NYC-based Street Artist Denis Ouch has been busy lately painting images of Superheros in Face Masks all over the city. His most ambitious contribution to the series so far seems to be this monumental mural depicting masked-up versions of Superman, Batman, Thor (who technically is a God, not a Superhero), and Wonder Woman, accompanied by the urgent plea “Save Us Justice League” in white (and Ouch’s tag in pink).
The mural expands across two facades of the building at the corner of 8th Avenue and Greenwich Avenue (by the Mobil Station), in Chelsea.
NYC could use some saving, now more than ever I suspect.
“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.
Between The Capes By Rich Simmons. Let The Homo-eroticism Begin! (All Photos By Gail)
A new movie called BATMAN v SUPERMAN: Dawn of Justice opens today (March 25th) in theaters nationwide, but all I want to know is, in a battle between these two legendary Superheroes, how does Batman not get this Bat Ass handed to him by the Man of Steel? Because Batman, as super studly as he looks (I’d do it) has no real Super Powers. All of Batman’s tricks are gadgets he keeps in that utility belt thing of his. So, Kryptonite aside (and really, how is there even Kryptonite on the earth, after the entire planet Krypton was been completely obliterated? I ask yez.) there is just no way Superman is not picking up the Batman like he was a feather and chucking him off into outer space. Superman, FTW!
Also: Free Popcorn!
Anyway, whatever I’m missing about Kryptonite-infused arrows and whatever, I don’t care, because I really love both of these guys in tights equally. Just last night Geoffrey and I were hanging out at Taglialatella Galleries on 10th Ave checking out all kinds of cool Batman and Superman (plus, other Superheros) artworks for sale, plus free wine! Here are some of our favorite pieces from the show!
Here’s a huge piece featuring Superman By Mr. Brainwash. Ideal if you need to cover a lot of wall space.
According to the comic book legend, Superman’s father Jor-El sent his infant son to safety on Earth before Krypton’s destruction, saving his life but inadvertently sentencing Superman to a future of displacement, loneliness and longing.
Superman grows up believing that Kandor – his city of birth – was destroyed, but later discovers his real home still exists, having been stolen by intergalactic archvillain Brainiac prior to Krypton’s demise, shrunken to a miniature metropolis and left trapped inside a glass bottle.
Superman ultimately wrestles Kandor away from Brainiac and hides it in his Fortress of Solitude, sustaining its citizens with tanks of Kryptonic atmosphere.
As artist Mike Kelley (1954 – 2012) once explained, Kandor functions for Superman as “a perpetual reminder of his inability to escape the past, and his alienated relationship to his present world.”
Hauser & Wirth is currently hosting the eponymous Mike Kelley exhibit, the gallery’s first exhibition devoted to one of the most ambitious and influential artists of our time. Organized in collaboration with the Mike Kelley Foundation for the Arts, the exhibition is the first in New York to focus exclusively on one of the most significant of Kelley’s later series, Kandors. These visually opulent, technically ambitious sculptures combine with videos and a sprawling installation never before exhibited in the United States, as the late Los Angeles artist reworks the imagery and mythology of the popular American comic book hero, Superman, into an extraordinary opus of nurture and loss, destruction, mourning and – possibly – redemption. This my favorite exhibit of the year so far!
Kelley’s Kandors (1999, 2007, 2009, 2011) is named for Superman’s birthplace, the capital of the planet Krypton. According to the comic book legend, Superman’s father Jor-El sent his infant son to safety on Earth before Krypton’s destruction, saving his life but inadvertently sentencing Superman to a future of displacement, loneliness and longing.
Bottle 4 Video Projection
Superman grows up believing that Kandor was destroyed, but later discovers his real home still exists: Kandor was stolen by intergalactic archvillain Brainiac prior to Krypton’s demise, shrunken to a miniature metropolis and left trapped inside a glass bottle. Superman ultimately wrestles Kandor away from Brainiac and hides it in his Fortress of Solitude, sustaining its citizens with tanks of Kryptonic atmosphere. As Kelley once explained, Kandor functions for Superman as ‘a perpetual reminder of his inability to escape the past, and his alienated relationship to his present world.’
Wall of Lenticluar Prints
While Kelley’s Kandors series relates to the artist’s longstanding preoccupation with memory, trauma, and repression, these works are also powerful vehicles for the formal investigations of color, light and scale that marked the last decade of the artist’s life. Kelley even described works from the series as being ‘akin to paintings by Henri Matisse’, but sculptural and in three dimensions. By focusing exclusively upon Kandors, the exhibition at Hauser & Wirth offers viewers fresh insight into the formal challenges, popular cultural references, and psychological states Kelley prioritized in his last years.
Entering the exhibition at Hauser & Wirth, visitors encounter a group of vitreous sculptures glowing in a dimly lit room. Cast in resin, these miniature metropolises representing the city of Kandor create an optically dazzling spectacle rendered in a palette of refracted colors.
Visitors continue through the space to find Kandor 4 (2007), in which Kelley has abstracted and reinterpreted the narrative of the fictive city in a complex amalgamation. Kandor 4 comprises three cities standing on a plinth, illuminated from beneath, with their towering architectural skylines bathed in tones of yellow, red and blue.
