brotherly love situation.

SF: At the graffiti show, I noticed that when you paint, you wear full-face masks--

BG: When we touch a wall together, there is this insane combustion. We will hit a wall hard. We will destruct what this surface is! The day we met, we started drawing on the same piece of paper. We've only been together a year. We're young, but we matured late. [Laughs]

SF: Do you believe in God?

BG: We are gods, and we believe in ourselves.

SF: Do you respect the law?

BG: I respect my principles.

SF: Do you respect the state--the United States of America?

BG: We enjoy the United States of America! But isn't that why we're all down in Louisiana, because we're as far from the United States as we can get?

SF: These nuts are delicious. I've had some nuts. But I've never had nuts like these.

BG: Thank you.

Skylar Fein is a New Orleans artist.

ARTIST DAN TAGUE LAUNCHES SPECIAL EDITION COLLECTORS PLATES TO BENEFIT THE HOMELESS

2012-01-06T16:43:00.000-06:00

***For Immediate Release***

Thursday, January 5, 2012

New York, NY—HELP USA, the nation's leading provider of housing, jobs and services for the homeless, is partnering with Lenox, Inc. and noted artist Dan Tague on a specially designed gift plate collection to benefit HELP USA's important programs.

All profits from the plate sale will be contributed to HELP USA, which has enabled more than 250,000 people to rebuild their lives since its inception in 1986.

Maria Cuomo Cole, Chair of the Board for HELP USA said, “We are so thankful for the efforts of Dan Tague, Lenox and Bloomingdale’s for putting together such a wonderful project to support our work for America’s homeless and to help raise awareness for our organization.”

The special edition gift plates are the latest artistic expression created to benefit HELP USA, whose logo was designed by famous New York artist, the late Keith Haring.

The 6” Lenox dessert/coupe plates come in a special boxed gift set of two plates custom designed by the artist Dan Tague, whose socially relevant works using folded dollar bills are in the permanent collection of The Whitney Museum of American Art, other major museums and public and private collections internationally.

The HELP USA gift plate collection features Tague's unique folding of dollar bills to convey important messages about homelessness, and fittingly state, "United We Stand" and "All Deserve a Home." His works are a hybrid of sculpture, photography and political statements. Tague, who is represented by the Jonathan Ferrara Gallery in New Orleans, addresses the issues of our day through his poignant works and artistic activism.

“Coming from a city that got a second chance after hurricane Katrina, I was very excited to work with Maria and Help USA on this project that will afford so many a second chance,” artist Dan Tague said.

The limited edition plates will be available for a short time at all Bloomingdale’s stores, in the store’s Holiday catalog and online. In addition, the plates, carrying a retail price of $35, will be displayed on the Bloomingdale’s “Good Deeds Wall” as part of a new campaign to benefit non-profit organizations, including HELP USA’s important programs and services.

About HELP USA:
HELP USA is the leading national developer of housing and provider of jobs and services for homeless and at risk populations in the country, including families, war veterans and victims of domestic violence. HELP has served more than 250,000 people since it was founded in 1986 and today serves more than 12,000 each year at 30 residences across the country. To date, HELP has developed more than 2,500 units of housing including transitional and permanent supportive service programs.

Contact: Kate McDonald

kmcdonald@helpusa.org

212-400-7011

The Next Phase: An Interview with Dan Cameron (via The Daily Serving)

2012-01-06T15:30:00.000-06:00

by Tori Bush

Commonly founders of organizations are so caught up in the building, growing, and running of the organization that questions of the sustainability after said founder leaves are left unanswered. This is far from the truth for Curator Dan Cameron, the founder of Prospect New Orleans, an international art biennial in its second iteration. He kindly sat down with me to discuss his imminent departure from Prospect to become Chief Curator at the Orange County Museum of Art.

Dawn DeDeaux, The Goddess Fortuna and Her Dunces
in an Effort to Make Sense of it All, 2011.
Photograph by Michael Smith

Tori Bush: How does it feel to leave Prospect after over five years founding and cultivating the biennial? Have you accomplished what you wanted to in New Orleans?

Dan Cameron: I’m very happy with what I’ve accomplished in New Orleans. I think that the biennial has a strong future ahead of it, and New Orleans is well on its way to being the biennial capital of the U.S., with the far-reaching economic and cultural effects that this will bring with it. My goal was to contribute substantively to the city’s recovery after Katrina, and I think I’ve succeeded. That said, there’s a real sadness, or perhaps wistfulness, in bidding adieu to a city that’s been my home for the past years, and where I now own a beautiful house that I have every intention of moving back into once my work in California is complete. The other day I drew up the list of friends to invite to my going-away party, and was very happy to discover that I now have more people I consider friends in New Orleans than anywhere else in the world, including New York, and that’s not going to change anytime soon.

TB: New Orleans certainly has a way of getting under your skin and making you come back. There has always had a vibrant arts scene here but Prospect has in many ways acted as a catalyst for alternative artist spaces. How would you like to see the local visual arts community grow and develop in the future?

Gina Phillips, 2011. Photograph by Michael Smith.

DC: I truly hope that the City really gets involved in recognizing and supporting visual art in a meaningful way, instead of sitting on the sidelines or being petulant, which is what I’ve had to cope with for most of the past five years. From my perspective, the biggest problem is that New Orleans does almost nothing to support or even recognize its local visual artists, and yet they bring a tremendous economic and cultural benefit to the city, especially vis-a-vis the St. Claude district, which now constitutes the critical mass of artist-run spaces for the entire country. I also think that the sooner some local institutions and foundations begin trying to follow best practices in their fields, the better for all concerned, as I’ve encountered serious resistance to improvement in this area. When you look at how beneficial a turnover at the top has benefited institutions like NOMA and the African American Museum, it becomes clear that new blood is needed pretty much across the board. Finally, I hope that local supporters will begin coming out of the woodwork to embrace a phenomenon that most informed observers believe is very important to the city’s future as a cultural destination.

