Mark Murphy : Scribble 08

Jeff Soto Storm Clouds on Urban Vinyl

2012-01-27T19:24:00.000-08:00

Jeff Soto, Riverside’s favorite son, and inspirational artist has been busy creating limited edition silk screen prints in support of Soundgarden, Pearl Jam, Black Keys and more. This week Jeff Soto and his book, “Storm Clouds” is featured on Urban Vinyl Daily written up by Travis. This Ohio based company loves to review great products and I am proud that they gave the book a big thumbs up.

And yes, this book originally came out in November of 2008, and there are a few copies left. Check out the review at Urban Vinyl Daily. Check out more Jeff Soto and limited edition books here. Read more: Interview, Art Basel feature. (Above, Rusty Swingset, featured in the Riverside Art Museum Retrospective in December 2008).

Tim Mantoani’s Press Attraction

2012-01-27T00:30:00.000-08:00

Tim Mantoani’s epic journey, “Behind Photographs” has become a significant trend online. Major features in WIRED, Yahoo News, Juxtapoz, Huffington Post, Trendhunter, Gizmodo, ABC and local press and television attention in San Diego.

In 2006, Tim Mantoani began his historic journey and instantly captured two of his photographic heroes in San Francisco—James Marshall and Michael Zagaris (pictured above)—on large formatted Polaroid film. Tim’s initial experience was awe-inspiring. High on the buzz of harnessing the power of the 20x24 Polaroid camera, Tim Mantoani put 150% into his project burning 100s of hours on the coordination of each photographic session—156 in all; 1000s of dollars invested into equipment (20x24 camera), suplies (Polaroid film, now discontinued) and travel (NY—CA; and over 10,000 minutes of focussed scrutiny on each page of “Behind Photgraphs: Archiving Photographic Legends.”

And it’s no wonder, press and online traction began trending this week in support of “Behind Photographs.” One reason for this trend leads to the media demands for measurable, authentic and accessible content. Ultimately, this has lead to Tim’s integrity, consistent connection with the media over six years, 156 legendary photographers portraits featuring their most iconic image unified by one dynamic, visual storyline. Online trends are often based on the variety of information that can be derived from one story line: Tim Mantoani—the self-driven, self-financed catalyst who archived culture shifting photographers, (lifers), who shape shifted our planet’s visual understanding of politics, tragedy, fame, entertainment, sex and iconic position over seven generations.

Archival trends promote international relevance. National Geographic Brazil picked up “Behind Photographs” to celebrate their rich tradition of collaborating with amazing nature and world traveled photographic icons.

Trending is even cool for friendly competitors. Phaidon, an amazing publisher, featured the archival importance of Tim’s visionary assemblage on their website. A wonderful support tactic to elevate many of the featured photographers showcased in “Behind Photographs,” elevating Phaidon’s library of photography books.

Industry spotlights. Those who care most in the world of photgraphy. Often industry trending is the hardest to come by—call it politics or top of the heap snobbery—but authentication wins. Tim Mantoani did a great job curating 156 of the who is who in the world of photography including a wide variety of niche specific industries—sports, music, nature, politics, war and conflict...Visura Magazine

YouPublishing—self manifesting your intuition to promote a good thing when you see it (Mark Murphy ISM). With over 3500 tweets generated from WIRED alone, Tim Mantoani’s “Behind Photographs” continues to grow in relevance as the word is spread by the public through a host of many websites with diverse offerings. Over 10,000 connections have been made, sharing “Behind Photographs” within hyper-focussed visual communities who identify with the archival merit and scope of making the impossible possible.

Tim Mantoani’s,“Behind Photographs” will continue to gain the attention of the world public,photographers, collectors and fans of all things culturally inspired. Two yearsof design development and one year of solid production was and IS completelyworth it. Job well done equals socialized traction. Please check out morearchived articles featuring Tim Mantoani and “Behind Photographs”—Book Packaging, Behind Photographs, Book Release, Tim Mantoani Interview (Tim Mantoanipictured above)—Fire up your content, promote and invite your community toattract maximum traction.

Clayton Brothers—Language for Vision

2012-01-26T22:39:00.000-08:00

The 7:30 jackhammer made me jump out of bed and get right into it. As my feet touched ground I was extra motivated to race with rush hour LA and head north to visit the Clayton Brothers studio.

My mind was awhirl, filled with creative thoughts for the day. “Language of Vision,” written by Gyorgy Kepes occupied my mind on the drive over. The book is dynamic, written in 1944, introducing theories and illustrations on how to better understand the function and structure of art in our society.

“The language of vision” is a perfect way to describe the Clayton Brothers as their densely painted surfaces convey a narrative that archives the force of two frenetic technicians who layer thousands upon thousands of shapes and shards of color on top of one another to create a unified language of beauty. (“Redi Whip Laughter,” 84x84”, above).

Gracious hosts, Rob and Christian, reorganized the studio, showing 3 never seen before works on paper created during their 2006 “Wishy Washy” exhibition (above), as well as one of their most important pieces featured in the 2009 “Jumbo Fruit” exhibition “Redi Whip Laughter” (84x84”). Also floating above 2 tubs of white paint and gesso, “I’m Just Joking,” (below).

Rob and Christian are prolific creators—constantly constructing and deconstructing the surface of their canvas until the right balance of pattern, color, character and support details invigorate the narrative edge to edge. There is no need for empty space in the world according to Clayton. Looking at their work up close, you are quickly immersed in a visual language that amplifies childhood insecurities and curiosities while surface ornamentation presents a bright spectrum of possibility.

Life’s experiences shared between two brothers presents unique, yet individual, interpretations of the same event. However, everything experienced between Rob and Christian is unified in their work. The Clayton Brothers are an important force constantly evolving their shared language of vision. Check out ClaytonBrothers.com for more and archived articles: Inside Out Madison, Pre-Madison Opening Hang Out and Inside Out Pasadena.

Jeremy Chandler Camouflage Interview

2012-01-08T18:08:00.000-08:00

Jeremy Chandler is traveling to Atlanta this week in support of his latest photographic installation titled, “Camouflage,” at the Hagedorn Foundation. Jeremy’s body of work exhibits photographic images that address the feminization of masculinity with visual antidotes featuring male’s mythological role in society. (Above, AJ Walking, 2008)

I caught up with Jeremy Chandler and asked him a couple of questions to get ready for this great exhibition. (Above, Sid and Eric, 2008)

mM : Your work was recently chosen by the Hagedorn Foundation Gallery in a thematic exhibition titled, Camouflage January 5 through February 12 in Atlanta, Georgia. Please share a little bit about the exhibition’s title, Camouflage.

JEREMY : Hagedorn approached me about doing a show after I met the gallery director this summer during a portfolio review in Atlanta. It is a two-person show with another artist, Kristine Potter, who is showing a series of black and white portraits of West Point cadets. In both Kristine’s and my own work, the figures are dressed in some form of camouflage, whether it is traditional military uniforms, hunting “camo” or some type of covering that cloaks/conceals. So taken literally, the show’s title refers to the dress of the subjects in the images. However, metaphorically, I think it refers to the concealing of one’s identity by aligning with some greater cultural archetype. This is an idea present in both of our work independently and I think contextualizing our photos together creates an interesting dialogue. (Pictured above: Eric in a Ghillie Suit/Flowers, 2011, archival pigment print, 40x50")

mM : How many photographic pieces will you be presenting? Describe your process in evolving your themes revealed in the hunter and Ghillie Suit series.

JEREMY : I’m showing seven pieces total - four hunting photos and three large ghillie suit prints. The process of taking the photos remains similar. I still use my friends in the photos and scout locations in advance of the shoot. The main difference is the amount of labor put into making the props. While I have long made props and costumes for my narrative images, the suits require a higher level of craft and much more time to construct. The suits themselves become sculptural objects and the images become more about the prop than in previous works. There is also the shift of having one man in the image rather than two. This definitely changes how the images read, as there is the loss of tension between the two characters. However, I like the ambiguity of the suit pictures because the character could be stalking something or hiding from something that might be hunting him. Through that uncertainty, I feel the space outside the frame is activated and there is tension created by that. (Pictured above: Ghillie Suit 3/Flowers, 2011, archival pigment print, 40x50")

mM : What are you up to these days? And what is next for Jeremy Chandler?

JEREMY : I’m mostly keeping busy with my artwork and teaching. I recently made a couple new photos that I’m excited about, one new ghillie suit and another on a recent trip to the Appalachian Mountains. Last year, I collaborated on a short film titled “Coventry” with my friend Shawn Cheatham. The film is being shown at the Beloit International Film Festival this February in Wisconsin. Shawn and I are flying up for the festival and I’m really looking forward to it. It should be a unique experience to see our film shown in that context. (Above, Pot Hunters, 2008).

Kind thanks to Jeremy Chanlder for sharing his vision. You can see meet Jeromy and see more of his work in person this week at the Hagedorn Foundation Gallery in Atlanta, Georgia. “Camouflage” features photographic work by Jeromy Chandler and Kristine Potter with an artist reception on Thursday, January 12 from 6 to 8:30PM and artist lecture on Saturday, January January 14 from 1 to 4PM. Visit Hagedorn Foundation Gallery for more information, contact the Mindy Solomon Gallery for available work or read the 2011 interview with Jeremy Chandler. Enjoy. (Pictured above: Ghillie Suit 1/Flowers, 2011, archival pigment print, 40x50")

What’s up Twenty—Twelve?

2012-01-08T03:02:00.000-08:00

One week down and 51.177457 weeks of action packed design goodness to go featuring: Clint Eastwood, Cartoon Network, Guru Tattoo, Martin Wittfooth, Kevin Paulsen, gallery promotions for 101/Exhibit plus the Mindy Solomon Gallery and a full length fine art documentary film.

Anyone who knows me, recognizes my commitment to design and love for once-in-a-lifetime opportunities to collaborate with the fine arts community. The Scribble 08 blog is an active resource for artist interviews, exhibition reviews, new music and a great resource for Murphy Design portfolio pieces. (Guru Tattoo on location details).

As fate would have it, one of the first people I met when moving to California began with Clint Eastwood. Your can imagine my excitement when Lisa Fitzpatrick, project director and catalyst, called and invited me into the Malpaso Productions world of Clint Eastwood? Over 50,000 words will fill the pages of “Clint Eastwood: Master Filmmaker at Work” with an introduction by Steven Spielberg, preface by Morgan Freeman, authored by Michael Goldman, edited/coordinated by Lisa Fitzpatrick of Swan Studio and Robert Hoffman of Technicolor and published by Abrams, New York. (Flags of Our Fathers Storyboards, Clint Eastwood, courtesy of Jack Taylor).

Guru Tattoo features eleven creative professionals that make a forever lasting impression with inspired draftsmanship and dynamic ink for your “bod.” Guru founder, Aaron Della Vedova, is mixing up the flavor for the shop’s first book, “Creative Urges” featuring edge-to-edge reproductions of some of Southern California’s finest tattoos. (Tim Mantoani photographing Aaron at Guru Tattoo).

Over the past ten years I have been operating a booth at the world-famous Comic-Con in San Diego. An honor, as the exhibit halls are filled with wall-to-wall inspiration and good pals. Fortuitously, I have made friends with the kind folks at Cartoon Network over the years and a creative collaborative project has emerged to celebrate their twentieth-anniversary celebration in book form. The Cartoon Network 20th Anniversary Book will be one part celebration of their commitment to deliver an entertaining array of entertainment, one part celebration of the men and women who bring hundreds of characters to life, one part artist interpretations of their characters, one part extravaganza to be announced prior to Comic-Con 2012.

2012 will feature active promotion of important contemporary artists through Murphy Book Publishing, documentary filmmaking, active reporting, art collecting and archiving. The long awaited film and longer filmmaking process continues with the delivery of a new feature length documentary film that features: James Jean, Souther Salazar, Martin Wittfooth, Matt Furie, Mark Todd, Esther Pearl Watson, Megan Whitmarsh, Kelsey Brookes, Victor Castillo and more.

New books are in the works for Martin Wittfooth and Kevin Paulsen (pictured above), two contemporaries living and practicing in New York. (Clint Eastwood sets for Mystic River and matte painting for Unforgiven courtesy of Jack Taylor).

And yes there is more. Collaborative projects and creative exchanges with gallery owners, support at art fairs and Art Basel in Miami in support of 101/exhibit and Mindy Solomon Gallery. New websites in the works for yourBuddhi—Yoga for life, Murphy Design (really? It’s been way too long), and goodChatter.com promoting all things good.

Thank you for taking a glimpse of a few of the projects happening this year. My sleeves are rolled up and I’m ready to deliver on an inspired year. If you are interested in more information or would like to collaborate, email me and “magic” will happen, or at least that’s what Christian Clayton has coined—“Magic Murphy.” The new year is turned on and looking forward. More soon. (yourBuddhi.com website design).

Guru Tattoo Photo Day w/ Tim Mantoani

2012-01-06T23:34:00.000-08:00

Pacific Beach based Guru Tattoo is generating art of all kinds for their first book, “Creative Urges,” to be release later this year. Leader of the band and ink on skin aficionado, Aaron Della Vedova reveals, “Guru’s essential ingredient is the flavor derived from eleven artists working together as one formidable art collective.”

Having recharged their creative batteries while on holiday break, Guru was a buzz today with tattoo guns inking inspired art work of the permanent type. The energy within the shop was/is super positive and features a diverse group of creative talent working hard for their clients. Tim Mantoani and I spent the afternoon photographing the studio and capturing the special details that will bring “Creative Instincts” to life. The photographs reveal the multi-dimensional persona of Guru Tattoo and assist me with the visual narrative with the turn of each page. (Above: Body Sleeve art details, in the office of Adam Hathorn).

