Q: Can you tell me about your background?

I grew up on a small island in the southeastern part of Denmark, called Møn. It was a free-spirited and playful upbringing. Building caves and devising weapons of all kinds filled my days. An independent sense of self-sufficiency was already a part of who I was back then, ha-ha.

I remember being inspired to build pheasant traps with my brother after lending a ’Robinson Crusoe’ book from the library – and actually, for a while we were really quite a success at it.

At some point later on, I became really interested in music, and started playing bass (both electric and double) intent on becoming a professional musician.  At some point, I become frustrated with the premises of playing in a band – the joint necessity to compromise – whilst also realizing that my talent wouldn’t suffice on my own. From one day to the next, I gave up playing bass, and the practicing 6-8 hours each and every day!

Just before giving up on music, I developed an interest for building instruments and began in apprenticeship making violins at a workshop in Copenhagen. The craft satisfied my need for creating something with my hands, and I was very fascinated by the handywork. It was amazing, being able to cut a beautiful violin from a ‘simple’ piece of thin wood. However unfortunate it was at the time, I missed admission try-outs for a violinmaker’s school in Cremona, Italy – so I decided to enroll at an art high school in Copenhagen instead.To start art classes was truly inspiring. It was all classical model studies and croquis drawing. It was really great to work with different materials, transforming them into visual expressions. After the classes in Copenhagen, I went to Italy for about a year, close to Pietrasanta at Carrera, working for different sculptors and stonemasons.

When I came back to Denmark I started at the Art High School in Holbæk (Holbæk Kunsthøjskole). The school has no restrictions in terms of artistic practice and led me to apply for the Royal Academy of Fine Arts in Copenhagen, which I attended later that same year.

Q: What was the first artwork you made? What / How / Why?

That would be an enormous installation I made when I attended the Holbæk Kunsthøjskole.

Q: Was there a particular moment or event where you decided to become an artist?

Looking back, I’ve always kind of seen myself as an artist. Well … I never really saw myself working for others, at least. My greatest interest and personal fulfillment was always in artistic fields, so it seems natural that it became the way of expressing myself.

After my stay in Italy, when I returned to Denmark it was very clear to me that I’d found the means of expressing myself. Thoughts about career and/or ‘life as an artist’ didn’t come to mind until after I’d started at the academy.

I have a deep fascination for everything one would refer to as: ’metaphysical existence’.

The life beyond the common dreams of regular men of society, working instead on a level of non-functionality.Q: What influences you?

My work is influenced by the American conceptual scene. Bruce Nauman is still one of my biggest inspirations, with his honest and persistent practice. Robert Smithson and his psychedelic land art projects relating to the autonomy and vanity of specific sites.

Artists using reality as a setting for their art mainly inspire me. There are many that I could mention …

Q:The Idea / Process. The visual outcome. The material?  

The concept is at the foundation in my practice. For quite a number of years, my interest in the world of organic matter has been the forming element of the practice. The fact that organic matter is constantly being affected by the specific moment; imprinted and reacting in correspondence to its surroundings – I think that’s truly fascinating!

Materials are also important to me, though in the sense that they generally serve a specific function. I nearly always choose a material for its distinctive potential. Different features and qualities of materials are examined whilst experimenting with the construction and underlying ideas and/or developing the concept. In fact, a lot of my time is dedicated to investigating and testing all sorts of things, much like a scientist. I test time measures and duration parameters, comparing them to a given idea or structure. Most of my work is based on studies of process.

Q: Can you tell me more about your routines and rituals in your daily practice?

I see my practice as a personal necessity. It continually satisfies a sense of freedom or self-dependence. It can be lonely, but I live for DIY (re. Do-It-Yourself), and my independence relies on it. I’m a typical hard worker, not really able to separate work from my spare time, even if I wanted to. The most important thing though, is my self-determination – no two days are similar.

Q: The Idea/concept surrounding your work, can you tell us more about it?

My practice is founded upon my genuine interest and wonder in the phenomena of ’reality’, what it consists of, and how it imprints traces on its surroundings.

