This summer's concept goes green - keep reading for more (click below to go to t_a_i_s on Flickr):

From Dexigner:

PF1 (Public Farm One) is an urban farm concept that evokes the look of a flying carpet landing in the P.S.1 courtyard. Constructed from large cardboard tubes, its top surface will be a working farm, blooming with a variety of vegetables and plants. The structure will create a textured, colorful, and constantly changing surface in contrast with P.S.1's angular concrete and gravel courtyard.

MoMA we love you, xoxo.

Barbara Hashimoto: Junk Mail exhibition, sponsored by the Chicago Art District & Podmajersky, Inc.,  has landed on Whatever Land. Thanks to photographer Archie Florcruz, a guest at the 2nd Friday Gallery Walk (2003 S. Halsted Street, East Pilsen, Chicago,) Hashimoto’s junk mail creations landed on his popular photo sharing site Whatever Land.

Florcruz posted “Junk Mail Landscapes” and “White Trash: Available” plus guest artists Michael Kozien’s suite of video and sound junk mail explorations. He also clicked away as guests sat in front of the mounds of hand shredded junk mail while being taped making “true” Junk Mail Confessions. Here was a chance for the photojournalist to document over a year’s worth of hand-shredded junk mail by fine artist Barbara Hashimoto.

“Advertisers need to be more conscious of people’s right to quality of life,” says Hashimoto from a packed gallery opening this past Friday, “Junk mail is an intrusion into that right.”

Other special events throughout the year include Junk Mail Landscapes, Junk Mail Interiors, and Junk Mail Christmas where trees will be decorated using hand shredded Catalogues and other Holiday related Junk mail.

JUNK MAIL FACTS: 100 million trees are cut down to produce junk mail annually. The majority of junk mail is produced from natural forests. In 2006, Americans received 77 billion pieces of junk mail. In 2006, more than 15 million trees were cut down to produce the 1.8 billion pounds of undeliverable junk mail. (That’s above and beyond what was delivered.) 44% of the junk mail received goes unopened into the landfill.

Born in New Jersey and educated at Yale, Hashimoto’s work has been exhibited throughout Japan, The U.S. and The Middle East and is in more than 250 public and private collections including The Smithsonian Institution’s Museum of American Art, The Museum of Arts and Design (New York) and The National Museum of Women in the Arts.

> Whateverland Hashimoto: Junk Mail Photos

> Barbara Hashimoto Website

Barbara Hashimoto: Junk Mail exhibition, sponsored by the Chicago Art District & Podmajersky, Inc.,  has landed on Whatever Land. Thanks to photographer Archie Florcruz, a guest at the 2nd Friday Gallery Walk (2003 S. Halsted Street, East Pilsen, Chicago,) Hashimoto's junk mail creations landed on his popular photo sharing site Whatever Land.

Florcruz posted “Junk Mail Landscapes” and “White Trash: Available” plus guest artists Michael Kozien’s suite of video and sound junk mail explorations. He also clicked away as guests sat in front of the mounds of hand shredded junk mail while being taped making “true" Junk Mail Confessions. Here was a chance for the photojournalist to document over a year’s worth of hand-shredded junk mail by fine artist Barbara Hashimoto.

“Advertisers need to be more conscious of people’s right to quality of life,” says Hashimoto from a packed gallery opening this past Friday, “Junk mail is an intrusion into that right.”

Other special events throughout the year include Junk Mail Landscapes, Junk Mail Interiors, and Junk Mail Christmas where trees will be decorated using hand shredded Catalogues and other Holiday related Junk mail.

JUNK MAIL FACTS: 100 million trees are cut down to produce junk mail annually. The majority of junk mail is produced from natural forests. In 2006, Americans received 77 billion pieces of junk mail. In 2006, more than 15 million trees were cut down to produce the 1.8 billion pounds of undeliverable junk mail. (That’s above and beyond what was delivered.) 44% of the junk mail received goes unopened into the landfill.

