LOOK INTO MY OWL

More than three decades of multiples from Bruce Nauman are on view at James Kelly Contemporary in Santa Fe.

Bruce Nauman, Normal Desires, lithograph, 1973.

Four types of printing techniques are on display. The lithographs and serigraphs were utilized to reproduce some of the wordplay found in Nauman’s neon work while drypoint and etching approaches were used to execute his drawings for sculpture.

Bruce Nauman, Untitled (Ring), cast iron with grit blast surface, 1986.

Two sculptures and a video are also included in “Pay Attention”. The artist has resided in New Mexico since the 1980’s, it is good to see him giving the locals a broad view of his work.

Bruce Nauman, Setting a Good Corner (Allegory & Metaphor), still from video, 1999.

Bruce Nauman
Pay Attention: Prints and Multiples 1971-2007
31 July – 12 September 2009
James Kelly Contemporary
Santa Fe, New Mexico

“Your Mom Is Open Source” Shane Hope’s first solo exhibit is on display through the end of July at the Winkleman Gallery in NYC.

Shane Hope, Molecula Simianus En Balloonus Animalia Meet Nanotubular Lepidoptera, 2009.

Be certain to have a look at the bio on Hope’s website for significant understanding into his trendy 2040’s lifestyle. There you will get a jump on approaching jargon such as malfoamation, slowcators and ontogenies.

Shane Hope, “Yes, but [grey goo] will be our children.”, 2009.

The conceivable futures for humankind are limitless. Arthur C. Clarke’s third law of prediction comes to mind when viewing this work, “Any sufficiently advanced technology is indistinguishable from magic.” We may postulate, expound and compile without a solid concept of the road ahead. Shane Hope has gone forward a bit with the intention of reporting back. The work outlines the illusion of tomorrow while admonishing the present as future past.

Shane Hope, to be Imortel, 2009.

Shane Hope
Your Mom Is Open Source
26 June – 1 August 2009
Winkleman Gallery
NYC

Until now, the Killingstar website was annihilated after each update. The site has been revamped to include an archive and selected press from 2008.

Killingstar, Caringstar, 2008.

We are in the midst of planning a large off-site exhibition from Killingstar for this October. Keep checking NOWhere Limited for details as they emerge.

Killingstar, Heavy Eight Metal Spitter (black), 2008.

Killingstar has been quiet while preparing for the show but you can expect at least two new print releases this Summer.

Killingstar, Progeny (Infrared), 2008.

Killingstar
New site design
killingstar.com

Steve Horvath of D&L Screenprinting in Seattle makes some of the finest prints that you will find anywhere. Our gallery, NOWhere Limited recently got together with D&L to produce an exclusive print for Mark Mothersbaugh. More on that release coming soon. D&L was nice enough to give us a rare photographic glimpse into their process.

D & L Screenprinting, Drinkin’ with Cyclops, production photo, 2009.

D&L has done prints for some of the most influential rock poster artists working today including Jermaine Rogers, Justin Hampton, Emek, Rob Jones, Todd Slater and many more.

D & L Screenprinting, Drinkin’ with Cyclops, production photo, 2009.

The studio churns out an incredible amount of work while maintaining the highest standard of quality. The gallery is pleased to be working with D&L and hope that it is the beginning of a long relationship.

D & L Screenprinting, Drinkin’ with Cyclops, production photo, 2009.

More photos after the jump including your first look at “Drinkin’ with Cyclops” the exclusive print coming soon from Mark Mothersbaugh and NOWhere Limited.
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Yesterday I tipped you off to the release of “The 27 Club” print from PNE (Post Neo Explosionism). It is the first collaborative art print from the trio of Jermaine Rogers, Justin Hampton and Emek. Both editions sold out instantly, I did warn you.

If you follow our gallery, NOWhere Limited you have noted that we have worked individually with each member of PNE. One of the joys of our business is working with friends. Our relationships over the years led to the gallery having a place in this collective effort. It is with great pride that we introduce “The 27 Club NOWhere Limited (Gallery Edition)”. Click here for a larger image.

