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1 CONTEMPORARY ART and STREET CULTURE Members INSIDE Calendar of Events . 2 Wavelinks . 3 Beautiful Losers . 4 Free at the CAC . 6 2002–03 Annual Report . special insert Spring 2004 YOUR GUIDE TO WHAT’S HAPPENING AT THE CAC Glen E. Friedman, Tony Alva, 1977 CONTEMPORARY ART AND STREET CULTURE Members’ Opening Party March 12 1 for membership and other information visit www.ContemporaryArtsCenter.org Contemporary Art and Street Culture March 13–May 23, 2004 On occasion, in fact whenever an “inner quickening” demands it, New York-based artist Phil Frost paints with Pentel Correction Frost is a painter. He says he’s trying to urban life and street culture. Included are Fluid instead of paint. He once painted at night, chart an impulse—something he calls an “inner painters, sculptors, photographers, filmmakers, standing in a glass cage in a notorious San quickening.” Glyphic patterns repeat neatly, performance artists, graphic designers, illustra- Francisco neighborhood, while local residents marching across his canvasses before buckling tors and multimedia artists.The exhibition is smoked crack pipes around him and police and sliding wildly away; faces emerge, peeking organized in five sections: sirens howled through the streets. from stolen cartoon panels and then disappear One section is devoted to examining those “My painting is a culmination of where I am again, lost in the nightmare contours of paint artists who have had direct influence on the in a particular time or place, my relationship to and correction fluid. development of the generation of artists and the things around me, and my perception of He designs shoes too.And the shoeboxes designers that is the focus of the exhibition. them through painting,” he says. they come in. This section will include paintings, drawings, Frost is a beautiful photographs, graphics, and samples and documen- loser. In fact, Frost is one tation of early works by Jean-Michel Basquiat, of more than 50 beautiful Andy Warhol, Neil Blender, Henry Chalfant, losers whose works will Larry Clark, R. Crumb, Glen E. Friedman,Ari be appearing as part of Marcopoulos, Raymond Pettibon, Pushead, and the Beautiful Losers: Craig R. Stecyk; and the hand-painted skate- Contemporary Art and boards of Dogtown’s Wes Humpston. Street Culture exhibition The Body of the exhibition showcases the that opens March 13, recent multi-media art of Thomas Campbell, 2004, and runs until May Cynthia Connolly, Brian Donnelly (KAWS), 23, 2004. Cheryl Dunn, Shepard Fairey, Phil Frost, Mark The exhibition brings Gonzales, Evan Hecox, Jo Jackson,Todd James together artists from (REAS), James Jarvis,Andy Jenkins, Chris multiple disciplines, Johanson, Spike Jonze, Margaret Kilgallen, whose works are inspired Harmony Korine, Geoff McFetridge, Barry by various aspects of McGee, Ryan McGinley, Ryan McGinness, Mike Barry McGee, Untitled, 2003, silkscreen on paper, 20 x 16 in. Ryan McGinness, Untitled (Project Rainbow Series),detail,2003,oil enamel and silkscreen ink on wood panel,15 x 15 in. Courtesy Deitch Projects, New York for membership and other information visit www.ContemporaryArtsCenter.org 4 BEAUTIFUL LOSERS OPENING SCHEDULE OF EVENTS Thursday, March 11 5–8 pm at Shake-It Records In-store signing with Beautiful Losers artists In his or her own way, each artist represents the 7 pm Glue in-store performance subcultures of skateboarding, punk, hip-hop, and graffiti, 7–10 pm at Publico often inhabiting and redefining the spaces that exist Good World exhibition between these disparate worlds, and making those spaces their own. Friday, March 12 Each artist has found a way to claim that space: artist 5–5:45 pm Cocktails with the Artists and designer Ryan McGinness sneaks into major galleries (for Director and Trustee Level Members Only) and replaces sales rack postcards with postcards of his Share drinks and chat one-on-one with the artists of own; artist and filmmaker Harmony Korine sold the Beautiful Losers: Contemporary Art and Street Culture. screenplay to the controversial 1995 film Kids after meet- 6–7 pm Conversation with the Artists ing filmmaker Larry Clark while skateboarding in New (for Collector’s Connection, Patron, Curator, Director York’s Washington Square Park; artist KAWS worked as a and Trustee Level Members) freelance animator for Disney before producing works 7 pm–Midnight that parodied Mickey Mouse. Beautiful Losers Members’ McGinness tries to explain the attraction of the Opening Party skateboard scene to artists:“I think it ties into this Do-It- Musical Performances throughout the night by local Yourself mentality,” he says. and national artists McGinness says designing skateboards provided a way for him to reevaluate his childhood as a member of Saturday, March 13 a surf and skateboard culture in Virginia Beach. 3 pm Professional skateboard performance “It wasn’t the industry it is now,” he says.“It was the by Toy Machine outsiders who skated and designed and hand painted 4–5 pm Panel Discussion featuring the artists their own shirts and made their own zines and shared KAWS, photo courtesy of KAWS and curators of Beautiful Losers. Free with admission. their own zines.” These artists are multi-talented; as side-projects— 7 pm–Midnight at The Mockbee Beaver College exhibition Mills, Stephen Powers (ESPO), Clare Rojas,Terry while they wait for their “inner quickenings” to arrive— Featuring the work of The Royal Art Lodge, Space 1026 Richardson, Ed Templeton,Romon Yang (Rostarr), and they play in bands, appear in movies, write novels, film and Paper Rodeo To b i n Ye l l a n d . documentaries, challenge the political status quo, design Musical Performances by The Fever and Tommy Guerrero, a top professional skateboarder in album covers, and generally excel at the types of thing The Secret Machines the 1980s and early 1990s, turned his attention to music that most of us are unable to accomplish even when we in the last decade, producing four solo albums and focus our undiluted attention on them. Sunday, March 14 numerous projects for other musicians.Working with This is not just contemporary art; it’s right-now art. 1–2 pm at Satellite 13 samples of popular music relevant to these subcultures, It’s a collection of images and objects that help to define In-store signing he will create a soundscape that will enhance the full a culture. It’s a way of life, an ideology, a new religion. It’s 2–6 pm at The Mockbee exhibition environment. a roar from the dark streets. It’s shotgun art. It’s a single The exhibition will also feature a wide selection of Professional Skateboard Demonstrations by Habitat, weathered graffito on a peeling tenement block in the city. Seek,Alien Workshop and Toy Machine ephemera created by such designers as Doze, Dalek, And it’s here. Andrew Jeffrey Wright, Os Gemeos, Eric Haze, Lance Thursday, March 25 Mountain, Garry S. Davis, Jim Houser, Sean Cliver and Mark Exhibition Sponsor: Lightborne Communications 5:30 pm Curatorial Walk-through McKee.This section will include albums, books, prints, Installation Sponsor:Allan Berliant & Jennie Rosenthal Berliant Free with admission posters, shoes and apparel, skateboards, toys, limited Media Sponsors: CityBeat, 97.3 WAQZ and special thanks to WB64. edition objects and zines. Finally, a carefully selected program of film and video Events in red are held at the will highlight the varied works by and about the artists in Contemporary Arts Center the exhibition.Through these artist films, skate videos, Beautiful Losers: Contemporary Art and Street Culture is organized by Contemporary Arts Center, Cincinnati, and Yerba Buena Center for the documentaries, animations, commercials, and music videos, Arts, San Francisco, and is guest curated by Iconoclast Productions with the full range of influence on these artists comes into Thom Collins, Rene de Guzman, and Matthew Distel. clearer focus. 