February 19 2008 . 11:18pm

+ Share this post


February 18 2008 . 07:58pm

Saturday, February 23rd, 2008 7 pm – 11 pm

a.Muse Gallery
Open 7 Days by appointment
614 Alabama Street
Second Floor

San Francisco, California
Info: (415) 279-6281
Show open for viewing:  Thursday, February 21st – Friday, March 14th, 2008
a. Muse Art Gallery is pleased to welcome the outstanding display of original artworks designed specifically for the show ‘Wicked of the West’, artists include: Robin Grass, Amandalynn, Reyes, Norm, Margaretta Jo, Holly Ellis, Megan Shaffer, Fate, Yutaro Sakai, Phil Holt, Pete the Painter, Prairie Prince, and Lucien Shapiro


Originally starting as an art show displaying exclusively the works of Amandalynn and Robin Grass, this art show depicts characters and creatures inspired by Gregory Maguire’s novel, ‘Wicked’. His writings tell the Wicked Witch of the West’s side of the story of her time in Oz. Amandalynn and Robin teamed up with this theme in mind and did the ‘Wicked’ show in Pennsylvania in the Fall of 2007. The show was a huge success and the team decided to move the remaining body of work as well as some new pieces, out to the west coast for display. Amandalynn has decided to expand the show by adding new artists with an array of different talents, ranging from: metal sculpture, fashion design, computer animation, wood carving, tattooing, traditional portrait painting, graffiti, and fantasy based sculpture.


Sponsored by: Scion ( ), Imeem ( ),
+ Share this post


February 18 2008 . 07:52pm


Recurrent Association New Works by
Phil Holt

Opening Reception

Lower Hater’s
597 Haight Street, SF, CA 94117

A veteran tattooist of ten years, Phil Holt’s art and the expertise in his craft have earned him high regard in the tattoo and art world. He is one fo those rare people that elevate the craft. He owns and operates his gallery Redletter1 in Tampa Florida. Recently, he moved to San Francisco to tattoo with Grime at Skull and Sword in the Mission District. A prolific painter, his work has been featured in prestigious exhibits throughout the US as well as Osaka, Barcelona, London to name a few.

+ Share this post


February 13 2008 . 08:31pm

photo by eq23

Street Gospels: Deliver the Word
by James W. Riley

There stands a wall draped in black, scripted with antique-gold lettering. Manu Chao’s song lyrics read:

Por el suelo hay una compadrita
Que ya nadie se para a mirar
Por el suelo hay una mamacita
Que se muere de no respetar
Pachamama te veo tan triste
Pachamama me pongo a llorar

Translated into English it means:

Dirt cheap, here’s a female companion
That nobody bothers to see
Dirt cheap, here’s a mamacita
whos dying, she has no respect
Pachamama, I see you so sad
Pachamama, I’m going to cry

Play Song

The mother goddess, Pachamama, presided over the indigenous peoples of the Andes for centuries. In parts of Bolivia, Chile, and Peru, she was venerated as the Virgin Mary—a legacy of Spanish colonialism. Today, on a street corner in Hollywood, California, a mural in her honor sanctifies the City of Angels. Three native Angelino scribes, Retna, Dame, and Werc, use the concrete canvasses of Los Angeles as a gallery to display their reverence.���

In graffiti terms, a mural is referred to as a “production,” which is made up of smaller “pieces.” This particular production’s religious iconography exalts the genre into a sacred place, into the realm of deities.

A floating crown signifies the majesty of this production. To the right of the crown, Retna’s piece, a skeleton of vibrant greens electrifies the wall, imagery of feathered letters with bird-of-prey claws clutch the wall, and hint of Mayan undertones. A copper braided cross stands erect, flames spiral from its ends spill out of a halo encompassing it. To the left of the crown, pulsating colors embrace a sacred heart. The barbed-wired heart pumps love for the community. Four letters, “INRI” (shorthand for “eye-in-our-eye” or “inner-eye”), inscribed in Dame’s piece denotes a quest for identity in chaotic anonymity that is Los Angeles. Towering over the two pieces, Werc’s black Madonna, a beautiful bronze portrait of a mother watching over her child, radiates with holiness. From behind her elegant turquoise headdress, brushstrokes of deep rich red rays create an aura of grace.�

In the background, Retna’s distinct style of calligraphy is a mixture of Egyptian hieroglyphs, Arabic, and Old English. All cultural influences become one. Nothing is taboo. Much like the music of Manu Chao, who sings about love, living in ghettos, immigration, and social equality in a plethora of laguanges including French, Spanish, Arabic, and English, often mixing them in his songs.

The production, like the lyrics that inspired it, tells the history of the devastating effects of colonization on indigenous cultures. The production aims to rectify this through mixed media, using both brush and spray paint. Inherently, graffiti art, as an urban sub-culture, is the anti-thesis to cultural hegemony. Despite negative perceptions of graffiti art, the genre implicitly comments on social issues, especially the social ills of misunderstood youth in Los Angeles.

In fact, the artists hope youngsters headed to the liquor store think twice about the handicapping effects of alcohol, which also plagued their ancestors. Ironically, in honor of Pachamama, believers spilled a small amount of their drink onto the floor after toasting. Yet coincidentally, it is also custom among gangsters to pour out a little liquor before drinking in memory of the dead. In light of this, the artists burn candles at the foot of the production in memory of fallen friends, and in prayer that no one else will lose their life on this street corner.

The artists even risk life and limb delivering their street gospel. In the shadows, neighborhood thugs hang back and watch on. These characters may actually view it as a blessing on their so-called protectorate. As the artist paint, local kids pass by to visit. Some even ask to become apprentices. In some cases, kids escape the fate of joining a gang by becoming graffiti artists. In this regard, the artists experience positive feedback.

Ultimately, these artists are products of their environments. And while art is left to interpretation, this production is an attempt to beautify a city’s streets with a genre that is misunderstood and underappreciated, much like social issues affecting their communities. Productions like these adorns the corridor of Los Angeles and remind us that artists cannot retreat to the comfort of isolated studios, but must respect, embrace, and cherish the urban landscape.

+ Share this post


February 13 2008 . 08:31pm

+ Share this post