Iconic skateboarder and designer Mark Gonzales has always been known for his artistic ability, which he is now flexing through two new prints of his that have showed up online. The 18 x 18 inch displays, named Flower and Jacobs, both feature floral designs with a variety of colors used to express the beauty of nature.
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With her new exhibition, The Game of Life, Brenna Youngblood presents around fifteen previously unseen paintings linked to her daily life and urban surroundings. The artist is able to capture the pulse of the city and her paintings vibrate with the rhythm of the ‘City of Angels’. Her work clearly shows the contrast between the two faces of Los Angeles, the glamorous Hollywood side and the trashy South Downtown, an area which was made famous through films, hip hop culture and gangsta rap.
Brenna Youngblood gathers different elements in her work just like a city gathers populations of various social and cultural origins. From this mix, the artist sources the inspiration and force which characterise her work. She recycles and sticks different materials such as wallpaper, ribbon, cardboard, material or linoleum with fake wood and brick on the painted canvas. This forms an original blend which reminds us of the famous ‘combine paintings’ by Robert Rauschenberg (1925-2008, United Kingdom). Another example of the Neo-Dada and Pop Art influence can be seen in Brenna Youngblood’s work when she inserts manufactured elements like printed letters into the compositions. Just like David Hammons (born in 1943 in Springfield, United States), a leading figure of the afro-american art scene, she creates work using puzzles. Brenna Youngblood steers away from figuration and moves towards conceptual art by choosing objects in a precise context.
Opposite – Heaven, 2017
Exhibition runs through to June 10th, 2017
Galerie Nathalie Obadia
8 rue Charles Decoster
1050 Brussels
Belgium
The Rivington Race backpack has a cylindrical profile with a flat top and leather reinforcement for its bottom. Other details include buckled compression straps at the sides that can be adjusted to your preference, alongside a zip pocket, while a Saint Laurent engraved metal plaque finishes off the minimalist design.
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This is the first time that Andersson has reimagined her unique visual language through woodcut print. Each depicts an animal, person, place or object delicately and laboriously hand printed onto fine Japanese paper. This is an important step for Andersson who has long created wistful landscapes and domestic scenes. Each print is unique as the texture of the wood, the viscosity of the ink, and the placement of the woodblock cannot be repeated more than once. Andersson rejects the history of print-making and its
aspiration of image reproduction. Instead she embraces the elements of chance involved in hand printing, using the slight slippage and misalignment of the images as part of the work. This creates a series in which the prints are all related, but in each the thick oily pigment tells a different story.
Andersson cultivated the idea for these prints at her summerhouse in Gotland, a wild and small island off the east coast of Sweden. The arrival of an old printing press gave the studio ‘a new heart’. The hares, red deer, black cats and tall trees bending in the breeze provide a window into Andersson’s beginnings as a landscape painter and the countryside of her childhood. Hunting and fishing remain a central part of Swedish culture and these references allude to Andersson’s concern with the slippage of time and
the ever-present desires of humanity.
Opposite – Cave, 2016
Exhibition runs through to May 27th, 2017
Stephen Friedman Gallery
25-28 Old Burlington Street
W1S 3AN
London
The Palace x adidas Originals 2017 Summer collection will be available at Palace’s London and New York stores, as well as online, from June 16th, 2017.
www.adidas.co.uk
www.palaceskateboards.com
For Keep Out, Heikes expands on his “Music for Minor Planets” drawing series, first started in 2013, releasing the delicate, graphite compositions from the two-dimensional confines of paper and wall and transforming them into a large-scale sculpture. The three copper sculptures, each measuring 10 feet in height, 15 feet in length, and 10 feet in width, visually references sheet music and will occupy much of the gallery’s floor space. Its bars, made of bent wire, expand and contract within and beyond their frames, engaging the surrounding space and seemingly reacting to unseen forces. Its musical notes, appearing as wax orbs, are in some instances affixed to the bars and in others have fallen to the floor, scattered. The work at once compels and repels the viewer, contributing to the overarching sense of tension. The sculpture takes inspiration from some of Heikes’ favorite musicians like Terry Riley, and highlights the power of additive intervention to change and alter artistic intention and experience.
Opposite – The Devil Has Left My Building, 2015
Exhibition runs through to June 17th, 2017
Marianne Boesky Gallery
509 West 24th Street
NY 10011
