A few weeks ago, we dropped in on Alex Pardee and his team as they were painting the offices of Urban Air in SOMA/San Francisco. We snapped a few photos, caught up with the man, and tried not to get black paint on our shoes. Thank you to Urban Air for letting us sit on their couch and vent. —Raymond Brown/The Citrus Report
From The Citrus Report
With bright, multi-layered layered characters, Agostino Iacurci is bringing something great to the neighborhoods he has painted murals in recently. He has been making interesting illustrations for years while he studied fine art and with a background in graffiti and painting outdoors, it only makes sense to see such amazing murals from him. His whimsical characters seem to tell a story with their gestures alone and they connect through the artists attention to the local surroundings. On paper or on a five story facade, I am definitely excited to follow Agostino’s work in the coming years. —Ronnie Wrest / The Citrus Report
Where are you from and where are you now?
I’m from Foggia, in the South of Italy, but now I’m based in Rome where I have lived for 6 years.
It must be amazing to live in a place with such a rich artistic history. Do you find inspiration everywhere you go?
Of course. Rome is beautiful and very inspiring, but my main inspiration is every day life, so I find sources of inspiration wherever I go.
My native city, for example, is very poor in art, beauty and cultural activities, but for me it has been an huge source of inspiration.
You have only been painting outdoors for a few years? What turned you on to this type of work?
Actually, I started painting graffiti in 1998, when I was 12 years old. I’ve done several pieces, writing letters for a long time, but at a point I realized that “style writing” was unfulfilling for me. Then I moved to Rome to study Fine Art and illustration, and there I’ve done research about my style. At the same time I started seeing lot of huge murals in several cities from all over the world by Blu, Os Gemeos, Run and few other artists. I was very impressed by this “new way of making graffiti” and it gave me again the desire of painting outdoor.
In terms of the change in audience, and the interactions with people that live near your work, can you describe some of the experiences you have had working outdoors?
Painting outdoors is an amazing experience. It’s very interesting and funny to collect different feedbacks about your work in real time. Especially because I have always tried to make works closely connected to the place and the location. Because of the easiness of images I draw, every type of person, from kids to adults, feel invited to express their opinions and personal readings. The main strength of making art outdoor is the chance to establish a dialogue with a vast number of persons.
From Left Coast Books in Goleta, California: Russell Crotty’s work is represented in the collections of the Museum of Modern Art (New York), Pompidou (Paris), Whitney Museum of American Art (New York), Museum of Contemporary Art (Los Angeles), San Francisco Museum of Modern Art, San Francisco Fine Arts Museum, New York Public Library, and others.
Crotty’s “Fragments from the West Coast: A Peculiar Surf Vernacular” will be on display through December 24, 2011.
We spent 72 hours in Miami for Art Basel, and among the things we saw were art pieces and themselves in person: Raymond Pettibon, Kehinde Wiley, James Murphy, Santigold, Mark Ryden, Jason Jaworski, FriendsWithYou, ROA, Fat Albert, Ai Weiwei, Barry McGee, NADA, Scope, Pulse, Wynwood Walls, WK, Martha Cooper, Aiko, Bast, Haze, Retna, Haring, Basquiat, Hirst, Kelley, Cuban Food, South American/Japanese fusion, ASAP Mob, lots of the Atlantic Ocean, Soho Beach House, and we drove in a Rolls Royce.
From The Citrus Report
FIFTY24SF Gallery is proud to present, Runaways, a group of new paintings by Los Angeles based fine artist, Sage Vaughn. This exhibition marks Vaughn’s first solo show in San Francisco and first solo show in the states in 4 years. Runaways opens November 19, 2011.
After two successful exhibitions at London’s Lazarides Gallery and The Outsiders, Vaughn returns to the United States with a body of new work. The first group of work in Runaways echoes the Ralph Waldo Emerson quote, “children are all foreigners.” The work illustrates the cast off minutia in our midst, the runaways, the street urchins, scamps, and hooligans that are often ignored. The focus is on the individuals, the small things. Vaughn uses song birds, feral parrots and escaped exotic pets on their own or, at times, with an accomplice, in an obscure dystopian setting. Here the viewer can explore sentiments of rebellion, survival, isolation and stolen sweetness the birds experience as they go about their secret lives above our heads.
