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    Morgan Fine Arts Veteran Jack Early at Mulier-Mulier
    February 16th, 2018

     

    Jack Early’s “Rainbow” At Mulier-Mulier:

     


    The artist’s latest installation wonderland culminates decades of work and features drag legend Lady Bunny

     

    The full story of Jack Early’s upcoming show in Belgium spans (almost) the entirety of Early’s solo career to date. The essence of the show is a winsome fairytale musical about a brother and a sister facing off against a wicked witch. This sweet, beautiful creation first came to life during what was probably the most turbulent time for Early, the aftermath of the split up of Pruitt-Early. After the breakup (as he explains in greater detail below), Early began to explore music with his band Happy Jack. However, it wasn’t until he struck upon the idea for Rainbow that he found a way to incorporate music fully with his sensibilities as an artist. Once he struck on the idea, work on the musical and the visual artwork that accompanies it continued from the inception in the 90s until the very end of 2017.

     

    The incorporation of the music with Early’s visual arts is now fully realized in Early’s show at Mulier-Mulier, which makes the musical part of an immersive installation that takes the visitor back to a prelapsarian fairyland of pure hippy innocence. We’ve seen ements of the installation in previous Early shows: the sculptural pillow technique, the incorporation of music, the exploration of Early’s childhood. Early has been cultivating these elements and now brings them together in what feels like a culmination.

     

    Personally, however, I hope this is not the last we’ve seen of Rainbow. I still have the original recordings Jack made back in the day on my iTunes and their play count is high. I’d love to see it up on stage, hopefully with drag royalty Lady Bunny reprising her role as the witch.

     

    I think it’s important for people to understand how much energy you’ve put into this show over a long period of time. Can you take us back to when you first began writing the musical and give us a sense of how the project evolved from then until now?

     

    Late 90’s. Oasis and Blur records on the turntable. Cans of El Presidente littered the hallway. Parkas draped over large speakers and Vespas pulling up to the apartment on Houston and Ave B. A group of us shared the apartment. We were all best of friends, artist types, and all of us had our own bands.

     

    I was the front guy for my band Happy Jack; perfect for me because I’ve never played an instrument. I was good with melodies and lyrics and that’s how Happy Jack made our songs.

     

    The other guys were playing out already but Happy Jack practiced for three years before we had our first show. That night the crowd loved us but we broke up the next morning.

     

    I could hardly believe it, and I felt cursed. My earlier art career had imploded a few years before and now Happy Jack just broke up. I just wanted to do something all by myself for a bit, and I sat in the Houston Street apartment kitchen for days and days with nothing but oatmeal, coffee, and a pencil, and I wrote Rainbow a fairytale musical.

     

    I knew it was good, but I had no way to really hear it except in my head, so I called Lizzy Lee Vincent the guitar player from Happy Jack. He and I had remained friends. I told him about the fairytale musical and he brought over his guitar. It was a bit like a fairytale the way we laid it down, too. Me humming rough melodies in bits and pieces into Lizzy’s big ears while Lizzy and his magic guitar spun Rainbow into gold.

     

    There is a witch, a crystal ball, a brother and a sister and a spider, and I got my friends to sing all the parts. I wanted flutes and cellos and violins but no one played that type of thing, so I’d introduce myself to musicians outside of music schools even found a few in the subway. Donuts, coffee, and beer was all I could pay them, but we all had a blast. It took about two years to record all the musicians and friends I had coming over to do there bits. Lizzy mixed it on an old six track thrown out by Lou Reed. The goal was just to put it on a CD and pass it out to friends.

     

    Somebody gave a CD to somebody at Disney and I got a call. They said the musical was the most charming thing they had ever heard and a meeting was arranged. They offered me an eight o’clock television special on the Disney channel or something for the stage. I agreed to the animation because I wanted to work on the drawings. We all shook hands and they said they would call me on Monday. They didn’t. And they didn’t call Tuesday or Wednesday either. Thursday I called them but they would not take it and so Friday I went in but they would not see me. I ran out of there quick and down to have Rainbow copyrighted. It sucked and I stuck Rainbow in a drawer with the copyright papers and kept it shut for years.

