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« December 2007 | Main | February 2008 »
 "I'm The Most Normal Person I Know" is the title of a new exhibition featuring the photographs of Los Angeles-based artist Chris Anthony. This exhibition, which is on view at the Corey Helford Gallery in Culver City, is the second solo show for the artist and the gallery. For the show, Anthony created a series of images that are based on childhood dreams and manifest into surreal narratives and haunting portraits. The images are created from a variety of materials including cheesecloth, paper mache, velvet, doll parts, mannequins and worn down clothes. The artist was awarded this year's Grand Prize in American Photo's Images the Year Competition. Anthony was born and raised in Stockholm and has exhibited internationally in Los Angeles, Stockholm and San Francisco. | |||||
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 Swiss artist Virginie Morillo is having her debut solo exhibition in Zurich with Galerie Mitterrand + Sanz this week. The show, which is on view through the first week of March, has come after the young artist received much acclaim for her participation in the group exhibition "Swiss Folks," and her solo exhibition at Galerie Edward Mitterrand in Geneva, Switzerland. Morillo often renders Disney characters with other more naturalistic figures to create absurd and slightly deviant situations. The artist has referred to herself as a "natural born Walt Disney character killer," as she takes control of the childhood characters and causes them to act outside of their originally illustrated behavior. The exhibition will contain 10 new drawings and a large candle sculpture that is set on fire. Morillo, who is only 25 years old, is at the beginning of her career having only graduated from Ecole Supérieure des Beaux Arts, Genève in 2006. Morillo currently lives and works in Geneve Switzerland. | |||||
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 The anonymous street art / urban interventionist collective CutUp is based in East London, but have been subverting advertising on the streets of cities world wide. The main focus of the group is to disrupt the everyday experience of passerbys and to promote discussion through altering preexisting urban structures, namely billboards. They have been achieving this by ripping down existing advertising and "cutting-up" the images to make new collaged images that are reapplied to different advertisements. In addition to their street-based projects, the group has also exhibited internationally with shows such as "Play: Experience the Adventure of Our Cities" at the Urbis Centre for Urban Art in Manchester UK, "Satellites: an i-cabin project" at the Tanya Bonakdar Gallery, New York and "La Vida Te Espera", NIU, Barcelona. | |||||
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 On view through next week at Found Gallery in Los Angeles is "Tenebrous: The Photography of Steve Gullick." The exhibition features over 30 rare, never exhibited before photographs of famous musicians shot over the past two decades. The London-based photographer has worked with groups such as Nirvana, the Flaming Lips, Elliot Smith and Bjork, capturing unique and insightful moments from these artist's lives. Gullick's photographic interests are rooted in over 20 years of the UK punk scene, however his career has allowed him to shoot a wide range of subjects from all over the world. His first collection of photographs "Pop Book Number One" was published in 1995 and in 2002 Gullick created the music magazine "careless talk costs lives" which was then followed by "loose lips sinks ships" in 2004. The exhibition at Found Gallery was featured in LA Weekly on Wednesday January 16th. | |||||
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 The Whitney Museum of American Art has recently announced artists for the 2008 Whitney Biennial, taking place March 6-June 1. Of the 81 participants, installation artist Carol Bove has been selected in addition to Rita Ackerman, Oliver Mosset, and Spike Lee. Bove has gained attention for what she calls "forced collaborations" with other artists. In a recent solo exhibition at Maccarone Gallery in New York, collectors lent Bove a 1963 eight-inch sphere by sculptor Arnaldo Pomodoro, which she placed on a platform surrounded by concrete blocks, bronze cages, driftwood and steel. In the same exhibition, she covered part of the gallery's ceiling with rigid metal mesh