Post Neo Explosionism, The 27 Club, NOWhere Limited Gallery Edition, 2009.

The NOWhere Limited exclusive was made possible by special arrangement with PNE and represents the rarest and final edition of this instant classic. More information will be available soon including release date so get on the mailing list to stay tuned. For now we can tell you that this edition is limited to only 27 signed & numbered prints.

Post Neo Explosionism
The 27 Club NOWhere Limited (Gallery Edition)
release date to be announced

PNE (Post Neo Explosionism) is set to release their first collaborative art print tomorrow, June 19, 2009. This astonishing work is the result of the collective efforts of Jermaine Rogers, Justin Hampton and Emek.

Post Neo Explosionism, The 27 Club, 2009.

Twenty-seven has historically been a difficult age for musicians. The queer connection between greatness and death at this tender age has been pontificated on endlessly over the years. Despite the rhetoric, we are no closer to understanding the pattern of expiry during the twenty-seventh passage of the earth around the sun. From left to right, this seven color serigraph presents Brian Jones, Jim Morrison, Jimi Hendrix, Janis Joplin, Kurt Cobain and the angel with devil wings in the background is the “Grandfather of Rock ‘n’ Roll” Robert Johnson.

Post Neo Explosionism, The 27 Club (Black “Glow” Edition) 2009.

Both the color and glow in the dark editions will be released simultaneously between 3 and 4pm Eastern at this link. You will want to be on time as these prints will not last long. Don’t say that I didn’t warn you. Good Luck!

Post Neo Explosionism, The 27 Club (detail), 2009.

Post Neo Explosionism
The 27 Club
releases 19 June 2009

The fourth incarnation of “Raised Eyebrows / Furrowed Foreheads” from John Baldessari is on view at Mai 36 Galerie in Zürich.

John Baldessari, Raised Eyebrows / Furrowed Foreheads: (with Apple), 2009.

In the late 1960’s Baldessari removed his hand from the art making process. He abandoned the physical surface of paint in favor of the appropriation of commercial imagery. The game became the rule and left Baldessari free to roam the conceptual expanse. Paint remains a component of the procedure in a reduced form of monotone colored shapes.

John Baldessari, Raised Eyebrows / Furrowed Foreheads: Three UFOs Aloft, 2009.

Raised eyebrows exist in opposition to the furrowed forehead. It is one or the other, an attempt to carry both expressions resolves in a look of confusion. The struggle of opposing attitudes has kept Baldessari busy and his followers transfixed throughout his career. The equation may be repeatable but each new piece manifests as unique. In the art world, the division between “high” and “low” has subsisted despite continual intermingling. The artist celebrates the middle ground with examples that derive power from irreconcilable antagonism.

John Baldessari, Raised Eyebrows / Furrowed Foreheads: Woman (with Semaphore Flags), 2009.

John Baldessari
Raised Eyebrows / Furrowed Foreheads:
7 June – 8 August 2009
Mai 36 Galerie
Zürich

Switch Contemporary in Toronto is hosting “Farmhouses & Fortresses” new work from Alex McLeod.

Alex McLeod, Naturalized Observatory, 2009.

The prints on display were fashioned with three dimensional rendering software generally reserved for the film and gaming industries. McLeod has harnessed these powerful tools to create imagery that forwards an individual vision. This aspect of the work is of particular interest as the final product has not been diluted by the test audience or subjected to the disposition of nervous executives.

Alex McLeod, Haunted, 2009.

The title of the exhibition and the content of the work recall the imagination as it exists during childhood. A pillow on the floor became an island whilst a few chairs, couch cushions and blankets were commuted into a stronghold. The proximity of the horizon enforces the conviction that these pieces endure as worlds asunder.

Alex McLeod, Stonehenge Candy Mountain, 2009.

Alex McLeod
Farmhouses & Fortresses
11 June – 5 July 2009
Switch Contemporary
Toronto