Friday, August 2, 2013 at 5:00AM Spike Lee and Marina Ambramovic launch kickstarters (separately), both are worthy of supporting!
Marina is forming her own institute for the creation and advancement of long durational work.
Spike is making a new Spike Lee joint!
Picasso Baby debuts...Jay Z's 6 hour "performance art" piece (or music video) shot at PACE in NY last month.
And finally Lady Gaga announces new album titled "ART POP"
Thursday, May 23, 2013 at 5:00AM A really good fan made documentary about Kanye West.
Friday, May 10, 2013 at 5:00AM LOVE the GIOGO Girls latest video! We had a blast last night with the ladies celebrating there 2 years of GET-IN'S
Wednesday, March 20, 2013 at 5:00AM |
Project Bronzeville is an exhibition of art work by Kathie Foley-Meyer inspired by Bronzeville, a period in LA history when African Americans moved into the neighborhood known as Little Tokyo. Please visit their site to see the list of events happening over the next few months including this performance by gallery favorite Miguel Atwood Fergueson. |
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You can purchase tickets to this show by going to their fundraising page this jazz performance is not to be missed! Visit the Project Bronzeville Facebook page to stay in the know. |
Saturday, February 2, 2013 at 5:00AM We are so pleased with the launch of our new Jazz series! Last night new LA based group WILBERTA did a phenomanal set. We were honored to debut this new band!! Watch them cover Twice by Little Dragon.
Tuesday, January 8, 2013 at 5:00AM Roger Guenveur Smith is probably one of the greatest living actors. This is his monologue Frederick Douglas NOW.
Monday, December 17, 2012 at 5:00AM BRUCE HIGH QUALITY FOUNDATION UNIVERSITY has just released their Spring 2013 curriculum. If your in NY go! Its free, high quality education in art! The schedule this semester is brillant! Open house January 13, 2013 from 2-4pm, meet the instructors and find out which each of the courses are about.
About BHQFU: Founded by former Cooper Union students they offer free classes about art, art practive and other world related topics in art. They describe themselves like this "BHQFU is a learning experiment where artists work together to manifest creative, productive, resistant, useless, and demanding interactions between art and the world."
Wednesday, December 5, 2012 at 5:00AM NOBODY BUT NOBODY DOES IT LIKE RRR
Wednesday, November 21, 2012 at 5:00AM 
Of all the amazing and interesting people I met this week none were more exciting than Chicago based artist Theaster Gates! I met Theaster at MOCA LA, he was there to check Glenn Ligon's artist talk. We discussed a number of things about his art, the Bank project in Chicago, my gallery and programming and this wonderful new exhibition that just opened in Miami at Locust Projects.
The most intriguing component to this exhibit are all the other things planned around it. The Soul Manufacturing Corporation creates relationships between the aesthitics of art, labor and race. He creates a factory like installation where skilled makers come in and produce things that are being made for commerce. They have weekly programming where a DJ, a Yoga instructor and a Reader come in to provide relief and care for the makers and the audience.
Click the link below for a schedule of the programs and go be apart of this project!
THEASTER GATES SOUL MANUFACTURING CORPORATION NOVEMBER 10 - DECEMBER 21, 2012
Monday, September 3, 2012 at 5:00AM FROM THE DESK OF MISTER WHITMORE
who just so happened to do the amazing COLORS #pow follow him @MISTERWHITMORE
Tuesday, April 10, 2012 at 5:00AM We can't even believe 2 years have come and gone, we have had some amazing memorable experiences in the space and its all because of you LA! We owe you everything... Join us Thursday night as we celebrate turning 2 at our Pre-Coachalla ARTE PARTY! Featuring Shafiq Husayn and the Dove Society plus other special guests! You don't want to miss this.
Tuesday, March 20, 2012 at 5:00AM Love all the beautiful people that turned out and are posting things like this! THANK U to kingjaythree
Friday, February 3, 2012 at 5:00AM One of the saving graces of Los Angeles life is an independent radio station out of Santa Monica called KCRW! Working in the arts and creating a space for art and culture I realize how important it is to deliver something you think is important, noteworthy or just awesome without watering it down due to corporate censorship. This radio station is funded in large by the people who listen every day (like me!) They have been doing a pledge drive over the last two weeks and today is the last day to pledge and become a member during the drive and get some really fantastic giveaways.
Go here and become a member online kcrw.com of if you live in LA tune in at 89.9FM and listen to what you can win and how you can join. If you don't make it today no sweats, I think you can join anytime through the website.
Poster artwork created by Brian Michael Gossett at The Art of Doing Something
Tuesday, December 20, 2011 at 5:00AM Loving the show Cai-Guo-Qiang put on in Qatar for his exhibit Saraab at the Arab Museum of Modern Art.
Thursday, December 15, 2011 at 5:00AM 
Installation view, “What should we do?” Lorraine O’Grady: Critical Interventions, INTAR Gallery, NYC, 1991
BRIEF BIO
Lorraine O’Grady is an artist and critic whose installations, performances, and texts address issues of diaspora, hybridity, and black female subjectivity. The New York Times in 2006 called her “one of the most interesting American conceptual artists around.” And in 2007 her landmark performance, Mlle Bourgeoise Noire, was made one of the entry points to WACK! Art and the Feminist Revolution, the first-ever museum exhibit of this major art movement.
Born in Boston in 1934 to West Indian parents, O’Grady came to art late, not making her first works until 1980. After majoring in economics and literature, she’d had several careers: as an intelligence analyst for the U.S. government, a successful literary and commercial translator, even a rock critic. Ultimately, her broad background contributed to a distanced and critical view of the art world when she entered it and to an unusually eclectic attitude toward artmaking. In O’Grady’s work, the idea tends to come first, and then a medium is employed to best execute it. Although its intellectual content is rigorous and political, the work is generally marked by unapologetic beauty and elegance.