and then suspended thin copper rods from it. Each rod corresponded to the exact location of a star in the night sky above the gallery on October 21, 2007. She did this same installation with bronze rods on March 2, 2006 in Berlin. The immediacy of this work demonstrates that Bove's work is "not nostalgic" as admirer (and co-curator of the 2008 Whitney Biennial), Shamin M. Momin states. Bove earned her degree in studio art from New York University and has been reviewed by the New York Times and W Magazine. She began her career with installations of bookshelves containing cultural paraphernalia from the 1960s, such as the writings of Jorge Luis Borges and framed drawings of Mia Farrow. The books and various objects chosen referenced revolution, LSD, suicide, and radical politics, among other things. Alluding to a time when creative freedom was seemingly unrestrained, Bove transcends simple nostalgia by taking a conceptual approach to the cultural ideals of the 1960s. Uniting her early works and her new installations is the allusion to the ephemeral quality of life, both in the cultural "moment" of the 60s and the temporal "moment" of the alignment of the stars. | |||||
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 Multi-talented artist Donald Urquhart is currently showing stylized paintings, drawings and mixed media at Jack Hanley Gallery in LA. Urquhart devised the exhibition, titled The End, to be a farewell to the past and the included work feels like a montage of 20th Century iconography. Urquhart, who fell in with the infamous performer Leigh Bowery in the 1980s, became an intricate part of London's campy nightclub scene, collaborating with Bowery and even co-running a club called The Beautiful Bend. As Urquhart suggests in his writing on Bowery, the flashiness of the nightclub life influenced his stylized aesthetic. Urquhart's work was included in the Saatchi Gallery's Unreal: Altered Perspectives in Painting and in Beck's Futures at the ICA in London. His recent solo show at Maureen Paley Gallery in New York included multiple renderings of girls and his 2006 exhibition at Herald Street Gallery in New York also featured girl-centric imagery, broaching everything from school girl play to pin-up girl glamor. The End at Jack Hanley Gallery will remain on view through February 12th. | |||||
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 For their first exhibition of 2008, Headlands Center for the Arts is presenting work by 45 of the Bay Area's best emerging visual artists in an exhibition titled Close Calls: 2008. Included in the show is Joshua Hagler, image above, as well as Tournesol finalists Bianca Kolonusz-Partee and Kristine Branscomb-Fitzgerald. This is the sixth annual exhibition that takes place this time each year while the Headlands Residency program is not in session. The exhibition is split between two project spaces, each featuring work linked by conceptual approach. In the Eastwing space, viewers will find work that confronts the artist's physical environment such as the natural landscape and architectural structures, while the Westwing contains work that engages the artist's social environment such as family, urban community as well as larger global networks. In an essay for the exhibition, written by Headlands Program Director Anu Vikram, the work is described as being conceptually split by nature vs. nurture. The scope of the media explored in the exhibition is far reaching with varied approaches and results, and well represents the diversity currently taking place in the Bay Area. | |||||
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In her tender novella Tumble Home, Amy Hempel wonders what drives us to preserve parts of our lives. She recounts a disturbing yet endearing news clip, a clip that has an uncanny resemblance to the exhibitions currently hanging in Gagosian's Beverly Hills Gallery: "A woman in West Virginia carried her unborn baby for more than forty years. It calcified outside the uterine wall. When questioned by reporters, the woman said, 'As long as the child is inside of me I haven't lost it.'" While Hempel isn't referring to the work of Y.Z. Kami and Sally Mann, she certainly could be. Her narrative describes what the two artists are doing: preserving and remembering in a way that taps into the mysterious nature of physiology, the sort of mysterious nature that allows an unborn baby to become a meaningful keepsake. Continue reading for DailyServing's review of the show.
