The above two pieces of art were stolen from the ‘Pressure‘ exhibit at the SF RVCA store three days ago (not during the opening). They are from permanent/private collections and have a great deal of sentimental value to the artists.
This isn’t the first time pieces by Barry have been thieved. Very lame.
Click here for more details about the theft and how you can help.
A benefit art auction for Displacement, a film by Alex Kopps, takes place on Sat. June 28 at the Luggage Store gallery. Participating artists include: Alex Kopps, Barry McGee (auction items shown above), Clare Rojas, Thomas Campbell and many more.
Fortunately, you don’t have to live in San Francisco to partake of the auction. You can view pics and download an online/absentee bidding form at the Displacement art auction website. Check it out.
The silent auction is open for bidding online now through Friday, July 4, 2008 at 12:00 pm.
Money raised during the auction goes towards the production of Displacement, which is set for release in 2009.
>Photos< The opening reception for “In the Land of Retinal Delights: The Juxtapoz Factor” was on Saturday, June 21st at the Laguna Art Museum. The exhibit features the work of over 150 artists whom the curators position as being part of an unrecognized art movement taking place in the U.S. for the past 40 years.
Barry Mcgee
Andrew Schoultz
The show was massively impressive, and similar in scale (if not larger) as The Beautiful Losers exhibit. It was pretty evident looking at the artwork placards that Nike head Mark Parker has amassed an impressive collection of this genre. Parker loaned around a dozen pieces to the show, including standout pieces by: Os Gemeos, Phil Frost, Mark Ryden, Marc Dean Veca, and Todd Schorr (whose 10′ x 12′ commissioned piece made it’s public debut at the opening).
Joe Sorren
Thomas Campbell
Bay Area artists represented in the exhibit included: Barry McGee, Margaret Kilgallen, Andrew Schoultz, Thomas Campbell, Tiffany Bozic and Silvia Ji. It was especially nice to see work from Margaret Kilgallen, as her name was not included in any of the print collateral for the show. Definitely worth the trip down to So. Cal to catch this exhibit.
Tiffany Bozic & Henry Darger
Os Gemeos
June 22 - October 5, 2008. An exhibition catalog with an initial run of 1,000 copies should be available in September, and is currently available for pre-purchase from the museum.
>Photos< RVCA teamed up with Italian bicycle company Cinelli to present “Pressure” which opened up last night at RVCA’s flagship gallery in San Francisco, the VASF gallery.
The event marked the release of a limited edition Barry McGee/RVCA/Cinelli bike frame, and featured bikes transformed into artwork by: Ashley Macomber, Barry McGee, Clare Rojas, C.R. Stecyk III, Dan Murphy, Dmote, Jesse Geller, Josh Lazcano, KAWS, Madsaki, Phil Frost, PM Tenore and Stephen Powers.
The show runs until July 31, 2008 and will then tour select locations around the globe including Milan, London, Tokyo and Sydney. A show catalog is available for $10.
Check out this short Current TV interview with Barry that was filmed at the Riverside Art Museum on the occasion of his show with Clare Rojas entitled the The Big Sad. Footage includes interviews with Ed Templeton and others.
via: RAMblog
The “Life on Mars: 55th Carnegie International” exhibit in Pittsburgh includes SF local, Barry McGee. McGee’s installation garnered praise from New York Times writer Roberta Smith who describes the work as “vibrant” in a recent article. That praise is notable since she seems to be sour about most of the other work in the show.
I also stumbled upon a batch of photos of the installation (in progress & complete) uploaded by the museum. Be sure to check out the full set here.
“Life on Mars: 55th Carnegie International” continues through Jan. 11 at the Carnegie Museum of Art, 4400 Forbes Avenue, Pittsburgh.
via: The World’s Best Ever
photos via flickr: ci08lifeonmars
The April issue of ArtForum has an article about Barry McGee, which notes how his body of work infiltrates both the street and the auction houses. The article recounts the numerous thefts that have occurred to Barry’s work from public commissions to museum installations, the early eBay sales which surpassed dealer prices, and how sales of his work through multiple channels defies the traditional art market:
Just as his works course through networks of display and exchange that circumvent normal transactions, the artist begins with a near-Cagean openness. He maintains his more illicit engagements while working informally with a group of dealers (rather than with just one or two), as well as with nonprofit and public spaces, seeming to appreciate the risk that the work can end up on eBay, in an abandoned building, or at Art Basel. As McGee says, “I like that something could potentially sell anywhere, at any given place. For better or worse, I used to like that chaotic nature of it, too. Someone could buy it from me, or on a street corner, or from Jeffrey [Deitch], or someone else.” That kind of expansive traffic “challenges the order of the art market,” says Deitch.
,