The second group of paintings looks at the concept of the fleeting existence of the butterfly. A butterfly is only in this form for a comparatively short period during its life span; during which, it lives to fly, to mate, and to reproduce before it fades. constructing a single visual movement based on the compulsion of the individuals illustrates the driving force behind their transformation. in these works assembles the inconsequential to a point where they can emphasize something more powerful and instinctual.
Runaways will feature works in a variety of mediums, including a new series of paintings and Vaughn’s iconic envelope paintings. There will also be a large-sized hand-painted print in an edition of 24.
Sage Vaughn will also present a second exhibition at FIFTY24SF Gallery starting on December 16th, 2011, featuring special installations and conceptual works.
Sage Vaughn was born in Jackson, Oregon. He has exhibited throughout the world, including Lazarides Gallery and The Outsiders in London, Galerie Bertrand and Gruner in Geneva, Art Agents Gallery in Hamburg, Corey Helford Gallery in Los Angeles, and DACTYL Gallery in New York.
For more information about the work, contact gallery@fifty24sf.com
From The Citrus Report
Los Angeles based photographer Kelly Lee Barrett continues to build a beautiful body of work that is an intimate tale about the human condition. Since moving from San Francisco to the city of angels, she has captured a series of playful moments that have given birth to a world filled with hallucinatory colors and psychedelic fueled adventures.
This exploration of our world has even found its way into our own hands via a set of handcrafted award winning photo-books. In them, she brings insight and humor into everyday urban life. The cleverly organized photos inspire multiple associations about how we communicate with one another in our fast paced culture. -James Pawlish / The Citrus Report
JP: Who is Kelly Lee Barrett? Tell us a little about yourself.
KLB: “You live among illusion and in the world of apparition. But there is a reality. You yourself are this reality, but you don’t know this. If you awaken to this reality you will see that you are nothing and being nothing you are everything”. -Kalu Rinpoche
So how long have you been taking photos? When did you decide photography was for you?
I’ve been shooting since I was a kid. Both my dad and grandpa were photographers. My grandpa set up a mini dark room in my bathroom when I was thirteen. I loved the smell of the photo chemicals. In high school, I had to choose between marching band and photography. Photography smelled better.
What kind of equipment do you like to use? Are you primarily shooting digital these days?
I love using my grandpas old Nikon lens and filters on my DSLR to get that analog film feel. I really can’t stand producing super poppy, crisp, digital photos. So easy and boring. I still like to break out all my traditional film cameras at times, but it gets too pricey since I shoot a ton. Digital shooting offers me more creative flexibility, archiving convenience, and affordability.
Your work has a dreamlike psychedelic quality to it. Can you explain your creative process?
I’m a very visual person. I like to create my own world, surrounding myself in things that make me happy, in hopes to block out the bad. I create dreamlike psychedelic images because I want to live in a dreamlike psychedelic world.
Are there any photographers or artists who have influenced your work?
I enjoy exploring Flickr. I’m addicted. There, I’ve discovered amazing photographers like Neil Krug, Ellen Rogers, Synchrodogs, Aëla Labbé. Other artists that inspire me are Miranda July, Ed Ruscha, Kenneth Anger, and Yoko Ono.
You’ve created a series of books that have featured a number of different themes. Is there a specific process you follow when designing them? Can you tell us how they’ve evolved since you first started?
I made my first photo book in college at U.C. Santa Cruz, after getting back from spring break in England. One night, I was sprawled out on the floor with all my photos from the trip and a bone folder from my print making class. I folded one of the photos in half and the light bulb in my head went on. Over the last ten years now, I’ve been hand-making my little books. I love presenting my images in book form, to create a visual story, in a portable, simple, intimate setting for the viewer.
I like to do all my shooting first. With no particular end result in mind. I then get everything printed and sprawled out on the floor. Next, I start playing with the images sequencing, creating associations and dialogue. The last stage is to construct the book using my bone folder and adhesive. The whole approach is very relaxing and meditative. Its a very time consuming, hands on, loving process.
You made the pilgrimage from San Francisco to Los Angeles a few years ago. Do you find the south to be a good home base?
