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| MEDIUMMAGAZINE : Quarterly Portfolio of Photography, Illustration, Art, Design, Fashion, Writing, Music, Film and Live Events |
Garments by Connie Lim / Photos by Kimatherapy / Hair and Make-up by KC Stylists |
This new works-on-paper series explores a contemporary form of the ancient Oracle through messages from the famous dead, via their tombstones. BORIS+NATASCHA facilitate this 'message from the beyond' by using only letters of the name on the tombstone of the famous dead. Mixing up the letters of the name to create new words, this message comes close to an anagram or Scrabble line. Altering the old graphic technique of frottage ("rubbing") they work directly with the tombstone to create an imprint with a gold pencil on a handcrafted piece of gold paper, akin to an embossing. As the process involves a mixture of research, stealth, synchronicity, mysticism and guerilla action, they have satirically re-named their technique Grave Rubbery, and have discovered that the official language of the dead is English...
Download the full series here |
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The sport is popular in both India and Pakistan. Hindu teachers of this form of wrestling are known as guru, and Muslim teachers as ustad. The form has undergone several changes in both the nomenclature and training methodologies through the ages. The more prominent influences include the introduction of Persian nomenclature and western training methods. A practitioner of this sport is referred to as a pehlwan (spelled pahlwan in Persian), meaning champion; literally a Parthian. Wrestling competitions, known as Dangals, held at village levels, have their own rules which vary from place to place. Usually, a win is awarded by decision from the panel of judges, for knockout, stoppage or submission.
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He is ever focused on children's rights both as a subject of his work as well as a cause he actively supports. For example his recent work, in conjunction with a fundraiser at the Museum of Natural History in New York City, raised a collective 400,000 towards helping to solve children's cancer. Brian is a sincere and passionate artist who paints daily while enjoying an increased popularity in and out of the art world. Another recent first for Brian was his appearances on The Real Housewives of New York City, Bravo TV (viewership of 4 million people). Brian Farrell continues to develop innovative painting techniques to create moving work of great beauty and conscience.
MM: Hi Brian, how are you? BF: Hi... I am well... Getting ready for a show/benefit here in July with Ross Bleckner, Jeff Koons and Eric Fischl, sponsored by Vanity Fair. Oh yes, and surfing alot. MM: Tell us what your work is about, in a sweeping statement or a detailed essay or anything in between (or either side)... BF:
My work is about several things. Everyday issues involving the world
markets/economy. The recessionary fears and widespread panic here and
in Europe and Asia, the finacial implosion of the markets, the corruption
and the greed. I use satire to deal with political scandal, our constitutional
rights and our absurd, incompetent heads of state and this country.
I have works that poke fun at celebrity and the world's obsession with
it. Why so many disastrous and untalented people on this planet are
known and wealthy for no apparent reason. Celebrated for doing nothing.
Lastly, for some time, I have been creating work that champions childrens
rights to innocence and to be free of abuse and neglect. I use viscous
animals of prey in some works, which protect the child from predators
and child stalkers. I portray forms of abuse through child pageantry,
sexual abuse in the home and child bullying. MM: You've recently began to show your work across the pond, in the Athens Fringe Festival and soon the Edinburgh Fringe Festival. What is the significance and benefit of international exposure for artists today? BF: It is very significant. I believe in showing to a mass audience. A gallery show with a few hundred people, a little press and some sales doesn't cut it. An artist needs national and international exposure if he/she wants to be very successful. It's important to collectors that you have shown outside the boundaries of your country. From this, you have more of a chance to be in museums and top galleries. I am aiming for world recognition. MM: Can an artist make a living in New York? Do you? How? BF: An artist can make a living in NY, and I do. It's all I do. You must devote an extraordinary amount of time to it. New York is a tough place with lots of talent. You have to fight for what you want here. You cannot relax and do a partial job. It must be 100%! I
am quite social as well, and you must be. Contacts and PR is very important
to an artist's career. Not just attending art events, but many affairs
where a variety of business minded, creative people will congregate.
