News

No Bone – Documentary Film by March Schiller

ReelAbilities Film Festival Presents:

No Bone: Scars of Survival
Documentary Film by Marc Schiller, Founder of Wooster Collective

If you’re a fan of street art, you have Marc Schiller to thank for being a pioneer of making it a mainstream genre.  We’re excited to announce his documentary film, No Bone: Scars of Survival, is making its NYC debut next week at the ReelAbilities Film Festival.

In 2001, after witnessing the rise of ephemeral art on the streets of New York City, Marc and his wife, Sara Schiller, founded Wooster Collective to document the ever-changing face of their downtown Manhattan neighborhood. In 2003, they started the website woostercollective.com out of a genuine desire to share these images with the world. Their site was ahead of its time and is a voluminous archive you can still search today.

In 2006, Wooster Collective organized 11 Spring, one of the most significant exhibitions of street art at an abandoned building in downtown New York. The exhibition was chosen by the The New York Times as one of the top art exhibitions of the year.

In 2013, Jonathan LeVine Gallery exhibited 10 Years of Wooster Collective, a group exhibition curated by the Schiller’s that celebrated urban art and the diversity of creativity that exploded internationally during the first decade of the 21st century.

Two years after the Wooster Collective exhibition, Marc Schiller’s life drastically changed when two major strokes left with him with aphasia and cognitive deficits. From day one in the intensive care unit, his family and Marc himself, have been documenting his arduous recovery. No Bone: Scars of Survival is the culmination of Marc’s chronicles of his battle towards recovery, as well as interviews with close friends, family, and colleagues.

No Bone: Scars of Survival is available to stream through April 13th through the ReelAbilities Film Festival. Click here to purchase and here to watch the trailer.

The Artistic Process of Kumkum Fernando

The response to Temples, Gods and Robots by Kumkum Fernando has been overwhelming and we appreciate all your amazing feedback.

As we reach the midway mark of the exhibition, we wanted to highlight the exhibition website just in case you’ve missed it.  Not only does the site include images and videos of the artwork, but it delves into Fernando’s process, which is a labor-intensive undertaking he describes as the Reborn universe.  From the initial line drawing, to cutting wood block components, to creating custom paint colors, to high gloss lacquering by Southeast Asian artisans, it takes months to produce one sculpture.

Follow this link to step inside the Reborn universe and learn about each step in Fernando’s artistic process.

Kumkum Fernando in HypeArt

Kumkum Fernando Turns Found Materials Into Mystical Sculptures

Check his latest online exhibition, “Temples, Gods and Robots.”

Kumkum Fernando is a Sri Lanka-born, Vietnam-based artist with a penchant for breathing life back into found objects. Using quite possibly anything he discovers in the open, the Design by Reborn founder is set to showcase a new online solo exhibition of work at Jonathan LeVine Projects in New Jersey.

“Temples, Gods and Robots” feature nine new intergalactic sculptures that draw reference to designs from Asian tribes and minorities — from jewelry, rugs and masks, to ornate doors. These traditional objects, such as window patterns from ancient temples found in Tibet and Southeast Asia, are transformed and given new life as cosmic monoliths. The characters that emerge are equal parts action figures and idols and are lovingly created with exceptional craftsmanship.

The series is part of Fernando’s ongoing project, Reborn, which re-imagines found materials into contemporary art objects. Each sculpture takes months to construct — from early illustrations which are then rendered into individual building blocks, to a labor-intensive sanding process, followed by silk-screen designs that are added to bring vibrancy and finished with high-gloss lacquer, using traditional Vietnamese techniques.

Fernando also injects a bit of storytelling by adding a lyrical tale to each limited-edition sculpture. “Temples, Gods and Robots” will be virtually on view at Jonathan LeVine Projects from February 16 to March 20, 2022.