Born in New Jersey and educated at Yale, Hashimoto’s work has been exhibited throughout Japan, The U.S. and The Middle East and is in more than 250 public and private collections including The Smithsonian Institution’s Museum of American Art, The Museum of Arts and Design (New York) and The National Museum of Women in the Arts.

> Whateverland Hashimoto: Junk Mail Photos

> Barbara Hashimoto Website

Le Jeu de Paume (Concorde)

Richard Avedon : Photographs 1946 - 2004
from 07 01 2008 until 09 28 2008






Organised by the Louisiana Museum in Humlebaek with the cooperation of the Richard Avedon Foundation, this exhibition surveys the whole of Richard Avedon's career, starting with his first steps as a fashion photographer at the end of the Second World War.

Photographie Richard Avedon
Autoportrait
Provo, Utah, 20 août 1980
© 2008 the Richard Avedon Foundation

“A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.”

Richard Avedon

Born on May 15, 1923 in New York, the son of a Jewish Russian family, Richard Avedon is one of the very rare artists to have leapt from being a “non-serious” photographer to being a “serious” one, and it is as such that he made his mark. The most prestigious institutions have organized retrospectives in his honor since the 1960s but these shows have often focused on fashion as a central theme.



THE EXHIBITION

The exhibition "Richard Avedon: Photographs 1946-2004" takes a look at his career as a whole. Some two hundred and fifty photographs are presented to this end, taking us from the glamour of Paris fashion in the 1950s to celebrity portraits – writers, actors, musicians and artists – to portraits of unknown faces. The exhibition travels here from Humlebæk and Milan, and in Paris, it has been complemented by a large selection of his photographs from his In the American West series, a key body of work in Avedon’s artistic development.

Regardless of the quantity or the era of all of these images, there is one common denominator: the portrait. Whether through reportage, snapshots or fashion photographs, Avedon creates portraits – moments from a performance, captured with subtlety by the lens and reflecting an empathy, a responsibility he shared with his subjects. Rather than represent an arbitrary point of view, Avedon strived to unveil various facets. Although a photograph is “faithful” by nature, he proves that a portrait can show more than simple superficial reality.

BEGINNINGS

At the age of 19, Avedon enlisted in the Merchant Marine where, for two years, he took ID photographs of crew members. Immediately after, he began working as an advertising photographer for a department store. He was quickly noticed by the legendary Alexey Brodovitch, who was at that time the artistic director of the fashion magazine Harper’s Bazaar. In 1946, Avedon opened his own studio and worked for different magazines, notably Life and Harper’s Bazaar, for which he soon became head photographer – a position he kept until 1966, when he moved to Vogue. His lively and passionate eye transformed fashion photography from something monotonous and stiff to something dynamic and entirely innovative for its times.

Photographie Richard Avedon
Dovima et les éléphants
Robe du soir de Dior, Cirque d'Hiver, Paris, 1955
© 2008 the Richard Avedon Foundation

Photographie Richard Avedon
Suzy Parker and Robin Tattersall, robe de Dior
Place de la Concorde, Paris, août1956
© 2008 the Richard Avedon Foundation

In 1946, Avedon traveled for the first time to Paris – the fashion city par excellence. Magazines at the time were interested in perpetuating prewar glamour; models looked like Art Deco statues – simple “coatstands” on which “creations” were hung. Inspired by Martin Munkacsi, Avedon gave life and movement to these soulless statues – and, consequently, to the photographic experience itself. Avedon wasn’t only photographing posing models, he was creating images.



PORTRAITS

In Andy Warhol and members of The Factory (1969), we see a sloppy-looking group of people – in different states of undress – that the photographer seems to have observed and then captured at the right moment. Upon closer examination, however, we see an entirely different reality. This is in fact a complex tableau, with Avedon in control of its every detail. His photograph is staged and explores a performative aesthetic that underlies the improvisational method with hyper-professional manipulation and control.

