The Old man back @ V1::::::::

V1

Statue (Flora) 2003
Mixed Media
190 x 40 x 40 cm

Chromed Vespa 2004
Chromed burned-out scooter
170 x 100 x 65 cm

Throw away 2005
Alabaster, 2 parts
10 x 7 x 7 cm
Unique

Buy 1 get 1 free 2007
Silkscreen
150 x 90 cm approx. each
Series of 5

Heroes and Heroines of Performance Art (collector’s series) 2002
Bronze
25 x 15 x 20 cm ea.
The Bible 1997
Printed paper

Arm 2007
Marble and jesmonite
130 x 20 x 15 cm
Ed.3

Untitled (Fly soup light) 2006
Mixed media
Dims. variable

UNION-GALLERY

STEPHEN SHORE
Andy Warhol, the Factory, NYC
1965-1967
black and white photograph
32.4 x 48.3 cm
© Stephen Shore

‘One May afternoon when we were filming in L’Avventura, a young kid named Stephen Shore came by to take pictures of us. He’d made a short film that was shown at the Film-Makers’ Coop the same night in February as my ‘The Life of Juanita Castro’ and afterward he’d come over to me and asked if he could come by the Factory – he was taking still photographs and had heard there was a lot going on there.’ (Andy Warhol in ‘POPism: The Warhol Sixties,’ Andy Warhol and Pat Hackett).

Celebrated for his groundbreaking work with colour photography in such seminal series as American Surfaces (1972) and Uncommon Places (1973-1979), Stephen Shore is rightly considered one of the most influential photographers to have emerged from the last half of the twentieth century. This exhibition focuses on the period 1965-67 which Shore spent at Warhol’s Factory, a time which was to have a great influence on his own work. As somewhat of a child prodigy, Shore had developed an interest in photography from the age of six and by the age of fourteen had already famously sold three of his prints to Edward Steichen at the Museum of Modern Art. In 1965, shortly after an initial request, Shore was invited to take photographs at the restaurant L’Avventura where Warhol was shooting what was to become the film Restaurant. From that time on, Shore spent almost every day at the Factory observing and photographing the many goings-on of a now famous cast of characters – amongst others Warhol himself, Edie Sedgwick, Lou Reed, Billy Name, International Velvet and Paul Morrissey.

The photographs taken at this time not only document the ‘golden days’ of the Factory before the attempt on Warhol’s life by Valerie Solanas in 1968. This was a time when Warhol was making films almost on a weekly basis and Shore was clearly influenced by the laconic nature of these films, Warhol’s use of serial imagery and his obsession with recording everything around him, aspects which would take Shore’s own documentary photography to a new level. ‘I think I learned by observing, not observing him in order to learn, just by being exposed to the decisions and actions he was making. By the end of my stay at the Factory, I found that just my contact with, and observation of, Andy led me to think differently about my function as as an artist. I became more aware of what I was doing.’ (Stephen Shore in ‘The Velvet Years. Warhol’s Factory, 1965-67.’ Text by Lynne Tillman).

In a distinguished career that stretches back to his first solo exhibition at the Metropolitan Museum of Art in 1971 (the first to be given to a living photographer), Shore has exhibited widely and is currently Susan Weber Soros Professor in the Arts; Director, Photography Program at Bard College, New York. His retrospective ‘Biographical Landscape: The Photography of Stephen Shore, 1969-79’ is currently on view at New York’s International Center of Photography until 9th September, 2007. Phaidon will publish a monograph on Shore this autumn and ‘A Road Trip Journal’ in Spring of 2008. Concurrent with this exhibition, ‘Warhol Part 1’ a season of Warhol films at the British Film Institute runs from 7th August to 30th September.

Emergency Room

Hey Everyone! Come on out to the Closing Reception to an Mesmerizing Exhibition by Spandau Parks…RECEPTION is on JULY 19TH at 8PM at THE BOX…977 CHUNG KING ROAD IN CHINATOWN, Los Angeles, CA….read more below….

