slugamon
New Member
🗨️ 2
👍🏻 1
October 2017
|
Artists You Might Not Know, by slugamon on Oct 14, 2017 3:48:29 GMT 1, this looks amazing
this looks amazing
|
|
cmc
New Member
🗨️ 380
👍🏻 279
July 2013
|
Artists You Might Not Know, by cmc on Oct 14, 2017 3:53:37 GMT 1, David Schnell
AR: What is your background? Are you from Leipzig originally? Did you know always that you would pursue painting?
DS: The idea to study art came quite late, when I was 22 or 23. Before then I was somewhat interested in art; I was riding BMX and skateboarding and things like that. I started making drawings and little things for music fanzines, and designed album covers for my friends’ bands. In the beginning I wasn’t sure if I should study painting or graphic design, and after I finished school I took a lot of courses – for example, an etching workshop and one on drawing. I realized that I liked doing these traditional things, so I thought then that I should study in Dusseldorf I am originally from Cologne, and Dusseldorf was the largest school nearby. After two years of not being accepted, I thought I should research and find out the specialties of the other art schools. There was a famous German art magazine that put out an article about all the German art schools, and I read that in Leipzig there was very good figurative painting and printmaking courses. I started to study in Leipzig in 1995 at the HGB. In the first two years the studies were very traditional, we learned about drawing, perspective, putting the figure in space, etc. After the first two years I found it difficult to move past these traditional things and find a way to make contemporary paintings. I started to paint landscapes with comic characters running through them. I was interested in landscape painting and wanted to combine it with something that was closer to my background. Mixing art history with skateboarding and BMX riding and music. And over time the landscape paintings themselves became so strange – the colors were very strange and almost abstract – and I realized I didn’t need the comic characters. So I started doing just landscape from there.
David Schnell AR: What is your background? Are you from Leipzig originally? Did you know always that you would pursue painting? DS: The idea to study art came quite late, when I was 22 or 23. Before then I was somewhat interested in art; I was riding BMX and skateboarding and things like that. I started making drawings and little things for music fanzines, and designed album covers for my friends’ bands. In the beginning I wasn’t sure if I should study painting or graphic design, and after I finished school I took a lot of courses – for example, an etching workshop and one on drawing. I realized that I liked doing these traditional things, so I thought then that I should study in Dusseldorf I am originally from Cologne, and Dusseldorf was the largest school nearby. After two years of not being accepted, I thought I should research and find out the specialties of the other art schools. There was a famous German art magazine that put out an article about all the German art schools, and I read that in Leipzig there was very good figurative painting and printmaking courses. I started to study in Leipzig in 1995 at the HGB. In the first two years the studies were very traditional, we learned about drawing, perspective, putting the figure in space, etc. After the first two years I found it difficult to move past these traditional things and find a way to make contemporary paintings. I started to paint landscapes with comic characters running through them. I was interested in landscape painting and wanted to combine it with something that was closer to my background. Mixing art history with skateboarding and BMX riding and music. And over time the landscape paintings themselves became so strange – the colors were very strange and almost abstract – and I realized I didn’t need the comic characters. So I started doing just landscape from there.
|
|
cmc
New Member
🗨️ 380
👍🏻 279
July 2013
|
Artists You Might Not Know, by cmc on Oct 14, 2017 4:24:35 GMT 1, Zoer x Velvet
Zoer, Frédéric was born in 1985 in Palermo (IT). When he was a young child, he would draw cars, traffic jams, and breaker’s yards. A few years later, he started working in the comics sector, published his first fanzines, and developed a taste for story-telling. From 2003 he started doing graffiti and practising painting as a whole, through the techniques of acrylic and oil.
Velvet, Matthieu was born in 1986 in La Roche-sur-Yon (FR). The sea-side, industrial environment he grew up in soon impacted his drawings and comics. In the 2000s, he began using spray paint and also learnt acrylic painting, and later oil painting.
Their paintings are based on the combination of their photographic memories, from where they draw their inspirations for the scenes, objects and letters they represent. Their compositions evolve as they travel and meet new people. The two artists met while studying industrial design. Their passion for graffiti led them to create in 2004 the CSX crew (CSX stands for the French equivalent of “Unemployed Without any eXperience”). Seeking to go beyond the supports or media of expression, they enjoy mixing disciplines together. Their working space is always at the heart of their concerns, and their paintings always tend to engage with the space in which they are displayed. Using their experience as industrial designers, they regularly place the subject at the heart of their work. Incidentally, they develop assembled arrangements and installations bridging the gaps between their paintings and the tangible reality of the subjects they address. They paint the walls together and like to take into consideration the role of collective efforts and adopt a project-centered approach, however, they have chosen to make most of their paintings individually, and cultivate their own questions. But do not take it as a sign of rivalry, exercising their critical power on the other allows each of them to have a more objective look on their own pictorial research.
