AUDITIVE COSMOS comes straight from the Milky Way to the Earthlings dancefloors. As soon as the Munich-Disco-House remix of Poenitsch and Jakopic strikes you, you can´t resist foot stomping and hip shaking. The super sonic waves of original Space-Disco version drops like a lazer beam.
TweetOmena LTD travels to Vilnius and meet up with Alexander Pietnev aka Ponty Mython for its sixth release.
Universe Of Pops consists of three illustrious and imaginative tracks, all free-flowing with an melodic approach that has become a signature sound for Ponty Mython.
TweetOn a late afternoon in 1975, a young photographer named Hugh Holland drove up Laurel Canyon Boulevard in Los Angeles and encountered skateboarders carving up the drainage ditches along the side of the canyon. Southern California was experiencing a major drought. Emptied suburban swimming pools became evaporated playgrounds for kids with wheels—kick-starting an explosive skateboarding scene. “It spread like wildfire all over Southern California,” says photographer Hugh Holland. “I know it happened in other parts of the world too, but California felt like the center of it all.” Immediately transfixed by their grace and athleticism, he knew he had found an amazing subject. Although not a skateboarder himself, for the next three years Holland never tired of documenting skateboarders surfing the streets of Los Angeles, parts of the San Fernando Valley, Venice Beach and as far away as San Francisco and Baja California, Mexico.
Hugh Holland: Silver. Skate. Seventies., adds a more raw, spontaneous understanding to Holland’s well-known color photographs of the 1970’s skating scene. Though now he is most closely associated with his later work in color, the artist began his photographic documentation of the skateboard revolution shooting in black and white. Holland shot these negatives while experimenting with new ideas and often for his own enjoyment. These early black and white images were in many ways the genesis for his later color works—providing us with a rare glimpse behind the creative curtain.
Opposite – Flash at the Pier, Huntington Beach, CA, 1975
Exhibition runs through to January 31st, 2018
PDNB
154 Glass St. #104
Dallas
75207 TX
After Hurricane Ike hit Houston, Herrin’s flower arrangements within his home took on a different character in darkness, resulting in the days long power outage. That was when he decided to photograph the flowers that his wife often brought to the house, beautifully inserted into unique vases from their collection.
Since that time, he has evolved in his depiction of still lives. What became bewitching was the slow death of the tulip, how some petals drop, and some do not. The great master painters have been depicting aging and death via still lives over a century. Herrin, perhaps not so much removed from the concept of graceful aging, pursues the beauty of nature with great technical and visual acumen.
Opposite – Flower #2, 2014
Exhibition runs through to February 10, 2018
PDNB
154 Glass St. #104
Dallas
75207 TX
Hyun-Sook Song was born in 1952 and grew up in a mountain village in Korea. In 1972 she travelled to West Germany and soon after that she began to draw and to paint. In doing so she often gave voice to her nostalgic memories of her beloved motherland. Over several decades she created paintings with only a handful of motifs or themes: clay pots, silk ribbons draped around posts, or woven textiles hung on a thread.
Song developed both a very distinctive style and a technique that blends elements from the West and the East. She chose to use tempera, a type of paint made by mixing pigments with egg yolk. This technique was widely used in Western painting in the Middle Ages, notably because of the paint’s opaque character. Song, by contrast, uses tempera in a way that is almost transparent: the brushstrokes are economical but accurate. Each brushstroke represents a single movement and there is no room for doubt. Her artistic outlook has been heavily influenced by Eastern philosophy and calligraphy but also by her love of nature, the body and her materials. She sees painting as a performative happening. She places the stretched canvas on the floor of her studio and balances above the painting on a simple wooden plank that is placed above it. In doing so she is in a state of utter concentration and meditation. The intensity of the painting enables her to work for only a few hours per day. This does not prevent her from going to the studio every day to maintain her dexterity.
Opposite – 12 Brushstrokes #I, 2013
Exhibition runs through to February 24th, 2018
Zeno X Gallery
Godtsstraat 15
2140 Antwerp
Belgium
These intimate narratives take the form of drawing, painting, sculpture, and performance. Never simply an outside observer, White used her love for others as well as her own reality—happiness, grief, love, sadness—to expose other people to something beautiful. Tragedy and loss became ever-present in White’s life. The title work of this exhibition, A Year of Firsts, 2001, is an installation of 40 works on paper that circles the entire gallery. It can be read like a book, or more accurately a diary and unique system of language, as it takes you through White’s year after; year after her father’s death, her brother’s death, her sister’s death, and the many friends that were lost to AIDS. Anchoring the gallery entrance are two small cars made of Sculptamold and oil paint. White made hundreds of these cars, in different sizes and colors. They were, for White, vessels for fantasy, adventures, good and bad fortune. The final component is a performance The Spark Between L And D, 1988, which plays on four screens in the middle of the gallery. Wearing a nurse’s uniform covered with flags from around the world, White first beats herself up then licks the blood off of her fingers before bandaging herself up, almost mummy-like, the whole time singing “On Broadway” until she is so bound, she can no longer make a sound.
Opposite – A Year of Firsts, 2001
Exhibition runs through to January 27th, 2018
Martos Gallery
41 Elizabeth St
NY 10013
New York