Andy Warhol’s Factory represented the quintessence of the sexual and artistic revolution of the late 1960s, and for Avedon New York and its cultural milieu became an inexhaustible source of inspiration. Taking portraits of personalities accustomed to playing a role were the great challenge for him. Although very early on he became the (very well paid) photographer of high society, he never sought to please – quite the opposite. Non-public performers like visual artists, composers, and writers were also exposed to his penetrating eye that captured several sides of a same being, bringing them to the fore at once in a single and unique portrait. The white background purifies the composition: nothing remains but the clinical and psychological interpretation of the complex creature that is every human being – an interpretation that Avedon suggested along with the “model.”

Photographie Richard Avedon
Alberto Giacometti
Paris, 6 mars 1958
© 2008 the Richard Avedon Foundation

Among the most revealing images that draw on this approach are the portraits of his father taken between 1969 and 1973, a period when he was being devoured by cancer. The series never pretends to forever seize the personality of a beloved relative, but is rather a memento mori that, through both tenderness and ruthlessness, represents the role Avedon assigned to photography: to record the surface of things or, one could also say, the imprint of survival.



IN THE AMERICAN WEST

“It isn’t about the West, I could have done them anywhere in the world. The portraits are about people – all my work is – forget the West.”

Richard Avedon

Exploring the “depth of the surface,” Avedon’s portraits owe their intensity not to a dislocation between “true” and “false,” between authenticity and pretence, but to the fundamental perplexity of the model with regard to the image he has of or that he offers of himself. This is demonstrated in the In the American West series, the fruit of a commission from the Amon Carter Museum in Fort Worth, Texas. Between 1979 and 1984, Avedon traveled across the western part of the United States, which was suffering from the effects of a serious economic recession. Along the way, he focused his attention on very specific places: ranches, coal mines, cattle fairs, slaughter houses, truck stops, for example. He took portraits of drifters, farmers, minors, waitresses, etc., cutting them out of the environment that is normally their own.

The idea was to bring outsiders and the disadvantaged into the tradition of the portrait, to place the weak where the strong are usually represented. To do so, Avedon used the same approach he did for celebrities: the studio, the neutral background and lighting – that is, the elements of his immediately recognizable style. But, the In the American West photographs were taken in an outdoor studio and models stood in front of a simple piece of white paper hung on the side of a truck.

Photographie Richard Avedon
Sandra Bennett, 12 ans
Rocky Ford, Colorado, 23 août 1980.
Photographie extraite de la série In the American West
© 2008 the Richard Avedon Foundation

Photographie Richard Avedon
Roberto Lopez, ouvrier sur un gisement pétrolifère
Lyons, Texas, 28 septembre 1980.
Photographie extraite de la série In the American West
© 2008 the Richard Avedon Foundation

What resulted were uncompromising images in which Avedon was able to depict the daily struggle to survive and the decline of a system of values traditionally associated with the American West. Humane and deeply sober records, these life-size portraits of anonymous Americans from the most underprivileged strata of society immediately became classics in the history of photography.



PHOTOJOURNALISM

In the 1960s, Avedon also ventured into photojournalism, covering such hot subjects as Civil Rights campaigners in the American South (1963), the Ku Klux Klan, patients in a mental hospital and the Vietnam war — both in the country itself, where he photographed military officers and napalm victims, and back home, where, a pacifist himself, he covered the hippie protests against the war.

In 1974 Avedon exhibited a series of his father, then dying of cancer, at the Museum of Modern Art in New York. During this decade he continued his fashion photography and reportage, and also produced a series of 73 portraits of America's political elite for Rolling Stone.

The early 1980s saw Avedon produce a long series of 700 portraits of middle class and poor Americans from the 17 western states. As if to refute the myth of the American West, these portraits, all taken outdoors against a white ground, show closed, tense and introverted faces with an intense but subjacent emotional power. At the end of the decade, a commission from the French magazine Égoïste gave Avedon the chance to cover the fall of the Berlin Wall.