Tim Mantoani is one of those photographers that understands the importance of instantly connecting with his subjects. A great attribute when you have 150 minutes to shoot up the place. Tim moved the camera around, looking for the most sacred spaces that provide daily inspiration for the guys at Guru. I think we scratched the surface and were successful capturing great portraits and details that will most certainly elevate the book and provide fans of “all things creative” an intimate look into an award-winning tattoo shop like no other. (Pictured above: Ron, Kyle Walker sanctuary and Paul Dhuey at work).

And as Jean Dubuffet penned, “For me, insanity is super sanity. The normal is psychotic. Normal means lack of imagination, lack of creativity.” There is wall to wall creativity and I can’t wait to reveal the tattooed pages of “Creative Urges,” not to mention the artistry of Aaron Della Vedova, Paul Dhuey, Adam Hathorn, Cooper (pictured above 1), Nate Banuelos, Rory Keating, Kevin Dickinson, Nick Alvarez, Eno (pictured above 2 and art work wall below), Kyle Walker, Champion, Ron and Peeps.

Stay tuned for more details about the 2012 release of “Creative Urges” featuring the artistry of Guru Tattoo with a lively intro penned by Greg “Craola” Simkins and the vivid photography of Tim Mantoani and Peeps—as well as all of the guys and their digital arsenal. I promise over 172 pages of wall to wall photos, illustrations, tattoos, paintings and visual meanderings that capture the essence of Guru Tattoo goodness. (Feel like reading more? Article Two, Article One).

(Above: Craola opening original, Champion working hard). All photography by Tim Mantoani photography. And with kind thanks extended, no job is possible without the imaginative talent of great friends helping you along.

Low Roar New Music Review

2012-01-06T11:21:00.001-08:00

Music and art for me go hand in hand. Afterall, “It’s the sound that moves you!” “Right...?” The year sounds off with a surprising musical find Low Roar, the musical mastermind of San Francisco to Reykjavic transplant, Ryan Karazija. Check out the review:

“Down tempo music interlaced with meaningful acoustic song writing. Low Roar's debut consistently builds over 12 tracks delivered by Tonequake Records. Ryan Karazija, front man and musical brainstorm, may have sat through the dark winter of Reykjavic, Iceland with deep introspection. The results can be felt over the course of the record and especially on Track No. 2--Just a Habit and Track No. 12--Tonight, Tonight, Tonight. Electronic effects are added when needed and the musical voice is delivered with unique clarity, perfect for creative thinking, painting and simply chilling out. Ryan Joseph Karazija delivers a signature voice that captures the moodiness of personal longing as compared to the musical efforts of Nick Drake, Low and Elliott Smith. Low Roar rating 4 1/2 Stars with great musical flavor if you are in the mood for discovering something new.”

Check out Low Roar on Tonequake Records. Melodic goodness. Just a Habit free download. Additional Review.

Behind Photographs by Tim Mantoani

2012-01-05T13:30:00.000-08:00

Happy new year! With the first entry of the year, I thought to share a motivational story featuring San Diego based photographer Tim Mantoani. Tim’s epic photographic archive, “Behind Photographs” typifies the pursuit of dreams no matter the odds.

“Behind Photographs” is an epic archive on two levels. Firstly, Tim Mantoani captures over 158 photographic legends holding onto their most favorite, and often times, most iconic photographic print. The final 20x24 Polaroid is signed by the photographer and includes a personal memory about the photograph. Secondly, Tim captures the who’s who of photography utilizing an instant 20x24” Polaroid camera. No small accomplishment when considering:

1/ Polaroid abandoned the instant photography business completely in 2007, discontinued making instant film in February of 2008. (Above, Douglas Kirkland and James Marshall)

2/ Five 20x24 Cameras were built between 1977—1978 by Vision Research utilized by photographic artists Chuck Close, Andy Warhol, Robert Rauschenberg, Jim Dine, William Wegman and many more.

3/ Tim Mantoani initiated the project, renting a 20x24 in 2006 and photographed rock and roll photographer, Jim Marshall (1936-2010) and sports photographer, Michael Zagaris in San Francisco. Immediately hooked on the project’s potential, Tim purchased a 20x24 camera located in Los Angeles.

Tim Mantoani has no doubt invested thousands of personal hours, tens of thousands of dollars and has extended himself to the photographic arts industry in a method that will remain potent throughout history. Photography legends and their iconic photographs include moments in history that capture: Marilyn Monroe, the Beatles, Jackie Kennedy Onassis, Orson Welles, Muhammad Ali and over a hundred more featured over 216 pages and doubles as a visual history through time.

Tim and I first initiated discussion about his first monograph back in 2008 at a time when Polaroid had decided to discontinue the manufacturing of its instamatic film camera and film. Over the past three years, several reiterations and reincarnations of the project, “Behind Photographs: Archiving Photographic Legends” is a collector’s dream that includes an oversized footprint, richly produced with an eye for detail, iconic imagery which has influenced politics, religion, fashion, music and our cultural sensibilities over the past 75 years.

Tim Mantoani is a dedicated ambassador of the photographic arts who chased an impossible dream and turned it into a historical archive that will last beyond our lifetimes. “Behind Photographs: Archiving Photographic Legends” by Tim Mantoani is now available in standard and limited editions on his website.

Sweet happy New Year magic wishes. Apply your dreams and make them happen.

Murphy Design Holiday Book Sale

2011-11-23T12:15:00.000-08:00

The spirit of holiday “thanks” is in the air and to celebrate a holiday book sale offering Jeff Soto and Ray Caesar limited editions, as well as one great Box-O-Books Package featuring over 125 artists in one great package. All orders will be packaged with extras.

Holiday Box-O-Books Sale
Now through the end of December receive one big box of books featuring Jeff Soto Storm Clouds, No Hope Zine, Martha Rich/Freedom Wigs (featured above), Mark Todd/SuperHero Zine, Tim Mantoani/Ultra Zine, Scribble.08 Fine Art Documentary DVD, Heaven and Hell featuring 58 artists and Dialogue featuring 68 artists bundled into one big box sent fedex ground service including extras. (Choose ordering options at end of post).

Heaven and Hell features 58 artists including the Clayton Brothers, Marc Burckhardt, Gary Taxali, Joe Sorren, Red Nose Studios, and much more. Dialogue features 68 artists including Ryan Wallace (cover), Cathie Bleck, Nathan Ota, Bob Dob, Jeff Soto and more. Both books are richly illustrated, and features thematic text by Anne Telford, Mark Murphy and all of the featured artists. Perfect for the inspired.

Jeff Soto’s “Storm Clouds” captures new painted territory that reveals visual cues—the well being of his family, the fragile condition of politics, the changing forces of nature and moments for personal exploration and experimentation. This hard cover volume features 154 pages, specialty printing techniques and over 264 high-quality, full color images.

Jeff Soto’s “No Hope Zine” is a soft cover mini book produced in full color and artist signed. Limited Edition of 1250, only a few remain.

Scribble.08 DVD Murphy Fine Art Films presents Scribble.08, a documentary film inspired by the art movement of southern California. Directed by author, artist, designer, Mark Murphy and produced by Ten Stories and Ninthlink, this 48-minute film features interviews with 8 significant artists of our time: Rob and Christian Clayton, Martha Rich, Jeff Soto, Joe Sorren, Tim Biskup, Camille Rose Garcia and Kevin Christy. The film chronicles the growth of these talented artists and, through candid interviews, relays compelling stories of their obstacles, triumphs and sources of inspiration.

Mark Todd, Mark Murphy, Joel Nakamura and Tim Mantoani deliver three NEW 24 page mini zines that are sure to inspire your inner artist—SuperHero—TaxMe—ULTRA. These handsome volumes are shipped as a complete collector’s set, printed on heavy cover stock, full color printing and measure 4 1/4" x 6."

Order Today!
Order yours Box-O-Books and take advantage of more than $80 in savings. All books, high quality, safely packaged and each order to feature unique extras shipped worldwide. United States Orders please order here. For all international orders, please order here. Looking for Ray Caesar and Jeff Soto limited edition Holiday sale, please click here.

Jason Shawn Alexander Opening DEC 1

2011-11-23T00:15:00.001-08:00

Los Angeles based figurative painter Shawn Alexander debuts his most recent collection titled, “Undertow” at 101/exhibit in Miami Thursday, December 1. Jason’s new collection of figurative paintings captures deeply personal moments combined with his signature style—capturing theatric emotions coupled with overtones of allegory.

Jason’s work centers on exaggerated gestures featuring the elongation and abstract gestures of the human body painted with intense personal narrative influenced by his upbringing in rural Tennessee. Each canvas is richly adorned with text, mixed media and the thickness of layered paint. Jason has been featured in the Smithsonian National Portrait Gallery in Washington D.C. and influenced by narrative masters: Francis Bacon, Anselm Kiefer, Goya and more. (Above, Sisyphus Combine, 95x52 inches, 2011).

101/exhibit will be hosting a preview party and book launch for Jason Shawn Alexander from 7—11PM located at 101 NE 40 Street, Miami, FL 33137 during the Art Basel Art Fair celebration. Jason’s new book, “Undertow,” is by Shana Nys Dambrot, Herbert Russel and Sloan Schaffer and features the paintings on exhibit.

Murphy Design recently partnered up with Sloan Schaffer and 101/exhibit to create a series of ads to promote Jason Shawn Alexander’s exhibition “Undertow” featured in Art+Auction/Art Info, AmericanArtCollector, ART Forum, Cultured, Art Pulse and Art In America magazines. (Samples above).

You can contact 101/exhibit direct to receive a preview and to RSVP for this exclusive engagement. “Undertow’ by Jason Shawn Alexander will be on exhibit through February 8, 2012. (Above, Santa Monica, 95x52 inches, 2011).

101/exhibit will be participating in this year’s SCOPE Art Show Booth No. E32 November 29—December 4. Featured artists include: Marcus Jansen, Chambliss Giobbi, David Michael Bowers, Jorge Santos, Jim Mahfood, Jason Shawn Alexander, Christopher Carter, Kellesimone Waits, Colin Chillag, Aline Crumb, Zac Walsh, Russell Shoemaker, Ian Larson, Claudio Ethos, Robert Fleisher and Michel Modell.

Einar and Jamex de la Torre Artist Interview

2011-11-22T23:12:00.000-08:00

Mixed media and glass sculpture artists Einar and Jamex de la Torre capture a frenetic globalization perspective, mixing a unique blend of cultural influences and political positioning, as two brothers share their time between studios based in Mexico and California. The de la Torre Brothers have created a new series of work for the upcoming SCOPE Art Show in Miami—Booth C21—featuring a new series of dimensional wall pieces and glass sculptures.

Einar and Jamex de la Torre present glass sculptures that provides the viewer with implications about our daily existence in the world—north of the Mexican border—south of the border—and coexisting in the middle while straddling both sides of the border challenged culturally, religiously and economically. (Above, El Cakeito, 13′x5′x4″ mixed media, resin castings and faceted glass, 2011).

Working in glass, brothers de la Torre approach contemporary notions with spirited imagination that often illustrates the delicate balance between modernist and traditionalist values. To prepare for their new work at SCOPE Art Show, I caught up with Einar de la Torre and asked him a couple of questions about this new body of work.

mM : Looking at your most recent works created for SCOPE, I love the themes of globalization and melding of cultural symbols : What were some of the personal perspectives that you captured in the new work? (Agua Fresca, Tara’s Teddys, Tarra’s Temple, Tara’s Baby. (Above, Tara’s Temple, 48x36x3″ mixed media, resin castings, faceted glass, 2011).

EINAR : After we made 'el cakeito' triptych we noticed how the Tara sculpture we photographed became generic deity of the non-denominational type. It seemed to express spirituality without necessarily speaking to religion.

mM : When working in glass you incorporate found objects, antique printed matter and a variety of different glass applications : How would you describe your style of glass work? Does each brother have their unique application that they then apply to the work? (Above, Tara’s Teddys, 48x36x3″ mixed media, resin castings, faceted glass, 2011).

EINAR : In these pieces we are using manipulated digital images and polyester resin castings. the glass is only hand faceted crystal pieces. Our blown glass work we see as expressionistic and spontaneous. We use drawings to decide what we want to make and use a variety of techniques and local help to produce the glass sculptures.

mM : What inspired the Tara’s series of mixed media glass panel pieces? Do you have a favorite moment that you uncovered in the development of the pieces? (Above, Agua Fresca, 48x36x3″ mixed media, resin castings, faceted glass, 2011).

EINAR : We love the way the Tara sculpture deteriorated and also the tagging that became textured layers on top of the paint. It has an old Buddhist feel with contemporary street art surface decoration. This made it a great image to continue the layering that is so emblematic of our work.

Kind thanks to Einar de la Torre for taking time out and answering a couple of questions. To learn more about Einar and Jamex de la Torre, two fine artists who travel both sides of the border creating whimsical socio and political glass sculptures—check out their website. (Above, El Cakeito, detail).

These glass panels will be a hit at the SCOPE Art Show held November 29 through December 4 at the Mindy Solomon Gallery booth C21. More from Art Basel in Miami and all related fairs. Happy Thanksgiving.

Ray Caesar + Jeff Soto Limited and Standard Editions

2011-11-22T19:35:00.000-08:00

This year has been full of challenges and unexpected delights. As I wonder, “Where did all of the time go this year?,” it makes me realize how thankful I am to do what I do. For those who know me, I am passionate about all forms of artistic expression, and LOVE the possibilities that living artists expose me to.

I am excited to share Jeff Soto’s and Ray Caesar’s limited edition and standard edition book volumes. (Above, Jeff Soto, Potato Stamp Dreams with one-of-a-kind, embossed box packaging—10 books recently discovered—$125 US customers order here, International customers order here).

This installment is a celebration of the arrival (one more week) of Ray Caesar’s first artistic collection and Jeff Soto’s second installment, “Storm Clouds.” Both artist monographs are tributes to an on going archive of creative pursuit and artistic discovery. Ray and Jeff, although completely different artists, provide the viewer with an evolutionary, yet deeply personal, process of creativity that will continually challenge, evolve and push us through unfamiliar territory.

