Last chance to see the Special Delivery 2012 Exhibit is Sunday September 30th, 2012 from Noon till 6pm.
The documentary VIGILANTE VIGILANTE will be showing during the exhibit at 2pm and 5pm.
LOCATION: The Carbon Warehouse – 1350 4th Street, Berkeley, California
Camera Friendly – No Alcohol, No Bags – Donations Appreciated
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.
This Sunday is the last chance for the public to view our SPECIAL DELIVERY Bay Area 2012 Mural Exhibit.
In celebration of a successful exhibit, we will be showing two screenings of “VIGILANTE VIGILANTE – The Battle for Expression” on the first floor in the back room to the right.
SCREENING TIMES: 2pm and 5pm
(Limited Seating / Show up Early)
GALLERY HOURS: 12 Noon – 6PM
(Sunday the 30th Only)
GUIDELINES: Please No Alcohol or Bags – Cameras are cool
DONATIONS APPRECIATED
LOCATION: The Carbon Warehouse – 1350 4th Street, Berkeley, California
(Enter through the rolling gate on 4th Street)
“Vigilante Vigilante: The Battle for Expression” Official Trailer from max good on Vimeo.
http://www.vigilantefilm.com
A new breed of crime-fighter now stalks the urban landscape: the anti-graffiti vigilante.
These dedicated blight warriors stop at nothing to rid their neighborhoods and cities of street art,
stickers, tags, and posters.
Yet several of these vigilantes have become the very menace they set out to eliminate. In their relentless attempt to stamp out graffiti, they have turned to illegally and destructively painting other people’s property.
VIGILANTE VIGILANTE is the story of two filmmakers who set out to expose these mysterious characters and discover a battle of expression that stretches from the streets to academia.
Lady Karma and her friends threw together this impromptu music video while she was painting her piece on the third story of this years SPECIAL DELIVERY Bay Area 2012 Exhibit.
MOBILIZE: JANAKA SELEKTA & SETI X from Odell Hussey on Vimeo.
Filmed/Directed by Odell Hussey
http://www.odellhussey.com
http://www.facebook.com/Odell.Hussey.Photography
Janaka Selekta & SETI X aka Mandeep Sethi come together for their first collaboration, bridging genres and generations of Asian underground frequencies. Filmed in the Endless Canvas Special Delivery Warehouse in Oakland, California, SETI guides the viewer through layers and layers of visual code and modern day supreme heiroglyphics blasted against the walls of concrete, speaking stories of struggle, happiness, and life. It's time to mobilize.
On view September 22nd through October 22nd, 2012
at OLD CROW Tattoo and Gallery – 362 Grand Ave, Oakland, California
(Optimist)
(David Polka)
(Chor Boogie, D Young V)
Special Delivery 2012 from Mapache Films on Vimeo.
Video: Mapache Films
Audio: Todd Sykes
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.
