COPE2 'Last Legend' at BoB Gallery [NYC]

BoB Bar & Gallery presents COPE2  'Last Legend'. The solo show featuring paintings by COPE2 runs thru Sept 30th.

BoB Bar & Gallery
235 Eldridge St [NYCs Lower East Side]

COPE2


Cope2 "Last Legend" Solo Show at Bob's Gallery from Cope2 on Vimeo.

U.F.O. 'A Product Of The Combustive Motor Corp'

UFO 'A Product Of The Combustive Motor Corp, a photo by billy craven on Flickr.

COPE2: BOMB IT INTERVIEW

Bronx King COPE2.

LATIN KINGS: BLACK AND GOLD/ BIG NOISE FILMS

...a great site for indie docu-videos

"In 1994 the Latin Kings, the largest and most powerful street gang in New York, became the Latin King and Queen Nation. They claim to have abandoned their criminal past and to be following in the footsteps of the Black Panthers and the Young Lords."

(Read more here...)

http://www.bignoisefilms.com

CONOR HARRINGTON: GRAFFITI IN THE MEATPACKING DISTRICT

An amazing piece by Irish born Conor Harrington in NYCs Meat Packing District.

27: TWENTY SEVEN NYC GRAFFITI

Here's a piece by Twenty Seven from circa '07. Found in NYCs Lower East Side...note* some cocksucker crossed 27 out.
More from 27 on Flickr

WK INTERACT: Q&A

Here is video footage shot by George Koroneos of an exclusive speaking engagement with WK during his book signing event on 07.01.09. In this rare Q&A session, WK Interact answers questions from guests in attendance about his current solo exhibition Motion Portrait at the Jonathan LeVine Gallery, as well as his experience as a street artist living in New York for the past 16 years.
WKs iconic wheatpaste graffiti can be seen covering virtually every surface in New York City, not to mention every known country worldwide.

WK Interact Q&A from George Koroneos on Vimeo.

Jonathan LeVine Gallery
529 West 20th Street, 9th floor
New York, NY 10011
212-243-3822

WORLDS YOUNGEST GRAFFITI ARTIST: BROOKLYN

Dig the video that Brooklynite Gallery posted. Lil' Ruby shows y'all how graf artists roll in Brooklyn!



Brooklynite Gallery, 334 Malcolm X Blvd, Brooklyn, NY 11233, 347.405.5976

DASH SNOW: NYC ARISTIST, 27 AND DEAD

Dash Snow, NYC rock-star photographer & artist, dead of a heroine overdose at 27. He was also a graffiti writer (aka SACER) who ran with the infamous NYC IRAK CREW.

"His death has shocked anyone who had any contact with him or knew his work. The drugs were all there in the artwork (and the rumours), but so was a sense of real beauty and honesty. It wasn't necessarily the aesthetic of his work, but its independence that made it so influential. He simply didn't give a shit." * guardian.co.uk

I AM DAIN: THE VIDEO

A behind the scenes look at DAIN. Thanks goes to the Brooklynite Gallery for putting this video together.

DAIN: OLD SCHOOL GRAFFITI

A few images from NYCs OG graffiti artist DAIN. Brooklyn's DAIN has been doing graffiti since the 50's and has recently shown at the Brooklynite Gallery.

THE GREAT DAIN: ABOUT AS OLD SCHOOL GRAFFITI AS YOU CAN GET

Dain, mad props to the OG Brooklyn Graffiti artist.

JONATHAN MONK vs JEFF KOONS: INFLATED DEFLATED

If imitation is flattery, what is it called when Jonathan Monk flattens Jeff Koons' "Rabbit"? Jonathan's wit steps outside the box and does what many of us out there wish we could do, he lets the air out of an iconic piece of pop-art by the master himself, Jeff Koons.
I love both pieces, the before and the after. Many a snob has ragged on about the work that Koons puts out. Most say it's not art, but what the hell is art anyways? Art is 100% subjective. It as as the cliches reads "...in the eye of the beholder". Heck, if we're still talking about Koons' "rabbit" some 20 years later, then I'm sure that suggests that it is probably art.
Hey, I'm not a fan of watercolor flowers or an oil rendition of society's high and mighty picnicking in the countryside painted by many a supposed master 150 years ago, but I'd never in a million years say that it isn't art...it's just not my kind of art. Art is, and that's all. It just is. Like it or leave it.