TB: Well, Mitch Landrieu, the Mayor of New Orleans has been a very vocal supporter of the arts. More financial support is needed though and Prospect has brought the attention to New Orleans that allows local artists a chance to show their work at another level. That being said, how do you see Prospect evolving in the future? What changes do you hope to see and what would you like to remain the same?

DC: We currently raise more than 90% of Prospect’s funds from out of state, which is not sustainable in the long run, and I’d like to see our fundraising and marketing on the ground locally become as effective as they are on the national and international fronts. Other than that, now that we’ve rotated to a system where’s a permanent Executive Director and rotating Artistic Directors — both of national stature –, I think we have a template that will work. I especially hope that the independent initiatives, such as the Satellites, will continue to grow, as this gives visitors a special insight into the city’s unique art scene.

Sophie Calle, True Stories, 2011.
Installation view. Photograph by Michael Smith.

TB: I’m looking forward to seeing what Franklin Sirmans does as the new artistic director for Prospect 3. You said at one point that you would stay at Prospect until Prospect 5. Why did that change? Will the rotating curators ensure that Prospect will not become myopic in scope?

DC: The plan had been to begin revolving Artistic Directors as soon as possible, & I hadn’t planned to personally curate Prospect past the second edition, so that’s not really a change. The real change is that both the Board and I began to understand over the past year that bringing in a strong Executive Director who knows and understands the visual arts community nationally, and who can guide the organization through the next editions, would be far more effective than having a curator — me — trying to fill the role of Executive Director at a time when a very different skill set is required.

TB: New Orleans and Orange County have pretty diametric cultures. Can you tell me a little about how you consider art in the context of culture when in New Orleans and Orange County?

DC: It’s a bit misleading when you say Orange County, since the museum’s mission has always focused on southern California, which I think people can identify more easily. In a nutshell, southern California is where the focus of new art has shifted in this country over the past ten years, and the region where I’ll be working has a strong history of vibrant collecting and groundbreaking exhibition practice, and that’s very exciting for me. Obviously, the vernacular culture that is so rich in New Orleans does not exist anywhere else in the U.S., and I don’t expect to be caught up in any local equivalent of second lines or Mardi Gras, because it’s pretty apparent they don’t exist where I’ll be. On the other hand, New Orleans and Los Angeles have a lot in common, in that they are probably the fastest growing art communities in the U.S., so getting to feel like I’m on the cusp of something truly new and vital will be consistent with what I’ve felt in developing Prospect. What I’m probably most excited about is being back in a museum setting, doing ambitious curatorial work that, when I did Prospect, was only visible three months out of every two years.

Bruce Davenport Jr., Ain't Nothing But a Pen in My Hand, 2011.

TB: You’ve worked with OCMA before too, right? You curated the Peter Saul exhibit there in 2008. How was that experience? What do you hope to bring to Orange County Art Museum, a museum that has lacked a deputy curator for three years?

DC: Yes. The Director of OCMA, Dennis Szakacs, and I worked together at the New Museum from 1996 to 2001, and together we guided that museum to the point where it could become what it is today. There are very ambitious building plans in the works for OCMA, which was the main attraction of the job, and since neither Dennis & I were around to see the New Museum reopen in 2007, I’m very gratified that this time we’ll be able to take a project to its completion.

TB: What are some of the highlights of OCMA’s collection? Can you discuss some of the contemporary trends going on in California right now?

DC: This is a question best asked once I’m settled, since I was not asked to become an expert in OCMA’s collection prior to moving there. As far as trends in southern California are concerned, I believe that the huge success of Pacific Standard Time, a series of contiguous museum exhibitions about the art of the region, will be felt nationally & internationally for a long time to come.

Robert Tannen, Art By Committe, 2011. Photograph by Michael Smith.

TB: In 1984 OCMA launched the California Biennial. The Hammer Museum and LAXART recently announced the Los Angeles Biennial will open in 2012. How will this be a challenge to OCMA and is there a need for two geographically and temporally similar biennials?

DC: I do think there’s room for two biennials, and since it looks like the Hammer’s initiative will be a purely local endeavor, there is a clearly a lot of room for revisiting the California Biennial’s mandate, and developing something innovative to demonstrate that it’s still the pre-eminent survey exhibition in the region. Because I’ve already done so much work in these areas, I can say that I’m quite struck by how miniscule a role Asian and Latin American art plays in the programs of the LA Big Three — LACMA, MOCA and the Hammer –, and that is something I’m very interested in addressing at OCMA.

TB: Sounds like you have a framework for some potential shows. Many of your exhibits often have a stance on social and political issues. How will you continue to spur public debates in your new position?

Dan Tague, 2011. Photograph by Michael Smith.

DC: That remains to be seen. My interest in social issues in art goes back to 1982, when I organized the first museum exhibition of gay and lesbian art in the U.S.A., and social justice formed a bit part of both my eleven years’ of programs at the New Museum, and the biennials I did in Istanbul and Taipei. In fact, those experiences were essential to my deciding to shape Prospect the way I did. That said, southern California has its own world and its own issues, and I wouldn’t presume to comment on how I’ll grapple with all that until I’ve been there for a minute.

TB: You’ve been based out of New York, New Orleans and now California. Do you feel that there is unity in the American art scene or does each part of the country represent wildly different trends? Can you discuss how the globalization of the art world has affected how and where artists can work?

DC: It’s not a simple binary. For most of the 1990s, it was believed that the global trends in art were wiping out the possibilities of what used to be labeled ‘regional art’ in this country. In the past ten years, however, I think we’ve witnessed more of a decentralization — sorry, but globalization is probably the most misused word in art jargon today — of the art world, in which one or two capitals have been replaced by multiple capitals, and with that, there is now a growing awareness that a lot of significant art doesn’t take place in capital cities at all. The timing of Prospect was meant, in large part, to capitalize in that change.

