Cool footage of young UK ripper Shaun Currie (via club mumble)
Just what would DJ Spooky do for a Klondike bar (via interview)
From Shok-1 an extensive look at the Public Provocations street art show at this years Art Basel
2F2K homie Katsu taking the artform to new scales
RIP KERSE 3A BTM (via Tbone -n- Icepick)
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Judith Supine (via New Image
My web connection is spotty but I will try to keep up. I am slowly going t add more original content to the site in the form of reviews and such so get ready world.
Graffiti legend “IZ THE WIZ” will be missed
“You’d be polite, and pick up, and say ‘Hello’ and be surprised at what was at the other end of the line, maybe directing your future for the next minutes, hours, days. That’s why in the studio we never have telephones. We choose to go into the music, creative process. Once this is finished, and we close the session, we come out again, and then, we’ve enough time to get in contact with our friends.”
Kraftwerk’s Ralf Hütter discusses the quaintness of telephones before the Cell age. (via daily swarm)
Trashy Trash DJ Same DNA has a mixtape you need to hear
A few thoughts about last nights panel discussion at Greg Kucera Gallery here in Seattle titled “Blowing up Demographics“.
The topic seemed to be about how moderator Mary Ann Peters felt the art dealers association art show “Century 21 : Dealers choice” was too White Guy centric and really the problem for her was not so much white but the guy. I think for most artists I know we are already so heavily excluded from that “Blue Chip” world that we rarely even notice that it’s not there in the morning. You can’t miss something you never had. Somebody said something about earning your place at the table, I say fuck your table I’m going to have mine to go. There was mention of institutional racism, the thought of which was soundly tsk-tsked, but promptly shoved aside for the question of why there is not more advocacy for the gays in art. Uhm, I think they have it handled. There was also the lady who was outraged that those nasty savage natives would dare deprive her of the privilege to ogle their most sacred items at the SAM. Now listen to me, the fact that you gotta pay to see them is means for disqualification. “But I got to see all kinds of dead africans and shit at the Met” Exactly the point, they dont want you white muffu@#a’s to steal any more of their stuff. Damn!!! There was also mention of the current show up in the Kucera space “Individual Demographics” which i guess explores the relationship between trying to sell shit from the backstock and a good PR campaign. Lawrimore guy was asked to posit from on high on the topic at hand. He relayed a wise tale of going to see “30 Americans” at ArtBasel Miami, He helpfully clarified that these “Americans” were actually of the African Variety and obviously recipients of affirmative action, ehrm, I mean tokenism. Now here is where I want to share my feelings with you, Any time a white person speaks of tokenism to me i feel like asking if that’s anything like nepotism. Listen just because you were excluded doesn’t mean we had to scrape the bottom of the barrel to get 30 quality black artists together. Shit I bet there are at least 75 out there. Now Lawrimore guy might not know them but they are there and in fact they are building their own networks. This is the point i feel was most missing from the conversation. Artists that have been excluded from the “inside” don’t really need to be in the room to do their thing. You see there are always more people, interesting, vibrant people out here than in there. We have the internet now to connect with patrons, fans, media, venues, what ever from across the globe. I think that art is in for the same paradigm shift as the music industry over who controls the distribution and promotion of what is being created. The more you want to play insider the more you are marginalizing yourself. Like one attendee said “Bring your own damn table”. Mine has got a good game of Three card Monte goin’ on.
“I’m into everything being very clear. I’m not into obtuse. I’m into people working for it, but at the end of the day if somebody wants “it” I want there to be as much as possible for them.” Artist Brendan Fowler discusses his recent book project and where he is going through his art. (via interview)
Some previously unpublished photo’s of your boy SAMO painting what looks like several million dollars (via Hypebeast)
A great article and slideshow on NYT about “Subway Art”. Well worth your 10 minutes. (via chino byi)
Some good reggae sounds for the summertime coming from Londons Heatwave crew. Just add a spliff and a chilly Redstripe for the proper bubbling vibes
I think Murakami has a really great connection to get the good shit
Mike Brodie a/k/a Polaroid Kid
A look at Dominican arts collective Quintapata . I especially like Jorge Pineda’s work in red ball point. (via c-monster)
“but it’s like I don’t want you to do it for free. So that’s why you get flow, and that shit ain’t free. I had to make it, I had to buy the clothes, I had to print it, I had to pay these guys to bring it down here, put it on the shelves, I have to pay for the utilities. Even people hit me up for shirts and shit, and it’s like, what can I get of yours?” Estevan Oriol talks about his career so far, and the ever dwindling budgets in these trying economic times. (via where eagles dare)
Teresa Margolles creates a Temple of Blood for the Mexican Pavilion at the Venice Biennale. (via Intersections)
Exploring the changing behaviors after the H1N1 flu outbreak in Mexico (via PSFK)
Coming back To Where I Started Carlos DZINE Rolon 2009
The DateFarmers can wait forever
The First Annual C-Monster Venice Biennial Awards. The best roundup of the exposition I’ve read so far.
How Droll. Pharrell, Murakami, and Jacob the Jeweler make some really lame shit for Art Basel and folks are starting to realize just how much they love Cupcakes iced with baby lotion
“Our whole approach was what you might call ‘none design’ meaning that Jerry would root out any attempts by John and I to introduce gratuitous design embellishments. This ruthless weeding process resulted in bold, simple, direct graphics and is probably the main reason that the Two Tone style has such an enduring impact.” A look at one of the most important design aesthetics from my formative years. (via crblog)
“They’re not interested in expensive green technologies or recycling programs—the point is reuse, to breathe new life into the city’s detritus and build a new, separate world from those remains. “We’re not perfect,” Swoon says. “How much jet fuel was used to fly all of us here? But we’re not going to let being imperfect stop us. If you are too rigid in your ethics, you undo positive action.” I really like the whole hobo/digger aesthetic of Swoons projects. NYMag article here
A unique blend of sport, art and Spontaneity. Ed Templeton.
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I think it’s some sort of statement about fast food and animal welfare
An interview in images with graff artist CRE (via)
A nostalgic tour of the Crayola Crayon through the last century. For me it’s all about the smell of the paper on the crayons that takes me back to Mrs. Stricklands 1st grade class. (via)
“To me, the job of the artist is to provide a useful and intelligent vocabulary for the world to be able to articulate feelings they experience everyday, and otherwise wouldn’t have the means to express in a meaningful and useful way.” Hipster hop star Spank Rock interviews Mos Def and maybe learned something about being a relevant artist (via)
NY City Girls don’t fall they just start again
Habitual Offeder Greg Lamarche 2005
Some assembly required
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