ArtSlant - Closing soon en-us 40 Max Greis - Edward Hopper House Art Center - March 31st, 2012 - May 13th, 2012 <p>Working in collage, painting, and video, Max Greis captures the changing world and altered reality that results from destructive forces like war and global warming.</p> Mon, 09 Apr 2012 19:11:20 +0000 Alex Rose - envoy enterprises - April 12th, 2012 - May 13th, 2012 <p>Works by Alex Rose</p> <p>Conact for inquiries</p> Fri, 06 Apr 2012 00:35:50 +0000 Group Show - Front Room Gallery - April 20th, 2012 - May 13th, 2012 <p>Cloud Nine finds its roots in the religious art of Sassetta and Bernini, the bold and emotional works of Gericault, Delacroix and Goya from the Romantic period, William Blake's paintings and prints from "Heaven &amp; Hell", the "inner language" of Clyfford Still's abstractions and the contemporary psychedelic &amp; color field paintings of Philip Taffee, Bridget Riley and Tom Moody. This exhibition bears no connection to the much-publicized 2005 exhibition titled "Ecstasy: In and About Altered States" at the Museum of Contemporary Art in Los Angeles, which focused on the drug "ecstasy" or its chemical name MDMA. Nor is it intended to reference tantric sex or elements of rave or techno culture. <br /><br /> In an age when feelings of ecstasy can be realized in a six hour "experience" (MDMA), the more common route to harmony and happiness comes from the prozac revolution. Serotonin Uptake Inhibitors such as Paxil, Lexapro, Zoloft and others effectively repress feelings of depression and anxiety. By anesthetizing their emotional pain and conflict, people today seem to have done away with the need for ecstatic experiences. However, it could be argued that in today's strained global economy and potentially apocalyptic landscape, the ability to escape or transcend to ecstatic states may never have been more necessary. <br /><br /> The artworks in Cloud Nine are visual interpretations of the concept of ecstasy and generally fall into the three categories: religious (or spiritual), philosophical, and personal. <br /><br /> <b>LINDA GANJIAN'S</b> sculpture "Theresa and I, Dreaming of You" is informed by Bernini's "Ecstasy of St. Theresa" and intentionally conflates religious and sexual ecstasy by combining the visual vocabulary of both: phallic towers, heavy lidded eyes, stacks of breasts, and other forms arise from a turbulent sea of fabric. <br /><br /> <b>AMY HILL'S</b> oil painting titled "Worship" is influenced by the spiritual qualities found in northern Renaissance painter Hans Memling. <br /><br /> <b>JESSE LAMBERT'S</b> drawing "Future Butterfly" depicts a man reclining in an ambiguous state, perhaps sleeping, dreaming, hibernating or expiring. Vegetation bursts from his body as if it is an awakening from a dormant state of chrysalis. <br /><br /> <b>BRUCE CHECEFSKY'S</b> piece deals with simple pleasures, powerfully built on the achingly beautiful lines of the Japanese flower DAHLIA Tsuki Yore No Shisha and how they reside deep in this searing photograph. <br /><br /> <b>FRED TOMASELLI'S</b> collages combine cutout images of plants, birds, smiling mouths and hands with occasional passages of paint. <br /><br /> <b>JEANNE TREMEL'S</b> abstract painting on paper sees ecstasy as a "transformation to take place, both, in mind and psyche". <br /><br /> In <b>CHRIS JEHLY'S</b> large painting ecstasy occurs with moments of catastrophic disbelief where feelings of fear and panic are replaced by feelings of euphoria. <br /><br /> <b>LORELLA PALENI'S</b> painting has a surreal pulp magazine cover feel that presents a revelatory daydream that suddenly brings the viewer to a parallel reality or unknown truth. <br /><br /> In "Heaven/Hell" <b>BRENT RIDGE</b> focus' on the oppositional pole that represents a space between the literal and the transcendental. <br /><br /> <b>CHRIS CLAREY</b> creates an installation about out-of-body experience using wallpaper of images of over 1500 men downloaded from gay porn and dating websites collected over the last twenty years. Additionally, his desktop takes on mythic proportions when pixels are blown up to larger-than-life paintings. <br /><br /> <b>CHAM GIOBBI's</b> piece "Se7n Gluttony (After Freud)" is a collage made from hundreds of photographic fragments covered with bees wax, embodies the isolation and shame of an obsessive urge, yet the private satisfaction of gorging leads one to a blissful, decadent state. <br /><br /> <b>DAVID KRAMER</b> contributes a painting on paper of euphoria as seen through the eyes of his "everyman" persona. <br /><br /> <b>PATRICIA FABRICANT's</b> gouache paintings are a meditation on color &amp; line. She aims to move beyond thought &amp; conscious intent into a pure visual, transcendental space. <br /><br /> <b>GREGORY DE LA HABA</b> creates a wailing wall for recently departed artist Mike Kelley who reportedly died as a result of suicide. He creates a dynamic mixed media installation for an artist who may have been searching for something beyond the material world. <br /><br /> <b>J.FIBER</b> is the collaborative artist team of James Esber &amp; Jane Fine whose works on paper feature cartoony images with lush colors of mischievous, sometimes sexy characters.