Continue reading "Physical Keepsakes: Y.Z. Kami and Sally Mann at Gagosian " » | |||||
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 Considering the continuing explosion of the art market, the current exhibition at Xavier Hufkens Gallery in Brussels, takes a much needed stance of opposition. Entitled, "I would prefer not", joins together three artists, Bernard Bazile, Pierre Huyghe, and John Knight, each having maintained a stance against the comodification of the artist's production. The Frenchman, Bernard Bazile, first rose to prominence in the 80's as one part of the artist team, Bustamante/Bazile. While his former partner went on to fame and fortune, Bazile instead focused on pursuing the work that he thought was needed, rather than what the market place wanted. Although he remains little known outside France, he is often cited by young French artists as a major influence on their work. This will be the first time his work is presented in Belgium since his 1987 exhibition at Galerie Micheline Szwajcer. Pierre Huyghe has remained very elusive through his rejection of objects, instead focusing on creating situations that ask us to question how we construct and translate our visual experiences. He also remains hard to define because he often works in collaboration with other artists, so one must wonder what part of the work is his. Huyghe has previously exhibited at Barbara Gladstone Gallery, New York and Van Abbemuseum, Eindhoven. John Knight is one of the original conceptual artists and as such has always challenged the role art plays in society. Although remaining relatively unknown in the art world, Knight has long enjoyed the support of established conceptual theoreticians such as, Benjamin Buchloh, Anne Rorimer, John Welchman, and Luk Lambrecht. In grouping together these disparate artists, "I would prefer not", attempts to refocus our attention to what art is suppose to be about, the exchange of ideas. It's ok to say no. | |||||
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 There have been many recent exhibitions exploring the relationships between art and fashion, but the current exhibition at Museum Boijmans Van Beuningen surveys the exhibition through a previously unexplored angle. "Vreemde Dingen" or translated to English, "Strange Things" looks at the influence of Surrealism on art, design, fashion, film and architecture. Curated by the Antwerp based fashion designers, Walter van Beirendonck and Dirk Van Saene, they combine all the above to provide a well rounded overview of this important, although short lived, art movement. The exhibition combines historical works such as, Rene Magritte's "Le Modele Rouge III", Salvador Dali, "Mae West Lips Sofa". 1937- 38, and Elsa Schiaparelli, "The Skeleton Dress" 1938, with more recent works by Cindy Sherman, Martin Margiela, Andrea Camarosano, Sarah Lucas and Van Beirendonck's, "Finally Chesthair" 1997, which reproduces Walter's own chest on a stretch fit tee shirt, (please provide your own belly). This full exhibition, with over 200 works, shows the influence that surrealism continues to have on the creative output of today. "Vreemde Dingen" is realized in association with the Victoria and Albert Museum, London, Guggenheim Museum Bilbao, and Mondriaan Stichting, Amsterdam. | |||||
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 On view from January 12 - February 10, 2008 at Gallery 94 in Soho is a group exhibition featuring James Brittingham, Devon Costello, Michael Greathouse, Jim Lee, Sylvan Lionni and Pete Pezzimenti titled CHANGECASE - curated by Steven Stewart and Yasha Wallin, co-directors of Freight + Volume. Bringing diversity and individualism while sharing common concerns in extending the traditions, language and possibilities of painting; CHANGECASE will aim to spotlight the properties inherent within painting as an art object and consider the interaction of painting with alternative media. By uncovering and combining essential characteristics from multiple modes of art making, the work challenges the notion of definability. | |||||
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 British installation artist Simon Starling has an upcoming exhibition at Toronto's Power Plant Contemporary Art Gallery opening March 1, 2008. The Power Plant commissioned the 2005 Turner Prize winner for a site-specific piece based on Henry Moore's 1954 bronze, Warrior with Shield. Moore had a close but controversial relationship with the city of Toronto, having several sculptures placed throughout the city. Canadians became resistant to this public support of a foreign artist. For the commissioned piece, Starling submerged a replica of Moore's sculpture in Lake Ontario in 2006, providing a host for the invasive Zebra mussels native to the Black Sea. This species was accidentally introduced to the Great Lakes in 1988 by boat, the same way Moore's sculpture arrived in Canada. They have since proliferated, stimulating the ecosystem by flushing out pollutants and diminishing the population of the native species, thus becoming controversial themselves. The replica will be extracted and the shells of the mussels will remain, resulting in the central piece of the show, Infestation Piece (Musseled Moore). Starling uses the metaphoric mollusk to point to the tension between regionalism and globalism, both environmentally and artistically. The parallel between Moore's artistic "invasion" of the city and the mussels' biological invasion of the Great Lakes has both international significance and local relevance. Nine other works by the artist, all created in the past five years will accompany Infestation Piece. Starling attended the Glasgow School of Art and had his first solo exhibition in 1995 at The Showroom in London. He has also shown at London's Camden Art Centre. Starling's interest in how human history affects the natural world pervades his work. By taking an existing artwork and altering it, the artist makes the audience aware of the greater social and historical contexts of a particular piece. The elegance and simplicity of his message, despite the complexities of its execution, allow the viewer to perceive the interconnectedness of nature, geography, society, and art. | |||||
