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18 Questions for Speed Painter Nadaleena Mirat Brettmann
18 Questions for Speed Painter Nadaleena Mirat BrettmannName: Nadaleena Mirat Brettmann Age: 46Studio location: Denver/Roxborough Park, CO A life-long art hobbyist, Denver-based artist Nadaleena Mirat Brettmann officially launched her painting career in 2012, creating kinetic, abstract “speed paintings.” Now, however, with her two most recent series — “Patina” and “Bulldog Woman” — she has been experimenting with more intricate, time-consuming styles. Mirat Brettman’s work will be on view at Chelsea’s Highline Loft on November 7. We caught up with the artist to discuss the exhibition. Your “Twister” series seemed to be inspired by nature/natural events, as did “Breaking the Waves.” What was the inspiration behind your upcoming show? Is it in the same abstract style? I have two shows I’m exhibiting at the same time, one titled “Patina” and the other titled “Bulldog Woman.” “Patina” is inspired by the old look of antiques, simplicity, and my antique hutch I purchased at a local antique shop. In other words, there are paintings I’ve painted years back under the “Patina” paintings and now I’ve repainted [them] to become “Patina.” Which was my way of recycling. I leave a bit from the old exposed in a circle, a heart, a place on the map, or whatever my mind thinks of in order to preserve a bit of the past. Yes, it would be classified as abstract. The “Bulldog” collection was inspired by Damien Hirst’s dot painting — except I wanted to bring figure to the dots. Therefore, I painted half-bulldog, half-woman figurative elements created by circles. Very different from what I’m known for and very time consuming. Remember, I’m known as the speed painter — in this series, not so much.  Though I’ve read that art has been a lifelong hobby for you, your first gallery show wasn’t until 2012. Have you noticed a change in your practice since officially entering the art world?By far. I had to learn the hard way. Let’s say, “What doesn’t kill you makes you stronger.” I’m very fortunate to be where I am right now and in [the] company of real professionals that love my art and are honored by my association.  What project are you working on now?I’m getting ready for the New York solo exhibit at the Highline Loft in Chelsea, opening November 7, and then I fly to Aspen to open the Aspen show November 15. After that, we have a busy schedule next year with international solo exhibits: Tokyo, Japan, China, Asia. So I’m pretty much working on all the shows and spending a lot of time in the studio. What’s the last show that you saw?That would be ARTMIX at BMOCA [the Boulder Museum of Contemporary Art] curated by David Dadone — now that’s a talented man. Describe a typical day in your life as an artist. I awake at 7 a.m. and see [the] two sweetest faces: my 3-year-old son’s and my hubby’s. I tend to my son with breakfast, take him to preschool by 9. I zap to my personal trainer’s for a two-hour session for some good blood pumping, then back to the studio. My assistant and I go over the schedule, appointments, and what we are to accomplish today. Usually while we are chatting, I’m already working on a canvas. She puts the phone on speaker and we listen to our messages from yesterday. (Today, we were quite happy as I got notified that my art will be gracing the cover of Aspen Magazine Gallery Guide for the Holiday issue. Little perks of the day. I love getting covers. What artist doesn’t, right?) We spend a good eight hours together in the studio; at times my galleries come and choose new works, and we love visitors. We wine and dine them — so much fun. By 1 p.m., my assistant and I break for lunch. Either I cook or a chef prepares our lunch, and back to the studio we go. I rush to get my son from preschool around 4 p.m., then we have dinner as family (yes, assistant included as family) and after dinner my son and I and assistant are back in the studio. We work a bit and watch my son paint, then call it a day. That’s typical, yet often when everyone is asleep you’ll find me escaping to the studio during the night. It’s an addiction. Do you make a living off your art?I am very fortunate; yes, I do. What's the most indispensable item in your studio? A huge supply of ready-to-paint-on, large-format, custom-made canvases.  Where are you finding ideas for your work these days?In my dreams. I swear. That’s how it starts.  