Tag Archives: art

Post-Minimal to the Max

To paraphrase Jerry Lee Lewis, there is a whole lot of art making going on right now. All different kinds. But you’d hardly know it from the contemporary art that New York’s major museums have been serving up lately, and particularly this season.
The current exhibition of Gabriel Orozco at the Museum of Modern Art along with the recent ones of Roni Horn at the Whitney Museum and of Urs Fischer at the New Museum have generated a lot of comment pro and con. So has the Tino Sehgal performance exhibition now on view in an otherwise emptied-out Guggenheim rotunda. But regardless of what you think about these artists individually, their shows share a visual austerity and coolness of temperature that are dispiritingly one-note. After encountering so many bare walls and open spaces, after examining so many amalgams of photography, altered objects, seductive materials and Conceptual puzzles awaiting deciphering, I started to feel as if it were all part of a big-box chain featuring only one brand.
The goal in organizing museum exhibitions, as in collecting, running a gallery and — to cite the most obvious example — being an artist, should be individuation and difference, finding a voice of your own. Instead we’re getting example after example of squeaky-clean, well-made, intellectually decorous takes on that unruly early ’70s mix of Conceptual, Process, Performance, installation and language-based art that is most associated with the label Post-Minimalism. Either that or we’re getting exhibitions of the movement’s most revered founding fathers: since 2005, for example, the Whitney has mounted exhibitions of Robert Smithson, Lawrence Weiner, Gordon Matta-Clark and Dan Graham. I liked these shows, but that’s not the point. We cannot live by the de-materialization — or the slick re-materialization — of the art object alone.
I wouldn’t have a problem with these shows of the gods and godlings of Post-Minimalism if they were balanced and mixed with other stuff that is completely different. But that other stuff is largely missing in New York museums, though there is plenty of it around.
Curators owe it to the public to present a balanced menu that involves painting as well as video and photography and sculpture. They need to think outside the hive-mind, both distancing themselves from their personal feelings to consider what’s being wrongly omitted and tapping into their own subjectivity to show us what they really love.
These things should be understood by now: The present is diverse beyond knowing, history is never completely on anyone’s side, and what we ignore today will be excavated later and held against us the way we hold previous oversights against past generations.

Message to curators: Whatever you’re doing right now, do something else next.

-excerpt by Roberta Smith, NY TIMES

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Joe Stevens’ Caifornia Vans

For years, Joe Stevens has been documenting surviving 70’s and 80’s era custom/conversion vans parked on streets throughout the Bay Area and Southern California.

Joe explains:

Vans and the places where they were documents surviving custom and conversion vans across the West and examines the dialogue which exists between a van’s design aesthetic and that of its surrounding environment. The project began in 1996 and currently consists of hundreds of images shot on 120mm film.

Over the course of the project the vans themselves have become more and more of a rarity. The reasons are as simple as rust and changing tastes; and as complex as government “cash for clunkers” initiatives encouraging more fuel-efficient transportation. Notably, at the same time these vans have been disappearing from our roads – film photography as a visual medium has also begun it’s slow death. Consequently the goal of the project is to one day shoot the last remaining van on the final frame of photographic film in existence. Then the project will be finished.

Joe Stevens is a filmmaker and photographer whose work has appeared in the Hammer Museum of Los Angeles and the Museum of Modern Art in New York. In the past year his work has been featured in Creative Review, Fast Company, Intersection and the Guardian. His 2008 film Made In Queens, which was produced by MTV2 Films, profiles a teenage gang from Trinidad who blast 15,000 watts of music from the enormous custom homemade stereos jury-rigged onto their rusty bmx bikes. The film, which premiered at the Edinburgh International Film Festival, has become a cult hit and is currently touring festivals worldwide.

check out the rest of the vans here…

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Maya Hayuk


Maya’s been a busy woman lately preparing for her upcoming show Friday, February 5th at Gallery16 in SF. It will be her first solo show with the gallery. I’m stoked to see what she has in store for the Bay Area the time around. She said if there’s some time she will send some flicks of her new works for show and in a few weeks send over a guest mix for us. Yee!

The Universe 2

An excerpt from her bio:
Leaving no surface, discipline, or location untouched, Maya Hayuk makes use of an unbounded and unpredictable matrix of sources, mediums, and styles. Her relationship to the images she invents is an intricate and complex free association and a perspicacious act of unfailingly putting all the parts together to make the whole. She employs intense yet pertinent colors, complex geometries, and fine lines in order to collect the constituents that make up her present and visceral world.


A veritable workaholic who at once possesses the expertise of an entrepreneur and the spontaneity of the works she makes, it is immediately obvious that she is much, much more: muralist, photographer, printmaker, designer, curator, player of records, writer, performer, collector, Barnstormer, painter, illustrator, videographer, documentarian, and on.

– Wendy Heldman

TONIGHT IS KIND OF SPECIAL, 2009, 23×23″, 4-screen print on Lenox paper. Edition of 45

Be sure to check out Maya’s Site and her show at Gallery16. Although Maya is no stranger to SF, it’s a treat to get some great talent from Brooklyn over here.  Here is  a video she did with Xlr8r Tv…!


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Diggin’ on…. Miss BUGS

He Felt Rubbish as She Forgot Him

The collective name can be deceiving at first I thought it was one lady just handling biz, turns out its female artist Miss and male artist Bugs. They have been working together since 2007 adding a little color and creativity to the streets of the UK.

Dirty Art Money

Miss got back to me and mentioned she liked the blog and a mix is possibly on the way. She’s a fan of making top ten list, So I told her to send em our direction. Currently they are preparing a second show in New York and hopefully one closer to home, in the UK. Also they will be expanding on their new street project ‘Cut Out and Fade Out’.

The Queen Stole From Them All

Be sure to check out MISS BUGS site!