Pawel Wojtasik, Below Sea Level, 2011. 360 degree panoramic video.

TB: Do you have a personal rubric of excellence you hope to achieve when curating a new show? If so, what is that rubric?

DC: In curating there is a long and hidden research phase that requires floating lots of trial balloons and shooting down most of them. What I can say is that I try to make exhibitions that will stay with people for years after they’ve seen it, and of course I want to showcase emerging of under-valued artists whose work will surprise and delight the viewer.

TB: Peter Schjeldahl recently said the artist/critic creates and affirms values to the degree of his or her individuality. Do you think this also could be said for a curator? If so, what are the values that you hope to affirm?

Ivan Navarro, UNO Fence, 2011. Photograph by Michael Smith.

DC: I think Peter’s position is a very American one in that it raises the individual above all else, but my experience traveling the world has been very different than his, and I’ve gradually come around to the idea that my self-improvement also requires the betterment of the social environment in which I live. I don’t think that art belongs to the elite class that has historically has provided all of its patronage and most of its audience, but that it belongs to everybody, and bridging that gap between the insider/specialist and the outsider/layperson has been an ongoing effort of mine for many years now.

TB: Thanks Dan for taking the time to talk. I’m sure we will see some great show’s coming out of OCMA very soon.

View full post on The Daily Serving

Critic Reviews Prospect.2 Artist Gina Phillips "Life Lasagna" at the CAC

2012-01-06T11:11:00.002-06:00

Critic Doug MacCash rates Prospect.2 exhibits. The ratings are Wonderful, Worthwhile and Whatever. Gina Phillips exhibit of fabric art at the CAC is WONDERFUL.

The Contemporary Arts Center, 900 Camp St., 504.528.3805.

Gina Phillips provides a nostalgic stitch in time

Consider baby teeth. They pop up when we’re toddlers and fall out some time in the elementary-school years. They’re one of life’s passages, and perhaps a metaphor for all of life’s transience. For New Orleans artist Gina Phillips, they serve as stepping stones in a psychological stroll down memory lane that wanders across the walls of the Contemporary Arts Center’s egg-shaped central gallery.

Phillips, who was born in Kentucky, is New Orleans’ premier fabric artist. She produces surrealistic flags and amoeba-shaped tapestries of all sizes, coated with skeins of sketchy stitching. There’s a homey quilt-like quality to her work, though the images she creates are a bit too quirky for comfort. In her current exhibit, disembodied baby faces and — of course — baby teeth, float across the walls like thought balloons. Water drips from the soles of hovering feet, birds drink from the palms of armless hands and cornstalks reach upward toward disquieting rain clouds. The overall effect is a sort of subconscious Americana that seems familiar and alien all at once. Though quite incongruous, the title Phillips chose for the show — “Life Lasagna” — somehow fits perfectly.

The exhibit is part of Prospect.2 New Orleans, a collection of works by 27 avant-garde artists from the Crescent City and around the world, displayed in various locations. Regular hours are Wednesdays through Sundays, from 11 a.m. to 4 p.m., through Jan. 29. Admission is $10 for a one-day pass, $20 for a week’s pass and $30 for a season pass. Passes are available at the New Orleans Museum of Art in City Park, the Contemporary Arts Center and the Prospect New Orleans headquarters at 1036 Esplanade Ave., or at prospectneworleans.org.

Read full article here

The P.2 Projects Virtual Tour

2012-01-04T11:00:00.000-06:00

Take a Video Walkthrough of The P.2 Projects Exhibition, now on view at Jonathan Ferrara Gallery.

The P.2 Projects

International Group Exhibition

Curated by Jonathan Ferrara

On View until January 20th, 2012

Featuring New Work by:

Brian Borrello - Portland, OR

David Buckingham - Los Angeles, CA

Daniel Canogar - Madrid, Spain

Michael Combs - New York, NY

Matthew Cox - Philadelphia, PA

Skylar Fein - New Orleans, LA

Justin Forbes - Denton, TX

Generic Art Solutions (G.A.S.) - New Orleans, LA

Marcus Kenney - Savannah, GA

Ken Matsubara - Tokyo, Japan

McCallum & Tarry - Brooklyn, NY

Adam Mysock - New Orleans, LA

Gina Phillips - New Orleans, LA

Sebastian Preece - Santiago, Chile

John Salvest - Jonesboro, AR

Dan Tague - New Orleans, LA

Maximilian Toth - New Haven, CT

Paul Villinski - New York, NY

Angel Delgado discussed in "Art and Politics Now"

2012-01-04T10:49:00.000-06:00

Jonathan Ferrara Gallery's Angel Delgado discussed in Art Historian and Critic Susan Noyes Platt's article: "Art and Politics Now: Cuban Art Part II Espacio Aglutinador"

READ FULL ARTICLE

ArtDaily.org: Jonathan Ferrara Gallery presents the P.2 Projects: An International group exhibition

2011-12-31T13:03:00.000-06:00

Jonathan Ferrara Gallery presents the P.2 Projects: An International group exhibition

The P.2 Projects is a follow up to the 2008-9, The P.1 Projects exhibition and the Prospect.1 Welcome Center at The Hefler Warehouse.

NEW ORLEANS, LA.- Jonathan Ferrara Gallery announces The P.2 Projects, an international group exhibition of 18 artists curated by Jonathan Ferrara. The exhibition is a satellite exhibition in conjunction with Prospect.2 Biennial that is currently on view in New Orleans through January 29, 2012. The P.2 Projects runs from November 19th through January 24, 2012.