Do you collect anything?Yes. Art and Hermès Birkin purses, as well as Louis Vuitton luggage, Rolexes, and antiques and designer furniture. What is your Karaoke song? Oh dear God, if I sang no one would be left in the building. That talent was not given to me. Give me a canvas, oil paints, and a brush. What’s the last artwork you've purchased?Damien Hirst’s “Flumequine” color aquatint and etching. Simply said, “the dot painting.” It’s in my sitting room. I love it! What’s the first artwork you ever sold? The official first work was my painting titled “Disconnect.” Figurative, 3 women. What’s your favorite post-gallery watering hole or restaurant? Well, it depends where I’m at. Aspen, it would be Little Nell or the St. Regis. New York, love the Ritz Carlton, the Waldorf, and sometimes perhaps a wilder side of me will take everyone to an underground party. It just depends on the mood. In Europe, we would go to my nephew’s restaurant Samceva on the coast of Seget Vranjica — the food and that fish straight from the Adriatic Sea. Simply scrumptious. What’s the last great book you read? Nick Cave, “Sojourn.” What work of art you wish you owned? Anything by Michelangelo. What international art destination do you most want to visit? Art Basel Switzerland. What under-appreciated artist, gallery, or work people should know about? Oh, so many amazing artists: Eric Rieger, Gian, Mark Castator, Patricia Jenkins, XANDA — all people I personally collect.  Who’s your favorite living artist? By far, Richard Estes. His work is spectacular beyond words! I was lucky enough to participate in a charity event benefiting BMOCA at his partner’s home in Boulder. I also am honored to get an invite to the Smithsonian American Art Museum celebrating Richard Estes’s life and work in October. I’m so looking forward to it! Published: October 29, 2014 Read full article here

Marc Camille Chaimowicz at Galerie Neu
Artists: Marc Camille Chaimowicz, Klara Lidén, Manfred Pernice Venue: Galerie Neu, Berlin Exhibition Title: Forty and Forty… Date: September 17 – November 1, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Galerie Neu, Berlin Press Release: Galerie Neu is pleased to announce the exhibition Forty […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Studies in Time and Patience: Nuri Bilge Ceylan at MoMA
Studies in Time and Patience: Nuri Bilge Ceylan at MoMAThe films of Nuri Bilge Ceylan have attracted a significant amount of critical success over the last decade, especially abroad, yet in the United States the Turkish director is still virtually unknown. This is the case for a number of reasons. First, the distribution networks for foreign films are terrible, so when a film doesn’t mimic Hollywood formulas or confirm some broad cultural stereotype, it has a difficult chance of making it to a screen in New York, much less the rest of the country. Second is that Ceylan’s films are difficult to describe, both complex and simple in their unfolding, and over the course of his career each film has not just been completely different than the one that came before it but has represented a consistent growth in terms of formal and narrative scope. This is all said to explain why “Winter Sleep,” which won the Palme d’Or at the 2014 Cannes Film Festival, is only now getting a small release via a short retrospective at the Museum of Modern Art, running October 29 through November 5. (Adopt Films, which acquired the US rights to the work, mentioned in a press release back in June that it plans to release the film by the end of the year, but word has been quiet on that front ever since.) Even with the film’s three-hour-plus running time, it’s hard to imagine a small audience would not be drawn to the film because of its Cannes credentials and Ceylan’s critical pedigree. But no matter, because the retrospective might be the perfect place to screen “Winter Sleep,” as viewing it in conjunction with the rest of his filmography could help bring it into focus. For those unfamiliar with Ceylan’s work, it might help to start with “Distant” (2002), the final part of a loose trilogy of early work that concerns a photographer mourning the dissolution of his marriage who takes in an awkward cousin from the country who is looking to find a job on the ships that dock at the nearby port. This is probably Ceylan’s most accessible film, even with its melancholy ending. It also introduces themes that emerge in his later work: the failure of intimacy, class antagonism, and isolation, along with a fascination with how the landscape can transform physical and psychic space. This is seen most concretely in his two best films, and his best work to date. After