I see ‘reality’ as an organic and dynamic structure that’s constantly changing due to (and in coherence with) time passing.

The character of reality is defined by the temporal potential produced by the surroundings that are continuously made visible through these different undivided structures.

Temporalities and the potential of the surroundings are incredibly hard to understand. I attempt to visualize the traces of process from the reality in which it’s produced. I do so by withdrawing and isolating some of these traces, and I’m thereby able to obtain a certain amount of information.

To me, a reality consists of a given course of time in a given situation, environment, spatial context, organic body or cognitive structure, that makes an imprint present in the world surrounding us. Interacting structures are imbedded in a landscape of reality. These structures are giving and receiving information, being both active and passive within the moment created around them. Such structures have always fascinated me. Having the characteristics of ‘just being a simple object’, as well as a performativity factor, these structures are able to exist as dynamic spatial objects.

Q: Your latest works – The “golden cubes” – Can you tell me more about them, and how they came to life?

The work is titled, ‘INSPIRATIONS’ and derives from Latin (inspire = to breathe; inspiration = instance of breathing in). It consists of 10 distinctive and highly-polished brass forms. Each piece began as a quadratic cube containing a volume equal to the typical amount of oxygen my lungs process in 15 minutes. Each cube is individual in terms of how much air there has been removed by a vacuum pump. The cubes are gradually being compressed and the amount of air removed corresponds with the volume of the total amount of oxygen my lungs would need from every 1.5 minutes up to every 15 minutes.

The cubes are manifesting different temporalities (from 1.5 minutes to 15 minutes) by visualizing the various volumes of oxygen my lungs would use due to their absence. Q: I remember the Concrete Block with the same temperature and “presence” as you – Can you tell me more?

‘Self-Portrait, Naked’ is a series of 11 unique sculptures in concrete. Each has a surface area equal to my skin and emanates the same amount of heat as my body. The work is an identical thermal representation of my own physical body.   Formally, each is internally fitted with copper wiring, warming the concrete from the inside so that its surface radiates the same amount of heat as my skin. Beginning with my height (183 cm), I kept the surface area proportions to scale by decreasing the height of each by 13 cm intervals.

With this series of self-portraits, it was the first time that I used my own body so blatantly in an artwork.

Previous works often gathered or translated the physical factors within the environmental surroundings of the artwork itself. They’ve at times made use of ice, condensation, and even fungus spores to visualize the traces of organic material and/or the presence of the beholder within time and the exhibition space.Q: Ghost?

I was interested in addressing the question and type of temporality this moment will come into presence. The work consists of mirrored-glass with a cooling unit affixed to the backside and hidden from view. Any humidity in the room will always condense on the mirror’s surface.

What one encounters when viewing the work is an unclear, foggy image of one’s self reflected.   In that very same moment, you’re also seeing an image of yourself through a filter from everyone else who’s looked into the mirror. The past has a physical presence in the present, revealing itself as a dewy shadow of those who had been there before.Q: Many of your works seem to be some kind of a Self-portraits – Is that correct? And can you explain more about the many different bodies of work the last years, how it is progressing and moving forward.

As I pointed out earlier, I have a genuine fascination with the phenomenon of ‘reality’. The reality of which our world consists, and where the presence of subjects appear. Peter Sloterdijk writes in ‘Bubbles’: “We are broken hopes but opportunities of new attempts”.

Everything is inconsistent and our reality is constantly transforming.

My rather recent interest in the genre of self portraiture, was an attempt to extend and challenge my practice. Earlier works (such as ‘Ghost’ and ‘Exhale’) are registrational and/or characterized by translative features the reveal/record a witnessing. Those works examine external conditions that to some extent were already given in the exhibition space.

By making my own body the point of reference, the conceptual interests take on a more personalized content. I think it adds a sort of subjective poetry to the work and it’s becoming more concerned with the essence of my interest.Q:  Is it important for you that people understand and question your work or is it ok just to think they are great looking?