Zoer x Velvet Zoer, Frédéric was born in 1985 in Palermo (IT). When he was a young child, he would draw cars, traffic jams, and breaker’s yards. A few years later, he started working in the comics sector, published his first fanzines, and developed a taste for story-telling. From 2003 he started doing graffiti and practising painting as a whole, through the techniques of acrylic and oil. Velvet, Matthieu was born in 1986 in La Roche-sur-Yon (FR). The sea-side, industrial environment he grew up in soon impacted his drawings and comics. In the 2000s, he began using spray paint and also learnt acrylic painting, and later oil painting. Their paintings are based on the combination of their photographic memories, from where they draw their inspirations for the scenes, objects and letters they represent. Their compositions evolve as they travel and meet new people. The two artists met while studying industrial design. Their passion for graffiti led them to create in 2004 the CSX crew (CSX stands for the French equivalent of “Unemployed Without any eXperience”). Seeking to go beyond the supports or media of expression, they enjoy mixing disciplines together. Their working space is always at the heart of their concerns, and their paintings always tend to engage with the space in which they are displayed. Using their experience as industrial designers, they regularly place the subject at the heart of their work. Incidentally, they develop assembled arrangements and installations bridging the gaps between their paintings and the tangible reality of the subjects they address. They paint the walls together and like to take into consideration the role of collective efforts and adopt a project-centered approach, however, they have chosen to make most of their paintings individually, and cultivate their own questions. But do not take it as a sign of rivalry, exercising their critical power on the other allows each of them to have a more objective look on their own pictorial research.
|
|
dave4
New Member
🗨️ 33
👍🏻 89
April 2017
|
Artists You Might Not Know, by dave4 on Oct 16, 2017 17:56:50 GMT 1, Those pencil pieces are amazing!!! I really enjoy NME's work bought two pieces from him,waiting on the second one. Priced nice too!! www.flickr.com/photos/69357341@N02/just add the @n02 not sure why it won't copy and paste?
I have a couple of his also. He is amazing.
Those pencil pieces are amazing!!! I really enjoy NME's work bought two pieces from him,waiting on the second one. Priced nice too!! www.flickr.com/photos/69357341@N02/just add the @n02 not sure why it won't copy and paste? I have a couple of his also. He is amazing.
|
|
dave4
New Member
🗨️ 33
👍🏻 89
April 2017
|
Artists You Might Not Know, by dave4 on Oct 16, 2017 18:04:36 GMT 1, Thia is the picture that NME did of my son. I do not see any people posting abput him and through that he is worry of some recognition on this site.
Thia is the picture that NME did of my son. I do not see any people posting abput him and through that he is worry of some recognition on this site.
|
|
fz86
New Member
🗨️ 20
👍🏻 18
June 2017
|
Artists You Might Not Know, by fz86 on Oct 20, 2017 3:55:53 GMT 1, French artist ardif , so much detail in his work, on IG a_r_d_i_f
French artist ardif , so much detail in his work, on IG a_r_d_i_f
|
|
|
artface
New Member
🗨️ 49
👍🏻 68
January 2015
|
Artists You Might Not Know, by artface on Oct 26, 2017 2:05:51 GMT 1, A tremendous, younger artist that has never been mentioned here is Cameron Rowland. I am a HUGE fan of his work and have owned one piece for the last three years. His last show at Artist Space in NYC is one of the best shows I've seen and he's recently been shown at the Whitney Museum(part of the biennial) and the Museum of Modern Art(as part of their permanent collection). Interesting twist, most of his work lately is not for sale. You sign a rental agreement and make monthly payments for three years or so. The agreement itself is a slightly modified Rent-a-Center agreement. Here is my piece: Cameron Rowland Constituent, 2014 Outlet Dimensions variable Edition of 3 plus I AP Outlets allow the flow of current through cable. When electrical cable is sold as scrap, the outlet is often still connected, but cannot be used and has no value. An electrician cuts the power supply to one outlet, removes the faceplate and reveals the copper core of two electrical wires. and here are some more examples: Cameron Rowland Loot, 2014 Cut copper tube, cardboard box, crate 11 x 18.5 x 13 inches (27.94 x 46.99 x 33.02 cm) Rental At some point basic utilities like electricity and water were services controlled by the state, because they relied so heavily on public infrastructure. More and more these flows are valved by private corporations. When abandoned buildings are broken into and stripped of their copper piping, it is sold to scrap yards, where it is cut down. This cut copper was bought from a scrap yard. Copper has a function, its base material has an inherent value. Cameron Rowland Disgorgement, 2016 Reparations Purpose Trust, Aetna Shares Aetna, amongst