Wednesday, August 24, 2016
Trevor Shimizu @ 47 Canal [NYC/USA]
I. Gift shop Snoopy, 2016
II. Koala bear, 2016
III. Miffy, 2016
IV. Nordstroms Bear, 2016
V. Otter and Starfish, 2016
VI. Owl, 2016
VII. Sophia’s Teddy, 2016
II. Koala bear, 2016
III. Miffy, 2016
IV. Nordstroms Bear, 2016
V. Otter and Starfish, 2016
VI. Owl, 2016
VII. Sophia’s Teddy, 2016
Kader Attia @ MMK Frankfurt am Main [FRANKFURT AM MAIN/EUROPE]
I. Injury Reappropriated, 2014
II. Modern Architecture Genealogy, 2014
III. Parabolic Self Poetry, 2015
IV. When Cardboard repairs Plastic # 2, 2016
V. Repair Analysis, 2013
VI. Repair Analysis, 2013
II. Modern Architecture Genealogy, 2014
III. Parabolic Self Poetry, 2015
IV. When Cardboard repairs Plastic # 2, 2016
V. Repair Analysis, 2013
VI. Repair Analysis, 2013
Tuesday, August 23, 2016
Rajesh Kumar Singh
[A boy waits to sell rose petals to Hindu pilgrims standing on the bank of the holy Sangam, confluence of Ganges river, Yamuna river and mythical saraswati river in Allahabad, India , Thursday, Aug. 4, 2016.]
LINK
LINK
Henry Taylor @ Blum & Poe [LOS ANGELES/USA]
Blum & Poe, Los Angeles
September 10 – November 5, 2016
Opening reception: Saturday, September 10, 6 – 8pm
Blum & Poe is pleased to present an exhibition of new works by Los Angeles-based artist Henry Taylor. Including new paintings and a video installation, the works are installed in three unique environments. This is the artist’s fourth solo show with the gallery.
Taylor’s work continues to delve and expand upon the language of portraiture and painting, while also pointing to the social and political issues affecting African Americans today. From racial inequality, homelessness, and poverty, to the importance of family and community, Taylor says, “My paintings are what I see around me…they are my landscape paintings.” His portraits reveal a fascination with the sitters, who are oftentimes portrayed against solid-colored backgrounds, as well as domestic and outdoor spaces. The psychological and physical implications of “space” – public vs. private, interior vs. exterior – is a theme that Taylor explores throughout this presentation.
The exhibition begins inside of an abandoned dirt lot, similar to those from Taylor’s own adolescence, which became playgrounds and gathering spaces for the community. These lots also provided temporary housing, becoming tent cities for the disenfranchised. As a result, they did not go unnoticed and were always policed. Such memories continue to influence Taylor, who turns to both his personal archives as well as found imagery and objects for source material.
Taylor marks the disparity between social classes from one gallery to the next by installing in each space a distinct terrain. An empty, dirt lot beside a lush, grassy lawn inevitably points to the different groups of people who inhabit these spaces. While one space portrays a certain sense of abandon and despair, the other is more about experiencing pleasure and comfort within private property. The subjects in the paintings vary – from scenes of Taylor’s life to imagery inspired by current affairs, candidly depicting the world around him.
On the evening of the opening, a performance collaboratively conceived by Taylor and close friend, Los Angeles-based artist and filmmaker Kahlil Joseph, will take place in the third gallery. This staging will precede the installation of a related video project created by the artists and inspired by Taylor’s encounter with reggae legend Bob Marley. This multi-media and immersive presentation weaves together personal history with collective memory, contributing to our understanding of how public memory has been and might continue to be framed.