<br /><br /></p> Sun, 22 Apr 2012 23:37:30 +0000 Group Show - International Studio & Curatorial Program (ISCP) - May 11th, 2012 - May 13th, 2012 <p>The International Studio &amp; Curatorial Program (ISCP) Spring Open Studios is a three-day exhibition of international contemporary art. The 35 artists, artist collectives and curators from 24 countries currently in residence at ISCP present work in their studios. Open Studios offers the public access to innovative contemporary art practices from across the globe - seen for the first time together in New York City - providing an exceptional opportunity to engage with the production, process and archives of practitioners working with a diverse range of mediums, approaches and concepts.<strong> </strong>Alongside Open Studios, a series of time-based events including lectures, performances and screenings will take place at ISCP that pivot around ideas of how we experience time, ruptures in straight time and memory/forgetting.</p> Tue, 24 Apr 2012 03:07:59 +0000 Irina Korina - Scaramouche - March 25th, 2012 - May 13th, 2012 <p><span size="1" face="Verdana, Arial, Helvetica, sans-serif" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: xx-small;"><br /></span></p> <table cellspacing="0" border="0" width="100%" cellpadding="0"> <tbody> <tr> <td valign="top" width="100%"> <table cellspacing="0" border="0" width="100%" cellpadding="0"> <tbody> <tr> <td> <p align="center"><i> </i></p> <p> <strong><span style="font-size: x-large;">Scaramouche</span></strong></p> <p><i>presents</i>   </p> <p> </p> <p><b>IRINA KORINA</b></p> <p><i>Demonstrative Behavior</i></p> <p> </p> <p>Curated by Yulia Tikhonova</p> <p> </p> <p> </p> <p><span style="text-decoration: underline;">OPENING</span>:                       Sunday, March 25,  6 - 8pm</p> <p><span style="text-decoration: underline;">EXHIBITION DATES</span>:      March 25 - May 13, 2012</p> <p>   </p> <p>Scaramouche is pleased to present the first U.S. exhibition of Moscow-based artist Irina Korina. Known for her oversized, elaborate installations, the artist debuts a group of compelling works conceived for the gallery space and assembled under the title "Demonstrative Behavior".</p> <p>  </p> <p>Originally trained in theater design, Korina's work takes the forms of columns, anthropomorphic sculptures, and architectural constructions. These complex configurations, with their myriad parts and appendages, bring to mind the opulent and playful stage sets of Diaghilev's <i>Ballets Russes.</i> Her work however, does not reflect the splendor of Imperial Russia. Rather, the artist seeks to illuminate the last three decades during which the Soviet Union has undergone a painful transition from socialism to its own peculiar brand of capitalism.  With wholesale furniture markets serving as her source of inspiration, Korina utilizes makeshift materials such as veneer, plywood, fabric and plasticine. Self-adhesive faux marble or wood veneer and multi-colored plastic tablecloths with their floral patterns become her raw materials. Her childhood memories of provisional Soviet aesthetics are constantly present in Korina's work.</p> <p> </p> <p>The new installations reflect aspects of human "Demonstrative Behavior" such as easy superficiality and conspicuous consumption. This luxury "display" has become the prevailing fashion in current Russian society and is repeatedly mocked by the inherent lack of value in Korina's surfaces. In the piece <i>Scarecrow</i>, she utilizes tree branches to construct a human figure wearing an orange safety vest, whose wide open arms reach out to control an unseen stream of traffic. For the work <i>Nightmare, </i>the artist hangs a Persian rug, a common household item in Soviet times, on the wall.  In the middle she affixes the USSR's pompous coat of arms, made of plasticine, with busts of former Communist leaders on either side. The installation is a kitsch altar to the Soviet memorabilia that continues to hold a place in peoples' hearts.