NEWSgrist - where spin is art

Support The Degenerate Craft Fair!

The Degenerate Craft Fair is a sort of anti-art fair that was first created in 2009 by artists Amy Wilson and Shannon Broder. It was originally created as a way for artists to make a little extra money by selling inexpensive versions of their work just in time for the holidays.

Last year the fair featured over 20 artists and vendors and was held at three different locations over three weekends in December. This year there will be one big fair featuring more artists and more fun.

This year the Degenerate Craft Fair is going to be held at the DCTV Firehouse (87 Lafayette Street)
On December 11th from 12-10pm
December 12th from 12-8pm

The purpose of this event is to make it affordable for artists, they are paying a very small fee to participate and all the money is going directly towards the rent of the location.

Shannon has created a Kickstarter in order to raise the necessary funding to make this event possible. Half of the funds have been raised, but she will not receive any of the funding unless her goal is complete. Any support you can give can help, whether it is a donation (there are some really great rewards for donating), sending this link on to everyone you know, or even posting it on your Facebook wall.

Artist Talk at NurtureArt in Brooklyn, Weds Oct 27, 7pm

I'll be giving a talk at NurtureArt tomorrow, Wednesday October 27, 7pm:

NurtureArt : Google Map
229 Leonard Street
Brooklyn, NY

http://www.nurtureart.org

"Joy Garnett, artist, blogger and curator, lives and works in New York. Her paintings, based on the source images that she gathers from the Internet, examine the apocalyptic sublime at the intersections of media, politics and culture. For the past decade, Garnett has edited NEWSgrist, a blog that focuses on the politics of art and culture in the digital age."

Blast Radius: Review of "Boom & Bust" on The Huffington Post

via The Huffington Post, Oct 25, 2010:

 

BLAST RADIUS

By Sharon Butler

Joy Garnett,"Lost," 2010, oil on canvas, 60" x 70"

Joy Garnett, "O.P.P.," 2010, oil on canvas, 60" x 70"

Joy Garnett,"Sploosh, 2010, oil on canvas, 54" x 60"

"Boom & Bust," Joy Garnett at Winkleman Gallery, installation view.

The other day I stopped by Winkleman Gallery to see Joy Garnett's new paintings, and then hurried up to the Cort Theater where I had tickets to "Time Stands Still," a uniformly well-acted play featuring Laura Linney as a photojournalist, home from a stint in Iraq where she had been badly injured in a roadside bombing. The two shows made for an excellent double feature.

The play, by Donald Margulies, explores how artists' lives are affected by the passage of time. Sarah (Linney) and her journalist boyfriend Jamie (Brian d'Arcy James) have spent their twenties and thirties covering wars and other humanitarian disasters overseas. As the play begins, they have just returned to their gritty Williamsburg loft where Sarah, recovering from her injuries, chafes to get back to the action. Meanwhile, shell-shocked Jamie yearns for marriage and a comfortable life - maybe even a couple of kids - along the lines followed by their friends Richard (Eric Bogosian) and his very young fiancée (Christina Ricci).

Margulies, understanding the tradeoffs facing most serious artists, explores the dynamic that occurs when one partner is ready to put the action and ambition aside and the other is not. Living behind the camera and courting the risks of human folly have given Sarah a noble excuse to disengage. Looking through the lens has also afforded her the extraordinary sensation that time stands still. For Jamie, it has marched on. He comes to believe that they have spent decades of their lives under the illusion that their moments in hell perform an indispensable social role, leaving precious little time to do other less grandiose but more joyful, comforting things.

Joy Garnett's forceful new paintings capture the evanescent bursts of violence recorded by photojournalists (like fictional Sarah) around the world while also acknowledging the comfort of distance that softens the apprehension of a far-off war by an artist in her studio - and which Sarah disdains. Seeking to transform her secondary experience of the depicted events into something more authentic, Garnett culls photographs of military explosions from online sources, reconstituting the harrowing, split-second images using traditional oil paint and canvas. Painting fast and loose, she renounces exactitude to embrace clunky, restless brushwork that fuses painterly glee with exasperated rage, setting the explosions adrift from both their geographical and their political contexts.

Reinventing the news images as luscious paintings rich in art historical referents, Garnett's work, which she calls "apocalyptic sublime," might come off as glib and exploitative to some. But from Margulies' perspective, even if she's safe in the studio, enshrining the world's daily tragedies is worthy enough, and an acceptable existential compromise. A painter can't make real time stand still the way a great news photographer can. But Garnett's paintings force viewers to contemplate how ugly and destructive its procession can be, and proclaim that physical remove is no excuse for ignoring that reality.