Source: HypeArt

 

Essay by Mark Doox

The N-word of God: Envisioning the image of Christ

In the New Testament’s Letter to the Ephesians, Paul writes, “For we wrestle not against flesh and blood” — or race? — “but against principalities, against powers, against the rulers of the darkness of this world.” Could these things that Paul opposes be ideas and systems of human oppression that deny the knowledge of a God of justice and love?

Read the article here

DYLAN EGON IN WHITE HOT MAGAZINE

Dylan Egon’s Great American Dream Machine

Family Portrait, 2019

 

By JAMES SALOMON November, 2019

“How the fuck did I wind up in New Jersey?”

It’s a question that I ask myself every now and then. And I can explain, with confidence, some other time.  But as I’ve been pondering this since my recent visit to the NJDMV, I may as well get it out in the open. Let me continue by saying that I have no intention to offend anyone, and I am very happy where I live. But as I tell my wife, Jersey City will not be my final resting place.

Until then, here I am.

And honestly, it’s pretty great here. You just have to get over the stigma of saying “Jersey City”, because, frankly, it doesn’t sound as sexy as “Brooklyn” as a Manhattan alternative (though I’ve dubbed it Brooklyn West, the way it’s been blowing up).

“I liked it better when it had the stigma. Unfortunately it doesn’t anymore,” says my friend Dylan Egon, street artist extraordinaire, amongst other things. If you don’t know Dylan, chances are you’ve seen his larger than life images wheat pasted along the streets of Downtown Jersey City and Lower Manhattan. His graphic imagery is impossible to miss. His abode, an 1870s engine house, is 200 yards from my place by crow, I just have to cross Van Vorst Park to borrow a vice grip, have a beer, or snoop in on what he’s up to.

There’s a lot to see in this Bat Cave. It’s hard to know where to begin, but I can mention that Asian enthusiasts of Americana have traveled the globe to document his belongings. Dylan surrounds himself with enough pop cultural relics to make your head spin. For example, he has an impressive professional motorcycle jacket and helmet collection, worn by the likes of Jay Springsteen, Dave Aldana, Jim Rice, the list goes on and on. I have no idea who these people are but somehow I’m convinced. Can’t have jackets and helmets without the actual bikes, right? There’s a Ducati “Neo” Crotch Rocket (same model used in The Matrix), a 1982 Husquavarna, a 1970 Triumph Bonneville, a 1950s Dick Mann BSA in the kitchen. I could go on and on all day about the eclectic artifacts that nest within his walls. “Where does he get all those wonderful toys?” as the Joker would say.

Scattered among them are Dylan’s own artworks, bearing images of racehorses, assault rifles, Mickey Mouse, Pegasus, The Virgin Mary, and the lot. Why do I rattle off all of these belongings and symbols? Because they give some insight into the curious mind behind the works that will be on exhibit on Allen Street later this month. It’s a Jonathan LeVine popup project; they needed a storefront they could fit a 1929 Ford Model A into.  Jonathan—a pioneer in developing the Street Art market—is another character. He has a tattoo of Trenton Bridge across his back that says “Trenton Makes, The World Takes”. The boys will be offering up plenty of Egon merch: hats, tee shirts, stickers, patches, blankets, Billykirk collaboration bags, booze, and other stuff readily available for mass consumption. The artworks: paintings, assemblages, prints, and objects, all of which comprise Dylan’s Great American Dream Machine—a commentary on our current value system and consumerist appetite in this One Nation, Under God, Indivisible, with Liberty and Justice for All.

The exhibition will be in New York City’s Lower East Side at 198 Allen Street, with an opening reception on Thursday 21 November, 7-11pm, and lasting through Sunday the 24th. Four days only, so get over there if curious. You may not even have to pay a toll. WM

Mickey Target, 2014, Chez Momo, Jersey City
American Ark, 2016, Monmouth & 13th, Jersey City
Sony Mathilda, 2019. Parlor Gallery, Asbury Park.
Quanah,  2011, Bowery, NYC
Butter Knife, 2013, Montgomery & Grove, Jersey City
A New Religion, 2014., Crosby & Grand, NYC.
Egon Engine House with 1929 Ford Model A.
Igni Ferroque, 2014, in Egon Studio
Dick Mann’s 1959 BSA flat track racing bike with Edward Samuels painting.
Pegasus Target, 2014
Finis Temporis, 2012
Totem, (in progress).

