German artist Hendrik ‘ECB’ Beikirch has painted in Bushwick with and as part of Robots Will Kill for many years. A recent return visit was inspiration to look back in my archive for photos of past work painted – these images stretch back to 2008.
Read Becki’s excellent interview with ECB from 2010 here.
Valentine’s Day tops my list of saccharine Hallmark holidays that suck. When my good friend EKG shared his plans to put on a dark, Valentine’s Eve extravaganza, I knew his idea would resonate with many people:
“The EKG♥NYC exhibition installation is a silhouette of an abstraction of our cityscape constructed of everyday objects painted black and orange: a metaphor for human resonance manifested on the corporeal plane and the wafting misty sparking static of the Aetherial Semiotosphere that electrifies the space between the physical and the mental, consisting of an aspirational architecture of spires and grids; a wireframe conglomeration of modular three-dimensional schematics; an energizing iconographic display of orange resonance, wraiths, chimeras, apparitions, projections, illuminations, emanations, vibrations, palpitations, oscillations, transmissions, frequencies, broadcasts, signals, ripples, waves, pulses, blips; an uplifting experience broadcast through radars, tridents, buttons, balloons, stickers, t-shirts, zines, prints, patches, flags, drawings, paintings.”
Sound designer Jefferson Wells will also strike some chords at the opening. Come for the mutant cityscape, stay for the dronecore – it promises to be a very metal way to ring in the weekend.
( ( ( EKG ♥ NYC ) ) )
An All Hallows’ Valentine’s Eve Celebration of Misfit Love, Mutant Science and Aesthetic Rebellion.
Opening: Friday, February 13, 6-10pm
Viewing hours: February 14 & 15, 12-6pm. February 16-28 by appointment.
Location: Skewville Laboratories, 35-18 37th Street (btwn 36th & 35th Aves), Long Island City, Queens, NYC.
Transit: R/M trains to “Steinway” stop; or N/Q trains to “36th Avenue” stop.
It’s been just a little over a year since the world’s most high profile street artist, Banksy, manifested Better Out Than In, his October 2013 show in New York. His residency proved to be a runaway sensation, achieving an unprecedented media saturation by enthralling legions of increasingly rabid fans with a calculated, daily presentation of new pieces citywide. In all my years of documenting street art in New York, I’d never experienced anything quite like this residency. The month-long spectacle rolled out largely via social media, with seasoned documenters and newbie, self-proclaimed Banksy hunters alike sharing their experiences each day in a frenzied race against the clock and against the myriad forces that conspired to cut each piece’s longevity short. For those in the know, the #banksyny hashtag became the mainline for the daily Banksy infusion. And as documentation from each daily scene showed, many New Yorkers got hooked… on the art as well as the ensuing sideshow.
Via his well-respected Carnage imprint, fellow street photographer and long-time Banksy fan, Ray Mock, recently published Banksy in New York, an account of the residency from the point of view of a quintessential graffiti insider. I can’t recommend this volume enough.
And this past Friday, on the one year anniversary of the close of the residency, filmmaker Chris Mourkabel’s documentary Banksy Does New York was released on HBOGo, with the premiere, cable TV broadcast on HBO scheduled for Monday, November 17th at 9pm EST. The bulk of the footage for the film was crowd-sourced, allowing for multiple, unique perspectives on the residency as it unfolded. I’m honored to have been interviewed for the film alongside Jaime Rojo & Steve Harrington of Brooklyn Street Art, RJ Rushmore & Caroline Caldwell of Vandalog, Hrag Vartanian of Hyperallergic and others. You can watch a short trailer below:
Poster Boy comes through with quite possibly my favorite ad takeover slash billboard liberation, asking a very pertinent and relevant question indeed.
Here’s video of the installation:
Becki and I poked around Fort Tilden a week ago… although it’s not what it used to be, there’s still plenty of graffiti to be found.
While it’s wonderful that MoMA PS1 is bringing it’s art-star-laden Rockaway! exhibition to Fort Tilden this summer, I’d like to point out that Tilden was home to a much more organic, arts movement long before Superstorm Sandy wreaked havoc on the Rockaways…
Australian artist Anthony Lister’s been very busy in the weeks leading up to his solo show at Jonathan LeVine Gallery, opening tomorrow night. It’s been a while since we last featured him here, but I’m glad to report he’s showing his former hometown some love by completing a number of murals in Brooklyn and Manhattan. Here are three of the
five seven he’s done so far:
[Lister – all photos (c) Luna Park]
Lister is also the subject of the forthcoming Anthony Lister – Adventure Painter release from Gingko Press, authored by Roger Gastman and Tristan Manco.
Anthony Lister: Power Tripping
Jonathan LeVine Gallery
529 West 20th Street
New York, New York 10010
June 28—July 26, 2014
Opening: Saturday, June 28, 6—8pm
Over the course of the last year, New York based artists Andrew H. Shirley and Amanda Wong built a tree-house in the boughs of a sugar maple tree on the banks of Ulster County’s Esopus Creek near Kingston, NY.
The tree-house was built entirely out of reclaimed materials sourced from nearby abandoned structures. The tree-house, reached by rickety ladder, is a sculptural space which will host three exhibitions this summer.
Amanda Wong explained the intent of the project: “Constructing the tree-house was a sculptural and curatorial project seeking to challenge the conventional places and aesthetics that form contemporary art practices by recontexualizing where and how art exists. The tree-house situates the exhibition of art within remote nature as a gesture towards geographically decentralizing and ideologically reconfiguring cultural centers such as museums and galleries.”
On Saturday, June 21st, the tree-house was inaugurated with a light installation by Andrew Poneros. Poneros’ illuminated, etched glass bottles were mounted individually on trees surrounding the tree-house.
And within the tree-house, Poneros mounted a stunning chandelier, whose motifs of serpents, birds, fish and plants couldn’t have been better suited to the bucolic location. As the sun set, the tree-house slowly took on a warm and enchanting glow.
At the base of the tree-house overlooking the creek, a small black & white TV played one of Poneros’ animations on loop. Be sure to take two minutes and watch Prey for the Eaten.