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Post by highbrow on Oct 29, 2010 6:24:48 GMT -8
no preview list that I know have been sent out, i was just making a msart ass comment because I always fall short on the list for keyes regardless of how advanced I inquire, it was me joking
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Post by lowpro on Oct 29, 2010 6:44:56 GMT -8
I forgot to mention that I am covered in paint. When I step outside to snag a leaf or handful of grass for color reference, the neighbors must think to themselves “Hey Earl, there’s that one eyed homeless man, pulling up the weeds again.”
priceless.
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Post by rhythmgtr5 on Oct 29, 2010 8:06:51 GMT -8
awesome interview. Anyone know how large "Burst" was? That's the only other piece I can think of on that scale.
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Post by lowpro on Oct 29, 2010 8:28:59 GMT -8
Burst was 30x80, so this is a third larger.
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Post by svenman on Oct 29, 2010 8:38:05 GMT -8
slightly more than a third....
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Post by sleepboy on Oct 29, 2010 9:13:43 GMT -8
I think I should! I can't wait to see this next week. You going to the show? |
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Post by svenman on Oct 29, 2010 9:48:31 GMT -8
slightly more than a third.... Do I win a prize for guessing the size of this painting correctly earlier in this thread? I think I should! I can't wait to see this next week. you win the actual painting! Congrats!  |
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Jesús
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Post by Jesús on Nov 2, 2010 5:17:56 GMT -8
don't know if it has been posted, but most of the paintings (7 of them) appear on Hi Fructose... (via Ken - thank you Ken!) hifructose.com/the-blog/1010-josh-keyes-collision.htmlthe ones that attracted me: Dancers, Assemble, and Gestate... have a similar feel to other JK paintings (Shedding, Flutter, Incubate) - no wonder I am attracted to them. the other ones are a bit too violent (I like desperation/anxiety themes, but I guess I draw the line when carnage/blood is involved...  )... although I do like Trophy. edit: Am I the only one that hadn't noticed that these seven paintings tell two diff. stories? (Although it could be the same subject deer - so, one single story?): #1-4 let the bloodbath ensue... hyenas after deer. #5-7 the reconstruction begins (and ends)... (insects/animals picking up the pieces). would be awesome to own #5-7 (heck, I'd accept the 'violent' ones #1-4 if I were given the chance... ) |
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Jesús
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Post by Jesús on Nov 2, 2010 5:54:31 GMT -8
I just noticed this, I need to read articles before going into images... damn bad habits:
"The nine works, when viewed in sequential order, form a storyline of death and rebirth, an analogous parable to the fall of Rome, the coming of the Messiah, the rising of the Phoenix from the ashes."
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Jesús
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Post by Jesús on Nov 2, 2010 6:10:09 GMT -8
is this a first for Josh? (never seen one his shows in person) where he carries one single subject throughout his show/storyline... I mean, I know there are others like 'Dig' and 'Dry Spell', where there is some continuation of story. I know that the animals in other shows shared the rising waters, ominous death ,etc... but one single subject (in this case: deer) telling the whole story?
would love to know...