The P.2 Projects is a follow up to the 2008-9, The P.1 Projects exhibition and the Prospect.1 Welcome Center at The Hefler Warehouse. Both of these shows were curated by gallery owner Jonathan Ferrara. As an artist, curator and dealer, Ferrara selected works by gallery artists in addition to artists whose works he found in his travels to art fairs, biennials and exhibitions across the country and in Europe.

The P.2 Projects features paintings, sculpture, video, installation and fabric works. Eighteen artists fill the entire gallery space. Several of the artists in the exhibition were in Prospect.1, Prospect 1.5 and two are in Prospect.2 that is currently taking place in New Orleans through January 29, 2012. The exhibition showcases creative visions from across the geographic and creative spectrum. From the ethereal video works of Tokyo-based Ken Matsubara to the socio-political large scale installation by Arkansas State professor John Salvest, the diversity of works is the driving concept of the exhibition.

Other highlights from the exhibition include: a new site-specific installation of beer can butterflies by New York artist Paul Villinski whose works deal with the concept of transformation. Two large charcoal india ink and BP spilled oil drawings by Portland, OR artist Brian Borrello whose work comments on the man vs. nature and the environmental consequences of man's actions. New York artist Maximilian Toth presents to large scale oil on canvas works that address the issues of rites of passage and adolescent rituals. Chilean artist Sebastian Preece presents a new series of photographic works entitled "Libros" from a recent excavation project of his grandfathers ancestral home, an installation of these books were presented at The Arsenale at the 2011 Venice Biennale. Philadelphia artist and 2008 Pew Fellow Matthew Cox unveils a new suite of embroidered X-rays; Spanish artist Daniel Canogar will present a large-scale photograph from his Entredos series where his subjects appear to float in tangle of brightly colored wires and ropes.

Several artists in the exhibition have exhibited across the globe, been reviewed in international art publications such as Art In America, ARTNews, Art Forum and The New York Times and are in numerous museum and private collections including The Whitney Museum of American Art (Dan Tague), 21C Museum (Michael Combs), MFA Houston (Ken Matsubara), Museum of Arts and Design (Paul Villinski) Reina Sofia Contemporary Art Museum, Madrid, Spain (Daniel Canogar), The Frederick R. Weisman Art Foundation (Gina Phillips) and Cisneros Foundation (David Buckingham).

Click here for article on Art Daily

Jonathan Ferrara Gallery Featured on WYES's Steppin' Out

2011-12-30T18:35:00.000-06:00

John Kemp praises Jonathan Ferrara Gallery on this evening's segment of

Steppin' Out on WYES, Channel 12, at 6:30pm and 11pm

Mentioning: The P.2 Projects Exhibition, Skylar Fein, Brian Borrello, and much more.

Watch now OnDemand, JFG Shout Out is at the 25 minute mark CLICK HERE

GoNOLA.com Covers Prospect.2 Exhibitions at the Contemporary Arts Center

2011-12-30T10:57:00.000-06:00

Dan Tague's Crisis Car, part of the Department of Civil Obedience installation

Dan Tague (New Orleans): Local artist Dan Tague arranged a series of large-scale installations incorporating different materials representing various social and community endeavors.

Young Patriots Flag: The flag is made from t-shirts confiscated from youth entering the Young Patriots Initiative, a program that helps juveniles foster creative and productive pursuits in an effort to reduce juvenile delinquency.

Crisis Car: Cars for Crisis is a scrappage program started in 2006 to help create both jobs and housing for post-Katrina New Orleans. Tague’s piece inspired by Cars for Crisis is a repurposed 1969 Firebird.

Dominator Plaques: Tague implements these plaques designed by the “Department of Civil Obedience” to increase civic pride and show a timeline of various Dominions that have ruled New Orleans.

Gina Phillips, Life Lasagna

Gina Phillips (Kentucky): “Life Lasagna” is a piece created from a variety of materials, including fabric collected from friends, family members and thrift stores. I found this presentation very interactive: to effectively take it all it, you must wander through the room and look around and above at the surrounding visuals. According to the artist’s note, she “wanted to convey something of the sensation of a life flash, the moments before death or near death … the ultimate nostalgic experience.”

Click here to read more about P.2 at the CAC on GoNOLA

VOTE for New JFG Artist MARCUS KENNEY for Best of the Year

2011-12-16T16:41:00.000-06:00

VOTE HERE

Vote for newly represented Jonathan Ferrara Gallery Artist, MARCUS KENNEY, for his artwork "The Return of Metacom" nominated for Best of the Year by New American Paintings

Marcus Kenney | The Return of Metacom, mixed media on canvas, 48 x 48 inches

A native of rural Louisiana, Marcus Kenney’s multidisciplinary practice clamors with a diverse material explosivity evocative of the syrupy richness of the Deep South. His recent paintings retain the busy optical intensity of his three-dimensional assemblages, which seem to operate as both sculptures and shamanistic altars to the magical detritus of back swamp Georgia. Based in Savannah, Kenney uses found materials to create his mixed media paintings and collages, siphoning muted narratives of spirituality, redemption, loss, and temporality through cartoon-like characters and compositions. Like the nature of his reclaimed materials, his works speak to an unspoken folkloric sumptuousness that carries with it a multitude of histories, both humorous and dark. – New American Paintings

ARTINFO Surveys Prospect.2 and Dan Tague's USDCO Exhibition, and other Biennials across the World

2011-12-16T11:53:00.005-06:00

. . . Which brings me to Prospect 2 New Orleans, the second edition of the Dan Cameron-conceived event in the Crescent City, held from October 22 to January 29. Prospect is not actually a city-sponsored endeavor — the fact that it received no local support was something that was emphasized by organizers many times during the preview, with barely concealed frustration. Yet Cameron was very clear when the project launched three years ago that its raison d'être was to help with the redevelopment of New Orleans following Katrina — the city remains almost 30 percent smaller than it was a decade ago, with levels of street violence at literally medieval levels, as a recent New Yorker article noted in passing — by attracting the kind of flush art tourists who flock to Venice.

