Thursday, September 29, 2011
Tuesday, September 27, 2011
Sunday, September 25, 2011
Immediately prior to the start of the Fall semester I ventured off on the dread 405 to the Skirball Cultural Center to see the blockbuster "Harry Houdini" exhibition. It was paired with a sister exhibition titled: "Masters of Illusion - Jewish Magicians of the Golden Age". Apparently, the "Golden Age" refers to the years 1875 - 1948, when feats of amazing legerdemain were performed live in front of an appreciative audience. After 1948, the mesmerizing was done via the little one-eyed god of the living room.
Saturday, September 24, 2011
Sunday, September 18, 2011
Thursday, September 15, 2011
Tuesday, September 6, 2011
Saturday, September 3, 2011
Friday, August 12, 2011
Thursday, August 11, 2011
Tuesday, August 2, 2011
I'm not certain which works by powerhouse Sean will be in the exhibition, but I'd guess something visually tasty, such as the above, titled Fire Horn, a mezzotint form 2005, might just be in the offing. The image below is from my hand, a woodcut/litho combo titled Perihelion/Aphelion. The Shanghai Museum of Art has a gallery of Qing dynasty paper currency, many of which incorporate the techniques of woodcut or engraving. Enthralled, I did small sketches in the gallery, one of which eventually became this print. I was interested in playing with not only ornamental pattern and decoration, but also with symmetrical duplication of the solar image that appears on many of the banknotes. I wanted to translate the nervous line energy from the sketch into the larger print, and to see if I could compositionally sequence the image in time through composing multiple inversions of it.
The address of the above is 117 North Sycamore Street, Santa Ana , CA, & no, that's not my late model blue sporty vehicle.
Thursday, July 28, 2011
This comprehensive survey dating 1999 to the present will bring more than 250 limited edition serigraphs, etchings and pigment prints created by Orange County artist Josh Agle aka SHAG to Grand Central Art Center. In conjunction with this exhibition Shag and Watermark Printmaking, located at GCAC, will also collaborate on a new etching available for purchase in the GCAC Sales Gallery. Other Shag merchandise will also be available for purchase.
Grand Central Art Center will also be collaborating with SHAG on a limited edition poster with proceeds from the sale benefiting Japan relief efforts.
Opening Reception: Saturday, July 2, 7:00-10:00 p.m.
*Book and poster signing only 6:00-7:00 p.m.
Closing Reception: Saturday, August 6, 7:00-10:00 p.m.
*Merchandise signing 6:00-7:00 p.m.
CSUF Grand Central Art Center
125 N. Broadway Santa Ana, CA 92701
General Phone: 714.567.7233
Sunday, June 19, 2011
My first spot of something that had everything I want in the way of a "collectable" were the 2 hairdressing/barber signs below. The proprietor of the stall must have been off to the rest room, so I couldn't put my evaluation of these wonderful paintings to him or her, but I'm guessing that they were made by Joel Adjame of the Ivory Coast, or created by someone who has gotten his style down pat. (An adherent of the "Adjame School,"one might surmise.) I base my assessment on the use of a white background, simplification of style, placement of text, profile format, & the use of linear heart-shaped enclosures around each head depicted. Of course, I'm certainly no expert in these matters, as my only 1st-hand experience with this art form was merely having had the good fortune to view the exhibition at the Fowler Museum (back in '95), titled: "Crowning Achievements: The African Arts of Dressing Hair." A knock out!
My modest purchases could all be carried in my pocket...3 new marbles to add to my collection!
Monday, May 23, 2011
Paintings, Drawings, and Prints by William Blake Selected by John Frame
March 12, 2011-June 20, 2011
Works on Paper Room, Huntington Art Gallery
The new Blake exhibit runs concurrent with an exhibit of Frames work. It is intriguing to experience an artist body of work displayed along side the artist which inspired him.
