LOOK INTO MY OWL

Our gallery has been extremely busy and things have been picking up from there. Here are some of the prints that we have released lately. All of these and much more can be found exclusively at NOWhere Limited.

Killingstar, Enchantment Removal, archival pigment print, 2010.

Bliss, Dude, archival pigment print, 2010.

Killingstar, Archetype, archival pigment print, 2010.

Scott Lickstein, Top Brass, archival pigment print, 2010.

Mine! I have some more coming in before the end of 2010.

The New Museum is hosting the first U.S. retrospective exhibit of the work of Brion Gysin. “Dreamachine” is a crucial step toward recognizing Gysin as one of the most influential minds of the 20th century. The exhibition brings together more than three hundred drawings, books, paintings, collages, films, slide projections, and sound works.

William S. Burroughs and Brion Gysin, The Third Mind, ink and typescript on paper, 1965.

An original Dreamachine is also on display. In 1961, Gysin along with Ian Somerville conceived the device that is intended to be viewed with closed eyes. The Dreamachine produces light that pulses at a frequency that stimulates alpha waves in the brain. Initial experiences conjure common symbols to roll through the mind’s eye. Consistent use over time has been known to invoke virtual three-dimensional spaces and trigger senses beyond vision. I built my first Dreamachine in 1994 and have used it occasionally over the years. Here is a link to an online simulation, please heed the warnings as the effect can elicit photosensitive epilepsy.

Bryon Gysin with Dreamachine at Musée des Art Décoratifs, Paris, 1962.

It is impossible to sum up the importance of this man, his art and collaborations in a few short paragraphs. This is why it is so important to get to the New Museum before October 3rd. We are going to be spending the Fall and Winter in New York and actually altered our plans so that we would be sure not to miss this long-deserved remembrance.

William S. Burroughs and Brion Gysin, The Third Mind, crayon, gelatin-silver prints, letterpress, offset lithography, and typescript on graph paper, 1965.

Brion Gysin
Dreamachine
7 July – 3 October 2010
New Museum
NYC

After months of work and hundreds of buckets of paint the latest wall animation from Blu is ready to thrill you. Scroll down to the bottom of this post for the video in its entirety.

Blu, Big Bang Big Boom, still from video, 2010.

“Big Bang Big Boom” is a narrative, frame-by-frame animation that runs a course from the initial big bang that sparked our Universe to a hypothetical end to our own planet.

Blu, Big Bang Big Boom, still from video, 2010.

Despite the potentially alarmist nature of the material, Blu’s sense of play can be felt running through the entire video. This endearing quality is enhanced with a marvelous soundtrack by Andrea Martignoni.

Blu, Big Bang Big Boom, still from video, 2010.

This is the most impressive animation that Blu has done to date. This is saying a lot as there has been some astonishing work in the past. “Big Bang Big Boom” continues to evolve with new ideas in addition to providing a perfect balance of two and three dimensional animation with powerful transitions.

Artists Tom Sanford and Ryan Schneider have been huddled together for nearly a year curating this group show at Priska C. Juschka Fine Art. “Big Picture” is comprised of large paintings from nineteen artists that reside in New York. These works resonate as “big” in more ways than scale as described in the press release:

“While reflecting a contrasting artistic vocabulary, the individual paintings interact conceptually, insisting in commonality and commanding a shared synergy reminiscent of the Gestalt theory — whereby the entire show pronounces a bigger picture and perspective, rising above the summary of its parts.”

Check with the gallery for more information about a panel discussion on Monday evening, July 12th.

Daniel Heidkamp, Cold Coordinate, oil on canvas, 2010.

Liz Markus, The Man (Picasso), acrylic on unprimed canvas, 2010.

John Copeland, Red Roses for Me, acrylic on canvas, 2010.

Lisa Sanditz, Pontiac Kingston, acrylic and polyurethane on canvas, 2010.

Michael Williams, Tongue of Timberlake, oil on canvas, 2008.