</p> <p> </p> <p>One of Korina's signature-style columns dominates the gallery space. Its body is made out of steel, while the multicolored capital is constructed from woven plastic grocery bags. Borrowing from both Brancusi's <i>Endless Column</i> and the characteristic Russian Orthodox onion domes, the artist creates a parody of the Soviet aesthetic that once engulfed daily life in the USSR. Her column is a sly critique of the ostentatious culture that now flourishes in Russia.  Meanwhile, <i>Sputnik, </i>an assemblage of a soccer ball and attached tree branches painted the colors of the Russian flag, occupies the gallery project space, suspended in the darkened environment. With her "bricolage" approach, Korina persistently pokes fun at the reckless and absurd behavior that accompanies Russians as they spread out around the world.  </p> <p><b> </b></p> <p><b>Irina Korina</b> (1977, Moscow) is a graduate of the Russian Theater Academy, Moscow, and Kunstakademie, Vienna.  She was selected to represent Russia at the 2009 Venice Biennale. Named to the 2010 Residency at the Musée d'Art Contemporain du Val-de-Marne, Paris, Korina's work has recently been featured in solo exhibitions at Bloomberg Space, London; Moscow Museum of Modern Art; Museum Folkwang, Essen; and XL Gallery, Moscow.  Group exhibitions include Garage Center for Contemporary Culture, Moscow; Centro per l'Arte Contemporanea Luigi Pecci, Prato; and Museum van Hedendaagse Kunst Antwerpen, Antwerp.  Korina lives and works in Moscow.</p> <p> </p> <p>Yulia Tikhonova is a Moscow-born, Brooklyn-based curator concerned with the artistic practice of the emigrant artist, with an emphasis on those with roots in Eastern Europe.  </p> <p>A graduate of CCS Bard College, Tikhonova founded the Brooklyn House of Kulture, and is a regular contributor to FlashArt International, Art in America, and Art Asia Pacific. </p> <p>    </p> <p>Image: Irina Korina, <i>Sputnik</i>, wood, fabric, polyester, paint. </p> <p><b>__________________________________________________________________<span style="text-decoration: underline;">______       _</span></b></p> <p align="center"><b>For more information please contact the gallery:</b> (212) 228-2229</p> <p align="center">52 Orchard St. New York, NY 10002  <a href=";s=0&amp;e=001sxCmCFySjVWmLIoYf2rlOoFONPkkJLZD8n-RkIdkL87memGGOxMyFQcXmu00GNvU5DohVTwpqMA8Cf2CAsZITivKiR4eP8JUzB2mMRISLjs=" rel="nofollow" target="_blank"><b></b></a>  </p> <p align="center"><b>Hours</b>: Wed. - Sat. 12N-6pm, Sun. 1pm-5:30pm, and by appt.</p> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Thu, 15 Mar 2012 19:39:00 +0000 John Chamberlain - Solomon R. Guggenheim Museum - February 24th, 2012 - May 13th, 2012 <p>John Chamberlain’s tireless pursuit of discovery and his intuitive process distinguish him as one of the most important American sculptors of our time. <em>John Chamberlain: Choices</em> comprises nearly 100 works, from his earliest monochromatic welded iron-rod sculptures to the large-scale foil creations of recent years. This presentation encompasses Chamberlain’s shifts in scale, materials, and methods, informed by the assemblage aesthetic that has been central to his artistic practice.</p> Mon, 06 Feb 2012 01:55:45 +0000 Alejandro Guzman - Wave Hill - April 3rd, 2012 - May 13th, 2012 <p><strong>Alejandro Guzman’s</strong> <em>Intellectual Derelict</em> tells a loose narrative that explores the concrete manifestations of human nature, behavior, migration, consumption and materialism through his Sunroom Project installation and a series of performances. The artist creates performance objects from man-made and natural materials that merge storytelling with the practices of sculpture, painting and drawing.</p> Sun, 08 Apr 2012 23:33:14 +0000 Diego Rivera - MoMA (Museum of Modern Art) - November 13th, 2011 - May 14th, 2012 <p>Diego Rivera was the subject of MoMA’s second monographic exhibition (the first was Henri Matisse), which set new attendance records in its five-week run from December 22, 1931, to January 27, 1932. MoMA brought Rivera to New York six weeks before the exhibition’s opening and gave him studio space within the Museum, a strategy intended to solve the problem of how to present the work of this famous muralist when murals were by definition made and fixed on site. Working around the clock with two assistants, Rivera produced five “portable murals”—large blocks of frescoed plaster, slaked lime, and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, now taking on New York subjects through monumental images of the urban working class and the social stratification of the city during the Great Depression. All eight were on display for the rest of the show’s run. The first of these panels, <i>Agrarian Leader Zapata,</i> is an icon in the Museum’s collection. <br /><br /> This exhibition will bring together key