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 "A week of Sundays", now showing at the Tim Olsen Gallery, Woollahra, showcases an exciting collection of works by David Bromley. The exhibition includes an array of canvases, embroidery and works on linen. Part of the display explores the female form in a multitude of nudes and portraits, while the other is a discovery of children at leisure, stylised as vintage graphics. Bromley emigrated from England to Australia as a child, where he has remained ever since. His work has appeared in numerous group and solo exhibitions, including the 2004 Toronto International Art Fair, Zaishu Show at Jan Murphy Gallery, Brisbane and the 2006 Melbourne Art Fair. All works on display are able to be purchased. | |||||
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 Currently showing at Hardware Gallery, Enmore is Josonia Palaitis' evocative paint series Metamorphoses. Inspired by Ovid's collection of poetry by the same name, the artist's works provide a modern spin on classical myths such as Venus and Adonis, The Abduction of Europa and The Cave of Envy. Palaitis received her Diploma of Art Education from National Art School in Sydney, where she currently lives and works. She has received several awards for her art practice, including the 1994 Doug Moran National Portrait Prize and the People's Choice Award at the 1995 Archibald Prize Exhibition. She has been commissioned to create works of highly notable subjects including ex-Australian Prime Minister John Howard and his wife Jeanette, TV journalist Ray Martin and the victims of the Childers Backpackers Hostel fire. | |||||
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 Jim Shaw's "Dr. Goldfoot and his Bikini Bombs" at Metro Pictures re-opened January 4th with the addition of many new works. The original exhibition of paintings, drawings, and sculpture, on view since November 30 has doubled in size with the addition of Shaw's previously self-edited work. Included in the show are Shaw's series of "Dream Objects" that use sculptural forms of human body parts. Also on display are giant sculptures of half heads and noses, as well as a monumental 11x15 foot painting that merges a self portrait of the artist with one of Vincent Price. During the initial installation in November, Shaw edited works he deemed as unresolved, undesirable or noncommercial. His vision of a "traditional" gallery exhibition is placed aside in the second half of the show as he vulnerably exposes these "unfinished" pieces, illustrating the ongoing artistic practice. Jim Shaw has exhibited widely in the US and internationally since the late 1980s. Among his previous series are "My Mirage" (1985-1990) which follows the experiences of a fictional boy named Billy as he grows up during the 60s and 70s; "Dream Drawings" and "Dream Objects," (1991-present) featuring recreated imagery and art objects from the artist's dreams; and works defining the evolution, dogmas and rites of his fictitious religion "Oism" (2000 to present). Recent solo shows include PS1, New York ("The Donner Party"); Magasin Center of Contemporary Art, Grenoble; and Kunsthaus Glarus, Switzerland. | |||||
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 Khalif Kelly's first solo show at Thierry Goldberg Projects, "Recess," will be on display from January 11-February 10. Kelly's paintings depict African-American children playing with each other on playgrounds, alone and pensive, and in groups around props, such as tree houses and laundry lines. Kelly's vivid palette, spatial flatness, and portrayal of African-American life call to mind the figurative work of Jacob Lawrence as well as the puppatoon animations of George Pal, especially the "Jasper" series. Like Pal's characters in the "Jasper" series, Kelly's forms have been winnowed down to basic geometric shapes and flat blocks of color make up nostalgic backdrops in which children cluster in dynamically charged groups. Khalif Kelly was born in Nashville, Tennessee in 1980 and grew up in Arlington, Texas. He currently lives and works in New Haven, CT. He holds a BFA in painting from The Art Institute of Chicago, and is currently enrolled in the MFA program at Yale University. | |||||