     

    But I pulled it out from time to time, I guess, and I’ve continued to do drawings now and then to the story and I’ve even gone back and tweaked the lyrics here and there. But it was just this year that I knew I wanted to breathe new life into the fairytale and re-record the whole musical and make sculptures and paintings around Rainbow for an art show.

     

    One new thing about Rainbow that differs from the original is the drawings you made originally were pure illustrations, but now you’ve collaged in a photograph of yourself from childhood for the character Brother. For me, this choice gives this new show a cool continuity with your last show at Fergus McCaffrey which focused a lot on your childhood. Can you tell us what was behind this choice? (And also ask if it’s safe to assume the photo of Rainbow is your sister?)

     

    The original illustrations were watercolor and pencil. I continued to tweak the drawings just like I’m forever tweaking the lyrics. I suppose I’ll keep on experimenting with these things around Rainbow. It’s a big story. Now I’m having visions of how I want the movie to be. And I’m figuring this out about my work as I go along, It all sort of grows out of my 5-year-old self. I realized the brother and the sister in the story were actually me and my sister. So I worked on the new collages in the same way I have been making recent soft sculpture works, by using old family photographs.

     

    The rainbow-colored raindrops are so beautiful and so inventive. What inspired the idea to incorporate the musical into an installation?

     

    Finding out I could actually write songs later in my life was a really nice surprise. Just having a melody or two bouncing around up there kept me going through a lot of hard times. And I know it was my music that brought me back to seeing myself as an artist again. I like including my music in my art now for that reason. When Mulier-Mulier Gallery in Belgium asked me to have a show with them this year I immediately thought of Rainbow. Alec Spiegelman had recorded and produced “Jack Early’s Life Story In Just Under 20 Minutes” and I was so happy with the way it sounded. So Alec and I spent this year re-recording Rainbow and I spent the year in my studio making paintings and sculptures and connecting the art to the music like a big colorful carousel in my head.

     

    I wanted to build the work like Pinocchio’s Geppetto might. The paintings are on wood and just painted with a brush and jars of paint. The sculptural raindrops are just burlap stuffed and stitched and painted. I made the balls out of paper mache.

     

    I guess I was sorta feeling like the old shoe cobbler. I figured I would make this work look as if I had fallen asleep and woken to works made by elves.

     

    Tell us about working with Lady Bunny!

     

    I always loved when a TV Special would announce “And staring Charles Nelson Reilly as the Old Pirate” or Charlotte’s Web movie credits rolled “And Debbie Reynolds as Charlotte”.

     

    I knew Lady Bunny as the witch in Rainbow would be just like that.

     

    It was a real lesson in show business watching Bunny work. I have never seen anyone take a line and focus on it so seriously and then deliver it in an instant so full of nuance and improvisation. She was like working with fireworks.

     

    In the collages, I made her crystal ball with the face of Paul Lynde. So now Rainbow is starring Lady Bunny and Paul Lynde! Art is amazing that way.

     

    Some of my old friends came back to reprise their original roles. Erica Habarta sounds more beautiful than ever as Rainbow.

     

    This is definitely not a musical in the style of Andrew Lloyd Weber or Stephen Sondheim. Rather your music is so uniquely expressive of who you are as an individual. How would you describe the style and who are the musicians that influenced?

     

    I think it was the car radio. You had to absorb what they dished out. I think that’s it. I mean I still find myself humming “I Want to Kiss You All Over” by Exile. That’s just is not a problem anymore.

     

    Here are a few favorite tracks that helped inspire the musical.

     

    https://www.youtube.com/watch?v=JUQnlXsISvg
    https://www.youtube.com/watch?v=gBg4aiH3SZE
    https://www.youtube.com/watch?v=JUJdar6rtts
    https://www.youtube.com/watch?v=yv-eisUyVEY
    https://www.youtube.com/watch?v=XwO0_mID93c

     

    Reprinted from: Ravelin Magazine “Jack Early’s “Rainbow” At Mulier-Mulier“.