Jeff Soto’s, second installment, “Storm Clouds,” feature paintings that evolve beyond the robotic characters featured in the sold out, “Potato Stamp Dreams.” “Storm Clouds” captures new painted territory that record Jeff’s concerns for the well being of his family, the fragile condition of politics, the changing forces of nature and moments for personal exploration and experimentation. This hard cover volume features 154 pages, specialty printing techniques and over 264 high-quality, full color images.

Introductory text provided by David Choe (X –rated, that’s how we like it), Peter Frank (Senior Curator of Riverside Art Museum), Jeff Soto and Mark Murphy. Riverside Art Museum and the James Irvine Foundation provided initial support, as they will be featuring Jeff in his first museum show in December. (Above, Jeff Soto, NO Hope Zine and sample spreads). (Signed and numbered limited edition prints and packaging detailed below—150 signed and numbered editions).

Jeff Soto Storm Clouds Limited Edition Package
“Storm Clouds” will also be available in a special collector’s package that features a one-of-a-kind clam shell box with debossing, full color label and a signed and numbered print set of 4 that features a cover sheet and certificate of authenticity, packaged up in a protective envelope. And yes, the book will be signed and numbered to match the fine art edition of the prints, as well.

Jeff Soto Standard Edition
Jeff Soto “Storm Clouds” : 8” x 10” : Portrait Size : Hard Cover : 154 Pages : ISBN 0-9771430-8-2 : $41.00 (Holiday sale price $30, United States Customers order here, International Customers order here).

Jeff Soto “Storm Clouds” Fine Art Edition includes :
+ 1 Clam Shell Box : 11” x 8 ¾” x 1 ½”
+ 1 Signed and Numbered “Storm Clouds,” 4 Archival Lithograph Prints “Water, Air, Fire, Earth,” 7” x 9” printed 5 color + Deboss
+ 1 Collector Card Print Cover Sheet, 7” x 9”
+ 1 Certificate of Authenticity, all measure 7” x 9” and will be packaged in one envelope.
+ This edition is limited to a 150 quantity.

+ Includes Scribble.08 DVD Documentary featuring Jeff Soto interview

+ Features artist signed, NO Hope Zine
+ The entire package will be carefully packed and protected by a custom corrugated box :

Holiday Promotion Sale offers savings of $50. United States customers order here and international customers order here.

Ray Caesar’s book opens to a world that will defy your imagination begging you to explore the rich detail presented on each art page. “On the turn of every page you will experience a world where art captures dreams for those who do not remember how to sleep away life’s untimely circumstances…Ray Caesar is a dream catcher who recreates personal visions of other worldly creatures that visit him in every day life.” Order standard edition with collector cards. (Almost sold out).

Ray’s first assemblage is the result of a considerate collaboration, where design compliments vision, and high-quality craft delivers an extra sensory volume that features sketches, process studies, and over 250 full-color images. This is a premier release and the first collection of Ray’s work.

Ray shares his approach to developing images, his personal story of evolution and has created many new pieces, specifically for the book, recently featured at the Jonathan LeVine Gallery in NY. Ray’s process is offered in an evolution of images that capture a complete representation of a true master in a medium that has endless potential.

You will be happy to know that this first edition of “Ray Caesar Art Collection” features a 6 collector card set packaged in an envelope and shrink wrapped to the back of the book. The collector card set features digital paintings from the series “Mourning Glory.” This limited edition offering is a way for Ray and I to say “thank you” for the patient understanding that went into the development of this book. Please note this will only be available for the first edition printing.

Ray Caesar Limited Edition book package

For the avid book collector or huge fan of Ray Caesar’s work, the limited edition is a fine art package that delivers high-quality excellence. A black cloth clam shell box that features deboss on front and spine, as well as a 4 color lithograph label will offer a handsome package to the Ray Caesar limited edition book. The limited edition book will feature a black cloth cover that features a deboss design on front cover and spine, as well as a 4 color lithograph label on the front. All books will be signed and numbered in an edition of 500 and will include a certificate of authenticity, and 7 7/8” x 10” print of “Mourning Glory.”

“Mourning Glory” was created specifically for the book and will not be available in a giclee print at future gallery exhibitions. This 7 color print has been printed using the stochastic printing process, where there is no printed dot, there are printed squares that weave the image seamlessly and with no dot quality. This is a high standard printing process that will offer unmatched archival quality, displaying a print that jumps off the paper. “Mourning Glory” also features a deboss design and satin gloss varnish finish and printing.

Ray Caesar Regular Edition
“Ray Caesar Art Collection”: 8 ¼” x 10 ¾” : Portrait Size : Printed Hard Cover : 178 Pages :
First Edition includes 6 Collector Cards : 3 ¼” x 4 ¾” : ISBN 0-978032-X-X : $52.00

Order standard edition with collector cards. (Almost sold out).

Limited Edition : “Ray Caesar Art Collection” Fine Art Edition includes :
+ 1 “Ray Caesar Art Collection” 8 ¼” x 10 ¾” : Portrait Size : Printed Hard Cover : 178 Pages :
+ 1 Black Cloth Clam Shell Box : 11 ¾” x 9 ¼” x 1 7/16”
+ 1 “Mourning Glory” 7 7/8” x 10” stochastic 7 color print and deboss and artist signed/numbered.
+ 1 Limited Edition Certificate of Authenticity featuring stochastic 7 color printing packaged in one envelope.
+ 6 “Mourning Glory” Collector Cards : 3 ¼” x 4 ¾” packaged in one envelope
+ This edition is limited to a 500 quantity.
+ The entire package will be carefully packed and protected by a custom corrugated box : All shipments will be priority shipped via FedEx Ground :

Holiday Promotion Sale offers savings of $100. United States customers order here and international customers order here.

Kind thanks to Ray Caesar and Jeff Soto for sharing their artistic vision and offering much needed inspiration.

James Kennedy "Moodscapes” Interview

2011-11-19T20:01:00.000-08:00

Focused on SCOPE Art Show in Miami, New York based James Kennedy has created a new body of “moodscape” paintings that are sure to attract lovers of modern contemporary.

Applying generous washes of color to the surfaces of his paintings, James Kennedy approaches his work arbitrarily often looking for intersections, erecting essential forms in a balanced design while creating rhythmic patterns. There is a discriminating division of space uncovering a language comparable to detailed architectural plans or spatial arrangements of land while traveling through the sky high above.

In preparation for this article and the upcoming flight to Art Basel Miami, I thought this quote by Samuel M. Kootz, (1898—1982 The first to show the Abstract Expressionist painters as a school in NY, pictured above with Pablo Picasso), was appropriate:

“The modern artist, in turning to abstraction, desires to create an independent organism having its own being, its own equilibrium, which becomes a self-sufficient symbol rather than a duplication of an already existent image. He no longer seeks an approximation of nature.”

mM : Much of your work centers itself upon a consistent theme of “Moodscapes” or representational grids that represent patterns found. Please share a few thoughts about your approach to the work.

JAMES : I have always been intrigued by abstraction in landscape and how the light and dark within a painting impact a viewer emotionally. I suppose the color-fields prevalent in my current work were addressed subconsciously in the early “moodscape” paintings where I explored the horizon line...it's height and weight and most importantly the blend and merge to depth of field leading the eye to darkness, infinity and hopefully inspiring ones own "inner landscapes." (Above, Telegraph, 51x63" Mixed Media on Incised Masonite, 2009).

mM : Describe how the Constructivist movement and artists of the past have influenced the development of color, texture and spatial relationships found in your work.

JAMES : Sometimes I am guilty of giving the Constructivists too much credit as much of the work in its early explorations could have been better described as complimenting British post cubists and the Bauhaus painters. When you read into the constant re-grouping of the art-movements of that period is was a pretty amazing era in regard to radical thought and manifestation of the art-world doctrines celebrated back in the day. My earlier works in the Spatial series played more with dissections of space, bolder color schemes and were most probably Constructivist “derivative." When you look at my paintings closely it's as much about the construct as it is about the content. I suppose in that respect it embraces the love of and close attention to "craft" which was more of a Bauhaus model. (Above, Bridge, 27x51" Mixed Media on Masonite, 2011).

mM : Please describe the inspiration and your approach to your featured pieces at SCOPE Art Show — Retrorhapsodie (Above) and Fly Bi Wire.

As I was working on the Miami paintings I was thinking strongly about components. My Father was always obsessed by machinery and the mechanics of things and so I think the inner workings and science of objects has always fascinated me. (Above, Machinal, 60x60" Mixed Media on Incised Masonite, 2010).

FLY BI WIRE (above) is imbued with thoughts of flight and open space the constantly changing aerodynamic structure of a modern jet-wing but the same time hinting at materials of an earlier era in flight...wood and canvas.

Retrorhapsodie alludes to the aesthetic of the Art Nouveau . . . Hector Guimard (French, 1867—1942) and the French subway (pictured above) . . . the forms evident in the ceramics and furniture of that time.

mM : Your work presents a sense of movement: combining color washes, engraved/etched lines scribed into the fabric of the painting, a build up of the layers of paint, and the placement of shapes in relationship to each other. Describe a little bit of the unspoken narrative that you present within your work.

Featured in the Miami series of works I titled a painting "Dilution Diagram" and I think I had a kind of epiphany with that work. I suddenly realized that what was drawing people into my spaces was the said same light and shade I alluded to within my landscapes. The light and shade in this respect is directly proportionate to the thickness of media sitting on the surface of the masonite. So the dilution is in control of how much background is revealed and for me that is the most important part of my paintings . . . the "landscape" —the tonal changes across the surface. I guess you could say that is the emotional side of the paintings and the application of gesture and positioning of the non-specific foreground graphics is the whimsical and less serious aspect. (Above, Dilution Diagram, 64x64" Mixed Media on Incised Masonite, 2011).

mM : What are some of the themes you are pursuing in your work in 2012 and when is your next exhibition.

JAMES : From a mathematical perspective the possibilities in the "Spatial" series are infinite so I will continue to explore this as a graphic language. I also want to get back to creating more visceral surfaces and incorporate those. Time to explore my drawings would be most welcome. (Above, Blueprint to an Open Sky, 60x60" Mixed Media on Incised Masonite, 2009).

Fortunately or unfortunately, I have a low boredom threshold so my studio practice is in constant morph-mode. I will have a solo show with Mindy Solomon Gallery in August 2012 inter-dispersed are group exhibits in and around New York, one at the newly opened gallery at the 1stDibs space on Lexington. Most importantly I want some time away for thought and introspection, plans are in the works. (Above, Suspension Rig, 63x63" Mixed Media on Incised Wood, 2009).

Thanks to James Kennedy for taking time out to introduce his new body of work exhibiting at SCOPE Art Show, with the Mindy Solomon Gallery located at Booth 21 November 29—Dcember 4, 2011. Stay tuned for more artist articles from Miami, Art Basel—now in its tenth year.

Ray Caesar Interview In the Light

2011-11-16T23:10:00.000-08:00

Ray Caesar recently exhibited 30 digital paintings, “Dangerous Inclination,” at the Corey Helford Gallery. Ray was in good spirits and the crowd immediately engaged with a select grouping of one of a kind pieces and oversized pieces. (Above, Words of Wisdom, 24x40" 2012).

Reflecting on the exhibition on the drive from Los Angeles to San Diego, I thought to present two questions that quickly came to mind. Generously, Ray responded: (Above, Coming Undone studies 2008).

mM : I love the light sources in your work. The glow of your work has an effervescent quality that really pulls you in. Do you have memories of light. Places you have been or have a favorite time of day that inspires the light that is featured in your pieces? (Above, Mantis Grill, Daybreak, 2008).

RAY : The light is in many ways is a main character of my work ...if not THE main character. Whether its a table lamp or a chandelier or a window or even just a bare bulb. I often begin the process of a piece with the light source and this is consistent in working in Maya also ...I need a light source in my virtual working environment to illuminate the objects in the scene.

When the piece develops so does the light source and its effect on the scene and in this way there is a constant process of working with light both as a practical element but also as a spiritual one as for me the light is also a metaphor for the revelation of the unconscious mind and the self realization of aspects of my own personality and the personality of all of us as a species. I have several "disorders" and therapy along with art and patience and a process of self realization is like turning on a light in a room or sitting in a garden at night and watching the sunrise and seeing that space as a constantly changing space. (Above, Siren, 48x48" 2012).

The night garden has a certain light and certain creatures populate it at night and there is a cast of shadow and color and a coolness of temperature and lack of activity by humans . . . the smells are different as are the sounds and the instincts. The sun rises and all those elements change and in some ways the garden under sunlight at noon is almost a different space—a different aspect of another completely dimension. Light and its absence seemingly moves us thru these different dimensions and I believe its the same with the unconscious and conscious mind. As a child I used to sit in a very small dark room and it was in that space that I heard particular voices and what I like to describe as "friends"...I have a particular memory of these voices being very tiny moving points of light. In a simple answer to your question I have come to love all times of day and all states of mind as they all have a reason and they all have an emotion. I am often happy sitting on my terrace when its cold and foggy and raining...I wrap myself up in a blanket and sip a cup of tea and watch the fog and listen to the rain and the light is just fantastic. (Above, La Chasse, 48x48" 2012).

mM : There is mention of pieces without the presentation of figures while presenting the influence of humans. In your piece Death of an Unfaithful Still Life (great title, by the way), the concept of human interaction and the possible narrative seem to build up the tension in presentation. What is your inspiration that moves your worlds away from the protagonist? (Above, Consort and Santa Maria, 2006).

RAY : I have drawn these non-figurative pieces for many years and quite some time ago used to paint them quite often. Light as a main character . . . then so are the objects and furniture and rooms within my work. Cabinets and chests of drawers and desks and night tables are a place where secrets are often hidden and a place we keep those things we don’t want others looking at.