5 for membership and other information visit www.ContemporaryArtsCenter.org The Contemporary Arts Center 2003–2004 Sponsors AllOver Media Lightborne Communications Anonymous (2) Meisel Family Foundation Corporate Membership Bartlett & Co. James A. & Mary Miller Allan Berliant & Jennie Miller Valentine Group Looking for a unique opportunity to get Rosenthal Berliant Neyer Holdings Corporation your organization involved in the arts? Join the The Otto M. Budig Ohio Arts Council Family Foundation The Lois & Richard Become a corporate member of the Cinergy Foundation Rosenthal Foundation City of Cincinnati Scripps Howard Foundation Contemporary Arts Center. Corporate CAC Today… Clark, Schaefer, Robin & Murray Sinclaire Hackett & Co. membership at the CAC offers special Elizabeth Stoehr Don’t let your friends miss the next members’ Cross & Associates Taft, Stettinius & Hollister LLP benefits and services designed for small and Federated Department U. S. Bank Stores Foundation opening, MARCH 12,celebrating Beautiful Sara M.Vance & mid-sized businesses.Annual memberships Fine Arts Fund Michelle Waddell Losers. Make sure they join now! Members at GE Foundation Alice F. & Harris K.Weston begin with a gift of $500. As a corporate Dr. Stanley & Mickey Kaplan member, you will receive exclusive invitations any level get a full year of fantastic benefits. 2003–2004 Fine Arts Fund Partners to member-only and corporate events. Join Please call 513-345-8438 Procter & Gamble The Kroger Co. now to be included in the CAC’s next for more information. GE Aircraft Engines Cincinnati Bell Corporate Member event! Fifth Third Bank Western & Southern Federated/Lazarus/FACS Financial Group Cinergy Corp. Cincinnati Financial Corp. To ensure your invitation to this Spring’s U.S. Bank To y o t a M o t o r Party for corporate event, contact the Associate Director Convergys Corporation Manufacturing North America, Inc. of Development at (513) 345-8400. American Financial Group and Related Entities a Year The Contemporary Arts Center gratefully acknowledges the CAC sponsors whose gifts help support the ongoing operations, exhibitions and educa- tional programs of the CAC.Their gifts ensure the continuation of a unique and important service to the community—the opportunity to discover the relationship between art and life.
Recommended publications
  • Energy That Is All Around
    Contact: Laurie Duke [email protected] or 212/998-6782 ENERGY THAT IS ALL AROUND Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri Early 1990s works on view at NYU’s Grey Art Gallery April 15–July 12, 2014 New York City (February 28, 2014)—Presenting more than 125 works by five artists who launched their careers in a gritty San Francisco neighborhood in the early 1990s, ENERGY THAT IS ALL AROUND/Mission School is the first East Coast museum exhibition to highlight these artworks that have achieved cult-like status in the Bay Area and beyond. Most are never-before- seen early pieces from the artists’ own collections. On view at New York University’s Grey Art Gallery from April 15 to July 12, the show was curated by Natasha Boas and organized by the San Francisco Art Institute (SFAI), where Alicia McCarthy, Barry McGee, and Ruby Neri were students, and where they hung out with Margaret Kilgallen and Chris Johanson. ENERGY THAT IS ALL AROUND features paintings, drawings, sculptures, and installations (including a number of the artists’ classic “cluster” pieces) alongside more recent works created especially for this exhibition. Also included is an extensive selection of ephemera, such as sketches, letters, journals, scrapbooks, and cut-outs. Johanson, Kilgallen, McCarthy, McGee, and Neri came into their own as young visual artists in San Francisco’s Mission District at a time when affordable housing and studio space was still available for those bucking the mainstream. The early 1990s also heralded a Bay Area dot-com boom, which brought an influx of young professionals, upscale shops, chic restaurants, and eviction threats to the Mission District, then a more diverse neighborhood offering cheap rent and food.