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Guest Mix #8 // Julian C. Duron

Green Storage Unit
Acrylic on Panel 48″ x 32″

This time around for the Guest Mix we got up and coming Brooklyn, New York artist Julian C. Duron. Who’s work is up at the downtown Baltimore space Nudashank. Along with painting, Julian is a corespondent for fecalface, a videographer, and works in other various media such as sculpture, drawings, vector art, and photography.

Portrait of Found Materials
Acrylic on Panel 46″ x 48″


There is no such thing as a freestanding work of art. Each work is bracketed by: 1) everything that came before it, and 2) the next blank canvas. Between the two is the grand gulf that excites artists and collectors alike. My paintings emerge almost exclusively from the natural environment. Textures – organic, synthetic, and imaginary – are an important part of the composition, and are natural outgrowths of the subject matter.

impossible Corner
Acrylic on Panel 44″ x 63″

Here is part 1 of Julian’s….

Alright, so Julian didn’t give me a playlist nor any words on the mix but I did recognize that he put some dope shitgaze tracks, a few chill wave songs, and other groovy tunes in the mix, beat matched pretty good I might add.

I present you with…

Be sure to check his sites….

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Jamie Felton

One Must Go, One Must Stay

So Jamie hooked us up with some art in the early days of thizz.face.disco. She re-did her site, so we lost some pictures and I fell off on asking artist if we could post their work on the blog. Now I’m starting to get back on it. Yee!

With that said I present you with Jamie Felton

Isolated by Vacillation

artist statement:
I approach my work almost as a diary, admitting to my own failures and referencing personal events in my life. I am attempting to create personal narratives. The artist hand plays a significant role in my work. I believe it makes a more sincere and interesting gesture. The flat map-like style of paint handling displays a lighthearted tone which functions as an entrée point for the viewer. I use collage as an outlet to create unconventional spaces. My process is based on a reaction of marks. This cause and effect way of making lends its self to surprise. The unexpected juxtapositions of objects and non-sequitar motives are humorous and confusing. I am attempting to work in mediums, which include painting, drawing, and installations to tell a coherent narrative of these imaginative places and ideas that parallel with my own life.

With that said I asked Jamie about her influences, television, and new things in the works…

Just the Two of Us

MM:So do you watch much television and is pop culture a source of influence on your art work?
JF: Pop culture, kitsch objects, yes they all seem to seep into my work, even though its not intentional and not completely obvious. I think I am more interested in how much power and weight a pop culture reference in a piece holds when its juxtaposed to other objects.

For example:
a blue tarp has so much history. We know what that object is used for and what it does, and where it can be found. But, when one uses this tarp in a completely different way… what happens?

So I think pop culture is a neat tool on your Adobe Photoshop tool bar.

We Were Safe, We Were Fine, and We Were Perfect

JF:In one of my projects “My Boy Collection, My Cactus Collection” It has thirty cactus labeled with all my crushes from 1986-2009, which includes all the members of N’sync, Hanson, Blink 182, Bob Ross, Kanye West, but its also mixed with my real and current crushes in my life.

I try to approach my work with all the honesty I can give, but sometimes the only thing that comes out is Chris Isaak (Wicked Game) lyrics.

JF:So yes.. I watch a fare amount of television, and listen to my Mariah Carey on repeat. I wish I made more time in my life to chill out and watch more television.

MM: Any installations soon? New Projects?
JF: I will be having a show at Lobot Gallery, in Oakland, CA (Jan. 30th) I am also working on a video installation project with my friend Tucker Bennett, involving 14ft of Mariah Carey lyrics and love candles.

It’s all about those love candles!

Sweet! Be sure to check Jamie out some other places on the interwebz….


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Apocalyptic Landscape ~1912

Ludwig Meidner (1884 – 1966)


The Toil of Trace and Trail

Illustrations by Paul Bransom
New York Macmillan Co. 1928







By Doro Hoffman



Chris Ware (born December 28, 1967) is an American comic book artist and cartoonist, best-known for a series of comics called the Acme Novelty Library, and a graphic novel, Jimmy Corrigan, the Smartest Kid on Earth. Born in Omaha, Nebraska, he resides in Oak Park, Illinois as of 2007.
Ware’s art is eclectic in its influences, and largely reflects his love of early 20th century American aesthetics in both cartooning and graphic design, shifting through dozens of artistic styles from traditional comic panels to advertisements to cut-out toys. Although his precise, geometrical layouts may appear to some to be computer-generated, in fact Ware works almost exclusively with “old-fashioned” drawing tools such as paper and pencil, rulers and T-squares. He does, however, sometimes use photocopies and transparencies, and employs a computer to color his strips.

His work shows tangible influence from early cartoonists, like Winsor McCay and Frank King (creator of Gasoline Alley); especially in its layout and flow. Outside the comics genre, Ware has found inspiration and a kindred soul in artist and sculptor Joseph Cornell, both men sharing a need to capture items of nostalgia, grace, and beauty within “boxes.”[1]

Ware has said of his own style:

” I arrived at my way of “working” as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I “draw”, which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world. I figured out this way of working by learning from and looking at artists I admired and whom I thought came closest to getting at what seemed to me to be the “essence” of comics, which is fundamentally the weird process of reading pictures, not just looking at them. I see the black outlines of cartoons as visual approximations of the way we remember general ideas, and I try to use naturalistic color underneath them to simultaneously suggest a perceptual experience, which I think is more or less the way we actually experience the world as adults; we don’t really “see” anymore after a certain age, we spend our time naming and categorizing and identifying and figuring how everything all fits together. Unfortunately, as a result, I guess sometimes readers get a chilled or antiseptic sensation from it, which is certainly not intentional, and is something I admit as a failure, but is also something I can’t completely change at the moment.”