My work often has an industrial vibe to it, but beneath the apparently simple, dense forms (like the “Concrete Block” you mention), lies rather a complicated system of careful considerations. Naturally, it’s not necessarily the first thing one considers in the presence of the work – the multitude of decisions that went into its creation, but once you start considering its appearance, they begin to come to light. The decisions are the actual foundation of the work.

In terms of the audience’s reaction, what’s important for me is that one gets a sense of precision and consideration in terms of the execution and the work’s concept. It doesn’t matter to me whether one can decode all of the references and concepts in the work at first glance. I prefer a subtle means of encouraging the viewer to reflect upon the choices that were made in front of them.Q: Can you let us in on some of the future projects, works?

I’m still working on the ‘INSPIRATIONS’ series I described. I’m also working on a photo project of a wall-like figure made from bricks of potassium sulphate (the substance slowly reacts with environmental humidity, causing the bricks to melt, completely deteriorating within a few months). Aside from that, I’m presenting some work in Brussels in April, and look forward to a big presentation of my work in Copenhagen in August.

Link to artist page Karl T Sandegaard

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SHOWING WORKS BY GLEN BALDRIDGE, COLBY BIRD, PATRICK BRENNAN, GRAHAM COLLINS, NED COLCLOUGH, STEVEN COX, GEORGIA DICKIE, CHRIS DUNCAN, HILARY HARNISCHFEGER, SARA GREENBERGER RAFFERTY, RACHEL FOULLON, TED GAHL, KARL HAENDEL, ADAM HELMS, JEREMY JANSEN, MATT KENNY, LAUREN LULOFF, AUGUSTUS NAZZARO, HILARY PECIS & RYAN WALLACE

Ryan Wallace states:

“I started curating the exhibition with two distinct groups in mind, as I did studio visits and reviewed works, it wasnʼt as clearly delineated/definable as I expected. While images sourced from movie posters are clearly photographic, and a ceramic tile is clearly material, questions arose in other works.

How to categorize a sun bleached exposure on fabric, or a remodeled thrift store painting of a tiger; as an object or an image? In this way, the gallery will be divided into two areas; the lower level filled with those works that are drawing most clearly from photographic imagery, the ground level spaces being a blend of the clearly object influence pieces and those that arenʼt so clearly categorized.”

Link to Gallery V1

Link to Q&A with Steven Cox

Link to Q&A with Augustus Nazzaro

Link to Chris Duncan

Link to Graham Collins

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“I’m interested in the relationships between materials – Building up, breaking down, yielding, consenting, push back, loss and gain. That intertwines process and materiality, looking for moments of shift. So yes, it looks at a things relative ability or inability to transform, but my end goal isn’t to free it from being a static object. Many ideas lead to a static state through change, and that’s just as interesting. “

Interview Jessica Sanders – Artfridge

Link to Artist Page >>> 

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1: Can you tell me about your background? And what was the first artwork you made ?

I was born in Camden, New Jersey and grew up in Caracas, Venezuela. I studied animation in college. The first artwork I made in college was a birthday cake made of plaster.

2: What is more important to you regarding your work: The Process. The final visual outcome. The material ? Or something else ?

Well the process of making and thinking is why I do what I do. This is a slow and very tangled tapestry that we are unravelling or amending, and as long as there are holes in it then the work is right where it should be and will continue to be needed. I don’t think there is such a thing as a final visual outcome.

3: The idea / concept behind your art – Can you tell me more about it ?

The work and the words ascribed to my work are always shifting and morphing.
Id like to think that the work points to those divisions and shifts in perception, the residue of experience, the inability to translate or articulate, and proposes new ideas for how objects and people can coexist- or not…

4: What is the Worst thing about being an artist?

Its a fine job.

5: I have a feeling there must be so many personal stories linked to your works, The scarfs in the show in Copenhagen – Can you tell me more about it ?

There are many stories linked to the objects i use, and the ones we find in the street- the scarves have a special place in my heart- and what they reveal about ones lifestyle is why i cared to use them in the first place.