A LITTLE BACKGROUND ON THE EXHIBITION….

The Box gallery opened on June 9, 2007 with an inaugural installation by Spandau Parks. This installation is a project that began on the evening of June 9th with four projections, three onto the walls of the gallery and one out the front window onto the building across the street. The video projections are moving images that closely examine a painting triptych Spandau began in 1975.
It was decided by the artist and the gallery that the piece would not be publicly announced but would run every Thursday, Friday and Saturday night through July 21st. The work was only visible by those who happen to pass by, this included those who live and work in the neighborhood and occasional visitors to the arts scene surrounding the gallery. Spandau uses the gallery space as a working space, allowing him to change and develop the project throughout the course of the exhibition; the exhibition is art in flux. One of the changes that Spandau made was to project a video he made on June 9th of the video installation. This video includes people inside and outside the gallery, which create shadows and reflections throughout the space. The video is a video, of a video installation, of a painting triptych come alive through movement on structure walls.
Along with the videos, the artist began photographing the video installation; there are now over 1,000 images. He began printing the photographs of the video installation and placing on the walls of the rear gallery, out of public view. By placing still images of a three-dimensional video installation, Spandau has brought the work back to its original two-dimensional form.

On July 19th, the gallery is hosting a PUBLIC Closing Reception. What you will see at the closing event on July 19th, is a piece that began on June 9th and has continued to develop into an amazingly complex and cyclical group of pieces that has yet to be seen in its entirety by the public.

JULY 19TH 2007
8PM
977 CHUNG KING ROAD
CHINATOWN, DOWNTOWN LOS ANGELES
CA, 90012
213 625 1747
mara@theboxla.com

The Box is an alternative gallery, incorporating the voice of the artist and the public.
The Box aims to push the concept of an art gallery, viewing it as a place of thought and education.

Mara McCarthy-Gallery Director

(BY THE WAY IF YOU KNOW OF ANYONE WHO MIGHT NOT HAVE RECEIVED THIS ANNOUCEMENT, BUT MIGHT BE INTERESTED, BY ALL MEANS SHARE IT WITH THEM!!)

Alexander Tovborg´s (b.1983) works give a panoptic view of topical an virtual spaces. Through broken perspectives, manifold ideas and repeated reconstructions, his drawings unfold as sculptural fragments of stories. Tiny bits of stories stimulate larger, bur distanced scenarios. The many blank fields in Tovborg’s images are like undone thoughts that, through his underplayed teasing, function as epilogues to stories with ironic seriousness. An entire gallery of epic figures participate side-by-side with cultural symbols: priests, giants and pilgrims present themselves among churches, castles, cemeteries and special divinities. Holes and wells appear as judgment day allegories, and the lonely cowboy is replaced by a group of suffering people. Equivocal actions are visualized in a sort of frozen glimpse. Tovborg’s cogent imaginations especially focus on ceremonial events, where people are faced with fear, suffering and religious comfort.

Both drawing and sculpture hint at a play with time and space. Present time seems to be on th verge of disaperance, while the future is just about to appear. The fusion of past and future in the present is a recurrent marker of both form and content in Tovborg’s works, and the materials and their shapely collisions are imbued with anachronisms. Thus, mahogany-laminate is mixed with cheap wood; a paper full of holes in plastic is covered in pen drawings and ceramic sculptures are mixed with their original clay-forms. In general, the works seem to expose themselves. The creation process is an intregrated part of the aesthetic, and as the sculptural shape is examined, the functionality is amputated. It thus becomes possible to understand how a mini golf course can be submitted to fantasies about death: as it closes in on itself as a grave, its sports-like function is ironically made superfluous, and its decay becomes a poetical statement. In the same way, space is scanned in minute drawings made of tape, which contain a self-destructive fragilness and grace. Tovborg draws on art historical references without reproducing them as hollow forms. He specially distils the decadent artistic language of the Baroque into his random aesthetic that controls his thematical frame which circle round illusionism and serious voyeurism.