They are places we tend to organize our daily life and the place we quickly put things when we don’t have another space. They are containers and sarcophagus and coffins and in a way, wombs of old memories. I think we all have cabinets in our subconcious. Go through any room in your house and go thru a drawer and there. I guarantee you have put things that you have forgotten about ...when you clean those cabinets you find little treasures and memories both good and bad. These are also the places some keep their love, their sins, the things they want to keep and the things they want to forget. (Above, Morning Glory Limited Edition Book and Morning Glory Side View 1/1, 2007).

As a child I spent a lot of time alone ... I touched old furniture and it seemed to me the furniture spoke back . . . back in England when I was 7 or 8 we had a huge black oak bureau that was attached to the wall . . . I suspect it was 60 or 70 years old and was probably built in the 1880s as we found some very old newspapers behind it when it was ripped from the wall many years later. This big old Bureau was the king of the room and was massive...it had seen more years pass than anyone or any other thing other than the house itself and yet I think the wood was older. I can swear to you on my life that this thing spoke . . . and it was wise and patient and kind and it was strong and it had come from a very old tree that was rooted to the earth. It was fashioned into a massive cabinet that had cupboards and drawers and it had contained all the things people treasured for an eternity. It was in one of the cupboards of this cabinet that was one of my places and I feel that this big old cupboard protected me. (Above, Paternal Secrets 2004 and Oh Sweet Vanity 2004).

In “Death of an Unfaithful still life,” (Above), I was thinking about how some pieces of furniture can be alive and kind and caring and how some people can be less than furniture and cold and uncaring. I came from a world where words were lost on people like words are lost on talking or begging an inanimate thing. In such a place your friends become the things that are kinder to you ...the things that protect you and sometimes those are things in the rooms you live in . . . the quiet patient things.

Many thanks to Ray Caesar and we look forward to your next exhibition. More soon and enjoy. (Ray Caesar Review — Ray Caesar Blog — Gentle Kind of Cruelty Interview — Huffington Post Interview — Order Ray Caesar Book).

Book Packaging for Tim Mantoani

2011-11-16T21:42:00.000-08:00

Tim Mantoani’s mammoth book project and photographic archive is about to deliver with three editions—standard, promotional and limited. Appropriately titled, “Behind Photographs: Archiving Photographic Legends” captures 158 photographers and their most favorite photograph.

Tim’s journey began six years ago and began with the rental of a 20x24 Polaroid camera where he trucked up to San Francisco and captured Michael Zagaris (Joe Montana) and Jim Marshall (Johnny Cash). Inviting one photographer at a time, Tim Mantoani vested himself 110%—purchased his own 20x24 Polaroid camera and set up satellite photography studios in New York, Los Angeles and San Diego. Six years later photographic history has been captured through an important archive featuring the memories of each professional photographer inscribed at the bottom of their portrait.

Tim and I began collaborating on the concept of “Behind Photographs” about three years ago. It’s an important project on many levels—historic proportions, archival integrity, understated design to bring out the importance of the project scope, iconic imagery and portrait stature of all of the featured photographers.

“And in the end, a well-packaged book, if you don’t mind me saying so.” Tim Mantoani authored great text, featuring Steve Curry holding one of the most iconic photographs of our time “Afghan Girl,” John Reuter—director of the 20x24 Studio in New York and Tim’s documentation. Hours and hours have been vested into this project and many have contributed—campaign participants on KickStarter, photographic assistants, John Reuter, friends and family. “Behind Photographs” is a cornerstone of archival importance as our society turns to digital media to save the day—never replacing the visceral qualities of a great book, original photography and a mammoth contemporary art collection.

You can order your copy of “Behind Photographs: Archiving Photographic Legends” on Tim Mantoani’s website. Signed editions are now available for your collection. Be a part of photographic history and get your copy today. (Additional article — Release — Interview — Overview — additional book design by Mark Murphy/MurphyDesign).

New Paintings by Marc Burckhardt

2011-11-08T15:42:00.000-08:00

Austin, Texas painter Marc Burckhardt premieres thirteen “New Paintings,” at Gallery Shoal Creek on 11/11/11. Marc Burckhardt lives on both sides of the equivocal art fence balancing fine art with commercial illustration. “Does this really matter?”

“Not really, as the artist is always an artist, and great artists blur scholarly points of view with a painted fervor that reveals thought-provoking visuals.” Marc Burckhardt is one of those artists. Marc has earned gold medals from the Society of Illustrators (NY) for thought-provoking, high-quality and memorable pieces. His work is rich with tradition often revealing work that is influenced by Dutch and Flemish painters from the 16^th century on. (Above, Bridle, 30x22").

A great collaborator, Marc is a featured friend in 15 years worth of Murphy Design projects (Dialogue, Heaven and Hell), as well as curated exhibitions, (Green, Survey Select, Lucid Dreams, Art Basel week in Miami). Fortunately, I caught up with Marc Burckhardt to share a moment before his new exhibit:

mM : What are some of the themes in your most recent collection “New Paintings” opening Friday, November 11 at the Gallery Schoal Creek in Austin, Texas :

MARC : My work has increasingly focused on allegory as a means of storytelling, with images that combine classical symbolism with personal narratives.

mM : Many of your paintings work in collaboration with each other, smaller pieces making up the whole. Please share some of the narrative you have visually articulated in “The Three Fates,” “Garden” and “Constellation.”

MARC : The “momento mori” theme of "Three Fates" and "Garden" incorporates classical symbolism with more personal visual language. In these and other works (like "Constellation" and "Fable") I've begun playing with the idea of mixing both archetypes and physical space to create a dialogue, so the relationship between one painting and another takes on a material presence as well as distinct meaning. (Above, The Three Fates, Acrylic and Oil on Wood Panel, 6.75x7.6" each panel).

mM : Recently, you exhibited “Kindred” in the “Lucid Dreams” exhibition. Do you have inspirational points from past art history that work their ways into your contemporary interpretations? Please explain. (Above, Kindred, acrylic and oil on panel, 10.5x12.5").

MARC : Absolutely. My background was in Art History and my studio is filled with stacks of books covering the periods I find most inspiring, from Byzantine iconography to early Italian and Flemish works through the Dutch masters. Their symbols and characters are like hieroglyphics to us now--some still a part of our cultural language, and others a lost mystery. I find inspiration in both the visual forms and their meanings, filtering and reinterpreting them through my own personal experience.

mM : What’s next for Marc Burckhardt?

MARC : I try to keep one foot in front of the other, which helps me avoid feeling overwhelmed by the distance ahead! I'm already working on new pieces for upcoming shows and have some speaking engagements coming up, too, as well as a retrospective in February at the Pennsylvania College of Art & Design. And as always, I continue working on commissioned pieces for a variety of clients. There's always something to keep me busy, which suits my temperament. (Above, Garden, acrylic and oil on wood panel, 6x6" each painting).

Thank you Marc Burckhardt for taking time out before your gallery show, “New Paintings,” at Gallery Shoal Creek in Austin, Texas November 11—December 3, 2011.

Josh DeWeese Interview

2011-11-06T18:55:00.000-08:00

Ceramics artist Josh DeWeese has a new exhibition opening at the Mindy Solomon Gallery this Saturday, November 12, 6—8PM—“Expressions in Form.” To prepare, I interviewed Josh DeWeese and discussed his passion for ceramics.

The interview also features historical research learning more about artist Peter Voulkos who originally set up the Ceramics Department at Otis College. (pictured above).

Check out the Josh DeWeese interview here. And more soon. “Oh yes! I love to design for galleries and museums and happy to collaborate with you.” See additional samples of work here.

Martin Wittfooth Interview—The Passions

2011-11-04T13:13:00.000-07:00

Brooklyn fine artist, Martin Wittfooth presents a provocative body of work at the Lyons Wier Gallery entitled, “The Passions.” Martin’s latest is a contemporary exploration of sainthood, martyrdom and religious tokens that decorate the modern landscape. (Above, The Baptism, 56x56," oil on canvas, 2011).

Martin Wittfooth continues on an artistic journey that evokes intersections between industry and nature, often displaying them in a clash of exorbitant proportions. Fire burns brightly in his latest assemblage of large-scaled oil paintings and I caught up with Martin to learn more while providing comparison to a significant group of historical works. (Above, Sebastian, 48" x 72," oil on canvas 2011).

mM : Your new exhibition Passions presents Biblical Allegory to convey a very active, often times, violent approach to the narrative. What passages, stories or historic periods inspired your paintings featured in “Passions?”

MARTIN : The Passions is an exploration of sainthood, martyrdom, and holiness idolized in the religious traditions that still dominate the ideological landscape of the modern world, and the prerequisite acts most often performed to attain such states of reverence: violence, self-sacrifice, and suffering. (Above, Ecstasy, 36x36," oil on canvas, 2011).

In Western philosophy “the passions” refer to biologically-driven strong emotional states that would seduce one away from reason, yet the term’s origin is to be found in the Latin word “passio,” which translates to “suffering.”

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Above left, Salvador Dali “The Face of War’ (c. 1940-1941), Oil on canvas was painted during his brief stay in California. The central face presents Dali’s feelings of war—the 3 year long Second Spanish Civil War that ended in 1939 and becoming a repressive fascist dictatorship lead by Francisco Franco and the commencement of World War II. Dali described, “Spain would serve as a holocaust to that post-war Europe tortured by ideological dramas, by moral and artistic anxieties—at one fell swoop, from the middle of the Spanish cadaver springs hatred.”

Above right, Salvador Dali, “Crucifiction (Corpus Hypercubus ou Crucifixion)” (c. 1954), oil on canvas, Metropolitan Museum of Art, New York. “The number nine is identifiable and becomes especially consubstantial with the body of Christ…” described Dali as he was thought to have been using mathematical symbols and equations to define the fourth dimension. Thomas Banchoff, pioneer of computer graphics to illustrate geometry beyond the third dimension would later defend Dali’s mathematic and science measures used in his paintings.

Consequently, it is connected to the most famous act of martyrdom: the crucifixion of Christ. Devotional paintings and sculptures from the last millennia have presented us with multitudes of examples in which the passions, in both their original and more carnal manifestations make a simultaneous appearance. One example of this is Bernini’s famous sculpture of 1652, The Ecstasy of Saint Theresa - which also served as the inspiration for my own painting, The Ecstasy. In Bernini's sculpture, we witness both lustful –one daresay orgasmic – abandon of all senses coupled with laceration-borne anguish. Furthermore, a reflection on such beliefs as the Rapture or Islamic jihad will compel one to admit that this archaic combination is yet alive and well in our modern age. By exploring the double meaning of intellectual desertion and fatal suffering that continues to be upheld and glorified by faith-based systems, The Passions is a criticism of blind, destructive piety.

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Above left, The Ecstasy of St. Teresa was designed and completed by Gian Lorenzo Bernini (c. 1647-1652) at the Cornaro Chapel, (named after the family who commissioned the piece), in Santa Maria dell Vittoria, Rome. Bernini depicts, “In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans.”

Above right, Baroque Italian painter, Giuseppe Bazzani, “The Ectasy of St. Therese,” Oil on canvas, (c. 1745-1750), Museum of Fine Arts, Budapest, Hungary. Characterized by dark emotionalism and tortured poses, his loose brushstrokes evoke theatrical references to Rubens and Veronese.

mM : “The Sacrifice,” “Sebastian,” “Pieta” and “The Coronation” paintings seem to all provide human interaction without representing humankind. Are humans void in your painted world? Or are they living, and influencing the animal life protagonists?

MARTIN : I often portray my animals as symbolic stand-ins for ourselves, or as allegorical mirrors of certain facets of the human condition. I remove the human figure from my work, and instead portray nature in man-made or manufactured settings. (Above, Pieta and Pieta study).

We are, however, present but unable to affect or change the outcome, and collectively accountable for the scenes that unfold, as the relics and architecture that litter my landscapes are familiar to us all. The animals are the main players on a stage set by human hands. (Above, The Sacrifice, 50x64," oil on canvas, 2011).

mM : “The Rapture” seems to indicate a sense of hope and spiritual force. It is interesting of the presentation of the force of good on the left while something diabolical is taking place on the right with the large shadow in the foreground. How did this painting evolve and what visual language are you inspired by?

MARTIN : "The Rapture" is actually taking a stab at the archaic -but still very alive-and-well - notion that for "holiness" or "salvation" to occur, there needs to be a sacrifice. What this painting is playing with is the idea that the burnt offering that is taking place on the right hand side is the act that precipitates the "rapturous" moment that occurs on the left. The flowers suggest the beauty and bliss of this moment, yet the manner of their appearance is one also of violence: the dog being "saved" is also being ripped apart by this surrender. In exploring this imagery, I’m making a commentary about the morbid absurdity underlying such beliefs as that which the title references: The Rapture. For this "holy" event to occur, all must be sacrificed: at the heart of it, such a belief is the celebration of death. (Above left, Rapture (2011) in contrast with the painting, New Suns (2010) featured on right).

Check out more of Martin Wittfooth’s work on his website and feel free to learn more in a series of interviews archived in this blog—Tempest Exhibition, Gardens Exhibition, Martin Wittfooth at Aqua, Miami, Survey Select featuring Sanctuary. Kind thanks to Martin for taking out the time and providing the opportunity to look up so many amazing pieces of fine art in parallel to this article. More soon.

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Above left, “Taking of Christ’ by Italian Baroque master Michelangelo Merisi da Caravaggio (c. 1602), originally commissioned by nobleman Ciriaco Mattei. It is housed in the National Gallery of Ireland. By the late 18th century, the painting was thought to have disappeared, and its whereabouts remained unknown for about 200 years before being rediscovered in the hands of the Dublin Jesuits’ Society in the early 1990s.