     

    Tag: NEWS
    HuffPost: Conversation between Rachel Corbett and Daniel Maidman
    July 20th, 2017

     

    Morgan Fine Arts & Film Center tenant / artist Daniel Maidman interviews Rachel Corbett

     


    A Conversation with Rachel Corbett

     

    Rachel Corbett is the author of You Must Change Your Life: The Story of Rainer Maria Rilke and Auguste Rodin, which won the 2016 Marfield Prize, the National Award for Arts Writing. She has also written for The New Yorker, The New York Times, The Art Newspaper, the BBC, New York Magazine, and others. At the time of this interview, she was the editor of Modern Painters magazine. She has since left the magazine and is currently working as a freelance arts writer.

     

    This is an excerpt from a longer interview featured in the current issue of PoetsArtists magazine, Woman as Warrior.

     

    ON CAREER

     

    Daniel Maidman: Let’s talk about you and your work and career. Did you study journalism in school?

     

    Rachel Corbett: Yes, I went to grad school at Columbia for journalism.

     

    DM: What did you do after that? What were the steps that led you to what you’re doing now?

     

    RC: Honestly, I would have done about anything after grad school. I finished in 2007, and it was right about the time of the economic collapse, and magazines were laying everybody off, and it was not a good time. So I would have been a transportation reporter, or a public health reporter… anything really that I could get a job in.

     

    I started freelancing here and there for ARTnews magazine. I had always wanted to write about art anyway. I felt like there was a big opening in arts writing, because a lot of the writers I was in school with were scared of art; they thought you had to have a PhD and that you needed to know a lot of history to write anything about art. And then a lot of the art writers I knew were not necessarily writers, they were art historians or theoreticians who were not writing the most readable stuff.

     

    So I felt like there was a place in between that not many people were accessing. That’s what I really wanted to do. I think ARTnews was good because they’re a mix, they’re on the more journalistic side of the criticism spectrum. Since then I’ve worked at just about every art magazine. I went to artnet for a while, if you remember. They used to have a magazine online that was different from what’s online now, run by Walter Robinson. I went there, and then they closed down a year or two later and then… then what did I do? Well, I bounced around at some of these art magazines for a while, and then I went to The Art Newspaper for several years.

     

    I decided to write the book at one point. So for four of those years, I was still freelancing but I was maybe half and half, working on the book and freelancing. I’d go in a couple weeks a month basically. When I finished the book I took stock. It was my first time back being full-time in the industry. So I’ve been editing Modern Painters for a little over a year.

     

    DM: Are there any overarching themes or structural issues that you’re interested in in your work as the editor?

     

    RC: It varies so much. I look first and foremost for good stories. That’s what I want. Things that haven’t been told. Interesting lives. Work that engages the world, reflecting the world in some way if it’s possible. You’re always trying to find a mix between things that your readers want and things that you think they should know, people you want to introduce them to. I would say it’s more like you just know it when you see it, when you find it, than that you go out looking for it.

     

    DM: The text from the magazine that I read didn’t feel overwhelmed with jargon, it didn’t have that exclusivity –

     

    RC: Which one did you read, do you remember?

     

    DM: I read the Salle interview with Dana Schutz, I read your reviews –

     

    RC: Of course. The Salle and Schutz interview I think is really good. The reviews in the back are always a bit more varied… it’s criticism, it depends on the writer, some of them you get a bit more jargon than others; but as a whole I like it to be readable. That’s the goal. But not dumb. People who are reading an art magazine are usually pretty educated, they already know something about it if they’re picking it up in the first place. You can’t be news anymore in art magazines, you’ve got to find a way to be either analysis of a phenomenon and do a deeper look, or a feature, something that’s very nicely written that takes you into a place. You know I like that kind of thing. I like narratives, personally.