 

Wheel of  Fate, 2007
The artist with Saint America

Artifacts

Jonathan LeVine visits Shag on the hunt for mid century cool, desert modernism, punk legends, Hollywood graveyard parties, secret tiki lairs, and the ultimate 1934 zombie! This is the trailer for a television show Jonathan created with his collaborators Mike Hatchet and Steve Barilotti. They’re on the hunt for a network to pick it up. Do you know someone? We’d love to hear from you.

HeliumTalk Episode 6 with Jonathan LeVine

The sixth installment of the podcast with Alex Diamond is out today. More frank conversations about the art world. For this new episode, they decided to focus on one topic, and keep it short and sweet. They speak about the pricing of artwork because that is a question that comes up very often.

Tune in and take a listen!

http://www.heliumtalk.com⠀⠀⠀⠀⠀
iTunes / Apple Podcast
Spotify
https://heliumtalk.podigee.io/52-jonathan-levine-6

Narrative Paths Journal Interview with Susannah Martin

Figurative Realism:Interview with Susannah Martin, Fine Artist

Susannah Martin 

Originally from New York City Martin studied at New York University under John Kacere, Sherrie Levine, Louise Lawler and Peter Campus. She was self-employed after graduation painting murals and working as a scenic artist for film and photography. She journeyed to Berlin, Germany in 1991 and currently resides in Frankfort am Main. Martin is a brilliant fine artist with an independent spirit.

I grew up in a family of artists and have received a relatively formal education in the visual arts. My painting techniques are usually described as classic. The people in my paintings are certainly distant relatives of the salon. Rather, they indulge in the midst of our contemporary culture: We have the impression that they rather block and disturb the view of the landscape than they peacefully coexist with nature as they did then in the forest of Fountainebleau. As I try to maintain a romantic landscape, they fall into this landscape as individuals who have to cope with the ever-increasing virtual reality. They bring their dogs with them, the best friends of man and their only remaining connection to nature.”

Susannah Martin website 

NP: How would you describe the creative process from an idea to application of that idea to canvas? I am asking how does your mind work from inception through to the completion?

Martin: I would say that there are several phases in the process.  First, I have a rough idea of what I want to communicate.  This sometimes comes along with a very clear image in my mind which I then have to apply to a real life model and environment.  Naturally, my idea will go through many transformations on its´ way from thought to finished painting.  Once I have found a model or models who are willing to work with me, a good deal of thought and preparation goes into my photo shoot with them.  I will give my models, who are usually friends, rough instructions of what I am looking for but then I let them take my idea and play with it.  The interesting part is seeing what they do with it. I take thousands of photos in every photo shooting and then pour over them for years to come.  Essentially I am inspiring my models to interact with their environment in very individual and personal ways and they in turn inspire me to paint about their experiences.  Then begins the slow process of building a composition centered around my model or models, the landscape and sometimes animals as well. Once I have my composition worked out in the form of a collage, I begin to draw this composition on to the primed canvas.  After securing my drawing with acrylic line I begin the process of oil painting. Usually I mask off the figures and work the background up to a point where I feel that It is done except for minor adjustments.  Then I begin to paint the figures, jumping back to the landscape while layers of paint dry on the figures.  It goes on for many layers and many weeks before I reach the level that I am satisfied with.

NP: When and how did you know your artistic talent and vision?  How do you define figurative realism? Is it something that evolves within your brain and heart? Is it always evolving?