other insurance companies, issued slave insurance policies, which combined property and life insurance. These policies were taken out by slave masters on the lives of slaves, and provided partial payments for damage to the slave and full payment for the death of the slave. Death or damage inflicted by the master could not be claimed. The profits incurred by these policies are still intact within Aetna. In 1989 Congressman John Conyers of Michigan first introduced Congressional Bill H.R. 40, which would "Establish the Commission to Study Reparation Proposals for African Americans to examine slavery and discrimination in the colonies and the United States from 1619 to the present and recommend appropriate remedies." The bill would convene a research commission, that would, among other responsibilities, make a recommendation as to whether a formal apology for slavery is owed, whether reparations are owed, what form reparations would then take and who would receive them. Conyers has reintroduced the bill to every session of congress since then. This bill acquired 48 cosponsors in 1999-2000. Currently it has no cosponsors. In 2000 the state of California passed the bill SB 2199, which required all insurance companies conducting business in the state of California to publish documentation of slave insurance policies that they or their parent companies had issued previously. In 2002 a lawyer named Deadria Farmer-Paellmann filed the first corporate reparations class-action lawsuit seeking disgorgement from 17 contemporary financial institutions including Aetna, Inc., which had profited from slavery. Farmer-Paellmann pursued property law claims on the basis that these institutions had been enriched unjustly by slaves who were neither compensated nor agreed to be uncompensated. Farmer-Paellman called for these profits and gains to be disgorged from these institutions to descendants of slaves. The Reparations Purpose Trust forms a conditionality between the time of deferral and continued corporate growth. The general purpose of this trust is “to acquire and administer shares in Aetna, Inc. and to hold such shares until the effective date of any official action by any branch of the United States government to make financial reparations for slavery, including but not limited to the enactment and subsequent adoption of any recommendations pursuant to H.R. 40 – Commission to Study Reparation Proposals for African-Americans Act.” As a purpose trust registered in the state of Delaware this trust can last indefinitely and has no named beneficiaries. The initial holdings of Reparations Purpose Trust consists of 90 Aetna shares. In the event that federal financial reparations are paid, the trust will terminate and its shares will be liquidated and granted to the federal agency charged with distributions as a corporate addendum to these payments. The grantor of the Reparations Purpose Trust is Artists Space, its trustee is Michael M. Gordon, and its enforcer is Cameron Rowland. The Reparations Purpose Trust gains tax-exemption from its grantor’s nonprofit status. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) Rental In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those businesses where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. This Pass-Thru was made by Rowland. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc, cardboard 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those business where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. A pass-thru is also an open window, when it is cold it may be covered. This Pass-Thru was made by Rowland. Cameron Rowland Insurance, 2016 Container lashing bars, Lloyd's Register certificates 102 x 96 x 11.5 or 149 x 18 x 4.5 inches Lloyd's of London monopolized the marine insurance of the slave trade by the early 18th Century. Lloyd's Register was established in 1760 as the first classification society in order to provide insurance underwriters information on the quality of vessels. The classification of the ship allows for a more accurate assessment of its risk. Lloyd's Register and other classification societies continue to survey and certify shipping vessels and their equipment. Lashing equipment physically secures goods to the deck of the ship, while its certification is established to insure the value of the goods regardless of their potential loss. Cameron Rowland New York State Unified Court System, 2016 Oak wood, distributed by Corcraft 165 x 57.5 x 36 inches Rental at cost Courtrooms throughout New York State use benches built by prisoners in Green Haven Correctional Facility. The court reproduces itself materially through the labor of those it sentences.
Thanks Mose. Enjoying reading more about Cameron's work on the web now. Not really urban art, as I know it, or rather used to. but really spotlights some important socio-economic issues E.G., Banksy, Beejoir. Also, parallels a few other urban artists with his architectural background. Not the most beautiful or wall friendly but the most thought provoking-refreshing art I've viewed in a bit!