Above right, “The Entombment of Christ” painted by Michelangelo Merisi da Caravaggio (c. 1602-1603), originally painted for Santa Maria in Vallicella, a church built for the Oratory of Saint Philip Neri and commissioned by Alessandro Vittrice in 1601. The Virgin Mary is partially obscured and painted much older than accepted during Caravaggio’s time. Mary Magdalene with arms raised to the heavens as this is not a representational moment of transfiguration, but of mourning.

Gareth Mason: The Vessel as Medium

2011-11-03T21:50:00.001-07:00

British contemporary ceramist Gareth Mason is passionate about his craft and completely vested as artisan, writer, speaker and teacher. You might say Gareth Mason is a visionary in the field of ceramics, raising the bar in all aspects of the field while featured in permanent museum collections around the world: Korea, Kenya, Switzerland, Turkey, Austria, Scotland, England, New Zealand and collected privately too.

Gareth describes his core passion as an artist, “The best art, irrespective of the discipline, is felt first and reasoned later…Art is at its most potent when it exposes something of the artist’s humanity.” Gareth Mason took a moment out of his busy schedule to share his love for what drives him and it’s a great privilege to share this interview with all of you. Enjoy.

(L/Black Bleeds: :7½/19x7/18x13¼/33.5, porcelain, sang de boeuf, iron, oxides, gold and platinum lustre, 2009/2011 and on R/Astrobleme).

mM : Many of your forms are seemingly other-worldly or inspired by the ancients. How would you describe the forms you create in your pieces?

Gareth MASON : I believe the ceramic vessel is as powerful a medium of human expression as any other - as powerful as the haiku, the novel, the symphony, ballet, sculpture or motion picture... That belief is a wellspring for me. The realm of the ceramic vessel is dauntingly vast, spanning the gamut of human history; indeed, our innate sense of utilitarian kinship to the clay vessel, its symbiosis with human cultural and practical endeavour, is one of my reasons for relishing it as a canvas. We all feel we understand the pot—it is a friendly form. This makes it ripe for subversion and celebration, the very stuff of art.

Of the myriad historical examples in the world, I feel most attracted to the evident survivors, the pots who have come down to us through the ages. As well as the obvious pristine museum superstars, my eye is equally – perhaps more – attracted to the works that bare the scars of the centuries, the ‘wasters’, discarded to the trash heap and subsequently unearthed; the ones that went wrong; were over-fired, warped, cracked and fragmented; the broken, sad and proud encapsulations of raw ceramic experience. I am a shape thief: I draw on the iconic forms that I have absorbed over the years (Song, Shoson, Islamic, Medieval English (pictured L and Romano-Islamic glass R), Iznik, Tamba, etc, etc—a long list) as source and substance.

Then the fun starts as I treat each with my own particular medicine. Patching and repairing is an important aspect of my work, a leitmotif or OCD. I administer an aestheticized CPR to the pieces, bringing them back from the brink, sustaining them as it were beyond their life span of ‘usefulness’ into another, more ambiguous theatre. Surface is the arena wherein this tragicomedy is played out. I may reference a recognisable vessel form, perhaps a ‘classic’ Kangxi vase, or a bit of Romano-Islamic glass, and, submitting it to several firings and heavily intervening between each, I divorce it from its historical antecedent creating a mindfully contemporary object. I also improvise with the vessel, free-form, like a musician or chef, exploring material relationships and energies, flavours and stimulations of various kinds; so I will pinch, tear, puncture and caress: all contribute to the sense-record that is surface.

My work is bound up in the nature of appetite, the physical triggers of aesthetic arousal. Craftsmanship is crucial, as is the ability to selectively relinquish skill, allowing other things to happen. My forms are mindfully composed and wilfully damaged; considered and stressed; loved and disrespected. A certain duality permeates my work – an intersection of consonance and dissonance. I value both. (Above, Overflown detail).

mM : Your new work features many different earthen techniques—earthy materials applied to the exterior surfaces of your vessels. Please share some of your inspiration in creating this new portfolio of inspired works:

Gareth MASON : My most recent exhibition, at Jason Jacques gallery in New York, was entitled ‘Other Forces’ and that title is a big clue. (Book too!) For me ceramics provides a chink on the devastating powers that are extant beyond the reach of our race, be they above our heads or beneath our feet. The geological/galactic realm ever fascinates me but is only part of the story. Ceramics is for me a mighty negotiation between earth, fire, and the agency of will. It can encompass elements and qualities that are evocative and even mythic in their scope and allusive power. I have an enduring child-like wonder at the metamorphic aspect of ceramic experience, which seduces my imagination, spurs my intuition, and goads me to audacious risk, often to my cost.

(Above, Overflown: 16½/42x13½, porcelain, sang de boeuf, oxides, copper cable, gold and platinum and bronze lustre, 2011).

The kiln is an alterer of states, a transformer of matter. Firing is the business of crystallizing dull earth into irrevocable, vitrescent form. Can there be an art form more dynamic, more fertile, more ripe for poetic exploration? Fire is my capricious creative partner and I solicit its favour, not from a desire to control, rather for its revelatory potential. Viewed in this light, almost anything can be raw material.

(L/Astrobleme (detail): 11½/29x11½/29x8½/47, porcelain, dolomite matt glaze, sang de boeuf. 2009/2011 and R/Jovian Hourglass: 9/23x9½/24x13½/34.5, porcelain, glazes and feldspars, oxides, gold and platinum lustre, 2010/2011).

In addition to orthodox ceramic materials, I specifically appropriate other fuel, raw, found, unprocessed, and importantly, unknown. I value not knowing. I use riverbanks, beach flotsam, cliffs, stream beds and scrap heaps as scouring grounds. The most unprepossessing of elements attract me; a rusty nail, a shard of glass or pottery, and I alight upon these as opportunities to harness the unexpected. I like to venerate the overlooked. These material choices become accents and notes in my compositions. Their voice is often outside my control, and all the more vital for it. Colour and texture are important tools for the artist and I deploy them as mindfully as any. Marshmallow and black acid are interesting bedfellows, aesthetically speaking. Material contrasts, even stark and bitter ones, all have a part. Beauty exists in many guises, and I want them all, the sublime and the abyss.

mM : Do you find inspiration from artists of the past? Please describe how some of these artists have inspired you over the years:

Gareth MASON : Here are a few – and not just of the past, in no particular order of preference; an incomplete selection from a long list. A quality of commitment, risk and disclosure characterises the work of all the artists from whom I gain sustenance. Their work tends to be experienced at an immediate, human level; there are exceptions but in the main I would say I am attracted to hard-lived rather than calculated and cerebrally executed art.

(Above/Small Shield: 16½/42x18/46x23½/59, porcelain, oxides, sang de bouef, gold and platinum lustre, volcanic earth, 2009/2011).

From Howard Hodgkin, (pictured above), I have taken a renewed appreciation of colour and gesture: I appreciate the necessity to ‘re-visit the canvas’; also, I love the idea of ‘painting with emotion’. Giacometti is in my view heroic in his mastery of mark making and his unadulterated pursuance of his own vision – he went so deep and for so long… as did Kathe Kollwitz, who is one of the twentieth-century’s great draftspeople; she gave the human spirit material form, (pictured below).

Auguste Rodin’s late drawings entrance me for their fluidity and virtuosity but also as a template for revisiting the canvas. Jackson Pollock understood the ‘paint-ness’ of paint, its materiality: he brought it close to the body, transferring physical experience into material brilliantly, and he was just so brave. Another abstract expressionist, Joan Mitchell, was a great colourist. Egon Schiele had such beautiful line, and was utterly unafraid of the dark. Daniel Day Lewis is a very great, courageous artist, as was Jeff Buckley – both inhabit the moment, unfiltered, with unerring integrity. Antoni Tapies and Cy Twombly, (pictured below), are giants, for their ability to get to the heart of experience and appreciation of that fecund, ambiguous space between artwork and viewer. Tapies in particular has a gloriously unfettered approach to material.

Common to all the arts, there is a space that exists beyond mere technique; a powerful and illusive space that few inhabit successfully, where, far from the province of sterile perfection, the only route is to risk all in pursuit of complete, body and soul engagement. Ultimately the purpose of this endeavour is communication; to be both mirror and spur to human existence; to inspire, move and stir the spirit. What is the point of art, if not this?

“Inspired?” Thank you to Gareth Mason for this fantastic and deeply personal interview. You can experience more at his website, and if you get the chance to see him demonstrate or speak, take a closer look. You can also contact the Mindy Solomon Gallery for available works. More soon.

Jewelry Stories and Collaborations

2011-11-03T14:08:00.000-07:00

Jewelry designer Tasha Rae Tatro forges her creations out of metal, hammering them into shape, adding delicate ornaments and precious stones. Tasha has recently partnered with contemporary retablo painter Marianela de la Hoz over the past 4 months to create a precious objects exhibition entitled, “Jewelry Stories.”

“Jewelry Stories” is the culmination of two artists coming together, working on a piece and passing the piece back and forth until the precious object is complete. Tasha worked with brass, silver and found objects while Marianela drew upon societal pressures for influence with her miniature paintings.

I was able to catch up with both artists to prepare for their show opening on November 11 and on exhibit through December 10, 2011.

mM : When creating your work, where do you look for inspiration? Do you sketch your ideas out, imagine them and just work, or let the work evolve organically, letting the process dictate the final work?

TASHA : My work has always been inspired by space and the balance of shapes and various objects. I rarely sketch anything out on paper; I draw with the metal allowing the space and final design to evolve on its own. It is a very organic process thus allowing each piece to be a true one-of-a-kind object. (Above, Bird Skull necklace, sterling silver).

MARIANELA : The content of my work is based on reality and the paintings confront today's troubled times. I am inspired by the blood ligatures among human beings, the same weaknesses, addictions and worries, the eternal combination of good and bad in each and everyone, the Dr. Jekyll and Mr. Hyde within ourselves. I am always searching that bond located deep inside of us that swims within our blood and in our conscience.

The artworks talk about the binds, the closures, the double moral, the atavisms, the “must be”, the separation of body and soul, of body and head. I express violence through fantasy, black humor and sarcasm, calling it “White Violence.” Thus the small format paintings depicting characters nicely groomed, with combed hair and perfect teeth, with only a small drop of blood when necessary, all representing a scene in which extreme situations are performed.

Before painting I sketch my ideas, complete a drawing and then work on the painting. Apart from little details that may change during the process, I know what I want in the end. (Above, Me encanta jugar a las muñecas).

mM : How did each of you meet and when did you decide it would be a great idea to collaborate together on your upcoming show, “Jewelry Stories?”

TASHA : Marianela and I met through a mutual friend at the opening reception of “Lucid Dreams.” I was immediately drawn to her work, as it is unusual to find an artist who isn’t afraid of working so small. I had been dreaming of collaborating with a painter for years, but most artists find that they need a larger canvas to fully express themselves. (Above, details featuring precious stones, cast beetle, antique pocket watch).

Marianela has the ability to create an enormous amount of detail and emotion within a very small space. I asked her if she would be interested in a collaboration and she was instantly intrigued.

People love to show off their artwork and it isn’t very often that we are able to invite the public into our personal spaces to share the art we collect. The concept of wearable artworks has always intrigued me for this reason. You are able to display it within your home, but it is also a functional piece, which you can wear out and share with the general public.

MARIANELA : We met at Noel-Baza Gallery, a mutual friend introduced us and we began talking about our work, finding a common ground we began discussing a possible collaboration, producing pieces with both our expertise's, the gallery was interested in the project and we began working together. (Above, Huelo el interior vacio de los muertos-baja).

mM : Do you have a favorite piece that you have created for the exhibition? How many pieces do you think will have created to showcase at the exhibition?

TASHA : It’s hard to choose a favorite piece at this point, but I’m most excited about creating different objects than what I typically make. My personal work focuses on form and function allowing collectors to wear my jewelry everyday. “Jewelry Stories” has presented the opportunity to explore, creating one-of-a-kind art objects that can be worn or displayed. One of the more surprising items is a hairpiece which was so much fun to create. The piece is large and funky while it creates an amazing art object that doubles as a wearable and displayable piece. Most importantly, it looks great if you wear it out.. (Above, Locket collaboration between Marianela and Tasha).

MARIANELA : We will finish between 20 to 24 pieces, I cannot name one in particular, each piece has its own charm and is ready to tell a different story

mM : How has each other’s works been received by each of you? How does the work of another artist in another field inspire your work?

TASHA : It’s been a really fun and challenging process. We each started by creating a half dozen works on our own and then exchanged them, responding to each other’s work. There’s a few pieces that I added on to once I saw what Marianela was creating. I was constantly inspired by ideas that she would come up with—making the pieces even stronger in the end. (Above, Citrine Ring, Antique Pocket Watch Necklace detail).

I am always inspired by artists in other creative fields. There is always something I can relate to with the work I’m creating. It can be a single shape, surface or term that they may have used. I think when you’re passionate about what you do it’s inevitable to find inspiration all around you.

MARIANELA : Every time Tasha has shown me a new piece I have been surprised and delighted with the immediate ideas that come to my imagination, I love her designs, her passion and her professionalism.

Literature has been the source of many of my ideas, I don't paint illustrating what is written on a book , I transform the ideas in new ones depicting them in images of my own. (Above, A veces me siento humano).

mM : What is next for each of you, do you have upcoming exhibits, shows or happenings we should know about?

TASHA : I’ve recently moved to San Diego from Minneapolis and feel the creative possibilities are endless. I will continue to work on my own jewelry collection and have a new jewelry line that I am super excited to introduce for the Spring of 2012. This is a new concept for me, most of my work has been one-of-a-kind commissioned pieces. I am always open to the collaboration process and blessed to do what I love for a living. The future is always evolving and I am sure more shows will be introduced soon. (Above, hand forged signature Tasha Rae Jewelry pieces).