Yes, I grew up here. I absolutely adored living in San Francisco, and will live there again. Though, its always good returning to your roots. I have a deep passionate love-hate relationship with LA. There is the typical ego maniac, materialistic consumer, don’t leave your house without high heels and a fancy car, kind of vibe that I don’t relate to. There is also a mysterious beauty, hidden gem, David Lynch, old hollywood vibe, that keeps me here. I love shooting and getting lost in the hollywood hills, luscious and quiet. The energy here in LA just keeps getting better; beautiful people and places coming out of the wood work every day. I feel very lucky to be living here in this exciting moment.
What are you working on right now?
I’m always shooting. I have a couple books in the works: my LA book set series, a pyramid book, a long-haired men book, and a ladies of Los Angeles book.
Whats currently on your playlist?
Pink Floyd, Led Zeppelin, Madlib, Flying Lotus, Cut Chemist, Carlos Nina, Little Dragon, Lulacruza, Harry Nillson, Gwen McCrae, Angerine Dream, and Yes.
See more of Kelly’s photos and books at: www.kellyleebarrett.com
From The Citrus Report
This past Monday night, Green Apple Books in San Francisco held a taco and beer party in honor of the release of Haruki Murakami’s new opus, 1Q84. The Citrus Report decided to head out, pre-order our book, and sit for a few hours in the Socialism section with a few Sapporo cans to discuss world issues. And, of course, the 1Q84. —Raymond Brown / The Citrus Report
All photography from Amanda Krampf.
From The Citrus Report
Whether in a loose oil bar or on an intricately detailed canvas, Feral Child creates portraits and abstracted scenes that draw from folk and native patterns in fresh new ways. His precisely placed lines and contrasting colors turn some of the most simple compositions into complex harbors of a secret knowledge that is inviting their viewers to look just a little deeper. Even his most abstract work displays a sense of enthusiasm that bursts from the images. Whether hung on a white gallery wall or wheat pasted in a dirty alley, Feral’s work is sure to make you stop to imagine where these figures may have been or may be going next. —Ronnie Wrest / The Citrus Report
What kind of music do you listen to while you paint?
Lately I’ve been listening to a pretty wide variety of music when I’m painting, ranging from stuff like Wooden Wand, to Manu Chao, to The Suicide File. I think changing the music up helps keep my mind fresh and the paintings balanced.
Have you been drawing since a young age and have you ever studied art formally?
Actually no. I mean, I drew a lot when I was a little kid, but I never really started drawing seriously until after high school. I never went to art school or took art classes or anything like that. I’m pretty much completely self taught.
Do you tend to work more indoors or out and what kind of a balance do keep between the two, if any?
I go back and forth as far as what I am focusing more on at any given time. When I’m traveling, I basically focus 100% on making outdoor work. I love exploring new places, finding spots to paint, meeting people, etc. When I’m home, I tend to put more energy into indoor work and other projects, but it is super important for me to do both in order to stay centered.
Do you plan much when you find a spot you want to paint or are you pretty spontaneous with your outdoor work?
It really depends on the the spot. For the most part it is pretty spontaneous. Lately, I have been doing a lot of oil bar drawings on freight trains, which lends itself to spontaneity and pushes me to try out new things. On the other hand, if I’m painting a big permission wall or something I usually try to plan the piece out and bring a reference photo or something. I’ve realized no matter how much you plan what you are going to paint, it always turns out differently then you expected. There are so many different variables that you have to work with when painting outside, which is also one of the reasons why it is so much fun.
You work with a lot of different media. Do enjoy trying new things or do you just like to have a change of pace?
I don’t really want to be limited by pigeonholing myself into any specific category. Working in various media gets me thinking in different ways and allows me to push my work in other directions. It’s also fun just to collaborate with friends on a large variety of projects that I probably wouldn’t pursue on my own.
There is not always a clear distinction between your indoor and outdoor work, do the the two tend to overlap completely?
It depends. Sometimes I will use my indoor work as reference for the outdoor work, or vice versa, I actually get a lot of ideas for indoor paintings from random drawings I have done on trains. Overall though, I would say 90% of the outdoor work I do is really quick and impulsive, so it tends to be very different than the indoor paintings, although there are a lot of common elements that I use in both.
You were just out in Atlanta for Living Walls. How was that conference?
Atlanta was incredible. Any time you put 25+ artists in two rooms you know it is going to be a great time. I swear wall painters are the coolest breed of people on earth. It was really inspirational to hang out and with everyone and get to watch them paint.