A tremendous, younger artist that has never been mentioned here is Cameron Rowland. I am a HUGE fan of his work and have owned one piece for the last three years. His last show at Artist Space in NYC is one of the best shows I've seen and he's recently been shown at the Whitney Museum(part of the biennial) and the Museum of Modern Art(as part of their permanent collection). Interesting twist, most of his work lately is not for sale. You sign a rental agreement and make monthly payments for three years or so. The agreement itself is a slightly modified Rent-a-Center agreement. Here is my piece: Cameron Rowland Constituent, 2014 Outlet Dimensions variable Edition of 3 plus I AP Outlets allow the flow of current through cable. When electrical cable is sold as scrap, the outlet is often still connected, but cannot be used and has no value. An electrician cuts the power supply to one outlet, removes the faceplate and reveals the copper core of two electrical wires. and here are some more examples: Cameron Rowland Loot, 2014 Cut copper tube, cardboard box, crate 11 x 18.5 x 13 inches (27.94 x 46.99 x 33.02 cm) Rental At some point basic utilities like electricity and water were services controlled by the state, because they relied so heavily on public infrastructure. More and more these flows are valved by private corporations. When abandoned buildings are broken into and stripped of their copper piping, it is sold to scrap yards, where it is cut down. This cut copper was bought from a scrap yard. Copper has a function, its base material has an inherent value. Cameron Rowland Disgorgement, 2016 Reparations Purpose Trust, Aetna Shares Aetna, amongst other insurance companies, issued slave insurance policies, which combined property and life insurance. These policies were taken out by slave masters on the lives of slaves, and provided partial payments for damage to the slave and full payment for the death of the slave. Death or damage inflicted by the master could not be claimed. The profits incurred by these policies are still intact within Aetna. In 1989 Congressman John Conyers of Michigan first introduced Congressional Bill H.R. 40, which would "Establish the Commission to Study Reparation Proposals for African Americans to examine slavery and discrimination in the colonies and the United States from 1619 to the present and recommend appropriate remedies." The bill would convene a research commission, that would, among other responsibilities, make a recommendation as to whether a formal apology for slavery is owed, whether reparations are owed, what form reparations would then take and who would receive them. Conyers has reintroduced the bill to every session of congress since then. This bill acquired 48 cosponsors in 1999-2000. Currently it has no cosponsors. In 2000 the state of California passed the bill SB 2199, which required all insurance companies conducting business in the state of California to publish documentation of slave insurance policies that they or their parent companies had issued previously. In 2002 a lawyer named Deadria Farmer-Paellmann filed the first corporate reparations class-action lawsuit seeking disgorgement from 17 contemporary financial institutions including Aetna, Inc., which had profited from slavery. Farmer-Paellmann pursued property law claims on the basis that these institutions had been enriched unjustly by slaves who were neither compensated nor agreed to be uncompensated. Farmer-Paellman called for these profits and gains to be disgorged from these institutions to descendants of slaves. The Reparations Purpose Trust forms a conditionality between the time of deferral and continued corporate growth. The general purpose of this trust is “to acquire and administer shares in Aetna, Inc. and to hold such shares until the effective date of any official action by any branch of the United States government to make financial reparations for slavery, including but not limited to the enactment and subsequent adoption of any recommendations pursuant to H.R. 40 – Commission to Study Reparation Proposals for African-Americans Act.” As a purpose trust registered in the state of Delaware this trust can last indefinitely and has no named beneficiaries. The initial holdings of Reparations Purpose Trust consists of 90 Aetna shares. In the event that federal financial reparations are paid, the trust will terminate and its shares will be liquidated and granted to the federal agency charged with distributions as a corporate addendum to these payments. The grantor of the Reparations Purpose Trust is Artists Space, its trustee is Michael M. Gordon, and its enforcer is Cameron Rowland. The Reparations Purpose Trust gains tax-exemption from its grantor’s nonprofit status. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) Rental In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those businesses where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. This Pass-Thru was made by Rowland. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc, cardboard 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those business where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. A pass-thru is also an open window, when it is cold it may be covered. This Pass-Thru was made by Rowland. Cameron Rowland Insurance, 2016 Container lashing bars, Lloyd's Register certificates 102 x 96 x 11.5 or 149 x 18 x 4.5 inches Lloyd's of London monopolized the marine insurance of the slave trade by the early 18th Century. Lloyd's Register was established in 1760 as the first classification society in order to provide insurance underwriters information on the quality of vessels. The classification of the ship allows for a more accurate assessment of its risk. Lloyd's Register and other classification societies continue to survey and certify shipping vessels and their equipment. Lashing equipment physically secures goods to the deck of the ship, while its certification is established to insure the value of the goods regardless of their potential loss. Cameron Rowland New York State Unified Court System, 2016 Oak wood, distributed by Corcraft 165 x 57.5 x 36 inches Rental at cost Courtrooms throughout New York State use benches built by prisoners in Green Haven Correctional Facility. The court reproduces itself materially through the labor of those it sentences. Thanks Mose. Enjoying reading more about Cameron's work on the web now. Not really urban art, as I know it, or rather used to. but really spotlights some important socio-economic issues E.G., Banksy, Beejoir. Also, parallels a few other urban artists with his architectural background. Not the most beautiful or wall friendly but the most thought provoking-refreshing art I've viewed in a bit!
|
|
|
Artists You Might Not Know, by Euan Roberts Art on Oct 30, 2017 15:38:16 GMT 1, I'm a new artist on here.
Please check my website or insta, would love you thoughts and opinions.
