Mu Pan’s very first print on paper, from his original “Tiger” painting, will be available today from 11am (NYC time) on Static Medium. Only 27 copies for only 200$… catch it if you can!
Giclée print on Moenkopi Unryu 55gsm Washi Rag with hand-torn deckled edges.
Literally translated as “cloud dragon paper”, Moenkopi Washi Unryu paper is made in Tokushima, Japan in using traditional Japanese Washi techniques. It is produced by adding long hemp fibers to a wet layer of Kozo (mulberry) fiber on a mold.
37,4 x 95,8cm | 14.75″ x 37.75″
Signed & numbered edition of 27
Available from : https://www.staticmedium.com/product/MuPan/Tiger
Dawn-Michelle BaudeThu, Jun 21, 2018
IN PROCESS: EVERY MOVEMENT COUNTS
Through September 15; Monday–Friday, 9 a.m.–5 p.m.; Saturday, noon-5 p.m.; free.
Marjorie Barrick Museum of Art, 702-895-3381.
Andrew Schoultz’s In Process: Every Movement Counts boasts so much chromatic swag, the political messaging goes covert. Who could blame the casual viewer for thinking In Process is about how graffiti and street art meet skating culture in a retinal cataclysm? Casual viewer, you are right! Schoultz skids right out of the California skater scene, comic books stuffed in the backpack of youth along with guerilla muralist gear. His tricks are just getting started.
Curated by Andres Guerrero of Guerrero Gallery in San Francisco, In Process thoroughly claims the territory of the Barrick with eight vibrant installations, one 62 feet in length, another 14 feet tall. Painted free-hand, directly on the wall without sketches or—gasp!—digital projection, these installations feature graphic patterns inflected from Schoultz’s learned, symbolic language. His clouds, for example, are contrails that are thrash marks, smoke waves and stylized skies from Persian miniatures (Khwāju Kermānī’s Mathnawi is a favorite source). His bricks ping both animé and the brick-wall motif of mainline Surrealists (especially Magritte and Dalí), but they also harken back to the Lion Gates of Mycenae and Ishtar. The ancient world lurks in Schoultz’s art, sometimes directly in Hellenic vessels, sometime stealthily in, say, his iconic “beast,” a stylized lion sparked from a medieval Alhambra fountain in Spain.
The installations depend on confident, single-stroke, uncorrected lines. In “Spinning Eyes,” those lines deploy large-scale optical interference patterns that literally make our casual viewer dizzy! Centered in each pattern is the all-seeing eye, inspired by the orb atop the pyramid of the almighty dollar and looking in the direction of 24-hour surveillance. Or consider the “Untitled” wall, its contrast lines demarking 32 divisions of hue in a kind of tonal accordion. Primary colors confront each other in the middle, while secondary colors gradate toward the edges, recalling the color field paintings of Louis Morris. Affixed to the panels are four high-relief vessels, their cinnabar-red edges generating a fetching afterglow, their contrasting forms inscribed with classic labyrinthine patterns or broken into bits like archeological finds.
Ruins, remnants and rubble figure in several of Schoultz’s works, including the thematically complex “Infinity Plaza,” with its comic dystopian public-park meltdown, or “Eyes (Currency),” one of the small-format gems, with 5K of shredded dollars collaged as background material. Money and maps, flags and war gear hint at the show’s big ideas about the territorial shape of civilization. Another untitled installation displays six medieval European war helmets that appear photorealistic at a distance but dissolve into camouflage blobs up close.
All in all, the theatrical, happy vibe of In Process wows the casual viewer, while the more contemplative among us ponder the show’s deft political protest. A robust exhibition not to missed.
Andrew Schoultz inaugure ce samedi 2 juin sa plus large exposition personnelle muséale à ce jour, au University of Nevada Barrick Museum of Art, à Las Vegas.
“In Process: Every Movement Counts”, comprend 8 installations réalisées in-situ ainsi que 25 oeuvres.
A voir jusqu’au 15 septembre 2018.
May 24, 2018 — A sculpted cascade of colorful dominoes is the latest installation to greet visitors to Downtown’s Triangle Square as part of the art initiative ROAM Santa Monica.
Installed this month, “Tipping Point” by Los Angeles-based artist Andrew Schoultz creates an optical domino effect with a linear series of six toppling rainbow-colored blocks that stand 10 feet tall.
The sculpture composed of “repeating monochromatic patterned pillars” is the latest installment for DTSM, Inc. and the City of Santa Monica Art Commission’s public art initiative “to activate the public realm and expand cultural offerings” Downtown, officials said.
|“Tipping Point” by Andrew Schoultz (Images courtesy Downtown Santa Monica, Inc.)|
“Onlookers are invited to experience Schoultz’s sculpture from different angles and muse on the struggles that lie between visual clarity and complex truth,” Downtown officials said.
“Tipping Point will cascade indefinitely at Triangle Square.”
Known for his “vibrant visual systems style,” Schoultz’s art is featured at institutions worldwide, including the San Francisco Museum of Modern Art and the Los Angeles Contemporary Art Museum, Downtown officials said.
He has painted public murals on walls in Manila, Philippines and Jogjakarta, Indonesia, as well as on skate parks, an airplane and a Tesla.
“Tipping Point” is his first major public art sculpture.
ROAM was launched after Downtown officials approached the City with the idea of a rotating public art series that would help “create environments that foster positive social interactions and enliven public spaces,” Downtown officials said.
Artists featured in this series, include FAILE, Jen Stark, Ben Zamora, Brenda Monroe, Danielle Garza, Jeanine Centuori & Russell Rock, Kate Johnson, Kristen Ramirez, Nataša Stearns, Nate Frizzell and Sean Yoro.
Triangle Square is located on the Colorado Esplanade and Third Street, adjacent to the Sears building and Santa Monica Place.
For more information, visit ROAM SantaMonica.com.