tagged with: GalleryBeat Media

[dnasab] - Extreme feats of the New York New Aesthetic (sic)

October 4th, 2012 • Paul H-O
DNASAB Colliding - Disney
[dNASAb] (above) "Screenscaping the Pixelsphere" Video Sculpture , 2012 (1) 19" LED screen, (3) 4" LCD screens, pigmented plastic prints, clear plastic, wire, glass, crystal, foam,aluminum, resin, mirrors, fiber optics, media player, L.E.D's, 1 of 1 1080p HD video w. audio

featuring artists: Pedro Barbeito, [dNASAb], Cliff Evans, Carla Gannis, Shane Hope, Michael Rees, John F. Simon Jr., Vargas-Suarez Universal, Oliver Warden, and Marius Watz curated by: [dNASAb] in collaboration with Frederieke Taylor Gallery

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The show to see, hear and marvel. On exhibition until October 7, 2012. "Colliding Complexities" @ storefrontbushwick. Artist Disney Nasa Borg =[dnasab] embodies this wild claim, but he throws it down and scores big. His work embodies the recognition factor blown to bits. It's a group show that Disney curated, documented, honed messages heated up in his video trailer, and literally hung the show (more than ably assisted by partner Desiree Konian). All the work in the show is strong and supports the idea that we've moved into the digital era century and artists of all persuasions have been at the forefront of the medium that changed everything. It's not new as much as it is boldly going into space, inside and out, literally and figuratively.

The collision is that we have a generation of artists now that didn't know what life was like before Apple, MS, or Gameboy. DNasaB mixes the art generations with a smooth physicality that transitions from the front of the gallery to the back. The attraction of painting, sculpture, and photography explodes in the farthest darkest cranny of the gallery. It's the glittering nightmare of the apocalyptic, a Blade Runner passion to push relentlessly in love and hate and madness until it's a smoldering wreck, flickering LED's sizzle cooly in the darkness. It's alive. Don't piss it off, but definitely try to see it in this formula, in the real. But what's real? What's time and distance between friends? Link up and see all the work and the artists speaking bumping colliding informing at times chaotically.

H-O 9/28/12

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"Colliding Complexities-Extreme feats of the New York-New Aesthetic” http://newaestheticism.tumblr.com/ September 21st-October 7th 2012, Curated by [dNASAb] in collaboration with the Frederieke Taylor Gallery PRATT Department of Digital Arts is hosting a Panel Discussion “Colliding Complexities-NewYork-New Aesthetic”, on Oct. 2nd,,2012. 6:30-8:30 pm. StorefrontBushwick 16 Wilson Avenue, Brooklyn,NY 11237

Everything is Going to Be OK - OUR KICKSTARTER SURPASSES GOAL, WHICH IS EXCELLENT. WE STILL HAVE ALL PLEDGE LEVELS AVAILABLE!

June 9th, 2012 • Paul H-O
Screen shot 2012-06-09 at 8.20.31 PM

WE DID IT AND EVERYTHING ROCKS! WE ARE STILL RUNNING AN AFTER KICK WITH ALL REWARDS INTACT SO IT'S NOT TOO LATE - BACK US AND GET ART, FILM, MUSIC AND AMAZING HEALTH IF YOU CAN FIND A GENERAL PRACTITIONER. ALL THE REWARD PLEDGE LEVELS ARE INTACT ON THE EVERTYTHING IS GOING TO BE OK - THE MERCER ST. MEDICAL CASE.

We Are Kickstarting a New Film - EVERYTHING IS GOING TO BE OK

May 24th, 2012 • Paul H-O
Bloody tiltles

We/I have run several spots in the past year about THE MERCER STREET MEDICAL CASE. It's partially produced by GalleryBeat and backers for EVERYTHING IS GOING TO BE OK, so please check out our Kickstarter Campaign and be a backer!