I'm represented by Lawrence Alkin Gallery in Soho.
www.euanrobertsart.com
Big love.
Euan
I'm a new artist on here. Please check my website or insta, would love you thoughts and opinions. I'm represented by Lawrence Alkin Gallery in Soho. www.euanrobertsart.comBig love. Euan
|
|
|
Artists You Might Not Know, by Coach on Oct 30, 2017 15:43:00 GMT 1, I'm a new artist on here. Please check my website or insta, would love you thoughts and opinions. I'm represented by Lawrence Alkin Gallery in Soho. www.euanrobertsart.comBig love. Euan
Good to have you here Euan.
http://instagram.com/p/BXbCLrZBgwA
|
|
medichead
New Member
🗨️ 575
👍🏻 578
January 2017
|
Artists You Might Not Know, by medichead on Oct 30, 2017 16:32:14 GMT 1, I'm a new artist on here. Please check my website or insta, would love you thoughts and opinions. I'm represented by Lawrence Alkin Gallery in Soho. www.euanrobertsart.comBig love. Euan
Having followed you for a short while it was great to see your Battle on Mount Atlas at Moniker, but gutted the original had already sold!
Looking forward to seeing more from you in the future.
I'm a new artist on here. Please check my website or insta, would love you thoughts and opinions. I'm represented by Lawrence Alkin Gallery in Soho. www.euanrobertsart.comBig love. Euan Having followed you for a short while it was great to see your Battle on Mount Atlas at Moniker, but gutted the original had already sold! Looking forward to seeing more from you in the future.
|
|
Carl Cashman
Artist
Junior Member
🗨️ 1,775
👍🏻 3,147
August 2017
|
Artists You Might Not Know, by Carl Cashman on Oct 31, 2017 9:23:26 GMT 1, I'm a new artist on here. Please check my website or insta, would love you thoughts and opinions. I'm represented by Lawrence Alkin Gallery in Soho. www.euanrobertsart.comBig love. Euan Having followed you for a short while it was great to see your Battle on Mount Atlas at Moniker, but gutted the original had already sold! Looking forward to seeing more from you in the future. He will hopefully be in the next show im putting together
I'm a new artist on here. Please check my website or insta, would love you thoughts and opinions. I'm represented by Lawrence Alkin Gallery in Soho. www.euanrobertsart.comBig love. Euan Having followed you for a short while it was great to see your Battle on Mount Atlas at Moniker, but gutted the original had already sold! Looking forward to seeing more from you in the future. He will hopefully be in the next show im putting together
|
|
|
drflie
New Member
🗨️ 194
👍🏻 91
August 2007
|
Artists You Might Not Know, by drflie on Nov 3, 2017 15:40:11 GMT 1, I'm not sure if he has been mentioned before, but Chengxiang Shang has a bunch of great prints available through a kickstarter campaign.
Not really urban art, but definitely some great images!
I'm not sure if he has been mentioned before, but Chengxiang Shang has a bunch of great prints available through a kickstarter campaign.
Not really urban art, but definitely some great images!
|
|
|
Artists You Might Not Know, by artisdotlove on Nov 6, 2017 16:14:17 GMT 1, YOU MIGHT NOT KNOW!
Coop finished just days ago at MuseumsQuartier Vienna, Austria
ARIS.LOVE aka Sebastian Schager, Artist and Curator of #streetartpassage. Also visit Artis.Limited and Janarnoldgallery for prints go to LEAP x Skirl (Viennese Artist also)
|
|
|
virusde
New Member
🗨️ 23
👍🏻 7
May 2017
|
Artists You Might Not Know, by virusde on Nov 7, 2017 7:10:41 GMT 1, Benny the Kid
I have to say I like his style a lot.
