Kevin Francis Gray in Quebec

(click image to view larger)

Type A Opening at G+R

Fall opening season is beginning in Chelsea. G+R will open with a new installation by the artist duo Type A on September 10th. They've been hard at work for the past month installing a complex maze of hanging plumb bobs in the front gallery space. The final result looks fantastic -- stop by next Thursday evening to see the work and chat with Adam and Andrew.

Jeremy Earhart Collaborates with Designer Tracy Feith

Jeremy has been working with Tracy Feith on a few different exciting projects:

Jeremy's artwork can be seen in the window of Tracy Feith's Williamsburg shop, located at 64 Grand Street. More details to follow, but the artist has produced a line of apparel (t-shirts, sweatshirts, shorts, etc.) featuring his signature graphics that is for sale at Feith's Williamsburg and The Surf Lodge (Montauk, NY) retail locations.


Next up: TEEPEES. The artist recently look a trip out to Montauk, NY with Tracy Feith to participate in the designer's project for the Surf Lodge Teepee Collaborative. Each teepee will be auctioned off, with the proceeds going to support Montauk Skate Park. The teepees will be up until mid-summer, so take a look on your next weekend trip out to the Hamptons.

Check out the construction process (Jeremy can be spotted a few times throughout the video):

London Times Reviews Hayward Gallery Show

Walking in My Mind at the Hayward Gallery, London SE1
Joanna Pitman

The final room in the Hayward’s summer show, Walking in My Mind, contains an installation by a young Japanese artist, Chiharu Shiota. She is one of ten international artists invited to construct installations depicting the contents of their minds, and Shiota’s visualisation of her mental landscape is troubling.

She has filled a large room with a tangled web of black woollen threads, woven around a central group of five white dresses. The threads are densely spun, knotted in and out of one another in a spreading tangle, sticking arbitrarily to the floor and ceiling and quivering like the work of a giant malevolent spider. A narrow tunnel is left unfilled, allowing the visitor to creep around and view her thought processes, her networks of neurons and synapses from the inside.

Shiota has been creating these black webs since 1994 to exorcise her fears. She tells me that she grapples daily with powerful fears of the dark and of death, with childhood fears and anxieties about her identity and her future, and finally, with worries about losing her insecurities, which are what fire her artistic imagination. It is shocking being confronted with such tangible terror.

The curators Mami Kataoka and Stephanie Rosenthal’s concept for this exhibition came from their visualisation of the gallery as a giant head that invites visitors to wander around in the recesses of its mind. Their chosen artists — Yayoi Kusama, Charles Avery, Thomas Hirschhorn, Bo Christian Larsson, Mark Manders, Yoshitomo Nara, Jason Rhoades, Pipilotti Rist, Keith Tyson and Shiota — have constructed some intimately revealing works that allow us the privilege of creeping around inside the privacy of these creative heads.

Hirschhorn has built a giant fantasy brain, Cavemanman, out of curving tunnels and a series of chambers lined with adhesive tape in which you can explore, while physically and mentally losing your way. Inside, there is a wealth of data from Hirschhorn’s mind, philosophical books, girly pin-ups, clocks, piles of detritus in overflowing bins; and throughout there are groups of mannequins wrapped in silver foil, their brains connected with foil arteries.

Kusama, a leading figure in Japanese postwar avant-garde art, has made an installation of mirrors and balloons decorated with red and white polka dots. In this strange, hallucinatory chamber, the visitor quickly loses orientation and perhaps experiences some of the dizzying qualities of Kusama’s singular life.

This show is fascinating and illuminating, and as you emerge, you cannot help wondering how your own mind might be visualised in 3-D.

Hayward Gallery (southbankcentre.co.uk/walking), from today to Sept 6

Isca Greenfield-Sanders in Marie Claire Italy

Goff + Rosenthal Summer Exhibition

featuring works on paper by

Ain Cocke | Simon English | Scott Hunt | Isca Greenfield-Sanders | Faris McReynolds

June 17 - July 24, 2009
Opening Reception
June 17, 5-7 pm

Please note new summer hours:
Monday - Friday, 11am - 6pm

Isca Greenfield-Sanders, A Walk With Daddy, 2008

Direct to plate photogravure and aquatint, 23.5 x 22 inches, 59.7 x 55.9 cms, Edition of 50, $ 1500.00.

In the Studio with Titus Kaphar

Photo Credit: Elizabeth Weinberg

"In the Studio with Titus Kaphar"
Steven Psyllos
GIANT magazine
April 17, 2009

For the past year, 32-year-old artist Titus Kaphar has been prepping for “History in the Making,” his solo exhibit at the Seattle Art Museum, which opened April 3rd. The painter recently purchased a house in Connecticut, where he earned his M.F.A from Yale, and renovated his garage into a studio space. He and his wife also just welcomed their second son into the world. These days, keeping work close to home is a priority because Kaphar is a family man on a tight schedule.

The Setup
“This is my first solo show of this size. A year ago, they flew me out to see the space and we talked about the setup. Then I figured out what works best: Just make the work and stop thinking.”

Letting Go
Kaphar relied heavily on curator Sandra Jackson-Dumont. “You have to work with someone you trust. You have to have a good idea of their vision because then you can let them do that.”

Negotiation
“Four months ago, Sandra came to narrow down what would be included.” Some selections were obvious, while others were not. “There’s a nice piece that I had to pull out. I have conversations with it, like, ‘You figure out what you want yet?’ and it’s not saying. So I’m waiting. [I also ended up] including things I never intended on showing.”

Methodology
Kaphar’s work is more than painted canvases—he shreds them, crumples them into balls and stitches them together. “If I’m feeling hyped, then it’s time to deconstruct or do a drawing. If I’ve got that focused energy, then it’s time to paint.”

Time Management
With a small family and a budding career, Kaphar doesn’t play. “I get up at 5:30 A.M—my newborn doesn’t sleep—then I get my two-year-old up at 7:00 A.M., make breakfast. At 9: 30 A.M., I come into the studio and my here until 7:00 P.M. All that romantic ‘Ah, I gotta wait to be inspired’ kind of thing is gone.”