CASEY KAPLAN GALLERY
525 WEST 21st STREET
NEW YORK, NY 1011
212.645.7335

Lifted from a Press release by Casey Kaplan Gallery*

“Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now)
I realised that being original was almost impossible, so I tried using what was already available as source material for my own
work. By doing this I think I also created something original and certainly something very different to what I was re-
presenting. I always think that art is about ideas, and surely the idea of an original and a copy of an original are two very
different things.” – Jonathan Monk, 2009

Casey Kaplan is pleased to present new work by artist, Jonathan Monk (b. 1969 in Leicester, England, lives and
works in Berlin, Germany), in his sixth solo exhibition with the gallery, The Inflated Deflated. Previously, Monk has taken
on artists such as John Baldessari, Chris Burden, Sol LeWitt, Ed Ruscha, and Lawrence Weiner, as source material
for his own artwork. For this exhibition, Monk turns his attention to the artist, Jeff Koons. By employing his own
intrinsic artistic strategies, appropriation and recontextualization, Monk presents an exhibition that appends art history
with a narrative of his own interplay between the objects and ideas of the past and his newly conceived reincarnations.
In the late 1980’s, while Jonathan Monk began art school in Glasgow, Scotland, Jeff Koons created a highly polished
stainless steel cast of an inflated, plastic bunny shaped balloon, entitled “Rabbit”, 1986. The sculpture debuted that
same year in the seminal Group Show at the Ileana Sonnabend Gallery in New York. “Rabbit” has become an icon of
its era. Utilizing a similar inflatable, carrot carrying, plastic toy bunny as a starting point, Monk presents his own version
of Koons’ infamous work in five different poses. Monk’s stainless steel bunnies capture five frozen moments of silent,
animated, slow deflation. With each dissipation of air, the mirrored bunny droops, folds, and gently falls from a
standing position to a reclined figure. If seen as a sequence, the sculpture ultimately comes to rest in a low, undulating
heap of metal, recalling one of Henry Moore’s classic bronze reclining nudes.
Surrounding the five sculptures are five photorealist style paintings that depict various stages of the fabrication
process of Monk’s bunny sculptures from the clay moulds to welding of steel. Through the paintings, Monk
demystifies the process of the creation of his own artworks as a conceptual component to the exhibition.
In Gallery III, the exhibition transitions from balloons losing their air to light bulbs that gradually burn out and go dark.
Monk additionally presents four wall-based, light bulb artworks entitled, “The Death of Geometric figures” (circle,
square, rectangle, and triangle). Each of the geometric signs is a mirror surrounded by ceramic white light bulbs that
recall Hollywood-style vanity mirrors, and also artworks from the 1960’s and 70’s by various Conceptual artists. As the
bulbs burn and fade to black, Monk’s signs become realized.

DARK DAYS: NY SUBWAY MOLE PEOPLE

Deeply moving and surprisingly entertaining, Dark Days is an award-winning documentary by Marc Singer, who abandoned his life on the outside to live in the tunnels beneath New York City for two years. It is an eye-opening experience that shatters ... Full Descriptionthe myths of homelessness by revealing a thriving underground community and capturing their resilience and strength as they struggle to survive.

DARK DAYS, a groundbreaking documentary from British director Marc Singer with a moving soundtrack from DJ Shadow, shows a way of life that is unimaginable to most people. The film focuses on a group of homeless people that live deep underground in an abandoned New York City railroad tunnel. During the daytime they scavenge for food on the streets of New York. At night, they retreat to the tunnel where they have built homes out of scrap metal, plastic, and plywood. They have electricity, furniture, and working kitchens, not to mention community, comradery, and the support of each other. Some of them have lived in the tunnel for 25 years. Shot in vivid black and white, capturing both the grit (chicken wire, concrete walls, all precisely detailed) and the honesty (the residents have hit rock bottom and admit it) of the tunnel, Singer's film consists of candid conversations with tunnel residents, who are intelligent, funny, optimistic, and above all, human. One man confesses that he once had a wife and a child, and that he lost both to his drug addiction (crack cocaine), while one teenage boy living in the tunnel explains that he was abused by his family in Florida and simply ran away, finding life in the tunnel more redeeming. In the film's emotional, understated conclusion, Singer turns to New York City's Coalition for the Homeless for help.

Theatrical release: August 25, 2000 Filmed on location in a tunnel underneath Penn Station in New York City. Singer, who was working a regular day job in the fashion industry and had no prior film making experience, became fascinated by the people living in the tunnel and decide to move underground himself. After two years, he convinced his friends--the tunnel residents--to help him make the film, which was done entirely with borrowed equipment and donated film. Because of the extreme conditions of the tunnel--pitch blackness and rat infestation, primarily--director Marc Singer had the tunnel's residents serve as the crew for the making of the film, as he decided they were most familiar with the tunnel's terrain. When Amtrak tried to evict the residents of the tunnel, it was Singer who intervened, going to the Coalition for the Homeless for help. They cut a deal with the federal government and got funding to relocate the tunnel's residents. Each of them was given an apartment and a job in a work program. DARK DAYS was named Best Documentary of 2000 by the Village Voice and the Los Angeles Film Critics Association.