GRØSS

Beyond The Streets Print Bazaar

Hubble Studio – An interview with founder Vince Ricci

A chance interaction with a Hubble staff member over Instagram is what led to the fruitful alignment between GRØSS and Hubble Studio. When I first met Vince Ricci, founder of Hubble Studio, I knew he was a kindred spirit of getting shit done. Catching glimpses of how he operates, I could see he fully embodies the role of a fearless leader, actively establishing Hubble as a creative hub in Los…

UPSAHL – Unapologetically Candid

It should be no surprise that throughout her performance her confident verve pulses unabated and is undeniably contagious. It’s 8:42pm — I run, not walk, out of the Fonda Theater around to a back alley 3 minutes before she is due on stage; Taylor Upsahl appears out of the darkness with the grin of someone who has performed in front of their biggest audience 3 nights in a row. Even though I am…

Summers attended the Rhode Island School of Design for one year before leaving to fully devote himself to painting. He has been working in LA since 2017.

After getting a bit of background on each other, we talked about Summers’ upcoming book project, noting that he favors Coptic binding for its lay-flat nature.

This slideshow requires JavaScript.

Keep an eye on this young talent.

solsummers.com

@solsummers

KAREEM-ANTHONY FERREIRA First Foundation at Nino Mier Gallery September 12–October 3, 2020

Nino Mier Gallery is pleased to announce its first solo exhibition with Canadian artist Kareem-Anthony Ferreira, opening September 12th, 2020.

Kareem-Anthony Ferreira, a first-generation Canadian, completed his BFA at McMaster University in Hamilton, Ontario in 2012 and his MFA at the University of Arizona in 2020. Using a combination of painting and collage, Ferreira builds richly textured surfaces upon large-scale unstretched canvases, depicting intimate scenes that negotiate his Canadian and Trinidadian heritage.

psychological transport to the Caribbean, an unspecified fictional location whose primary purpose is to serve its visitors as a space of escape and entertainment.

“In my work, I am tracing patterns of personal, familial, and social identity within the genre of black portraiture. In an effort to shift the overly simplified perceptions that my two disparate familial communities hold toward the other, I offer visual re-creations of both identities, personal family traits, and events. The experiences and narratives that manifest in each work is the result of combining several vernacular photographs into a compositional arrangement. The paintings display an accumulation and assemblage of disassociated objects motivated by my family’s compulsive repurposing of ordinary materials. I similarly repurpose these materials by incorporating them onto the surface of my paintings. Patterns are taken from commercial representations of the Caribbean and are meant to be easily identifiable, cliché, and at times, sarcastic.

This slideshow requires JavaScript.

The social imaginaries placed on these non-indigenous patterns and textiles satisfy North American desires for a mental state of ‘island life’ characterized by ‘island dress.’ The commercialized and mass-produced patterns serve as a mechanism for psychological transport to the Caribbean, an unspecified fictional location whose primary purpose is to serve its visitors as a space of escape and entertainment. The Caribbean and specifically Trinidadian identities are flattened and stripped of their historically transcultural and transnational complexities. In my paintings, I explore the island imaginaries through a personification of repetitive flora and fauna patterning, which sits in contrast to the emotional sincerity I convey through the human figures and expressions. My reverence for my hybridized community is conveyed through my portraits of the black body as individuals or groupings, the family unit, or community gathering to participate in the everyday lived experiences.”

– Kareem-Anthony Ferreira, 2020

This slideshow requires JavaScript.

Kareem-Anthony Ferreira (b. 1989, Hamilton, Ontario; lives and works in Hamilton, Ontario) has exhibited works at Johannes Vogt Gallery, New York; Alice Yard Gallery, Trinidad and Tobago; the Tucson Museum of Art, Arizona; DeFacto Gallery, Ontario; and the Workers Art & Heritage Museum, Ontario.

Photos courtesy of Nino Mier Gallery

BENDIX HARMS Reversed Evolution – How it feels to be Mamon at Nino Mier Gallery September 12–Octbober 17, 2020

Who is MAMON?

“big enough to host the whole world inside her black and white body and impressing enough to be thrown back into the evolution: being Mamon.”

Mamon is the new leader of our Danish farm Østerfælden – a cow-cat as a: weapon, a performer, a chief of forest, a melancholiac, a powerplant, a defender, a wanderer, a peacemaker, a connoisseur, a beauty, an h-bomb, an ignorant, a tactician, a killer, a yes-sayer, a charmer, a 48-name-cat, a no-sayer, a multi-radar-tracker – a huge conterpart – big enough to host the whole world inside her black and white body and impressing enough to be thrown back into the evolution: being Mamon. A perfect foundation for continuously delivering images to me – the Concrete- Contentist from Germany – because she is able to operate as a determiner and decision-maker – sending precise orders to my brain– as all my chosen and painted subjects do.

This slideshow requires JavaScript.

It feels like being a reciever of commands that can only be processed, when the relationship between me and the subject climbs on a steel-like level – achieved through love, hate, overmotivated behavior, unexpected physiognomies, humans who put names to things and animals who put names to things…. then the subject overtakes the command-center – like my wife Mari with her square-built-rascal-face, the blackcap bird with his concrete-grey body and his unscrewed black monk‘s head or Rufus the black cat – the former owner of the farm we bought in Denmark – and now the new owner: MAMON.