works made for Rivera’s 1931 exhibition, presenting them at MoMA for the first time in nearly 80 years. Along with mural panels, the show will include full-scale drawings, smaller working drawings, archival materials related to the commission and production of these works, and designs for Rivera’s famous Rockefeller Center mural, which he also produced while he was working at the Museum. Focused specifically on works created during the artist’s stay in New York, this exhibition will draw a succinct portrait of Rivera as a highly cosmopolitan figure who moved between Russia, Mexico, and the United States, and will offer a fresh look at the intersection of art making and radical politics in the 1930s. MoMA will be the exhibition’s sole venue.</p> Mon, 03 Oct 2011 23:28:13 +0000 Ai Weiwei, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, museum in progress, Editions Jacob Samuel, Thomas Schütte, Superflex, Rirkrit Tiravanija - MoMA (Museum of Modern Art) - February 19th, 2012 - May 14th, 2012 <p class="top">Over the last two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant cross-pollination of post-conceptual strategies and vernacular modes. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This exhibition examines the evolution of artistic practices related to the print medium, from the resurgence of ancient printmaking techniques—often used alongside digital technologies—to the worldwide proliferation of self-published artists’ books and ephemera. Bringing together over 200 works drawn substantially from MoMA’s extensive collection of prints and books, with the addition of several important loans, the exhibition features major artists and publishing projects, such as Ai Weiwei, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, <i>Museum in Progress,</i> Editions Jacob Samuel, Thomas Schütte, SUPERFLEX, and Rirkrit Tiravanija, among many others.</p> <p><i>Print/Out</i> is the third in a series of large print surveys periodically organized by the Department of Prints and Illustrated Books in order to assess the evolution of the medium. The last two exhibitions were <i>Printed Art: A View of Two Decades,</i> organized by Riva Castleman in 1980, and <i>Thinking Print: Books to Billboards: 1980–1995,</i> curated by Deborah Wye in 1996.</p> Mon, 09 Jan 2012 00:33:10 +0000 Vija Celmins, David Hammons, George Herriman, Robert Rauschenberg, Martha Rosler, Ellen Gallagher - MoMA (Museum of Modern Art) - February 19th, 2012 - May 14th, 2012 <p>Organized in conjunction with the exhibition <i>Print/Out, Printin’</i> takes as its starting point <i>DeLuxe</i> (2005), a tour de force portfolio of 60 works by Ellen Gallagher (American, b. 1965) that challenged traditional ideas of what a print could be. This technically complex work employs a veritable riot of mediums, unorthodox tools, and elements, from slicks of greasy pomade to plastic ice cubes. <i>DeLuxe</i> also offers a multivalent constellation of ideas, touching on such issues as portraiture, identity, history, advertising, commodity, and the disruption, translation, and recasting of space. Proposing a kind of technical dissection and conceptual unpacking of this portfolio, <i>Printin’</i> brings together work by more than 50 artists from multiple disciplines in a sweeping chronology that extends from the 17th century to the present day, to propose a free-flowing yet incisive web of associations that are reflected in DeLuxe. Encompassing prints, drawings, films, books, photographs, sculptures, videos, and comic strips, the exhibition features such artists as Vija Celmins, David Hammons, George Herriman, Robert Rauschenberg, Martha Rosler, and many others, forming a dense network of formal, technical, and conceptual connections and intersections.</p> Mon, 09 Jan 2012 00:39:56 +0000 - MoMA (Museum of Modern Art) - February 20th, 2012 - May 14th, 2012 <p><i>Millennium Magazines,</i> a survey of artists’ magazines published since 2000, explores the various ways in which contemporary artists utilize the magazine format as an experimental space for the presentation of works and text. Throughout the 20th century, the activities of groups and collectives were often codified first in the informal context of a magazine or journal; this exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view range from community-building newspapers to image-only photography magazines to conceptual projects. Methods of design, image-making, editing, printing, and distribution are examined, and there are obvious connections to the past lineage of artists’ magazines and smaller architecture and design magazines. This brief tour of contemporary artists' magazines provides a view into these practices and represents MoMA Library’s effort to document and collect this medium.