Big Picture
Kamrooz Aram, Colleen Asper, Paul Brainard, John Copeland, Holly Coulis, Justin Craun, Van Hanos, Daniel Heidkamp, Aaron Johnson, Emily Noelle Lambert, Wes Lang, Liz Markus, Eddie Martinez, Brian Montuori, Lisa Sanditz, Tom Sanford, Ryan Schneider, Michael Williams and Jeremy Willis
8 July – 6 August 2010
Priska C. Juschka Fine Art
NYC

“Reflexive Self” is a show from five skillful creatives. The exhibit runs through the middle of August at the Mike Weiss Gallery in NYC. The title of the exhibit refers to a sociological term used to describe the ability to step back and understand the way others perceive us.

Kim Dorland, For Seymour, oil, acrylic, ink & spraypaint on wood panel, 2010.

Dead Dads Corporation, Hi Dad, Send Money, Crayola crayon and neodymium magnets on cotton paper, 2010.

Stefanie Gutheil, Miamitheaterfertig, oil and mixed media on canvas, 2010.

Marc Sequin, Success and Failure of Abstract Art no. 1-5, oil and human ashes on canvas, 2010.

Reflexive Self
Kim Dorland, Stefanie Gutheil, Kris Knight, Dead Dads Club Corporation & Marc Seguin
24 June – 14 August 2010
Mike Weiss Gallery
NYC

On Tuesday, June 22, Dread Scott performed “Money to Burn” in New York City’s financial district. The project was made possible, in part, by the Franklin Furnace Fund.

Dread Scott, Money to Burn, still from video, 2010.

The artist meandered among the midday money manipulators bellowing “Money to Burn!” The repeated outcry was presented generally as a statement and then to individuals in the form of a question. Scott burned several of his own bills and then those from interested bystanders. The crowd soon attracted the attention of police and they began also to gather around the performance. Eventually, the law swooped in and put an end to the interaction issuing the performer a citation for disorderly conduct.

Dread Scott, Money to Burn, still from video, 2010.

The action raised a lot of questions that offer no simple answers. It is interesting to note, however, that it is very easy to land a court date in this country. Here is video of the interplay as released by Dread Scott.

Like the Spice has put together a group show of six artists each investigating the figure in different ways. “Marked: A Show of Figure” runs through the better part of the Summer.

This Friday, June 25th, the gallery will be hosting a meal in the space as part of their ongoing dinner series. Hurry up, reservations are required by tomorrow!

Reuben Negrón, Untitled, watercolor and gouache on paper, 2010.

The gallery has a history of dealing with artists that love the human form. Their taste leans toward technical prowess coupled with a strong sense of contemporary context.

Brendan Lott, Import, Export, oil on canvas, 2009.

It’s nice to see that Brooklyn has some great shows going even through the Summer months. Be prepared when you step into this one or you may just be overcome.

Robin Williams, Swoon at the Water Pump, oil on canvas, 2010.

Marked: A Show of Figure
Chino Amobi, Alison Blickle, Brendan Lott, Jenny Morgan, Reuben Negrón and Robin Williams
11 June – 8 August 2010
Like the Spice Gallery
Brooklyn

“Have You Ever Really Looked at the Sun?” is a two man exhibit of new and recent works from Damien Hirst and Michael Joo. The show runs through the middle of August at the Berlin branch of Haunch of Venison.

Damien Hirst, Temple, installation view, Haunch of Venison, 2010.

The pair of artists met twenty years ago and have been close friends and influences since. They were originally introduced in Germany and this exhibit is a return to the geographical genesis of their relationship.

Michael Joo, Tree, oak and stainless steel, 2001.

On display is a shared interest in museum scaled sculpture. The spacial demands of these works often claim attention before the content is even considered. It is a deluge of sensation not unlike staring into the sun.

Damien Hirst / Michael Joo, Have You Ever Really Looked at the Sun?, installation view, 2010.

The dissection and reordering of the natural world is a common thread stretched between these collaborators. The viewer gets a sense of old school victory, something has been conquered with this show. It’s good to know that if either of these guys find themselves creatively cornered, they have someone to call.

Michael Joo, M, S, G, mixed media, installation view, 2010.

Damien Hirst / Michael Joo
Have You Ever Really Looked at the Sun?
1 May – 14 August 2010
Haunch of Venison
Berlin