You’d think by the look of things that artist Maxwell Snow’s outlook on life is decidedly grim, but amidst the decay and the funereal macabre lies a deep curiosity about what it means to really be alive. His artistic oeuvre is a documentation of sorts of life’s constant and cruel reminder of its strange impermanence, from the grim-reaperesque portraits of hooded KKK members, to his stark black and white imagery of skulls, crosses, coffins, and girls tied to railway tracks, to a headstone in a recent series that reads, “Wish you were here.” However, Snow, who is based in New York City, seems fastidiously intentional about his philosophies on life and death. There is a sense that Snow subscribes to the notion that the soul lives forever and the body is like a some sort of racing motorcycle and we’re all blowing down the highway at 120 miles an hour and we might as well crash into the wall at full speed in a heap of burning metal than at a slow meaningless sputter. Snow’s new series 100 Headless Women, which will be on view this March at the Kathleen Cullen gallery in New York, explores this notion further by turning the gallery walls into a mausoleum with a selection of ghostly mugshots, black and white photographs of statues of saints who were doused in acid to obscure their features, and a series of portraits of nude women with their faces blackened out with a whip of etching ink in order “[to wrap them] in a cloak of anonymity to seal their singular identities….[so] the viewer is asked to focus on the collection group and devise a story within.” I got a chance to ask Maxwell Snow a few questions about death, life, the afterlife, his inspirations, and a run down on what his new show is all about. Read interview after the jump and see selections from the new series. [SEE MORE....]
Fresh off the silkscreen press – an incredible new series by artist Matthew Henri.
The Museum of Contemporary Art Los Angeles presents A Tribute to Mike Kelley, an exhibition dedicated to the work and legacy of Mike Kelley, who took his own life earlier this month, on view at MOCA Grand Avenue from February 18 to April 2, 2012.
The Art of Elysium, which bridges philanthropy with contemporary art, will be holding an auction, in partnership with Christies, on February 23 entitled Pieces of Heaven, featuring an amazing array of artists from Andy Warhol to Pas Un Autre’s very own Adarsha Benjamin. February 23, Smashbox Studios, 1011 N. Fuller Avenue Hollywood, California 90046
German artist and archivist of visual culture Hans-Peter Feldmann will be exhibiting at the Serpentine Gallery in London from April 11 to June 3.
Amazing piece of art by James Georgopolous from his “Guns in Cinema” series. The one above is from the film Pulp Fiction.
Wearing Larry Gagosian and billionaire art patron Eli Broad’s credit cards as charms from a rosary like Chanel necklace, and decked out in other shiny designer accessories, the subject in the painting, entitled Her New Religion, by artist Anna Halldin Maule, is a brilliant psychological statement on the blatant and shocking materialism of the art world. The subject, wearing nothing save for a pair of tiny pink lace panties, in a pose similar to the praying saints of classical paintings, almost denounces the art world as a religion where money is god and billionaire patrons are like sugar-daddy saints. Anna Halldin Maule, a painter who originally hails from Sweden and now lives in Hawaii with her husband and creative partner, uses techniques of the the old masters to paint incredibly life like portraits that explore the themes of materialism and money with glossy, erotic overtones. After the jump watch the whole process of her working with the model, capturing the perfect pose, and the meticulous brushstroke by brushstroke process of her amazing painting technique. [SEE MORE...]
Allegra LaViola Gallery in New York presents Sarah Kurz: Made For Love. In her first solo exhibition, Sarah Kurz turns her attention to a traditional subject: the portrait. Much as John Singer Sargent painted beautiful women and scenery of his day while exploring the ability of paint to convey light and texture, Kurz also chooses these as her focus. The women of Kurz’s paintings are a combination of myth and reality—they close their eyes to us and seem to dream of someone else, or gaze into a distance beyond our field of vision. When they do confront us, as in Tight Fit, their look reveals only more mystery. Sarah Kurz: Made For Love is on view until March 11.