Tovborg’s space can be read as subjective feelings that been transformed into general states of mind. Instead of pointing to an individual narrator, it is the fictive society or the epochs in time that play the main parts. Thus, the identifications is removed and perhaps the distance makes a critical freedom possible. Tovborg constructs a complex observatory that mirrors its own reflection, thus disrupting a clear and concise perception. The scenario contains a burlesque and melancholy impossibility that can remind you of the absurd pleasure you meet in the works of Samuel Beckett and which becomes part of a tale about the backsides of society.

Alexander Tovborg is still a student at the Royal Danish Art Academy, but has already made him noticed in the exhibition scene at several occasions, i.e. through the convincing solo show “I tell you weird tales” at the gallery Bendixen Contemporary.

All the works are from 2007…his is the best!!

See you soon my good boy…

Do you wanne know more about Alx…

Beautifull summer pictures for alle over the world:

Appearing Rooms by Jeppe Hein

Jeppe Hein Studio

New project in DK: Karriere

Bart Michiels, The Hindenburg Line 1918, The Knoll, 2003
To view more of Michiels’ work, please visit our website .
The prices of Bart Michiels’ photographs will increase September 1, 2007. Please contact the gallery for further pricing information.
The Course of History by Bart Michiels
At the dawn of the new millennium I had lived for more than a decade in the US since leaving Belgium and during this new political climate, I wanted to reconnect with my European roots. What experience was so European and not American?
For centuries, from Caesar’s legions to the armies of the Nazis, my native country saw war with all its faces : invasion, occupation, terror, chaos, hunger, atrocities, destruction and collapse (of industries). After two world wars, those experiences have shaped what Europe thinks today, still affecting the generations and civilian life in modern Europe.

The photographs in The Course Of History are landscapes of the worst killing fields of Europe, of battles that were turning points in our history, defining our future. My approach to the subject comes from the loss of innocence in nature and the dichotomy of it : beauty and evil. And war is the loss of innocence of men. Though they all have a violent history in common, our perception of these landscapes can be peaceful and serene. So, is our sense of place associated with memory and history and is our understanding of the landscape fraught with misreading?

With little or no evidence of battle left on the land, I tried bringing back reference to it by finding happenstance traces and features on the land that refer metaphorically to combat, such as tractor tracks cleaving through a field of crops like tanks once did (Verdun, Le Mort Homme). At Waterloo, I found in a grass field a patch that was flattened. It was also where Napoleon’s elite troops and cavalry fell on the ridge, sealing the fate of the emperor.
FOLEY GALLERY 547 W27TH ST 5TH FLOOR TEL 212.244.9081 FAX 212.244.9082

Patronmail

Fuse Gallery

The Big Giving, 2007

Festival Terrace, Southbank Centre
14 July – 14 October 2007

Drinks will be served next to the fountain on Festival Terrace on
Friday 13 July from 6pm followed by Klaus Weber in conversation with Hayward Director, Ralph Rugoff, from 7pm in Level 5 Function Room at the Royal Festival Hall.

In Klaus Weber’s work The Big Giving a group of male and female figures are cast rising out of, or simultaneously sinking into, volcanic-looking mounds of rock. Water gushes continuously from the mouth of one, the eye of another and the genitals of a third, suggesting an abundant outpouring of bodily fluids. The title of the work, The Big Giving, refers to the native North American potlatch ceremony, in which the host’s status increases the more he or she gives. Weber’s fountain physically plays out this excess of giving and receiving, as the water gushes from one figure to another.
Read more about the exhibition.

Read More about the exhibition

Klaus Weber: Artist’s Talk
Friday 13 July, 7-8pm (post-reception)
Level 5 Function Room
at the Royal Festival Hall
The event is free but booking is recommended. Please contact the box office on 0871 663 2519.