GalleryBeat is certainly different than most websites in that the coverage of art and culture can morph into video coverage, text driven reporting, live shows to film projects. GUEST OF CINDY SHERMAN is the reason that GalleryBeat re-emerged in it's present weird form. It was always different, everyone worked for free except the web designers it took to get it up and running in the first place. I'll be talking about the past two years and the people who contributed so much, just for the fun of it, the learning experience and pressure that comes with events we generated. What we have in the hopper are interviews and stories with photographer/performance artist Chris Verene, classic pop artist Mel Ramos, and a snapshot video with Rick Prol, the painter that emerged as an icon of the 80s East Village.

Cloud Nine @ The Front Room in Brooklyn

May 4th, 2012 • Paul H-O
Cloud Nine

Art by J. Fiber, close up, ink on paper. Cloud Nine is open until May 13

Anyway, I was at this opening (I'll have to borrow someone's snap since I didn't take any of the opening) and this show is called CLOUD NINE and it's at this Billyburg gallery, The Front Room, and it's crowded as shit, hot, the beers gone and I get introduced to this artist, Disney Nasa Borg, (?), and he's a surfer but he looks like he's from Road Warrior. So we're gabbin' about cold water when this angry little thing in glasses places herself in the middle of us, like a ref, looks up and says "excuse me but can I see the art?" and bulldozes her way to the big life size collage of a naked fat dude in a room encrusted with fast food wrappers. (by Cham Giobbi) She was a pisser that one. Why at an opening that is so damn crowded in a small room? It's not like I haven't seen it before but there is that simmering aggression of the desperate under appreciated artist that flowers in unlikely places. I appreciate her segway - so I went to the show the next day when the gallery was relatively quiet.


Photograph by Jung Nam Lee

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Minority Report: GalleryBeat @ The Question Bridge's 150 Black Males Video Installation - Brooklyn Museum

February 8th, 2012 • Paul H-O
150 Diverse Black Men production team
GalleryBeat Minority Report: I'm the minority.
Principal artists: Chris Johnson (American, b. 1948) and Hank Willis Thomas (American, b. 1976), with Kamal Sinclair (American, b. 1976) and Bayeté Ross Smith (American, b. 1976). Question Bridge: Black Males, 2012. Multichannel video installation. January 13–June 3, 2012 Mezzanine Gallery, 2nd Floor

I rarely attend these museum parties anymore but I wanted to see this show, "150 Diverse Black Males", and be in a crowd where I really didn't know anyone. Turns out I knew about two, and met more, but I was an observer to another part of art culture that was a complex video/doc driven black male experience mash. I really wanted to see what, and who, were a part of producing this ambitious project of identity.


Installation view - projection image Installation View photo by H-O
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Cooking with GalleryBeat @ The Brooklyn Museum Part 1 of 4

November 28th, 2011 • Paul H-O

The GalleryBeat live talk show, COOKING WITH GALLERYBEAT, avoided the skillet again by not cooking with strange fruit. We performed at the Brooklyn Museum's architectural futurama, the Rubin Pavilion on October 6th, 2011 as part of the museum's Thursday Night Series. Guests for this show were Mercer St. Medical's Dr. Daryl Isaacs, ArtNews Chief Editor Robin Cembalest, Upright Citizens Brigade's Ann Carr, World artist man/wife team Spencer and Kristin Bowler Tunick, and BM's main event artist, Sanford Biggers.

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Artist Brian Alfred - Discussing His Experience With Healthcare as An Artist

November 17th, 2011 • Paul H-O

ARTIST BRIAN ALFRED - Interview 1 > 5 mins

A few years back, he started to do well as an artist, first with New york art dealer Max Protetch, then Mary Boone, and then to London's mega gallery, Haunch of Venison. You can see his work on his website paintchanger.com. His work is a very distinctively skillful blend of painting, collage, and digital images that early on, focused on landscape but I first know him for his portraits that I saw in Mercer St. Medical, and worked back through his output to the work he is best known for. He was admired by his peers, known for extreme focus on his subject, a relentless work ethic and was approached by New York art dealers before he graduated. He'd encountered real interest for his work real fast, and deservedly so. The influences on his work run from Hokusai and Japanese woodblock print art to Warhol and Ruscha but of course there's more. (he grew up in Pittsburg PA) His work is clear, precise, and had gone though a palpable change since 9/11. It has, in many ways become neo-Orwellian.  more »