The main “stage” displays an array of figures and tiny scenes taken from Frame’s own dream, in which he crafted the figures and world in which the creatures exist.
There is a definite foreground, middle ground, and background. The stage is mechanical, filled with clock works and metal trinkets and doll heads all specifically lit or unlit.
The works of William Blake hand chosen by John Frame, on view are a mere demonstration of the talents Blake possesses, as seen in his series of the Book of Job.
Frame writes, “He [William Blake] grappled always with the basic questions of human life. “Prayer is the study of art. Praise is the practice of art,” he said [Blake], and, pursuing this dictum, he fashioned a world that was wholly his own and yet reached beyond himself toward God.
Equally compelling were the small engravings of "Song of Innocence" and "The Sick Rose". These two plates were displayed side by side. They seemed to carry an air of innocence yet loaded with all the essence of the human soul. These works were illustrations that Blake and his wife hand colored for editions of books that he had written.
The Sick Rose
By William Blake 1757–1827
O Rose, thou art sick!
The invisible worm
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
Sunday, May 22, 2011
Tuesday, May 17, 2011
#1. The man proudly displaying his vast collection (now housed in Philadephia's Mutter Museum - road trip!) is one Dr. Chevalier Jackson, who extracted these "found objects" from various Victorian human hosts where they had been placed for...safe keeping? Perhaps as souvenirs or protective amulets? From this remove, one can only speculate.
Monday, May 16, 2011
Sunday, April 24, 2011
Review by Maximillian Piras
Photos by Roxanne Sexauer
There is really no way to reconcile the arrangements Henry Taylor made inside the Blum & Poe gallery. If they seem displaced, confused, and thrown together it is because they have no option to be otherwise. They have been forced into a fixed space that lacks viable resources for enlightenment. To spell it out: they are oppressed. This is of course not speaking literally of Taylor’s physical pieces, but his subjects. For those that might not feel the imposing hopelessness projected by his massive canvases and array of faceless black sculptures, then you might want to study further into hyper-segregation.
Taylor’s voyeuristic eye has been looking into the urban landscapes which have caged its inhabitants, those who lack resources to escape – or more plainly put: to go on vacation. His subjects are those who were born into the inner city, and who will die in the inner city. Although it is not necessarily a quick read, coinciding with Taylor’s own statements regarding his work. He mentions that it isn’t his goal to beat anyone over the head with a message; he holds no strong political agenda. At most he should be classified as a social observer. Which might be why his paintings are so enjoyable.
If Taylor has one gift emerging above his others, it is his grace in portraying the lightness of his subjects. Who knows why, but his subjects generally appear content. If he is speaking of the tragedies in hyper-segregation, then perhaps his subjects are unaware of their own encapsulation… or just do not care. Of course to consider Taylor’s paintings in this single scope would be to completely undermine his artistic existence. He does not solely existence to enlighten us on this occurrence, but he is damn good at it.
Inside the subtle nuances the darkness appears. Slight portrayals of the shortcomings in education, oppression by authority figures, and worship of marketable idols as escapism transcend throughout. The most prominent for me rose from his painting That’s My Baby Sister, where one subject sports a sweatshirt reading “Califirnia”. It’s also an easy guess to see his sculptures, which are essentially arrangements of detritus painted black, in this light. One area looks like a shrine to Michael Jackson, as his poster hangs above an arrangement of chairs broken apart and incorrectly reconstructed.
Thus far Taylor’s exhibit is one of the best I’ve seen this year. It could easily be considered outsider art, but perhaps only as a beneficial classification. This is the type of art that holds its own visual language and database, which can be utilized free from preconceived contexts often dwelled upon in the art world. In that respect it is more humanitarian and accessible to any outside the aristocracy and bourgeois. Fittingly so, since the latter are the ones likely to see it, it could contain the power to turn any quick to dub it outsider into the outcasts themselves. Because to regard this art as irrelevant echoes dangerously close to saying: there is no solution, for there is no problem.