A panel of experts in the arts and tech communities will be having a conversation about Blockchain technology and this brave new world. The panel will explore the benefits of having blockchain technology, its potential and why it may be the piece we have been missing since the rise of the digital era. All panelists have years of experience in their fields of art and/or technology, many in both. The speakers are storytellers within their own mediums whether it is photography, sculpture or writing.
James Garfinkel is a co-founder of Intaglio Blockchain and a seasoned business entrepreneur with 40 years of experience in finance, art and photography.
Stuart Haber, an experienced cryptographer, is the co-inventor of the blockchain technique for ensuring the integrity of digital data. He functions as Chief Scientist of Intaglio Blockchain. Thanks to him and his co-founder, the integrity of digital data is secured.
David Burnett, co-founder of Contact Press Images, is a photojournalist with more than five decades of experience. His past work has included everything from world leaders to Olympic medalists and world conflicts. In the mid 70’s, Burnett focused his camera twice on Bob Marley and now currently on view at ilon Art Gallery, the host venue of our event.
Phyllis Galembo, a 2014 Guggenheim Fellow, has photographs in various collections, including the Metropolitan Museum of Art. Galembo recent travels has brought her to South America, Africa and the Caribbean, her current book now hitting store shelves Mexico Maskes | Riturals focuses on tribal peoples of Mexico
Kevin Abosch works in photography, sculpture & installation, using emerging technologies as a method. His work has been exhibited internationally in museums and civic spaces. They explore ideas surrounding identity, value, and human currency.
A.D. Coleman is an American critic, historian, educator, photography curator, commentator on new digital technologies. Coleman was the first photo critic for The New York Times, authoring 120 articles during his tenure. His work has been translated into 21 languages and published in 31 nations.
Currently on view at ilon Art Gallery are works by David Burnet form his series Bob Marley: Soul Rebel. All works int he show are tagged by Intaglio Blockchain and on their blockchain (chain.ilon.com*).
Galembo has collaborated with the Ilon Art Gallery and Intaglio Blockchain to offer you a unique editioned work. Xentolo, an image from her new book, and the back cover, and is available to collectors in a limited edition, 14×14 signed print, tagged and on Intaglio Blockchain’s network. Editions 1-10 are discounted, they will be available at the event or at currently at https://www.ilonartgallery.com/store/ucla-intaglio-exclusive-offer.
*Intaglio Blockchain allows for private licensing of blockchains. These chains are still part of the Intaglio Network and as always public, decentralized and unchangeable. Loni Efron, director and owner of ilon Art Gallery, has been certified by Intaglio to put artworks on her subscription chain. Loni Efron’s certification allows her to enter works only by artists she represents at the ilon Art Gallery. The works of David Burnett and Phyllis Galembo are on the blockchain chain.ilon.com, a subscription by ilon Art Gallery.
*Featured image: Lift Off, Apollo Xl ,1969 by David Burnett
Opening: Friday, 21 September 2018 | 6 – 9 PM
Exhibition continues: 22 September – 30 November 2018
Robert Grunenberg Berlin
Marburger Strasse 3, 10789 Berlin
In his first-ever solo exhibition at a German gallery, this Cameroonian artist undertakes a critical examination of the today’s political climate around the world, as well as the psychological implications of the human condition. The exhibition will include historical key works dating back to 1999, as well as brand new works.
Addressing social and environmental issues, his works are fueled by his personal experiences as an African in Europe. His studies of urgent challenges such as discrimination, alienation, and cross-border relations transcend cultural distinctions. Besides installations encompassing photography, performance, and video art, he integrates enigmatic watercolors into his output that figure as poetic vessels of hope amid the social and political critique his oeuvre articulates. Like his other works, they are based on a probing engagement with cultural realities. Fraught will allegorical significance derived from indigenous myths and rituals, they inquire into the foundations of human existence and dare to envision the body’s inward psyche.