MARIANELA : I have begun to work on sketches for my next project which consists of an altar piece in which I will talk about the figure of Eve as the first mother of humanity. The main themes are about motherhood, education, religion, the fear of becoming old, social roles, and the prevalent misconceptions about what a woman should or not be. It will take a year or so for the altar-piece to be completed as it will be constructed with several small format paintings and different assemblages. (Above, No puedo apagar la necia voz de mi cerebro).

Thank you to Tasha Rae Tatro and Marianela de la Hoz for taking time out to discuss “Jewelry Stories.” If you are interested in one-of-a-kind jewelry creations, please contact Tasha Rae Jewelry by visiting her website.

(Kind thanks too—Tim Mantoani—for Tasha Rae Jewelry photography, featured jewelry on postcard and locket photos).

Tim Mantoani Behind Photographs Release

2011-11-02T11:20:00.001-07:00

San Diego based photographer, Tim Mantoani, released his much—anticipated book, “Behind Photographs—Archiving Photographic Legends” at Ogilvy and Mather in New York last Thursday night. Greeted by an energetic crowd of more than 300 and twenty-two featured photographers, Tim greeted guests gathered for signatures on the pages of photographic history.

“Point, shoot and click.” The digital tweet sounds out as the “Behind Photographs” book launch gets underway and many featured photographers meet each other for the first time. Which inspired the thought, “How lucky we are to all have a portable camera devices that capture our every moment—enabling us to post, promote and remember.” (Above, May Pang, Tim Mantoani).

Back in the day, and for many of the featured photographers in “Behind Photographs,” this was not so. The legends of the photographic arts were at the right place, at the right time, never really knowing what they captured on film would ever add up to much. But thankfully, the smart ones, who held on to their archives of images, pages of contact sheets, binders filled with film negatives and filing cabinets full of prints, can now celebrate their legacy. (Above, Ansel Adams, Kodak history).

Thursday night was a tremendous moment to celebrate lives dedicated to the photo craft. Icons of the photographic industry shook hands, smiled and looked into the eye of the camera to celebrate Tim Mantoani’s mammoth photographic archive, “Behind Photographs.”

Tim Mantoani’s “Behind Photographs” is a coffee table book, beautifully crafted, featuring over 150 20x24” Polaroid photographs within a 11 ¼ x 14 ¼” portrait sized book. Each turn of the page introduces icons of the photographic world, a mammoth who’s who of photography holding their most iconic and favorite photograph. No small accomplishment, as Tim Mantoani purchased a Windsor 20x24” camera (mammoth), all of the Polaroid 20x24” film he could find and then set up temporary photographic studios in San Diego, Los Angeles, San Francisco and New York.

Six years on the road, with the support of friends and family, Tim archived one photographer at a time starting with James Marshall and Michael Zagaris in San Francisco. Immediately, after the realization to personally add more photographers to his project, Tim set up a satellite studio in New York at the 20x24 Studio managed by photographer John Reuter and another from his home base in San Diego, at Tim Mantoani Photography. This journey was not easy, as in 2008 Polaroid stopped manufacturing Polaroid film for all of its cameras. Needless to say, with the help of all 158 featured photographers, assistants, freelancers and the photographic industry, Tim’s dream has now been realized as a significant photographic resource that archives the craft, equipment, process and split second on film capture that has been replaced by digital photography. “Well almost.”

Upon close examination, “Behind Photographs” is a major contemporary photographic collection that features the iconic images of Hollywood, music, sports, war, politics, fashion, nature and art—often shaping the way we look back at the world. “Behind Photographs” includes images of Marilyn Monroe, Johnny Cash, John Lennon, the Beatles, Muhammad Ali, Andy Warhol, Ernesto Che Guevara, Elvis Presley…and on and the featured talents of Douglas Kirkland, Sandro, John Iacono, Gregg Watermann, Roxanne Lowitt, Douglas Dubler III, May Pang, Bob Gruen, Dan Kramer, Keith Green, Henry Grossman, Barbara Bordnick, Fred Gurner, Jill Enfield, Ryszard Horowitz, John Rueter, Ian Macdonald Smith, Jim McHugh, Lois Greenfield, Thomas D. Mangelsen, Lyle Owerko and John Dominis—who were all in attendance.

Attending “Behind Photographs” was a wonderful experience, as I learned about some of the men and women armed with their camera who never really knew the impact their imagery would have on future generations. It was wonderful to hear about their personal experiences first hand: May Pang with John Lennon, the effervescent Douglas Kirkland with Marilyn Monroe, Lyle Owerko who captured the attack on the Twin Towers, Gregg Watermann about touring with System of a Down, Barbara Bordnick about the “Women in Jazz” series, the comedian/photographer Ian Macdonald Smith and on... Oh yes, I shared moments with all of the featured photographers up close and personal, as Tim’s wife and I wrangled books for signatures throughout the entire night. The energy was great and many of the featured photographers did not want the evening to end.

Tim Mantoani’s “Behind Photographs—Archiving Photographic Legends” is now available for pre-order through Kick Starter. “Why Kick Starter?” Tim is looking to shore up the final production costs of the project and make the impossible, possible. The book is beautiful, richly produced and I am proud to have been a part of the project over the past 3 years. Thankfully, I charged my digital camera to full that night, as it was an evening for the ages. Read more about Tim Mantoani in an exclusive interview here and “Behind Photographs” project overview here.

Marc Yankus Calls It Sleep Interview

2011-10-31T10:29:00.001-07:00

New York based photographer Marc Yankus has been featured in exhibitions at the Brooklyn Museum, The Library of Congress and ClampArt located in Chelsea. On Thursday, November 3 Marc premieres a dynamic assembly of twenty photographs and photomontages at his latest exhibit, “Call It Sleep.” (Above: Swordsman, 38x27," 2011)

“Call It Sleep” by Marc Yankus, ClampArt gallery, is an appropriate title, as soft, dream like images come into focus. The blur of sleep is rubbed away from languid eyes and as the day begins, dreamscapes unfold and nature intermingles with architectural edifice while exposing youthful character. (Above: San Remo, 38x27," 2008)

Taking a close look at one of the new photo montages, “Bike Ride,” Marc shares, “I would like people to look at the montages and question what is real and what is not.” Marc’s montages reflect a life’s work that began when he was 19 and originally inspired by artist Joseph Cornell (Samples pictured below). While in college, instructor Jack Potter encouraged Marc to see all shapes of things through drawing. Or maybe it was fellow classmates Keith Haring and Kenny Scharf who struck a chord in Marc to keep pursuing all things creative? (Above: Bike Ride, 38x27," 2011)

Marc continues his celebration of contemporary photographic work. For over 30 years, Marc has been featured on book covers and theatre posters all throughout New York City and beyond. I caught up with Marc Yankus to chat a bit about “Call It Sleep” and exchange more about his approach.

mM : As the light flickers down and invites the viewer to step within your world, what do you hope the viewer will discover?

MARC : In the city’s moments of tranquility, especially at dusk and when night falls, the looming shapes, diffused light and spectral shadows invest the recurrent transition with a hushed feeling of magic and anticipation that I seek to capture in my photographs.

mM : What worlds do you hope the viewer encounters when looking on at one of your NY photographs?

MARC : A world of shape, color and light. I am drawn to the romance of New York’s old architecture; its majestic and now rare materials never seem to lose their power to enthrall imagination. I want my viewer to experience that wonder. (Above: Urn and Smoke, 38x27," 2011)

mM : Are your contemporary photographs natural or mechanical in process?

MARC : I think your asking me if I do anything to my photographs after I shoot them? If so I do. Some of the images I lay textures down on top of them. The textures are found in old turn of the century books or tin types that I remove the original imagergy and lay only the texture ontop of my photograph using a software program. In my newer work I have gone away from adding texture and going straight from camera to print. (Above: The Library’s Garden, 38x27," 2011)

mM : When do you feel like you have really captured the energy of the world’s stage and how does NY feed into the energy of your work?

MARC : I don’t know if I have captured the world stage as of yet but though my work that is used on book covers it is seen by millions. New York is so vibrant, alive, stimulating, inspiring which keeps me going. (Above: Harlem, 22x17," 2006)

mM : Did you take advantage of the power outage in NY? If so, please explain:

MARC : I most certainly did. There was no light that night in the sky so I worked with total darkness and candle light or the occasional car head lights. Folks all though the village were sitting outside with tables and candles playing cards, eating and drinking. It was one big joyful party and I shot over 400 photos.

mM : Working with the city as a main character, how do you maneuver yourself to a place that is quiet or available to capture? Or is your process all handheld and quick moving? Please explain:

MARC : A lot of the shots are handheld mostly at twilight and at night. No one seems to bother me. The only times I was confronted is when I took out a tripod. I feel alive when I am out shooting and very focused.

Kind thanks to Marc Yankus for taking time out and sharing his creative vision. Good fortunes for a great opening.

“Call It Sleep” by Marc Yankus is now on exhibit at ClampArt November 3—December 17, 2011. Please contact the gallery for more information, Marc’s work is available in limited multiples and exquisitely reproduced, signed and numbered. Take a closer look. Night & Low Light Photography. Marc Yankus website. Review of “Call it Sleep” by Marc Yankus.

Ray Caesar’s Dangerous Inclination Recap

2011-10-24T16:28:00.000-07:00

Corey Helford Gallery opened promptly at 7PM to welcome a steady crowd gathered to share a moment with Toronto based, fine artist, Ray Caesar and his new collection, “A Dangerous Inclination.”

At first glimpse the gallery presented a wide variety of artist proofs, 1/1 editions and new work such as, “La Chasseresse Jaunes (Top), La Chasseresse Rouge(L) and La Chasseresse Bleue (R), (All editions of 1, Ultrachrome in on paper and acrylic, with varnish medium on panel, 2011), studies for La Chasse (edition of 20, 2011).

The new work provided generous space relationships for the central protagonist, allowing needed space to intermingle with its natural surroundings. And as always, a lively color palette, intertwined with subtle, patterns and prints helped establish moods of reflection and introspection for both the central character and viewer.

But wait, “What’s that over there? Is that a ceramic piece created by Ray?’ No, actually standing about 25” tall by 12” around, San Francisco based, Dante Nuno, safely packaged up his confection masterpiece and drove it down to Los Angeles. Dante prepared a sugary sweet statuette of Ray Caesar’s earlier work, “Descent.” I was personally amazed that this creation was actually a cake. Dante worked on his creation for two weeks and arrived with a really impressive testament to his work. And to provide perspective on hours spent, the candelabra took 3 entire days, welding colored sugar with sugar, until the perfect form took shape.

Another nice touch to the evening, came from a four-piece orchestra, that rocked out to famous 70s metal covers with strings. Ray Caesar was smiling ear to ear, as you spun and discovered works throughout the entire gallery.

Another one of one edition, “Little Miss Sardonicus,” was framed in a custom-made felt frame, thus heightening the atrium like effect that Ray often captures with his subjects. The dimensional and organic qualities of the frame seemed to further protect the central subject from unspoken opinions or sarcastic antidotes about her behavior

Overall, “A Dangerous Inclination” was a bold step forward, featuring five 1 of 1 edition pieces (all sold), earlier artist proof editions consisting of only two, and new work that continues the visual dialogue of Ray Caesar’s collection of work paying tribute to the master works of Fraonard and Boucher. A trip to Corey Helford Gallery in Culver City will deliver as the digital medium as a place in the fine art world continues to shine with the great work of Ray Caesar.

Oh yes, and the party was complete with a gentle stabbing of the cake by Ray Caesar and a slice by slice serving to the crowd that had gathered for a taste. I think the senses were stimulated and the best is yet to come.

(A Gentle Kind of Cruelty Interview, GenArt Vanguard Interview, Order Ray Caesar Book Here).

Ray Caesar’s Dangerous Inclination

2011-10-20T21:17:00.000-07:00

Ray Caesar’s new exhibition of more than 30 works premieres at the Corey Helford Gallery in Culver City, CA this Saturday from 7—10PM and is appropriately titled, “A Dangerous Inclination.”

Ray Caesar’s latest follows up, “A Gentle Kind of Cruelty,” showcased at the Jonathan LeVine Gallery in New York back in January. The first exhibition was a grouping of large scaled works that dealt with Dissociative Identity Disorder, a long recovery from foot surgery and the echo of childhood past, that consistently appears in his digital paintings and assemblages.

Toronto based fine artist, disparate, Ray Caesar, is the first major artist working as an outsider equipped with digital tools in compliment of Roger Cardinal’s art terminology—“art brut or raw art.” Digital paint exposes rich tapestry decorating large architectural spaces while adorning porcelain- skinned characters pose in Victorian inspired dress. (Above, La Chase).

Ray Caesar’s “A Dangerous Inclination” continues his deeply personal journey to settle feelings of childhood trauma and abuse, creating spatial atriums for his characters to protect, reflect, engage, falter, amuse and retain a sense of youth that can never be taken away.

Ray describes, “As a child, I used pictures as a way of hiding feelings and emotions I wanted to protect in situations that were extremely dangerous. If I experienced something that overwhelmed me, that I couldn’t deal with, or had emotions I wasn’t allowed to display, I used to draw it into a picture. Those pictures became a doorway to a happier, safer place – and sometimes a dangerous place for others because it was MY place. Years later while working at the hospital I realized I was doing the same thing. If I saw a child that had been burned with an iron, I couldn’t handle the image in my mind and function. So, I put the image into a picture, sometimes repeatedly (in fact, I drew and painted pictures about irons for 10 years ), and then I would put the picture away into a closet. Sometimes I would have a little ceremony at night and burn the picture in my backyard. (Above, Siren).

For years and years I didn’t realize what I was doing but it occurred to me much later in life that I was dealing obsessively with emotions on a subconscious level and the picture was able to communicate to my conscious level that all was ok ..we have protected the memory and managed the memory and found a place to put the memory so it wont hurt us again. It was/is a excellent way of viewing the image from a safe distance …a way of disassociating oneself from the ugly thing in ones head…a way of turning the ugliness in life into something manageable ..maybe even beautiful. It was and is a way to cope. (Above: 4th from left).