the completion of “Distant,” Mehmet Emin Toprak, Ceylan’s cousin who played one of the main roles in the film, died in a tragic car crash not long before the film’s premiere at the Cannes Film Festival, where he was posthumously awarded for his acting. Toprak had been crucial to Ceylan’s films up to this point, and Ceylan was quoted as saying he didn’t quite know what would happen with his proceeding films. His next work was “Climates” (2006), the most intimate film Ceylan has made so far, and also the saddest. Ceylan stars in the film alongside his wife and frequent collaborator, Ebru Ceylan, as a couple on the verge of collapse. After a disastrous vacation — he uncomfortably prods her, she covers his eyes while they are riding a scooter, almost killing them — they split, and the film follows Ceylan’s character during the fallout, which is devoid of the traditional trappings of this kind of narrative. There are no big breakdowns, no soul searching. We move from autumn into winter, and as the snow begins to fall the loneliness creeps up not just in Ceylan’s face but also in the images, which slowly isolate him from his surroundings. Where the film ends, and what it says about how we navigate relationships and the way we treat and forgive the ones we love, is quietly devastating. Five years later, Ceylan made “Once Upon a Time in Anatolia,” which remains his greatest film. A road movie following a group of investigators and a doctor as they search the Anatolian countryside at night for a dead body, it takes the deceptively banal form of the police procedural and uses its limits to its advantage. With a running time of almost three hours, it expands on the themes present in his previous work, letting them sneak into the film through hushed conversations as the team drives from one dead-end spot to another, giving them ample time to develop organically out of the relationships of the ensemble cast. The rolling hills, looming trees, and lingering darkness seems to hang over the characters, who are traveling — literally and metaphorically — down a road with no visible outcome. Ceylan’s films don’t announce their themes but let them emerge slowly and quietly. Narrative and form are intricately linked. It is work that requires commitment and patience to follow the unraveling of time as it happens on screen.  Published: October 29, 2014 Read full article here

Pharrell and McGinley Hype Adidas, Oslo OKs Munch Museum, and More
Pharrell and McGinley Hype Adidas, Oslo OKs Munch Museum, and More— Pharrell and McGinley Hype Adidas: It looks like Pharrell’s pseudo-art world collaborations aren’t slowing down anytime soon. The musician has teamed up with photographer Ryan McGinley to create a series of Adidas ads that look like watered down versions of United Colors of Benetton’s controversial 1980s campaigns. Meanwhile, Pharrell has also been appointed to the board of the Apollo Theater. [Artnet] — Oslo OKs Munch Museum: Oslo’s city council has approved plans for the new Munch Museum, which will be located in a building on the waterfront designed by architecture firm Herreros. Funding, however, may still be a hurdle, given that the proposed design would cost around 2.8 billion Norwegian kroner, of which the national government is only willing to supply 605 million kroner. Also, the project has met many delays since the architects were first chosen in 2009, including protest from those who think it would dwarf other important city structures. City Culture Chief Hallstein Bjercke claims that such delays result in approximately 10 million kroner of fees passed on to taxpayers. [TAN, Artnet] — Broad Museum to Open in 2015: Organizers have announced that Eli and Edythe Broad’s DS+R-designed contemporary art museum will open in Los Angeles in 2015 — despite problems with the subcontractor hired to construct the building’s complex exterior, which have resulted in a lawsuit. A $140 million project, the museum will house works from the Broads’ collection permanently, in addition to temporary special exhibitions. [LAT] —Mark Mothersbaugh’s Museum Show: Devo frontman Mark Mothersbaugh is getting his very own retrospective at Denver’s Museum of Contemporary Art. [LAT] — Trailer Art: Artists T.J. Wilcox, Paul Chan, and George Condo have been asked to create two-minute trailers for upcoming Metropolitan Opera shows. [TAN] — Phil Collins Museum: There is going to be an Alamo-themed San Antonio Museum named after Phil Collins that contains many artifacts donated by the musician. [Stereogum] — “[T]his survey gives the lie to the