“Hey Jane” is from the new Spiritualized album (their seventh studio album) Sweet Heart Sweet Light, which is out via Fat Possum in the U.S. on April 17 and Double Six on April 16. Anyone ordering the new Spiritualized LP from Double Six will get a work of limited edition art: heavyweight white double vinyl.
www.fatpossum.com
www.spiritualized.com
In tribute to the 500th Episode of The Simpsons, Fox and Santa Cruz have created a limited edition Bart Slasher skateboard deck. The Bart Simpson Slasher design is based on the original Santa Cruz Skateboards Keith Meek Slasher Pro Model, featuring a special Matt Groening artwork. The decks are limited to 500 pieces, each individually numbered.
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The Responsive Eye was an exhibition held at MoMA in New York in 1965. It brought together artworks by so-called ‘Op’ and minimalist artists such as Bridget Riley, Josef Albers, Viktor Vasarely and Almir Mavignier. The curator William Seitz described the show an ‘exhibition that would indicate an activity, not a kind of art’.
In the catalogue text Seitz writes, ‘The eye responds most directly when nonessentials such as freely modulated shape and tone, brush gestures and impasto are absent.’ He argued this was ‘non-objective perceptual art‘, art that ‘exists primarily for its impact on reception rather than for conceptual examination… Ideological focus has moved from the outside world, passed through the work as object, and entered the incompletely explored region area between the cornea and the brain.’
Opposite – Paul B Davis, ‘Surviving the 90’s No.1’, 2011
Exhibition runs through to May 12th, 2012
Jacob’s Island Gallery
56 Butler’s & Colonial Wharf
10–11 Shad Thames
London
SE1 2PY
For several years Trowbridge has been investigating how technology alters the dynamics of inter-human relationships. His grand new paintings are at once abstract geometric paintings and functioning Quick Response (QR) codes. They are about 8 feet square. Their appearance, paint handling and palette reference canons of abstract geometric painting, such as Gerhard Richter’s Color Chart paintings (1966-), Piet Mondrian’s Broadway Boogie Woogie (1942-43), Hans Hoffman’s later abstract paintings and Josef Albers’ Homage to a Square (1965).
On the other hand, these colorful paintings, once scanned with the proper application, yield a text written by the artist. Usually one sees these QR codes, the next generation of barcodes, on product packaging and promotion materials. Scanning the black and white squares with a QR application on a smart phone can link the user to websites, text, and other kinds of data at a remote source. The hallmark of a QR code is an equal sized square within a square, repeated three times in the lower left, upper left and upper right corners of a larger square. With the frame established, a computer can read, in a zigzagged and zoned pattern, the binary code contained within it.
Exhibition runs through to March 31st, 2012
Dorsch Gallery
151 NW 24 St
Miami
FL
33127
Berkenblit applies a distinctive palette of vigorously mixed colors with assertive broad brushstrokes and some scraping of the palette knife. Her shapes are rough yet well-defined fields of color; occasional black outlines can define an object, an animal, or the features of a face. Out of the paintings’ visceral physicality emerge certain themes, motifs and ideas: a head in profile featuring intense black lashes and long shimmering hair, lacey ribbons (painted as angular and deliciously awkward bands of paint that vigorously pull together the paintings’ fore- and middle-grounds). Even purely atmospheric sensations such as clouds, bolts of sun light, rainbows and starry night skies find expression. These images simultaneously emerge out of the subjects’ relevance and the visibly exuberant act of painting.
The paintings’ spirit is bold, boisterous and forceful, sometimes mysterious, always deeply emotional. The interplay between figurative elements, the intense atmosphere created by color contrast and tonal palette, as well as the compositional devices create figurative paintings of great fluidity and openness without being narrowed by narrative.
Opposite – Snodgrass, 2011
Exhibition runs through to March 31st, 2012
Anton Kern Gallery
532 West 20th Street
New York
NY
10011
Before the sold-out OFWGKTA show at the Hammerstein Ballroom, we went down to the LES in Manhattan to check out the new Odd Future pop-up shop, where they sling self-described “ugly, tacky shit.”
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