Virtually all of my work deals with coming to terms with the subconscious elements to my life and the way I experience the world around me. My work seems to keep on the regular themes of “Hunting Back Innocence” and “Revelations of Light” and the painful process of “Self Examination” and hidden voices calling like sirens in the night…

Ray Caesar is like no other, and I am thankful that he and Jonathan LeVine provided the opportunity to create a dynamic collection of his work back in 2008. Ray Caesar “A Dangerous Inclination” opens on Saturday, October 22 at 7—10PM at the Corey Helford Gallery in Culver City, CA and on exhibition through November 12. (Interview 1/20/11 : Ray Caesar Book Overview : FL Cute and Creepy Exhibit : Order Book Here).

Photographer Tim Mantoani Interview

2011-10-14T19:31:00.001-07:00

San Diego based commercial photographer, Tim Mantoani, is preparing for his first book release, “Behind Photographs: Archiving Photographic Legends” in New York. “Behind Photographs” has been a daily life mantra practiced by Tim Mantoani day in and day out for over 5 years in a quest to archive over 160 distinguished photographers and their most iconic images.

Traveling coast to coast with a mammoth sized Polaroid camera, the largest ever produced at 20x24” format and about 450 lbs., Tim visited the legends of the photographic field. His visits were met with intrigue, openness and compliment, as Tim exchanged one large format print 20x24” for the opportunity to capture their portrait featuring their most favorite or recognizable image.

Tim Mantoani recently kicked off a Kick Starter campaign to promote his new book, complete the necessary funding process and share this important project with the public. I recently caught up with Tim to talk more about his dedication to “Behind Photographs” and this important contribution to the photographic industry.

mM : Behind Photographs was launched in 2006, looking back, what inspired you to embark on this ongoing journey, archiving so many great photographic legends?

TIM : The project just took me over, once I shot that first giant Polaroid I was hooked and started to envision a body of work. I had no idea it would grow to this point.

mM : Several months later, POLAROID decided to discontinue making film, chemicals and the cameras themselves. Please share your reflection of acquiring a large format, discontinued, Wisner camera for shooting POLAROID 20x24 film, as well as your challenges to keep this project alive well beyond the discontinued date of large format equipment and supplies.

TIM : When Polaroid announced they would stop making film, I was not sure of what would happen with this project and how long I could keep shooting. I soon found out that there was a large supply of film and that I was safe for a while. However, in time, we began to see the chemistry pods starting to fail. In some of my portraits you will see streaking in the background as a result of this oxidation. In time, John Reuter from the 20x24 Polaroid Studio in New York would salvage the machine used for making chemistry pods and start to make fresh chemistry. There is still some film remaining, but in time, the old stock will be gone and hopefully, the efforts of The Impossible Project will keep this format alive. It would be a shame to see it vanish.

mM : So many great legends have been captured to represent the Behind Photographs. How did you select the photographers featured and what was it like meeting some of these legends for the first time. Please share some of your favorite moments.

TIM : When people ask me how I found these people, I say, "In most cases, they found me." What I mean is that each time I did a shoot, another door would open, one photographer would refer the next and it just took on a life of it's own. I tried to not have any specific parameters, and just went along for the ride. When you hold images like Steve McCurry's Afghan Girl or Bill Epperidge's Kennedy assassination print in your hands a chill runs up your back. Originally, many of these images and photographers inspired me to become a photographer. The opportunity to collaborate with all of them has been priceless.

mM : You must have a huge amount of archival video, photographs, outtakes and materials that did not make it into your first book. Do you have any future plans in taking this project further or continuing to archive living legends of the photographic arts?

TIM : I have shot tons of video and behind the scenes images. My goal is to continue to develop the project into a show that would include these elements. Just getting this project shot and the book published has been a mammoth undertaking and financial strain. I hope the book will bring awareness and renewed corporate support.

mM : Reflecting on your project and in comparison of today’s modern photographer. What do you feel is the value of darkroom prints, Polaroids and physical photographic materials, as opposed to archival inkjet, digitally printed prints? What qualities do you enjoy most?

TIM : There’s nothing like an original silver based print, a tintype or an original Polaroid. They just have a special quality that is often hard to describe. Silver prints are hand-made and photographers that have worked in the darkroom know it has become a vanishing craft. With a digital print, there is a feeling like you can just generate another with the push of a button.

mM : Traveling coast to coast, you met hundreds of legendary photographers, supported the photographers through your lens and have vested yourself like no other. When visiting your studio over the past 5 years, I have noticed that you have built up quite an archive of photographic prints from these photographers. What’s it like to collect photography as a photographer? How do the images make you feel day to day when you are living with all of them, witnessing their eye to craft? Do you have any favorites that you would like to share?

TIM : Many of the photographers have been kind enough to give me their prints. I have hung most of these in my studio as a daily reminder of this adventure and more importantly that I am just beginning my career in many ways. Some of these shooters have been at it for over 50 years and have been successful by keeping with it through the good and bad times. When most of these photographers make the images they hold, they had no idea what that image would mean in time, they were just doing their job or shooting for fun. These images, in time, have become time capsules to a period that will never be repeated and it is only through the eyes of photographers and videographers that we have these moments to reflect upon.

Every print that has been given to me is special, and takes me back to the exact experience with each photographer.

mM : Please share a little bit about the launch of your upcoming compendium, “Behind Photographs: Archiving Photographic Legends” and how can people be a part of this historic archive?

TIM : The book is 11x14 in size and 220 pages and available in November. There are two editions, a regular edition and a special edition that is limited to 150 copies. I am really proud of the way the book came out. You can help support the effort by buying a book and sharing the work.

I have posted a Kick Starter page to offer regular edition books, signed limited editions and prints, as well as a couple of other incentives. In order to get this book printed I invested everything into this project and a book was the best way to archive this collection of important photographers. It is a great risk, but I wanted to see this project through, and provide the best quality reproduction for fans of photography, students, instructors and the photography profession to celebrate this project with me.

Thanks to Tim Mantoani, and we wish you great success in your premiere book release in New York at Ogilvy and Mather on Thursday, October 27 at 7—9PM. Ogilvy and Mather located on the first floor at 636 11^th Avenue, between 46 and 47. Please RSVP to rsvp@mantoani.com. For more information and to purchase Tim Mantoani’s “Behind Photographs” participate on Kick Starter. And yes, very proud to have collaborated with Tim Mantoani on the design and production of this historic publication—“Behind Photographs.”

Cute and Creepy Museum Show

2011-10-14T12:32:00.000-07:00

Guest curator, artist and instructor, Carrie Ann Baade, unleashes a new exhibition at the Museum of Fine Arts at Florida State University tonight entitled, “Cute and Creepy: An exhibition of sweet and sticky macabre art.”

I am not entirely sure what the sweet and sticky references are, but the line up is exceptional: Ray Caesar, Thomas Woodruff, Martin Wittfooth, Kelly Boehmer, Kris Kuksi and many more. I loaned the Ray Caesar original, “Messenger,” (22"x30" digital print edition of 20 2004), and the Ray Caesar Limited Edition with a dynamic print too. The “Cute and Creepy” exhibition runs through November 20 and looks to be a show not to miss.

Carrie Ann describes her curatorial inspiration, “My tastes and interests have always been the strange and unusual, but what drives one to spend four years of their life making an exhibit like this a reality is the desire to support the artists who have come to make up my community. Ten years ago I was in graduate school when I first saw Judith Schaechter's stained glass at the Whitney Biennial. It was the first time I had seen such a graphically dark sense of humor paired with exquisite craftsmanship. Six years ago the Pop Surrealism genre developed and artists such as Kris Kuksi, Richard Kirk, and Travis Louie were showing with me in New York and Berlin. Becoming fast friends and fans of these fellow artists, I wanted to promote those who paired skill with unique vision.

While there is work that is far darker, it is the playfulness that makes these works endearing. For example, Jessica Joslin's delightfully retrofitted, articulated animal sculptures, or Kate Clarks disarmingly beautiful diorama of animals with quixotic human faces makes one want to collect this seemingly endless supply of freakish pets.

With the recent publicly celebrated exhibitions of Tim Burton at MOMA and Edward Gorey at the Wadsworth Athenaeum, now is the time to revel in the genre of the macabre. It's my desire to seduce new art lovers with this enchanting contemporary art that is so easy to adore.” (Ray Caesar, “Morning Glory,” edition of 500, dotless serigraph, Limited Edition Book by Murphy Design).

Author Nancy Hightower wrote a compelling article that is published in the “Cute and Creepy” catalog for the show entitled, “Revelatory Monsters.” Nancy describes her discovery process and the development of her featured piece, “I actually discovered the theory by accident as I was reading scholarly articles about the short fiction of Flannery O’Connor and Franz Kafka. The term “grotesque” intrigued me, so I started researching more scholars who had written about it—Wolfgang Kayser, Philip Thomson, Geoffrey Galt Harpham—as well as authors such as O’Connor, Joyce Carol Oates, and others. But it was reading Modern Art and the Grotesque that made me realize it wasn’t literary theory at first—but a theory derived from art. That fascinated me and opened up a whole new world of the fantastic and strange to me, starting with artists such as Goya, Dix, Bosch, Brueghel, etc. and expanding into contemporary art.

What I admire very much about the theory is that it has to play by certain “rules”—i.e. just because something is strange and weird, it’s not necessarily grotesque, not in the sense that I teach it. The grotesque is an operation, a form of persuasion that artists and writers use to create a paradigm shift in the viewer. And to me, this shift must always move in the direction of redemption, i.e. in making us a kinder, more loving world.

I never teach shocking stories or art merely to shock, for that, to me, would be cruel and insensitive. But I will introduce people to the shocking if it allows them to see what they have deemed “Other” in a new light. Most people think of grotesque as being something pejorative or strange or bizarre. This is certainly the more pervasive definition of the grotesque, yet it is limiting. The grotesque has always existed in the underside of culture; it is always taboo. As culture changes, so the grotesque.” (Laurie Lipton, Travis Louie, Martin Wittfooth, featured above).

This exhibition is described as grotesque, cute, sweet, sticky, creepy...and you are invited to determine the appropriate term(s) for yourself. The exhibition, “Cute and Creepy,” is now on display at the FSU Museum of Fine Arts, Fine ARts Building at the FSU Campus in Tallahasse, Florida. Check for exhibition hours, Monday—Friday 9am—4pm and Saturday and Sunday 1—4pm. Enjoy.

Tim Mantoani Behind Photographs

2011-10-14T08:59:00.000-07:00

San Diego based photographer Tim Mantoani has been working on a mammoth archival portrait project and has captured over 150 of the most influential photographers of our time featuring their most iconic images in hand.

Photography is a way of feeling, of touching, of loving.

What you have caught on film is captured forever...it remembers

little things, long after you have forgotten everything.

Aaron Siskind

“Behind Photographs: Archiving Photographic Legends” is a large format, 212 page document that celebrates the images and image makers who inspired our times over the past seven generations. Tim has traveled coast to coast to archive Jim Marshall (Johnny Cash), Steve McCurry (National Geographic), Ozzie Sweet (Einstein), William Wegman (and his dogs), and hundreds more capturing the stars—Beatles, Marilyn Monroe, Jimi Hendrix and capturing time—important moments in our history over the past 75 years.

You are cordially invited to join in, take a close look and participate in the “Behind Photographs” archival project. “Behind Photographs” by Tim Mantoani is currently available through Kick Starter, offering the standard and limited edition volumes. Check out this great project today and stay tuned.

Thursday, October 27 at Ogilvy and Mather in NY between 46—47, marks the book launch and introduction of this project from 7—9PM.

The Changing Face of Advertising

2011-10-12T09:24:00.001-07:00

My friend, Jeromy Stallings at Ninthlink introduced this clip to me today. Amazing how the face of advertising, design and all continues to change every 2 minutes.

Baby Tattooville on Parade 2011

2011-10-11T18:24:00.000-07:00

The story begins on Wednesday of last week, frenetic cyber communications received for required copy, images and shout outs. Frenzied requests garnered from Ragnar (cover), Mark Berry (photographs) and Bob Self (copy voice) to put together a 72 page commemorative book for this year’s Baby Tattooville On Parade.

Thursday morning, drop off at 9:30AM with the final design and production printed by Neyenesch Printers in San Diego. Friday arrives and they deliver the goods by 5PM. I picked up the books and hit the road, driving to the Mission Inn in Riverside.

The Mission Inn is a crucial character in Baby Tattoo Land, a didactic assembly made up of 50 collectors, 27 artists and 25 contributors. There is no other place like it—secret labyrinths, a maze of assembly halls designed within a architectural castle of sorts, comparable to an Elizabethan period film or goth-inspired vampire movie.

Baby Tattooville, creatively assembled by masterminded by Bob Self, is a unitarian call that assembles an interesting assortment of characters together for 3 days. Everyone that attends carries with them the anticipation of connecting with fellow collectors, friends and great artists. Well, let’s just say you never know what’s in store, as year after year mischievous musings overwhelm the senses.

Bob Self describes, “Baby Tattooville is the annual meeting of a secret society of contemporary artists and passionate art enthusiasts. Baby Tattooville’s intimate and immersive atmosphere provides an opportunity for select members of the contemporary art community to spend the weekend participating in both scheduled and spontaneous activities that result in the creation and celebration of art.” (Jeff Soto and KRK Ryden).