The sprawling, big-spirited first edition was a critical success, but also coincided closely with the economic meltdown of 2008. It cost $5 million to put on, and ended over budget and $1 million in debt — not a great way to make a case for the art festival as engine of economic development. Reeling, Prospect 2 was delayed by a year, and returned this fall with half its original budget and a measly 28 artists, down from 80 — hardly a biennale, really, and more of a group show scattered over an eclectic and diffuse array of venues including the Contemporary Art Center, the New Orleans Healing Center, and Delgado Community College. Even an idea as modest as incorporating some photos by Cindy Sherman had to be nixed — the art star's work was too expensive to insure.

Even with an exhibition this drastically curtailed, there were highlights. Swedish artist Jonas Dahlberg’s video of an empty room being slowly engulfed in darkness offered a quietly haunting metaphor for a world in decline, while local favorite Dan Tague impressed with his badass inventiveness, stenciling the crisp seal for a “U.S. Department of Civil Obedience” directly onto the wall at the Contemporary Art Center. But as a whole, I’ve actually never been to a major art show that felt so overburdened, so scattered, so purely held together by scotch tape and good will. Curatorial choices that might have seemed bold, like including the homemade costumes of local Mardi Gras legend Ashton Ramsey, were undone by the lack of a central focus — Ramsey's suits were annexed to a solo show on the top floor of the Ogden Museum, unconnected from the rest of the biennial and essentially ghettoized. Prospect 2, overall, felt less than the sum of its parts.

“Whatever you do, whatever you write, you must say that this biennale has to continue,” one of Prospect 2’s disgruntled artists told me, after an epic bout of complaining about the event’s failings. And indeed, New Orleans, a city of palpable charm, deserves something world class, and there may be something to Cameron's idea that its magical aura could make it an American Venice. Cameron has stepped aside as curator of the next Prospect, in part, he says, to help draw a line between the event’s future incarnations and its past failures. The next edition is in the capable hands of LACMA curator Franklin Sirmans. We’ll see if he can overcome the headwinds . . .

read full article

The P.2 Projects Exhibition is OPEN

2011-12-13T16:30:00.001-06:00

The P.2 Projects

International Group Exhibition of Contemporary Art

Featuring Artwork by:

Brian Borrello - Portland, Oregon

David Buckingham - Los Angeles, California

Daniel Canogar - Madrid, Spain

Michael Combs - New York, New York

Matthew Cox - Philadelphia, Pennsylvania

Justin Forbes - Denton, Texas

Generic Art Solutions (G.A.S.) - New Orleans, Louisiana

Marcus Kenney - Savannah, Georgia

Ken Matsubara - Tokyo, Japan

McCallum & Tarry - Brooklyn, New York

Adam Mysock - New Orleans, Louisiana

Gina Phillips - New Orleans, Louisiana

Sebastian Preece - Santiago, Chile

John Salvest - Jonesboro, Arkansas

Dan Tague - New Haven, Connecticut

Paul Villinski - New York, New York

Stop by the Gallery to See for Yourself!!!

Bryant Street Pedestrian Bridge beautification project receives $50K Grant from Oregon Dept. of Transportation (via Oregon Live)

2011-12-09T17:08:00.000-06:00

ODOT looks over plans for redesign of North Portland's Bryant Street pedestrian bridge

Piedmont Neighborhood Association Land-use Chair Brian Borrello (front left) walks ODOT staffers through changes his group envision for the Byrant Street Pedestrian Bridge.

Six staffers from the Oregon Department of Transportation met with Piedmont Neighborhood Association Land-Use Chair Brian Borrello on Dec. 7 to inspect new landscaping at the Bryant Street Pedestrian Bridge and see the neighbors' vision for a redesigned structure.

In 2006, the association received a $50,000 grant from ODOT for the Bryant Street Pedestrian Bridge beautification project, one of seven projects that received mitigation funds as part of I-5/Delta Park freeway widening and interchange improvements. Neighbors have used the funds for landscaping and to do preliminary design and engineering studies on changes to the bridge itself.

On their way up the bridge, Borrello showed off little clusters of fledgling ferns and pyracantha planted during a recent work party. The group stopped a third of the way across the bridge and Borrello unfurled a series of architectural renderings.

Neighbors would like to remove the overhead wire mesh and the 172 feet of hand railing and replace them with a high fence, like the kind on the North Ainsworth I-5 crossing. According to Borrello, a series of new reflective poles and a metal sculpture at the east landing of the bridge would bring light, give pedestrians a way to see around blind corners and make the structure feel less like a “cage.”

In addition, neighbors plan to stencil the pavement on the cul-de-sacs at each end of the bridge in a style pioneered by the group City Repair.

The plans met with a warm reception. ODOT spokesperson Shelli Romero stated that talks were preliminary, and that the state would have to approve designs. Once approved it will be up to the neighborhood association, not the state, to hire a contractor to install improvements.

Borrello said he understood, but that he was excited about the state’s willingness to partner on a DIY-style beautification project like this.

“Normally these kinds of funds just go to state staff and planners,” Borrello said. “They’re really taking a chance on us, and that’s innovative.”

Via OregonLive.com

Dan Tague's "The End is Near" on the Cover of Inside Art

2011-12-09T14:08:00.000-06:00

Dan Tague's "The End is Near" on the Cover of the Dicembre Issue of Italian Art Publication Inside Art

Photo Courtesy of Jonathan Ferrara Gallery, New Orleans

A show of the Industrial Ruin photographs by Meg Turner at New Orleans Public Library (Alvar Branch)

2011-12-06T14:31:00.000-06:00

A solo show of gravures of Industrial Ruins by Meg Turner is opening on Sunday at the Alvar Library as a part of the 2011 PHOTO NOLA's celebration of contemporary photography. Opening reception sunday afternoon; Meg Turner will be giving an Artist's talk at 4:15 pm - talking about the history and tradition of printmakers obsessed with ruins, modern exploration, The changing industrial landscape of America, and the process of polymer and copper photogravure.