Text © Le Jeu de Paume
Images © 2008 The Richard Avedon Foundation. All rights reserved

Links

• Le Jeu de Paume (Concorde)
• The Richard Avedon Foundation

Espaces Arts & Objets Swiss Art Gallery

Disclaimer & Copyright

I really think his work is something quite special. There's something enticing about the almost religious aesthetic combined with what is quite often very graphic content.

I love the vomiting rainbows.

We agreed that Kenro has a very successful method of evoking "the sacred" and expressing a particular sense of a place in his photographs through formal means, and the exhibition clearly demonstrates this. Kenro creates dramatic compositions, and waits for the right lighting conditions to express the "spirit" or essence of a place. He pays particular attention to texture of the materials  used to build the structures and monuments including stone, volcanic ash, and mud brick as well as qualities of the natural landscape. His choice of photograph printing, the platinum palladium process, accentuates these details as the process yields fine detail in a photographic print.

Interestingly, we also agreed how seamless the process could look to the to our visitors, in other words, they may be thinking that Kenro very easily snapped a beautiful picture without much effort, but in actuality, he often makes arduous journeys through remote parts of the world, climbing mountains, hiking through jungles, and camping outdoors in all types of weather conditions to create his photographs. His camera alone weighs nearly 300 pounds! And his large negatives measure 14 x 18 inches, so he is limited to the amount of film he can bring to a particular site. Exposure of each negative must be carefully calculated. The negatives are then brought back to his U.S. studio for processing and printing. All in all, a painstaking process, but not without its rewards.

But home I must go.....my work here, for the time being anyway, is done (finally!) and I badly need some rest and recuperation. I must also see my family before they forget what I look like!

 It has been a long arduous journey. Maddeningly frustrating at times, when, for every step forward. I seemed to be taking three steps back but that said, as I look around now at all we've managed to complete in such a relatively short time, I feel a huge sense of achievement. The villa, the pool, the studio, ther landscaping are all but finished - and look amazing! 

The island has proved a wonderful place to be and the friends I have made along the way, with their constant, all-embacing support and encouragement have shown me that Skiathos is indeed a very special place and one that I feel very privileged to be able to live in.

I shall return after a month or so, ready to start the art classes and painting holidays in earnest with a (hopefully!) new-found energy and fresh enthusiasm and  this time without the distraction of cement-mixers and builders rubble! I look forward to meeting new artists (and would-be ones) and to continuing my love affair with this magical part of the world and it's generously welcoming people.

I hope you've enjoyed  my week by week account of my new venture and , I hope you've been sufficiently inspired so that will one day you will decide this is somewhere you would like to visit (and paint!) too. A warm welcome awaits you at Villa Nicara.

 I've  been busy working on new paintings. These are two more I've just completed which I'll add to the current exhibition on the Bourtzi, (to replace the ones that have been sold):

'Skiathos Dancers in Traditional Dress'

oil on canvas, size 1m10 x 76cm

'Skiathos Dancers' Detail 1

'Skiathos Dancers' Detail 2

'Olive Tree' oil on canvas 60 x 80cm - SOLD

'Olive Tree' Detail 1

'Olive Tree' Detail 2

'Olive Tree' Detail 3

 If you're visiting the island do try to visit  - the exhibition will run till the end of August - and new works are added all the time.

Also, fellow English artisit Gail Stathakis is holding her first solo exhibition; 'The Skiathos Dream' at the 'Archipelagos Gallery' (newly aquired by the charming Tassos Bifkinis and his delightful wife, ViVi) in Skiathos town. Be sure not to miss it - It is a wonderful opportunity to see Gail's exquisite pastel drawings of Skiathos landscapes. Earlier in the week I attended her opening night. here are some photos of the wonderful event:

There's another general exhibition of Skiathos artists work being planned for mid August (this time at Evangelistria Monastery, hopefully ) so I have lots of painting to do...not to mention a new website to build....

