The best part about this series from San Diego MFA student, Noah Doely, is that these are made in 2011 and not 1865. According to Juxtapoz, Doely’s “recent body of work titled ‘A Natural History’ constructs fictional narratives derived from prominent figures such as Charles Darwin and their research around life sciences. Beginning first by carefully crafting scenes that the artists constructs himself, Doely then uses the ambrotype photographic process with a wet collodion plate to capture an image that feels as old as the subject matter he investigates.”
Coming up this week in San Diego is Sezio’s Four Day Weekend. Four Day Weekend is a concert series of four consecutive nights, with headliners including Real Estate, Lord Huron, Peter Wolf Crier, and Dirty Gold.
San Diego designer, photographer, and director Charles Bergquist shot this promotional video that features a San Diego friend, Dylan Ousley (who recently moved out to New York) enjoying some California sun.
Double Break is excited to announce Horror Days, a solo exhibition of works by Gunsho (a moniker for the Providence, Rhode Island-based artist James Quigley). His ongoing series Demonology is a modern interpretation of the seventy-two demons classified in the occult text known as the Goetia. This series of screen prints began in 2006 as part of a continuum of autobiographical cartooning that began very early in his childhood.
The show opens tomorrow evening (October 7th). Be sure to stop by.
Charles Bergquist is a very talented director, designer, and photographer based in San Diego, CA, and he put this amazing video together for Matthew Dear. As Charles put it, “The lyrics drove the photography and the sound drove the texture and slices. For most of the edit and post-production work, I let the track dictate the visuals.” The video seamlessly blends with the track to create a experience that seems more wholesome than most music videos.
Recently opened in June by UC San Diego MFA grads Matt Coors and Louis Schmidt is the gallery and art bookstore Double Break. They recently had a show with Jay Howell and Chris Kardambikis that runs until August 28th and a book signing and release party with Ed Luce in coordination with ComcCon. The space looks great. If you’re in San Diego, swing by and check it out.
You going to Comic Con 2011? Want to pick up a copy of of Dirty Hands: The Art and Crimes of David Choe? Want to get it signed by Harry and Dave? Come by our booth #4633 Saturday – Sunday and meet them and get them to sign your stuff… Harry will be there all Sat – Sun, and David Choe will be there Sunday. Come by and say hi, and we’ll be exclusively selling the DVD the whole convention.
This First and Final Friday segment comes from one of our favorite albums of the year, San Diego’s Wavves 3rd LP, King of the Beach. It just sounds like what skate kids should be listening to these days. Skateboard, bong, Wavves, fucking around. Perfect soundtrack.
Wavves are awesome. Their new album, King of the Beach, is really awesome. Patrick O’Dell of skateboarding photography and film is awesome. And Patrick directed the Wavves’ “Post Acid” video, which is brand new for all the kids.
Brooklyn Street Art: How has the response since the show opened?
Pedro Alonzo: The response has been great. The museum has had tons of calls about the exhibit and many visitors. The age of the average visitor also appears to have dropped. We are getting a younger crowd.
BSA: You have a number of installations all around the city. Was it easier to work with private owners rather than the city to secure building walls?
Pedro Alonzo: Although there have been people who work for the city who have been very supportive and instrumental in securing walls, all of the walls we used are privately owned. It was way too complicated and bureaucratic to secure city or state owned walls.
SA: Can you talk about the name “Viva la Revolución” and it’s significance to you historically?
Pedro Alonzo: The title of the exhibition is significant on many levels, from the fact that this year marks the 100th anniversary of Mexico’s revolution to the street in Tijuana, “Avenida Revolucion” where many under age southern Californians, like myself back in high school, spent the weekends drinking and dancing. The title also refers to street art’s defiant posture towards the arts establishment in being an art that is populist, intended to be understood by most people, not just the art world elites, as well as being a form of expression that references popular and/or urban culture. This show is about an artistic revolution, art that appeals to a wider audience.
