Here’s a new artwork by street artist SacSix that you’re probably already seeing all over the city. Break Through depicts the instantly recognizable hand of Mickey Mouse making the Peace Sign, where his two fingers literally ‘break through’ the fabric of the white glove he wears. Pretty heavy. According to the artist, “2020 is the time to break through the white glove of racism and oppression. Time for Equality. Justice. Peace. RIP George.” This piece is a ‘sign of the times’ if there ever was one.
Above Images Photographed in Freeman Alley, NYC.
Here it is Again, Sharing Space With an Outdoor Cafe on Mercer Street in Soho.
This Baby Pink statuette of the most famous mouse earth is an official Disney-design produced by the French company Leblon Delienne. Known as Mickey Welcome, it is one of three new pastel colorways made of lacquered ABS plastic, which replaces an earlier series created in resin. The new material is an aesthetic equal to resin, but represents an environmentally-friendly improvement, as the ABS plastic is recyclable. Priced to collect at $280 each.
Photographed at 10 Corso Como Design Store in the South Street Seaport, NYC.
Jerkface is one of my favorite street artists for his use of popular, easily recognized cartoon characters in his sightly skewed cultural visions. This double-vision mural of Mickey Mouse went upon May of 2018 and it still looks pretty good!
While people will tell you that this piece is at Houston and Mott, you can see from the above photo that it is set quite far in on Mott Street, between Houston and Bleecker.
Concert Poster artist and collectible figure aficionado Frank Kozik has been churning out limited editions of his Mickey Mao bust, officially entitled The Bird is the Word (because “Papa Ooh Mao Mao,“ I guess?) for a decade, I think. I’ve seen them in all sizes, colors and finishes, but this one measures an imposing 30″ x 20″ x 18″ and comes in a Lime Green Sparkle Automotive finish that can be yours for just $7,500!
In 1971, Child Guidance Products manufactured the Mick-a-Matic Camera: a large plastic body shaped like Micky Mouse’s head with a viewfinder in its forehead, a lens in its nose and a flash between its ears. The camera was designed for children, but photographer Stephen Shore used it throughout 1971 to take dozens of images, some of which appeared in the exhibition, All the Meat You Can Eat. These pictures marked Shore’s first artistic use of color photography.
Mickey Mouse Head Camera was Photographed as Part of the Stephen Shore Career Retrospective, on Exhibit Through May 28th, 2018 at the Museum of Modern Art in NYC.
“More than anything, people just want stars, Andy Warhol once remarked. In Myths (1981) he depicts Superman, the Wicked Witch from Wizard of Oz, and other heroes and villains of American culture (including, on the far right, himself). Silver paint alludes to the “silver screen,” and the vertical rows of mechanically reproduced head shots suggest filmstrips or contact sheets, the sources feeding our obsession with celebrity. Yet Warhol’s title is more complex: “myths” could refer to the “mythic” status of movie stars but it also connotes falseness, the distortion of truth, and the fleeting nature of fame.
Vladimir Lenin, Mickey Mouse and Jesus Walk Hand-in-Hand in this Sculpture from Recycling Religion (All Photos By Gail)
Popular artists like Banksy, Ron English and Damien Hirst have all blended Religious iconography with commercial images in the creation of artworks that take the piss out of Things That People Worship, but that’s not to say they’ve made the definitive statements when it come to mockery of organized religion and scathing criticism of “The Church” in general. Because that domain is pretty much open to everyone with a thought and a way to express it.
Curated by Marat Guelman and Juan Puntes, Recycling Religion is a group show at WhiteBox which examines the role of religion in Russia and Eastern Europe since the collapse of the Soviet empire.
Kinetic Sculpture with Detail, Below.
A statement from the exhibit;s Press Release explains, “In the modern age, the once repressed and dormant Orthodox Church has evolved in the past quarter century to become an intrinsic and powerful extension of the State, commanding broad influence over life beyond its purely spiritual role. From art and entertainment to dress code, and numerous other aspects of personal behavior, this essentially anachronistic religion insinuates its moralizing, oppressive influence and rancid style into life at large.
“In the case of art, the Church goes to extreme lengths to impose and control popular taste, to the inevitable disgust of a new generation of artists — a stellar and representative group of which is represented in this exhibition — who dare to employ Orthodox imagery and symbolism to undermine the established religious canon and the dystopia it fosters in harness with state power. To such artists, the Church is but a hollow vessel that sustains itself only with elaborate stage sets and costumes, outdated ritual, and severe moralizing. However, it is their contention that while the regurgitated apparatus of the official Church represents a moribund ideology, it serves also as a foil by which art can transcend tradition and discover the new-within-the-old.