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  • Barry Mcgee Opens Thursday January 4 from 6–8 Pm Exhibition Continues Through February 17, 2018
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  • Marketing Urban Art: a Case Analysis of the Exchange Project
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  • Outsider(S) | 22.10.2019
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  • Early on the Morning I Went to See the San Francisco Artists Barry Mcgee
    A Ghost in the Family Dana Goodyear August 10, 2015 The New Yorker Early on the morning I went to see the San Francisco artists Barry McGee and Clare Rojas at their weekend place, in Marin County, a robin redbreast began hurling itself at a window in their living room. “It won’t stop,” Rojas said. She picked up a sculpture of a bird from the inside sill to warn it off. When that didn’t work, Rojas instructed her fourteen-year-old daughter, Asha, to cut out three paper birds, which she taped to the win- dow, as if to say: GO AWAY. “Can I let it in, Clare?” McGee asked gently. Absolutely not, Rojas answered. Thud. The bird hit the glass again, and their three dogs barked wildly. “I think it’s time to let it in,” McGee said. Rojas shook her head, smiled tightly, and said, “Maybe it’s Margaret.” It was 1999, and Rojas was newly graduated from the Rhode Island School of Design, when she first saw the work of the painter Margaret Kilgallen, who was thirty-one. It was at Deitch Projects, in SoHo. For the exhibit, a solo show called “To Friend + Foe,” Kilgallen had painted freehand on the gallery walls, in a flat, folk-art style, a pair of enormous brawling women, one wielding a broken bottle, the other with her fists up. At the time, Rojas was painting miniature dark-hearted fairy tales—girls in the woods with fierce animals—and, like many young painters, she was struck by the scale of Kilgallen’s work.
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  • Zachery Lechtenberg and Aurélie Guillaume / Toni Greenbaum
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  • Before You Begin
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  • Art in the Streets, MOCA, L.A
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  • FERTILE GROUND: ART and COMMUNITY in CALIFORNIA TEACHER RESOURCES Cover and This Page: Odell Hussey Photography
    FERTILE GROUND: ART AND COMMUNITY IN CALIFORNIA TEACHER RESOURCES COVER AND THIS PAGE: Odell Hussey Photography ABOUT THE EXHIBITION 3 MURALS, PUBLIC ART, & ALLEGORY OF CALIFORNIA 4 GROUP f.64 6 POSTWAR AT THE CALIFORNIA SCHOOL OF FINE ARTS 8 A NEW ART DEPARTMENT AT UC DAVIS 10 THE MISSION SCENE 12 ADDITIONAL RESOURCES 14 FERTILE GROUND TEACHER RESOURCES 3 ABOUT THE EXHIBITION The Oakland Museum of California (OMCA) and the San Francisco • Patronage, Public Art, and Allegory of California (1930s) Museum of Modern Art (SFMOMA) combine their collections for • Postwar at the California School of Fine Arts (1940s–50s) the first time in Fertile Ground: Art and Community in California, an exhibition that illuminates local histories and social forces that changed • A New Art Department at UC Davis (1960s–70s) the face of art in—and beyond—the Golden State. • The Mission Scene (1990s–Today) Weaving together both museums’ holdings of California art and ephemera, the exhibition tells the stories of four creative communities Fertile Ground interweaves the histories and friendships of artists, active in the northern part of the state between the 1930s and the collectors, curators, and other individual and institutional collaborators present. In each case, the exhibition shines a spotlight on artists who against a backdrop of transformative social change. Viewed together, had their finger on the pulse of their time and the social conditions that the materials assembled present a rare opportunity to consider what allowed their ideas to flourish. catalyzed these four remarkable outpourings of creativity, social awareness, and arts patronage. The exhibition features an array of artworks and historical documents, from monumental paintings to handwritten letters, relating to four key moments in the history of California art: FERTILE GROUND TEACHER RESOURCES 4 MURALS, PUBLIC ART, & ALLEGORY OF CALIFORNIA ARTWORK SPOTLIGHT Frieda and Diego Rivera by Frida Kahlo 1931 oil on canvas 39.375 x 31 in Collection of SFMOMA, Albert M.