</p> Mon, 09 Jan 2012 00:43:49 +0000 Darren Bader - MoMA PS1 - January 29th, 2012 - May 14th, 2012 <p>This is a show of sculptures. </p> <p>It also hopes to create new homes for animals in shelters. And to raise funds to help protect wild animal species.</p> <p>Salad will be served on Saturdays starting at 3:00 PM and Mondays starting at 2:15 PM </p> <p>—</p> <p>Over the past decade, the relationships between culture and those who produce and consume it has changed radically. Art has not been excepted from these shifts. As art has become more commodified, subject to re-performance, pressed into new contexts by curators, and recycled by other artists, conventional notions of objecthood, authorship and ownership have been evolving. Darren Bader (American, b. 1978) works with these expanding boundaries of art’s use and circulation. Often using culture he appropriates from a range of media—film, music, text, digital images and work made by other visual artists—Bader treats such material as “readymades” that he presents democratically within the framework of his exhibitions alongside found objects like fruits, furniture, and sometimes live animals. Working with a lyrical absurdity in the space between sculpture, writing and curating, the artist humorously complicates the hierarchies that underscore the economies of cultural production and reception.</p> Mon, 06 Feb 2012 01:04:46 +0000 Florian Schneider, Ralf Hütter - MoMA PS1 - April 12th, 2012 - May 14th, 2012 <p>In conjunction with <i>Kraftwerk – Retrospective 1 2 3 4 5 6 7 8</i> at The Museum of Modern Art, an eight-channel video and sound installation especially developed for the exhibition is now on display in the MoMA PS1 Performance Dome.</p> <p>Ralf Hütter and Florian Schneider founded Kraftwerk In Düsseldorf in 1970 and set up the pioneering Kling Klang studio, where all Kraftwerk's albums have been conceived and composed. By the mid-1970s, Kraftwerk had achieved international recognition for its revolutionary experimentation with sound and imagery. Its compositions, which feature distant melodies, multilingual vocals, robotic Beats, custom-made vocoders, and computer speech, anticipated the impact technology would have on art and everyday life, capturing the human condition in an age of mobility and telecommunication. Kraftwerk's innovative looping techniques and mechanized rhythms, which had a major influence on the early development of hip-hop and electronic dance music, remain among the most commonly sampled sounds across a wide range of musical genres. Kraftwerk uses robotics and other technical innovations in its live performances, illustrating the belief that humans and machines make equal contributions in the creation of art.    </p> <p><b>ADMISSION</b><br />While admission to MoMA PS1 is suggested donation, full admission ($10 adults, $5 students and seniors) is required to enter this special exhibition.</p> Mon, 30 Apr 2012 00:59:20 +0000 Claudia DeMonte - June Kelly Gallery - April 12th, 2012 - May 15th, 2012 <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"><i> Abundance</i>, an exhibition of small fanciful bronze sculptures by Claudia DeMonte that highlight our acquisitive society and create a poignant visual contrast with the concept of need, will open at the June Kelly Gallery on Thursday April 12.  The work will remain on view through May 15.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">Paired with the DeMonte pieces is a thought-provoking installation by artists from HeARTworks, a not-for-profit art organization that helps the homeless in Jackson, Mississippi.  The installation consists of tote bags hung in the shape of a house or shelter and a door filled with small paintings by the HeARTworks artists, each illustrating a simple yet dire need (so different from want, says DeMonte) that is felt by that artist.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"> DeMonte's sculptures are figures of women covered with many sought-after material possessions -- shoes, handbags, luggage, phones, etc.  The paintings from HeARTworks and a single word embroidered on each tote bag reflect the needs of those artists that include such basics as breakfast, shoes, a bed, a job, a coat and an apartment.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"> DeMonte's initial premise was to focus on the global economic situation, but she began more and more to focus on problems here in the United States as they reminded her of her own personal experience.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">"My father was homeless as a child," she recalls, "abandoned with his sister and brother and left to fend for themselves on the streets of New York.  