then-prevalent, always-returning, canard that ‘painting is dead.’” — Jerry Saltz gives a glowing review to Chris Ofili’s show at the New Museum [Vulture] — “It makes one reconsider how one values anything, looks at everything, and finally, perhaps, not just looks but sees with fresh eyes.” — The Observer’s Joshua David Stein checks out Gagosian’s new sushi restaurant [NYO] — The artists at the Venice Biennale’s German Pavilion will be Tobias Zielony, Hito Steyerl, Olaf Nicolai, Jasmina Metwaly, and Philip Rizk. [Artforum] ALSO ON ARTINFO Chris Ofili’s Romance With Paint (and Glitter and Dung) Hot Ticket Alert: “Let the Right One In” Comes to Brooklyn Fixating on Futurity: 5 Works at the Montréal Biennial See Snoop Dogg’s Painting Process in This Ad for Happy Socks Check our blog IN THE AIR for breaking news throughout the day. Published: October 29, 2014 Read full article here

Chris Ofili’s Romance With Paint (and Glitter and Dung)
Certain artists are doomed to circle around a singular infamy. This might happen if you, for instance, have someone shoot you in the arm; or if you make a work that technically involves a collector paying thousands of dollars to have sex with you on camera; or if you submerge a crucifix in urine; or if your porn-collage-and-elephant-dung painting depicting the Virgin Mary raises the ire of a politician who doesn’t think porn and dung have any business being in proximity to Jesus’ mom. The latter example, of course, pertains to artist Chris Ofili, the subject of a fantastic survey at the New Museum opening October 29. And yes, the painting in question — “The Holy Virgin Mary,” 1996 — is part of it. (During the press preview Tuesday it was attended by its own guard, perhaps to ward off any activist interventions.) The shame of the Virgin Mary work is how it might overshadow Ofili’s long, rich career, which has very little to do with controversy-courting shock and everything to do with the act of painting itself, and how pigment (and glitter, and dung) combine in ways that are lushly beautiful without ever being purely decorative. In other words, don’t come to “Night and Day” expecting to be offended; expect instead to be seduced, to savor the slow, gradually unfolding act of looking. The exhibition begins on the second floor with a roomful of works from the ’90s, including several that were included in a 1997 exhibition at Contemporary Fine Arts in Berlin titled “Pimpin’ ain’t easy but it sure is fun.” In reproduction Ofili’s paintings can sometimes appear merely pretty — awash with color and swirling patterns, his exaggerated figures rendered with a meticulous pointillist technique — but in person these works beg you to come close. Layers of resin and glitter and collaged paper form a dense, tactile skin, as if several warring compositions are lurking beneath the surface, partially submerged. Globules of elephant dung protrude from the canvas, occasionally playing the role of chunky jewelry medallions. In one work, an enormous, smiling penis stands erect behind a constellation of collaged imagery: pornographic hybrids of women’s legs and crotches, all of them surmounted by the heads of black men. (OK, that painting might offend you, but calm down.) A side room showcases works from the early- and mid-2000s, most of them rendered in a Pan-African palette of red, green, and black. None of the paintings on this floor are hung on the wall; instead they lean, supported by balls of elephant dung. The compositions are sultry and romantic, but the paintings’ protagonists are often obscured or upstaged by the material acrobatics; we almost neglect the couple in “Afro Love and Envy,” 2002-03, in favor of the crazily layered background, as shimmeringly unknowable as a circuit board. There isn’t a single false note in this retrospective. Ofili’s sculpture is every bit as inventive as his painting — from “Shithead,” 1993, a horrific quasi-self-portrait made using dung, real teeth, and his own hair, to “Annunciation,” 2006, a surreal bronze vision depicting the angel Gabriel meeting the Virgin Mary. The Virgin’s ample, shiny curves play off the dark-toned, finger-smushed heavenly visitor she is intimately embracing. (Perhaps anticipating a fuss, a wall label nods to art-historical precedent: “Just as many of the Annunciation images of the medieval and Renaissance painters had sexual overtones...”) A series of graphite drawings made between 2004 and 2007 are also terrific, combining abstract lines (which turn out to be made of very many tiny, Afro’d heads) with pulsing patterns that