The video is directed by Neil Krug. Their new LP, Stay Gold is out June 10 via Columbia, was produced by Bright Eyes producer Mike Mogis. It features the Omaha Symphony Orchestra with arrangements from Nate Walcott (Bright Eyes, Broken Bells, Rilo Kiley).
TweetDreaming California is about the longing for elsewhere. Pej Behdarvand seeks to elicit the feelings of both beauty and uncertainty that arise when one yearns for another time, place, or circumstance. The Golden State has evocated yearnings for riches, fame, leisure and warm weather from the time of the Gold Rush to the creation of films from the movie studios to songs of surf and sun. This landscape series employs an old Hollywood technique known as Day for Night to create an illusion as well as to capture a different perspective on the “sunny California” landscape. Dreaming California is not a commentary on the state itself or a pessimistic stance against hopes or dreams. It is more of an exploration of the abstract notions of yearning and desire and the moments before actualization or disillusion.
Exhibition runs through to May 21st, 2014
drkrm / Gallery
727 S. Spring Street
Los Angeles
CA 90014
Annet Gelink Gallery proudly presents the group exhibition Through My Eye – Artists Portraits, with work by Ed van der Elsken, Albrecht Fuchs and Arnold Newman. The exhibition centres on photographic portraits of some of the most important 20th and 21st century artists taken in the singular style of the three photographers. Next to these portraits, works by portrayed artists Karel Appel, Max Ernst and Roger Hiorns will also be on view.
By showing these different styles side by side a dialogue into the nature of the artist portrait is opened. What are we really looking at here? On the one hand we see the artist in the portrait, in character as a famous artist. Yet, we are also presented with the carefully arranged image of the artist behind the camera. This tension is further emphasized by displaying alongside the portraits, the original work of some of the portrayed artists. Through My Eye – Artists Portraits poses the question which one, work or portrait, will give us a true insight into who and what we are looking at.
Exhibition runs through to May 31st, 2014
Annet Gelink Gallery
Laurierstraat 187-189
NL-1016 PL Amsterdam
Netherlands
Matthew Buckingham’ s Peace and Anarchy, 2004-09, is a series of paired photographs and short texts that examine the history and use of common symbols or signs, particularly those that appear as graffiti in urban areas. Each of the photographs depicts a symbol in-situ while the written component of the work traces out the development and early usage of that sign. In each case, the chronicle ends at the point where the symbol enters wider public awareness, allowing the spectator’s personal associations, familiarity, and memories to take over.
In the early 1970s, Gordon Matta-Clark began a series of ‘building cuts’ he would later call Bronx Floors. Using a handsaw he would cut away a rectangular section of the floor of a derelict apartment building and reveal the space, or spaces, below. The object was removed and displayed in a gallery setting, and the hole was often photographed accentuating its edges and producing a frame within the frame. In a contemporaneous, yet lesser-known photographic series, Matta-Clark’ s inclusive approach to art making is represented by a fascination with the growing graffiti culture in New York. Overlapping markings made up of names, drawings, and numbers almost entirely cover the surface of the walls. The camera frames various modes of public address; the images produced are cutouts from an urban space that suggest a collective narrative. The specificity of location or architecture is less significant than the radical act of signing a wall, which Matta-Clark reenacts by airbrushing in color over some of the black and white prints.
Nearly thirty years later, Zoe Leonard produced a small series of photographs of boarded doorways and bricked up windows. While observing the transformation of her neighborhood, she focused on the altered surfaces of shuttered building facades, the superfluous stoop and windowsills; forms without function. From the vestiges of a threshold and the distorted outline of a window, new possibilities arise, framing time and space, and marking the difference between lived experience and its representation. These buildings are a physical manifestation of the city – the silent observers of change, movement, and time. Throughout her practice, Leonard insists on a more considered method of looking and recording: “Perhaps everything the viewer needs to know is in the frame.“
Opposite – Gordon Matta-Clark, Graffiti: War, 1973
Exhibition runs through to June 7th, 2014
Murray Guy
453 West 17 Street
New York
NY 10011
For the opening of Damien Hirst‘s first Other Criteria space in the U.S., the English artist presents a limited edition print of his Mickey piece in two sizes. The piece was originally conceived in 2009 when Disney invited Hirst to create an artwork inspired by Mickey Mouse. Limited to 250 pieces for the smaller version (875 x 700mm) and 50 for the large (1524 x 1224mm). Both versions signed and numbered.
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Eilon Paz’s 416-page coffee-table book illuminates over 130 vinyl collectors and their collections in the most intimate of environments, their record rooms. With a foreword by the RZA, compelling photographic essays are paired with in-depth interviews to illustrate what motivates record collectors to keep digging for more records.
Readers get an up close and personal look at a variety of well-known vinyl champions as well as a glimpse into the collections of known and unknown DJs, producers, record dealers, and everyday enthusiasts. The book is divided into two main parts: the first features 250 full-page photos framed by captions and select quotes, while the second consists of 12 full-length interviews that delve deeper into collectors’ personal histories and vinyl troves.
The Limited Edition is Signed and numbered edition of 400. With a slipcase cover with blind de-boss and red foil stamping. It also includes an original 8.5×11 inch print, printed on matt archival photo paper and the Dust & Grooves photo mosaic poster.
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