Kenny Scharf CV
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
BILLY SULLIVAN *1946 in New York, USA Lives and Works in New York City
BILLY SULLIVAN *1946 in New York, USA Lives and works in New York City Education Depuis 1788 1968 School of Visual Arts, New York, NY, USA 1964 High School of Art and Design, New York, NY, USA Freymond-Guth Fine Arts Riehenstrasse 90 B Teaching CH-4058 Basel T +41 (0)61 501 9020 1997 The School of Visual Arts, New York: BFA Photo Thesis offi[email protected] 2012–14 New York University: MFA Program, Studio Art, Steinhardt School of www.freymondguth.com Culture, Education, and Human Development 2003–06, New York University, Interactive Telecommunication Program 2010–14 1999 Harvard University, The Department of Visual and Environmental Studies Solo Shows (selection) 2016 Monteverdi Art Gallery, Sarteano, Tuscany, curated by Sarah McCrory kaufmann repetto, New York 2015 Ille Arts, Amagansett, NY, USA 2014 Time after Time, Freymond-Guth Fine Arts, Zurich, CH Blush, Galerie Sabine Knust, Munich, DE 2012 Bird Drawings, Glenn Horowitz Bookseller, East Hampton, NY, USA Nicole Klagsbrun Gallery, New York, NY, USA 2011 Still, Looking, Kaufmann Repetto, Milan, IT Now & Then, Baldwin Gallery, Aspen, CO, USA 2010 Susanne Hilberry Gallery, Ferndale, MI, USA East End Photographs 1973-2009, Salomon Contemporary, East Hampton, NY, USA 2009 Galerie Sabine Knust, Munich, DE Conversations, Nicole Klagsbrun Gallery, New York, NY, USA 2008 Regen Projects, Los Angeles, CA, USA Rebecca Ibel Gallery, Columbus, OH, USA Texas Gallery, Houston, TX, USA 2007 Guild Hall, East Hampton, NY, USA Galleria Francesca Kaufmann, Milan, IT 2006 New Work, Rebecca Ibel Gallery, -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Artist Stores: an Evolution in Art and Commerce
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2011 Artist Stores: An Evolution in Art and Commerce Naomi Huth CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/15 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Artist Stores: An Evolution in Art and Commerce Naomi Huth Advisor: Professor Lise Kjaer May 2011 Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York Table of Contents Introduction 1 Chapter 1: The Store Is My Art 11 Chapter 2: Pop 'til You Drop 44 Chapter 3: From the Art of Business to 84 the Business of Art Conclusion 115 Image Pages 137 Bibliography 180 Introduction “Power is in the hands of those that control the means of production.” – Craig Owens1 “It's a lady's handbag...No, it's an iron. No, a typewriter. No, a toaster. No, a piece of pie.” These words were exclaimed by a visitor to Claes Oldenburg's 1961 East Village storefront, trying to figure out what product she had just been examining.2 As the viewer encountered a series of handmade objects representing mass-produced goods, she found herself in a storefront oddly mimicking a retail space, creating an ambiguous space where common distinctions between “art” and “commerce” had seemingly collapsed. -
Contributions by Employer
2/4/2019 CONTRIBUTIONS FOR HILLARY CLINTON FOR PRESIDENT HOME / CAMPAIGN FINANCE REPORTS AND DATA / PRESIDENTIAL REPORTS / 2008 APRIL MONTHLY / REPORT FOR C00431569 / CONTRIBUTIONS BY EMPLOYER CONTRIBUTIONS BY EMPLOYER HILLARY CLINTON FOR PRESIDENT PO Box 101436 Arlington, Virginia 22210 FEC Committee ID #: C00431569 This report contains activity for a Primary Election Report type: April Monthly This Report is an Amendment Filed 05/22/2008 EMPLOYER SUM NO EMPLOYER WAS SUPPLIED 6,724,037.59 (N,P) ENERGY, INC. 800.00 (SELF) 500.00 (SELF) DOUGLASS & ASSOCI 200.00 - 175.00 1)SAN FRANCISCO PARATRAN 10.50 1-800-FLOWERS.COM 10.00 101 CASINO 187.65 115 R&P BEER 50.00 