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 In an upcoming exhibition at the Gregory Lind Gallery in San Francisco, artist Seth Koen will present "Ellipsis," opening next week and continuing through March 1st. Koen's sculptures are minimal in their physical presence, humbly created out of crocheted yarn and modestly referencing domestic homemade craft. Yet the work speaks through the language of formal painting and contradicts its immediate associations by being rooted in conceptualism and in dialogue with recent art history. Koen lives and works in both Oakland and Sacramento California. He graduated from Mills College in 2002 and has since exhibited at The LAB in San Francisco, Richmond Art Center in Richmond, CA and at Brewery Project in Los Angeles. Koen has received awards such as the JayDeFre Prize, the SF Foundation's Murphy and Cadogan Fellowship and has conducted lectures at California College of the Arts (CCA) and the University of California at Los Angeles (UCLA). | |||||
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 For his first major solo museum exhibition in the U.S., artist Tom Sachs presented "Logjam," a series of objects and installations that reflect the mechanics of their own production and emphasize the process of their creation. The show was curated by Jeff Fleming, the Director of The Des Moines Art Center and was presented at Brandeis University's Rose Art Museum last fall. The exhibition consisted of a series of work stations that allow the artist to create, while being works of art in their own way. The many mixed media works in the show are composed from previously used tools and other used mechanical components. The name "Logjam" is actually a reference to a box the artist keeps in his studio that contains screws and nails which have broken during the creation of a work. The exhibition was reviewed in the recent Issue U of Beautiful Decay Magazine and also appeared in an article with the Boston Globe. Sachs has exhibited internationally and recently showed the exhibition "Space Program" at the Gagosian Gallery in Los Angeles. | |||||
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 Artist and filmmaker Matt McCormick is a creator of short films, documentary and experimental videos that examine the American landscape both culturally and physically. The artist has completed projects such as "The Subconscious Art of Graffiti Removal" which makes the observation that the process of removing or "buffing" graffiti by painting over it unknowingly produces new forms of artistic creation. Opening next week at Seattle University's Hedreen Gallery in the Lee Center for the Arts is the artist's "future so bright" video series. In these videos McCormick has captured the sprit of the contemporary American West through slow moving images of homes, vast skies and forgotten spaces. McCormick recently shot a music video for the music group The Shins, and has had work appear on MTV, the Sundance Channel and received several awards including the Best Short Film from the San Francisco International Film Fest. The artist is also the founder of the video label Peripheral Produce and created the Portland Documentary and eXperimental Film Festival.
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 Opening January 11th at Freight and Volume Gallery in New York City will be the work of British Artist Peter Hutchinson in his latest exhibition "Constructions and Collages." The artist, who is now approaching 80 years old, has remained a prominent figure through the many stages of his career, including conceptual art in the 1960's and more narrative forms of art making in the 1970's. The artist eventually departed from these artistic movements for a more naturally rooted and poetically expressed art form. For his upcoming exhibition in NYC, Hutchinson will present a series of constructions and collages that resemble photo-assemblages and include text, small sculpture, found object, and other raw materials. The artist has exhibited internationally with works at AEROPLASTICS Contemporary in Brussels and Galeria Helga de Alvear in Madrid. In addition, the artist is included in the collections of the Musee d'Art Moderne/Centre Georges Pompidou, Paris and the Museum Boymans-van Beuningen, Rotterdam.
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 Petra Projects is the work of young curator Anastasia Rogers and has been presenting exhibitions in the New York area since 2006. On a rotating schedule of quarterly exhibitions Rogers presents emerging and mid-career artists from NYC and beyond. For her first show of the year, Petra Projects will present "These Wounds Will Beckon the Flood," by painter Aaron Maximillian Gleason, to be held at the Mehr Gallery in NYC. Gleason is a figurative artist who is interested in the area between physical and non-physical matter, often aiming to render energy through visual symbols and metaphors such as clusters of flowers. The artist predominately uses a muted palette consisting of flesh tones, except for areas of heightened pockets of energy, which are represented by intense pinks and reds. Gleason currently lives and works in New York and is a graduate of Rhode Island School of Design (2002) with a BFA in sculpture. The artist has exhibited nationally and recently participated in Scope Art Fair, Hamptons, NY. | |||||
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 Package Deals is an international artist film series program that explores artist videos through a site specific curatorial approach. Fueled by the work of Kelly Shindler and Deirdre Corley, Package Deals has explored a vast range of artist video selected from Iceland, Sweden and other Scandinavian and North American cultural sites. These video "packages" then travel around the world to locations such as Hong Kong, Athens, New York City, and Charleston, SC to be publicaly viewed. DailyServing recently spoke to Kelly and Deirdre about their previous projects and what's to come. Read the full interview with Package Deals below. All images courtesy of PD. | |||||