     

    DM: Are you working on another book?

     

    RC: Not right now. I’m thinking about it.

     

    DM: So you have ideas percolating?

     

    RC: Yeah, probably false starts, but I have a couple. I get torn because there are things that came out of that book, characters that were interesting that I want to revisit that sparked ideas for entire books. And then I also just don’t want to go back to Paris at the turn of the century.

     

    THE BOOK

     

    DM: How did you come across the story and what attracted you to it?

     

    RC: I’ve loved Rilke since I was 19, when I read Letters to a Young Poet for the first time. My mother gave me the book. I was finishing college and trying to figure out what to do with my life, sort of teenaged depressive or just kind of unsure where to go and what to do, and I read that book cover to cover immediately in one night and then I read it again and again and again. I still read it every maybe year or so.

     

    And then later I became an art writer and separately heard that Rilke was a secretary of Rodin’s and I thought, that’s so weird, they don’t seem at all like congruous lifetimes and figures. I looked into it a little bit, I just looked at the dates and realized that he was in Paris with Rodin when he started writing Letters to a Young Poet, and he was only 26 when he started writing that book. First I was shocked that he was so young and that he was meant to be the wise poet giving advice to a young poet, and then I thought if Rodin was his mentor… Rodin was his mentor, it turned out, for five years. Rilke went there first to write the book, then he came back to be his secretary. The third time he came back they were more equals and friends. And so during that first stay he started writing the Letters. They come from Paris.

     

    And I thought a lot of that must be coming from Rodin. So I read his diaries from that time and his letters and compared them with Letters to a Young Poet and found traces of Rodin, and thought, what an amazing backstory to this book, that’s one of the most beloved and famous books of all time. So then I talked to my agent about it and he was like, “Yeah, great, do it.” And so it happened.

     

    DM: Your book felt like an epic job of world-building. You had a lot of physical detail and time-specific detail. What was your process in fleshing out an abstract narrative into a highly visualized and physical phenomenon?

     

    RC: For me what I found is that I would read the biographies, and there are many on both artists. Then I would read some of the literary criticism that put them in place and time, to just outline basically what happened when and the basic narrative structure. Then I would read books about Paris at the time to get a sense of what things smelled like there, what the streets looked like. They would be books in no way related to Rilke or Rodin. I read a book about the origins of zoos in Paris and what they meant, so I could try to imagine what the zoo looked like for Rilke or for Rodin even a couple decades later. I couldn’t even tell you what all the sources were, but a lot of historical, encyclopedic type of books, a lot about the architecture, a lot of the history of the redesigns of Paris and what that entailed. And then it was really just trying to get a picture in my head. And you try to imagine yourself on the street, looking around, and if there’s something you can’t place, if there’s an aspect like – where there trees? was there greenery around? or what was there? – you try to find a book that maybe showed pictures or stuff.

     

    DM: I’ve noticed in books covering a historical period or an historical incident in the kind of detail that you have, some people go fully novelistic, some people give a kind of animated description of what can be obtained from primary and secondary texts, and then there’s a kind of compromise that some authors strike between what can be plausibly described, and where you have to step back and say, “And here’s what we have from documents.” I saw you doing that a few times, and I was wondering to what extent that decision was a conscious choice for the structure of the book and how it developed as you were writing the book.

     

    RC: Do you mean like saying whether we know this or we don’t know this?

     

    DM: Yeah. “We don’t know who the girl was.” That kind of thing. Or you’ll have a vivid description of him sitting in a room, but then you’ll back up to a quotation from a letter, and you’re not going to say, “Here’s what he was thinking.” You’re switching idioms. You know, a more novelistic and then a more historiographic depiction.

