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The Galactik Trading Card Oracle Complex is a global arts initiative celebrating the emerging visionary culture through its art and designs. Featuring art from 40 countries on all 7 continents and designs from 20 different digital designers, this non-profit project celebrates the creative imagination while inspiring the creation of all forms of art and art culture.
The new set celebrates Beinart Collective artists including Ernst Fuchs, A. Andrew Gonzalez, David M. Bowers, Alex Grey, Brigid Marlin, De Es Schwertberger, Amanda Sage, Micheal Parkes, Adam Scott Miller, Luke Brown, Robert Venosa, and Oleg Korolev
The project is at a turning point and seeking to stay alive by pre-selling subscriptions. Get two cards sent to you anywhere in the world for 25 months at a special low cost. Order now to receive 50 cards for the presale price of $100 with free international shipping. The subscription will begin on summer solstice. Paypal email@example.com or email to make payment arrangements.
In the words of curator Robert Marbury, “The Rogue Taxidermy 2012 Biennial at La Luz de Jesus is a celebration of what Salvator Dali described as the “paranoiac-critical method”. A place where the object created allows the mind to perceive multiple objects and meanings at once. Basically, the act of suffering an artistic paranoid split. And if there is a contemporary art form that allows for multiple interpretations and unconscious acts of interpretation, that art form is taxidermy.
All of the work in the Rogue Taxidermy 2012 exhibition is based in the concept of preservation of the animal form. The form in which each artist addresses this task is as diverse as the concept that taxidermy brings up in each individual’s mind: death, food, pets, hunting, fashion, humor, etc.
This is manifested as the bone work of Jessica Joslin, Mirmy Winn or Lisa Black, or it might take alternative taxidermy form, like Sarina Brewer‘s, Scott Bibus’ or Peter Gronquist’s pieces. Beth Beverly and Lauren Kane provide wearable reminders of animals past.
Even more removed pieces, like Adam Wallacavage’s, Scott Hove’s or Elizabeth McGrath and Morgan Slade’s work only hint at the “animal” being preserved.”
Jessica Joslin has been representing the “Rogue Osteology” branch of MART since 2008, and has been building an extensive menagerie of hybrid beasts since 1992. The word “taxidermy” is derived from the Greek terminology for “arrangement of skin.” Therefore, although kindred in spirit to taxidermy, any work that is completely lacking in skin cannot be properly considered taxidermy. Despite this distinction, Jessica Joslin‘s work is clearly all about rogues, and Balthazar is no exception. With the skull of a fruit bat and a body formed from intricately integrated brass, steel and silver parts, Balthazar is a hybrid of many creatures. He is similar to a Jerboa in terms of posture and imagined locomotion. He has a pronounced and powerful tail, like a miniature kangaroo, and tiny forelegs with long articulated fingers made of antique silver fork tines. His ribcage is formed from a Victorian bon-bon dish, and his body from antique hardware and chandelier parts. One look into his gleaming glass eyes and it is clear that he is a little rogue, ready to hop away and make mischief, as soon as no one is watching.
Included artists are:
Loved to Death
Elizabeth McGrath and Morgan Slade
Kat Marie Moya
The Rogue Taxidermy 2012 exhibition was curated by Robert Marbury, Co-Founder of the Minnesota Association of Rogue Taxidermists. Only animals procured in an ethical and environmentally responsible manner were used and no animals were killed for the purpose of this art work.
beinArt readers can access an early preview of the show, here.
Rogue Taxidermy Show
Curated By Robert Marbury
May 4-27, 2012
Artist Reception: Friday, May 4 th; 8-11 pm
La Luz de Jesus Gallery
4633 Hollywood Blvd.
Los Angeles CA 90027
Jessica Joslin “Balthazar” Antique hardware and chandelier parts, brass, bone, silver cutwork 8.5″ x 2.5″ x 11″
Mirmy Winn “Dark Dreams from the Horrible Mind of Thing 3″ Mixed media taxidermy 20″ x 26″ x 4
Sarina Brewer “Toast to Severson” Taxidermy monkey & rabbit with brass, fabric, and silicone accoutrements 11″ x 13.5″ x 14.5″
Scott Bibus “Raccoon Head (temporary name)” Racoon head with wax lips, candy eyes 8″ x 8″ x 7″
Lily Mae Martin‘s work has often has been described as “confronting” and “brutally beautiful”. Her work has been exhibited worldwide and has been featured by publications including Juxtapoz and Hi Fructose.
Brutally Beautiful will be Lily Mae’s first solo exhibition in three years and feature paintings created in Berlin over the past year, as well as drawings from her blog project Berlin Domestic.
Lily is an Australian born visual artist. She received her Bachelor of Fine Arts from the Victorian College of the Arts in 2008, upon which she was awarded the Lionel Gell Traveling Scholarship and subsequently moved to Berlin, where her practice is currently based.