But for now, I'm ready to get on that plane, leave the sunshine, beaches, olive groves all behind and head for home....and get some SLEEP!

(back soon!)

Fitted body cut. 4.3 oz. 100% combed ring spun cotton 30/1 fine jersey. Taped shoulder-to-shoulder. Double-needle sleeves and bottom hem. Colors: Army Green, heather, Royal, Black, Kelly, white, Brown, navy, Light Blue, Charcoal, Red, And Light Pink.

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The exhibition is about a Thai male-to-female transgender, also known as "kathoey". This collection aims to look deep inside the minds of these transforming people. Doesn't it sound very grand?  The inspiration for his work sprung from his observation of the sheer numbers of "kathoey" and the many who want to be transgenders in Thailand. And they are ubiquitous, whether in different occupations or classes, from a labouring job to famous celebrities. These people can live in Thai society without any pressure unlike those in a foreign country.

According to the news there are approximately 100,000 male transgenders in Thailand, but personally I think the number is surely far greater than that as there is still a certain number who have not made a decision to transform themselves yet.

You can read (in Thai) more about this exhibition and see some of the work here.

Displayed below is a photo from the Exhibition:

Updates about the movie will be posted up soon enough, I just need to get some more work done with it! ;)

-1407-

The main positive point is that I got a lot of publicity. My flyers got seen by a lot of people, some of who came to see the show, others who just looked at the work online and others who cam up to me and said "are you the artist?". Add to that the local news coverage I got in Beit Shemesh and the mention in the "what's on" in the press in Jerusalem, that's quite something.

In addition, I can chalk up the exhibition as an event both for my own ego and when talking to potential customers and galleries and in today's market and in Jerusalem, it's not so bad that I didn't sell anything. Everyone is having a hard time selling.

So what next?

On Wednesday I brought all the pictures back from the gallery except for two (this and this) that Haim is keeping there. He has taken the opportunity to reorganize his walls and he has some nice stuff there now. I hung a couple of the framed pictures at home and another in the office and I will put the rest into storage.

I need to work now on widening my channels for showing my work and for sales. With most of my pictures back in my storage, the chance of selling anything has gone down a bit but I have some ideas already and more coming.

• I am currently working on an upgrade to my website including the integration of PayPal and online checkout. I am also going to do a review of item statuses to reflect that work can be on sale online (and dispatched by mail) in a gallery or by enquiry (larger, framed and more expensive pieces). I have already made changes in the search but there is more to come. You may remember that a couple of weeks ago I sold a piece from the web site so I decided to invest some effort here.
• I am thinking of going back to my idea of a large piece for a public place to get some work on permanent display (apart from the free publicity when it goes up).
• I am also thinking of finding a second gallery and not in Jerusalem - like Tel Aviv. This is quite a project for me as I know nothing about Tel Aviv and just getting there will involve investing large amounts of time.
• What I won't be doing is disaplaying in any group shows in Beit Shemesh, unless somebody comes to me with a very good proposal for something considerably better than any of the shows that have been up till now.

So as you can see I have a few ideas to be working on. Readers, do you have any more?

Most All-Star games (for the sake of space I'll start referring to them as ASG) are meant to be an exhibition of the game's greatest players, and the MLB ASG acts like it is no exception. Except, that is, for the fact that after the 2002 ASG fiasco (the game ended in a tie after the 11thinning because both sides had used up all of their pitchers) Bug Selig decided to attach some importance to the game by giving the team from the winning league home field advantage in the World Series. Some people don't like this idea but that is a topic for another day. Another topic for another day is how important home field advantage actually is in the World Series. For the sake of this discussion, let's assume home field advantage is something that every team really cares about getting.

The first thing MLB needs to decide is if they want the ASGto be an exhibition of its greatest players or a game that actually counts. Having it be a combination of both, as it is now, just doesn't work. If they want it to be an exhibition game, then I really don't have too much problem with any of the rules they have in place, actually. Exhibitions are meant to be fun, to get all teams represented, and to have all of the players there get a chance to play.