 Martin:  For me, contemporary figurative realism has a great deal to do with looking at the world through the camera lens.  How the camera records reality has as much influence on our concept of reality now as how the human eye sees physical reality.  I always allow my photographic perspective to show through, I do not try to romanticize nor do I often work directly from life. The emotional experience which has taken place for me, together with my models, out in natures is recorded in my photographic work.  The process of painting is a means by which my emotional experience of my subject is transferred through my mind hand communication to the canvas.  A painting is never merely about what the subject precisely looks like, it is much more about how we feel about the subject.

NP: Does art help shape our connections with the world around us? If so is our response more deterministic than say free will in that our environment determines our response and expressed through various abilities?

Martin: I absolutely believe that art helps us to connect with the world around us.  It is very important to stop and consider not only what event just happened or what we observed but to acknowledge how that experience felt internally and how it has influenced us, how it has changed us.  We are constantly changing and expanding our view of the world. The more time we spend examining these changes, through art, the more profound and meaningful they will be for us. In other words, art helps us to grow by giving us the time and space to carefully explore our interior and its deep connection to all living matter.

NP: As a figurative realist have you been confronted with censorship issues either officially or unofficially? What are the challenges people face that you have experienced or viewed with concerning human nudity as opposed to readily accepting images of violence? Do you see figurate realism as a cultural, political and sociological statement along with an artistic comment?

 Martin:  The human body as subject matter is always political.  There is no way around that. The nude figure is probably the most confrontational subject that an artist can take on.  Whether a viewer is open to it or rejects it, the human subject leaves no one cold.  We all have intense feelings when looking at our fellow human beings.  How we react to an image of the human body has to do with our most intimate personal fears and desires as well as social conditioning and expectations.  I have been censored, blocked, banned and harassed many times on social media for painting the nude.  It is absurd really, how could looking at another human being and painting a painting of them be seen as criminal or offensive? Everything that I do with paint is done out of love for humanity and the natural world.  It is heartbreaking that some people prefer to see people being hurt and abused.  Generally I think that it is because there are people who are afraid to show their love of humanity, they are afraid that it makes them look weak.  Some believe that violence and aggression makes you appear strong.  I disagree.

NP:  What is the future of figurative realism?

 Martin:  Well, I have heard it said so many times that figurative painting is dead or that there is no reason to continue to paint the figure with all of the other media available. But I honestly think that is nonsense.  People have been painting people and looking at paintings of people made by people for at least 40,000 years as far as we know.  It has a universal human appeal which I do not see coming to an end any time soon.  Nothing is more important to a human being than another human being.  I don´t believe that there is such a thing as linear progress is art.  There are simply thousands and thousands of artists who make art in which ever unique individual way that works for them.  Some images may be called realistic, some may be called abstract, some deconstructed and many other titles in between.  But I do not believe that representing the figure will ever disappear. It is a uniquely human act.

Link to the Full Article Here

Tara McPherson New Book- Wandering Luminations

WANDERING LUMINATIONS: THE ART OF TARA MCPHERSON

The chaotic wonders of science, mythology and the power of the feminine form are at the core of this stunning art collection. Wandering Luminations showcases the artist’s most recent and ambitious creations from that solo exhibition, as well as works from her I Know It By Heart and Supernova series of paintings.

If you are wanting a special version of this, please go here for limited edition signings, dedications, doodles, and prints!

 

This title may sound familiar, as it was the title of Tara’s solo Exhibition back in 2013!

Here’s a link to that show

Susannah Martin on the HeliumTalk Podcast

 

Our third place 2018 Delusional Art Competition winner and our first online exhibition artist, Susannah Martin, was featured in the recent edition of the HeliumTalk podcast.  Take a listen to any of the links below!

Links:
http://www.heliumtalk.com/
iTunes / Apple Podcasthttps://apple.co/2ZfM8Vp
Spotifyhttps://spoti.fi/2F4OdvA
https://heliumtalk.podigee.io/48-susannah-martin