“You get the picture?” Artists included Riverside mayoral candidate Jeff Soto, soon to be Europe bound Lola Gill, beach cruisers Bob Dob and Brandi Milne, New York’s Travis Louie, Tara McPherson, James Gurney, Molly Crabapple, Ron English and soon to be transplanted to NY Buff Monster, Southern Cali artists Van Arno, Ana Bagayan, Gary Baseman, Tim Biskup, Luke Chueh, Coop, Michael Hussar, Gris Grimley, KMNDZ, KRK Ryden, Shag, Amy Sol, William Stout, Yoskay Yamamoto, naked rock star Anthony Ausgang, a chipper Frank Kozik, recent Mom Liz McGrath, and the bent over Osama comic drawer Johnny Ryan.

Baby Tattooville kicked off around 5PM on Friday welcoming the 5^th Annual “Art Jam.” The “Art Jam” is a painted collaboration shared between all featured artists. This year’s painting was rocking. As an onlooker you become mesmerized. The painting changes about every 30 minutes, and a true jam session to completion. I rolled in around 9:30PM on Friday night and Jeff Soto and Frank Kozik were laying in the rough areas on the painting for other artists to add their iconic flavor.

Saturday night featured the Riverside Art Museum installation, “Baby Tattooville on Parade” featuring the history of all of the artists featured at Baby Tattooville over the past 5 years. “Baby Tattooville On Parade presents a collection of strange, fun art. The exhibition is loosely themed around the concept of The Marketplace of Ideas which suggests that freedom of expression is analogous to a free market economy —where open competition produces desirable results.” Later that night, guests, numbered 1—50, participated in a bean bag, knock-em down, Circus Punk toss to try to win their favorite shaggy art piece. (Circus Punk customs, above, below—Ron English and Robert Williams).

Michael Hussar’s room has doubled as a photographic memoir to the odalisque and good time binge. Sunday marked the final day to borrow the Las Vegas mantra, “What happens in Vegas stays in Vegas.” Onward to year six. Rockin. (Recap of Baby Tattooville year 4 here).

Think Different—Muir Vidler—Delivers

2011-10-05T23:28:00.000-07:00

London based, Muir Vidler has been attracting plenty of world attention to his photographic works documenting worlds less traveled. Israeli Death Metal, Libyan Beauty Pageant, Istanbul and Rebles Without a Pause are all mini documentaries that capture life’s essence in the darkest corners and hard to access people who live out against preconceived notions.

Needless to say, Muir Vidler celebrates the notion of “Think Different” celebrating Apple’s reintroduction in 1997. To celebrate the legacy of Mr. Steve Jobs, a new ad was created for the Mindy Solomon Gallery for Art In America magazine. And of course, the work was created on a Mac. “It’s as easy as point and click, right?” “mmM, Not really.” Whether the click of a mouse designing, or investigating culture through the camera lens, the tools of the trade continually introduce new principles that often need to be broken and realigned to present passionate endeavor.

Muir Vidler is one of those artists that continually bends socio and political boundaries that require close introspection. Learn more about Muir Vidler here or experience his work up close. Look out for Muir Vidler in the November issue of Art in America (Ad featured up top) or head over to the Mindy Solomon Gallery and take a close look at Muir Vidler’s work in the group show, “Contradictions,” now on exhibit through November 5, 2011.

Twenty Years of Design and Counting

2011-09-30T14:20:00.000-07:00

Back in 1986, I told a fib about my age to a marketing firm that specialized in outdoor advertising for lawn tractors and mowers. Of course, I found myself chained to a drawing board assisting a too cool for school design team with illustrations and camera ready art work wet with chemicals from the dark room. It was a real portfolio burner, nothing to show at the end of my tenure, however it evolved my technical skills and taught me to hunger for something more.

In 1991, I launched Murphy Design with the notion of collaborating with clients who love a careful eye for detail. Thankfully, many great clients shared in this passion: Brandon Boyd (Incubus), Green Day (Logan Hicks), French Paper Co., Appleton, American Express, Hanna-Barbera, Rock and Roll Hall of Fame, Laguna Museum of Art and inspired fine artists—the Clayton Brothers, Jeff Soto, Ray Caesar, Tim Mantoani and so many more.

Twenty years later, I feel like—“I’m just getting started.” Over the next few months you will see design and branding projects evolve for Guru Tattoo, yourBuddhi.com, Harmony Yoga, Clint Eastwood, Mindy Solomon Gallery, Tim Mantoani Photography and Baby Tattoo Books.

Also, I am working on a digital book of sorts to celebrate Twenty Years as a designer and owner of Murphy Design. A book that will highlight over 32 books and life defining collaborations with over 1000 artists from around the world. Stay tuned and know that I am always looking for folks who share the love for details.

Moon Hooch Coast to Coast Tour

2011-09-23T17:30:00.000-07:00

Musical trio and Brooklyn based Moon Hooch is hitting the road and connecting the dots from coast to coast. Check ’em out in a town near you and enjoy a band rich in indie in spirit with complex musical range featuring duo tenor saxophones—Mike Wilbur (MA) and Wenzl McGowen (ESP) and James Muschler (OH) on drums.

James Muschler describes their tour kicking off October 7, “We are going to these cities in a minivan with no place to sleep, and a video artist who speaks only a little English is coming along for the ride and making a documentary... haha it's going to be a journey.” Join in the Moon Hooch music and get your jazz ska, blues, deep house, hip hop, toe tapping, finger clicking, two finger waving shuffle music. Drive safe Moon Hooch and check out the exclusive interview and album review here.

<a href="http://moonhooch.bandcamp.com/album/the-moon-hooch-album">The Moon Hooch Album by Moon Hooch</a>

Oct 07
17 Frost St.
Brooklyn, NY

Oct 25
Cat's Cradle
Carrboro, NC

Oct 26
Music Farm
Charleston, SC

Oct 27
The Loft
Atlanta, GA

Oct 28
Headliners Music Hall
Louisville, KY

Oct 29
The Old Rock House
St Louis, MO

Oct 30
Crossroads
Kansas City, MO

Nov 01
Bluebird Theatre
Denver, CO

Nov 02
The State Room
Salt Lake City, UT

Nov 04
El Rey Theatre
Los Angeles, CA

Nov 05
The Independent
San Francisco, CA

Nov 06
The Independent
San Francisco, CA

Nov 07
Wonder Ballroom
Portland, OR

Nov 08
Neumos Crystal Ball Reading Room
Seattle, WA

Nov 11
First Ave
Minneapolis, MN

Nov 12
House of Blues
Chicago, IL

Nov 13
Beachland Ballroom
Cleveland, OH

Nov 15
Paradise Rock Club
Boston, MA

Nov 16
Theater of the Living Arts
Philadelphia, PA

Nov 17
9:30 Club
Washington, DC

Nov 18
Brooklyn Bowl
Brooklyn, NY

Nov 19
The Bowery Ballroom
New York, NY

Moon Hooch Album Review and Interview

2011-09-21T19:33:00.000-07:00

Digital aged music listeners dialed into Pandora and 99¢ downloads often miss the essence of a band’s make up. OK, I am getting older, and I miss the days of cover to cover analysis of vinyl records—sticking with the album until every last sound has been heard in one sitting. And older still, I write an article that points towards the art of “fresh,” as opposed to rusty canned musical formulas that kick out dynamic singles with a buying public who finds no need to experience the artistry of an entire album.

Musical sermon aside, Brooklyn based band—Moon Hooch kicks out their first self titled album with an air of irreverence to the atypical musical system. Indie in spirit, but rich in musical range featuring duo tenor saxophones—Mike Wilbur (MA) and Wenzl McGowen (ESP) and the grounding rhythmic beats of James Muschler (OH) on drums.

Track #9 on the CD opens up with a nod to New York’s famed L Train spot where Moon Hooch plays live amidst the hustle and bustle of cell phoned micro-focus and the flicker of departing passenger stimulation. Track #4 celebrates the band’s fusion of house and dance while articulating an art house sound that moves your feet. Track 8, “Tubes,” takes you on a trip of intrigue and alteration as chords move you along an augmented style perfect for Mark Sandman’s lyrical style. (Sandman, 1952—1999, was the front man for the low-rock band Morphine who paired his musical genius with the baritone sax player, Dana Colley). Track “Low 4” closes the album out with a mature composition that foreshadows the band’s raw potential and future success. (Above, Mark Sandman by Mark Ostow)

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://moonhooch.bandcamp.com/album/the-moon-hooch-album"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;The Moon Hooch Album by Moon Hooch&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

And to support Moon Hooch’s recent album, I caught up with BPM extraordinaire James Muschler for a quick interview and introduction.

mM : how would you describe your musical flavor ?

James : We've been calling our music "cave" because it's like house, but more wild, more free, and more natural to live in...

mM : when you rehearse is their a freestyle or rhythmic call to action that keeps you all united ?

James : Usually what happens is one of us will go into a rehearsal with a idea for a melody, some harmonies, some rhythms, etc. and then the three of us will develop and expand on those ideas until we are satisfied with a song.

mM : how has performing in the NY subways helped tighten the band musically and as pals, professionals, etc.?

Sometimes when we go to the subway, we're down there for like 8 hours, so it's not only an exercise in endurance, it’s a creative challenge as well…playing the same repertoire for such a long period of time forces each of us to expand and try new things out and get creative…also, spending so much time with each other inevitably makes us tighter as musicians and pals.

mM : where’s your favorite piece of musical history? is it an artifact, place, feeling, note, or record?

James : artifact - The first Neanderthal bone flute ever made, the predecessor to the modern saxophone.

mM : what influences in the past history pump you guys up—

James : John Coltrane has been a consistently huge source of inspiration for all three of us over the years that we've been studying music. There are other sources of inspiration, though.. Hindustani Indian Classical Music, Contemporary Classical Music, drum and bass music, electronic house music to name a few…

mM : what track is the most fun to play live ?

James : Out of all the songs we play, we probably play "number 9" most frequently, but all the songs we play have something different. The diversity is what makes it fun...

You can visit Moon Hooch on their website, search them out on YouTube or see them live on a train platform rolling through the NY Subway. Kind thanks to James and support your local artists. Moon Hooch’s self titled is now available for listening goodness—limited edition CD plus download. Check it.

Jarritos Flavor City Winners—Congrats!

2011-09-21T19:08:00.000-07:00

Jarritos opened up an art contest looking for community participation and innovative, creative expression. With over 150 entries they received some pretty fine artistic goodness. Some of the judges included: Mike Maxwell, Jeff Soto, Jesse Hernandez, URB Magazine, Tribal, myself and more. I always wish to be looking in on the process with everyone in one place at one time to see what really sparked each judge’s feelings behind each entry. (Above, Andrez J Wieteszka).

Super congratulations to Oscar Meza, Zofia Bogusz and Geraldine Said. Oh yes, and all of the entries, as Jarritos Flavor City never looked better. Here is a look at the winners and a couple pics of pieces I really loved. (Above, Minerva T).

First Place : Oscar Meza : Student, San Diego : CA
“What inspired my piece started off as some sketches on a pad. Being that Jarritos was founded in Mexico, I wanted my illustration to reflect that authenticity. It almost felt obvious to incorporate a Luchador. I wasn’t sure who I was drawing at the time; but ironically, some of my friends said that the character kind of looked like me.”

“Wining this competition has made my year. It is such an honor to have been chosen amongst the other great competitors. I feel very lucky and humble to have won. Winning the year supply of Jarritos has made my belly smile, and having my art published has fed my artistic ego. But to my surprise, the best part of winning thus far is making my friends and family proud!”

Second Place : Zofia Bogusz : New York, NY
Zofia Bogusz was born in Poland in the '80s. She lives and works in New York City, where she received a degree from the School of Visual Arts. Zofia regularly exhibits her art, and enjoys doing freelance illustration. Zofia paints women against bold and dramatic landscapes, in which natural elements such as water and sunlight color the dynamic between the individual and the external world. She strives to render the balance of effortless beauty and strength that exists within the female form. Zofia’s paintings are inspired by individual histories, memories, and experiences. Pop culture imagery also plays a crucial role in her work, creating a grounded sense of the everyday. Zofia’s mediums of choice are oil paint, graphite, and colored pencils on hand-cut wood.

Third Place- Geraldine Said : Mexico City
Geraldine Said is from Mexico City and has worked at Grey Mexico as the Art Director. Currently she is living in Los Angeles and helping her husband with his boutique Ariane. Since moving to Los Angeles, Geraldine has been doing freelance work. When she isn’t working she loves immersing herself in photography and her charity organization H.A.T.

Runner's Up—Florian Mihr, Andrez J Wieteska, Mildred, Minerva T, DFRNT, Ted Stanley and Kate Fitzgerrell. Congratulations to everyone. See you next year and thanks for including me as a judge, nice work.

Contradictions +Muir Vidler +Murphy Design

2011-09-13T21:33:00.000-07:00

“Contradictions” opens September 24 at the Mindy Solomon Gallery in Florida featuring 8 leading contemporaries—Richard Bassett, Russell Biles, Einar and Jamex de la Torre, Muir Vidler, Gregory Green, Chris Riccardo and Bonnie Marie Smith. (Murphy Design graphic support and marketing materials).

Each artist presents a diverse range of work that explores life’s nuances through the lenses of irony and humor while lending their own point of view. This rockin line up of artists provides an array of contemporary works representative of photography, sculpture in glass, porcelain and ceramics and needlepoint. (Israeli Death Metal series by Muir Vidler).

Check out the contemporary photography of London based artist Muir Vidler. Muir nails it with his photo projects—“Israeli Death Metal,” “Libyan Beauty Pageant” and “Rebels Without a Pause”—great works. Of course, Bonnie Smith (one of my favorites) will be featuring her other worldly ceramic figures. And San Diego based, de la Torre Brothers will be presenting their dynamic glass sculptures. (Muir Vidler’s Libyan Beauty Pageant and Rebels Without a Pause series).

“Contradictions” features a public reception on Saturday, October 1 from 6—8PM at the Mindy Solomon Gallery and remains on view until November 5, 2011. (Rebels Without a Pause series of photos by Muir Vidler).