OHWOW is pleased to present Stephen/Steven, a performance by Brendan Fowler. Fowler spent seven years performing all over the world and releasing records as BARR (a very physical, one-man, deconstructed pop-band). His performances eventually led the way to an object based practice, wherein he generated work with the ability to function in his absence, almost as though he was in the room with you. The artist is adamant that Stephen/Steven is not a return to the past, but a completely new performance – one which corresponds to the work he is making now, rather than a repeat of BARR, the performance for which he first became known. It seems there is still music; there is still Fowler very physically present in front of us, but “the narrative arc is much different.”

A One Night Only Special Performance
Sunday, April 24, 2011
7-10pm

OHWOW Los Angeles
937 N. La Cienega Blvd.
Los Angeles, CA 90069

Stephen/Steven | A Performance By Brendan Fowler is a post from: SLAMXHYPE

ANP Quarterly is back after a short hiatus with their biggest issue yet. The Magazine run by Brendan Fowler, Aaron Rose and Ed Templeton feature stories and interviews with Miranda July, Will Oldham, Noah Davis, Craig Stecyk, Black Dice and much more. Check your regular stockists for your copy.

ANP Quarterly Volume 2 | No. 3 is a post from: SLAMXHYPE

Following on from the previous editions of The New York Times Style Magazine ‘Something Big Something Small’ video series featuring Pharrell Williams and Agathe Snow is the latest video interview, this time with Brendan Fowler. Fowler, a good friend of SLAMXHYPE’s, Editor of ANP Quarterly Magazine, and member of band, BARR. T Magazine visited Brendan at his room during Miami’s NADA Art Fair, where he showed works and sat for a signing session.

Watch the video exclusively at The Moment.

Something Big Something Small featuring Brendan Fowler is a post from: SLAMXHYPE

New York City’s Rental is opening its first solo exhibition of new works by artist Brendan Fowler entitled ‘Brendan Fowler at Rental Fall 2009′. Capturing the printed and framed work from the artist who is best known for his live performances, will share a special performance that will take place in the gallery on Sunday November 15. See below for exhibition images of the body of work that focuses on two primary elements; flowers and text. 

Images CADaily

Brendan Fowler at Rental Fall 2009 is a post from: SLAMXHYPE

James Cohan Gallery is pleased to announce White Noise, a group exhibition featuring works that exist at the intersection of visual art, music and sound by artists from several different generations. In the exhibition, there will be sounds to be looked at and objects to be heard. It will explore how sound can obliterate as well as elevate; how silence can involve both absence and presence.

Music has always been an important influence on the visual arts. In the 1960s, with the advent of performance art by Fluxus artists such as John Cage and Nam June Paik (who were both trained composers), expanded notions of music became central to the creation of visual art. Additional influences such as rock and roll and the counterculture movement combined to create a revolutionary moment in which the boundaries of artistic disciplines were broken down.

Anchoring the exhibition are two iconic works from the 1960’s: Robert Morris’ Box with the Sound of Its Own Making (1961), a seminal piece from early process-based art and Joseph Beuys’ multiple Ja ja ja ja ja nee nee nee nee nee (1969), a stack of felt with an audio tape in its center that plays Beuys chanting the German words for “yes and no,” thereby muffling the potential for discourse.

Themes represented in White Noise are as diverse as the group of artists; Christian Marclay’s silkscreen print, Brown Silence (The Electric Chair), 2006, takes off from Warhol’s electric chair paintings by drawing a parallel between the “silence” sign over the doorway of an execution room and the “applause” sign in television studios; Louise Lawler’s audio piece, Birdcalls (1972), employs the artist’s voice to express conceptual musings on gender; Lucas Ajemian’s Untitled (2006), is a video piece that rearranges the Black Sabbath song, “Into the Void” in a musical experiment that references spirituality and the occult; and Laurie Anderson’s In the House. In the Fire (2009) is a sculptural work that presents a meditation on sounds in the world around us.

