BACK TO SCHOOL: Erin Cosgrove’s Urfathrer Adams has eyes on a UNLV history of photography class at the Marjorie Barrick Museum. It is the first week of the 2016 fall semester and the current exhibition, FIVE, closes September 10. The gallery was quickly put to use as an art laboratory. It helps to hear about the work, and it becomes a refresher how to rethink art works, said Lauren Vaccaro, a senior majoring in Art History. “It’s also good to hear how others interpret art.”
The Las Vegas artist who did the life-size, nude statues of Trump says more will be created. He owns the mold. I Las Vegas Review Journal
SAVED MURAL: In Los Angeles, Yreina Cervantez's ‘La Ofrenda’ (1990) has been restored I SPARC
TACO PARTY: Frankly, Trump's presidential campaign can easily prompted a weekly Link + Ink dedicated to all the commentary. Below are just two from the current batch responding to Marco Gutierrez, the founder of Latinos for Trump who warned that mobile food is a threat from an "imposing" culture I NYTimes
“In the days when black-and-white photography reigned, professional colorists took on the task of creating technicolor views by meticulously painting pictures by hand.” From "When Photographs Were Colored By Hand" via Hyperallergic.
It's about time. Robert Williams, founder of Juxtapoz Magazine, has a solo show. It will be in his hometown in New Mexico, at the Center for Contemporary Arts, Sante Fe.
No beard for Bard? Shakespeare's portrait to be cleaned. May cost the playwright his facial hair, reports Daily Mail
Frieze ends its five-part series "looking back at the most significant exhibitions from the past 25 years"
Vulture sent comedian Eric André to the streets to critique New York City's public art.
Artsy offers four walking tours of New York's public art organized by neighborhood.
The NYTimes plans to kill regional art coverage.
3D is Banksy, says investigative journalist Craig Williams, who tracked a fw patterns. He makes a compelling argument that Robert “3D” Del Naja, the founding member of Massive Attack, is the elusive graffiti artist Banksy. I Daily Telegraph
Greg Gossel "I Need You!" Silkscreen ink, enamel, acrylic, and collage on canvas 65" x 57"
Arts Writer Liz Ohanesian on Corey Helford Gallery's 10th-anniversary show in Los Angeles. "It isn't a typical gallery exhibit. Think of this more like a museum exhibition, a mazelike journey through a cavernous space filled with an almost overwhelming amount of art." The show runs until September 24 I LA Weekly
Arts Council Malta is the government agency that uses street art as a teaching point, reports the NYTimes. "Most cities around the world denounce, or grudgingly tolerate, painting on public property. But on the Mediterranean island of Malta, the process is encouraged." I NYTimes
"Smartly focused and radically open-ended, the exhibition brings together a fascinating mass of data that incites — and inspires — visitors to think for themselves," writes David Pagel in "Imaginative show at the Center for Land Use Interpretation looks at how we memorialize our presidents" at the LA Times.
“Galleries find me on Instagram,” says artist Dan Lam. “They reach out to me and they ask to be a part of shows. It’s crazy. Like, you know there’s all these books out with information about how artist can make it or whatever and it doesn’t even touch on how Instagram needs to be a very crucial part of your strategy.” Art and Seek
Tony Hsieh hesitated during early negotiations for Big Rig Jig, according to a report by Kristy Totten in the Las Vegas Weekly one year ago. "Then he received this email, allegedly written by Banksy: 'I feel strongly Big Rig Jig is probably the first sculptural masterpiece of the post-industrial age and we want to exhibit it accordingly. Importance is measured in influence, and you can never be sure, but I’m confident in 20 years time Big Rig Jig will be cited by a whole new generation of artists as a touchstone in modern sculpture. It should be in every textbook of art history that covers this age and this won’t happen from photos at Burning Man alone.' "
You Killed Me First "Lost Bottle Project".
(There is less risk of being caught by The Man when a street artist shifts into a gallery setting. Still, when the edge of being unauthorized is gone the work still must stand on its own. In “NIGHTSHIFT,” featured artists You Killed Me First and There She Is stay true to the subculture they helped introduce to Las Vegas. The pair have hit the streets of the 18b and Fremont District as a solo and as a duel.