The large-format drawings on paper, many of them mounted on canvas backing, unfold fantasies of a human and vegetative metamorphosis and create a living symbiosis between man and nature. The translucent watercolors convey an expression of vigor as well as fragility, its form spreading graphically across the white and strangely cathartic paper. Proliferating entrails, as vital as they are brutal, grow out of the human body and explode physical as well as mental boundaries. Man’s existence appears grotesque and sublime at once as he is both deformed and enhanced.
About the Artist
Barthélémy Toguo was born in 1967 in Cameroon and lives between Paris and Bandjoun. He trained at the École Nationale Supérieure des Beaux-Arts in Abidjan, Ivory Coast; the École Supérieure d’Art in Grenoble, France; and the Kunstakademie, Düsseldorf, Germany. He founded Bandjoun Station, a centre for artistic exchange between local and international artists featuring residencies, an exhibition space, a library and plantations in Bandjoun, Cameroon, in 2007.
Solo shows have taken place at institutions including the Parrish Art Museum, New York; Uppsala Art Museum, Sweden; Musée d’art contemporain de Sainte Etiennne, France; La Verrière by Hermès, Brussels, Belgium and Fundaçao Gulbenkian, Lisbon. Notable group shows include Paris 7th Echigo-Tsumari Art Triennale, Japan (2018); Homo Planta at Fondation Blachère (2018); The Red Hour, the 13th Dakar Biennale (2018); Art/ Afrique, le nouvel atelier at Fondation Louis Vuitton (2017); All The World’s Futures at the Venice Biennale (2015); Body Language at the Studio Museum in Harlem, New York (2013); La Triennale: Intense Proximity, Palais de Tokyo, Paris (2012); the 11th Havana Biennial (2012); A terrible beauty is born, 11th Biennale de Lyon, France; the 18th Sydney Biennale (2011); and Laughing in a Foreign Language, Hayward Gallery, London (2008).
In 2011, Toguo was made a Knight of the Order of Arts and Literature in France. He was shortlisted for the Prix Marcel Duchamp in 2016. His work is in the collections of the Centre Georges Pompidou, Paris; Museum of Modern Art, New York; Studio Museum in Harlem, New York; Musée d’art contemporain, Lyon; Fondation Louis Vuitton; and Kunstsammlung der Stadt, Düsseldorf, among others.
Blood Money, on view from 8/10 – 8/19, opens this week with delightfully deviant experiences on Friday 7-10p and Saturday 5-8p. Proceeds from the show will go to Lysistrata. Must be 18+ to enter.
Summer of Love by 5ivefingaz and friends* with historic work by 5ivefingaz, Sugacane Danger, Uncutt Art, Miranda Maxwell, Hash Harper, Darcy Briks (congrats on your new little bundle of joy!), Paulie Nassar and Action Jackson still available on our e-comm.
Thurs Aug 23 + on view thru Sept 2
Ophelia (I feel ya) curated by Yana Toyber
With Yana Toyber, Lindsay Jones, Natalie Krim, Alisa Minyukova, Rawan Rihani, Claudia Santiso, Etta Shon, Sarah Sweeney and more TBA.
Thurs Oct 18 + on view thru 11/11
Breaking the Grass Ceiling: Women Making An Impact on 7/26 was an incredible evening with an exceptional attendance. I would like to personally thank Maya Shaw of Shaw.BK and Solie Burnett-Loucas of Humblebloom for co-producing a historic moment with us. Much gratitude to kind and mega-talented reiki master Christina Lovely, who grounded us before we dove into a pragmatic talk surrounding the War On Drugs, incarcaration reform and what we all can do now to support marginalized communities.
Thank you to our panelists: Keira Duarte of Mary Magazine, Brittany Carbone of Tonic CBD, Amanda Reyes of Cannabis Cultural Association and Safon Floyd of Estrohaze for your openness and expertise. And, thank you to all who came out to share and to learn.
Stay tuned for more experiences like this one!