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 Art director turned professional commercial and editorial photographer Phillip Toledano turns out personal projects that get picked up left and right. His newest body of work titled "HOPE&FEAR" is no exception to the rule that he has created for himself. "HOPE&FEAR" is the physical manifestation of the desires and paranoias that are adrift in american society today. The suits are our dreams and nightmares made real. Toledano graduated from Tufts University, Boston and has shown with Jenkins Johnson Gallery, New York. He has been published in New York Magazine, The New York Times Magazine, and Vanity Fair and at the top of his portfolio is the famous Absolut vodka bottle. You can read a full feature interview that discusses process and ideas with Toledano and The F Stop here. | |||||
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 Fette's Gallery in Los Angeles' Culver City asked artists to take a new approach to self-portraiture. Fette's has invited 25 artists to use a self-portrait to represent someone else. The quirky and provocative results of the project will be exhibited from January 11th through February 8th. The exhibition, titled u=____, includes the work of an impressive span of internationally acclaimed artists. French photographer Raphael Neal, whose romanticized portraits have appeared in New York Magazine and Rolling Stone, contributed a vibrant, sultry image of himself as a woman: Me As Her Being His. Melanie Bonajo, originally from The Netherlands, has exhibited in unconventional spaces like the Winston Kingdom in Amsterdam and her contribution to the show is a faceless, neutrally colored image of herself in lingerie. U.S. photographer Amy Elkins also participates in the exhibition; Elkins works primarily in portraiture and she recently created a series in which deliberately posed young men standing before flowered wallpaper or curtains. Fette's Gallery, which opened in October, 2006, has already established itself as space that consistently organizes innovative group exhibitions and u=____ will be no exception. | |||||
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 The American Typologies, an exhibition of found vintage photographs, opens January 5th at D3 Projects in Santa Monica, CA. Artists and collectors Gail Pine and Jacqueline Woods have been working collaboratively for the past decade, composing thematic "typologies" of 20th Century America. Pine and Woods have exhibited in Close to Home at The Getty and their work also belongs to corporate collections. Since D3 Projects, which opened in June of 2007, is a venue that promotes interactive and community-friendly work, The American Typologies has found a fitting home. Pine's and Woods' composites of vernacular photographs have everything to do with history, memory and re-discovery. The artists spend hours sifting through the abandoned photographs they find at thrift stores or flea markets; their composites are thus carefully orchestrated preservations of shared histories. Pine and Woods openly reference artists Bernd and Hilla Becher, whose well-known photographs of water towers documented an era of construction, and German photographer August Sander, who ambitiously sought to document the people of the 20th Century. The American Typologies is likewise an attempt to document the cultural temperament of a century and it will remain on view through February 23rd. | |||||
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 For their first exhibition in 2008, 2x2projects in Amsterdam will present a new video and recent artist book by Raymond Taudin Chabot. The artist's new video "That Place" is a continuation of an interest in the qualities of power and how they are conveyed through the facial expressions and gestures of the important person. In the video, a well-dressed stereotypical businessman man is shown riding in a car through a non-descript industrial site, completely immersed in his own thoughts and problems. Chabot's work analyzes power structures through both the ideas of psychological and physical dependence as defined through the male gender. A recent graduate of Goldsmiths Department of Visual Art, Chabot released an artist book Cast (part 4) published by Roma Publications that contains a collection of appropriated media imagery that depict men of power in different contexts. The artist currently lives and works in London and has exhibited internationally with upcoming shows at the Centre of Contemporary Arts M'ars, Moscow and Passage, Mechelen, Belgium. | |||||
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High Energy Constructs in Los Angeles' Chinatown currently features a compelling exhibition of work by three young LA artists. You are not here, you are still there and think you are here is a persuasive hybrid of futuristic optimism and intensely felt ennui. The competent craftsmanship of Christian Cummings, Michael Decker and Marie Johnston is contrasted by the artists' psychedelic color schemes and faux-kitsch materials, creating an instantly familiar yet paradoxically distancing scenario: you feel as though you have encountered a heartfelt rephrasing of your contemporary reality yet you have simultaneously encountered relics of a world that never actually existed. Continue reading for DailyServing's review of the show.