The basis of Lily’s style grew from a strong focus on human anatomy and etching styles, however traveling hindered her ability to access a press. She subsequently developed a technique to replicate the printmaking style using felt tipped ink pens; building up layers and layers of line to create tone and form. More recently her practice has swung toward a focus on oil painting and portraiture. Although Lily states that her intention is not to unsettle the viewer, she portrays people in an honest, raw and emotional way that often has been described as “confronting” and “brutally beautiful”.
Influences include Jenny Saville and Lucian Freud.
Brutally Beautiful opens Saturday May 5th at 7pm, Neonchocolate Gallery, Berlin.
Producer/director/writer/collector Morgan Spurlock (The Greatest Movie Ever Sold, Super Size Me) has partnered with Thinkspace Gallery for his debut curatorial project New Blood which opens on April 28. New Blood features artists that Spurlock feels have changed the art world forever and aked each of them to invite a protégé of their choice to show alongside their own work.
Morgan Spurlock states “I’m a massive art collector who, by way of my habit formed a relationship with Thinkspace’s Andrew Hosner, and when he offered me the opportunity to curate a show I jumped at the chance. The concept of the show is how the torch is passed from one artist to the next. One opens the door so another can follow. And this show is all about artists who I think have and are continuing to impact and change the art world, and each one of these artists is bringing along an ‘apprentice’ or ‘protege’ who they think we all need to know about, the artists they believe are the ‘New Blood’ of the art world.”
Ron Engish comments “The concept of the show is actually quite brilliant. My friends are constantly asking who’s the next big thing, the same friends who ignored me when I flagged Swoon, Banksy and Kaws. I hope they’re listening this time! Throughout history the most prominent artists have handpicked the brightest stars of the next generation to take on as an apprentices and the tradition is still alive and well as Morgan has so aptly illustrated in this exhibition. I am infinitely confident in my choice, Kid Zoom, not only for his unique vision, technical ability and inner drive, but also for his warmth and humor and humanity. Morgan has also become a prominent part in another longstanding tradition in art, the grand patron of the arts, the well-positioned individual that not only collects the most important work of the time, but also promotes the art and befriends the artists. Of course we artists would expect nothing less from our favorite luminary Morgan Spurlock”
Andrew Hosner of Thinkspace adds “We’ve worked closely with Morgan for a number of years now and ever since I interviewed him for our blog a couple years back I’ve wanted to run the idea by him of a curatorial project. Fast forward a year and one day while catching up via phone I just threw it out there to him and he loved the idea. He came back to us a month or so later with a fully realized concept for the show and a wish list of artists to approach. Morgan has always been about helping out and supporting up and coming artists, so to see his vision for this show come to life has been very rewarding.”
New Blood features new works from:
Camille Rose Garcia / Travis Lampe
The Date Farmers / Albert Reyes
Dzine / Jesus Bubu Negron
Elizabeth McGrath / Morgan Slade
Gary Baseman / Jesse Dickenson
Gary Taxali / Adrian Forrow
Jonathan Yeo / Charlie Gouldsborough
Mark Jenkins / Sandra Fernandez
Nicola Verlato / Marco Mazzoni
Ron English / Kid Zoom
Saber / ZES
Shepard Fairey / Nicholas Bowers
Tim Biskup / Patrick Hruby
Thinkspace presents: New Blood Curated by Morgan Spurlock
Reception with the artists:
Sat, April 28th 5-8PM
On view April 28th through May 19th
Scott Hove’s sculpture exibition “My Own Private Apocalypse“ opens at La Luz de Jesus this Friday, April 6. Preview the entire show here.
BI: Did you have long-term plans to do an apocalyptic themed show in 2012? What are your thoughts on 12/12/12 and that particular interpretation of the Mayan Calendar? Are there any other periods of apocalyptic paranoia that fascinate you or are represented in this show?
When I was offered this show I knew it would be a good occasion to create it around the theme of the End of Days. I had a nebulous idea for a show of this type, and the actual opportunity allowed it to become real.
When I was younger, the Mayan date for the end times had a lot of power. I first became aware of it over 20 years ago, and at that time I was studying the art of ancient Mexico and other pre-Columbian cultures. For these ancient authorities to make such a pronouncement was ok with me, and in fact helped shape my world view to the point of shaping my long-term schedule around such an eventuality. I became obsessed to the point of feeling the apocalypse right around the corner, and learning every sort of survival skill. I also slowly learned about my own paranoia, and that waiting for the end was not resulting in any prosperity of happiness in my life. I guess you could call me a reformed doomsayer!
I do have an ongoing interest in popular cultural views around the apocalypse. I see lots of people suffering from what I suffered from, fantasy based paranoia. This has been going on for ages, and has resulted in a lot of great art, such as all of the hell scenes from the Rennaisance.
