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My work lives between the media of installation art, video installation, photography, and new media, depending on the nature of each project. In earlier artworks, I used contemporary media to reanimate sites with images of their own lost histories. More recently, in the past few years I have worked primarily with the moving image. I create multiple-channel, immersive video installations for museum and gallery viewing. I will be exhibiting my most recently completed piece, Racing Clocks Run Slow: Archaeology of a Racetrack at Jack Shainman Gallery this September. The artwork is a 3-channel high definition video installation, 18 minutes in length, with surround sound.
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I am a fauxtographer. I love photography, but have no aptitude for apertures. Photocopying, that’s my medium. It’s a kind of crude photography and my favored tool for manipulating appropriated imagery. I use fashion photographs, pulp magazine pages, and art history icons from my graduate studies in ancient Greek art. Becoming Venus and Cycladic Series are a mischievous merging of high art and low culture whose intention is to comment on the seduction of fashion and the way women see themselves. This mixed media series also includes encaustic painting, which combines heated beeswax and pigment. Additionally I often use graphite, beads, painter’s tape, and thread. This is my method for bringing dimension and life to the reconstructed images. My work is an intuitive response to the fashion industry, which is very much a part of my environment in New York City.
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Art history is one of the subjects I find most fascinating to work with. I am driven by the concept of questioning themes intrinsic to the history of painting, such as perception, presence, and absence—that is to say, the very essence of its raison d'etre. I use a wide range of materials and techniques, at times being more faithful to tradition, while on other occasions creating objects that exist in a space departs from conventionalism. Since 1996, part of my work has been inspired by some of the classical masters. For instance, I begin by taking a fragment of an image and then paint it again, remaining as faithful to the original as possible. Sometimes these fragments seem to be chosen at random.
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Skin is the largest part the Body.
Skin is the sensitive part—sometimes so fragile, sometimes so tough.
Skin is appearance, but what’s inside skin is more important than that.
It's a Soul.
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Side View, Nino Korinteli’s debut solo exhibition at Broadway Gallery in New York, presented a refreshing panoply of new work by the artist. Incorporating a wide array of media and subject matter, Korinteli’s vision is broad. Though self-taught, Korinteli demonstrates a dexterity, sensibility, and awareness of art history far more informed than the "outsider" or "visionary" schools of art. Side View demonstrates this through the presentation of several bodies of work, including series from her representational paintings, multimedia abstractions, as well as works on paper. Influenced by themes of the quotidian, Korinteli employs a vibrant sense of innovation in executing her imaginative reinterpretations of everyday scenes and events. Korinteli believes that that artistic process is one that synthesizes complex particularities into a whole, and she finds in her work–no matter what the medium–a simultaneous site of presence and escape.
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The channels through which photography finds its way to the buyers are still highly traditional. Original prints are mainly sold through galleries. But since new media channels, particularly the Internet, are gaining increasing importance in all sectors of the economy, including the fine art market, there is no reason why the trading of artworks through the Internet should remain a concept of the future any longer. The traditional gallery can be very intimidating for the average person. That’s why I started photographerslimitededitions.com, a digital gallery where you can buy a piece of art whenever you like and wherever you are. I want to present the works of today’s most respected art, fashion, and celebrity photographers to a rapidly growing group of enthusiastic fine art photography collectors in a contemporary format, making new works accessible to a broader audience.
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My youngest sister was born when I was 13 years old. It was a few months before the sex education program started at school, and I had no knowledge about sex. Friends made fun of my parents for having a baby, and that was really confusing for me. I respect my parents. They were very austere and never affectionate in front of us as children. They never gave me clear answers to my questions about sex and reproduction. My mother was very religious. She was prejudice against everything sexual, including love scenes on TV or in movies, even my sister's boyfriend. When I was old enough, I went to the temple services with my mother, so I naturally was influenced in believing that casual sex was a sin.
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Leah Oates: You have an upcoming solo show at Charles Cowles Gallery in June. Can you give us a preview of what you will be showing, and, since this is a big show for any artist, tell us how you are preparing mentally?