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Jesús
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Post by Jesús on Nov 2, 2010 7:38:41 GMT -8
found what I was looking for: "Collision is also the first installment of a larger story to come in future shows. Yes, Keyes fans, he might be starting a trilogy here – one which depicts the fall, disintegration, and reemergence of the protagonist – though for Keyes, protagonist and antagonist aren't necessarily separate. In Gnashing, three hyenas await signal to pounce on a hapless deer. In Ambush, the trio of hyenas snarl and begin to attack. In Torn, the poor creature is lunch. The set pieces – a street sign and a dumpster – provide an odd window into the fiction of the piece. The dumpster is astride a street's median strip, perhaps rolled on its wheels to its current location, but essentially an unlikely place to find a dumpster. The sign is an odder clue: it's installed not along the street, but into the middle of the lane, where it has no business. Looking closely, the head of the pedestrian in that oddly sited street sign is covered with a cogwheel sticker – another day, another dollar? - in Gnashing, but in Ambush, that sticker switches to a radioactivity symbol. Fallout has begun. In Dancers, the fantasy begins, and butterflies in the shape of a lion visit the bones of the deer. For Keyes, this image reifies the energy of nature, its cycles of death and rejuvenation. In Trophy, a hyena runs off with one of the deer's antlers while a road sign's graffiti reads "State Prison", "City Center", "World Wildlife Zoo" and "Camping” – a greedy consumer, the hyena as dbag. The graffiti, interestingly, is a bit of a change. Keyes previously had used graffiti carefully, reproducing groups of actual tags in a way that would make sense to a graffiti writer in the know. Just like the particular street signs or specific monuments he reproduces, such tags indicate a particular place in the world, whether that was Oakland – his former home, or Portland, Oregon, his current one. He is gradually dispensing with such locative elements – a development that he is able to do as his work gains strength of concept, composition, and execution such that it doesn't rely on the clever touches. In Assemble, the deer skeleton is rebuilt with help from birds. Keyes smiles that it's his Disney moment – and is careful to note that Disney is not a bad thing. With Gestate, the deer skeleton is fully constructed though the loss of the hyena's trophy horn still shows - and inside the rib cage is a baby lion cub. Next, in Throne, a tyrant king sits at the base of the elk monument, the monument's head wrapped by wasps' nest. This statue is actually Portland's downtown elk, but it's an elk qua elk, so to speak, standing above antlers and bones from previous kills and hyenas that mill about. Finally, in Emerge, the mature lion rises from the deer's bones, shedding that bony chrysalis. For Keyes, the deer, lion, and hyena – protagonist and antagonist – are often one, a cycle and part of the changes and history that nature forces upon us while our technological world makes us live in the moment in the most counter-Zen manner possible..." |
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Post by lowpro on Nov 2, 2010 7:44:42 GMT -8
 Any Cinderella imagery here? I think so. |
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Post by rhythmgtr5 on Nov 2, 2010 8:20:17 GMT -8
found what I was looking for: "Collision is also the first installment of a larger story to come in future shows. Yes, Keyes fans, he might be starting a trilogy here – one which depicts the fall, disintegration, and reemergence of the protagonist – though for Keyes, protagonist and antagonist aren't necessarily separate. In Gnashing, three hyenas await signal to pounce on a hapless deer. In Ambush, the trio of hyenas snarl and begin to attack. In Torn, the poor creature is lunch. The set pieces – a street sign and a dumpster – provide an odd window into the fiction of the piece. The dumpster is astride a street's median strip, perhaps rolled on its wheels to its current location, but essentially an unlikely place to find a dumpster. The sign is an odder clue: it's installed not along the street, but into the middle of the lane, where it has no business. Looking closely, the head of the pedestrian in that oddly sited street sign is covered with a cogwheel sticker – another day, another dollar? - in Gnashing, but in Ambush, that sticker switches to a radioactivity symbol. Fallout has begun. In Dancers, the fantasy begins, and butterflies in the shape of a lion visit the bones of the deer. For Keyes, this image reifies the energy of nature, its cycles of death and rejuvenation. In Trophy, a hyena runs off with one of the deer's antlers while a road sign's graffiti reads "State Prison", "City Center", "World Wildlife Zoo" and "Camping” – a greedy consumer, the hyena as dbag. The graffiti, interestingly, is a bit of a change. Keyes previously had used graffiti carefully, reproducing groups of actual tags in a way that would make sense to a graffiti writer in the know. Just like the particular street signs or specific monuments he reproduces, such tags indicate a particular place in the world, whether that was Oakland – his former home, or Portland, Oregon, his current one. He is gradually dispensing with such locative elements – a development that he is able to do as his work gains strength of concept, composition, and execution such that it doesn't rely on the clever touches. In Assemble, the deer skeleton is rebuilt with help from birds. Keyes smiles that it's his Disney moment – and is careful to note that Disney is not a bad thing. With Gestate, the deer skeleton is fully constructed though the loss of the hyena's trophy horn still shows - and inside the rib cage is a baby lion cub. Next, in Throne, a tyrant king sits at the base of the elk monument, the monument's head wrapped by wasps' nest. This statue is actually Portland's downtown elk, but it's an elk qua elk, so to speak, standing above antlers and bones from previous kills and hyenas that mill about. Finally, in Emerge, the mature lion rises from the deer's bones, shedding that bony chrysalis. For Keyes, the deer, lion, and hyena – protagonist and antagonist – are often one, a cycle and part of the changes and history that nature forces upon us while our technological world makes us live in the moment in the most counter-Zen manner possible..." Where is this from? |
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Post by sleepboy on Nov 2, 2010 9:26:50 GMT -8
Here are the rest of the paintings from Hi-Fructose.    And to my knowledge, he hasn't done a series like this before. There are usually three to a series and not overarching story. |
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Jesús
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Post by Jesús on Nov 2, 2010 11:54:26 GMT -8
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Post by spenie on Nov 3, 2010 15:02:08 GMT -8
Great idea that all 10 paintings form a story though out, yet look amazing each in there own right. "Assemble" is the stand out piece for me! The start of the reincarnation.
