Posts Tagged ‘Pemex’
PICK ONE UP IN PERSON TONIGHT:
(Friday August 2nd, 2013) Endless Canvas will be tabling at the Oakland Art Walk from 6pm-8:30pm. We’ll be set up at 23rd Street and Telegraph Avenue in front of Rock Paper Scissors Gallery. We’ll also be giving out Bella Ciao posters for free.
We’ve really stepped up our quality with this issue. We’ve added some color, added a couple editors to improve the quality of the interview and changed the binding so that it’s book quality… built to last!
This issue’s featured artist is Pemex. It includes an interview and a four page full color spread of his street work.
The majority of the photos were taken between the Summer of 2011 and the Winter of 2013 in the Oakland / San Francisco Bay Area.
ARTISTS IN THIS ISSUE:
Anemal, Irot, Torso, Crab, Cancer Carl, Lekt, Myla, Lady Mags, JR, Dead Eyes, Trust Your Struggle, Leach, Logo, Koleo, Digit, Kamo, Carb, Grief, Kama, Devote, Enron, Ohioe, OddFellow, Wire, Swerv, Lute, GATS, Pink Eyes, Reminisce, Phaze, Ribity, Vyal, Eggs, Jdog, Pear, Afrika, Euros, Cheph, Goya, Cloud, Psy, Sager, M4M, DyoungV, Destroy All Design, Rodi, Wrane, Ernest Doty, Pork, Chris Granillo, Bella Ciao, Krime, Bhoe, Pemex, Saze, Toro, Chan, Blief, Condor, DieSlow, Roar, Thor, Debl, MYTK, Swampy, You Go Girl, Remio, Paeday, Masher, Attica Riot, Tupac, Meck, Jade, Gun, Civ, PTV, Ebay, Mike, Marte, Aker, Mind Detergent, Hafta, Pobrecito, Optimist, Resta, Stok, Renek, Ghost Owl, Baer, Fword, Ank, Skul, Jurne, Broke, Safety First, Grizley, Oger, Dstn, Daver, Old Crow, HellDiver, Ras Terms, Swoon, Oasis, Party Ghost, Feral Child, Scez and more.
– Limited Run of 500
– 5.5″ x 8.5″ Inches
– Glossy Color Cover
– 66 Pages
– 4 Pages Full Color
– 62 Pages Black and White
– Perfect Bound
– Printed in Oakland
– Recycled Paper
– Animal-Free Binding
This past Saturday (December 1st, 2012), True Modern set up a guerilla cocktail party inside The Carbon Warehouse. The abandoned ink factory housing Endless Canvas‘s SPECIAL DELIVERY Bay Area 2012 Mural Exhibit provided a beautiful contrast to the custom Modernist furniture displayed at the cocktail party. As models served h’orderves, guests were given flash lights and encouraged to explore three stories of the post apocalyptic museum. It was pouring rain and the flooded floors turned into giant mirrors giving new life to the artwork. Water ran through the eyes of murals from floor to floor creating the Bay Area’s own Trevi Fountain. What I thought was going to be a simple furniture shoot turned into one of the most gorgeous things I’ve ever seen.
SAN FRANCISCO, CA – 1AM is pleased to present “Reckoning”, a group exhibition reflecting society’s obsession with catastrophe, both imagined and real. The collection includes original art by Leon Loucheur, Optimist, Robert Bowen, Pemex, Monty Guy and Chamber Made. Drawing from a wide array of disciplines and cultural influences, these six artists expose a darkening horizon, commenting on the ruinous, self-destructive capacity of human societies. The opening reception is on September 28th from 6:30-9:30pm and is on view through October 27th.
“Reckoning” will feature works that incorporate a variety of styles and techniques, blending highly rendered realism with abstract painting, collage, urban and graphic influences to build mood and dynamic into the narrative of the composition. With graffiti and street art backgrounds, these artists will surprise viewers with this newest collection of works aimed at deconstructing conventional realism and reassembling it with layers of context and meaning.
All of the participating artists have been actively showing in galleries around the Bay Area and abroad, bringing worldly impressions from Ireland, South Africa, Taiwan and more. Explore their imagination and experience their influences through dramatic images and compelling landscapes in the paintings displayed in “Reckoning”. For more information, visit www.1AMSF.com. If you have any questions or would like to request media related material, please email anna@1AMSF.com.
Description by Babak:
On Saturday night, September 8, 2012, I and thousands of others witnessed the concrete and steel ruin that is Carbon Warehouse in the old Flint Ink building at 1350 Fourth Street, Berkeley return to technicolor life as a free, underground art gallery.
For hours, we gawked at the fabulous graffiti that covered close to every inch of the building, with music, beer and wine, and an electric atmosphere that should make world art hubs like London, Berlin and Venice blush.
The floor, the walls, the ceiling and sundry nooks and crannies were painted with explosive colors, designs and styles. Many works displayed wit, wildness and undeniable artistry. We gazed upwards to espy the livid ceiling of this crazy, cement Sistine, then we gazed down to follow the lushly sprays of color at our feet. Meanwhile, the building and its inhabitants trembled as the freight trains–many adorned by the same art sheltered now inside the building–roared by below.
This once-abandoned trilevel factory seemed happy to be hosting thousands of equally colorful guests busy drinking in the art in 3D, dancing, flirting, posing, snap-shooting and juggling, all self-regulated, well-behaved and paying close attention to what they saw.
From where I stand, the project as a whole suggests a rare mindfulness and was executed expertly and with foresight. The City of Berkeley and the police seems to have played a welcome role in facilitating this art event by keeping a very low profile and just letting folks do their stuff.
Neither was this an LA-style, Eli Broadish splash for the rich and pretentious, or some rarified and ultimately impotent extravaganza. This was a grassroots, super-collaborative public tryst between artists and their audience, a rare bird in a cynical, corporate art world that should be nurtured.
Sadly, after the event, a tiny handful of uninspired, vandalous fools are reported to have tagged a few buildings in West Berkeley, leaving an unfortunate hair in the mouth of a community that had so enjoyed an otherwise delicious art feast.
Yet, none were among the artists that awed us that night. And none have the right to distract us from thanking everyone that helped artwork blossom before our eyes in this enjoyable, provocative way.
Because, on that night, Berkeley appeared talented, fearless and exciting, and in a humble, inclusive way, a bastion of public art.