resemble clusters of mussel shells. If Ofili’s paintings from the ’90s were explosive and in-your-face, a selection of newer works — made between 2006 and 2014, following the artist’s relocation to Trinidad in ’05 — explore a very different, but still sensual, subtlety. They’re presented here in a low-lit gallery, and from certain angles they read as blank, blue-purple monochromes; walking past them, though, the paintings reveal themselves in increments — a somber pipe-smoker here, the gruesome body of a hanged man there. Everything builds and culminates on the fourth and final floor, an almost-too-much gut-punch, with nine large-scale oil-on-linen paintings hung on a wall painted top-to-bottom with a purple-tinged, floral environment (borrowed, evidently, from the 1947 film “Black Narcissus”). With these works, Ofili’s complexity and density of surface give way to a certain gleeful, compositional overload: “Lime Bar,” 2014, is a frenzy of visual information; “Cocktail Serenader,” 2014, is a rich jumble of forms, figures, and words. These works have a strange aura of timelessness — the scenes appear to be set in the middle of last century — and they’re weirdly nostalgic and elegiac. Seen in this immersive setting, they form a monument to what painting can still accomplish — an uneasy, complicated beauty — and a testament to Ofili’s desire to continue evolving his own practice. With any luck, maybe former Mayor Giuliani will pay a visit to “Night and Day,” and finally be able to see what depths exist beyond the supposed affront of unholy dung. Chris Ofili’s Romance With Paint (and Glitter and Dung)Select Photo Gallery: Slideshow: Chris Ofili’s Romance With Paint (and Glitter and Dung)Published: October 29, 2014 Read full article here

Nathalie Djurberg and Hans Berg at Lisson
  Artists: Nathalie Djurberg, Hans Berg Venue: Lisson, London Exhibition Title: The Gates of the Festival Date: September 17 – November 1, 2014 Click here to view slideshow Full gallery of video, images, press release and link available after the jump. Video: Nathalie Djurberg and Hans Berg, installation video of The Gates of the Festival, 2014. Documentation video […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

The Oxymoron of Normality at Depo Istanbul
The Oxymoron of Normality at DEPO Tütün Deposu Lüleci in Istanbul, Turkey, is an exhibition which brings together artists from ... Read full article here

George Clinton’s Journey to the Edge of Funk
George Clinton’s Journey to the Edge of Funk“If it weren’t for flashbacks I wouldn’t have no memory at all,” George Clinton said onstage Monday night at the Museum of the Moving Image, only half-jokingly. The mammoth leader of the Parliament-Funkadelic collective, who revolutionized not just what black music sounds like but how it’s presented and promoted and sold, is on the road slinging his new fiendishly-addictive memoir, “Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You?” the spinning-wheel tale of Clinton’s hedonistic days, from the creative hub of the barber shop to the futuristic funk of outer space. Following a screening of “Cosmic Slop,” a bizarre Twilight Zone-inspired HBO pilot (which never made it to series) produced and directed by Warrington and Reginald Hudlin and hosted by Clinton, the musician was interviewed onstage by James Mtume — a musical legend on his own, who played with Miles Davis on some of his most far out mid-’70s freak-outs. Clinton kept things light and the two yakked casually about all things P-Funk, or at least what Clinton could remember, from the early inspiration of Motown to its mutual embrace with hip-hop. The former provided the bedrock for Clinton’s expansive musical universe, and the latter, through its sampling of his bass heavy rhythms and reproduction of Clinton’s everybody-gets-their-shot-ethos — the Wu Tang Clan were mentioned as the most obvious decedents of this ideal — kept the spirit alive, long after Clinton and his cohorts had landed the Mothership on solid ground. The world of George Clinton can get a little confusing, even for the most fervent consumer of his music and mythology, so a bit of history might straighten out the kinks and help explain his legacy. George Clinton built an entire world. He began in the early days of soul music, the rise of Motown, and had a few mildly successful singles as a songwriter and performer, some under the name The Parliaments. This was the heyday of independent labels, especially in Detroit, where Clinton had migrated from New Jersey, but a foot in the door didn’t immediately