Tag Archives: RackGaki

TOKYONEWS illing in NYC

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We are excited to finally announce the release of the 4th installment of SGU (SpecialGraffitiUnit), art paper we publish a few times a year. Vandalism, trespassing and conspiracy charges, wilding in Roppongi with Yakuzas while getting thrown out of every club in Shabuya, #TokyoNews is your new guide to getting locked up abroad.

TokyoNews featuring Tanya Arakawa, Cat Marnell, Kamaryn Potter, Gogy Esparza, Osvaldo Chance Jimenez, Curtis Kulig, Greg Passuntino, … Continue reading »

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A Figure Flattens Japanese Artworld with Robust Tradition

Installation, photograph courtsey of CATM

CATM CHELSEA and Fund Art Now SYNAPSE by Yasuto Sasada (Japanese artist) November 3rd until December 4th, 2011 500 10th Avenue

Installation, photograph courtesy of CATM

Restrain from squashing the next cockroach you see: he may be your last. Could you imagine New York City citizens championing for our blackbeetle buddies? Artist Yasuto Sasada rallies people in Japan to help those who have been hurt by the series of natural … Continue reading »

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Digging Contemporary Anthropologic Art

Erik Pauhrizi, "Gold rise," 2011, 23 karat gold, size of one grain of rice

Erik Pauhrizi’s The Poison of our Sins @ CATM chelsea, 500 West 22nd Street, New York, NY 10011

Erik Pauhrizi, "Gold rise," 2011, 23 karat gold, size of one grain of rice

When sovereign nations attempt to improve economies and introduce fair trade laws, they must also admit tourism as well as imported products. Autonomy and cultural identity tense a native citizen’s relationships on internal-, micro- and macro-levels. A child … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 3 of 3)–C’est fin! Yay!

Suiko, Eternity, Hiroshima (April 2007) Spray paint on wall.

The postwar (World War II) state of affairs of Japan dramatically paralleled the social postwar struggle during the Edo period; yet quite opposite of Edo-period concerns with national isolation, postwar Japan reflected upon globalization’s effect on Japanese identity. Due to the interrelations between nations, Japan’s feudal divisions between rural and urban areas weakened by closing the gap between incomes due to the American occupancy during the 1940s. Moreover, by the … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 2 of 3)

Figure A: Ippitsussai Bunchô, Lovers Spied upon by a Little Boy, Yoshiwara, (c. 1770-80) Color woodcut

The ukiyo-e—translate to “pictures of the floating world” and are woodblock prints—exemplify an infamous Edo-period subversive art form due to their strong association to ukiyo, “floating world,” subject matter and premodern city life. Ippitsussai Bunchô’s (unsigned, due to the erotic subject matter, but attributed to Bunchô) colored woodcut entitled Lovers Spied upon by a Little Boy, circa 1770-80 portrays a highly-contrived, erotic scene delineating an intimate encounter between a girl … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 1 of 3)

The formation of authentic identity has prevailed as a common goal in Japanese art since the Edo period; yet more specifically, the tension between an unfolding dichotomy of social axioms and dissident ideologies has rendered a subjacent art lineage, incongruent with politically-influenced commissions. Both periods’ subcultures offer a severe artistic approach countering enforced conformity, but each responds to a different political circumstance and technological advancement. In both periods, the usages … Continue reading »

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