You Killed Me First, sometimes shortened to YKMF, is self-taught. His work is a direct pedigree from the hard art streets of Melrose Ave in Los Angeles and the street name is hijacked from a 1985 Richard Kern film that came out from the Cinema of Transgression underground. YKMF’s new work still has his internal trickster create images framed by strong typography. He uses type, the coded aesthetic of well-budgeted advertising, to be the straight man to a pay-off. His "The Lost Bottle Project" is a small installation of beers with slick labels that implies there is a special reserve that lets lost soul brand despair in a dark bar. The labels forecast the voices heard in a lone drinker’s head.
There She Is, trained at an undisclosed art institution in California, illustrates a corroboration of caricature and someone else’s darkness that has her able to find a personal happy place. "Too Weird To Live, Too Rare To Pack" is a small assemblage inside a beaten suitcase––a hand-me-down from an uncle––filled with authentic Las Vegas road trip shrapnel, seemingly thrown in to dodge a bust that started with knock at the door. The title is appropriated from Hunter S. Thompson’s writings, and the face, a look of recovering from binge and haze, lines the suitcase.
With a combined count of 33 new pieces (many modestly priced) on the chaotic walls of Eden Art Studio and Gallery, YKMF and There She Is show how the indoors doesn't compromise process and style. They still send out messages filled with dark wit.
Star Wars themed satire by Dan45, expert collages by Snipt, and ethic-themed images by Laron MC use individual clarity to compliment the exhibition.
There She Is "Too Weird To Live, Too Rare To Pack"
"Lady of Maryland Parkway" by ZAP 7 artist Lance Smith was painted over. Photos: Paint This Desert.
This isn't random vandalism. It’s deliberate censorship.
Public art on South Maryland Parkway has been vandalized and it’s not the usual suspects. There are no signs of territorial tagging. The boxes were painted over in an official-looking beige to whitewash an idea.
“It's shameful that someone decided to vandalize this public art,” says Chris Giunchigliani, Clark County Commissioner. “This piece was lovely and it wasn't tagged, it was completely painted over which shows someone personally didn't want it to be seen by the public.”
While the beige appears to match the original color of the utility box, the whitewash was not “done by the County or the box owner the Las Vegas Valley Water District,” said Michael Ogilvie, Public Art Cultural Specialist for Clark County. “It is an act of vandalism and a police report has been filed.” The investigation is still underway.
During the planning stages of ZAP 7, the Clark County Parks and Recreation funded public art program, an undisclosed business owner protested the design's use of a black figure, according to several sources. Clark County organizers supported Smith's concept, titled “Lady of Maryland Parkway.”
There was a message in this ZAP 7 public art commission, says artist Lance Smith. “Representation. I see it as imperative for people of color to see some semblance of themselves represented in the everyday.” There are still traces of left behind. Near the edges and door handles are traces of blues used by the artist. On a smaller box a painted perched bird is untouched.
ZAP 7 organizers will begin restoring the public art Friday.
ADD JUNE 16: "Business owner denies involvement in painting over Zap Project artwork" is the compelling headline in the Las Vegas Review Journal. F. Andrew Taylor reports:
The whitewash would not likely wouldn’t be prosecuted as graffiti, reports Taylor, "but as a gross misdemeanor for destruction of private property." Klein has been interviewed by The Metropolitan Police Department.
ANOTHER ADD JUNE 16: This whitewash of Lance Smith's mural was without a 90 day notice. which brings attention to how these works, as part of a public art initiative, may be protected by The Visual Artists Rights Act of 1990. They were commissioned with the intent of being public art, and the series of works have gained regional stature, destruction could be more than a misdemeanor.
ADD JUNE 22: KNPR interviews Lance Smith on the first day of the restoration of his public art. You can listen to it at KNPR.
Zap is a public art initiative that began in 2005 and is dedicated to beautifying the community with artwork done by local artists. A police report has been filed, and work will begin soon to restore the mural. If you have information that could identify the vandal or vandals, call Crime Stoppers of Nevada at (702) 385-5555. Callers can remain anonymous and may be eligible for a reward if the information provided leads to a felony conviction. Graffiti costs the County $1.6 million a year.
Source: Clark County, Nevada.
"Big Rig Jig" (2007)
At (former) Fergusons Motel
1028 E. Fremont St..