Visit Meg Turner's website

Eyes In Magazine features Cut Out Portraits by Gina Phillips

2011-12-03T10:54:00.000-06:00

EYES in: World's Innovative Creators and Their Masterpieces

Cut Out Portraits by Artist Gina Phillips

GINA PHILLIPS, Voodoo Doughnut Guy (Tres), 2011

Gina Phillips is a mixed-media, narrative artist who grew up in Kentucky and has lived in New Orleans since 1995. Her work is influenced by the imagery, stories and characters of both regions. She started her career as a painter, but over the years, has increasingly incorporated fabric and thread into her work. She begins a piece with a simple underpainting in acrylic paint on canvas or muslin…then finishes the piece by appliquéing fabric and thread on top.

Phillips uses a communal gathering process to source her fabrics, as neighbors, friends, family often donate to her artistic process. Her sewn work hover between two and three dimensionality and often the backs of her pieces are as interesting as the front sides. The most common narrative characteristic that runs through her work is tragicomedy. The people and/or animals that tell the story often embody a magical realism.

From left: Blake and Ginger, Bruce Davenport, Jr., and Sarah & Robin

Gina Phillips has a BFA from University of Kentucky and an MFA from Tulane University’s Newcomb College. Her work has been exhibited in galleries and museums across the country including at Pepperdine University, Tulane University and most recently at Ballroom Marfa. In addition, her work was recently featured at Pulse LA and will also be a part of the gallery’s presentation at Pulse Miami. Phillips’ work has been featured in Art in America, The Times- Picayune and her recent solo exhibition this past March was reviewed in ARTNews.

Phillips is scheduled for a major solo exhibition at the Ogden Museum of Southern Art in 2013. She was chosen as one of twenty-seven international artists featured in the current Prospect.2 Biennial of Contempoary Art in New Orleans. Her work is in numerous collections including University of Kentucky, Lexington, NASA, New Orleans Museum of Art, Ogden Museum of Southern Art, Frederick R. Weisman Art Foundation, Tulane University and House of Blues (various locations across the US.)

GINA PHILLIPS, Italian Travis, 2011

Gina Phillips lives and works in New Orleans, LA and is represented by Jonathan Ferrara Gallery. Special thanks to the gallery for providing the artist information. Phillips' fabric cut-out portraits are currently on exhibit at Art Basel Miami Beach at the gallery booth C-103 at Pulse until December 4, 2011.

Click here for full feature on Eyes in Mag

Another Not-to-be missed Art Event Saturday Night: Abner Preis to perform "Seed of Hope" at Good Children, 7PM

2011-12-02T14:53:00.000-06:00

GOOD CHILDREN GALLERY

4037 St. Claude Ave., New Orleans, LA 70117

Seed of Hope

a performance by Abner Preis

Saturday, December 3, 7pm

Good Children is proud to host this one-night event with Abner Preis, a USA -born, Netherlands - based artist Currently Abner is on a USA tour for his “Super Hero Project”, visiting more than 20 states, meeting and creating heroes as well as performing and telling stories. As part of this tour, Abner is making a stop in New Orleans with his “Seed of Hope” performance.

For the Good Children Gallery event, Abner will tell stories, as well as discuss the making of community art, during which the audience will be asked to create a work of art (the Seed of Hope) and as a final culmination of the work, the "Seed of Hope" will be planted in a bottle, as a time capsule of positive messages for future generations.

‘Seed of Hope’ was first performed on a tour of major Dutch institutions earlier this year, as a sort of satellite tour corresponding to the solo exhibition ‘The Great Abnerio’ at Showroom Mama (Rotterdam). These included, MU (Eindhoven), SHUNCK Museum (Herleen), Tent (Rotterdam) and several other venues in the Netherlands. At each tour stop, the performance was purchased by the respective institution, and a bottle was left behind as an object to reflect and commemorate the experience. The performance is the saleable piece, and the ‘seeds’ are being left behind with a number of outstanding partners.

Come out this weekend to catch the last days of the Good Children Gallery group show “Hit Refresh Part 1”, curated by Nick Stillman.

http://abnerpreis.com

http://thesuperheroproject.org

http://www.goodchildrengallery.com/

Part of “St. Claude Satellites”. Click for PDF map and guide.

4037 St. Claude Ave., New Orleans, LA 70117

Opening Reception for THE P.2 PROJECTS is tomorrow! 6-9 PM

2011-12-02T14:20:00.000-06:00

Jonathan Ferrara Gallery is proud to announce The P.2 Projects, an international group exhibition of 18 artists curated by Jonathan Ferrara. The exhibition is a satellite exhibition in conjunction with Prospect.2 Biennial that is currently on view in New Orleans through January 29, 2012. The P.2 Projects runs from November 19th through January 24, 2012 with opening artist receptions on December 3, 2011 and January 6, 2012 from 6-9pm both nights.

Installation shot: The P.2 Projects

The P.2 Projects is a follow up to the 2008-9, The P.1 Projects exhibition and the Prospect.1 Welcome Center at The Hefler Warehouse. Both of these shows were curated by gallery owner Jonathan Ferrara. As an artist, curator and dealer, Ferrara selected works by gallery artists in addition to artists whose works he found in his travels to art fairs, biennials and exhibitions across the country and in Europe.