Continue reading "You Are Not Here, You Are Still There and Think You Are Here" » | |||||
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 Currently on view at Antwerp's newest gallery, Base-Alpha, are two solo shows by the young Antwerp artists Rachel Agnew and Lieven Segers. Seeking to break open the Antwerp art sceane, Base-Alpha will be presenting young unknown talent that have previously not found a place in the hermetic Belgian art scene. Run by, Captain: Bart Vanderbiesen and 1st Commander: Geoffrey de Beer II, the reining look at this gallery is a sort of Futuristic Adrenalized Post Punk. In this, her first solo gallery exhibition Rachel Agnew presents large scale paintings that sarcastically celebrate abundance. Be it credit cards, cash or beauty, these self portraits relish in excess, but their crude making under cuts her belief in this system. While seductive and repulsive at the same time, they ask us to question our involvement in the selfish capitalist system. Having received his MFA from Post Sint Joost, Breda (Holland) in 2001, Lieven Segers has previously exposed at De Brakke Grond and Stella Lohaus Gallery. Segers takes this opportunity to show a wide range of graffiti influenced, text based works. Directly addressing the anxieties that are a common component in contemporary life. His is a whimsical attempt to find a way out, in our desperate times. Rachel Agnew "Collateral Damage" and Lieven Segers "Blow-ups and Other Things" December 15, - January 28, 2008 at Base-Alpha, Antwerp, Belgium | |||||
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 Paul McCarthy has used Belgium to stage the largest presentation of his work to date, with over lapping exhibitions, first at Middelheim Sculpture Park, in Antwerp, and now currently showing at S.M.A.K. (Stedelijk Museum Actuele Kunst) in Gent. This seminal Los Angeles artist, after having toiled away in virtual obscurity for more than 30 years, first began showing at LA's Rosemund Felsen Gallery, then burst on the international scene in the early 90's, when his influence on generations of artists was finally acknowledged. In filling the museum to the brim, McCarthy utilizes practically all medias available to an artist today. Drawing, Sculpture, Installation, Photography, Video, etc.... are all crammed together. He also touches on most art movements from the past 40 years, blending Minimalism, Conceptual Art, Neo Expressionism, Neo Realism, Deconstruction, Performance, and everything in between. This exhibition also reveals McCarthy's interest in referencing the art of his contemporaries. In works such as, "Dreaming" (Duane Hanson), "Mechanical Pig" (Wim Delvoye), "Destroyed Walls" (Gordon Matta Clark), "MJBH" (Jeff Koons), among many others, the playful McCarthy seeks to do his colleagues one better. A dangerous game, but all his gestures maintain that distinct McCarthy touch. This jammed packed installation leaves no room for rest, for the eye or the mind. "AIR BORN/AIR BORNE/AIR PRESSURE" at Middelheim museum Antwep, Belgium. May 27, - Oct. 26, 2007 "Head Shop/Shop Head (works 1966 - 2006)", S.M.A.K. October 13, - February 17, 2008. Paul McCarthy is represented by Hauser & Wirth, Zurich / London | |||||
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 Currently showing at the Art Gallery of New South Wales, Sydney is Scott Redford's Blood Disco, an exploration of Australian surfing traditions. Redford resides in Queensland where he was born and raised. Located at the north-eastern corner of Australia, it is often nicknamed the "Sunshine State" for its humidity and beach culture. The exhibition includes canvases created from foam, fibreglass and resin that are constructed in a highly similar way to surfboards. Redford drew the designs that appear on the works, before commissioning specialised surfboard manufacturers to create the unique canvases. Redford has widely exhibited his work both nationally and abroad and venues including Torch Gallery, Amsterdam, Kunstlerhaus Bethanien, Berlin and the National Portrait Gallery, Canberra. | |||||
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 Tim Hawkinson's first Australian exhibition "Mapping the Marvellous," is currently on show at the Museum of Contemporary Art, Sydney. In addition to photo collages and drawings, The Los Angeles based artist is best known for creating theatrical sculptural and installation works through the use of mundane materials. Works on display include a bat constructed from plastic bags and an iris made of green biros. Hawkinson initially graduated from San Jose State University before later earning his MFA at the University of California. Exhibitions in which he has previously displayed his work include the 1999 Venice Biennale, "Zoopsia" - a solo exhibition at the Getty in Los Angeles and "How Man is Knit" at the Pace Wildenstein, New York earlier this year. | |||||
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