     

    RC: Yeah, that’s a really constant battle I think, because you want it of course to read like a novel. I would love if I could. But there are moments where you just can’t make it up, you just don’t know. I spent I don’t know how many hours trying to find out who that girl was in that passage, because Rilke says it’s his [Rodin’s] daughter, but then, he never had a daughter, so that’s impossible. And I couldn’t figure it out, but I really wanted to include that scene with her. So I just thought for the sake of journalistic accuracy I just have to say, “We don’t know who it was.”

     

    There’s a couple of other things. I think I say at one point – Rilke writes that really amazing letter after the ten days in Paris where he confesses to Rodin he’s not actually just there to write a monograph, he asks him, “How should I live?” I would have to say, “Well we don’t really know what Rodin replied.” Because we don’t have a reply. Probably he didn’t reply. You really want to know, “And then, what did he say?” But you have to back off. I’m a journalist first, by training, so I was always having to be in check. My editor was telling me to expand scenes and make them more novelistic or write more about the texture of a place or the characters. At first that was a little difficult for me, because I felt like I had to stick so much to the facts, and over time I allowed it to become more a narrative.

     

    DM: It was very satisfying as a narrative. I mean it’s an exciting, page-turny sort of a thing. So I felt like it succeeded in that sense while clearly maintaining responsibility as a piece of research.

     

    RC: Well, the good thing is that there’s a lot of material on these guys. They’re so hugely famous that I couldn’t even begin to read all of the books on them. There’s a lot of material to work with, you just have to shape it. There was much less on Rodin’s inner life. We don’t know it as well, because he didn’t keep letters or diaries the way Rilke did. But that also works in the story because he becomes this cold, stoic, more exterior figure.

     

    DM: I’ve always gotten a sense of him as an almost totally exteriorized person.

     

    RC: Yeah. And he was a master of surfaces, so he kind of believed everything should live on the surface, everything you need to know about a sculpture you can see, the emotional expression should all come through… and that may be how he lived, a little bit. He didn’t say much, he felt like you could get everything you need to know just by watching him work. He did like to talk and he did interviews, but he only talked about his work.

     

    DM: Your description of him is of a person almost completely unaware of their surroundings. Is that the impression you got from what people write about him?

     

    RC: Yeah. Literally when he was working sometimes, that’s what people would say, they would be talking over here, and he would be looking at a nose or something and tinkering with it and just stop hearing them speak and tune them out. Or he would have models come in and then he would forget about them and they would just be sitting there for hours waiting and he would work all night long and never address them. He did have that aspect it seems. A workaholic, obsessive in his work. And he didn’t really care about anything else, it seems to me. Other than women who were not his wife, he didn’t really care.

     

    DM: You know the early sculpture of her [Rodin’s wife Rose Beuret] and then the later sculpture of her, right? Like there’s one of her as an adorable peasant girl, and then the next sculpture you see she’s middle-aged. It was kind of shocking how unaffectionate the later one was.

     

    R: Well he has this kind of funny saying, when he first met her he’s like, “I loved how strong and vigorous and hardy she looked,” almost like he gave her masculine attributes. That’s what he liked about her though, she looked like a peasant, like a hard-working peasant woman, and he’s like, “I was attracted to that immediately.” So it’s a weird thing where it seems unflattering, and yet that’s what he was drawn to. And he was kind of that way himself. He wasn’t quite a peasant, but he was a middle-class guy who believed strictly in labor and work and that was it. So they were kind of a good match in that way, she embodied those qualities for him.

     

    DM: All I know is about her is him humiliating her with Camille Claudel.

     

    RC: Yeah, he was not a good partner, that’s for sure. I mean, she endured a lot. Rilke has a beautiful description of her. He says that she was like a teacup held beneath a waterfall. That’s how she handled Rodin.

     

    DM: That’s fantastic.

     

    RC: Isn’t that great? That was what her life was, with Rodin. She was like his maid basically. First she was his studio assistant, then she modeled for him. She covered up the clay with wet cloths at night, she tended to all of that, and then also tended to the house, cooked and cleaned.

     

    DM: Did she have suds on her arms that one time? Does Rilke mention it?

