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

Banksy, Exit Through the Gift Shop, still from video, 2010.

French born filmmaker Thierry Guetta (AKA Mr. Brainwash) set off on a quest to document the recently enlivened “Street Art” scene. He tirelessly followed some of the most celebrated artists of the genre as they applied their wares to public places. His footage piled up but Guetta had little success in his efforts to make sense of the work in the editing room. Banksy took over the project and the final cut became “Exit Through the Gift Shop.”

Banksy, Exit Through the Gift Shop, still from video, 2010.

The premiere of the film received excellent response at the Sundance Film Festival. While the London debut took place in a disused tunnel under Waterloo Station complete with lush seating. A typically brilliant move for the master marketer.

Banksy, Exit Through the Gift Shop, still from video, 2010.

Mr. Brainwash and Banksy inspire passion in both directions. Discussion forums and blog comment areas quickly fill up with hatred and defense. During the New York premiere, the online tabloid Art Fag City went into a sputtering rage over unfounded reports of ethical impropriety concerning the marketing efforts for the film. The infantile attacks were corrected and eventually a ludicrous retraction was posted.

Heavy handed reaction from those slow to adopt change can be expected. This sort of response has been seen over and over throughout the history of art. The savvy collector should raise an eyebrow because this is the same sort of nonsense that Andy Warhol was forced to endure during his lifetime.

If you miss this film, you have truly been left behind. Watch the trailer (complete with a song that I can’t get out of my head) below.

Banksy
Exit Through the Gift Shop
Now playing in the U.S. and Canada.

Tamra Davis, Jean-Michel Basquiat: The Radiant Child, still from video, 2010.

Big fans of Basquiat will leave theaters with the feeling of seeing an old friend after a long time apart. Artists will have difficulty calming the immediate desire to paint.

Tamra Davis, Jean-Michel Basquiat: The Radiant Child, still from video, 2010.

It seems that since our viewing the legendary Adam Horovitz and Mike Diamond have been brought in to handle the music. Nice. No news on a release date yet but I will keep you updated as more information is made available. In the meantime, check out the trailer below. Thanks to doghed for the link.

The Colony Theater, Jean-Michel Basquiat: The Radiant Child, Art Basel Miami Beach, ©2009 by MCH.

The film was scheduled to air at the Oceanfront area but threatening weather moved it inside to the Colony Theater. We had walked more than fifty miles in the past few days and welcomed the opportunity to slip into comfortable theater seats.

Bob Colacello, Tamra Davis, David Koh, Fab Five Freddy and Jeffrey Deitch, Jean-Michel Basquiat: The Radiant Child, Art Basel Miami Beach, ©2009 by MCH.

The Director, Tamra Davis took part in a panel discussion before the film and fielded questions after. She was joined by Bob Colacello, David Koh, Fab Five Freddy and Jeffrey Deitch. Some interesting personal encounters with Jean-Michel were put forth to a very receptive crowd.

Tamra Davis, Jean-Michel Basquiat: The Radiant Child, Art Basel Miami Beach, ©2009 by MCH.

The film revolves around an interview and wide range of footage of Basquiat shot by Tamra Davis mainly in New York and California during the 1980’s. When her friend passed away, she put the films in a drawer not wanting to cash in on the tragedy. I am glad that after all of these years she has accepted that her work is of important historical significance and should be shared. Even the rough cut had the audience in a trance. The most accurate depiction of the man to date.

It may be a while before this one reaches a theater near you but it is sure to make a big impact at Sundance.

Fab Five Freddy, Jean-Michel Basquiat: The Radiant Child, Art Basel Miami Beach, ©2009 by MCH.

Jean-Michel Basquiat: The Radiant Child
Screening
4 December 2009
Art Basel Miami Beach

Doug Aitken, Migration, single video projection with billboard (steel and PVC projection screen), 2008.

“Migration” is an ambulatory journey across the United States staged in hotel and motel rooms along the way. The interaction of the animals with these enclosures was caught on film, each stop adding a unique experience to the phantasmagoria.

Doug Aitken, Migration, single video projection with billboard (steel and PVC projection screen), 2008.

Two distinctly different presentations of the film are being offered by the gallery. From sunset to sunrise, a silent version will be projected in the courtyard of Regen Projects II on Santa Monica Boulevard. Concurrently, the North Almont space will exhibit the piece indoors on a large billboard complete with original soundtrack. I recommend seeing the piece inside first and then wandering westward for the outdoor loop.

Doug Aitken, Migration, single video projection with billboard (steel and PVC projection screen), 2008.

Images courtesy of 303 Gallery, New York; Victoria Miro Gallery, London; Galerie Eva Presenhuber, Zurich; Regen Projects, Los Angeles.