However, if they want the game to mean something then tell that to the managers and have them actually manage the game like they want to win. Here are three things that need to be changed.

1. Get rid of the rule that every team has to have a representative in the ASG. If your team doesn't have any players in the ASG, too bad. Maybe that will serve as a wake-up call for you to actually go out and get some good players so your team doesn't get snubbed again next year. I mean, seriously, Christian Guzman is the best player the Washington Nationals were able to send? I have four fantasy baseball teams, so I have heard of Christian Guzman, but I didn't know that he was playing out of position (he played 3rd base last night, and he usually plays short stop) until I read an article about it.

2. Tell the managers to stop feeling like they have to let everyone play. The National League probably would have won, had they not downgraded their team at 3 key positions. First, there was no reason to take out Albert Pujols. He is the best pure hitter in the game and he was 2 for 3 when he was removed. He was playing DH, so it's not like he would get worn out batting 5-6 times and doing nothing else, either. Second, as much as I love Dan Uggla (I have him on one of my fantasy teams), if Chase Utley would have been left in to play the whole game it probably wouldn't have even gone past the 10th inning because Uggla would not have had a chance to ground into the double play in the top of the inning. Third, as mentioned before, because of the poor managing of Clint Hurdle, Christian Guzman had to play out of position at 3rd base, when he could have just as easily left Chipper Jones in the whole time, or inserted David Wright into the position and not into DH for Pujols. I'm sure there are as many instances of severe downgrades that the American League had too, but these three examples prove the point well enough, so I'll move on.

3. Stop babying the pitchers. This kind of goes along the same lines as the previous item, but takes it one step further. The big thing Joe Buck and Tim McCarver were discussing for the last 6 innings was what Terry Francona was going to do if he reached the point where his only pitcher left was Scott Kazmir. The reason they kept discussing this was because Kazmir has thrown 104 pitches on Sunday when he pitched, and since the Rays and Red Sox are only 1/2 game apart Francona didn't want to risk taxing Kazmir's arm too much in the event it got to the point where he had to pitch. Frankly, my opinion is it never should have gotten to that point in the first place. I understand you don't want to have a pitcher throw too many innings since the game doesn't count in the standings, but why did Francona not let Cliff Lee pitch a third inning. Lee had 3 K's and only gave up 1 hit. Same thing with Roy Halladay. Halladay only threw 9 pitches in the inning he got to pitch, so he easily could have thrown one or two more innings. Not only that, but Halladay has pitched 7 complete games (yes, I said 7) this year already. That is more than any other teamhas thrown so far. I think he probably could have handled a higher pitch count than he got, and then Scott Kazmir would never have entered into the equation. The National League did the same thing. Ryan Dempster took 18 pitches to strike out the side in the 9th inning, but did he go out for the 10th? Nope. I think a guy who struck out every batter he's faced, probably deserves to pitch more than 1 inning.

Going back to Scott Kazmir for 1 more point...how do you think he felt, basically being called fragile (read: a wuss) for not being able to pitch for an inning 2 days after he last pitched? On top of that, 2 days after a pitcher's last start they usually throw a bullpen session anyway, so I don't understand why he couldn't have just used the inning or two he was asked to pitch as a substitute for his bullpen session.

Last point about the pitchers. I really, really wish the AL hadn't scored a run in the 15th, or in the 16th, or in the 17th, just to see what would have happened. Would Francona risk sending Kazmir out for a 4th inning? Would he have asked a position player to pitch? Would the AL have forfeited the game? As fans, we really missed out on something spectacular, and we missed it by about 3 inches (the distance to the left the throw from Corey Hart to Brian McCann needed to be so he could have tagged out Justin Morneau for the 3rd out in the 15th).

