WILLIAM ARVIN

(1985)

William Arvin's work follows the recent tradition of press photos, advertisements and film stills, that are the common targets of appropriation, and have been for decades since the dramatic spike of their ever-growing presence in our daily lives. With immediate access to nearly every possible image and every form of media in the limitless landscape of digital space, the subjects are naturally rather disparate from one another, both in content and source media. Social upheaval, cinematic escape and the authority of advertisement are just a few of the issues that lie beneath the images, although, all politics aside, bringing physical form to these fleeting digital encounters under the umbrella medium of paint on canvas is of primary concern.

The role of text in his work serves multiple purposes; it asserts his own obscure sentiments toward the image in question, creates a familiar visual language that viewers speak fluently, that of the calculated design of advertisement, and drives a wedge between the viewer and the illusionistic space of the image, adhering all forms to the flatness of the canvas. 

Flatness against space is also explored through the pixelation of areas in certain images, offering an automatic and systematic form of abstraction. Relying on the predetermined organization of information in digital images, he is free to focus less on composition and more on the play and exchange between these units of reality. Creating a system of tightly organized units within an image is no stranger to the process of painting, however here the process is laid bare, maintaining the unique character of each unit, as well as directly referring to their digital origins.

SHEPARD FAIREY

(1970, South Carolina, US)

Frank Shepard Fairey is an American contemporary street artist, graphic designer, activist and illustrator who emerged from the skateboarding scene. He first became known for his "Andre the Giant Has a Posse" (…OBEY…) sticker campaign while attending the Rhode Island School of Design (RISD), which appropriated images from the comedic supermarket tabloid Weekly World News.

Fairey's first art museum exhibition, entitled Supply & Demand (as was his earlier book), was held in Boston at the Institute of Contemporary Art during the summer of 2009. The exhibition featured more than 250 works in a wide variety of media: screen prints, stencils, stickers, rubylith illustrations, collages, and works on wood, metal and canvas.

As a complement to the ICA exhibition, Fairey created public art works around Boston. The artist explains his driving motivation: "The real message behind most of my work is 'question everything'."

In July of 2015, Fairey was arrested and detained at Los Angeles International Airport, after passing through customs, on a warrant for allegedly vandalizing 14 buildings in Detroit. He subsequently turned himself in to Detroit Police.

Watch this video of OBEY:

RON ENGLISH

(1966, Texas, US)

Ron English is an American contemporary artist who explores brand imagery and advertising. He is known for the use of color and comic book collage.

One of the most prolific and recognizable artists alive today, Ron English has bombed the global landscape with unforgettable images, on the street, in museums, in movies, books and television. English coined the term POPaganda to describe his signature mash-up of high and low cultural touchstones, from superhero mythology to totems of art history, populated with his vast and constantly growing arsenal of original characters, including MC Supersized, the obese fast-food mascot featured in the hit movie “Supersize Me,” and Abraham Obama, the fusion of America’s 16th and 44th Presidents, an image widely discussed in the media as directly impacting the 2008 election. 

Other characters carousing through English’s art, in paintings, billboards, and sculpture include three-eyed rabbits, udderly delicious cowgirls and grinning skulls, blending stunning visuals with the bitingly humorous undertones of America’s Premier Pop Iconoclast. English was one of the on-camera subjects interviewed for the documentary Super Size Me (2004), which showcased his McDonald's-themed artwork -- inspired by English's belief about the effect of fast food franchises andrestaurant chains on the American culture.

Watch this interview by Hurley:

KOFIE ONE

(1973, Los Angeles, US)

Augustin Kofie, or KofieOne, grew up in and has made Los Angeles his lifetime home. He has been active in the LA Graffiti community since the mid-nineties. Many of his murals and productions are still on view. As he has developed over the year, his work reflects his wide range of interests: architectural templates, deconstructed lettering, vintage collage paper, contemporary music, and 1960's-70's iconography. 

Recently he became a member of the Agents of Change, a tight crew of progressive graffiti artists, which also includes Jaybo Monk and Derm from this exhibition as well. He also is a member of the Transcend Collective with Joker, Poesia and more.

With a deep interest in process and structure, Kofie creates works of intense detail centered on the order of balance. The precision of Kofie’s “drafted” art is strongly inspired by modern architecture as well as the form and shape of deconstructed typography.  In his quest for balance, Kofie harmonizes opposing and contradictory dynamics in his work by setting futuristic compositions against vintage earth-toned palettes and collaged graphics, creating organically complex formations through meticulously structured line-work and layering. His style has been dubbed Vintage Futurism.

Watch this video about Kofie One by All City Canvas:

JAVIER ROCABADO

(1959, Bolivia)

Often times Javier Rocabado combines themes into installations that feature real US currency alongside human figures or icons and real objects. These icons are then embellished with 22 k Gold Leaf halos, cultured pearls, semi-precious stones, 18k gold and silver jewelry, the vials of used injectable HIV medications filled with holy water or olive oils. I also use inert bullets, maps, cloth and a myriad of common house-hold objects.

Although he uses a variety of materials, his theme and methodology is consistent in each of the art pieces in this series. All the pieces are linked by recurring formal concerns and throughout the subject matter. The subject matter of each piece thus determines the materials to be used and the form the piece will take.

