Solid mainstay Skudge has been pushing their unique mixture of house and techno for over half a decade now.
In a new direction of becoming a sole producer for now, Skudge 009 is the first mark of this new direction.
The intertwined beat structures of ’Waveless’ on the A-side takes us to charted Skudge territory. The small modulations and the pushing groove has become a trademark.
TweetWhen Brian Calvin moved from Berkeley to Chicago in the early 1990s, his predisposition toward painterly figuration was broadened through local influences such as the Imagists and the Hairy Who, resulting in a tonal shift in his painting. In his ‘Popeye’ works, Calvin renders the stark cartoon figure in thickly applied paint against a dark brooding background, paused amid mundane activities such as smoking a cigarette, standing in the rain, lying awake in bed. The contrast and stillness creates a sense of unease and focuses the viewer’s attention on the subject’s gestures. Calvin subverts Popeye’s inherent cartoon lightness by reimagining himself in an alternate reality, restaging him in a bleak psychological landscape. With the memory accumulated from drawing this iconic character repeatedly in his youth, Calvin uses the figure’s instantly recognizable shape, and it’s associations, as a vessel for ruminations on pathos.
Opposite – New Tattoo, 1992
Exhibition runs through till August 19th, 2016
Anton Kern Gallery
532 West 20th Street
10011-2820
New York
For her debut solo exhibition in New York, Anton Kern Gallery has invited Chicago-based painter Margot Bergman (b.1934) to present a body of recent portraits.
Margot Bergman builds layers of paint atop found artworks. The interplay between elements of the found works she exposes and her own additions creates distorted and uncanny forms, reminiscent of Modernist collage. Her constructed ‘double-portraits’ converge into a single subject. With titles like Auntie Gladyce, Gloria Jean, and Patty, each painting possesses a unique personality, a soul. This process of prosopopoeia stems from the artist’s relationship with the found paintings, who she has “rescued” from flea markets and kept in her home. As Bergman explains, “It was a process – living with them, understanding what I was looking for, beginning to draw it out, slowly and without a plan, responding to the original paintings. I didn’t know what the next step would be. Once I found my way to the portraits, it was magical for me.”
Opposite – Auntie Gladyce, 2012
Exhibition runs through till August 26th, 2016
Anton Kern Gallery
532 West 20th Street
10011-2820
New York
Garland’s intimate, sometimes claustrophobic, interiors offered a Dr. Caligari-esque view of neo-midcentury modern domesticity, each one jostling with detail and specificity. Her latest works are exteriors, equally wonky portraits of suburban homes, each with the personality and character of a human subject. Most stunning in this is the way that Garland has transduced her drawing methods into paint, allowing her to shift between different kinds of mark making in a relatively condensed space, moving pigment with the ease of a pencil. Brilliant, warped canvases, they express the melancholy of something very familiar that is at the same time ultimately enigmatic.
Opposite – Untitled, 2016
Exhibition runs through till August 20th, 2016
Corbett vs. Dempsey
1120 N. Ashland Ave. 3rd Floor
Chicago
IL
60622
The can features the same colour palette as Saville’s graphic identity for the newly expanded Tate Modern, created with Paul Hetherington and Morph, which showed the gallery’s architecture as an assembly of simplified shapes.
Local brewery Fourpure worked with Tate to develop the pale ale, named after the Tate Modern’s new extension by Herzog & de Meuron which opened in June.
www.tate.org.uk
www.fourpure.com
