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It’s seasonal, just like any resort town’s dynamics, and Incline Village is exemplary of that, surrounded by incredible natural beauty, inhabited by millionaires and the service class that caters to them, between the gorgeous lake and the majestic mountains. Starting with winter, from November through April, inside and home: the blanket with the bat-shape (but actually a Native American form) on the couch, the four-inch high bear figurine with the deer painting behind it, and the sun on the wall. But more so outside, during the snow covered half of the year, the Ridge Lift (the oldest and coolest chairlift) only runs a few days a season. That morning three feet of new pristine white stuff, sublime, beautiful beyond belief. Quiet as an absolute. Grey as the snowflakes got sparser. Got locked in the hut, the doorknob was broken. Banged on the window but Pete Kelly the director of lift operations took off on his snowmobile without hearing and I was stuck in there for a while but it was ok. A week before another big storm and at 6am walking to work at the ski area saw the happy face someone had carved in the snow on the rock underneath the “Village Highlands” sign. The skis (bought from Pete) leaning up against the employees’ locker room. Working at Diamond Peak, sitting in the lift sheds, thinking, the Eagles on the radio, watching the hawks ride the updrafts, the ski runs unfurling below and the resplendent blue of Lake Tahoe laid out beyond, the chairs going around and around in their inexorable circle. Co-workers drinking purple Rockstar™ energy drinks and Southern Comfort™ at 8am, smoking weed, flying down the slopes wasted. Stand by the lift, put people on the chairlift, and wait for lunch hour to ski. Then spring and summer, the amazing “bowling alley” made of pine cones and twigs found behind the baseball field at Preston Park, and the light at night like a Rene Magritte painting by the deserted tennis courts, the snowmaking cooling equipment seen in June and the shovel and broom on the porch.
During the summer months worked for the parks department. Under my mentor Jose’s tutelage learned to lay down chalk on the baseball fields. Also raked, shoveled, picked up trash, and drove a Gator. From the heights to the earth. Based on the inspection of what is low, what is at one’s feet. The baseball diamond dirt and chalk, the tennis courts’ beige and green, the yellow fiber plugs, the spray paint on the rocks, the manhole cover, the hose that is a hose but also a noose, the stakes and the dirt.
Martos Gallery, Los Angeles
3315 West Washington blvd.
wednesday – saturday 12-5 pm
new work by David Kramer opens this wednesday..!
When asked the proverbial question, “Is the glass half full or half empty?” David Kramer’s response is something along the lines of: “Why? Don’t we have any more?”
David Kramer makes art work that tells jokes and stories or creates visual puns all asking similar types of proverbial questions and then questioning why the stock answers never quite seems to fit. Using advertisements and lifestyle magazine images, often from his youth in the 1970’s, Kramer is on an eternal mission looking for clues as to the whereabouts of the “Good Life” and the American Dream often depicted in these pages. His own proverbial questions often shape up to questions of why hasn’t his own life lived up to the promises doledout by both Hollywood and Madison Avenue.
A boozy humor is at the center of Kramer’s work. He laughs at his own eternal optimism. He steadfastly plows forward, cataloging the good life and sprinkling on top of it his singular brand of humorous copyright which often sells the viewer on the joke that he knows we are all by now “in” on. The joke that the American Dream seems to be maybe not much more than just a dream, and that all of the rumors about the mighty American will to succeed has maybe turned the page to a more lazy and tempered success story. The Hollywood ending is better off left to Hollywood and forgotten a soon as the lights go on and we leave the theater.
For this exhibition, The Hangover, Too, his first with Mulherin + Pollard, Kramer has built a wine bar into the gallery surrounded with his paintings drawings and sculptures from the past year. The wine bar is part joke about the lamenting and whining artist who spends his time drinking away his valuable time medicating his state, and also a reference to what Kramer sees as the only viable industry left in the American cannon: building theme park type places of recreation to distract ourselves from the business at hand, to sustain the greatness and promise that this country continues to boast of long after the flame has turned to a flicker.
Also on view is a sculpture, Mexico City Highway, a miniature stretch of roadway that passes through the Favela. Kramer has provided in the sculpture a roadside billboard, which depicts an image of an obviously white couple of models feeding each other chocolates. A scene which he has translated from his own trip to Mexico City this year, where he saw a society that has learned to accept the idea that the riches of a nation could be rationed into the hands of a few while the masses are left to only desire what they are allowed to see in advertisements, but my never own themselves.
David Kramer was born in New York City where he currently lives with his wife Susan Mitchell, and their son Martin. He has exhibited widely around North America and Europe, including recent one person shows at Armand Bartos Fine Art (Seems like We’ve Down This Road Before: A survey of works 1987-2010) 2010, Aeroplastics Contemporary, Brussels (If you really Want Me To Go Away, Just Give Me What I Want…) 2010, and with Galerie Laurent Godin , Paris (…Because I Am Not Richard Prince) 2010. He is currently a Special Editions resident at the Lower Eastside Print Shop in NYC.