Artist Lecture, Buffalo University, 2010 - “The Both/And,” powerpoint lecture. O’Grady provides an informal but full overview of her work, followed by a pointed question-and-answer period. HD: VIDEO
SELECTED WORKS
BodyGround, 1991: “Gaze,” black-and-white photomontage quadriptychBodyGround shorthand for Body Is the Ground of My Experience, refers to the photomontages produced by O’Grady for her first one-person exhibit, at INTAR Gallery, NYC, Jan 21–Feb 22, 1991. The phrase doesn’t name a series — the works were unrelated — but rather the concern shaping O’Grady’s writing, thinking, and art-making at the time. The photomontages reprised several ideas from Rivers, First Draft in still form. Her move from performance to the wall had financial, personal, and theoretical motives. The work was growing both more direct and more complex and needed repeated viewings.
During her absence from the art world, O’Grady had become concerned about postmodernism’s over-simplifications which she felt re-located subjectivity away from the body to history in a way conveniently serving those in power. For while the body undoubtedly received history’s effects and was shaped by them, it was also, in an excess, the location of resistance. To make the point, her new photomontages — made the old-fashioned way just before Photoshop — eschewed both her earlier work’s layered beauty and postmodern photography’s dry formalism. Instead, they employed a psychological literalness reminiscent of Surrealism. In the Gaze and Dream quadriptychs, the bodies schematically enact both subjectivity’s stunting by history and latent resistance to it. And a group of three images, including The Strange Taxi and The Fir-Palm, employ a black body as a literal ground on which history acts but is unexpectedly modified.
O’Grady had not anticipated the intensely negative response, especially from white male viewers, to The Clearing, a diptych showing black and white bodies in what director John Waters calls “the last taboo.” One white male Harvard professor told her it was difficult to look at because it showed “how erotic domination is.” During this period, O’Grady experienced more success, especially with female audiences, via writings such as “Olympia’s Maid” and the articles in Artforum.
“The Clearing: or Cortez and La Malinche. Thomas Jefferson and Sally Hemings"Cutting Out the New York Times
other media 1977
Cutting Out The New York Times is a series of 26 “cut-out” or “found” newspaper poems made by O’Grady on successive Sundays, from June 5 to November 20, 1977. They were first exhibited to the public at Daniel Reich Temp. at the Chelsea Hotel, in March 2006 at the urging of curator Nick Mauss. The slideshow here contains four of the poems in their entirety.
After graduating from college in the late 50s with a major in economics, O’Grady worked for five years as a young intelligence officer for the Departments of Labor and State, first on African and then on Latin American affairs. During that period, she was forced to read 10 national and international newspapers a day and — in the lead up to the Cuban Missile Crisis — three complete daily transcripts in Spanish of Cuban radio stations, as well as the endless overnight classified reports from agents in the field. It was a time, she’s written, when language “collapsed” for her, “melted into a gelatinous pool.” She soon quit her job as an intelligence analyst and began a roundabout journey into art.
1977 found her at SVA in New York, where her course in “Futurist, Dada and Surrealist Literature” attracted such students as John Sex, né John McLaughlin, Keith Haring, Kembra Pfahler, Luis Stand, and others. Cutting Out The New York Times was done in a moment of combined psychological and physical trauma (she’d just had a biopsy on her right breast which proved negative) and was accidentally begun while browsing the Sunday Times to make a thank-you collage for her doctor. She’d involuntarily wondered: what if, unlike Tzara and Breton’s random newspaper poems, she forced randomness back to meaning, rescued a personal sensibility from the public language that had swamped it, might she not get — rather than Plath and Sexton’s confessional poetry which made the private public — a “counter-confessional” poetry that could make the public private again? But with the rescue act accomplished, she forgot about the cutouts until Nick Mauss’s studio visit 30 years later.
Artist Statememt: Re Cutting Out the New York Times, 2006
Andre S. Belcher - Contributor
Thursday, October 13, 2011 at 5:00AM We are happy to have a new contributor for ARTE: we've been following Andre S. Belcher and his interesting observations in contemporary art for a while now. When it comes to art Andre admits that he is only concerned with "The naked and unabashed truth."
Global Arts: Visual Arts - Experimental Film/Video
Julia Raynham
Born 1966 (Cape Town, South Africa)
Julia Raynham’s work melds choreography, theatre, poetry, video, sound, performance and improv, in a distinctly experimental vein. After studying architecture and music, she trained extensively as a sangoma (link beeen the ancestral and human worlds, specialist of herbal medicine, counsel in matters of psychological disturbance in Zulu, Swazi, Xhosa and Ndebele communities of Southern Africa). An ex-member of key collectives on the South Africa scene (Honeymoon Suites; The Mothertongue Project) and a writer (We Tell Our Old Songs: San Music of Southern Africa, with Marlene Winberg, 2004; ilikemagazine), she is the founder of Resonance Bazaar, a multidisciplinary platform for the development of artistic partnerships. Among her most renowned works are: Return to Traveller (The Edge, Cape Town, 2009); 21st Century Animal (7th edition of Rencontres Chorégraphiques de l’Afrique et de l’Océan Indien, 2008); and A New Body Will Be Assembled...More Brilliant Than Before (Below:Video)
Video: A collaboration between Julia Raynham and James Tayler
Andre S. Belcher - Contributor
Sunday, August 14, 2011 at 5:00AM Friday August 19, 2011 in downtown LA at 333 Alameda St, Los Angeles CA from 8pm-2am tickets can be found at www.tinyurl.com/5ArtShow2 Should be a great night of art, music and good times. Tha Boogie who performed at our space last month is one of the headliners that evening!
