During his early years as a Pro skater Lance Mountain always wanted his own skull graphic like the rest of the Brigade, but circumstances and timing didn’t line up in his favor. The Pro model that Lance never got is now made possible by Flip and it’s not a Re-Issue, it’s the Non-Issue!
Lance’s Flip ‘Brigadier’ deck is 9.5″ X 32.78″ featuring custom wheel wells from the early 80’s and designed to be fully functional for 2013.
Bauer loves titles – the more deliberately obscure and diverse the better – and this series is no exception. The ‘slow’ of Slow Future refers to his pace in working, building layer upon layer, organically but never systematically, and because one of the things Bauer has always valued about painting is that it’s slower than other media.H.S.O.P. is an acronym for the Hudson River School of painting – a 19th century fraternity of American landscape painters who hold no significance for Bauer other than the fact that they’ve become unfashionable and he likes the idea of “colonizing their memory”. He fundamentally disagrees with the notion that painting itself has become obsolete and, by annexing a school devoted to it, seeks to re-emphasize that painting remains not only central to his future, but to the future. Opus is a typically self-deprecating Bauer addendum, a tongue-in-cheek nod to the fact that he doesn’t see this or any other of his series as fitting into an ordered theory or composition.
Bauer usually adds some kind of coding system to his paintings’ surfaces, alluding to a faux structure at each of their premises. These have recently taken the form of colour-coded punctuation, but in most of the paintings here the only graphic notation he uses are deliberate red herrings: Bauer has painted small flags in their corners, chosen not because of any personal geographic or historical relevance, but because they are from lesser-known nations that he didn’t recognise and are often confused with more prominent countries. What’s particularly appealing to Bauer is that any flag, known or unknown, carries so much invented history. So, in addition to these being framing devices or heraldic elements for each painting, he wants them to function as “traps of meaning” in the context of all the other clues in the works.
Opposite – Slow Future – Skoer, 2012
Exhibition runs through to March 28th, 2013
Alison Jacques Gallery
16 – 18 Berners Street
London
W1T 3LN
This artist summons his viewer as much to a rediscovery of the venue as to a perceiving of autonomous forms. Just as Airless, his first exhibition at Air de Paris (2000) brought his personal physical touch to bear on the actual exhibition space, this new show will see him applying his range of slender lines to both canvases and walls. Liberated from the streamlined design shapes they may have been borrowed from, these lines sometimes follow the edges of his stretchers, divide up the walls and redraw their corners. Space is no longer just to be traversed, but also to be displaced, vectored, transferred.
This exhibition will be a chance to observe the way Dafflon’s practice is rooted in shifts, while, incidentally, embracing all the operations already mentioned – none of which, alone, would exhaust its complexity: shifts of format (stretcher size governed by the size of the passages), of colour (the tones of the canvases and the wall paintings reflecting two contradictory movements) and of placement (according to the transfers effected).
Opposite – AST216, 2013
Exhibition runs through to April 6th, 2013
Air De Paris
32, rue Louise Weiss
75013 Paris
France
Hutchinson is a true renaissance man, in every sense of the word. Part fanatical botanist, part consummate humorist, part die-hard TV sitcom enthusiast (he can practically recite every episode from Cheers and Seinfeld from heart), Peter again defies easy labeling. Visiting his garden and studio, especially in the summer, which he shares with several half-feral cats and includes a rare species of orchid he himself discovered and named, is a rare treat.
The stories I’ve shared with Peter over the years are many. There’s the summer in the 90’s he introduced me to his then-dealer from NY, the legendary Holly Solomon, who wore her mink coat the entire visit (it was August), even as we lunched on lobster roll melts on the deck of DNA, my Provincetown gallery, and planned his next exhibition. There was the time I was swept off my feet – quite literally – at a busy intersection in Soho on the way to Henry Geldzahler’s memorial, after we drank a pair of bee-pollen/spirulina/high-protein shakes and Peter suddenly decided he knew the best way to cure his art dealer’s backache. There was the first time I tasted his homemade dandelion wine before a studio visit, and a few glasses later – like wearing 3-D glasses – was seeing incredible new dimensions in the already surreal photo-collages. There were long meandering walks in the beech forest near his house, testing various species of wild mushrooms (with serious trepidation) and being very grateful to survive another day. But above all, there is Peter Hutchinson’s work itself – bursting with color, humor and a kind of quiet, understated subversiveness.
Exhibition runs through to April 13th, 2013
Freight+Volume
530 W. 24th Street
New York
NY
10011
A Bathing Ape has teamed up with Kangol as part of its Spring/Summer 2013 Collection. They released the iconic Kangol Bermuda hat in two colorways. The hat comes with the Bape logo embroidered at the top and is available now in red and black.
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For S/S 2013 Stussy have joined with Keiichi Tanaami on a series of t-shirts featuring the Japanese artist’s signature psychedelic, bombastic visual style. Each tee features a unique, large front print and is constructed from 100% cotton.
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