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In Our Masthead

In Our Masthead: Laura Brothers

by Art Fag City on July 1, 2011
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You may have seen our post last week on the work of artist Laura Brothers (out4pizza). If you did, you’ll understand how excited we are to present her custom-made masthead for Art Fag City. Brace yourself!

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In Our Masthead: Valaire Van Slyck

by Guy Forget on April 4, 2011
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Gracing our masthead this month is a detail of Untitled (2009) by Valaire Van Slyck, whose paintings are themselves artifacts of the post-industrial urban environments he lives in.

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In Our Masthead: Anthony Fuller

by Guy Forget on March 1, 2011
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This month’s featured artist is Anthony Fuller, gracing the AFC masthead with “Untitled” (2011). From one generalized impulse — trying to make sense of ways of belonging — he creates tableaux that are both transparent and inscrutable.

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In Our Masthead: Danielle Mysliwiec

by Paddy Johnson on January 4, 2011
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Danielle Mysliwiec graces our masthead this month, making her the first artist to be featured twice in the space. The artist’s work was first showcased in December 2007. Over the past three years, Mysliwiec has continued to create the seamless illusion of woven paint on fresh surfaces. They are transfixing.  In her latest work [pictured […]

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In Our Masthead: The Listings Project

by Paddy Johnson on November 29, 2010
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Each week Stephanie Diamond sends out listings for studio spaces, sublets, roommates, etc to her a mailing list built on word of mouth alone. The people on this list are by and large art professionals, and tend not to be of the skeevy sort. It’s a real service, and it’s free. This year, I’m donating a little money to keep it that way.

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In Our Masthead: Employee of the Month

by Paddy Johnson on July 14, 2010
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Is there no end to the kind hearts in Chelsea? Society’s most deeply troubled members clean up with the help of Marianne Boesky’s workplace program. AFC introduces its new Masthead with Boesky’s Employee of the Month!

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In Our Masthead: Conor Backman

by Paddy Johnson on May 27, 2010

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Conor Backman, Cold as the Rockies After the Adventure, 2010, Oil on Canvas, 8 x 10 x 5 inches, 2009

Offering a different take on work like Toni Matelli’s bronze beer cans, Conor Backman makes trompe l’oile landscape paintings from used beer boxes. He removes all non-landscape imagery and text from the source material, stretches canvas over the surface and hangs the completed boxes on the wall. The work can be read as a commentary on the commodification of art, though mixing the high and low is at this point well charted territory. More interesting is the artist’s sincere interest in the tradition of landscape painting and Bob Ross. The great public access star would be proud.

ARTIST BIOGRAPHY

Conor Backman lives and works in Richmond VA. Backman is also co-owner of REFERENCE Art Gallery, a newly formed artist-run space in downtown Richmond that focuses on exhibiting young emerging artists from around the world that are working in new media.

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In Our Masthead: Robert Garcia

by Paddy Johnson on March 24, 2010

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Robert Garcia, Assembly Line, 2009, Oil on wood panel, 36 x 72 inches

San Francisco based artist Robert Garcia‘s touchingly detailed paintings are born from his upbringing. Raised in a lower class Hispanic community that prided itself with its Chicano attitude, Garcia first drew inspiration from the drawings on letters his uncles sent home from prison and the gang graffiti painted on the walls of his neighborhood. The harsh living conditions suffered by this community continue to inform his painting and all other work.

robert garcia, art fag city, we are who we are
Robert Garcia, We Are Who We Are, 2009, Oil on wood panel, 12 X 24 inches

BIOGRAPHY
Within the last year, Robert Garcia has exhibited at Wonderland, Stillwell and Gallery 1D/Throwbacks NW. Robert Garcia will receive his MFA from San Francisco State in 2011. He lives and works in San Francisco.

