05 – Special Presentation – A. Head B. Body – Dir. Jim Fields — This week we have a very special film presentation. Directed by my good friend Jim Fields (End of the Century, Time Online) – The film is about the late Dr. White, a neurosurgeon… who did a head transplant. Yes. Took the head of an ape, cut it off, and stitched it onto the body of another ape. Successfully. And its all here… All the gory details. The film was actually produced a few years back. But due to the extreme nature of some of the visuals it didn’t get much exposure at first. But the brave have certainly made it something of a docu-cult classic. We are honored to be able to have it as a special entry in the Midnight Archive. Jim can be found twiddling his thumbs at the Time Magazine offices weekly and drinking heavily after hours. For more on his work visit jimfields.tv.
Music by The Residents.
“Coonskin 2: Flight to Canada”, a collection of art works by Terrance Hughes
Opening reception: Saturday, October 8th, 6 – 9pm
For Hughes, this upcoming show is a concoction of two inpirations: Flight to Canada, a novel by Ishmael Reed, and Coonskin, an animated film by Bakshi. Flight to Canada tells the story of Raven Quickskill, 40’s, and Leechfield slaves who run away from their master, Mr. Swille, in search of freedom. Coonskin tells the story of Brother Rabbit, Preacher Fox, and Brother Bear, who flee the American South during the 1970s in search of liberation. Using satire, sex, violence, identity, and history to tell the stories of their characters, both Reed and Bakshi make clear that transformation can only come from within—a theme that is the cornerstone of Hughes’ work and that resonates deeply in his life. Consequently, there is “Coonskin 2: Flight to Canada”, which is Hughes’ vision of a sequel that will never happen. The show serves as homage and “thank you” to the great works of Reed and Bakshi and is a representation of Hughes’ love of the lost art of animation. Terrance Hughes was born in 1975 in St. Louis, Missouri, and currently lives and works in New York City. He is a self-taught artist, whose work deals with different periods of Black American history and issues surrounding cultural and social identities. Hughes’ works consist of two elements: graphite and charcoal on paper to create rendered portraits and landscapes from photo references, which are meant to mimic the photo itself, complete with imperfections; and animation Cel Vinyl on acetate, providing stark contrast through its vivid color and three-dimensional effect. It is his belief that the lost art of animation deserves a place in the art world.
Hughes has had recent exhibitions at Modern Eden, San Francisco, The Cheaper Show, Vancouver, and Mad Art Gallery, St. Louis. In March, Hughes participated in a group show to benefit Japan relief at graphite., Williamsburg.
Perhaps I am painting the cruelty of contemporary life because it is in opposition to my naïve outlook. In contrast with the physical features of my paintings, I think I am visualizing my feeling of anxiety in contemporary life. Though I do not think I am fully aware of the relationship between this cruelty and my anxiety, I represent this unsure feeling as figuratively as possible, and I am trying to figure it out in my painting. Although there are some prominent aspects of our contemporary world, such as commercialism and materialism, I cannot say who my enemy is. Some of the threats might involve the art world, however to protest such issues overtly does not suit my personal outlook.We cannot live in a developed society unless depend on its complex social rule. Following the rules and social values provides us stability. However, each of us creates exceptions, unstable rules and changeable standards. These double phases never unite, and I do not think they should be. I am really interested in these dilemmas and focus on these realities actually. This ambiguity may be my starting place and the reason I engage cruelty in my artwork. There does not appear to be a universal justice or evil in the present world. We need a grayer position in order to stay peaceful. In other words, I believe the dilemma of today’s morality, which is different from that of yesterday am, surely has helped develop my insight. Thus, my message cannot be a negation or an affirmation. My attitude in my artwork is a reflection of what the contemporary world is to me; my painting is my introspective confession. I believe I am making right artwork.
SEE MORE WORK HERE: http://juanalbertonegroni.wordpress.com/
From the Artist~
My work is about anything. Most of all I talk about the condition of being human and all that comes with it. The faces, the drugs, the jokes, childhood, guns, cell phones, flags, virgins… I constantly work with ink and paper. It offers me immediate results. That way I am able to catch information about things, people, sensations and events that fly through my mind because they belong to my memory. This results works as a chain reaction expanding the possibilities of an endless series of works that at the end all relate to each other, letting me concentrate in the beauty of the shape, contours and lines that distinguish the objects or individual characteristic of my subjects. I say things about myself in a generic way maintaining a graphic appearance so others can relate to my work.
Mi trabajo es sobre cualquier cosa.
Sobre todo hablo de la condición de ser humano y todo lo que esto implica. Las caras, las drogas, los chistes, la niñez, las armas, celulares, banderas, vírgenes…
Constantemente trabajo con tinta y papel. De esa manera puedo captar información sobre cosas, personas, sensaciones y acontecimientos que vuelan por mi mente. Y puesto que esas cosas pertenecen a mi memoria, me ofrece resultados inmediatos. Permitiéndome que me concentre en la belleza de la forma, los contornos y las líneas, que distinguen a los objetos o las características individuales de mis temas. Por lo general, en mi trabajo, la intención es decir cosas sobre mí de una manera genérica para que otros puedan relacionarse con la obra, manteniendo siempre un aspecto gráfico.