I hope I didn't give the impression that I wasn't entertained watching the ASGlast night, because I was. I'm just the type of person that looks at something, finds the flaws in it, and tries to come up with ways to fix them. To me, the above three things seem self-evident, but obviously they aren't. So, I felt I should share them with the world in the hopes that someone of importance will read them, absorb them, and apply them next year. If my as yet still-unborn daughter can never have to watch an ASG with me where the above suggestions aren't used, I will be the happiest man alive.

Headbands were popular last year (as seen in the above photo)

Here is the line up.

THURSDAY: CHARLES THEATER, 1711 N Charles Street
6:00 Missoula Oblongata (Baltimore + CT)
7:00 Rick Royer (Baltimore)
7:30 Ben Heresey (New York)
8:00 Blue Leader (Baltimore)
8:20 Teeth Mountain (Baltimore)
8:40 INTERMISSION
9:00 Leprechaun Catering (Baltimore)
9:20 Mark Hosler (of negativland) (Asheville, NC)
10:20 Ultimate Reality (Baltimore)
10:55 Nautical Almanac (Baltimore)
11:20 Matmos (Baltimore)

FRIDAY: 2640 SPACE, 2640 Saint Paul Street
6:00 A Murmered Tale (Baltimore)
6:45 Eagle Ager (Brooklyn)
7:05 Andy Abelow (Baltimore)
7:25 Matteah Baim (New York)
7:55 Santa Dads (Baltimore)
8:15 Wheatie Mattiasich (Baltimore)
8:35 Lesser Gonzalez (Baltimore)
8:55 Arbouretum (Baltimore)
9:25 Golden Age (x-more dogs)(Baltimore)
9:55 Jana Hunter (Baltimore)
10:25 Beach House (Baltimore)

SATURDAY: NORTH AVE LOT, 131 W North Ave
12:00 DOORS
12:40 King Cloud (Baltimore)
1:00 Smarts (Baltimore)
1:20 Benny Stoofy (Scrummage University)(Detroit)
1:40 Air Waves (Brooklyn)
2:00 Ed Schrader (Baltimore)
2:20 Facts (Baltimore)
2:40 Perm Hurdeler (Glasgow)
3:10 Food For Animals (Baltimore+DC)
3:30 Wzt Hearts (Baltimore)
4:00 The Creepers (Baltimore)
4:30 Lexie Mountain Boys (Baltimore)
5:00 Ecstatic Sunshine (Baltimore)
5:30 Bird Names (Baltimore)
6:00 Eyeball Skeleton (Baltimore)
6:30 DD/MM/YYYY (Toronto)
7:00 Mae Shi (Los Angeles)
7:30 The Deathset (Baltimore)
8:00 Killer Whales (Chicago)
8:30 Thank You (Baltimore)
9:00 Oxes (Baltimore)

SONAR, 407 E Saratoga St
11:00 Human Host (Baltimore)
11:25 Blood Baby (Baltimore)
11:55 Nuclear Power Pants (Baltimore)
12:15 Videohippos (Baltimore)
12:45 Celebration (Baltimore)

SUNDAY NORTH AVE LOT, 131 W North Ave
12:00 DOORS
12:30 Moss of Aura (Baltimore)
1:00 Jones (Baltimore)
1:20 Witch Hat (Baltimore)
1:40 Hearts of Darknesses (New York)
2:00 Teenage Souls (Baltimore)
2:20 Thrust Lab (Baltimore)
2:40 Ear Pwr (Asheville)
3:00 Kyle Mabson+Mincemeat or 10 Speed+Narwals (LA, Philly, Richmond)
3:40 White Williams (New York)
4:00 Adventure (Baltimore)
4:30 Club Lifestyles (Baltimore)
4:55 Future Islands (Baltimore)
5:25 Height (Baltimore)
5:55 Dan Deacon (Baltimore)
6:40 Trey Told 'Em (Gregg Gillis + HOD) (Pittsburgh + New York)
7:00 Grand Buffet (Pittsburgh)
7:30 Double Dagger (Baltimore)
8:00 Parts & Labor (Brooklyn)
8:30 Ponytail (Baltimore)
9:00 Black Dice (Brooklyn)

