As part of the current issue “How to Make it in the Art World” come across as a typical pedestrian guide to half truths and ultimate fallacy. Unless it’s right and then it’s brilliant. The articles are here: http://nymag.com/arts/art/rules/.

I thought you might enjoy and even possibly use this handy guide to the must attend global events for the next year.

A few moments later I discovered that George Baselitz had also done an issue for them as well.

So color me impressed. Pretty interesting take on the use of “High Art” in the arena that is usually looking for context specific visual documents, and in its place we get Kelly and Baselitz. I never really thought that a Kelly artwork would be a good for the news about soccer. I guess you learn something everyday.

You can download a PDF version of these issues: Kelly | Baselitz

st/glasstire

When I started getting interested in art I was primarily concerned with the idea of telling stories with highly impactful images – in essence the reason I initially got started making images was because I wanted to make comic books. Two artists were the most responsible for my initial desire to draw; Jack Kirby and Jean Giraud, whom I only knew at the time as “Moebius”.

While Jack Kirby’s drawing and ideas are the archetype of the silver age of American comics, Moebius introduced me to a very different approach to comic images. Kirby’s work – aggressive and dynamic, filled with motion and energy became the perfect foil for me when I first encountered Moebius work. His lines were spare and sinewy, perfectly drawn – seemingly without effort. The approach was cool and controlled. The images were spare and at the same time could probably not hold another element in the frame if they even needed to. In essence they were perfect. This initial introduction to his work was through his epic storyline The Airtight Garage of Jerry Cornelius.

I was too young to know it, but at the time what I was reacting to was that these images were to me outside of the realm of comics, but at the same time firmly inside it (if not at the top of it). It was these pointers to the outside that kept me going back to Moebius. It was an everything quality – high tech gondolas to low tech monuments – a combination of the past working in harmony with the future. In the age where the movie “Blade Runner” showed a dystopian view of the past and the future, this showed us the opposite.

Later I would learn more about Moebius, (his westerns and other stories) but at that point it was almost too late. I was hooked.

I really want to see a Richard Prince/Lana Del Rey collaboration right now. The above image is from the video for Blue Jeans. I mean it’s practically a Richard Prince artwork already. I really wanted to dislike her songs – but I don’t. The music snob in me died just a little bit there.

CRYSTAL DAYS – new and recent work from Douglas Witmer and Timothy Buckwalter with Michael Macfeat opens march 3rd at a new space called Sugar in Philadelphia. (12 W Willow Grove Avenue in Philadelphia) Expect this to be good show. Buckwalter’s Sometimes The Things You Learned From Demonstration Stuck With A Fierceness That Could Not Be Matched. is below.

While you are there don’t miss Jon Poblador’s show at Larry Becker.

I’ve been bowled over by how positive everything has been in Frederick – from an easy to work with group at the Delaplaine to attentive viewers and artists in the area and thoughtful press. The show at the Delaplaine has been a tremendous experience. – Thanks to everyone.

You can find the whole article by following this link.

In the mid-sixties Ron Stoner was the best surf photographer in the world. Every month, he would photograph what would become the classic archetypes of what we would come to know as the golden age of Southern California surfing. Then, at the height of his fame, he disappeared forever.

It’s easy to see the byline: Photo/Stoner and chuckle that there was a surf photographer named Stoner and of course he ended up as a casualty of the counter culture of the sixties. But, life isn’t quite that easy to pigeonhole. Stoner’s story arc is less about someone “turning on”, it’s more about trying to find a place where you fit and holding on to it. In Stoner’s case he found it, and then the world changed.

When you think about “surfers” you gravitate towards a certain archetype, Stoner seems to be the complete opposite of that. What becomes apparent in the story is that the work of the surf photographer is a curious thing – it’s near, but not part of the event. It’s present and without, it would barely exist, but it’s not surfing. Stoner was not a surfer in that iconic sense. His ability to tell the story and showcase the honesty of the session transcends that.

Matt Warshaw’s text is poignant and feels honest. It stays away from trying to build a myth, while at the same time it doesn’t tear him down. Its balancing act is finding that place in the middle and it does that superbly. Obviously, the stars of the book are the photographs, and they do not disappoint.

Photo/Stoner is available in better bookstores and surf shops. I got mine here.

All is fine for the 2012 versions of the fairs, however after this upcoming season they will be looking for a new home.

I think this might also force a few other fairs to think or re-think current locations as well. I could see Art Miami try to find a location near the other three fairs or even try to find a place closer to the Ice Palace where Pulse is now (it previously housed the NADA fair). While Seven would not necessarily be affected by this, I could see them looking at a new location to be able to make things a bit easier for people visiting the fairs. Seven’s location has been well served by the shuttles that ran from Art Miami, Scope, Art Asia and Red Dot.

Thanks to everyone who came out to the surprisingly snowy opening. No show is simply a one person affair and I am thankful for the help of everyone at the Delaplaine for everything they did as well as a special “Thank You” to Stephen Boocks for his help and advice on the installation of the show.

Available via  http://www.tadspurgeon.com

Moss is closing in NYC
This sucks – although Moss isn’t really closing, it’s transforming. But basically it’s closing. The most amazing design goods store in the world has had a great run of almost 20 years. That has to be some kind of lifetime in SOHO.

I’ll forever be grateful for the Moss store if for nothing else introducing me to Tejo Remy’s You Can’t Lay Down Your Memory. (pictured)

Chris Burden – Beam Drop
Made by a friend of mine here in the city. Spend the five minutes and watch this. It’s a quick Document about the making of the Beam Drop in Antwerp.