David Kramer “The Hangover…Too” 9.7-10.2.11 @ Mulherin + Pollard 187 Chrystie Street, NYC
opening 9.7 wednesday 6-9 pm…
through july 30 in Manhattan…
Tony Bennett unsuspectingly coined a new term of surprising relevance when he once said he liked what Oskar Kokoschka did “along the peripheter.” Though meaning the perimeter and periphery in the painting itself, he innocently zeroed in on a murky netherworld away from the formal where success and failure, acceptance and indifference, and Tony Bennett and Oskar Kokoschka meet. Like these two disparate personalities, the artists in The Peripheterists elude the standard definition of outsiders to form a diverse and unaligned but oddly complimentary non-scene that doesn’t really register with either the hoi polloi or the intelligentsia. In many cases low-key and unsung though prodigiously gifted, all are fairly unconcerned with and unknown in that rarely satisfying milieu known as “The Art World.”
The Peripherterists examines the wide-ranging connections, affinities, and allusions amongst works that posses the popular appeal often absent at the your typical white cube. That luck, social standing, ladder climbing, and a multitude of other variables determine who gets fêted is not news by any means, but it does give rise to an urge to address that vexing situation with a gathering of mostly uncelebrated rare birds. A few encounters amongst many will have Mark Hubbard’s fantastical diagrams for actual skateparks, Gloria T. Park’s expressionist wig designs, and Jim Nieuhues’ paintings that are the basis for ski area maps consorting with Sereno Wilson’s glittery Nubian goddesses, Nicole Andrews’ paper cutouts of ennui-suffused suburbanites, and Stu Mead’s poignant, troubling, and very funny depiction of sexually active adolescents. This is not a polemic but an excursion into parallel realm of wonderful art that combines the fiercely individualistic and unorthodox with the accessible, and brings up old-fashioned but eternal questions about what art is and why people bother.
artists: Nicole Andrews Brandes, Natascha Belt, Dave Bevan, Dwayne Boone, Gerardo Castillo, Rick Charnoski, Edward Colver, Ale Formenti, Renée French, Joseph Griffith, Thomas Hauser, Mark Hubbard, Chuckie Johnson, Gary Kachadourian, Taliah Lempert, Doug Magnuson, Alfredo Martinez, William McCurtin, Stu Mead, James Niehues, Gloria Park, Daniel Pineda, Randy Turner, Dennis Tyfus, Unidentified Cameroonian barbershop painters, Sereno Wilson, Jesse Wines, Jason Wright…
the return of Drinky Crow..!
Tony’s first cartoons — Maakies — were published in The New York Press (1994) and since then his work has graced the pages of The Village Voice, The New York Times, The New Yorker, Seattle’s The Stranger, Dave Eggers’ Believer and many other alternative weeklies. His other projects include an animated series featuring his characters on the Cartoon Network‘s Adult Swim with “The Drinky Crow Show,” and other animation projects on Saturday Night Live.
In addition to his weekly comic strip, Tony continues to produce his comics and graphic novels featuring Sock Monkey (Dark Horse Comics), and Billy Hazelnuts (Fantagraphics Books) and has created cover art for Elvis Costello’s albums National Ransom and Secret, Profane and Sugarcane. He has been nominated for and won numerous Eisner and Harvey award for his comic book contributions.
Tony’s artistic style incorporates the elegant forms of 19th and 20th century illustration with the bombast of underground cartooning of the 1960’s and 70’s. Highly detailed sea and landscapes coax the viewer into reveries that feel like folk tales spiked with intermittent doses of surrealism, Borscht Belt humor (complete with drum rolls and rim shots) and street corner prophesying. The cartoon animals, people, grotesques and cherubic demons that populate these stories move in an undertow of everyday events peppered with humor, wanting and loss, shocking violence, and stark lessons that mirror today’s world.
celebrating 33 years of public art…
Borrowing a title from the New York Dolls, “One Day It Will Please Us To Remember Even This”, seems exactly appropriate for Creative Time’s citywide project that celebrates places and events that marked our lives over the past three decades. Who cares where Eleanor Roosevelt slept? This is where Gordon Matta-Clark opened his SoHo Restaurant FOOD; where there was a sandy beach in Manhattan for 7 years; and where the Mudd Club once ruled the night!
This May as Creative Time celebrates 33 years of transforming the city with public art, we are installing plaques at 33 sites chosen by a range of artists and writers, who have made a mark on New York themselves, granting these sites the legacy and prestige that only a public plaque can denote.
Lest the city’s artistic legacy be erased by the ever-proliferating chain stores and condos, Creative Time, in its signature irreverent yet thought-provoking way, is giving the public an art project that celebrates NYC’s contemporary cultural history. Appropriating the formal language of plaques (“At this place once stood…”) each plaque will have a short explanation of the site, project(s), artists, title and date, the telephone number to call for an audio story, and the person who chose the site.