HUSH

(1976, Newcastle, England)

HUSH, inspired by detritus, uses futuristic silvers and blacks clothed in a chaotic collage of colour to create a sensual blizzard of femininity, power and loss. Painted in grayscale, often with the eyes blacked out, HUSH's female faces are dehumanised. By reducing them to shells of sexuality, he perfectly encapsulates the transient nature of modern life as well as the timeless forces of passion and desire.

By action painting these faces from history, he achieves "pure expressionism". The collage-effect backgrounds are screen-printed and hand-painted, then the graffiti elements added by hand in the action painting style, sometimes over many months. The final layer of colour replicates sheets of flyposters peeling from our city's walls whilst the Bravura use of aerosol on the portraits lends the pieces a futuristic sheen, echoing the seductive promise of technological fulfillment.

"Some people think my women are serene, others that they're scary. What is clear is the power of their sensuality", says HUSH. The portraits he paints are imposing and alluring, yet confrontational and unobtainable. The implication being that while the pleasures of modern life are fleeting, the succubus legend remains the most potent, rewarding, and perhaps destructive compulsion offered to man.

Watch this installation video by carmichaelgallery:

FAILE

(1999)

FAILE is the Brooklyn-based artistic collaboration between Patrick McNeil and Patrick Miller. Their name is an anagram of their first project, “A life.” Since its inception in 1999, FAILE has been known for a wide ranging multimedia practice recognizable for its explorations of duality through a fragmented style of appropriation and collage. While painting and printmaking remain central to their approach, over the past decade FAILE has adapted its signature mass culture-driven iconography to vast array of materials and techniques, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, installation, and prayer wheels.

FAILE’s work is constructed from found visual imagery, and blurs the line between “high” and “low” culture, but recent exhibitions demonstrate an emphasis on audience participation, a critique of consumerism, and the incorporation of religious media, architecture, and site-specific/archival research into their work.

Watch this video on their permanent installation by Vice:

DATE FARMERS

(California, US)

The Date Farmers are Armando Lerma and Carlos Ramírez. The artwork by The Date Farmers echoes Mexican-American heritage rooted in California pop culture. Their paintings, collages and three-dimensional sculptures contain elements influenced by graffiti, Mexican street murals, traditional revolutionary posters, sign painting, prison art and tattoos. Living in the peaceful seclusion of the desert, the artists often travel across the border, into Mexicali and Oaxaca to scavenge for materials. With traces of ancient indigenous art, mushrooms, and mescal, the Date Farmers combine familiar pop iconography and corporate logos with figures from comics, folklore and Catholicism. Desert creatures such as coyotes, snakes, and scorpions appear frequently in their works as well as found materials like stamps, bottle caps, hand painted or collaged lettering.

The Date Farmers have a history that is just as compelling as their artwork. Originally from Indio, California, they met at an art gallery in Coachella Valley ten years ago. Marsea Goldberg of New Image Art gave them their first show, naming them The Date Farmers because Armando’s father owned a Date Farm in Coachella where Carlos worked, picking dates. Carlos’ mother was a migrant who once worked with civil rights leader Cesar Chavez -American activist and co-founder of the United Farm Workers- during the grape boycott of the 1970s. Through their unique perspective as American-born Chicanos, The Date Farmers explore topical subjects with a profound simplicity.

Watch this video by alf alpha:

ADAM HARTEAU

(1977, Los Angeles, US)

This self-made artist, Adam Harteau, works adroitly in a flurry of mediums, each informing the other, and serving its creative purpose as the project presents itself. An imaginative artist, designer, draftsman and problem solver, he moves with ease between painting, photography, drawing, collage, printmaking, sculpture, graphic and fashion design. At 18, he moved to Los Angeles to attend Otis College of Art and Design, where he received a scholarship for fine art painting. He has remained in Los Angeles since then, balancing his diverse and eclectic artistic endeavors with grand explorations of the world, which have all brought great inspiration to his life and work.

Watch Adam, Emily and the rest of the Harteau family take a break from their endless travels to join us as the next in our Dreamers + Doers series. See what it really takes to start a life of adventure, a family and an exciting new business from the open road:

ADAM CALDWELL

(1963, Massachusetts, US)

Adam's paintings and drawings juxtapose elements of abstract expressionism and classical figuration. Throwing in layers of images of ancient ruins, social protest, war, and architecture, he seeks to explore  the contemporary depiction of sexy, southern, white-trash women, who are a stereotypical result of writings by Caldwell’s grandfather. 

During his training at the California College of Arts and Crafts, he began to create collage drawings that layered disparate images on top of one another; he now uses oil paint in a similar way, starting with an abstract background and then adding more photorealistic details, allowing the work to dictate its own construction. The resulting palimpsest of figures and abstract shapes represents the conflicted and paradoxical emotions that underlie his work.

Caldwell's paintings evoke the tensions between mind and body, self and other, present and past. They also raise questions about the nature of identity, particularly concerning issues of gender and sexuality. He is deeply concerned about the world around him, and his work reflects his reactions to social issues such as war and consumerism by contrasting images from American advertisements and popular culture with images of rituals from around the world.