Was there a lot of support from the community out there?
Definitely. It’s so cool to be outside painting walls every day and get to meet people in the neighborhood who are so stoked on what you are doing. There is also a super tight community of wonderful, passionate, creative people out there and they definitely showed us that Southern hospitality.
Was there anyone specific you were really stoked to meet or work with on this trip?
Wow, pretty much everyone involved, it would be a super long list. I’ve been a huge fan of artists like Labrona and Sam3 for a long time now, so meeting and hanging out with those dudes was really awesome. Also, having a chance to kick it and paint with friends like Russia, Doodles, Gaia, Ola Bad and Over Under is always a pleasure.
Between the MOCA show, hype around Banksy’s movie and Saber drawing serious media attention to public art recently, this has been a big year for the movement. Do you see all this helping gain some acceptance from the art world?
I don’t know. I really don’t think public art is anything new to the art world. Graffiti has been in galleries since the 80′s. If anything it is coming to the point where it is almost being cheapened by everyone who is now trying to cash in on it. At the same time though I think it’s great that the general population is recognizing public art as an important and legitimate art movement, especially if that means more opportunities and more paint on the walls.
There are references to nature and a kind of Native American feel to some of your work. Does this come from any particular influence?
I tend to think a lot about the state of the world today and how globalization and the rapid spread of technology and information has left it in a way homogenized. I fantasize that paradigm just collapsed, and I think about what it would look like if my friends and I were living in a rewilded world, as these feral humans, creating their own unique cultures and traditions. A lot of what I paint is sort of a manifestation of this idea.
I know you have traveled a lot. Is there a particular place you would want to live or stay…. if you’re not already there?
I would love to be able to spend more time in Latin America. There is a ton of really inspirational art coming from that part of the world, and I’ve heard nothing but good things about Buenos Aires, it sounds like a street painters paradise.
Any plans for the rest of this year?
I have a show lined up in the beginning of 2012 with some friends over at Old Crow in Oakland, so I’m focusing on making a bunch of new work for that. Aside from that I’m gonna be working a short film project with my friend George Trimm, and illustrating a book of short stories. I’m also planning out a new project/journey that incorporates travel, writing, and photography, that I will hopefully start sometime next year.
From The Citrus Report
Another great project from Los Angeles-graffiti artist and social activist, Saber. Inspired by the Occupy Wall Street movement, Saber is participating by creating an art project revolving around the American flag. Here is his statement…
Its October 14, 2011, day 28 of #OccupyWallstreet. America is rocked. The world is watching, the media is manipulating, people are energized. Citizens have come together to express their frustration with corruption through this robust and peaceful protest movement.
Occupy Wall Street is the first real protest movement of my generation. Satellite movements have sprung up in every major city across the country including Los Angeles. Making art is the best way I know how to participate and what a better way then to create a huge American Flag that breaks up into 64 individual protest signs laid on the South East lawn of City Hall. The slogans written on each sign were grabbed from the related Twitter hash tag topics on #OccupyWallstreet #OccupyLA. With the frustrations of the 99% mounting, Pandora’s Box has been thrust open. Complacency is no longer an option…………
The uniquely crafted and well thought out visual design of Barbados-based photographer Mark King – aka “Markings” has an instantly recognizable character and unique voice. Through his lens, he’s been able to capture and bring out the vibrant beauty of Caribbean culture while letting the vitality that celebrates the rich pageant of city living come through in a palate of sonorous colors. – James Pawlish / The Citrus Report
JP: Who is Mark King?
MK: Marking’s
Was there a single defining moment that influenced your decision to become a photographer?
I started to consider doing photography full time after working in New York as a photo intern. Going to grad school in San Francisco for photography was another big influencer. Soon after graduation, I worked as a photo assistant with Wired Magazine. I learned so much from that experience. My time at Wired gave me the confidence to try my hand at becoming a photographer.
I know you’ve had the opportunity to travel the world shooting photos. How has your style developed since you left the city by the bay?
San Francisco is where I laid the foundation for my style. I was able to identify what I enjoyed shooting and the approach that worked best for me. Being uprooted from the Bay took me out of my comfort zone for sure. At the time the economy was (still is) wrecked and getting sponsored to stay in the country had fallen through two weeks before my time was up.