You have to swim outside your fishbowl. Meeting people and keeping a
roladex of them is imperative. MM: You are currently involved with the media organisation 12&Co. How have they assisted you so far? BF: Yes I am. They have assisted me with organizing my participation in the festivals, so I don't have to be there myself. MM: Do you utilise the Internet (in particular networking sites, social media and web-mags) to promote and/or develop your work? If so, how useful a tool is this to you? BF:
I most certainly do. I am a big fan of the Internet. Once you
have figured out it's usage, it's a valuable tool in networking. Thousands,
even millions, across the globe can be exposed to my art. Before, all
you had to rely upon was the gallery system. You were at their mercy.
If they didn't like you for whatever reason; no show, no exposure. You
are a sitting duck. No more!!! The power is in your hands to succeed
now. You control your own future. Online press is a great medium for
exposure. With the advent of the iPad and Kindle, very few people read
magazines and newspapers. Again, you are exposed to the world. If you
are NOT using the Internet as a marketing tool, you are lost. Already
at a huge disadvantage! MM: What are you working on now, and what's next? BF: I am working on many pieces. A couple are mixed media with oil and audio, still continuing with my subject of children. One is about gun control in the hands of kids. Another deals with our children's future on this planet and all we are doing to ruin that for them. I am also working on pieces that deal with the environment, namely water on this planet and our wastefulness of it. I am doing several commissions for high profile people. I have offers to show in Chicago, London and LA next. I am currently getting work ready for a benefit show for ACRIA sponsored by Vanity Fair and Steven Klein. Ross Bleckner, Jeff Koons, Eric Fischl, Donald Baechler and many others will be participating. Download Brian's media kit here See more of Brian's work and upcoming projects at http://ps1.org/studio-visit/artist/brian-farrell
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MM: Tell us what your work is about, in a sweeping statement or a detailed essay or anything in between (or either side)... SN: I don’t usually know what my work is really about until I’m nearly finished with it; sometimes it’s not clear until after the project is wrapped and I can watch the film as an audience member. But each film usually starts with a sudden impulse, a random question that appears out of nowhere. The film then functions as my attempt to answer that question. This is not necessarily a profound or abstract question, in the case of The Glow of a Warm Aquarium, my sci-fi thesis from NYU (SPOILER ALERT!), the initial question was quite silly: “What would it mean to be incarcerated in a prison in outer space?” Then later, along the way of writing, rehearsing, shooting, and editing, it became something more along the lines of “What is the weight of our guilt?” or “How can we be truly free when we are trapped inside ourselves?” That being said, looking back on the work I’ve done, I’d say my films are first and foremost an attempt at creating a completely unique world. That’s what draws me to sci-fi and fantasy, the idea that you can create a new space governed completely by its own rules, that you can make something totally absurd or crazy seem completely logical. I consider myself a pretty positive, happy guy, but my films are pessimistic and often gruesome, so I’d assume they are born from the darker parts of my subconscious.
MM: The line between art and commerce can be very fine in film and video. How do you feel about projects that can be described as 'commercial', as opposed to projects that come straight from the heart? SN: I battled with this question a lot while I was in film school; in my freshman year I had no interested in commercials, convinced that they had nothing to do with art. Since then my attitude has changed quite a bit. Now I look at commercials as creative exercises. Restrictions can be a good thing - a great film can be made in Iran under very strict rules and regulations - and with a commercial, having to tell a story in thirty seconds, having a very specific agenda (or brand) that you have to push, this is good practice and can often produce very beautiful and interesting work. That being said, making a film that only exists to sell a product is nothing like making a film to express yourself. Making fashion films for me has been the perfect middle ground; the film is ultimately a vehicle to sell the clothes, but at the same time it is a film in and of itself, something that could potentially exist separately from the clothes.
MM: Can an artist make a living in New York? Do you? How? SN: Ha ha, good question. It’s certainly possible, but difficult to accomplish without prostituting yourself on some level. Most of my income comes from shooting marketing events, behind-the-scenes, corporate stuff, all types of random shooting, often as a videographer. The films I really love to make either pay little, pay nothing, or actually cost me money out of my pocket. I really admire people like Roy Andersson and Errol Morris; not only are their commercials awesome and an extension of themselves, they use (or in the past have used) the money they make to finance their own crazy films. I hope that within a few years I will be able to subsist entirely off my creative projects, but for now at least I’m not waiting tables anymore. MM: You are currently involved with the organisation 12&Co. How have they assisted you so far? SN: They have been very supportive, and we have worked together on a variety of projects. They got me this interview!