With great inner strength, he grew up to be a kind, generous man, and a community activist."</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">Over the years, DeMonte says, "I have witnessed the great disparity between want and need. Like many people I know, I want things that I really do not need, a new handbag to add to a jammed closet, for example, while other people can barely survive."  DeMonte's awareness and generosity of concern are clearly evident in eloquence of her small sculptures and the installation that accompanies them.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">DeMonte lives and works in New York City and Kent, Connecticut.  She received a bachelor's degree from College of Notre Dame of Maryland in Baltimore and an MFA from Catholic University of America, Washington, DC.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"> DeMonte's work has been shown in numerous solo and group exhibitions nationally and throughout the world.  The many public and private collections in which she is represented include the Brooklyn Museum, New York; Bass Museum, Miami, FL; New Orleans Museum of Art; Corcoran School of Art, Washington, DC; Flint Institute of Art, MI; Indianapolis Museum of Art; Mississippi Museum of Art, Jackson; Portland Museum of Art, ME; University of Maryland, College Park; Contemporary Art Museum, Villa Rufolo, Ravello, Italy; Warsaw Museum of Modern Art, Poland, and the University of Oldenburg, Germany.</span></p> Wed, 25 Jul 2012 19:46:07 +0000 Group Show - CUE Art Foundation - May 10th, 2012 - May 16th, 2012 <p><em>jumpstART</em>, located at CUE Art Foundation in Chelsea and in partnership with the Joan Mitchell Foundation, is a program offered to high school students throughout New York City who demonstrate a strong interest in the arts. Throughout the program, students create work around a selected theme while simultaneously learning the skills needed to curate their own group exhibition. Students have learned how to conceive of, create, and mount a group exhibition from start to finish.</p> Wed, 25 Jul 2012 19:46:14 +0000 Group Show - Dorian Grey Gallery - April 13th, 2012 - May 16th, 2012 <p>Today, graffiti and street art is an integral part of all urban aesthetic landscapes. Street artists, also known as writers, are often invited to create original works for walls &amp; storefront gates, which are a source of pride for many local business owners. On a grander scale in New York, it is the celebrated wall at the intersection of Bowery &amp; Houston streets &ndash; where by invitation only different street artists are encouraged to create complex murals. These compositions are highly anticipated and receive global media coverage.&nbsp;<br />&nbsp;<br />However, graffiti was not always celebrated. In New York It exploded in the 1960&rsquo;s as an act of defiance and a public expression of deplorable urban conditions&ndash; defacing public spaces, including and most popularly, subway trains. But as the styles of these writers evolved it became more of an art form that was accessible young urban artists. Elaborate compositions covered entire exteriors of subway cars with &ldquo;crews&rdquo; claiming specific subway lines for their exclusive use. Despite many efforts by cities and government agencies, the street art movement grew and the writers prevailed.&nbsp;<br />&nbsp;<br />Over the years graffiti art has moved from the streets to the white-cube of the gallery and has reached a wider audience in the sphere of fine art but the sentiments have remained the same. Artists are using their vision to both adorn and vandalize the urban landscape but also to deliver their very personalized message. Tagging one&rsquo;s name on a wall is not only a way to brand and market the artist but to increase a following that will define the message. They saw the city as a canvas and wanted to say their piece and say it out loud.&nbsp;<br />&nbsp;<br />The graffiti movement is both re-appropriation and revolution. It is an established form of art that is still palpable and meaningful today. For this, the consequence and legacy of street art and graffiti are undeniable.&nbsp;<br />&nbsp;<br />Dorian Grey Gallery presents an exhibition spanning thirty years of pivotal graffiti artists and writers whose work have helped define the medium and style. Featured works include such iconic New York names as Keith Haring, LA 2, Futura, Richard Hambleton, COPE 2, &amp; CRASH. International artists such as Bansky and DOLK are paired with the modern innovators XAM, SeeOne, Penn &amp; AVone.&nbsp;</p> Sat, 22 Feb 2014 15:55:37 +0000