Doug Aitken
12 September – 17 October 2009
Regen Projects
Los Angeles

Dan Graham, Figurative, 1965.

Dan Graham has exhibited extensively since the 1960’s pioneering some now fundamental concepts that are in play through every conscious mode of expression. He was among the few that understood that it was conceivable to mash minimalism with rock music, high art and tract housing. The practice of contrasting opposing cultural preferences was unusual and even regarded with apprehension. Brave experimenters like Graham nudged us all a bit into the future.

Dan Graham, Detail from Homes for America, 1966-67.

Graham has enjoyed success in many media including print, film, performance and architecture. The artist has imbued each aesthetic with a flow of heady notions cooked down to simple principles.

Dan Graham, Performer/Audience/Mirror, 1977.

In keeping with the spirit of their subject for this retrospect, the Whitney is hosting a wide array of events. The show opened with an acoustic concert by the Feelies with more music planned through July. There are also film screenings, discussions, and a conversation with Dan Graham and Glenn Branca on tap. Check the schedule as you may want to plan several trips.

Dan Graham, Skateboard Pavilion, 1989.

This is the second leg of the tour for “Beyond”, the exhibit was held at the Museum of Contemporary Art, Los Angeles earlier this year and continues on to the Walker Art Center in the Fall.

Dan Graham
Beyond
25 June – 11 October 2009
Whitney Museum of American Art
NYC

David Lynch, Untitled (Little Girl #3), 2009.

Fifty of Lynch’s photographs were mounted on aluminum and displayed in small groups throughout the two room exhibition. The pieces are untitled but make reference to tracks from the album “Dark Night of the Soul” that Danger Mouse mixed with the pop band Sparklehorse. The album will be playing in the gallery for the duration of the show.

David Lynch, Untitled (Insane Lullaby #4), 2009.

The bulk of the action in the imagery is centralized within the composition. This bespeaks a significant difference between Lynch’s still and moving images. Lynch refers to still photography in his films when the scene breaks down into a solitary focus with spectral sounds. The prints in this exhibit along with the background music evoke the sensation of his films while maintaining a presence all their own.

David Lynch, Untitled (The Man Who Played God #1), 2009.

A limited edition book of Lynch’s visuals for the album has been released and is available here. Due to an ongoing dispute with a record company, the music that Danger Mouse produced has not been released. In place of the album, the book is supplemented with a recordable compact disc. Each copy of the book is clearly labelled, “For legal reasons, enclosed CD-R contains no music. Use it as you will.”

David Lynch, Untitled (Revenge #4), 2009.

David Lynch & Danger Mouse
Dark Night of the Soul
30 June – 11 July 2009
Michael Kohn Gallery
Los Angeles

In Nathania Rubin’s rattletrap drawn animation, “My Girl: A Case Study” (above) caricatures of Anne Frank and Sigmund Freud act in proxy for the artist’s personal proclivities and as signifiers for something larger.

“Still Life with Cows” (above and below) from Karen Yasinsky is a study of a tiresome existence. The nonlinear piece tells the story of a paralyzed doll and her consort. Animation for children runs at a frenzied pace, when this gait stagnates, the attitude of the medium is transformed.

Nathania Rubin, Cindy Sherman, Laurie Simmons, Karen Yasinsky
Surveillance from the Doll House
15 April – 23 May 2009
Mireille Mosler Ltd.
NYC

A replica of a popular “burger bar” was created and then slowly flooded. The action was recorded as trays and fast food containers were lifted by the rising water. The visuals register as dream or nightmare depending on the dietary habits of the viewer.

Rasmus Nielsen, Jakob Fenger and Bjørnstjerne Christiansen have worked together for fifteen years as Superflex. Congratulations to the crew on their recent George Maciunas Award.

Superflex is known for collaborating with others. For “Flooded McDonald’s” direction was shared with Tuan Andrew Nguyen.

Superflex
Flooded McDonald’s
16 January – 1 March 2009
South London Gallery

The film depicts the artist’s hand writing and continually adjusting sentences pacing the film and the poem that results from the activity. “Loveletter” acts as a point of embarkation encouraging the viewer toward a deeper understanding of the still imagery.

Vibeke Tandberg is primarily concerned with questioning identity and the stereotypes that arise from such a quest. Her multimedia efforts juxtapose extremes in order to classify the deception of self against the equally inadequate practice of external perception.

Vibeke Tandberg
THE HAMBURGER TURNS IN MY STOMACH AND I THROW IT UP ON YOU. LIQUID HAMBURGER. THEN I HIT YOU. AFTER THAT WE ARE BOTH OUT OF WORDS.
30 January – 19 March 2009
Gió Marconi
Milan, Italy