6: What would you ask an artist in a Q&A and Who ?

Excuse me, Mister Duchamp, can i have your shoe?

Solo show at David Risley Gallery  – Copenhagen

Solo show right now at Carl Kostyal – Stockholm

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The interest for the secretive Wes Noble has been growing since the first Solo show in 2013 – Link to the First Solo  >>>.

There are many solo and group shows lined up for 2014. And one of the shows opening May 15 2014 shows some large scaled works.

Link to Group Show in New York > Vogt Gallery

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1: Can you tell me about your background?

I was born in Odense in 1988, happy childhood, worked odd jobs trying to keep student counselors of my back.
started making paintings at 17 in the cellar of my old apartment.
then i was accepted at the royal danish academy of art.
That’s pretty much it, I think.

2: What is the process and Material in your work ?

The process is basically from painting to painting. Sometimes they feel like football players constantly being taken on and off the bench. Some need to dry up, so they are put aside for another one, you know? It’s very fluid actually.
The materials I work with at the moment are watercolor, ink and gouache on thin ,raw cotton fabric.

3: What is the Idea / concept behind your art?

Hmm, it shifts a lot. But I guess at the time I try to work a lot with stuff that I know pleases me visually and to challenge these tendencies and preferences I have. For example; painting a perfectly shaped square in the middle of the canvas. Then I remove the canvas from the stretcher, and when I put it back together I have stretched the canvas to the point that the square has lost its shape. Also because the canvas shrinks when I apply watercolors.
I find it interesting to try and force a certain strictness into a material that cannot really handle this ambition.
My ideas at the moment is, trying to stray away from a typical kind of compositorial painting, and to treat the painting much more as a surface where something has happened.
Visible or not i see view them as used pieces of fabric, or something that were once a part of something else.

i am constantly shifting between pure intuitive abstractions found in the process of painting, to concrete inspirational sources either from memory or stuff I notice in my surroundings. Like textures of walls, weird bus-seat designs, etc.

idea, concept, pushing stuff forward.. its all the same to me really..

4: What is the Worst thing about being an artist?

Ah! That is definitely looking for stuff. I don’t keep a particularly tidy studio, so half of my time spent there is spent on looking for things that I’ve misplaced.
Also moving large paintings around. For some reason I always feel like an idiot while doing that.

5: Collectors – Gallerist – ”art investors” – Good, bad or …?

Some good, some bad, as in any context I guess.

6: What would you ask an artist in a Q&A ?

What do you do beside making art? I find that interesting when you know people in the art world their work kind of becomes their persona, so when you get to know them on a personal level it’s a fucking relieve that they enjoy playing squash or collecting magic cards.

Link to Gallery

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6 Questions for Eli Ping

1: Can you tell me about your background?

My parents were hippies and raised my siblings and I in the inner city of Chicago. I studied political theory before focusing on art.

2: How do choose the material ?

Materials follow from an idea or theme. 

3: What is the Idea / concept behind your art?

I’m interested in how objects function as phenomena – in how form might be a record of becoming and how that process continues with the viewer.

4: What is the worst thing about being an artist? 

I don’t regard the challenges that an artist encounters as extraordinary. 

5: Collectors – Gallerist – ”art investors” – Good, bad or …?

Its reductive to think of the art market in terms of outcomes. The market is a process that enables and encompasses diverse objects, relationships, and experiences. However, many potentialities aren’t expression in the market, or rather, they are expressed negatively – through their exclusion. 

6: What would you ask an artist in a Q&A ? and Who ??

There are many artists whose work I admire, but I don’t want to ask them anything.

Composite (New Synthetics) – 2014 – 48 x 72 inches

Heat polished hydroponic film

Link to Artist Page >>>

Link to Gallery current show at >> twentyfourseventhreesixtyfive

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1: Can you tell me about your background?

Grew up in Fjaltring, a little town in west jutland, straight up the North Sea. Most of my life I lived together with my two siblings and my mom and dad, both of them psychologists, which have given me a great interest in my consciousness and subconscious in the construction of a piece.