About Lucas Lucas
An ethical art gallery and retail concept rooted in social impact, #LucasLucas rotates artwork by emerging and contemporary artists, as well as rare jewelry, books and objects. The gallery is in constant transformation; the retail-level gallery morphs to accommodate installation, wellness practice, live music, community gatherings, fundraisers, and film and photoshoot production.
57 Conselyea Street at Lorimer Street in Brooklyn, New York – one block from the Lorimer L/G.
Gallery Hours: Walk-ins all the time, by appointment and online.
“impulses, restraints, tones” New Compositions by Hannah Quinlivan
Opening Reception: March 1, 2018, 6-8pm
Exhibition Dates: March 1 – April 20, 2018
February 16, 2018 (New York, NY) – JanKossen Contemporary is pleased to present impulses, restraints, tones an exhibition by Australian contemporary artist, Hannah Quinlivan. impulses, restraints, tones is the artist’s first exhibition in New York and will be on view from March 1 – April 20, 2018 with an opening reception on March 1 from 6-8pm.
Best known for her work within the movement of experimental drawing, Quinlivan expands upon the medium to create drawings that employ wire, steel, salt, yarn, shadow, and LED light, constantly evolving and dissecting the elements of a drawing to investigate the confines of the line itself. Twisted wire structures are the basis for her shadow drawings, which Quinlivan later develops further into sculptures; 2D drawings turn into 3D drawings, that are then turned back into 2D drawings. With a deep commitment to the exploration of and innate response to her materials, Quinlivan composes lyrical artworks that stitch together a response to the passing of time. Each element of the work is endlessly translated into an infinite looping web; traveling through our consciousness and drawing attention to the subjectivity of the phenomena of recollection and forgetting.
impulses, restraints, tones exhibits brand new “Spatial Drawings,” as well as two delicate, yet powerful, site-specific and interactive installations that respond to the gallery space and flux of bodies within it. The well-known “Spatial Drawings” walk the line between sculptural weaving and graphic mark making and explores concepts of temporal reality and memory. Quinlivan’s “Spatial Drawings” performance develops from wire armatures suspended from the ceiling. The shadows of these wire armatures are the basis for Quinlivan’s live and in-person crystalline salt drawings that will be developed over the course of three weeks during exhibition.
This work, shown for the first time in New York City, forms part of a series of site-specific ephemeral drawings Quinlivan has been making in Cambridge, Berlin, Hong Kong, Australia, and Colorado from since 2016.
Curator Marguerite Brown, explains “Linear threads and their manipulation have for millennia been symbolically connected to notions of time. The Moirai of ancient Greek mythology, also known at the Fates, were three goddesses who through the act of spinning thread with distaff and spindle, controlled the life of every person from birth to death, when their thread was abruptly cut. Similar female deities exist in Roman, Norse and Slavic mythologies, where thread is consistently wielded as a manifestation of destiny. As such, a simple strand and the way it is stretched, allotted and truncated, became an ancient way of comprehending the movement of a human life through time.”
ABOUT HANNAH QUINLIVAN
Hannah Quinlivan, named by BMA Magazine as one of the Six Canberra Artists to watch in 2018, was a finalist for the 2014 Alice Prize and has received such prestigious accolades as the Canberra Critic Circle Award, Shire of East Pilbara Residency Award, Cox Prize, Don Moffat & Cecilia Ng award, People’s Choice Award, Megalo Print Studio and Gallery Residency Award, and the Jan Brown Drawing Prize. She has exhibited major presentations at Canberra Museum and Art Gallery, Canberra; National Portrait Gallery, Canberra; Colorado State University, Fort Collins; Cambridge University, London, Pembroke College, Cambridge; Deakin University, Melbourne; The Hong Kong Harbourfront, Hong Kong; and Kuala Lumpur Biennale, National Art Gallery of Malaysia, Kuala Lumpur. She is in such prestigious public collections as National Gallery of Australia, Gregory Allicar Museum, The Australian High Commission (Singapore), Philip Cox Collection, Deakin University, The Australian National University, KPMG Art Collection, Gaw Capital collection, Colorado State University, Megalo Print Studio + Gallery, Shire of East Pilbara, Ormond College Collection. She was recently selected by the curators of Urban Art Projects to create a major public art commission where her work will be featured on the glazed screen of every platform of the Canberra Light Rail network.