1199 NATIONAL BENEFIT FU 120.00 1199 SEIU 210.00 1199SEIU BENEFIT FUNDS 45.00 11I NETWORKS INC 500.00 11TH HOUR PRODUCTIONS, L 250.00 1291/2 JAZZ GRILLE 400.00 15 WEST REALTY ASSOCIATES 250.00 1730 CORP. 140.00 1800FLOWERS.COM 100.00 1ST FRANKLIN FINANCIAL 210.00 20 CENTURY FOX TELEVISIO 150.00 20TH CENTURY FOX 250.00 20TH CENTURY FOX FILM CO 50.00 20TH TELEVISION (FOX) 349.15 21ST CENTURY 100.00 24 SEVEN INC 500.00 24SEVEN INC 100.00 3 KIDS TICKETS INC 121.00 3 VILLAGE CENTRAL SCHOOL 250.00 3000BC 205.00 312 WEST 58TH CORP 2,000.00 321 MANAGEMENT 150.00 321 THEATRICAL MGT 100.00 http://docquery.fec.gov/pres/2008/M4/C00431569/A_EMPLOYER_C00431569.html 1/336 2/4/2019 CONTRIBUTIONS FOR HILLARY CLINTON FOR PRESIDENT 333 WEST END TENANTS COR 100.00 360 PICTURES 150.00 3B MANUFACTURING 70.00 3D INVESTMENTS 50.00 3D LEADERSHIP, LLC 50.00 3H TECHNOLOGY 100.00 3M 629.18 3M COMPANY 550.00 4-C (SOCIAL SERVICE AGEN 100.00 402EIGHT AVE CORP 2,500.00 47 PICTURES, INC. -
FUTURA2000 (Born Leonard Hilton Mcgurr in New York City) Is a Graffiti Pioneer Who Began Painting Subways in the Late 1970S
FUTURA2000 (born Leonard Hilton McGurr in New York City) is a graffiti pioneer who began painting subways in the late 1970s. In 1980 he painted the iconic whole car titled “Break,” which was recognized for its abstraction, rather than a focus on lettering. This painting established some of the enduring aesthetic motifs and approaches FUTURA2000 would explore over the decades that followed. FUTURA2000 was among the first graffiti artists to be shown in contemporary art galleries in the early 1980s. His paintings were shown at Patti Astor’s Fun Gallery and Tony Shafrazi, alongside those of his friends Keith Haring, Jean-Michel Basquiat, Rammellzee, DONDI, and Kenny Scharf. MoMA PS1 brought the artists together in their landmark 1981 exhibition, “New York / New Wave.” In this period, FUTURA2000 illustrated the sleeve cover for The Clash’s ‘This is Radio Clash’ seven-inch single. He accompanied The Clash on their Combat Rock tour, spray painting in the background while the band played. He painted as an accompaniment to demonstrations of break dance by the Rock Steady Crew, and concerts by Grand Master Flash and Afrika Bombataa. With the Clash, he recorded the vinyl “The Escapades of Futura 2000,” a manifesto for graffiti. By the 1990s, as the commercialization of global street culture in the 1990s inspired collaborations with fashion and lifestyle brands, FUTURA2000’s work moved toward a more refined expression of his abstract style. Commissions from brands such as Supreme, A Bathing Ape, Stüssy, and Mo' Wax saw his artwork canonized as an elemental component of cross-genre street aesthetic. He has collaborated with Nike, BMW, Comme des Garçons, Louis Vuitton, and Off-White. -
Artist Resources – Kenny Scharf (American, B. 1958) Kenny Scharf Website Scharf on Instagram Scharf at Honor Fraser Gallery, Los Angeles
Artist Resources – Kenny Scharf (American, b. 1958) Kenny Scharf website Scharf on Instagram Scharf at Honor Fraser gallery, Los Angeles “I think a lot of the magic happens when you don’t know what you’re going to do. You just let fate guide you and the use of magic. You depend on another kind of energy or something outside of yourself. It’s kind of a scary thing and it’s really exciting. I really believe spontaneity and magic come together.” Scharf told Art21 Magazine in a 2012 interview covering the artist’s solitary, spontaneous, and eternally optimistic process. Scharf began transforming rundown spaces into immersive installations in the 1980s, creating art out of his love of collecting found objects and making something unexpected out of trash. His dayglow