I also am aware of situations that are very real which resemble the apocalypse in every way. Some are environmental, some political, some social. Some of these are touched on in my show. The last thing I should say is that a small part of me desperately wants to see the end of industrial civilization every time I witness another transgression against the natural world. In the final analysis, that’s what my cakes are; cakes for the party for the End of the World.
BI: What kind of diet do you have? Do you eat sweets?
I don’t eat a lot of sweets or carbs because they make me sleepy and spaced out. I love to have just one bite, especially of a very well crafted cake.
BI: Could you envision working on a major scale project, such as covering an entire building in a Cakeland sculpture?
I am always visualizing unfeasibly large Cakeland projects, and what it would take to pull them off. There are specific buildings I want to decorate. More interesting for me though, is large scale inner worlds, best described in the form of immersive installations. I am chasing down funding to do a major cake themed mirror-maze installation that will be totally over the top.
BI: Could you talk a little bit about your process — once you’ve envisioned a piece in your head… do you take it to paper? Are the pieces concrete from start to finish or do they change and evolve? Do you approximate or solidify colors before beginning the process or do you improvise as you go along?
My process involves everything you mentioned to some extent… Some pieces are exactly what I envision while others change as I go. I rarely draw anything out unless it involves complex geometry and has to be rendered with a high degree of accuracy. Selecting color is an intuitive emotional process. I mix the color to resonate with the emotion I have been carrying for the particular piece from the beginning.
BI: When dealing with a body of work, do you complete each piece as you go or do you work on several pieces simultaneously?
For this particular show I did all 13 of the smaller pieces at the same time, and the larger pieces one at a time. Doing a bunch at once requires some quick thinking and dexterity that is fun. The more involved larger pieces tend more towards a long meditation, which is also rewarding.
BI: What goes through your head when you see pastries and cakes in restaurants and at the grocery store?
When I see a nice looking pastry or dessert I think “Oh I wish I could eat those without ruining my health” then look at decorative technique. Many pieces have some method that I could learn from, but most seem just lazy.
BI: Do you have pets? Are any of the teeth and tongue sections of your pieces based on any particular animals in your life or do you reference via photographs / videos of various creatures?
I am a real animal lover, but have no pets at this time, not even a houseplant! The jaws and tongues I have been collecting for years from the taxidermy supply people. I work with replicas of leopard, baboon, bear, mink, badger, and whatever else I can find that looks beautifully fierce. I could spend half of my practice trying to match the quality of their fake teeth, but it is better to leave that part to the experts.
“My Own Private Apocalypse” – Sculptures by Scott Hove
also showing: “When the Rain Comes” Joe Sorren
April 6 – 29
Opening Reception: Friday, April 6th, 8-11 pm
La Luz de Jesus Gallery
4633 Hollywood Blvd.
Los Angeles CA 90027
Acrylic & buffalo horns on polyurethane foam
33″ x 24″ x 24″
Self Objectification Strategy
Modified stripper shoes and mixed media
Dimensions Variable (custom shoes available)
Acrylic & mixed media on polyurethane foam
24″ x 18″ x 6″
Scott Hove (courtesy of La Luz de Jesus)
Interview with Joe Sorren for his upcoming “When The Rain Comes” exhibition.
Joe Sorren’s “When the Rain Comes“ opens at La Luz de Jesus this Friday, April 6. Preview the entire show here.
BI: When creating a piece, do you have a concrete vision in your mind of a narrative? Or do you leave the piece open to the viewer’s interpretation?
Actually, when I work, I never have a concrete vision in my mind. I think one of the biggest mistakes we can make is to over-inject ourselves into the work, especially early in the Ice, when it is just trying to figure out what it is, and doesn’t need me in the way, dictating what is should be, you know? So, when I am starting a painting, I think it’s best for me to just start, and to remember to let the painting stay open to all possibilities throughout the process. Something I have been thinking about lately is the artist’s role in his work. I think it’s less about creating concepts to direct the viewer through the piece, like some IKEA store floor map; and more about attempting to create a space that the viewer can fill with their own thoughts and feelings through interpretation and just being with the painting. This way the work wants to, for lack of a more intellectual word, dance with the viewer, suggesting different themes and ideas, that may change as the viewer changes over time. For me, making art this way keeps it interesting every day. When things are going well and I am in a good flow with the work, I ask myself every day,” what will happen?”
BI: Your pieces have an Impressionist feel to them though the density of your brush strokes, your colors and “unusual figures caught in motion” take you into a Surreal dimension. How do you feel about these categories as a description of your works? Do you find inspiration from any particular Impressionist and Surrealist painters?