JanKossen Contemporary, founded in 2009 by Dr Jasmin Kossenjans, is an international dealer of contemporary art representing artists working across disciplines. Its principal focus is the representation of an international group of contemporary artists whose diverse practices include painting, drawing, sculpture, video, large scale installation, and performance. Aside from its represented artists, the gallery collaborates directly on exhibitions and projects with other artists and guest curators. The gallery is committed to presenting its artists’ work in an international context and to firmly establishing their contributions to the cannon of art history. Gallery artists are in the collections of, and have been part of exhibitions at, many museums around the world. Their works have been widely published as artist monographs, in art journals, and among critical theory texts. The gallery operates in Basel, Switzerland; Venice, Italy; New York, NY; and will open a new exhibition space in Hong Kong in 2019.
March 1, 2018
March 1 – 17, 2018
Artist Talk and Final Performance
March 17, 2018
529 W 20th Street, 7th floor, 7W
New York, New York 10011
TICKETS FOR THE MUSEUM OF SELFIES GO ON SALE TODAY
Pop-Up Exhibit Opens April 1, 2018 in Los Angeles for Limited
Museum Also Plans to Set the Guinness Book of World Record for the
World’s Longest Selfie Stick
The Museum of Selfies today announced it will officially open to the public on April 1, 2018 and tickets will go on sale today at 12 noon PST. Furthermore, a proposed Guinness Book of World Records item for the world’s longest selfie stick will be unveiled at the museum’s exclusive grand opening event and will remain on display as an exhibition piece throughout the pop-up experience. According to the Guinness World Records’ website, the current record holder measures 18 meters (59.05 ft).
Open for a limited time in Los Angeles, The Museum of Selfies is an interactive museum that explores the history and cultural phenomenon of the selfie – an image of oneself taken by oneself – with historical roots dating back 40,000 years to the first depiction of human art. From cavemen drawings to a “Narcissist” installation to a vertigo-inducing rooftop selfie illusion, the museum touches on a variety of points in human history that examines the intention of the selfie and what it means to the artist and its viewers. The interactive exhibit will allow visitors to create art of their own through the lens of history, art, and immersive vignettes. Your inner narcissist – whether you like to admit it or not – will be ecstatic.
The Museum of Selfies will feature various one-of-a-kind exhibits dedicated to the most popular image categories spanning mankind, including: the “high-up selfie,” a vertigo-inducing, rooftop selfie mimicking the top of skyscraper; the “bathroom selfie,” a two-sided room that lacks self-reflection but excellent for trick photography; the “food selfie,” a super-sized exhibit that satisfies taste buds and foodie fanatics; a “narcissist” exhibit examining the number of deaths from selfie-related accidents while also offering a lesson in Greek mythology; and many other unique selfie opportunities that are reminiscent today and of centuries ago. The museum will also feature works from modern artists from around the world providing their provocative and creative vision of the selfie phenomenon.
Regardless of one’s perception of the selfie sensation, the museum offers a highly-visual and educational experience with every installation while also encouraging the inner-artist to post and initiate a discussion of the origin of selfies and their meanings. And while other museums may have banned them, selfie sticks aren’t just allowed inside, they are encouraged.
The Museum of Selfies is located at 211 N. Brand Boulevard in Glendale, CA and will be open for a limited run from April 1 through May 31, 2018. Hours of operation are Tuesday through Thursday from 12-8 p.m., and Friday and Saturday from from 12-10 p.m. and Sunday from 12-8 p.m. Ticket prices are $25 and kids under three are free. For more information and to purchase tickets, visit www.themuseumofselfies.com.