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Post by drevil on Oct 21, 2013 9:29:32 GMT -8
I don’t see a post on Michael DeLucia. He has a new solo at Eleven Rivington right now in NYC. I won’t be able to make it personally, so hoping someone on here might be able to swing by and give some thoughts on it or DeLucia in general. His current work reminds me a bit of what Guyton did for painting app. 10 years ago, but moving in new directions within the sculptural realm and thus being able to make nods to certain aspects of art history that the current crop of abstract painters can't really make (at least not very well) on a flat surface. I look at his work as the interaction between two objects (abstract and real) to create a third final object with aspects of both. He starts with an abstract object modeled in a computer that exists as code at its foundation (i.e., an abstract idea) and the real object of the wood. These are then forced to interact with one another via a router to form the final art object which is both abstract (the removed portions) and real (the remaining wood). This is where I really feel a "tension" in his work that is hard to find these days. Another way to look at it is that the final art form presented is a non-object and the wood is just there to provide the context for the sculpture, which is the empty space that has been carved away, i.e., a non-object. He seems to be asking: “What if a sculpture wasn't an object at all?” This is a really exciting question to be asking right now given the history of sculpture when put in conversation with today’s technology. Of what is going on right now, he is (IMO) one of the few artists that stand out as doing work that is fundamentally different and interesting. One to watch. This is one of the better passages I have found about his work and process, for those that are interested: blog.sculpture.org/2012/08/29/michael-delucia-bushwick-open-studios/
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Post by drevil on Oct 20, 2013 11:42:47 GMT -8
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Post by drevil on Oct 17, 2013 5:28:46 GMT -8
My intent in mentioning the bleach was merely to draw a parallel between that prior use as a light substitute and the blurb about using sunlight that I quoted above. Sorry for any confusion created.
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Post by drevil on Oct 16, 2013 20:08:30 GMT -8
Sam Moyer, Hugh Scott Douglas, Ryan Foerster and charles Ross at Bugada and Cargnel Paris. Check it out. "This exhibition intends to bring together the works of artists integrating the sun and natural elements into their work. Working across various mediums with raw materials and exposure to nature, each artist engages an experimental process of creation finding a balance of control and release. The resulting compositions are dual manifestations of the artists' will and nature's whim. In their own practice, each artist allows natural elements to dictate tone. Time and climate become their tools and geography a platform." Sounds to me like these artists are all following in the footsteps of Sam Falls' work. Is it better to lead or follow? Interested to see more though. And it will also be nice to see what Moyer comes out with after finally moving on from the ploy of trying to pass off bleach as "light."
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Post by drevil on Oct 5, 2013 6:53:00 GMT -8
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Post by drevil on Sept 27, 2013 7:59:36 GMT -8
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Post by drevil on Sept 23, 2013 20:41:03 GMT -8
I'd rather have a Joe Bradley. Too many GMO art careers. Organic growth is the only real way. +1
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Post by drevil on Sept 22, 2013 14:01:41 GMT -8
Hmmm. The first time I read that article I swear it said 30k range. Either I misread or it was edited later on. Thanks for catching.
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Post by drevil on Sept 21, 2013 18:23:00 GMT -8
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Post by drevil on Sept 21, 2013 5:25:28 GMT -8
And then you hear that Zwirner is selling his work at the Chicago fair for around $30k or so and wish you too were one of his A list clients.
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Post by drevil on Sept 8, 2013 9:18:19 GMT -8
I find it interesting that accidentally hurricane damaged prints nobody would have really cared about in their original state can be re-imagined post-damage and commoditized for $5k each. Yay for Sandy?
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Post by drevil on Aug 31, 2013 7:46:47 GMT -8
Would love to hear more about the process in these. The end result reminds me of color field painting. His work almost always seems to revisit aspects of art history in fresh new ways for me. I imagine these are pricey relatively speaking since they look pretty big in the pic above. 40x30 in. works on paper are $12k now. twoxtwo.org/portfolio/sam-falls/
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Post by drevil on Aug 20, 2013 13:56:26 GMT -8
What good is the proper paperwork though? You would likely need to go to court to enforce it and attorney fees will surpass the cost of the work very quickly.
Lending = lots to lose and little to gain.
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Post by drevil on Jul 30, 2013 12:01:15 GMT -8
Actually the artist would be the guy you can't see in that picture who is watching the pictured guy shoot at stuff.