“This subterfuge is depicted vividly, and in fact compassionately, in this exhibition, in which, through installation, performance, video, and graphic art, the conservative and radical poles of post-Soviet society are shown to in fact interact. As one allegedly spiritual force engages in tearing the world apart while pretending to mend it, another, more pragmatic, biological force appeals to the need to rebuild society out of the ruins of Orthodoxy, thus recycling religion, rather than eradicating it entirely.
Artists participating in the Recycling Religion exhibit include Pussy Riot, Oleg Kulik, Dmitri Gutov, Iija Soskic, Jelena Tomasevic, Recycle Group, Alexander Kosolapov, Duke Riley + Mac Premo, Federico Solmi, Robert Priseman, ANVIL Collective, Electroboutique,Vladimir Kozin, Pavel Brat, Arsen Savadov.
The exhibit includes two walls covered with a grid of deified, iconic dead celebrities/public figures, whose demise often occurred by their own hand or as a result of misadventure. You will have some fun spotting your favorites; some instantly recognizable and others much less so.
Wendy O. Williams
These two are pretty fantastic, in both their concept and execution.
In the video above, you’ll see another kinetic piece, where the Pope’s head is depicted as a chattering, mechanized parade float.
I Love Paine
Contemporary Homage to Thomas Paine, English-American political activist, philosopher, political theorist and revolutionary.
A HUGE pet peeve of mine is when galleries do not post the names of the artworks/artists on the walls adjacent to each piece, so that you have no idea who did what; because most people do not read minds but wish to know this information. Such was the case with Recycling Religion, as none of the displays offered the desired identification. and the website is similarly lacking. How lazy. At any rate, I really enjoyed the work of whichever artist created the above altar as part of a series of sculptures/installations involving wooden skulls. Here are a few more of his/her pieces.
And here’s a study sketch for several pieces.
Recycling Religion will be on Exhibit through January 17th, 2016 at WhiteBox, Located at 329 Broome Street, NYC 10002.
Hey, Happy Friday the 13th! This photo of Dylan Egon’s latest wheatpaste Street Art, an image of Mickey Mouse done up as a gun target, was taken a few weeks back when I was trawling the steets of Willamsburg after a fun visit to see Kara Walker’s Sugar Sphinx at the Domno Sugar Factory. That was a good time.
The art of Dylan Egon is most captivating to me for the way he marries art and design. In American Holy Relics, his second solo exhibition at Jonathan LeVine Gallery, Egon combines functional objects with a variety of mixed media works to create a visually dynamic and conversationally topical show.
Birth of a Religion (Debbie Harry) Functioning Speaker Cabinet
Through his work, Dylan Egon exemplifies his appreciation for American culture and craftsmanship. American Holy Relics includes ready-made sculptures, sound installations and functional art objects such as three skateboard deck editions and custom yardsticks that sheathe hidden swords. Additionally, Egon has released a print and vinyl figure based on Saint America, one of the paintings in the exhibition. The credenza in the above photo is also being reproduced for sale by ABC Carpet and Home. I would like to own it.
This sculpture, a custom-built motorcycle inspired by a rare 1934 Harley Davidson speedway racer bike, was a big hit at the opening reception. The bike is fully functional, brass-plated and fitted with holsters for both a gun and whiskey bottle. A stuffed crow sits perched on the handlebars and you’ll also notice a pair of brass knuckles mounted near the front.
In Target Moon, a circular panel contains a full moon background layered in assemblage with elements of cut brass, collage, white butterflies, honeybees, matchsticks, pills, pencils, knives and other objects along with the phrase Inter Spem et Metum — which translates from Latin to: Between Hope and Fear.
Skate Deck and Victrola
Extinction II (Triceratops)
This Tricerotops Skull collage piece is created from hand cut pieces of brass tacked down with thousands of hand driven nails.
99 + 1 = US
Here’s one that New Yorker’s especially can relate to.
American Holy Relics by Dylan Egon will be on Exhibit Through May 3rd, 2014 at Jonathan LeVine Gallery, Located at 529 W 20th Street, 9th Floor, in the Chelsea Gallery District.