White Noise will include a wide-range of works in a variety of media including sculpture, film, recordings, installations, photographs, paintings and works on paper by artists: Lucas Ajemian, Laurie Anderson, Ronnie Bass, Joseph Beuys, Bush Tetras, Nick Cave, Martha Colburn, Anne Collier, Moyra Davey, Tacita Dean, Simon Evans, Brendan Fowler, Rodney Graham, Chris Hanson and Hendrika Sonnenberg, Jay King and Maria Diaz de Leon, Jutta Koether, Jim Lambie, Louise Lawler, Christian Marclay, David Moreno, Robert Morris, Raymond Pettibone, Jack Pierson, Robin Rhode, Jamie Shovlin, Robert Smithson, Meredyth Sparks, Reena Spaulings, Emily Sundblad, and Fred Tomaselli.

The exhibition will feature four newly commissioned works by Nick Cave, Simon Evans, Brendan Fowler, and Fred Tomaselli.

James Cohan Gallery
Chelsea
533 West 26th Street, 212-714-9500
June 18 – August 12, 2009 
Opening: Wednesday, June 24, 6 – 8PM

White Noise at James Cohan Gallery is a post from: SLAMXHYPE

Lines are an enigma to me. People seem to be drawn to them. Amusement parks are a good example. Movie theater ticket stands are another. A secret enjoyment of mine is to stand near a crowded line, form a “new one”, gather a following, and then walk away without saying a word. I’m an ass. I don’t like staying within the lines let alone waiting in one, so it’s hard for me to understand sometimes why people do it. 

So when I caught a glimpse of the manmade monstrosity snaking down La Cienega, wrapping around the corner of Venice and dangerously spilling into oncoming traffic, I stopped dead in my tracks. Holy fuck. I was headed to the Honor Fraser Gallery and was stunned. Was this hullabaloo really for KAWS’ first solo L.A. show?  Indeed it was. The clamoring crowd that besieged the gallery’s front door was a dead giveaway. My initial reaction was irritation. There was no way I was waiting in that line. My second was regret. I should have eaten a snack and worn comfortable shoes.

For diehard fans who tried to sneak, bribe, crash and whine their way into the Honor Fraser Gallery on Friday night to get a peek at KAWS’ new work and of the man himself, my complaints fell on deaf ears. They would have waited an eternity… Thank goodness I was granted pardon and allowed to bypass the melee.

As I crossed the threshold, I wasn’t sure what to expect. I have known about Brian Donnelly aka KAWS’ work for quite a while now. Traveling back and forth to New York for over ten years, my eyes and his art have crossed paths many times. It’s hard for me to label Brian an “artist”. It doesn’t fit. And the slash/slash aspect is too pretentious in itself. KAWS is in a category I like to refer to as “the adaptor”, those who can, when given an opportunity to do something completely different, do it with ease. It’s the “what you don’t know” part that’s always a real kicker, a “Jack of All Trades” notion.

I entered the gallery with my mind distracted, busy contemplating my philosophical art ideas, and was completely taken by surprise. A barrage of vibrant colors assaulted my eyes. The intensity was like an “11” setting on a Spinal Tap speaker, just that extra notch above 10. The neon snot green life size Chum standing guard in the middle of the room, the huge intricately painted canvases exploding with glowing blues, yellows, reds, etc., the KURFS (KAWS/Smurfs), the black on black KAWSBOB, and a self portrait bust, playfully lying on the ground like a crime scene, complimented the stark Johnston Marklee designed space. I was drawn to his use of color and his beautiful lines. Nose to canvas nearly happened several times as I tried to get a closer look at how clean his hand painted lines really were. I appreciated what I saw, and wasn’t the only one. Guests such as designer/stylist Carri Mundane aka Cassette Playa, artist Robert Williams, Brendan Fowler from ANP Quarterly, Shawn Mortensen and more came out to officially welcome KAWS to L.A. and partake in the evening’s playful tone.

KAWS: The Long Way Home

February 21st, 2009- April 4th, 2009

HONOR FRASER GALLERY

2622 S. La Cienega Blvd.

Los Angeles, CA 90034

t: 310-837-0191

http://www.honorfraser.com

Tuesday-Saturday 10am-6pm

From LA with KAWS…. is a post from: SLAMXHYPE