Thank you, I just keep finding myself returning to the influence of the Impressionists. It’s their bravery in the work that stuns me. A book I have really enjoyed and find myself re-reading every few years, is, “The Last Judgment of Paris,” by Ross King. It is an engaging overview of those years, and every time I read it, I feel like Owen Wilson in Midnight in Paris or something; you’re right in there.
BI: Do you use natural or indoor lighting when you paint?
Natural, unless I am still chasing after something for the day, and the sun is going down.
BI: What did you listen to while creating this show?
Loads of Jolie Holland, Camera Obscura, Hank Williams, random stabs at Spotify, and lately I have been playing with this idea of creating your own custom white-noise. So what you do is, play a album, preferably long, so live performances tend to work better here than studio albums. Then play it again, at the same time, but from a different starting point, then play a concert clip of the same band from you-tube, and put on an audiobook with a good voice while also playing, etc, etc. I just like to build up layers, all around the same volume, so it starts to create a white noise filled with things you love. I find I can swim around, almost hypnotized by this technique, it leads, for me, to very open painting.
“When the Rain Comes” Joe Sorren
also showing: “My Own Private Apocalypse” – Sculptures by Scott Hove
April 6 – 29
Opening Reception: Friday, April 6th, 8-11 pm
La Luz De Jesus
The Bittersweet Letting-go-ness of Things
Oil on panel
40″ x 30″ in ornate 47″ x 37″ frame
Oil on panel
24″ x 30″ in ornate 31″ x 37″ frame
My Aim Is True
Oil on panel
24″ x 30″ in ornate 31″ x 37″ frame
Jessica Joslin: Gilded Beasts
Lisa Sette Gallery: April 5-28
Artist Reception: Thursday April 5, 7-9pm
Jessica Joslin’s eerie and irresistible creatures—the skeletons of birds, small mammals, and reptiles, encrusted with brass fixtures, glass beads and other castaway pieces of human design—are not-quite-living evidence of our need to embellish our world. Each ornate sculptural creature requires months of detailed labor to construct, and each one, from Apollo & Daphne to delicate Aria & Sola, possesses a unique personality and name. Says the artist, “I collect names, much as I do all of my other materials. I’m always looking, finding, sorting, choosing…”
Jessica Joslin was born in 1971 in Boston, MA and grew up collecting flies off the windowsill to look at under her microscope. Ever since, she has been enchanted with collecting a magpie’s array of remnants from the natural world. The collection gradually grew to include obsolete bits of antique mechanical mechanisms, hardware and other oddball artifacts. In 1992, she began building the first beasts of this menagerie, using objects sent in a care package from her father, the same pieces that she’d collected as a child.
Dreamscapes is a series of imaginary realism exhibitions that take place at various locations throughout the world. Dreamscape exhibitions and catalogues showcase magic realism, fantastic realism, surrealism and other mind-blowing creations by leading artists and emerging talent. Previously-featured artists include Viktor Safonkin, Lukáš Kándl, Patrick Woodroffe and Michael Parkes.
Dreamscapes is coming to Enschede this year with a special exhibition of international imaginary realism. Discover the fantasy-rich worlds of established artists working in the traditions of the old masters, as well as the young and talented artists adopting a new approach and techniques to alternative styles of realism. “Dreamscapes: Mixed-Up” is the intersection of the traditional and with the mysterious and playful aspects of this art movement.
TETEM artspace will host a combination of established artists like Michael Parkes, Saturno Buttò, Ole Ahlberg and Jake Baddeley, as well as the new generation of artists that these artists have inspired. Featured artists exploring imaginary realism on their own terms include: Menunana, Kwon Kyungyup, Birgitta Sundström Jansdotter, Wendy Farrow, Buddy Nestor, Joran van der Haar, Ego Leonard, Tomasz Alen Kopera, Ludmilla van der Spoel, Valerie Zwart and Phynta.
The ‘Dreamscapes’ exhibition concept is the brainchild of Marcel Salome. Working closely with galleries like Cabinodd, Dreamscapes has become a well-regarded platform for imaginary realism. This year’s edition at TETEM artspace is organised by Marcel Salome (Imaginary Editions) and Ella Buzo (Cabinodd), the collaborative team behind two earlier editions of Dreamscapes in 2008 and 2010.
Medusa and her lovely ladies will be on hand for the festive opening of Dreamscapes: Mixed-Up on March 22nd at TETEM artspace! We’re forecasting burlesque eye-candy with a shot of ‘green fairy’ from the absinthe bar.
22 March – 22 April 2012
Vernissage: Thursday, March 22nd at 5:00 pm. The show will be opened by Ella Buzo and Marcel Salome with eye-candy and absinthe by Medusa’s World. Dreamscapes publications will be available for the duration of the exhibition.
Opening hours: Thursday – Sunday 11am – 5pm
Location: TETEM art space, Stroinksbleekweg 16, 7523 ZL Enschede, The Netherlands
More info about the amazing Medusa’s World booking agency.