"Joy Garnett: Boom & Bust," Winkleman Gallery, New York, NY. Through November 13, 2010.

"Time Stands Still," written by Donald Margulies,  directed by Daniel Sullivan. The Cort Theater, New York, NY. Through January 23, 2011.

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 Related article:
NYTimes photographer Joao Silva severely injured by a mine in Kabul

Image above right: Laura Linney and Brian d'Arcy James in "Time Stands Still." Courtesy Joan Marcus at New York

This piece was originally posted at Two Coats of Paint.

 

Follow Sharon L. Butler on Twitter: www.twitter.com/TwoCoats

Boom + Bust: Sourcebook

Get the flash player here: http://www.adobe.com/flashplayer

 

 

Boom + Bust: Sources, Sketches.
Joy Garnett 2010

To those interested in my process, I offer this 'catalog' as an approximation of my source material, arranged as an open book. Associations, loose or otherwise, source imagery, influences, references as well as a selection from the sketches I've used as separations for a recent series of lithographs -- these are things that may or may not go into the making of any given painting. The images act as subtexts or influences that contribute in addition to more specific or obvious source images.

For the duration of my solo exhibition 'Boom & Bust' (Winkleman Gallery, NY, Oct 15-Nov 13, 2010), I am posting four of these images a day to Twitter [hashtagged #sourcebook]. The full set can also be viewed on flickr.

This grouping of images is for research purposes only, and is not intended for publication.

WNYC's Datebook: 'Boom + Bust' opens Fri, Oct 15

'Roil,' 2010, by Joy Garnett, at the Edward Winkleman Gallery in Chelsea--continuing the artist's investigation into turbulent forms. (Courtesy the artist and the Edward Winkleman Gallery)

via WNYC:

WNYC's Datebook to Arts Events Around Town, Oct. 14

By Carolina A. Miranda

Architectural films in Tribeca, explosive paintings in Chelsea, the totally insane video mash-ups of Jay Rosenblatt at MoMA, and the ladies of pop at the Brooklyn Museum. Here's WNYC's guide to what's happening now:

 

Joy Garnett, Boom & Bust, at Edward Winkleman Gallery, in Chelsea.

This painter, long obsessed with roiling, vivid forms (like fire), turns her attention to a series of disembodied explosions. Or are they implosions? Or astral phenomena magnified a bajillion times? It can be hard to tell—not that any of this makes her brush work or color palette any less compelling. (In the event that you just have to know: much of Garnett’s work is inspired by military and scientific images she finds online.) While you’re at Winkleman, be sure to take a peek into the back room, where the gallery’s Curatorial Research Lab is showing the odd and humorous communiqués that renowned video-assemblage artist Nam June Paik sent to New York Times television critic John J. O’Connor over the course of the ‘70s and ‘80s. It’s a rich opportunity to snoop through someone else’s mail. Opens Friday at 6 PM, in Manhattan.

 

Seductive Subversion: Women Pop Artists 1958-1968, at the Brooklyn Museum. You’ve heard about the dudes, now it’s all about the tubes. This expansive exhibit will look at the contributions women have made in the field of pop art. Expect cheeky fun, totally biting works by an array of women artists, including Brooklyn-born Martha Rosler, collagist May Wilson and the perpetually out-there Yayoi Kusama. Opens Friday, in Brooklyn.

The Darkness of Day: Recent Films by Jay Rosenblatt, at the Museum of Modern Art. The Internet has made the video mash-up seem almost clichéd. But there are masters of the form—and Jay Rosenblatt is one of them. In "Phantom Limb," a riveting piece from 2005, he combines footage of a sheep being sheered with a mournful violin composition by Arvo Pärt with audio of a woman talking about grief. Call me crazy, but it totally works. (You can watch a snippet right here.) Through Oct. 18.

Architecture & Design Film Festival, in Tribeca. More than 40 films related to architecture and design will get big-screen time at Tribeca Cinema this week as part of the first ever Architecture & Design Film Festival. Keep an eye peeled for documentaries on the life of Milton Glaser (the graphic designer behind the "I ♥ New York" campaign), the revolutionary Brazilian modernist Oscar Niemeyer (the architect who designed the most iconic buildings in Brasilia), and the ‘70s architectural collective Ant Farm, the group known for planting all those Cadillacs in a Texas field. Kicks off today, in Manhattan.