2: How do you decide which Material to use ?

Depending on the piece and the consequences of how the material contributes to the concept behind the work.

3: What is the Idea / concept behind your art?

The general idea is to invite the viewer to reflection on selected topics.

4: What is the Worst thing about being an artist?

To sit and explain my art to my grandmother.

5: Are you ever afraid of looking to much like other artist ?

No, because I don’t believe in copies because a piece of art consists of too many elements, such as time, geography, the artist’s earlier works, and so on.

6: What would you ask an artist in a Q&A And Who ?

Too hard a question to answer, but maybe I would ask Tove Storch to marry me.

Asger Dybvad Larsen (1990) is an artist, a student at the Jutland Academy of Art.

Asger works primarily with text in his works, as when he, for example, is

experimenting with swapping functions between title and object rhetorically through the titles textual potential. An immediate eye-catching handle is that these titles are just wearing a single dot.

This is based on Asgers belief that a title traditionally is only made of one sentence. The titles usually are based on personal problematic themes in relation to his own artistic practice. The themes are often displayed with ambiguous, contradictory and sometimes ironic ideas, claims and/or theories created from an artistic and art-theoretical point of view, in a collaboration with a visual inspiration and reference to 20th century art, such as abstract expressionism, minimalism and conceptual art in particular, with direct references to names such as Sol LeWitt, Ad Reinhardt, Frank Stella, Yves Klein and the inevitable Marcel Duchamp.
These references are for example used as; indirect comments, for example the artist and his gallerists relationship or as a link between two visual and idea-based recalcitrant art historical groupings based on an existing reference between the parties, as a component of a dialectical set composition of two artists.
The title is a mandatory element in the construction of a work that is formed in a literary collaboration between the artist and his work, through the use of self-references and meta-literary method, compositional, focusing on a lyrical, understated sense of humor and with a significant attachment of title functional potential.
The objects in Asgers body of work has evolved from his own minimalist creations to ready-mades and a trend for the “non-existent”, the dematerialization of the physical object is constructed and taken over by Asgers literary interest.
These are some of the elements Asger uses in an attempt to invite the viewer to reflect, as he is convinced that this is art’s primary task.

Link to Artist Page >>

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1: Can you tell me about your background?
Grew up in New Jersey, And sincerely feel my experience as a child being driven around in a car through Jersey’s sprawling landscapes inspired me. Both my parents went to Pratt, My dad for Architecture, and my mom for printmaking. My sister is a performance/ musician/ comedian/videographer.

2: How did you decide to use Bee Bee Guns ?
I use Bee Bees, because I love them as pure non-descript little orbs, like atoms, molecules or just simple building blocks as if they are the egg or seed of somethings origin.

3: What is the Idea / concept behind your art?
Something about design and how that rules our bodily experience. Finding viscerality in our relationship with technology and ultimately social relations with one another.

4: What is the Worst/Best thing about being an artist?
Life, work, and art are pretty much the same thing, which usually is great, but also is distracting.

5: Collectors – Gallerist – ”art investors” – Good, bad or ………?
I believe art brings the future closer. And whatever route is available for art to find eyeballs to view it, fund it, and advertise then the more avenues the better.

6: What would you ask an artist in a Q&A and Who ?
I kind of just wonder if any artist genuinely believes that their intentions actually match their audiences reading of it, and then I would challenge if it matters. No artist in particular.

Jesse Greenberg at Gallery Loyal >>>

Artist Page: >>>

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Belott’s practice encompasses a rich vocabulary of drawing, sound, paper collage and book making (a large collection of which are included in MOMA collection), sculpture, frozen sculpture, painting on glass, the list goes on. The life of Brian is in constant flow and he has built up several bodies of work spanning all of these practices. He is a clear sighted collector also of sound and image, having amassed a vast library of found sound and found photos which he has collected and organized into volumes. Evidence of this practice can be seen throughout his work.