Tide (from the Winter Dreams series) by Tokyo artist Ken Matsubara
courtesy of MA2 Gallery, Tokyo

The P.2 Projects features paintings, sculpture, video, installation and fabric works. Eighteen artists fill the entire gallery space. Several of the artists in the exhibition were in Prospect.1, Prospect 1.5 and two are in Prospect.2 that is currently taking place in New Orleans through January 29, 2012. The exhibition showcases creative visions from across the geographic and creative spectrum. From the ethereal video works of Tokyo-based Ken Matsubara to the socio-political large scale installation by Arkansas State professor John Salvest, the diversity of works is the driving concept of the exhibition.

"Luna" installation by Paul Villinski (left) and "Libros" by Santiago-based artist Sebastian Preece

The Great America Novel by John Salvest (left) and Duels 1 and 2 by Maximilian Toth

Cone Flowers by Brian Borrello (left) and Kudu by Michael Combs (right)

Other highlights from the exhibition include: a new site-specific installation of beer can butterflies by New York artist Paul Villinski whose works deal with the concept of transformation. Two large charcoal india ink and BP spilled oil drawings by Portland, OR artist Brian Borrello whose work comments on the man vs. nature and the environmental consequences of man's actions. New York artist Maximilian Toth presents to large scale oil on canvas works that address the issues of rites of passage and adolescent rituals. Chilean artist Sebastian Preece presents a new series of photographic works entitled "Libros" from a recent excavation project of his grandfathers ancestral home, an installation of these books were presented at The Arsenale at the 2011 Venice Biennale. Philadelphia artist and 2008 Pew Fellow Matthew Cox unveils a new suite of embroidered X-rays; Spanish artist Daniel Canogar will present a large-scale photograph from his Entredos series where his subjects appear to float in tangle of brightly colored wires and ropes.

New work by Philadelphia-based Matthew Cox

Several artists in the exhibition have exhibited across the globe, been reviewed in international art publications such as Art In America, ARTNews, Art Forum and The New York Times and are in numerous museum and private collections including The Whitney Museum of American Art (Dan Tague), 21C Museum (Michael Combs), MFA Houston (Ken Matsubara), Museum of Arts and Design (Paul Villinski) Reina Sofia Contemporary Art Museum, Madrid, Spain (Daniel Canogar), The Frederick R. Weisman Art Foundation (Gina Phillips) and Cisneros Foundation (David Buckingham).

from the Study for The Evidence of Things Not Seen series by McCallum & Tarry

New paintings by Justin Forbes

Richard Simmons Choosing not to Participate in our Current Cynicism by Adam Mysock (left)
and Italian Travis by Gina Phillips (right)

Works by Gina Phillips (left), David Buckingham (center) and Marcus Kenney (right)

The P.2 Projects artists are:

Brian Borrello (Portland, OR)

David Buckingham (Los Angeles, CA)

Daniel Canogar (Madrid, Spain)

Michael Combs (New York, NY)

Matthew Cox (Philadelphia, PA)

Justin Forbes (Denton, TX)

Generic Art Solutions (New Orleans, LA)

Marcus Kenney (Savannah, GA)

Ken Matsubara (Tokyo, Japan)

McCallum & Tarry (New York, NY)

Adam Mysock (New Orleans, LA)

Gina Phillips (New Orleans, LA)

Sebastian Preece (Santiago Chile)

John Salvest (Jonesboro, AR)

Dan Tague (New Orleans, LA)

Maximilian Toth (New Haven, CT)

Paul Villinski (New York, NY)

NOLA DEFENDER features Gina Phillips' Prospect.2 Exhibition

2011-12-01T13:18:00.001-06:00

LIFE LASAGNA

In Prospect.2 Exhibition, Gina Phillips Explores Her Personal Connections to Familar Touchstones

by Ben de la Cour

For her Prospect.2 exhibition, Gina Phillips took classic New Orleans reference points, like sweat and cemeteries, and turned them into vehicles for her personal memories.

"Life Lasagna" installation by Gina Phillips

Life Lasagne is the name of Phillips’ exhibition, which is on view at the Contemporary Arts Center in the Oval Room.

“The imagery is mostly cut-out shapes which I've been doing a lot of over the years, especially in the last year or so...cut out shapes made out of fabric, thread and paint,” she explained. “It's about the cycle of life, and the sentimentality of mortality. Disembodied body parts that are referencing a lot of water imagery.”

Phillips grew up in Madison, Kentucky, in a family that made up for what they lacked in modern conveniences with a propensity for all things musical, artistic and mechanical.

She quickly learned that any object or material could be turned into something functional or artistic, and spent many summers with her cousins creating elaborate environments out of found objects – the perfect training for the life of an artist.

After graduating from the University of Kentucky in 1994, Phillips moved to New Orleans to pursue a Master of Fine Arts degree at Tulane and has lived here ever since. Phillips’ work continued to be characterized by a raw, narrative quality however she began to focus on fabric as a medium.

One of her favorite pieces of the exhibit is called "Sweaty Feet (leakers)," The section depicts two very large feet that are cut off above the ankle facing off against each other. There are huge drops of water coming out of the feet into a larger pool below, giving it a sense of gravity. These are all cut-off forms made of fabrics and thread. It serves as a reference to the artist's childhood growing up poor without air conditioning, where she has memories of running around barefoot and leaving sweaty footprints on the hardwood floor.

Gina Phillips

Sweaty Feet (Leakers), 2011, fabric, thread, ink, paint. 61” x 50”

“It's sort of a personal reference to my childhood” she said. “I guess I'm referencing the condition of my childhood or the imagery in an obscure way. It's almost like the water is a reference to your life energy leaking out and recycling and something about the feet suggest some kind of dialogue. Are they coming from two different entities or part of one whole? Also it's hard not to think about floodwaters and Katrina. I had a house in the 9th ward that was flooded out, although in the big picture that's not what it was about.”

Another highlight of the exhibit is the "Holt Cemetery Tooth Comforter" which is a large piece of fabric with teeth sewn into it, a reference to the Holt Cemetery which was a big influence on Phillips. While not usually inspired to make such functional items, she wanted to make an exception for this show and try to quilt something in a folky style.