     

    RC: Yeah! It’s in there. I think it’s a description Rilke writes. He writes about her, he doesn’t know who she is at first, and she’s got an apron and soap suds on her hands like a maid.

     

    WOMEN IN THE WORLD OF RODIN AND RILKE

     

    DM: So let’s talk about the role of women in the lives of the characters.

     

    RC: One of the most common comments I get about the book is that it has such great women characters and that it’s a feminist book, which is not anything that I set out to do writing a book about two dead white men, but I’m of course thrilled by that assessment. It just treats Clara Westhoff, who’s Rilke’s wife, as a real character and artist, which she was, and their mutual friend Paula Modersohn-Becker, who was a brilliant painter, probably the most talented among that young group at the time, and she was a big figure in Rilke’s life also – and then also Camille Claudel and Rose Beuret, the wife of Rodin… it just basically treats them all as people. I don’t know why people keep talking about the women in the book, but I think it’s because Rilke and Rodin didn’t surround themselves with uninteresting women, they were drawn to accomplished, talented women, so they are interesting figures on their own.

     

    For more on women and their work and role in the world of Corbett’s book, and for Corbett’s thoughts on contemporary figurative art, see the rest of this interview in PoetsArtists Woman as Warrior.

     

    You Must Change Your Life: The Story of Rainer Maria Rilke and Auguste Rodin is available from Amazon.

     

    Tag: NEWS
    HYPERALLERGIC: Steve Keister’s Cargo Cult of One
    April 17th, 2017

     

    John Yau’s review of ‘Steve Keister: Post Columbia: New Ceramic Reliefs and Fiberglass Sculpture from the 1980s’ at Mitchell Algus Gallery.

     

     

    Many people cannot wrap their head around the fact that Steve Keister’s sculptures can be divided into two groups that appear to have nothing to do with each other. This would be less of a problem if we begin with the understanding that Keister has been an outlier since the beginning of his career in the late 1970s, and that his unwillingness to fit in, no matter what the reception was to his work, made him a unique, curious, idiosyncratic, baffling, and challenging artist.

     

    The first thing that made Keister an outlier is the siting of his sculpture, which you didn’t back into (in Barnett Newman’s phrase), but bumped your head against. At least that is what I did one evening, when I stood up from the kitchen table of the legendary collectors Herb and Dorothy Vogel, and smacked my head against one of the suspended, angular sculptures that Keister began exhibiting in the late 1970s, which he wittily called USOs (Unidentified Suspended Objects). Herb and Dorothy were not all that tall, and so for them this was never problem… Read Full Review.

     

    On view at Mitchell Algus Gallery (132 Delancey Street, Lower East Side, Manhattan), April 1 – May 7, 2017.

     

    Reprinted from HYPERALLERGIC.

     

    Tag: NEWS
    Jack Early in FROG Magazine
    December 21st, 2016

     

    Frog Magazine Reviews Jack Early at Fergus McCaffrey

     

     

    "Happiness is a dangerous thing for an artist. It’s easy, of course, to critique institutions; or to address our current environmental crisis, especially when you have the funds to, say, fly a bunch of glacial ice to Paris; or to maintain distance from any sort of content whatsoever by making objects—one hesitates to call them images, and this happens just as easily in three dimensions—that are six or seven times removed from whatever they resemble or were meant to address in the first place, a sort of latemodernist autoerotic asphyxiation that masks itself as “practice”. These easy, played-out tactics, though once novel, are now all that seems left to artists. There is very little lust, or joy, or misery, or beauty, or even ugliness, unless it’s dressed up as something else: as ugly-beauty, or a critique of the lustful gaze, or “the simulacrum of joy inherent in late-capitalist neo-liberal commodity fetishism”… Read Full Article from Frog 16, October 2016 (PDF).

     

    Was on view at 514 West 26th Street, New York, NY from February 18 — April 9, 2016.

     

    Reprinted from Frog Magazine.