For me it felt like a liberation from the traditional expressive brushstroke, because each new painting could start differently: dripped, scratched, thickly spackled -completed in one session or in 100 sessions

All are able to determine, and all are able to be formally reduced for generating a repeatable stamp – in my brain and on the canvas. These stamps let my right arm work like a machine – equipped with any kind of spatulas and scrapers, liquids for dripping and paint tubes for squeezing out words and linear elements.

This slideshow requires JavaScript.

The selected subject shouts his precise orders: generate me only in that way, because it‘s adequate for me, its adequate for your paint, for your tools and for art-history – in the end of an artist‘s life only one thing matters: the difference of the work in relation to history.

For me it felt like a liberation from the traditional expressive brushstroke, because each new painting could start differently: dripped, scratched, thickly spackled -completed in one session or in 100 sessions….the narrative motif is the decisionmaker, and my job is to paint them in order to make them speak.

– Bendix Harms

Courtesy of Diane Rosenstein Gallery:

“Heather Day: Ricochet — a solo exhibition of paintings and works on paper by the Bay Area-based artist. This is her first solo exhibition in Los Angeles.

Heather Day makes abstract paintings comprised of scraped, smeared, and flooded pools of pigment. The compulsive energy of her work oscillates between rehearsed abandon and careful restraint. Her encompassing murals, large canvases, and intimate drawings study the mechanisms of sensory perception — mining what happens when the body interprets a sound as a texture, or a scent as a color.

The title of the exhibition – Ricochet – refers to the artist’s process of navigating her compositions as one mark leads to the next, without a predestined resolution. The title is also a metaphor for the global chain of reactions in our natural environment, social and cultural space, and intuitive relationships with each other. This body of work is a new chapter in her practice, beginning with the monumental diptych Fever Dream (2020), which serves as the bridge. The pairing of the two canvases recalls the seam of her sketchbook; and anticipates the new stitched paintings in this exhibition, such as Space Between (2020) which she describes as a “mind map.”

Earlier this spring, during the onset of the pandemic, the artist left San Francisco for Joshua Tree and was surrounded by the quiet and solitude of the desert environment. Here amid the desert spring, she was inspired by the wildflower superbloom and new colors seeped into these new paintings.

This slideshow requires JavaScript.

The paintings in this exhibition were created during a transformative year. Like many artists who have seen their exhibitions canceled or closed, Day’s first solo museum show was closed early due to the pandemic. She feels so much gratitude and appreciation that the show was seen in person, if only for a few weeks. Since then, she has taken refuge in her studio – in the physical and emotional space that allows quiet and experimentation.”

Heather Day: Ricochet will be on view to the public from September 12 – October 24, 2020. The gallery is open by appointment only.

This slideshow requires JavaScript.

Under/Over at Marta Los Angeles

Under/Over is a clever show full of talent and free-thinking. 👏👏👏

Marta + Plant Paper present “Under/Over,” a group exhibition of 50+ Toilet Paper Holders, hosted online and at Marta, Los Angeles from September 10 to November 01, 2020.

    STANDOUTS: [su_custom_gallery source=”media: 1693,1680,1681,1692,1686,1685,1684,1683,1682″ link=”lightbox” width=”200″ height=”200″ title=”never”]

UNEASY LISTENING ft. BOOTLEG BOY

Enjoy this guest list by Bootleg Boy.

Tracklist:

0:00 smoothie boy – is u high? https://soundcloud.com/lilsmoothie/is…

1:54 CHLK – sometimes https://soundcloud.com/iamchlk

4:31 Dirty Hairy – anytime_ https://soundcloud.com/dirtyyhairyy/t… https://soundcloud.com/stream_error

6:54 silk.y. – lost drawings https://soundcloud.com/silkyyyyy

9:30 beatmachinearon – Kamalee https://soundcloud.com/beatma…

Sergio Garcia Tells Us Two Stories

Constructing unorthodox models with uncanny detail, Sergio is effortlessly passing with flying colors. This Texas-based character sheds light on two pivotal moments from back when.

This feature was originally printed in GRØSS VOL. 1

We read about an art class that you got kicked out of because you drew yourself crucified. Was this an intentional statement or just a rebellious act?

Long story. Art…

RELISH VOL. 3: Seattle

BUY NOW

Featured artists include: Alexander Codd Anthony White Blade Palace Blake Blanco Brandon Vosika Bridget Sexauer Cady Bogart Cheyenne Randall Chris Oliver Christopher Derek Bruno Cleo Barnett Daniel Marin Deane McGahan Devin Liston Drie Chapek Duffy De Armas Hoa Hong Jesse Edwards Joe Nix John Keatley Josh R. Mc Donald Joshua Thompson Kade Marsili Kyle Smith Leo Shallat Lina Cholwinski Mari…

This is just a test… #feedpost

View this post on Instagram

This is just a test… #feedpost

A post shared by GRØSS (@gross_mag) on Aug 20, 2020 at 2:20am PDT

via IFTTT This is just a test…