Henry Taylor was born in Ventura, CA (1958) and received a BFA from the California Institute of the Arts. Recent solo exhibitions include This Side, That Side, The Mistake Room, Guadalajara, Mexico (2016); They shot my dad, they shot my dad!, Artpace, San Antonio, TX (2015); and a retrospective at MoMA PS1, Long Island City, NY (2012). His work has been featured in group exhibitions in museums worldwide including the Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (forthcoming, 2016); Astrup Fearnley Museet, Oslo, Norway (forthcoming, 2016); Whitney Museum of American Art, New York NY (2016); Hammer Museum at Art + Practice, Los Angeles, CA (2016); Camden Arts Centre, London, UK (2016); Studio Museum, Harlem, NY (2013); Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (2013); Museum of Contemporary Art, Los Angeles, CA (2012); Los Angeles County Museum of Art, Los Angeles, CA (2011); and the Rubell Family Collection, Miami, FL (2011).
LINK
September 10 – November 5, 2016
Opening reception: Saturday, September 10, 6 – 8pm
Blum & Poe is pleased to present an exhibition of new works by Los Angeles-based artist Henry Taylor. Including new paintings and a video installation, the works are installed in three unique environments. This is the artist’s fourth solo show with the gallery.
Taylor’s work continues to delve and expand upon the language of portraiture and painting, while also pointing to the social and political issues affecting African Americans today. From racial inequality, homelessness, and poverty, to the importance of family and community, Taylor says, “My paintings are what I see around me…they are my landscape paintings.” His portraits reveal a fascination with the sitters, who are oftentimes portrayed against solid-colored backgrounds, as well as domestic and outdoor spaces. The psychological and physical implications of “space” – public vs. private, interior vs. exterior – is a theme that Taylor explores throughout this presentation.
The exhibition begins inside of an abandoned dirt lot, similar to those from Taylor’s own adolescence, which became playgrounds and gathering spaces for the community. These lots also provided temporary housing, becoming tent cities for the disenfranchised. As a result, they did not go unnoticed and were always policed. Such memories continue to influence Taylor, who turns to both his personal archives as well as found imagery and objects for source material.
Taylor marks the disparity between social classes from one gallery to the next by installing in each space a distinct terrain. An empty, dirt lot beside a lush, grassy lawn inevitably points to the different groups of people who inhabit these spaces. While one space portrays a certain sense of abandon and despair, the other is more about experiencing pleasure and comfort within private property. The subjects in the paintings vary – from scenes of Taylor’s life to imagery inspired by current affairs, candidly depicting the world around him.
On the evening of the opening, a performance collaboratively conceived by Taylor and close friend, Los Angeles-based artist and filmmaker Kahlil Joseph, will take place in the third gallery. This staging will precede the installation of a related video project created by the artists and inspired by Taylor’s encounter with reggae legend Bob Marley. This multi-media and immersive presentation weaves together personal history with collective memory, contributing to our understanding of how public memory has been and might continue to be framed.
Henry Taylor was born in Ventura, CA (1958) and received a BFA from the California Institute of the Arts. Recent solo exhibitions include This Side, That Side, The Mistake Room, Guadalajara, Mexico (2016); They shot my dad, they shot my dad!, Artpace, San Antonio, TX (2015); and a retrospective at MoMA PS1, Long Island City, NY (2012). His work has been featured in group exhibitions in museums worldwide including the Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (forthcoming, 2016); Astrup Fearnley Museet, Oslo, Norway (forthcoming, 2016); Whitney Museum of American Art, New York NY (2016); Hammer Museum at Art + Practice, Los Angeles, CA (2016); Camden Arts Centre, London, UK (2016); Studio Museum, Harlem, NY (2013); Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (2013); Museum of Contemporary Art, Los Angeles, CA (2012); Los Angeles County Museum of Art, Los Angeles, CA (2011); and the Rubell Family Collection, Miami, FL (2011).
