art piece gallery


The Afrofuturism of Wangechi Mutu

the Guardian

Wangechi Mutu: A Fantastic Journey is a brief (50 pieces) but immersive exploration of the evolution of an artist. Although Mutu is a multimedia artist, she is perhaps best known for her large-scale, wildly colourful collages on Mylar. This thoughtfully presented survey includes presentations in a number of other media: video, site-specific fabric installations and, importantly, selections from the artist’s sketchbooks dating back to 2005, the first time they have been on display. The exhibition rooms themselves are dimly lit with walls cast in soothing earth tones, a common curatorial choice which, in this case, effectively highlights the expansive energy of each piece.

There is no singular question at the core of Mutu’s work. The collages themselves are complex, multi-layered, explosively hued pieces in which many themes are addressed simultaneously. This work is the ultimate existential mash-up. Mutu explores the complexities of this world by asking and answering a thousand questions at once.

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Dedicated to the Cultural Preservation of the African Aesthetic


My three piece set featured in Cash Machine, a group exhibit which ran from April 2 to May 2, 2015, at FatherSons in Los Angeles. Presented as a minimalist newsstand, the show featured individual pieces inspired by the theme and formats of classic newsstand goods.

twenty poems/quotes per pack on acetate - inspired by strong, devoted women and masculine, sensitive men



Yesterday we shared a film on the art of sign painting based on a brilliant book in the same vein, so we felt inspired to share the story of the illest sign painter around. Steve Powers used to be a break dancer, and dabbled in graffiti writing in ‘99, but now he has found himself as the leading voice in sign painting the world over. VICE did a brilliant short form doc on the artist a couple years back, and so we dug this thing up out the archives.

When I moved out of graffiti and into sign painting, it was a real lateral move, because there was enamel and metal in spray paint and there is enamel and metal in signs. So, they both strive for some sort of visual communication with letters – I’m interested in that. I’m interested in, kinda the blue collar aspects of sign painting and how it’s just, you know, it’s meant to communicate. It has no pretentions to it. It strives for clarity.

But I also liked the fact that, you know, I could use the clarity and the communicative aspects of sign painting to do the really complicated things, like love and life, and the negotiations we have with our family on a daily basis.

The piece also touches on his solution to the dark cloud of vinyl banners that has blanketed our society’s storefronts, and how he began on a small little island painting original, heartfelt signs for store owners and has since spread all over the world with his mission. It’s a great piece and if you find 12 minutes in your day you should check it out. 


This is one of my art pieces in the school gallery right now, an example of forging and some sweat soldering.

It is a ponytail wrap that is held in by a tomahawk, which is one of my favorite types of axes. It’s mostly made of copper, the woven pieces around the top made of brass.

A few of my pieces are based off Native American culture, one that I appreciate greatly, and wanted to pay homage to.

I can’t help but regret the time I wasted on ignoring my inner self. In middle school when I got an art piece put in a gallery, it was my biggest accomplishment. I had worked hard all year for honor roll, but it didn’t mean anything compared to that. But at that time, I didn’t see drawing as anything but a fun class in school. I sure as heck never looked at it as a career choice. Throughout high school, my “inner me” kept screaming out and wanting art but I chose to ignore it. I lied to myself and tried to convince myself that I was going to go get a PhD in science. Why? Because it sounded fancy and it sounded like the thing that was expected of me because of some dumb GPA. Once I realized that I was really bad at science, nor did I really like it, I jumped to business. Yup, that’s the next best thing right? I was going to live in a big city, and ride a taxi to work at some fancy downtown office and wear a suit as I sift through the hustle and bustle of the town trying to get coffee. I kept trying to convince myself that’s what I wanted. I’m really good at lying to myself. Like really good. But the thing is, I don’t like wearing suits, nor do I really like coffee. It actually seemed like a drag to me, just constantly preparing myself for this career that I “wanted”. Everyone else knew what they wanted and it scared me to say that I didn’t have a plan, so I made a plan and convinced myself it was what I truly wanted. I told myself that I was going to be a restaurant owner. But when I baked, it didn’t make me happy; instead, it seemed like more of a chore. Deep down, I was thinking, “Wow. Doing this the rest of my life, huh? That seems like a long time to be doing this…” but when people would question me on it, I would quickly defend myself with, “YEAH! This is really what I want to do!” All because I was scared to say I didn’t have a plan. Guys, don’t be scared to not have a plan. It’s better to admit to not having a plan than trying to convince yourself of some mirage of a plan. The day I realized I wanted to do art for the rest of my life, was the moment I finally felt free. The dots in my entire life connected and ever since I’ve wondered why I wasted so much time questioning what I truly wanted. Don’t be afraid to go for your dreams. Don’t be afraid of the unknown. It’s a journey, and although I can say that I regret the time I wasted on not working on my art, those were just my little detours. And as Ging says, that’s where you’ll find the things more important than what you want. I learned a lot in those little detours. I’m slowly learning not to lie to myself. I also learned what I didn’t want. Without those detours, I can’t say for 100% I would’ve been able to make it to this path. So, a big thank you to all my failures and doubts. You guys did me a solid and now I’m ready to take on the world!  


Saw the instillation ‘Multi Story House’ yesterday whilst at the Whitworth Art Gallery. The piece consists of illuminated walls covered in narratives from conversations with women of different generations about feminism.

RDV : Paula Cooper Gallery


Date: 20/03/2015

Contact: Anthony Allen - Associate Director

Past Career: 15 years at Paula Cooper Gallery

Status of the institution: Commercial gallery based in Chelsea

Paula Cooper Gallery, the first art gallery in SoHo, opened in 1968 with an exhibition to benefit the Student Mobilization Committee to End the War in Vietnam. The show included works by Carl Andre, Dan Flavin, Donald Judd, Robert Mangold and Robert Ryman, among others, as well as Sol LeWitt’s first wall drawing. For over forty years, the gallery’s artistic agenda has remained focused on, though not limited to, conceptual and minimal art.

Paula Cooper is nowadays an institution in the art world; we talked with one of the associated directors Mr. Allen. First of all, how a gallery finds an artist? A gallery finds an artist that usually has no other main gallery, because its main gallery was closed or he/she has no gallery and the gallery director come along with a specific artist through research or someone that introduce the artist to the dealer. More and more the origins of the artists as of the collectors are global.

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So many #wonderful #piece to be collected from @friezeartfair #friezeartfair this year! Here’s the #amazing #ToLiveandThinklikePigs #artwork by #JackandDinosChapman, presented by #WhiteCube @whitecubeofficial #gallery.

#art #artoftheday #chaos #society #sculpture #incredible #MyInspireProject #NewYork #Artist (at Frieze New York)


Date: 18/03/2015

Contact: Melanie Kress - High Line Art Curatorial Fellow

Past Career: Commercial Galleries but especially underground projects with a focus on video

Status of the institution: No profit

Support: Donald R. Mullen, Jr. and the Brown Foundation, Inc. of Houston, with additional funding provided by David Zwirner Gallery, and Vital Projects Fund, Inc. High Line Art is supported, in part, with public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Presented by Friends of the High Line, High Line Art is the public art program which commissions and produces public art projects on and around the High Line.

High Line Art invites artists to think of creative ways to engage with the uniqueness of the architecture, history, and design of the High Line and to foster a productive dialogue with the surrounding neighborhood and urban landscape.

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