May, 2011

Alessandro Gottardo DAZED COLLECTION available at Known Gallery

May 07 2011 . 08:43pm

1 folder containings 8 etching and aquatint print (one print ONLY AVAILABLE with folder)
Limited Edition of 10 A/P
19.7 x 27.6 inch
$7,000.00 for folder of 8


limited edition of 10
19.7 x 27.6 inch
$1,000.00 each

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Kellesimone Waits paintings available at Known Gallery

May 07 2011 . 07:25pm

As a kid, and into my early teens, I was a dedicated comic book collector. Today I am an avid image collector, and news media is a primary source for much of my work. In the case of this current body of work all of my pen and ink drawings are sourced from newspaper photos from the past twelve months.

This series deals with context and media imagery as well as broader topics related to the effect media violence has on the individual and the collective conscience of western society as a whole.

My relationship to the specific events I’ve chosen to depict is one of distance. I have a second hand experience of the innumerable horrifically violent events occurring daily beyond my idyllic Northern Bay Area home.

My choice to juxtapose real world tragedies with the descriptive punctuation of comic book fantasy comments not only on my relationship to these events it also points to the effect that the saturation of media violence has on western culture in general. After a certain point there’s only so much horror and death that one can absorb, we become desensitized by necessity. The events begin to bleed together into a mass of general disaster that most must set aside in order to get on with our days and remain functional members of society.

In this work I’ve chosen to juxtapose seemingly unrelated images with the aim that the end result allows the viewer to re-absorb the gravity of the original event. My intention, by adding what seems like fluff to a very serious image, is to create a final work that shows the viewer what he already knows in a new light; making what has been seen new.

-Kellesimone Waits

For more info and sales:

Known Gallery
441 North Fairfax Avenue
Los Angeles, CA 90036
310-860-6263 and

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SABER- Print release and opening photos |

May 07 2011 . 01:50am

SABER’s new print available for $250.00 (First come, first serve – 1 print person). Produced by Modern Multiples and is an edition of 200.

Opera Gallery
115 Spring Street
New York, NY


Find out more at: Opera Gallery x

Here’s photos from SABER’s opening courtesy of Joe Russo:

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Juxtapoz Presents: SABER vs. SABER Video

May 05 2011 . 10:01pm

Wonder what runs, walks, and stumbles through the mind of legendary LA graffiti artist, Saber? Of course you do. Well wonder no more!

Check out Saber’s solo show at Opera Gallery in New York City called "The American Graffiti Artist."

Opera Gallery
115 Spring Street
New York, NY

Private Opening: MAY 5
Public Opening: MAY 6

Find out more at: x x

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Retna Talks MOCA, Graffiti & Fashion with Fabiola Beracasa for ELLE

May 04 2011 . 11:59pm

While in LA for ELLE’s Women in Music party, I took a minute to catch up with Retna, the breakout LA street artist who’s among the lucky few chosen by Jeffrey Deitch for MOCA’s Art in the Streets show.  Retna, aka Marquis Lewis, has a heart warming smile to offset his devilish glances, and happily told us how he grew from a “graffiti artist” and landed in one of the most important street art shows to date.

ELLE: When did you know this was your calling ?
R: I liked graffiti when I was about eight-years-old, but it wasn’t really called street art at that time, it was just graffiti.  When I first saw it I knew that was what I wanted to do I just never really thought that it would turn into a career, you know? I just did it because it made me feel good, or it made me happy when I looked at it, but I never would’ve thought of where it would go…

ELLE: When did it turn from something that you loved, and did passionately, to something you could actually live off of?
I think that was maybe the past seven years.  [I] got into design, my first forays into actually making money off this or being able to make somewhat of a living off this was designing graphics for clothing companies.  So I was designing for this Japanese brand doing some cut and sew stuff; I think at that point I saw, “Hey I can do these graphics, and you know I can pay for other stuff that I want to do,” and then little jobs just started carrying on and it kind of kept leading to other things.  I did a lot of stuff just from the heart for free for the longest time and, well, you do things because you want to do them and you don’t want to sit around and wait for people to pay you.  You think, “Well fuck, I’ll just go make it happen.”

ELLE: What does it feel like to be part of Jeffrey Deitch’s Street Art Exhibition?
R: It feels great.  I’m really excited to be a part of it, it’s definitely a little overwhelming [as] it’s my first museum showing.  It seems like it came a lot earlier than I expected.  As a kid you want those institutions to recognize you and make you feel like you’re important.  I acknowledge [Jeffrey’s] commitment to what we do and I’m really honored to be a part of it.  It’s exciting to be in a show with all of these people that you grew up looking up to and it’s kind of mind blowing.  I would’ve never thought that they’d come visit me at my studio when I was eight-years-old, looking at these books that they were in.  They’re the greatest people and then to be around them and to actually exhibit with them, it’s kind of something unreal.

ELLE: There’s always that argument that when you move the graffiti, the street art indoors, into a museum into a gallery, it loses something.  How do you feel about that?
R: That’s all on the person viewing it. I think what’s great about that movement is that some guys still do both… so I think the idea early on with graffiti or street artists was you always want things that you can’t have, you always want to be in that spots that you can’t be in or you know people don’t want you to be in—so when we wanted to climb and paint this building we needed to figure out a way to go do it—so I think with the museum it’s just another aspect of that same mentality.  We wanted to be in there, so we figured out how to get in the door and put our stuff all over it.  Or, a couple [of] people crack the door and then the flood gates [open].   I feel that if it wasn’t for all of those, my predecessors doing all of the early work from the 70s and 80s and 90s and what have you, I wouldn’t be able to be there.

ELLE: You’ve worked with fashion companies before, how does fashion influence your art? Or do you feel that there is a correlation for you?
R: I’ve been heavily influenced by fashion, and a lot of that work was influenced by like Art Nouveau and stuff like that.  It still relates to some of my other work where I do matadors and bishops and these pieces where the clothing is just a little bit older, but I’m still kind of following along those same lines.  I obviously love and enjoy looking at fashion magazines, mostly women’s fashion, not really interested in men’s fashion so much.  I just think it looks great and it’s art.

ELLE: Did you ever get in trouble for doing graffiti?
R: Yeah, I’ve been arrested a good amount of times. My mother was just devastated.  She came here from El Salvador, worked two jobs and tried to send me to some of the best schools and I gravitated toward graffiti early on.  So for her it just hurt, it was really a disappointment.  She loves it now.  She’s more protective of the work.  She used to throw away a lot of my work early on, but that’s also what made me better.  She was my biggest critic at the time.

ELLE: Where do you see Retna going from here?
In my mind’s eye? To the end I guess… yeah, till the end of time…

-Source: x

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