The plaque project will be expanded to a virtual map of the city on creativetime.org to include the many additional sites we couldn’t physically mark. The general public will be invited to participate and propose sites that they deem worthy of a plaque.
Submissions can be sent to email@example.com…
Below is a list of 32 plaque locations also listed and mapped on creativetime.org.
• DOWNTOWN DRIVE-IN (Edison Parking Lot @ John and Front St) • CUSTOM AND CULTURE (Old US Customs House, Bowling Green) • FUN GALLERY (229 East 11th St) • LINCOLN CENTER (Construction Wall near Vivian Beaumont Theater) • PLAIN OF HEAVEN (820 Washington St. – SE corner of building) • SONIC GARDEN (Inside the Winter Garden at the World Financial Center) • DREAMLAND (1208 Surf Ave – next to entrance of Dreamland Artists Club) • TRIBUTE IN LIGHT (Fence of new Goldman Sachs Building) • BATTERY MARITIME (7 South St. – Gate closest to SI Ferry Terminal) • BLACK SHEEP (First Park, 1st St. and 1st Avenue) • SURVIVAL RESEARCH LABS (Shea Stadium, wall north of Gate C) • FISCHLI AND WEISS (Times Square, Astrovision Screen) • PROJECTS AT THE PRECINCT (NYC Police Museum, Old Slip) • JENNY HOLZER – ST. JOHN (St. John Cathedral, 10th St. and Amsterdam Ave) • LOCAL FREQUENCIES (Muddy Cup, Staten Island) • GRAND CENTRAL/MURAKAMI (Central kiosk in Vanderbilt Hall) • LEAP (2 Columbus Circle) • TOUCH OF SANITATION/MIERLE (One Gansevoort Pier, Pier 52) • EVERYBODY/42ND STREET (North face of 7 Times Square) • THE HELLFIRE CLUB (675 Hudson St, on the opposite side of the building) • LIGHT CYCLE (Around the reservoir in Central Park) • COMBAT ZONE (Now a boutique called Seven, 110 Mercer St) • DAY’S END (Also at Gansevoort Pier) • STRANGE POWERS (64 East 4th St.) • NEEDLE EXCHANGE (953 Southern Boulevard, Bronx) • MAX’S KANSAS CITY (213 Park Ave. South / 2213 Park Avenue) • ART ON THE BEACH (Battery Park City Landfill) • ART ON THE BEACH (Midway to Hudson River Park) • FOOD – Gordon Matta-Clark and Carol Gooden’s Restaurant (northeast corner of Prince and Greene, 127 Prince Street) • THE MUDD CLUB (77 White Street) • ART IN THE ANCHORAGE (The Brooklyn Bridge Anchorage, Dumbo) • THE 59TH MINUTE: VIDEO ART (Astrovision Screen, 1 Times Square)
Bernard Tschumi Architects design buildings, bridges, and plazas that blur the boundaries between art, society, symbol, and function. They are responsible for some of the most staggeringly original and unforgettable — and sometimes controversial — edifices and public projects, both built and imagined, in the modern world. From the 1983 high-profile urban sculptural experiment of Paris’ Parc de la Villette, to the more recent Blue residential tower watching over New York’s Lower East Side, Tschumi’s progressive vision of fractured, expressive architecture embraces new materials, vibrant color, and the element of surprise.
from BERNARD TSCHUMI ARCHITECTS
BLUE Residental Tower: New York, 2004-2007
This residential mid-rise in New York’s Lower East Side presented a major design challenge: how to create an original architectural statement while simultaneously responding to the constraints of the New York City zoning code and to the developer’s commercial requirements? BLUE did not start with a theory or a formal gesture, but took the character of the site as its source, parlaying intricate zoning into angulated form, and form into a pixelated envelope that both projects an architectural statement and blends into the sky, simultaneously respecting and embracing the dynamism of the neighborhood.
Acropolis Museum: Athens, 2001-2009
The challenges of designing the new Acropolis Museum began with the responsibility of housing the most dramatic sculptures of Greek antiquity. The building’s polemical location added further layers of responsibility to the design. Located at the foot of the Acropolis, the site confronted us with sensitive archeological excavations, the presence of the contemporary city and its street grid, and the Parthenon itself, one of the most influential buildings in Western civilization. Combined with a hot climate in an earthquake region, these conditions moved us to design a simple and precise museum with the mathematical and conceptual clarity of ancient Greece.
Rouen Concert Hall and Exhibition Complex: Rouen, 1998-2001
Initiated as a civic tool capable of fostering both the economic expansion and cultural development of the Rouen district in the 21st century, this concert hall and exhibition center are well-located near the entry to Rouen, less than an hour-and-a-half by car from Paris. As seen from National Route 138, the 8,000-seat concert hall, open public space, and new 70,000-square-foot exhibition hall provide a strong contemporary image, a spark of cultural and economic rebirth placed on 70 acres of a site structured by dramatic lighting and a grid of plantings.