Pepe Villegas: I met Charles Cowles almost a decade ago through mutual artist friends, though for many years the idea of an exhibition in his prestigious gallery was just a far-fetched illusion. Ever since I was a child, I dreamed of becoming an artist in New York City. It was a romantic idea that has manifested itself in an unconventional way. Last year, I decided to step up to the plate, and I asked Charles Cowles to review my latest work. He kindly agreed and we set up a date. He and his gallery director showed up, contemplated my work, and asked me if I wanted to show it in the gallery. Of course I didn’t hesitate to say yes.
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Leah Oates: When did you know you were an artist, and how did you develop as an artist?
Sebastian Lemm: It was a very gradual process. Growing up, I never really considered being an artist, although I've always had a desire for creative freedom. It took me a while to figure out how to best live that desire, and I made career choices in my life that were not really a direct path towards being an artist. These took me from studying engineering for a few years to going to art school and doing documentary photography and commercial work alongside installations and more experimental photos. It was only after coming to New York in 2000 that I found a path within photography that I thought was worth pursuing. There is a strong sense of heritage in German photography, and moving to New York from Berlin helped me distance myself from these and other well-trafficked paths in the medium and develop my own concepts.
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| Rupture, Part One, aims to portray the situation that arises when things break down: when the routine of life pauses and the door is opened for basic, unmediated humanity to step and replace the automata of contemporary rigor. Such moments are inflections on how we function on a most basic level, without the societal and psychological influences that we have grown to rely upon. Separated into two distinct groups, the photographs provide a shift for the viewer between directly experiencing this moment, and a voyeuristic perspective that depicts the spectacle of watching another in the thrall of this experience. |
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I am an open flux artist. The following attributes that are the target of my creations are the things, I believe, all the contemporary artists who can't refrain from creating with concern and responsibility should have. To witness “the essence of time” (zeitgeist) once again, that is to be more adverse and radical on this earth that is going down the drains, to heed the sharing and wide circulation of their creations instead of their ownership problems, to be independent. To be an artist who shows the way, opens minds, and redefines new problems, along with being an artist who also can be open to all kinds of interaction and communication, and being a playmaker when necessary.
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There lives within me an insatiable appetite to squeeze from every fragment, a universe. That’s probably the exaggeration factor in all Italians, or all of Latin for that sake. We enjoy amplifying mundane issues and converting them into seemingly life-changing happenings, and what’s worse, we believe them to be universally significant. I take possession of stories that may or may not be my own and cast myself as the protagonist. These fictitious characters live within my paintings and I let them breathe the moment, the minute details, to the point in which I lose touch with what is reality and what is fiction, what’s mine and what I’ve borrowed.
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It seems, and this could be already the age, that my motivation to make art is getting more and more simple. At the current moment I could describe my work just as writing a diary before I go to sleep. I don’t care too much about the trends or preferred medias that current fashion dictates, like what has happened in painting in the last few years or other unexpected examples of tunnel vision in the global contemporary art race. It seems that today is a great time to make art focused more on stories and less on medium. I simply ask myself the old question: Why I am here? And since I am here, “What is that all about?” (That is no joke: I am serious!) And luckily I never get tired of this immature behavior.
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As a musician, I am interested in the sensual nature of sound, its power of synchronization, coordination, release, and change. Hearing represents the primary sense organ—hearing happens involuntarily. Our ears are always receiving, whether or not we are aware of it. Listening is a voluntary process that occurs after the process of hearing takes place. Listening is delayed and comes after evoked potentials in the brain. We can choose to listen or not. Listening takes place in the audio cortex and develops throughout our lifetime through experience and training. It takes many listeners and consensus to produce musical culture. All cultures or communities develop and change through ways of listening. Deep Listening® is listening in every possible way to everything possible to hear no matter what you are doing
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Ohad Fishof: In many of your works you are using the voice to initiate a process of other species’ embodiment. Can you talk a little bit about that? What is it about the voice that makes it such am efficient “empathy machine?”
Marcus Coates: The physical position is an obvious and undeniable starting point from which to explore a commonality with nonhuman species. It is perhaps a position from which we explore everything relationally. I’m interested in the idea of a genetic physical knowledge and the potential of this to explore cross-species consciousness and therefore a sense of what it is to be human. Often the starting point for my investigation is vocalization, the result of a basic common experience—the physical reflex of breathing and the air passing through the voice box.
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