Kandor 4, Detail
The fantastical cities are juxtaposed with an ultraviolet glass bottle resting on a yellow base, connected to a gas tank and hose intended to evoke the life sustaining vapors Superman used to keep the citizens of Kandor alive beneath their glass bell jar. In the final component, a video projection depicts Bottle 4 with an array of swirling atmospheric and light effects inside it, accompanied by an otherworldly soundtrack composed by Kelley.
Each unique representation of Kandor in the exhibition derives from one of the many illustrations of the city by various artists in the Superman comics, beginning with Action Comics #242 (July 1958). Intrigued by the stylistic and architectural inconsistencies that marked Kandor’s representation in the ensuing half century, Kelley selected 20 strikingly diverse illustrations from the original comics’ panels.
Click to a Watch Video and Hear the Exhibit’s Otherworldly Soundtrack
He manipulated and superimposed the designs and colors of these illustrations, which he enlarged to life-scale and employed to create a group of lenticular light boxes. A selection of these light boxes illuminates the darkened hallway leading visitors to the exhibition’s innermost room and most significant element: Kandor 10B (Exploded Fortress of Solitude) (2011).
Kandor 10B (Exploded Fortress of Solitude)
Still from Extracurricular Activity Projective Reconstruction #36
This version of Kelley’s Extracurricular Activity Projective Reconstruction #36 (Vice Anglais) (2011) is a lightbox that juxtaposes the original found photograph with a still from his film. Click to Watch Video
The climax and coda to the Kandors series, ‘Exploded Fortress of Solitude’ is a cavernous installation spread across the gallery’s main space. Exhibited here for the first time in the United States, this epic work is presented together with the video ‘Extracurricular Activity Projective Reconstruction #36 (Vice Anglais)’ (2011), an unsettling but humorous satire that collides psychosexual and sadomasochistic drama with a repertoire of parodic clichés derived from British Hammer Horror films. The blackened exterior of Kelley’s monumental fortress contains a dimly lit cave-like environment surrounded by fragmented boulders, a gas tank, hoses, a buck, and chains, evoking a haunting sense of unease and menace.
Here, the artist shifted his formal investigations from color, light and transparency to ambitious sculptural gestures inflected by darkness and opacity. Exploded Fortress of Solitudeis a ruin of textured, black-hued, faux boulders and slabs that draws viewers inside by the sheer force of its scale and mystery, while the murmuring acoustics of Vice Anglaislayer the atmosphere with tension and anticipation.
In the video, the Exploded Fortress of Solitude serves as the backdrop for the exploits for Kelley’s gang of perverts; visitors exploring the cave are likewise subjected to the unsettling whimpers and debauchery of the English Vice.
One of the final works of the Kandors series, Exploded Fortress of Solitudesuggests a dramatic denouement for the fated city, a possible catharsis not only for Superman but for Mike Kelley and for us. It emblematizes the extraordinary articulation that preoccupied Kelley in the years before his untimely death, between his two great serial enterprises of the 21st century, Kandors and the Extracurricular Activity Projective Reconstructions.
From within the depths of Superman’s fortress, the visitor is reunited with the city of Kandor, now rendered as a glowing rose-colored emanation encased beneath a bell jar. Eerily illuminating the darkness of the rocky chamber, the roseate Kandor reveals that the crevices of Superman’s solitary sanctum sanctorum actually glitter with tiny gold trinkets.
The Fortress of Solitude has indeed exploded. Chaos has triumphed over order and long years of preservation have succumbed to galactic cataclysm – but we are left with a pot of gold. At the limit of loneliness and trauma, in an uncanny archaic place, we encounter a glittering symbol of duality – of hope and life, of wealth and greed.
Mike Kelley took his own life on January 31, 2012. RIP.
Mike Kelley will be on Exhibit through October 24th, 2015 at Hauser & Wirth, Located at 511 West 18th Street, in the Chelsea Gallery District.
Currently sharing the space with the paintings of Kevin Cyr at Jonathan LeVine’s 22nd Street Location is a fun exhibit from Canadian artist Gary Taxali, whose whimsically twisted artwork is a perfect fit for the gallery. Unforget Me includes works on paper and panel, including the artist’s largest piece to date (as seen above).
Taxali creates hand-drawn typography and expressive, cartoon-like figures with layers of printmaking techniques such as rubber stamps and silkscreen. Known for a graphic style and retro aesthetic, his imagery is largely inspired by vintage animation and printed ephemera (comics, advertising and packaging). Taxali works with multiple mediums and utilizes a variety of found materials like old book covers and torn, age-worn, scribbled-on pages.
Gary Taxali describes the exhibition as exploring: “themes of love, separation, isolation, unease, excitement, revelations and absolute joy through the overarching theme of paradoxes. In these works, my characters try to make sense of their situations and the dualities therein. Many of the works contain opposite reactions, both in concept and execution.”
He continues, “I’ve also employed the use of non-existent words. An effective way for me to convey all of this is through humor, both light and dark, mocking the flaws of the human condition yet serving as a sweet reminder that nothing should ever be taken absolutely seriously — I try to unforget that every day.”
This is a very fun exhibit that I recommend you check out in the next few weeks.
Gary Taxali’s Unforget Me will be on Exhibit through March 22, 2014 at Jonathan Levine Gallery, Located at 529 W 20th Street, 9th Floor, in the Chelsea Gallery District.