materialize into success. According to legend, after dropping acid The Parliaments morphed into Funkadelic, infusing British Invasion-style heavy guitars and deep, Sly and the Family Stone-influenced funk, and would release a startling number of albums that are still today some of the most earth-shattering records ever created. Just listen to the first track on “Maggot Brain” and try to find anything as mind-altering, scary, and transcendent as Eddie Hazel’s shape-shifting guitar solo, an array of cries and whimpers blasting out of an amplifier that sounds like the music you’ll hear as the world is finally coming to an end. In reality, it was the sound of a new world beginning. Soon the ideas bursting out of Funkadelic were too large to be contained, and a second band was created. Parliament was the flashier, more commercial version of Funkadelic with cleaner sounds, sing-along chants, and a wilder stage presence. The band was already tight, with the classically trained Bernie Worrell on keyboards and Hazel on electric guitar, but soon they would acquire most of James Brown’s former backing band, The J.B.’s. All of a sudden Clinton had the funkiest band in the world behind him. Bootsy Collins and his brother Catfish, who had been recruited by Brown after he suddenly fired his former band, The Famous Flames — and played on what this writer believes is the greatest Brown album of all time, “Love Power Peace” — became permanent staples in the P-Funk universe, along with Fred Wesley, Maceo Parker, and more. Soon enough, it was like a football team on stage, each one dressed in a unique costume, most of them playing characters that were weaved in and out of songs and whose backstories were expanded through the wild cover art of Pedro Bell. And finally, when it seemed that this band of freaks couldn’t get any more out-of-this-world, they literally had a full-size space ship made that descended onto the stage during their sets. The universe would expand even further, with many of the side-players getting their own bands and solo albums, filtered through their personalized version of the P-Funk aesthetic. But as the 1980s reared its ugly head, the group began to disassemble. Clinton, for his part, had gone too far off into space. No longer just a casual user of drugs, he now, according the book, was smoking crack regularly and not paying attention to the crumbling world he built. Money was disappearing and nobody knew where it was going. By the ’90s, despite a few remarkable solo albums and a hit single with “Atomic Dog,” Clinton was burned out. Drugs were not heavily discussed during Monday’s talk, but in his memoir Clinton is not shy about his chemical intake. He did enough drugs to kill an entire army it seems, and one of the most surprising parts of the book is how this narrative thread creeps up on you. The stories at first are fun and exciting, the joys of being young and popular with dollars in your pocket. You can’t blame a person for partaking in a little bit of the era’s most cherished recreational activities. But soon enough, without Clinton’s tone changing, the drugs become more and more of a presence, or rather, their presence becomes more and more of a problem. People start to fall off the map. Clinton buys a farm, simply, it seems, as a place to do drugs and escape. He begins hanging out with Sly Stone, one of his idols, which is never a good idea. At the age of 73 it’s amazing that he can still walk on two feet, let alone crank out albums. So, to answer the question of the book’s title: Yes, the funkin’ was hard on George Clinton. But it did not kill him. He will continue to survive long after his body dances off this mortal coil, through the music he created, the characters he put out in the world, and most importantly, the inspiring model he laid down for other black artists to explore the furthest boundaries of their art. Break down the walls, or as Dr. Funkenstein would say, tear the roof of the sucka.  Published: October 28, 2014 Read full article here

Slideshow: Chris Ofili’s Romance With Paint (and Glitter and Dung)
Language English Featured: 0Order: 0Author(s): Benjamin ParkSub-Channels: MuseumsReferenced Artists: Chris OfiliShort Title : Slideshow: Chris Ofili’s Romance With Paint Read full article here

BLOUIN Lifestyle Pick: Rock-and-Roll Vintage Accessories
Language English Featured: 0Order: 0Author(s): Michelle TaySub-Channels: Style GuideShort Title : BLOUIN Lifestyle Pick: Edgy Vintage Accessories Read full article here

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