MM: Do you utilise the Internet (in particular networking sites, social media and web-mags) to promote and/or develop your work? If so, how useful a tool is this to you? SN: I use Twitter, Facebook, and Vimeo, but not as pro-actively as I should. Haha, my mom randomly sent me a Social Media Marketing for Dummies book last month in the mail, so maybe it’s time I get to work! MM: What are you working on now, and what's next? SN: I’m working on some more fashion films in August for Timo Weiland and other designers, shooting some music videos in Philly and New York, one I’m particularly excited about with Sunny Ali & The Kid, and finishing up a pretty crazy feature script that takes place on a ranch in Montana/ Let’s just say it involves religious back-country zealots, and zombies. Hopefully I can shoot it sometime next year. Watch The Glow of a Warm Aquarium at www.motherboard.tv Visit
Shal's film production website at www.maculafilms.com |
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From evil megacorporations to crippled starships, cutting-edge weaponry to friendly stores, the digital worlds gamers inhabit are populated with some of the most memorable names and places imaginable. We design with passion, and an eye on the latest fashion. No ridiculously massive prints of Mario or Space Invaders here - just cool references to cool games that let other fans know what games you like and that you've got great taste when it comes to t-shirts.
You can even get involved. Thought of a game t-shirt you'd like to see? Then let us know! Got feedback? Drop us a line! You could even send us pictures of you wearing one of our t-shirts which we'll stick up online - that way you really will be famous for fifteen minutes! And for you social-networkers, why not join us on Twitter or Facebook? As well as up-to-the-minute news on new designs and great offers, you'll be able to share in our own little corner of the net. Search 'Insert Coin Clothing'. |
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"We have been everywhere together," says Julija, "from Russia to South Africa, from Valencia to Lechlade-on-Thames. It is a square format miracle; colourful and full of life. It can teach you that you don't necessarily need expensive Digital camera to make beautiful photographs."
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Below: GILDED WOMAN (24 K Monarch Gold Leaf on Canvas w/ Oil, 24 x 36 in)
MM: Tell us what your work is about, in a sweeping statement or a detailed essay or anything in between (or either side)... JH: I think I was about 5 when I started painting, and since then I have always been interested in the craft; less about the why, and more about the how. I always want to know how an artist is able to create, what tools they use, how they use them to create a certain effect, and how I can learn to do that? Whether it is a decorative piece, a secco, a fresco, or on canvas/wood, all types of paintings interest me, but the craftsmanship is more important to me than the concept behind the piece. However, in the recent months, I've begun to consider and embrace the idea that the concept/idea behind a piece is just as important as it's craft. Above all, the materials and techniques used by historical artists are of great interest to me and have influenced my work. I am trained in techniques such as secco painting and various forms of fresco painting. I often use a technique called Grisaille which involves painting a monochrome layer and then glazing over the surface using transparent pigments thinned with oil. The series of tomatoes I painted for The Woodward Gallery are a direct result of my time spent in Italy, using the artistic methods I learned abroad while incorporating the fruit that Italians love to cook with most... vine ripened tomatoes! The series shown here (Gilded Fruit) is a new direction for me, one that I dove into with vigor and continue to adapt. It is an examination of the female figure. I explore a wide array of techniques, materials, and styles, attempting to fuse classical old world techniques with contemporary design. The female figure in these paintings is open to interpretation. She either portrays the temptress contemplating how to devour the fruit, or the innocent being overtaken by a second skin. It is open for debate. MM: Your sports paintings are of course very relevant at the moment with the World Cup just finished and the motosport season in full swing. Do you find yourself being inspired by these events as they happen, or do you take a more historical approach? JH: The paintings of football players are a direct result of my time spent abroad, and from baseball cards. Momentarily, these paintings seem more relevant considering the World Cup, but I fell in love with the sport when I studied in Italy during college. My new found interest in football felt like an obsession, and I needed an outlet to express my love for the game, so I picked up my watercolours that I had saved since I was 10 and started producing paintings of my favourite players. It felt like I was creating my own sports cards in a way, but on much larger paper. I will continue to paint