Brian Belott lives and works in New York. He was born in 1973 in East Orange, NJ and received his BFA 1995 from School of Visual Arts, NY after a stint at Cooper Union. Belott has mounted several major solo and two-person exhibitions including The Journal, New York; LOYAL, Malmö, Sweden (with Jesse Greenberg); CANADA, New York; Galerie Zurcher, Paris; Zurcher Studio, New York; Kenny Schacter Contemporary, New York. Other notable exhibitions include: Jeunes créateurs à New York, Musée d’Art moderne de Saint-Etienne, Saint-Etienne (2014), Draw Gym, 247365, Brooklyn, NY (2013), Dadarhea, curated by Jim Drain and Devin Flynn, CANADA, New York (2011); New York Minute: 60 Artists on the New York Scene, curated by Kathy Grayson, MACRO Museum, Rome (2009); Book / Shelf, Museum of Modern Art, New York (2008);Wordless Chorus performance with Larissa Velez, Dark Fair, Swiss Institute (2008).

link to Loyal  gallery

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1: Can you tell me a little bit about your background?

7 years old went to camp. – 9 got my first camera. – 11 left home alone for three weeks. – 14 lost virginity. – 15 got drunk. – 17 moved back to New York. – 19 pilots license. – 20 met the love of my life. – 24 bought a beach house.

2: How do you approach the use of materials in your work?

Like toys.

3: What is the idea / concept behind your practice?

Keeping my mind in order.

4: What is the worst thing about being an artist?

No complaints.

5: What would you ask an artist in a Q&A ?

I’d ask Ed Ruscha what his worst memory was from childhood.

Currently Solo show at Ellis King >> 

Forming the backbone of his solo presentation, Patterson’s new series of works entitled Duck Tests take prescience and foundation from the above phrase utilised as a form of inductive reasoning, sometimes used to counter abstruse arguments that something is not what it appears to be. His Duck Test paintings explore how we obtain meaning from visual experience and how interpretation through experience is transformed and codified through the signified.

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Q & A – 6 Questions for Florian Meisenberg 

Take your time.. watch it all.. give in !!

1: Can you tell me about your background? – YES Click here

2: Can you tell me about the Smilyfaces / Sad Faces ? Yes Click here 

3: What is the Idea / concept behind your art?   1 click here and 2 click here

4: What is the Worst thing about being an artist?  Click here

5: Collectors – Gallerist – ”art investors” – Good, bad or ………?  

http://thepiratebay.se/ 

http://momaps1.org/ 

http://addisababa.craigslist.org/crs/4344373504.html

6: What would you ask an artist in a Q&A ?  Click here

Images >>>

katemacgarry

wentrupgallery

Simone Subal Gallery

sammlung-boros

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Opening March 21st – @ Rod Barton, London

Link to artist Page >>

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Jens Einhorn 

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Fantastic group of minimalistic works, pure process and interesting young artists. 2 new works by Wes Noble, Samuel Francois, Jack Greer, John Roebas and many other fantastic artists.

CE QUI ARRÊTAIT CES DAMES

SAMUEL FRANÇOIS, JACK GREER, OLIVIER KOSTA-THÉFAINE, PIOTR LAKOMY, WES NOBLE, LEIF RITCHEY, JOHN ROEBAS

1: CE QUI ARRÊTAIT CES DAMES / Exhibition view, Galerie Jeanrochdard, Paris, 2014

2: CE QUI ARRÊTAIT CES DAMES / Exhibition view, Galerie Jeanrochdard, Paris, 2014

3: SAMUEL FRANÇOIS – UNTITLED (€€€€€€€) I 2014 – white plaster on plywood, coins  – 47 x 67 inches

4: CE QUI ARRÊTAIT CES DAMES / Exhibition view, Galerie Jeanrochdard, Paris, 2014

5: OLIVIER KOSTA-THÉFAINE – DÉTAIL D’UN MUR I 2014 –  acrylic on canvas – 57,1 x 37,8 inches