Artist Gina Phillips stands with Holt Cemetery Tooth Comforter, 2011
(fabric, thread, paint, 62 ½” x 85 ¼”)

“(Holt Cemetery) is where people who couldn't afford to be buried were buried with handmade tombstones” shes said, “you had to be buried in a wooden coffin so it would deteriorate along with your body so families would share a tombstone.I I find the place really inspiring – I love the folk art grave-sites there and the way people make their own tombstones and take care of their loved ones. A lot of times you see blankets and carpets covering grave sites covering up their loved ones bones”

When a new coffin was put into the ground in the cemetery they were often just dug right into the same plot where previous remains were more or less jumbled up to make room for the new tenant. Phillips would often walk through the area and find pieces of bones in the given up by the earth including ribs, vertebrae, leg bones and teeth, which she would examine.

“I like to make my work look like paintings and transcend the limitations, but several pieces in this show I'm indulging in the limitations of fabric” she said.

Click here for feature on NOLA DEFENDER

Jonathan Ferrara Gallery at Booth C-103 at PULSE MIAMI 2011

2011-12-01T11:37:00.000-06:00

MICHAEL COMBS

SKYLAR FEIN

GINA PHILLIPS

Jonathan Ferrara Gallery at PULSE Miami, as part of Art:Basel Miami Beach

2011-11-26T12:52:00.001-06:00

ARTDOCS Benefit Auction takes place TODAY (NOLA.COM)

2011-11-17T11:19:00.001-06:00

The 7th annual ARTDOCS (Artists Receiving Treatment Doctors Offering Crucial Services) benefit auction takes place Thursday (Nov. 17) from 6:30pm to 9:30 pm at 725 Magazine St. in the New Orleans Arts District. The goal is to "to raise much needed funds to address the issue of uninsured visual artists, writers and performing artists." The event includes "food, cocktails and entertainment by The Panorama Jazz Band, aerialists and other performing artists. " Tickets at the door are $15 for individuals and $25 for couples and can be pre-purchased via credit card by calling 504-827-2833. Visit the ARTDOCS site to bid or for more information.

The auction includes work by:

SIDONIE VILLERE

LUIS CRUZ AZACETA

JUSTIN FORBES

RACHEL JONES

STEPHEN HOSKINS

DAN TAGUE

GINA PHILLIPS

RAINE BEDSOLE

JOSE MARIA CUNDIN

TERESA COLE

STEPHEN PAUL DAY

MONICA ZERINGUE

KATHLEEN BANTON

ANITA COOKE

ELIZABETH SHANNON

SRDJAN LONCAR

BRIAN GUIDRY

JAQUELINE BISHOP

DAVID BUCKINGHAM

SKYLAR FEIN

MICHALOPOULOS

SANDY CHISM

BLAKE BOYD

MICHEL VARISCO

DAWN DEDEAUX

ALEX BEARD

KRISTA JURISICH

BOB TANNEN

GENERIC ART SOLUTIONS

DAVE GREBER

ALAN GERSON

ADRIAN DECKBAR

ADAM MYSOCK

SIBYLLE PERETTI

ANASTASIA PELIAS

BRIAN BORRELLO

CHARLIE VARLEY & JONATHAN FERRARA

BOB COMPTON

JAMES HENDERSON

TRAVIS LINDE

BEDONNA WAKEMAN

ALICIA KOWASKI

SUZANNE SAUNDERS

CYNTHIA SCOTT

KATHY CONNOLLY

RON BECHET

BARBIE L'HOSTE

KYLE BRAVO

TINA STANLEY

ANNE TIMMONS-HARRIS

CYNTHIA SCOTT

SCOTT EDWARDS

TRICIA VITRANO

ALEX PODESTA

SOPHIE LVOFF

CHRISTOPHER SAUCEDO

ROBERTO ORTIZ

STEVE MARTIN

GRETCHEN WHEATON

RYAN WATKINS-HUGHES

STEPHANIE PATTON

ALICIA KOWALSKI

BETH LAMBERT

BROOKE PICKETT

FRENCHY

CLAUDIA LYNCH

EUGENE WEBER

KATHY CONNOLLY

MARNIE MURPHY

JOSE TORRES TAMA

RHONDA CORLEY

RENEE DODGE

BRITNEY PENOUILH

TANNER

ARTDOCS Benefit Art Auction (Gambit Weekly)

2011-11-15T14:24:00.000-06:00

ARTDOCS Benefit Art Auction

PHOTO BY CHARLIE VARLEY

The seventh annual ARTDOCS benefit art auction features works by more than 70 artists, including several current Prospect.2 participants (Gina Phillips, Srdjan Loncar, Dan Tague and Dawn Dedeaux). Other artists providing pieces include Jaqueline Bishop, Sandy Chism, Skylar Fein, James Michalopoulas, Blake Boyd, Justin Forbes, Krista Jurisich and many others. The event also features entertainment by the Panorama Jazz Band, aerialists and others, and there's food and drinks. ARTDOCS works with Sisters of Charity and other community partners to provide medical care for artists, musicians and writers who do not have health insurance or the means to afford basic health care services, says co-founder Jonathan Ferrara (pictured left). Since 1999, the program has provided more than 4,000 patient visits. For more information about the program or art in the auction, visit www.artdocs.com. Tickets $15 for individuals, $25 for couples. — Will Coviello

Click here for article on Gambit Weekly website

Click here to preview works in ARTDOCS Live Art Auction

Adam Mysock featured on Studio Break

2011-11-15T14:15:00.000-06:00

ADAM MYSOCK

Today we arrive at the 7th episode with Adam Mysock, full range of issues covered including Facial Hair and the glorious masterpiece that is…. Home Alone!

Click here for feature on Studio Break

Click here to see more artwork by Adam Mysock