|
|
|
Artists You Might Not Know, by lacklisted on Nov 7, 2017 7:23:40 GMT 1, A tremendous, younger artist that has never been mentioned here is Cameron Rowland. I am a HUGE fan of his work and have owned one piece for the last three years. His last show at Artist Space in NYC is. one of the best shows I've seen and he's recently been shown at the Whitney Museum(part of the biennial) and the Museum of Modern Art(as part of their permanent collection). Interesting twist, most of his work lately is not for sale. You sign a rental agreement and make monthly payments for three years or so. The agreement itself is a slightly modified Rent-a-Center agreement. Here is my piece: Cameron Rowland Constituent, 2014 Outlet Dimensions variable Edition of 3 plus I AP Outlets allow the flow of current through cable. When electrical cable is sold as scrap, the outlet is often still connected, but cannot be used and has no value. An electrician cuts the power supply to one outlet, removes the faceplate and reveals the copper core of two electrical wires. and here are some more examples: Cameron Rowland Loot, 2014 Cut copper tube, cardboard box, crate 11 x 18.5 x 13 inches (27.94 x 46.99 x 33.02 cm) Rental At some point basic utilities like electricity and water were services controlled by the state, because they relied so heavily on public infrastructure. More and more these flows are valved by private corporations. When abandoned buildings are broken into and stripped of their copper piping, it is sold to scrap yards, where it is cut down. This cut copper was bought from a scrap yard. Copper has a function, its base material has an inherent value. Cameron Rowland Disgorgement, 2016 Reparations Purpose Trust, Aetna Shares Aetna, amongst other insurance companies, issued slave insurance policies, which combined property and life insurance. These policies were taken out by slave masters on the lives of slaves, and provided partial payments for damage to the slave and full payment for the death of the slave. Death or damage inflicted by the master could not be claimed. The profits incurred by these policies are still intact within Aetna. In 1989 Congressman John Conyers of Michigan first introduced Congressional Bill H.R. 40, which would "Establish the Commission to Study Reparation Proposals for African Americans to examine slavery and discrimination in the colonies and the United States from 1619 to the present and recommend appropriate remedies." The bill would convene a research commission, that would, among other responsibilities, make a recommendation as to whether a formal apology for slavery is owed, whether reparations are owed, what form reparations would then take and who would receive them. Conyers has reintroduced the bill to every session of congress since then. This bill acquired 48 cosponsors in 1999-2000. Currently it has no cosponsors. In 2000 the state of California passed the bill SB 2199, which required all insurance companies conducting business in the state of California to publish documentation of slave insurance policies that they or their parent companies had issued previously. In 2002 a lawyer named Deadria Farmer-Paellmann filed the first corporate reparations class-action lawsuit seeking disgorgement from 17 contemporary financial institutions including Aetna, Inc., which had profited from slavery. Farmer-Paellmann pursued property law claims on the basis that these institutions had been enriched unjustly by slaves who were neither compensated nor agreed to be uncompensated. Farmer-Paellman called for these profits and gains to be disgorged from these institutions to descendants of slaves. The Reparations Purpose Trust forms a conditionality between the time of deferral and continued corporate growth. The general purpose of this trust is “to acquire and administer shares in Aetna, Inc. and to hold such shares until the effective date of any official action by any branch of the United States government to make financial reparations for slavery, including but not limited to the enactment and subsequent adoption of any recommendations pursuant to H.R. 40 – Commission to Study Reparation Proposals for African-Americans Act.” As a purpose trust registered in the state of Delaware this trust can last indefinitely and has no named beneficiaries. The initial holdings of Reparations Purpose Trust consists of 90 Aetna shares. In the event that federal financial reparations are paid, the trust will terminate and its shares will be liquidated and granted to the federal agency charged with distributions as a corporate addendum to these payments. The grantor of the Reparations Purpose Trust is Artists Space, its trustee is Michael M. Gordon, and its enforcer is Cameron Rowland. The Reparations Purpose Trust gains tax-exemption from its grantor’s nonprofit status. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) Rental In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those businesses where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. This Pass-Thru was made by Rowland. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc, cardboard 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those business where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. A pass-thru is also an open window, when it is cold it may be covered. This Pass-Thru was made by Rowland. Cameron Rowland Insurance, 2016 Container lashing bars, Lloyd's Register certificates 102 x 96 x 11.5 or 149 x 18 x 4.5 inches Lloyd's of London monopolized the marine insurance of the slave trade by the early 18th Century. Lloyd's Register was established in 1760 as the first classification society in order to provide insurance underwriters information on the quality of vessels. The classification of the ship allows for a more accurate assessment of its risk. Lloyd's Register and other classification societies continue to survey and certify shipping vessels and their equipment. Lashing equipment physically secures goods to the deck of the ship, while its certification is established to insure the value of the goods regardless of their potential loss. Cameron Rowland New York State Unified Court System, 2016 Oak wood, distributed by Corcraft 165 x 57.5 x 36 inches Rental at cost Courtrooms throughout New York State use benches built by prisoners in Green Haven Correctional Facility. The court reproduces itself materially through the labor of those it sentences. .