6: PIOTR LAKOMY – UNTITLED I 2013 – polished aluminium printing plates – 44,5 x 28,3 x 0,4 inches

7: CE QUI ARRÊTAIT CES DAMES / Exhibition view, Galerie Jeanrochdard, Paris, 2014

8: JOHN ROEBAS – AT THE PLACE (STILL ASCENDING) I 2014 – enamel, lacquer and resin on linen – 14 x 12 inches

9: SAMUEL FRANÇOIS – WHITE STRIPES I 2014 – nylon bag, cotton, wood – 28 x 20 inches

11: CE QUI ARRÊTAIT CES DAMES / Exhibition view, Galerie Jeanrochdard, Paris, 2014

12: WES NOBLE – LUMBERJACKOFF 2 I 2014 – acrylic and lysol on canvas – 58 x 80 inches

13: CE QUI ARRÊTAIT CES DAMES / Exhibition view, Galerie Jeanrochdard, Paris, 2014

14: JACK GREER – ALEX I 2013 – canvas, thread, enamel and latex – 26 x 20 inches

15: WES NOBLE – LUMBERJACKOFF 1 I 2014 – acrylic and lysol on canvas – 54 x 64 inches

For more information contact: Jeanroch Dard 

photo credits Claire Dorn

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Alex Da Corte was born in Camden, N.J., in 1981 and currently lives and works in Philadelphia. He received his BFA from the University of the Arts and his MFA from Yale University in 2010.

Da Corte has recently mounted solo shows and presentations at the Institute of Contemporary Art, Philadelphia; Artspeak, Vancouver; Mother’s Tankstation, Dublin; the Institute of Contemporary Art, Portland, Maine; and Nudashank, Baltimore. His work has been shown at MoMA PS1, the Museum of Modern Art and the deCordova Museum, and he has participated extensively in gallery and non-profit exhibitions in the US and internationally.

Go see Alex´s work at David Risley Gallery in Copenhagen

Link to: Artforum / 500 Words

In 2012, Da Corte was named a Pew Fellow in the Arts by the Pew Center for Arts and Heritage, Philadelphia.

Artist Page >>> 

Link to Gallery: >> David Risley Gallery

The Block Mag

Interview Alex Da Corte – The FADER

“Philadelphia-based artist Alex Da Corte makes work about the circumstances that lead to a beautifully considered sales display, from the person who made it to the history of the materials. He considers himself an anthropologist of the immediate past, and looks for meaning in the stuff that fills our stores and later our trash dumps by repurposing it, re-displaying it and showing its less camera-ready angles.” 

Interview Magazine >>>

“Unquestionably, 29-year-old artist Alex Da Corte is an heir to the American school of pop. But Da Corte, who was born in Camden, New Jersey, also lived in Caracas, Venezuela, until he was eight, and some of South America’s appreciation for bright, lysergic colors, swirling surfaces, andcelebratory life-and-death imagery can be seen in his rambunctious multimedia productions. “There is a certaindecorative motif to Latin American culture that inspires me,” he says. “Like the festive nature of the Day of the Dead and the life-size piñatas with lots of sequins and glitz.”

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US Artist from New York – Wes Noble

An exhibition by Wes Noble in The Depot

OPENING: FRIDAY NOVEMBER 29. 2013. TIME: 17.00 – 22.00 
EXHIBITION PERIOD NOVEMBER 30 – JANUARY 11. 2013.

A smiley or smiley-face emoticon (sometimes simply called a happy or smiling face) is typically depicted as or :). The smiley is a stylized representation of a smiling humanoid face, an important part of popular culture. The classic form designed in1963 comprises a yellow circle with two black dots representing eyes and a black arc representing the mouth; internet versions typically employ a colon and a right parenthesis. “Smiley” is also sometimes used as a generic term for any emoticon. The variant spelling “smilie” is not as common, but the plural form “smilies” is commonly used.

Link to Gallery – V1

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Foto/ Photo: Trondheim kunstmuseum/ Anders Solberg

Lips Painted Red –

Parker Ito – New York 2013

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