     

    Tag: NEWS
    Studio Open House 2016 Photos & Video
    October 6th, 2016

     

    The Morgan Fine Arts and Film Center (MFAB) hosted its 14th Studio Open House on October 1, 2016 from noon to 10PM. There were 250 guests.

     

    Morgan ran a shuttle from the “L” at Bedford and the “G” at Nassau to and from the building. Beer, wine and food were served.

     

    The Event was coordinated to coincide with the Bushwick Open Studios. A catalog was published and passed out at the door.

     

    The next Studio Open House is scheduled in May; The Building will participate in the Greenpoint Open Studios.

     

    Credit goes to Shane McAdams for his help in scheduling the event and to Marta Wlodkowska for coordinating the participants and putting the catalog together.

     

    The pictures below were taken early in the day, before the onslaught of guests; photographs by Peter Buchman.

     

    Marta Wlodkowska, Open House Organizer

     

    Helen Hunt Mask Video from 2016 Studio Open House

     

    Steve Keister, Sculptor, Professor, Early Work

     

    Shane McAdams, Shane Walsh, Painters

     

    Elias Gurrola, Designer - Friends

     

    Richard Steinbach, Photographer

     

    Mathew Fletcher and the Gang

     

    Alessandra Peters, Painter

     

    Maureen Goodman's Studio 2

     

    Christian Coronel, Unnamed Piece

     

    Steve Keister, Sculptor, Professor, Wall Sculpture

     

    Ed Heck, Snoopy

     

    Maureen Goodman's Studio 1

     

    Laura Lombardi, Jewler and Friends

     

    Arf

     

    Carrie Morrissey, 00 Fucks

     

    Keith Marlowe's Studio

     

    Christian Coronel, Conceptual Artist

     

    Steve Keister, Sculptor, Professor - Portrait

     

    Keith Marlowe, Photographer

     

    Jen Ferguson and Harold Hirshorn, Painters

     

    Cheryl Molnar, Collagist

     

    FoodWine Spread Before Guests Arrive

     

    Maureen Goodman's Studio

     

    Jen Ferguson, Miscellaneous Works

     

    Elias Gurrola, Modeling His Design

     

    Elias Gurrola, Designer, Modeling His Design 2

     

    Elias Gurrola, Designer, Modeling His Design 3

     

    Carrie Morrissey, Jeweler

     

    Elias Gurrola, Designer - Friend

     

    Ed Heck, Painter, Sculptor, Designer, Entrepreneur

     

    Custodial Staff Father-Son, Papa & Joel

     

    Christian Coronel, Unnamed Piece 2

     

    Charlies Santamaria, Tatto Artists, Illustrator, Conceptual Artist

     

    Tag: REVIEWS
    Studio Open House 2016, Sat, Oct. 1
    September 30th, 2016

     
    On this coming Saturday, October 1, 2016, the Morgan Fine Arts Building will host its 14th Studio Open House.

    Event page on Facebook:
    https://www.facebook.com/events/918556378276747/

    The event starts at noon and extends to 10 PM. There will be a free shuttle from the G and the L trains. Free beer and food will be served. In the past we have had 300-400 guests. A catalog of this year’s featured artists is available here:

    http://morganfineartsbldg.com/OS/2016F/CATALOG-2016-OPEN-HOUSE.pdf

    Tag: NEWS
    Jack Early in Numéro Magazine
    September 8th, 2016

     

    A bit of Jack Early’s colorful studio work found its way into the pages of last months Numéro Magazine.

     

     

    The French fashion rag used Jack Early’s art as inspiration for an eight page shoot in the Numéro Arts Edition for June.

     

    “It was a lot of fun to sit down and concept with the magazine team.” says Jack in studio 3G. “Greg Kadel the photographer and Bill Mullen the stylist are two artist I have long been a fan of myself.”

     

    The shoot incorporates Early’s latest work of silk screened canvas’s and paintings of Popsicles created right here in the Morgan Fine Arts building.

     

    A piece Jack built in 2009 of a glow in the dark rainbow also appears in the shoot.