A tremendous, younger artist that has never been mentioned here is Cameron Rowland. I am a HUGE fan of his work and have owned one piece for the last three years. His last show at Artist Space in NYC is. one of the best shows I've seen and he's recently been shown at the Whitney Museum(part of the biennial) and the Museum of Modern Art(as part of their permanent collection). Interesting twist, most of his work lately is not for sale. You sign a rental agreement and make monthly payments for three years or so. The agreement itself is a slightly modified Rent-a-Center agreement. Here is my piece: Cameron Rowland Constituent, 2014 Outlet Dimensions variable Edition of 3 plus I AP Outlets allow the flow of current through cable. When electrical cable is sold as scrap, the outlet is often still connected, but cannot be used and has no value. An electrician cuts the power supply to one outlet, removes the faceplate and reveals the copper core of two electrical wires. and here are some more examples: Cameron Rowland Loot, 2014 Cut copper tube, cardboard box, crate 11 x 18.5 x 13 inches (27.94 x 46.99 x 33.02 cm) Rental At some point basic utilities like electricity and water were services controlled by the state, because they relied so heavily on public infrastructure. More and more these flows are valved by private corporations. When abandoned buildings are broken into and stripped of their copper piping, it is sold to scrap yards, where it is cut down. This cut copper was bought from a scrap yard. Copper has a function, its base material has an inherent value. Cameron Rowland Disgorgement, 2016 Reparations Purpose Trust, Aetna Shares Aetna, amongst other insurance companies, issued slave insurance policies, which combined property and life insurance. These policies were taken out by slave masters on the lives of slaves, and provided partial payments for damage to the slave and full payment for the death of the slave. Death or damage inflicted by the master could not be claimed. The profits incurred by these policies are still intact within Aetna. In 1989 Congressman John Conyers of Michigan first introduced Congressional Bill H.R. 40, which would "Establish the Commission to Study Reparation Proposals for African Americans to examine slavery and discrimination in the colonies and the United States from 1619 to the present and recommend appropriate remedies." The bill would convene a research commission, that would, among other responsibilities, make a recommendation as to whether a formal apology for slavery is owed, whether reparations are owed, what form reparations would then take and who would receive them. Conyers has reintroduced the bill to every session of congress since then. This bill acquired 48 cosponsors in 1999-2000. Currently it has no cosponsors. In 2000 the state of California passed the bill SB 2199, which required all insurance companies conducting business in the state of California to publish documentation of slave insurance policies that they or their parent companies had issued previously. In 2002 a lawyer named Deadria Farmer-Paellmann filed the first corporate reparations class-action lawsuit seeking disgorgement from 17 contemporary financial institutions including Aetna, Inc., which had profited from slavery. Farmer-Paellmann pursued property law claims on the basis that these institutions had been enriched unjustly by slaves who were neither compensated nor agreed to be uncompensated. Farmer-Paellman called for these profits and gains to be disgorged from these institutions to descendants of slaves. The Reparations Purpose Trust forms a conditionality between the time of deferral and continued corporate growth. The general purpose of this trust is “to acquire and administer shares in Aetna, Inc. and to hold such shares until the effective date of any official action by any branch of the United States government to make financial reparations for slavery, including but not limited to the enactment and subsequent adoption of any recommendations pursuant to H.R. 40 – Commission to Study Reparation Proposals for African-Americans Act.” As a purpose trust registered in the state of Delaware this trust can last indefinitely and has no named beneficiaries. The initial holdings of Reparations Purpose Trust consists of 90 Aetna shares. In the event that federal financial reparations are paid, the trust will terminate and its shares will be liquidated and granted to the federal agency charged with distributions as a corporate addendum to these payments. The grantor of the Reparations Purpose Trust is Artists Space, its trustee is Michael M. Gordon, and its enforcer is Cameron Rowland. The Reparations Purpose Trust gains tax-exemption from its grantor’s nonprofit status. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) Rental In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those businesses where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. This Pass-Thru was made by Rowland. Cameron Rowland Pass-Thru, 2014 Acrylic, hardware, 24-hour rotator disc, cardboard 23 x 20 x 21 inches (58.42 x 50.80 x 53.34 cm) In some places, businesses use a pass-thru, to pass cash or goods back and forth; this could be at a bank or a liquor store. The highest standard of pass-thru use bullet proof glass, although this material is far too expensive to be used as a protective measure by those business where it might be most effective. Therein plastic is used in place of bullet proof glass. They are either made by a manufacturer or by the shop owner. A pass-thru is also an open window, when it is cold it may be covered. This Pass-Thru was made by Rowland. Cameron Rowland Insurance, 2016 Container lashing bars, Lloyd's Register certificates 102 x 96 x 11.5 or 149 x 18 x 4.5 inches Lloyd's of London monopolized the marine insurance of the slave trade by the early 18th Century. Lloyd's Register was established in 1760 as the first classification society in order to provide insurance underwriters information on the quality of vessels. The classification of the ship allows for a more accurate assessment of its risk. Lloyd's Register and other classification societies continue to survey and certify shipping vessels and their equipment. Lashing equipment physically secures goods to the deck of the ship, while its certification is established to insure the value of the goods regardless of their potential loss. Cameron Rowland New York State Unified Court System, 2016 Oak wood, distributed by Corcraft 165 x 57.5 x 36 inches Rental at cost Courtrooms throughout New York State use benches built by prisoners in Green Haven Correctional Facility. The court reproduces itself materially through the labor of those it sentences. .
|
|
|
Artists You Might Not Know, by Peter Bengtsen on Nov 7, 2017 7:56:08 GMT 1,
How would you describe this artist's style?