blacklight installation, Cosmic Cavern was born from his former studio and living space in Brooklyn, which he transformed into an art installation and party space. In 2014, Scharf led a group of students in creating their own cosmic caverns at The Modern in Fort Worth, Texas, and the Portland Art Museum recreated the cavern in 2015. Scharf also led Art in Focus through the space in a 2016 video interview. Though painting is Scharf’s primary medium in his mature practice, he still creates sanctioned graffiti in the form of murals, which can be seen enlivening Scharf in New York, 1982 streets in New York and Los Angeles, and even the interior and exterior of parking garages. In 2014 Scharf entered the fashion industry, adapting his dayglow graffiti aesthetic for Louis Vuitton, creating apparel and shoe designs with Jeremy Scott for Adidas, and producing limited addition body lotion sets for skin care experts Khiels. -
Kenny Scharf
Kenny Scharf 1 2 Kenny Scharf has remained a key and prolific figure in the art world since his Preface early participation as a key proponent in the NYC East Village Art scene in the early 1980s, where he worked alongside artist peers such as Keith Haring and Jean-Michel Basquiat. His works have been exhibited widely ever since. When we look at a work by Kenny Scharf, we see a dynamic and joyous burst of colour, form and energy radiating from the canvas. However, these saturated, seemingly playful shapes have sharp teeth that lurk beneath, reflecting the dual nature of our modern society. Kenny Scharf’s paintings are always reflective of the artist’s unique, self generated, visual universe, drawing from ideas and experiences extracted from the surrounding world. He succesfully conjoins fine art with popular culture feeding from the traditions of Pop Art, Abstract Expressionism, Surrealism, comic books and Street Art. We are delighted to collaborate with this major international artist and showcase ‘Blobz’, an incredible new collection of works, signalling his first solo show with Opera Gallery at our flagship London space. Gilles Dyan Chairman and Founder, Opera Gallery Group Sébastien Plantin Director, Opera Gallery London 4 5 “My ambition as a professional artist is to maintain the course that I set nearly 30 years ago by establishing my work in the fields of painting, sculpture, and performance. Every project I undertake is building on my past experiences. My original approach has remained unchanged; it is a personal challenge to produce the best work possible every time. -
Reading Sample
BASQUIAT BOOM FOR REAL 191115_Basquiat_Book_Spreads.indd 1 20.11.19 14:31 EDITED BY DIETER BUCHHART AND ELEANOR NAIRNE WITH LOTTE JOHNSON 191115_Basquiat_Book_Spreads.indd 2 20.11.19 14:31 BASQUIAT BOOM FOR REAL PRESTEL MUNICH · LONDON · NEW YORK 191115_Basquiat_Book_Spreads.indd 3 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 4 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 5 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 6 20.11.19 14:31 8 FOREWORD JANE ALISON 4. JAZZ 12 BOOM, BOOM, BOOM FOR REAL 156 INTRODUCTION DIETER BUCHHART 158 BASQUIAT, BIRD, BEAT AND BOP 20 THE PERFORMANCE OF FRANCESCO MARTINELLI JEAN-MICHEL BASQUIAT ELEANOR NAIRNE 162 WORKS 178 ARCHIVE 1. SAMO© 5. ENCYCLOPAEDIA 28 INTRODUCTION 188 INTRODUCTION 30 THE SHADOWS 190 BASQUIAT’S BOOKS CHRISTIAN CAMPBELL ELEANOR NAIRNE 33 WORKS 194 WORKS 58 ARCHIVE 224 ARCHIVE 2. NEW YORK/ 6. THE SCREEN NEW WAVE 232 INTRODUCTION 66 INTRODUCTION 234 SCREENS, STEREOTYPES, SUBJECTS JORDANA MOORE SAGGESE 68 EXHIBITIONISM CARLO MCCORMICK 242 WORKS 72 WORKS 252 ARCHIVE 90 ARCHIVE 262 INTERVIEW BETWEEN 3. THE SCENE JEAN-MICHEL BASQUIAT, GEOFF DUNLOP AND SANDY NAIRNE 98 INTRODUCTION 268 CHRONOLOGY 100 SAMO©’S NEW YORK LOTTE JOHNSON GLENN O’BRIEN 280 ENDNOTES 104 WORKS 288 INDEX 146 ARCHIVE 294 AUTHOR BIOGRAPHIES 295 IMAGE CREDITS 191115_Basquiat_Book_Spreads.indd 7 20.11.19 14:31 Edo Bertoglio. Jean-Michel Basquiat wearing an American football helmet, 1981. 