     

    Numéro Magazine Link:
    www.numero.com/en/fashion/exclusive-artist-jack-early-and-photographer-greg-kadels-fashion-story

     

     

    Tag: NEWS
    Ways and Means: A New Look at Process and Materials in Art
    July 27th, 2016

     

    Curated by Jason Andrew

     

     

    Ways and Means: A New Look at Process and Materials in Art


    On View: July 11–October 7, 2016
    Gallery hours: Monday–Friday, 8 a.m.–6 p.m.

     

    Curated by Jason Andrew and featuring work by: Chakaia Booker, Amanda Browder, Maud Bryt, Ali Della Bitta, Bruce Dorfman, Bruce Dow, Max Estenger, Ben Godward, Charles Goldman, Jenny Hankwitz, Norman Jabaut, Bryn Jayes, Hildur Asgeirdottir Jonsson, Steve Keister, Jill Levine, Robert Moskowitz, Frank Owen, Robert Raphael, Dorothea Rockburne, Naomi Safran-Hon, Richard Serra, Donald Traver, Susan Wanklyn, Daniel Wiener and Letha Wilson.

     

    Ways and Means: A New Look at Process and Materials in Art is organized by Norte Maar and sponsored by the 1285 Avenue of
    the Americas Art Gallery, in partnership with RXR 1285 Owner LLC, as a community-based public service.

     

    1285 Avenue of the Americas Art Gallery
    Between 51st and 52nd Streets, New York City

     

    Tag: EXHIBITIONS, NEWS
    Jack Early @ Fergus McCaffrey
    June 16th, 2016

     

    Fergus McCaffrey’s Jack Early Exhibit

     

     

    In his largest solo exhibition to date, Jack Early showcases a new body of paintings and sculptures. While still implementing the tongue-in-cheek provocation that defined his early works (many of them created in partnership with Rob Pruitt), Early’s newer pieces focus more on his own narrative and approach to story telling. The new works include images of furniture and wallpaper from Early’s childhood home, combined with references to pop culture images from the artist’s youth. Thus, visitors glimpse an intensely personal approach to Americana, both cliche and indisputably real at the same time.

     

    Was on view at 514 West 26th Street, New York, NY from February 18 — April 9, 2016.

     

    Reprinted from MutualArt.com.

     

    Tag: NEWS
    Photographer Wesley Mann in Residence
    May 26th, 2016

     

    Welcome to the Redneck Yacht Club: Photographer documents experience inside Florida area where thousands flock each year and proudly display Confederate flags

     

    • Brooklyn-based photographer Wesley Mann traveled to the Redneck Yacht Club in Punta Gorda, Florida
    • He documented the experience where thousands travel to enjoy camping and riding the mud trails in ATVs or trucks
    • Mann said there are certain restrictions, but ‘very few rules’ once inside the 880 acres of space

     

     

    Each year thousands of people flock to the Redneck Yacht Club in Southwest Florida to enjoy days of camping, drinking and riding the mud trails in ATVs or pick up trucks.

     

    Brooklyn-based photographer Wesley Mann documented the experience on the 880 acres of terrain in Punta Gorda, which is also known as the Redneck Mud Park.

     

    He explained to Feature Shoot that everyone must pay in cash before entering and that ‘there are very few rules’ inside.

     

    Mann, who has taken a number of celebrities portraits in the past, said there are certain restrictions, such as stripper poles, chainsaws, firearms and illegal drugs, that are all prohibited.

     

    He described the scene as ‘intimidating’ at times, but he shared that he frequently reminded himself not to pass judgement on those who were in attendance at the mud park.

     

    The area is especially packed on patriotic summer holidays, like Memorial Day and Independence Day, with both young and older people including children.

     

    His series of photographs show attendees relaxed and enjoying the environment, as a mixture of confederate and American flags can be spotted waiving along in the wind.

     

    Reprinted from the Daily Mail.com.

     

    Tag: NEWS
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