soccer players and others sports players as well, finding inspiration from baseball cards. I find that when you examine sports cards from the early 20th century through the 21st century that there is a fascinating evolution of graphic design present in the layouts. MM: Can an artist make a living in New York? Do you? How? JH: It is definitely possible to make a living as an artist in NYC, but it is a constant hustle from job to job and it helps to have a lot of friends. You might not make enough money at first to pay all your bills, but when you are passionate about something in life it is very difficult to give that up in exchange for riches. Artists have to be salesman, and this is hard to accept. Whether you sell paintings or peanuts, you have to convince the consumer of the quality of your product so you stay in business and continue exhibiting, privately or publicly. In 2008 I was making a living as an artist, working for a company called Artgroovenyc and selling paintings on the side. Artgroovenyc is one of the most progressive decorative arts companies in Manhattan and generates beautiful work. I worked for them as a contractor and made a decent living, but in the economic downturn they didn't have enough jobs to keep me busy. Fortunately I took classes at The Finishing School in Floral Park, NY (a private decorative art school). They taught me many different techniques that artists have been using for centuries; techniques practiced by decorative painters and fine artists alike. They taught me more about the technique and craft of painting in two weeks than I learned in five years of fine art classes at university level. With these tools I can create my own decorative art company, and I can also teach art better than any one of my previous professors. Here is a list of ideas for artists to become more successful. A) Find a studio and paint as much as you can, set a goal 6-12 months down the road and work towards a show. B) Compile a database of email addresses of those interested in your art; friends, family, people off the street, whoever. C) When looking for a place to exhibit your work, avoid coffee shops/restaurants/markets and look for vacant retail space on the ground level and contact the broker. Try to negotiate one or two nights or weeks depending on the price. D) Keep learning new techniques, so if there comes a time when you think you might like to teach you have numerous skills. E) Talk to gallery owners/personnel. Dont be afraid to go into a gallery and ask questions, whether it is advice for an up and coming artist or questions about their business operations. F) Learn decorative art techniques. There are always wealthy clients looking to enhance their home/restaurant/retail space, and it can be a very lucrative business. G) Learn art conservation/restoration. There are several international schools that teach conservation, and an artist can earn a living this way as well. The University of Wisconsin (Milwaukee) offers wonderful conservation classes in Italy. MM: Do you utilise the Internet (in particular networking sites, social media and web-mags) to promote and/or develop your work? If so, how useful a tool is this to you? JH: I do utilise the internet; it is important for an artist or any small business owner to promote oneself online. I have not sold one piece online yet, but I am still hopeful. I have put my paintings and prints on eBay and Etsy for sale, yet the traffic to my work is slow and there are general fees involved. However, websites like facebook and fineartamerica.com are totally free, great marketing tools and very easy to use. I recently became a member of kiptonart.com, a beautiful website linking artists with galleries, curators and collectors, but once again there is an initial investment to join, and I am looking forward to seeing if their website can boost my sales. I would like to join artnet.com, a formal online auction house for artists and galleries, but I was rejected during the dealer application process, even though I sold $16,000 worth of paintings in 2009. Although they rejected me, I am going to continue to sell art and maybe one day they will recognize me as an art dealer. MM: What are you working on now, and what's next? JH: Currently I am working on a new oil painting series, inspired by Italian culture and characters from La Commedia Dell'Arte. The idea is credited to the Sicilian manager of an old restaurant I worked at called Sant Ambroeus. I have one painting completed and looking to do ten or so. Aside from the decorative work I do from time to time, I also aspire to join AFAS, the Automotive Fine Art Society, due to my interest and previous works of art inspired by Ferrari and my favorite motorcycle racer, Valentino Rossi.
Above: LEOPARDA (Oil on Canvas with Gold/Silver/Copper Leaf, 24 x 36 in) See
more of Justin's work at www.kiptonart.com/artists/justin-horowitz |
Check
the next MEDIUM MAGAZINE update for more details about
Ravl's Journal... |
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| MEDIUMMAGAZINE : Quarterly Portfolio of Photography, Illustration, Art, Design, Fashion, Writing, Music, Film and Live Events |