8 191115_Basquiat_Book_Spreads.indd 8 20.11.19 14:31 FOREWORD JANE ALISON Jean-Michel Basquiat is one of the most significant painters This is therefore a timely presentation of a formidable talent of the 20th century; his name has become synonymous with and builds on an important history of Basquiat exhibitions notions of cool. -
Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See Detail of This Book on Amazon.Com
The Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 PART I THREE HISTORIESPART I THREE HISTORIESPART I THREE HISTORIES Page 2 Page 3 Ben Patterson, Terry Reilly and Emmett Williams, of whose productions we will see this evening, pursue purposes already completely separate from Cage, though they have, however, a respectful affection.' After this introduction the concert itself began with a performance of Ben Patterson's Paper Piece. Two performers entered the stage from the wings carrying a large 3'x15' sheet of paper, which they then held over the heads of the front of the audience. At the same time, sounds of crumpling and tearing paper could be heard from behind the on-stage paper screen, in which a number of small holes began to appear. The piece of paper held over the audience's heads was then dropped as shreds and balls of paper were thrown over the screen and out into the audience. As the small holes grew larger, performers could be seen behind the screen. The initial two performers carried another large sheet out over the audience and from this a number of printed sheets of letter-sized paper were dumped onto the audience. On one side of these sheets was a kind of manifesto: "PURGE the world of bourgeois sickness, `intellectual', professional & commercialised culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic Page 4 [...] FUSE the cadres of cultural, social & political revolutionaries into united front & action."2 The performance of Paper Piece ended as the paper screen was gradually torn to shreds, leaving a paper-strewn stage. -
KENNY SCHARF New York, NY 10014
82 Gansevoort Street KENNY SCHARF New York, NY 10014 p (212) 966-6675 allouchegallery.com Born 1958, Los Angeles, CA Based in Los Angeles, CA BFA from the School of Visual Arts in New York City (1980) SELECTED SOLO EXHIBITIONS 2017 Blox and Bax, Honor Fraser Gallery Los Angeles CA 2017 Kenny Scharf, Deitch Projects New York NY 2016 Kenny Scharf, Nassau County Museum of Art, Roslyn Harbor, NY 2015 Born Again, Honor Fraser Gallery, Los Angeles, CA 2013 Kolors, Paul Kasmin Gallery, New York, NY 2013 Amerikulture, Eric Firestone Gallery, East Hampton, NY 2012 Hodgepodge, The Honor Fraser Gallery, Los Angeles, CA 2011 Naturafutura, Paul Kasmin Gallery, New York, NY 2009 Barberadise, Honor Fraser Gallery, Los Angeles, CA 2008 Superdeluxa, Waddington Gallery, London, UK 2007 NEW!, Paul Kasmin Gallery, New York, NY 2006 Astro Cumulo Nibus Uber Express, Raleigh Hotel, Art Basel, Miami Beach, FL 2005 Outer Limits, Patrick Painter Gallery, Santa Monica, CA 2004 Groovenian Drawings, Kantor Gallery, Los Angeles, CA 2004 California Grown, Pasadena Museum of California Art, Pasadena, CA 2004 Face Value, Kevin Bruk Gallery, Miami Beach, FL 2003 Paintings 1990-1997, Cotthem Gallery, Brussels, Belgium 2001 Portraits, Tony Schafrazi Gallery, New York, NY 2001 Hollywood Stars, Los Angeles Contemporary Exhibitions, Los Angeles, CA 2000 Gagosian Gallery, Beverly Hills, CA 2000 Closet #18, Permanent Exhibit at Art Children’s Museum, Davie, FL 1999 Heads, Small Paintings, and Closet #16 , Galerie Hans Mayer, Berlin, Germany 1999 New Sculpture, PICA: Portland Institute for Contemporary Art, Portland, OR 1998 Galerie Ramis Barquet, Monterrey, Mexico 1998 McIntosh Gallery, Atlanta, GA 1998 Kantor Gallery, Los Angeles, CA 1997 Pop Surrealist, Salvador Dali Museum, St. -