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Post by drevil on Jul 20, 2013 20:11:10 GMT -8
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Post by drevil on Jul 17, 2013 13:51:20 GMT -8
Why not just grab something from one of his numerous, upcoming solos?
He has solo shows in Sept, Oct, Nov, Dec, Mar, and May that I am aware of.
Good luck. I've heard that supply really tightened up over the last month. Probably due to all those shows.
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Post by drevil on Jul 12, 2013 20:47:01 GMT -8
Here is what I found on the salon94 website. Does not really say much though, despite being a decent length. Sort of a conceptually empty passage, much like the work of this artist.
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“Scrap Metal” is the title of Lucien Smith's upcoming exhibition at Bill Brady/KC. While the show incorporates a variety of paintings, the focus is on a collection of readymade sculptures sourced from the annual Knob Creek Machine Gun Shoot, which occurs each April in West Point, Kentucky. The objects re-contextualized here in a gallery setting range from automobiles to propane tanks to oil drums and other domestic items: all shot to smithereens with thousands of rounds of ammunition. For three days this past spring, these pieces were targets in a field where a wide array of weaponry fired upon them: handguns, assault rifles, fully automatic rifles and even a fully restored Gatling Gun from the Spanish American War.If the remains had not been sequestered by the artist, they would most certainly end up recycled as scrap metal at the local junk yard. To almost comic effect, the damage inflicted upon the objects is immediately apparent, revealing a level of violence many Americans never witness firsthand. In person the bullet-ridden sculptures can feel fictitious as if cartoon depictions rendered in three dimensions. And yet in many instances an organic quality bordering somewhere between coral and pumice stone emerges. The visual draw of these pieces triggers a complicated response in the viewer where one questions their own complicity in appreciating the beauty of such destruction when gun control is such a hot button issue in America. Complimenting the shot-up readymades are a pair of large scale camouflage paintings inspired by Japanese sumi-e ink calligraphy and Hokusai's famous The Great Wave at Kanagawa. Perhaps a knee-jerk association would be Warhol's foray into camouflage, but Lucien Smith's iterations are loaded with additional layers of cultural baggage, elevating them beyond natural disguise. Less prominently displayed is an old MasterCard advertisement also recycled here, but on canvas. The text proclaims that possessing their credit card is “a bit like saying please with a gun in your hand.” MasterCards copy is initially quite jarring in the midst of the other artwork on display, but reminds us that society's attitude towards firearms has fluctuated wildly over the centuries and that issues around the Second Amendment are as polarizing today as they were to our founding fathers.
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Post by drevil on Jul 12, 2013 16:27:52 GMT -8
I probably should have stated "open comment" rather than "unclear." I will give you that. No problem.
But I still find it ho hum. Then again I was born and raised in the midwest (not far from KC actually) so my vantage point is probably different than someone from a coast (left or right).
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Post by drevil on Jul 12, 2013 16:10:57 GMT -8
Use of found object type art to make an unclear comment on a contemporary US societal issue. Ho hum.
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Post by drevil on Jul 9, 2013 12:05:36 GMT -8
I wonder how much the special edition is?
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Post by drevil on Jul 7, 2013 21:25:00 GMT -8
Divorce. It can be a bitch.
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Post by drevil on Jul 4, 2013 20:55:43 GMT -8
One of the best artist personalities working today. I'm not all that into his art anymore but I enjoy watching his posts in my Facebook feed.
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Post by drevil on Jul 3, 2013 18:17:07 GMT -8
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Post by drevil on Jun 29, 2013 5:13:17 GMT -8
I assume that if people here are buying these rubbing works that they must really like them. Can any of you say why?
To me they aren't that interesting relative to much of his other series of work. They have nothing to do with using photography processes or rethinking them, they don't use light in a unique or interesting way, but most importantly they don't really incorporate time into their making in any way I can see (which is one key theme in the remainder of his work). If I saw these at a fair I would have never guessed they were made by Falls unless you told me.
I'm happy if you're happy, just curious mostly. Maybe I'm missing something or missed a good article on this body of work.
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Post by drevil on Jun 28, 2013 10:49:48 GMT -8
I honestly don't see what difference it makes if the books are signed. They are a ltd ed made up of original art work produced by Falls. Sounds like a bunch of Banksy print fans around here to me.
Btw I was told by the Headlands folks that his lattice work on paper in their auction last month went for around $7500. So there's that.
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