LINK
Two poems from manuel arturo abreu
Open the serpent
Avoiding death is
losing the game of exile
My scent is decay
all the empty milkbottles reflect
in my surface
The map was planned out,
the black flag cries
and all books are cooked up
Think of a number
and divide it by me
something results to nothing
and nothing is nothing
An exalted destiny
approaches me hostile
I’d like to deny the inevitable
and experience the impossible
There has never been a number
and I break in diamond shapes
Only because contradictions
come true with every tread & change
Only because affairs
rise up by the dead & escape in new rules
the barrier will resist, if desired again,
the veneered exo-skeleton
Responses become, if received,
the winnows of my frozen pilgrimage
I can open the serpent now
and burn my lied out face
can glazing over wear down
thinking of the number
and not of the answer
You said, I wasn’t a tunafish
wrapped in tinfoil
For all watches are silent right away
and I am much too big
to jump over the burning water
The table is gone
I’m going down
going down
My paypal
The messaianic communist and his tender lies
When he flicks his hair it’s like smelling coffee
He may be woke but u stuck around for the D(eontology)
Lovingly calling Sartre the first neoliberal
Eventually his smile starts to look like Golgotha
U feel urself choking on his shadow
Something (how can it be) both soft and sharp
He keeps saying “we’re already in communism, look harder”
All you see is the blood-soaked clearing
No, he’s not done killing her
You understand now
For him this is both sacrifice and apotheosis
For him, this “was” not is
Teleology is meant as tautology
He becomes no different for u than people who watch film credits
U tell him “when it’s over it’s over”
Smack his nape hard like grade school
As he reels u say “my PayPal is garageresidency at gmail dot com”
manuel arturo abreu (b. 1991, Santo Domingo) is a poet and artist from the Bronx. They work in text, ephemeral sculpture, and photography. They are the author of List of Consonants (Bottlecap Press, 2015) and transtrender (out soon from Quimérica Books). Recent and forthcoming work is included in Apogee Journal, the Offing, Rhizome, Gauss PDF, the Institute for New Connotative Action, and elsewhere. Find manuel at twigtech.tumblr.com.
Avoiding death is
losing the game of exile
My scent is decay
all the empty milkbottles reflect
in my surface
The map was planned out,
the black flag cries
and all books are cooked up
Think of a number
and divide it by me
something results to nothing
and nothing is nothing
An exalted destiny
approaches me hostile
I’d like to deny the inevitable
and experience the impossible
There has never been a number
and I break in diamond shapes
Only because contradictions
come true with every tread & change
Only because affairs
rise up by the dead & escape in new rules
the barrier will resist, if desired again,
the veneered exo-skeleton
Responses become, if received,
the winnows of my frozen pilgrimage
I can open the serpent now
and burn my lied out face
can glazing over wear down
thinking of the number
and not of the answer
You said, I wasn’t a tunafish
wrapped in tinfoil
For all watches are silent right away
and I am much too big
to jump over the burning water
The table is gone
I’m going down
going down
My paypal
The messaianic communist and his tender lies
When he flicks his hair it’s like smelling coffee
He may be woke but u stuck around for the D(eontology)
Lovingly calling Sartre the first neoliberal
Eventually his smile starts to look like Golgotha
U feel urself choking on his shadow
Something (how can it be) both soft and sharp
He keeps saying “we’re already in communism, look harder”
All you see is the blood-soaked clearing
No, he’s not done killing her
You understand now
For him this is both sacrifice and apotheosis
For him, this “was” not is
Teleology is meant as tautology
He becomes no different for u than people who watch film credits
U tell him “when it’s over it’s over”
Smack his nape hard like grade school
As he reels u say “my PayPal is garageresidency at gmail dot com”
manuel arturo abreu (b. 1991, Santo Domingo) is a poet and artist from the Bronx. They work in text, ephemeral sculpture, and photography. They are the author of List of Consonants (Bottlecap Press, 2015) and transtrender (out soon from Quimérica Books). Recent and forthcoming work is included in Apogee Journal, the Offing, Rhizome, Gauss PDF, the Institute for New Connotative Action, and elsewhere. Find manuel at twigtech.tumblr.com.
Saturday, August 13, 2016
'Telefone,' 2016 by Noname
Executive Produced by Noname, Cam O’bi & Phoelix
Artwork by Nikko Washington
Mixed & Mastered by Elton “L10MixedIt” Chueng
Release date:
26 July 2016
LINK
Artwork by Nikko Washington
Mixed & Mastered by Elton “L10MixedIt” Chueng
Release date:
26 July 2016
LINK
Tuesday, August 2, 2016
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