When Artworks Collide
ART REVIEW When Artworks Collide Nicole Bengiveno/The New York Times At the Tony Shafrazi Gallery, this show contains two shows (one on wallpaper). By ROBERTA SMITH Published: May 16, 2008 “Who’s Afraid of Jasper Johns?,” a group show at the Tony Shafrazi Gallery in Chelsea, is the latest proof that you don’t have to be a museum to shake things up. It was organized by Gavin Brown, who has a downtown gallery of his own, and Urs Fischer, a Swiss artist he represents. Demonically aerobic for brain and eye, the show conflates two exhibitions and several different times, styles, art markets and notions of transgression. Highly site specific, it may also be one of the last words in appropriation art, institutional critique and artistic intervention, not to mention postmodern photography and, especially, wallpaper. Nicole Bengiveno/The New York Times An installation view shows Malcolm Morley’s “Age of Catastrophe” on top of a Keith Haring, left, and a Picabia over a Donald Baechler. The histories entwined here begin with Mr. Shafrazi, an infamous one-hit-wonder graffiti artist and longtime graffiti art dealer. In 1974 he spray-painted, in red, the words “Kill Lies All” on Picasso’s “Guernica,” then at the Museum of Modern Art (he meant to write “All Lies Kill”). By 1982 he had a SoHo gallery known for showing graffiti-related artists like Keith Haring, Kenny Scharf, Jean-Michel Basquiat and Donald Baechler. In 2004 Mr. Shafrazi relocated to an austere second-floor gallery in Chelsea, putting up long-running shows and concentrating mostly on the resale market: not only the graffitists but also blue-chip works by Picasso, Picabia and Francis Bacon. -
Solo Exhibitions March-May 2010 Bruno David Gallery, Cindy Tower
Solo Exhibitions March-May 2010 Bruno David Gallery, Cindy Tower; Decaydense, Saint Louis, MO February-May 2009 Sheldon Galleries, Cindy Tower; Riding the Rubble Down, curated by Olivia Lahs-Gonzales, Saint Louis, MO January 2009 Fontbonne University, Cindy Tower; Punched Out, Saint Louis, MO Summer 2008 Haven Arts, Cindy Tower; Factory, installation and movie, New York, NY February-April 2008 CRISP Museum, Cindy Tower; Workplace Series, curated by Stanley I. Grand, Cape Girardeau, MO September 2005 Open Gallery, Cindy Tower; Site# 128 , curated by Robert Knafo, New York, NY January 2005 Realform, Road Show, curated by David Gibson, Brooklyn, NY May 2004 Uzi New York Gallery, Clutter Paintings, New York, NY Fall 2003 Tank, Southwest College of Arts, San Antonio, TX Spring 2002 Artspace, City-Wide open studios, Fertility Hut, New Haven, CT October 2000 Willoughby Wallace, D'hanis, TX series, Branford, CT November 1999 Willoughby Wallace, Workplaces, Branford, CT Winter 1999 Merrill Lynch Corporation, American Landscapes 1993-1998, New York , NY April-May 1998 Serge Sorokko Gallery, Pretty Dot Remake, New York, NY February 1998 Trans Hudson Gallery, Pirate Cindy, New York, NY June-Nov 1997 New Jersey Center for Visual Art, Gardenia, Summit, NJ June 1997 Willoughby Wallace, Pirate Series, Branford, CT May-July 1996 Saint Peter's Church, Baby Appleseed, New York, NY Spring 1996 Jessica Fredericks Gallery, Spring Installation, New York, NY May-Aug 1994 The New Museum of Contemporary Art, Westward Expansion Inwards, New York,NY May- June 1994