Deep Fried Art's t-shirt "Scoundrels" ($20 with shipping) depicts Gossamer (the Looney Toons monster) and Bugs as Han and Chewbacca: "I wonder what their ship would look like? The Millenium Carrot??" Read the rest
Ionel Talpazan, who saw a UFO as a child above his village in Romania, painted spacecraft until he died two weeks ago at 60 years old. As a young man, after escaping Romania by swimming across the Danube, he made his way to New York City in the 1980s where he sometimes lived in a cardboard box on the street. Talpazan sold his UFO paintings and sculptures on the sidewalk until an art dealer helped bring his work into galleries and museums.
"My art shows spiritual technology, something beautiful and beyond human imagination, that comes from another galaxy," Talpazan once said. "So, in relative way, this is like the God."
Quick, make something creatively fulfilling before time runs out! Read the rest
My friend Rachel Demy has spent a decade managing tours and doing production for bands like The National, St. Vincent, Death Cab for Cutie, and many others. For all those years, she's always had a camera around her neck, seizing rare opportunities to capture fleeting moments of art, joy, sadness, and friendship on and off the stage. Tonight at 7pm, Seattle's The Piranha Shop opens a beautiful show of Rachel's photography and that of Tyler Kalberg who has documented musicians like The Head & The Heart, Damien Jurado, and Modern Kin. The exhibition, titled "Green Room," will be on display until October 4. Catch a glimpse.
GREEN ROOM exposes life on tour through the small, secret moments not seen under the house lights. Using the dichotomy between Rachel Demy’s color photography and Tyler Kalberg’s black-and-white, you see the highs and the lows, the camaraderie and the solitude, the exhilaration and the exhaustion that compose a story much deeper than the performer on stage. It’s a story of the people who make the music, and why it’s important that the long road leads home.
Above, Rachel's "Laura Marling. Pittsburgh, PA. 2010." Below, Tyler's "Jesse Hurlbut, Damien Jurado. Stuttgart, DE. 2012."
In 1986, the year before his death, Andy Warhol painted a portrait of Barbie in the style of his famous paintings of Elvis, Marilyn Monroe, and so many other celebrities. But in Warhol's mind, it wasn't a painting of the doll but rather his dear friend BillyBoy*, a 23-year-old jewelry designer who had a collection of tens of thousands of Barbies. For an art exhibit, BillyBoy*'s dolls were dressed by famous fashion designers and he also designed two dolls for Mattel, "Le Nouveau Theatre De La Mode" and "Feelin' Groovy Barbie."
Warhol had asked to paint a portrait of BillyBoy*, who always declined, until one day he said, "Well if you really want to do my portrait, do a portrait of Barbie because Barbie, c'est moi." So Warhol did.
Last year, BillyBoy* sold his Barbie portrait at Christie's for more than $1 million. He's also turned his back on Barbie.
"I think Barbie is no longer touching on the zeitgeist of the moment," he told the BBC News. "If I had a daughter I would not give her Barbie dolls. I wouldn't want my child to be constantly obsessed with getting something, and that immense preoccupation with high-heeled shoes and clothes." Read the rest
Earlier this month, I attended a two-day meeting at Pioneer Works, an art and innovation center in Red Hook, Brooklyn. The center is both physically beautiful and filled with interesting people from many disciplines doing work in open workshops. It was founded by sculptor Dustin Yellin, and the lobby has one of his remarkable, life-sized three-dimensional humaniform sculptures, composed of thousands of collaged magazine clippings pressed between many sheets of glass.
Richard Colman opens a show of glorious new paintings at San Francisco's Chandran Gallery tonight! Above is my favorite Colman painting that I've seen so far, the mindblowingly beautiful "Figures, Faces and Candles." See more from the show and read an interview with Colman over at Juxtapoz.
Grace Brett, 104, is part of a guerrilla crochet group called the Souter Stormers who yarn bombed landmarks in Selkirk, Ettrickbridge and Yarrow, Scotland. The installation was tied to an arts festival in the area. Video below.
“I liked seeing my work showing with everyone else and thought the town looked lovely," Brett said.
Her daughter Daphne, 74, added "She thinks it is funny to be called a street artist.”
More at the Daily Record.
What do you do about the huge, ugly neck-brace your doctor wants you to wear after spinal fusion surgery? Read the rest
Sculptor Petros Eftstathiadiadis makes these "pacifist bombs" as a commentary on the Greek political/economic situation, constructing them from materials chosen to seem absurd, playful and harmless. Despite that, a few of these look somewhat alarming to me, possibly because of Eftstathiadiadis's (admirable) lack of knowledge about antipersonnel weaponry -- the soap immediately makes me think of jellied gasoline, for example. Read the rest
Dig these covers and spreads from OZ, the psychedelic magazine launched in Australia in 1963 and reborn in the UK in 1967 under the visionary editorship of Richard Neville, Martin Sharp, and Richard Walsh. Far fucking out. From Wikipedia:
The original Australian OZ took the form of a satirical magazine published between 1963 and 1969, while the British incarnation was a "psychedelic hippy" magazine which appeared from 1967 to 1973. Strongly identified as part of the underground press, it was the subject of two celebrated obscenity trials, one in Australia in 1964 and the other in the United Kingdom in 1971. On both occasions the magazine's editors were acquitted on appeal after initially being found guilty and sentenced to harsh jail terms. An earlier, 1963 obscenity charge was dealt with expeditiously when, upon the advice of a solicitor, the three editors pleaded guilty...
Several editions of Oz included dazzling psychedelic wrap-around or pull-out posters by Sharp, London design duo Hapshash and the Coloured Coat and others; these instantly became sought-after collectors' items and now command high prices. Another innovation was the cover of Oz No.11, which included a collection of detachable adhesive labels, printed in either red, yellow or green. The all-graphic "Magic Theatre" edition (OZ No.16, November 1968), overseen by Sharp and (filmmaker Philippe) Mora, has been described by British author Jonathon Green as "arguably the greatest achievement of the entire British underground press."
Jonathan Worth is a celebrated, successful, internationally recognized award-winning photographer who saw the writing on the wall for his business -- selling pictures to magazines -- when he found himself threatening a young girl for pirating his pictures, and decided there had to be a better way. Read the rest