---------------------------------------------- Read more about The Street Art World----------------------------------------------
How would you describe this artist's style?
---------------------------------------------- Read more about The Street Art World----------------------------------------------
|
|
virusde
New Member
🗨️ 23
👍🏻 7
May 2017
|
Artists You Might Not Know, by virusde on Nov 7, 2017 8:01:18 GMT 1, "Street Art with Enhanced Sociological Symbols" ?
I don't know, I just like it. Leave me alone.
"Street Art with Enhanced Sociological Symbols" ?
I don't know, I just like it. Leave me alone.
|
|
|
Artists You Might Not Know, by adewilliams on Nov 14, 2017 12:50:49 GMT 1, Any Porous Walker fans on the forum, been making me laugh for a few years now
Any Porous Walker fans on the forum, been making me laugh for a few years now
|
|
moron
Junior Member
🗨️ 2,711
👍🏻 1,051
September 2017
|
Artists You Might Not Know, by moron on Nov 15, 2017 15:27:44 GMT 1,
Balloon art by www.instagram.com/hugeart/
|
|
moron
Junior Member
🗨️ 2,711
👍🏻 1,051
September 2017
|
|
|
Iqra'a
New Member
🗨️ 608
👍🏻 811
November 2013
|
Artists You Might Not Know, by Iqra'a on Nov 15, 2017 15:56:27 GMT 1, Soemone - From France ; I recently bought an original off of him and it really is beautiful calligraffiti.
|
|
|
andrep
New Member
🗨️ 24
👍🏻 2
November 2017
|
Artists You Might Not Know, by andrep on Nov 20, 2017 0:39:13 GMT 1, Artist : Andre pace series contemporary& abstract works, oils & pastels..,book titled : contemporary& modern forums.by. Andre pace ( isbn: 978-1-4931-0554-0).
By. Andre pace
Www.askart.com Www.GallArt.com
Email: sixth370@gmail.com
Artist : Andre pace series contemporary& abstract works, oils & pastels..,book titled : contemporary& modern forums.by. Andre pace ( isbn: 978-1-4931-0554-0). By. Andre pace Www.askart.comWww.GallArt.com Email: sixth370@gmail.com
|
|
dave4
New Member
🗨️ 33
👍🏻 89
April 2017
|
Artists You Might Not Know, by dave4 on Nov 28, 2017 14:04:07 GMT 1, You can't go to Miami and not be greated by ATOMIK's big happy Orange. He is a South Florida local and has has shown in many galleries. He has also been known to go by Atomiko. I have a hige orange on my wall and everytime i see it, it makes me smile, so if you feel the need for a happy Orange smiling back at you, you can pick up his stuff here:http://atomik.bigcartel.com/
You can't go to Miami and not be greated by ATOMIK's big happy Orange. He is a South Florida local and has has shown in many galleries. He has also been known to go by Atomiko. I have a hige orange on my wall and everytime i see it, it makes me smile, so if you feel the need for a happy Orange smiling back at you, you can pick up his stuff here:http://atomik.bigcartel.com/
|
|
andrep
New Member
🗨️ 24
👍🏻 2
November 2017
|
Artists You Might Not Know, by andrep on Nov 30, 2017 16:02:55 GMT 1, Artist you might Know:Andre pace
Orgimal works on paper/ Art..
Artist you might Know:Andre pace
Orgimal works on paper/ Art..
|
|
ABC
Artist
Junior Member
🗨️ 5,533
👍🏻 1,923
August 2006
|
Artists You Might Not Know, by ABC on Dec 9, 2017 18:40:39 GMT 1, Thought I'd mention Vince from Darkissed Dayze graffiti shop in Margate, Kent. Went in today to get some fresh paint and was greated by this stunning work.
|
|
|
Deleted
🗨️ 0
👍🏻
January 1970
|
|
|
team3d
New Member
🗨️ 120
👍🏻 51
May 2012
|
Artists You Might Not Know, by team3d on Jan 14, 2018 10:24:37 GMT 1, OG slick aka slick... one of the most well known griffiti artist with only 3 mentions on urbanart
|
|
team3d
New Member
🗨️ 120
👍🏻 51
May 2012
|
Artists You Might Not Know, by team3d on Jan 15, 2018 3:06:19 GMT 1, OG slick aka slick... one of the most well known griffiti artist with only 3 mentions on urbanart young slick back in the early 90's
OG slick aka slick... one of the most well known griffiti artist with only 3 mentions on urbanart young slick back in the early 90's
|
|