ANNEX THEATER>
11:00 Shams (Richmond)
11:20 Smart Growth (Baltimore)
11:40 Ninjasonik (Brooklyn)
12:00 Mark Brown (Baltimore)
12:20 Teengirl Fantasy (Oakland)
12:40 Egyptrixx + Alias (Toronto)
1:00 Wet Hair (Iowa City)
1:20 Sewn Leather (1980's)
1:40 DJ Dog Dick (Baltimore)
2:00 Who Is The Tunafish Man? (Dan Deacon + Girl Talk + Spank Rock)
Dawn: Cex (Baltimore)

Threadless
has reprinted Glenn Jones’ The Dark Side of The Garden, one of my
favorite of their geek-focused t-shirts. Jones explains how he created
the design:

“This one of those rare times where Ive had a few ideas for designs
and Ive been able to combine random elements, I had seen a topiary tree
and thought it may be a subject of a design and just worked back from
there, I drew it about 3 times, in each the black caped motorcyclist
was in a different position. Originally there was a ladder, but like a
lot of my designs I tend to end up taking stuff away, as I think
simplicity is always the best. I had drawn the version with the ladder
about 6 months before I subbed this and decided it didnt work. I forgot
about it but I found it one day going through some files, changed it
around a bit and subbed it. which Im glad I did, this is my most
reprinted design, and there seems to be a few people around who’ve made
some cash ripping it off too. Ive seen it printed on a few different
colours, maybe it will be here too at some stage.”

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The closing party of the Skin:Inks exhibition on July 10 had to be the coolest Hong Kong party in many months. Party goers, celebrities, über-cool tattooed guys and gals packed Cliq nightclub to celebrate skin art and raise funds for the Kely Support Group. So-u.Tv’s team was there to catch all the action including Phat Chan from 24 Herbs getting a tattoo by Gabe, David Beckham's tattoo artist. See it all at http://www.so-u.tv/playVideo.php?id=1888

紋身展覽閉幕酒會七月十日已在CLIQ舉行, 當晚氣氛熱烈人氣沖天, 有眾多的名人跟紋身藝術家出席, 曾幫碧咸紋身的Gabe更即埸為廿四味的陳偉雄紋身, 當晚作品拍賣所得將捐給啟勵扶青會作慈善用途, 想一睹當晚的盛況請收看http://www.so-u.tv/playVideo.php?id=1888

Jonathan

After that, I'm home for a weekend and hope to check out the Salvador Dali exhibit at MoMA. Julio Aguilera says great things about it, and he's a reliable source. I'm going, and you should, too. After that, the travel heats up again. On August 2/3, I'll be in Philly at the HotMovies.com party with Pornsaints.org. Julio will be showing paintings from his "Ladies of San Fernando Valley" series for the first time at the accompanying art show. Finally, I'll be at Internext in Hollywood, FL from August 8 to August 10. Following Internext, I hope to be home for about two months.

So, I should have plenty of new material coming soon. I've just been jammed lately.

And no, I won't be flying JetBlue.

Degree show 2008

Above is a selection of images from my graduate show.

The Aegean Center is currently hosting a group exhibition put together by Aegean Center alumna Dimitra Skandali ('98). 11 Friends in Paros (11 Φίλοι στην Πάρο) features the work of various Athens and Thessaloniki based artists, most of whom are currently studying at The Athens School of Fine Arts (Ανωτάτη Σχολή Καλών Τεχνών). 

Pictured above are charcoal drawings by Aliki Pappa and necklaces by Marilena Korovesi.

Painting, etching, sculpture and installations by Nefeli Soulakelli, Nikos Fotiadis, Eleni Giorgi, Despina Nissiriou, Christos Agelopoulos, Dimitris Katsoudas, Dimitra Skandali, Chrysanthe Libereou and Spiridoula Tsironi.

Through August 3. Open everyday from 11 to 2 and evenings from 7 to 12.