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  • Barry Mcgee Hoss
    9.16.99 - 10.24.99 BARRY MCGEE HOSS Rice University Art Gallery The first work of Barry McG ee's t hat I reme mber is not one of his large-scale painting installations, or his tag Twist on the bac k of a street sign , but a small piece in a group show in New York . Trag icom ic f igure s with slack faces and stooped shoulders stood at the bottom edges of b lank, yellowed sheets of paper, and reappeared on cleaned -up liq uo r bot tl es. From anoth er group show, I remember a single work comprise d of fr amed draw ings, paintings, and photographs hung edge-to-edge to fo rm a hu ge cl ust er of image s. O nly upon leaving the gallery did I discover more eviden ce of M cGee's hand; a ti ny figure painted low down on the wall in a crack where so me p last er was m issing. It stood, a distinct if inconspicuous presence, unable to be co nt ained by the fo rma l arrangement on the wall . Such d etails , stowed away in co rners or out of t he normal sight line, are indicative of M cGe e's art istic wit, and how he sees p eop le or things the rest of us overlook . From th e tir ed eyes of his st reet peop le, t o McGee's own sense of self as a ro le mode l fo r kids who fee l empowe red by t heir name on a wall, McGee identifi es wit h, and cel ebr at es t hose aspec t s of life t hat have fallen into the cracks of cont empora ry urban Ame rica Barry came to Housto n fo r ten bru t ally hot Ju ly days; he wo rked in t he gallery during the afte rnoon , and in the coo l nigh t, rode his b ike t hrough city neighborhoods.
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  • PRESS RELEASE Barry Mcgee
    PRESS RELEASE Barry McGee Opens Thursday September 12, 2013 from 6-8 pm Exhibition continues through October 26, 2013 Cheim & Read is pleased to announce an exhibition of new work by Barry McGee. This is the artist’s first solo show with the gallery. It will also be his first in New York in 8 years. Born in 1966, Barry McGee is arguably the most well-known and influential of the recent surge of artists from the Bay Area to have international success. He was raised in San Francisco, studied painting and printmaking at the San Francisco Art Institute (graduating in 1991), and continues to live and work in the city. McGee’s boldly graphic, colorful work incorporates a multitude of influences (including, for example, graffiti, American folk art, and Op Art), but is most immediately evocative of the urban street culture from which he hails. Engaging the ways in which the city’s unique vernacular translates into artistic imagery, McGee celebrates the diversity, distinctive characters (one of his well-known motifs is a Untitled, 2013 acrylic on wood panel; 19 elements crawling, sad-sack bum), and neighborhood communities of the inner- 91 x 72 in 231.1 x 182.9 cm city. His work critiques consumerist culture and the constant backdrop of commercialism in everyday interactions; rejecting the billboard and chain store, McGee instead finds inspiration in the seeming randomness of graffiti, the endless uploading of images on the internet, and the creative styling of misfits. McGee’s work succeeds in its sensitive balance between anarchy and collaboration, resulting in environments which immerse the viewer in his singular, yet inclusive, vision.
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  • The Mission School San Francisco's Street Artists Deliver Their
    The Mission school San Francisco's street artists deliver their neighborhood to the art world. By Glen Helfand IF PLACES LIKE the Left Bank and Greenwich Village feel vaguely historical, it's pleasing to note that artistic movements, even under the reign of globalism, can still be traced to neighborhoods, the physical places where artists, writers, and thinkers congregate. Perhaps because San Francisco is so compact, its cultural innovations, more than many other cities', have always been identified with specific, romanticized intersections. Castro and Market, gay liberation. Haight and Ashbury, hippies. Columbus and Broadway, beats. Most recently, 16th Street and Mission has become the locus of a yet to be labeled brand of art that's become one of San Francisco's most notable exports. In the art world, however, the idea of provincialism is viewed with suspicion and even condescension, which is why it's somehow so satisfying that Barry McGee, Margaret Kilgallen – who succumbed to cancer last year at 33 – and Chris Johanson, among others, have become international icons of a thirtysomething generation of San Francisco artists who mine an aesthetic of the local streets. For them, it's a road that, surprisingly, has led to huge popularity in New York and even Japan, illustrating the old rock and roll truism that sometimes an artist has to leave the country to get real notice at home. It's even more satisfying that these artists have gone global with an extremely humane and honest approach. Their work is heartfelt, handmade, and deeply observational, and its urban realism is filtered through interests in graffiti, comic books, green culture, and social activism.
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