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Post by epicfai on Nov 5, 2010 10:57:05 GMT -8
Interesting review here: blog.theartcollectors.com/2010/11/05/progress-in-the-face-of-disaster-josh-keyes-david-b-smith/?utm_source=rss&utm_medium=rss&utm_campaign=progress-in-the-face-of-disaster-josh-keyes-david-b-smith"I’ve been an admirer of Josh Keyes since first seeing his work in 2007. Yet, though his drafting and painting skills have grown increasingly impressive from a steady schedule of two solo shows a year, the delicate subtlety of his messages has largely disappeared. It’s a shame really. With Keyes, less has always been more, and his move towards increasingly overt imagery has actually simplified his art. Collision (on view now at David B. Smith, Denver) signals a promising progression for an talent whose lighting paced success may have temporarily stunted his artistic growth. Within a single painting Keyes concurrently blends his blatantly apparent messages with one more clandestinely cloaked, making this new series his most successful body of work in some time. And, while his newest body continues to include easy to digest post-apocalyptic environmental themes, the most successful ones are covertly suggestive and intertwined in history. Collision also marks a new and ambitious direction for Keyes, in that the body of ten paintings form a chronological storyline. Based on a a set of allegorical images of regicide and resurrection that Keyes found in a sixteenth-century set of engravings, this exhibit promises to be the first installment in a trilogy of works depicting the fall, disintegration, and reemergence of Keyes’ protagonist in the face man’s destruction of the planet and a post apocalyptic world." |
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Post by sleepboy on Nov 9, 2010 20:35:54 GMT -8
Already onto his next body of work. Here are some of his props.  |
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Post by lowpro on Nov 10, 2010 9:26:37 GMT -8
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Post by thejoker on Nov 10, 2010 9:40:34 GMT -8
Thanks for the heads up.
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Post by lowpro on Nov 10, 2010 9:41:01 GMT -8
Already onto his next body of work. Here are some of his props. And come on..if Josh honestly uses this as reference for a painting, he's seeing something I'm not. I'd wager this is more the result of the one hour a day he sets aside for "play time" than anything. Looks like fun |
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Post by svenman on Nov 10, 2010 9:47:47 GMT -8
nice one lowpro and also virtu in the other thread...
the easiest keyes buy ever. right place, right time.
karma coming at ya.
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Post by mancub on Nov 10, 2010 9:49:16 GMT -8
Haha, I think you're right lowpro, looks too fun to just use for study. It's a pretty intense prop setup though, I wonder if he actually does this for all his paintings?
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Post by highbrow on Nov 10, 2010 9:49:37 GMT -8
SOn of a crap im at class and dont have my wallet, the one day i leave for study group and no wallet you SUCK DAVID B SMITH GALLERY. kidding, congrats to all those who landed the print, guess it wasnt ment to be for me. however I hate it is still available and mocks me
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Post by lowpro on Nov 10, 2010 9:58:36 GMT -8
SOn of a crap im at class and dont have my wallet, the one day i leave for study group and no wallet you SUCK DAVID B SMITH GALLERY. kidding, congrats to all those who landed the print, guess it wasnt ment to be for me. however I hate it is still available and mocks me Don't beat yourself up too much buddy. When I first read the dimensions on this print, I sorta had a feeling it wouldn't sell out immediately. It's going to cost a good around $3-400 to frame a print 4 feet long, even if done simply. And after the lack of success flipping the Last Kiss print, which was also from an edition of 350, I wouldn't be surprised at all if this sticks around for a couple hours. I could be way off base of course..and it will undoubtedly sell out in rapid time for any print released in an edition of a few hundred. Might be worth a quick email to Dave if you've spoken with him at all about anything in the past, as he might be able to set one aside. Who knows? Just say, don't give up hope yet. |
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)... although I do like Trophy.