I moved to Barbados and decided the only option was to shoot as much as possible. I built on a style I began a couple years before I left SF. And later included shooting portraits in that vein. I’ve had to become much more out going and take a few risks along the way.
Now that you’re back in Barbados, how does it feel? What’s the art scene like? Has it helped influence or shape your work in anyway?
Being back in the Caribbean turned out be just what I needed. It was definitely a culture shock returning to this part of the world though. I grew up in Barbados between ages three and seven, but would come back for holiday every now and then to see family. From ages seven to twelve I was in The Bahamas, then Belgium, Washington D.C., and San Francisco. So I went from fourteen years of city life to living on a rock in the middle of the ocean not found on most maps.
Since day one I’ve strived to represent Barbados in a way no one has done before. I want my approach to be as honest as possible. Honest in the sense that it is created from a place that involves a real experience and not an over glossed one.
Our art scene is very small, but there are people working on changing that. If it weren’t for the support of a select few here I wouldn’t be on the path that I’m on now. They’ve taught me how to be resourceful and to stay motivated.
A large portion of your work is centered on the female form. Is there any specific reason why?
I like taking pictures of beautiful women for the obvious reasons, but it’s also about the collaborative experience. We get to learn a bit about each other and do some exploring in the process. It’s always interesting to see how their personalities begin to unravel once we start shooting.
Another reason is that I find it challenging to take interesting photos of women. You see so many images dealing with that subject matter. There is an absurd amount of pictures of gorgeous women both online and in print, but in how many of them do you appreciate what is going on in the photograph in addition to the pretty girl?
Can you briefly describe your creative process?
For my portraits I like to identify a mood that I am going for in my photos. I then think about a location that best suits the mood. There’s some pre-visualization that goes on, but often preconceived ideas can get thrown out once I’m in the process of shooting. I like to give myself some room to be spontaneous as well.
Do you find that film, arts, or literature has had an impact on your work?
Photography, film, music, my environment; they influence me the most I guess. More and more literature is playing a role in motivating me to convey a deeper meaning in my work.
These days, everyone seems to be shooting digital. However, I know you still like to shoot with film. What is it you like about film? Do you feel it has a specific quality?
Film definitely has a certain quality that I still love. I’m not against digital. I find it hard to convince myself to shoot digital and then turn around and make it look as close to film as possible.
I approach photography in a completely different way when shooting film. I focus more when not distracted by a preview image popping up on my display. That can lead to me checking the histogram and the second guessing starts. When shooting film I just do my thing and trust my gut.
Can you tell us a little bit more about your “plastic” series? How did you first come up with the idea? How has it evolved since then?
We love bright colors in the Caribbean. When I returned to Barbados I immediately noticed the colored plastic shopping bags everywhere. It was interesting to see these Chinese made plastic bags stand out in our color-saturated environment. I started shooting the bags themselves in studio and on the beaches. It wasn’t until I was experimenting on an instant film portrait series in preparation for an upcoming Silkscreen artist in residency at the Frans Masereel Centre (www.fransmasereelcentrum.be) in Belgium, that it all came together. I decided to pull from the shopping bag color palette instead of photographing the bags.
The project has evolved into a series of portraits shot at night under streetlights around Barbados. I shoot with a Mamiya RZ 67 on Fuji high-speed instant film. My subjects are in locations that are mostly scouted days or even weeks prior to the shoot. I scan the images and paint in the colors via a Wacom tablet. I also produced a series of screen printed artist proofs and mixed my colors the old fashioned way.
The on-going series has definitely taken an eerie turn and I’m starting to experiment with adding more of a story aspect.
You were recently accepted to the Lucie Foundation E-apprentice program. Can you tell us a little bit about that?
Every year the Lucie Foundation selects 10 emerging photographers and pairs them with an established photographer for a 6-month online mentorship program. They also provide secondary mentors in the supporting industries like artist representatives and gallerists.
I have been paired with entertainment and fine art photographer Roger Erickson (erickson-images.com). We talk over the phone and exchange emails often. Roger has been a great help. He’s twenty years deep in the photography game. I come away from every conversation we have with amazing insight and advice.
What’s one word that describes Mark King?
Adventurous.
From The Citrus Report