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In Our Masthead: The Art Handling Olympics

by A.L. Steiner + Z Drucker on February 2, 2010

art fag city, paddy johnson, art handling olympics, shane caffrey
The Art Handling Olympics

Calling all art handlers! The Art Handling Olympics wants you! Register your team of four on their website and go head to head with New York City’s best, Sunday March 21st. The first competition of its kind, The Art Handling Olympics (AHO) celebrates the art world’s unsung heroes. These are the people who figure out how to fit over-sized sculptures into undersized elevators, find the straight line in a crooked paintings on slanted walls and eat the double park ticket so clients don’t have to! This March we find out who the best in the business really are.

Competition founder Shane Caffrey says he’s pleased with AHO’s response thus far, and enjoys the team names handlers have come up with. “My favorite is “Well Hung” he told me through a bit of laughter. Knowing there’s a “Special Delivery” portion to the competition makes me think that group will need to bring a little more to the table for the win though. Nobody’s dick is going to drive a truck.

I’m told the competition is still selecting judges, so I’m taking the liberty of offering up a few suggestions of people I’d like to see participate. In no particular order those are: Mary Boone (dealer), Jeffrey Deitch (dealer), Jerry Saltz (critic, former trucker), Andrea Rosen (dealer), Brian Alfred (artist), Sue Schaffner (artist), Cynthia Yardley (artist + Atelier 4′s art fair and expo co-ordinator), Lauren Cornell, (Executive Director of Rhizome and Adjunct Curator for the New Museum).

*The Art handling Olympics is an event founded by Shane Caffrey, and brought to you by Ted Riederer, Nick Brooks, Hiro Sato, and Jay Ivcevich. Together they are the Olympic Committee.

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In Our Masthead: Daniel G. Baird

by Karen Archey on September 28, 2009

POST BY KAREN ARCHEY

Daniel G. Baird and Robert Andrade, A Moon of Saturn Resting on a Doric Foundation, 2007. Wood, Polystyrene, Hydrocal. Image via Daniel G. Baird

Daniel G. Baird considers ideas endemic to Western society about culture and technology, often subverting ideas of technological progress with juxtapositions of their primitive translations. Baird, a Master of Fine Arts candidate at the University of Illinois at Chicago, predominantly works through sculpture using found objects and those of his own creation.

The artist frequently makes use of CNC cut models, as evidenced by his 2007 collaboration with fellow graduate Robert Andrade. Titled “A Moon of Saturn Resting on a Doric Foundation,” the sculpture pairs the landscape of Titan—the terrain believed by scientists to closest resemble the environmental conditions of the Earth—with the Parthenon, an ancient representation of advanced human civilization. Here, Baird and Andrade collapse numerous centuries, subtly highlighting the innumerable, sometimes prodigal events accounting for our currently screwed up civilization, and consequent desire to inhabit an untapped alien world.


Daniel G. Baird Homo Habilis Hand Axe, 2007. Image courtesy the artist.

Baird similarly packages time in his 2007 piece Homo Habilis Hand Axe. Accredited with creating the most primitive of tools, the hand axe, the Homo habilis is an early ancestor of the Homo sapien. The artist acquired a batch of flint, transforming it into his own Homo habilis-style hand axe, which looks like a dagger made of rock. The tool was then sent to a 3D modeling company to be scanned into a computer. The company, who usually recreates artifacts for museums, manufactures (supposedly) exact replicas of much lesser value, allowing institution visitors a tactile experience with the “artifact.” The effect is a little like the French government's recreation of Lascaux' Paleolithic cave paintings: It was discovered that only fifteen years worth of human contact with the caves noticeably damaged their paintings—in response the French government created Lascaux II, an exact reproduction of select cave halls only 200 meters from the original. Similarly, Baird created an exact replica of his own artifact, although for a different purpose. In effect, the artist recreated the hand axe to test the efficacy of the computer in reproducing the most primitive version of itself—the tool. Reticent to spell out exactly what may be lost in the process, the artist simply offers the original and its computed progeny side-by-side, allowing the viewer to contemplate the technological progress of eons.

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