Reuben Kincaid

Drawing From Lives at CPS

2010-11-09T10:26:00.001-08:00

All Black Everything, New Works By Michael Kloss

2010-10-11T09:53:00.000-07:00

All Black Everything
new works by michael kloss

All black everything is a new series of drawings exploring slightly outdated pop culture figures. Mainly men from Edward Furlong to
Jim Brewer.

eastern expansion
244 W 31st street
chicago, IL
Oct 15th 7-10 pm
Appointment only after the 15th
up till Nov 13th

Wave Int'l at CPS

2010-10-11T09:50:00.000-07:00

Issue 01
Presented by Wave Int'l
Co-Prosperity Sphere
3219-21 South Morgan Street
Chicago, IL 60608

Dates: October 15 - November 12, 2010
Opening Reception: October 15, 2010 7-10 PM
Appointment Only After the 15th

✎ ☏ ☂ ✉ ✄ ✈

Wave Int'l invites you to open Issue 01 with us at Co-Prosperity Sphere on
Friday, October 15.

Brian and I initiated Wave Int'l as a platform for our respected peers to meet and
collaborate on some ideas we've been contemplating in our readings, writings,
works and conversations. We hope for our global community to convene in the
form of quarterly networks, or Issues, in various geographic locations
throughout time. Each issue culminates in an exhibition and publication. We
welcome you to meet us at our first network by attending the Issue 01 opening
and picking up a copy of it or downloading the PDF at http://waveintl.info/.

For Issue 01, we invited Ida Lehtonen (Gothenburg, Sweden) and Micah Schippa
(Chicago, IL) to talk about iconography in the "office". The issue will feature new
works from Lehtonen and Schippa, and a contribution from Bret Schneider (New
York, NY).

Please visit http://waveintl.info/ for more information.

We look forward to seeing you there.

Paul Rizzuto at Eastern Expansion

2010-07-19T09:49:00.001-07:00

VFW Post 5079 -3202 South May

2010-06-08T12:50:00.000-07:00

Johanna Wawro/Andy Resek @ Eastern Expansion

2010-06-08T11:52:00.000-07:00

Scott Cowan / 17 Pictures

2010-04-22T15:44:00.001-07:00

Scott Cowan, in his first photography exhibition, has selected 17 images from a body of work that will eventually contain 10,000 photos. The chosen work illustrates humor, raw tension, claustrophobia, and strangely grotesque excess within and without what is typically thought of as 'common' cultural objects. They are clearly fixed ‘facts’ of the real world but impartially recorded within the order and clarity imposed or allowed by the camera. While less focus is placed on direct narrative, the starting point is an egalitarian or evenhanded place where no one object contained within the picture has direct precedence over the other. The emphasis is on shape, color, form, symbol, texture and fragments of space. With this in mind these images re-think about what is considered successful, beautiful, or visually important. It is as if the aesthetic qualities are not a separate issue to resolve apart from the objects themselves.

Reuben's new Newsletter

2010-01-30T19:15:00.001-08:00

Reuben has helped fund the community newsletter, The Bridgeport International. A blog has started and the first issue is available for download at the blog.

Select Media Festival 8

2009-11-15T23:48:00.000-08:00

Reuben thinks this might be the best show he's seen at C-PS in years.
Select Media Festival 8 features super bad ass video, art, performance and hypnotism.
Visit the website.

Reuben binging Radar Eyes print show to Space LIC

2009-10-06T14:54:00.000-07:00

Seripop rocked out

2009-10-06T14:51:00.001-07:00

.. an installation show at BALTIC Center for Contemporary Arts in Gateshead , UK .

Tales from the bubble @ Co-Prosperity Sphere Sept 25

2009-09-21T22:03:00.000-07:00

Proximity Presents Exhibition Series:

Tales from the Bubble
September 25, 2009 through October 11, 2009

Opening reception: Friday, September 25 6-9pm
Extended hours until 1 am during performance program

Co-Prosperity Sphere
3219 S Morgan St
Chicago Il 60608
Tel : 773.837.0145

Exhibition hours: Open during events and by appointment.

Tales from the bubble is the working title Berry Sanders has chosen for his participation in an art project of the Public Media Institute in Chicago. This project includes a solo exhibition and a residency for three weeks in one of the studios of the institute.

For his exhibition the artist created a series consisting of twelve stories painted in oil on paper. The works are painted only in black and white, with as another striking feature the use of a wide range in size of the brushes. This produces significant differences in detail and that adds to the dynamics of the image. Peacefully observing these images is a challenge. The eye is constantly torn between the immediate surface and the suggested depth. Perception pinches, because there is a clear tension between the different layers in which sometimes a single swipe can suggest a painted space.   This tension in observing adds in processing the narrative element in his work. The stories are not to be interpreted at a single glance. The painter shows us persons in action in a constructed, not appropriate world. The pictures are confusing, the action seems pointless. In Recital no4 soldiers are pushing a piano through a forest. In TV-nation cameramen are filming a person behind a desk in an otherwise empty landscape.

The artist forces us to look at human activity with a distance. In F-side, for example, he shows us the needs of man to merge into a massive, almost religious devotion to soccer, complete with its rituals and symbols. The supporters or hooligans are ready to fight for their team, just as fanatical as believers do to protect their faith. Intrusively the artist shows us the struggle of modern man in facing an uncertain future, outside the previously so familiar religious inspired existence. Apparently life in the void is no option for this crowd.   In these images the bubble is a key to the story. It is used as a metaphor for the accumulation of hopes and dreams of man. It is not clear whether the bubble is still beautiful and complete or already splashed.

The characters are placed in beautiful atmospheric landscapes. The often overwhelming nature of the mountains in Vietnam or the American wilderness, contributes to the international impact of his work. It also gives us the possibility for a different interpretation. He is not afraid to paint cliché landscapes. They seem to be picked from a postcard, and, by the lack of colour, they refer to a distant past. A past that is forever gone.

The beholder can make his own choice between being numb by comfort in the bubble, or cope with the harsh reality after the burst.

The artist is fascinated by Albert Camus (1913-1960). With existentialism as a starting point, this philosopher shows us the meaninglessness or absurdity of human life without faith in God or Salvation.

- essay by Elisabeth Schreuder, Art Historian, August 2009

Rhetorics of memory @ Eastern Expansion

2009-08-31T18:23:00.000-07:00

Retórica del recuerdo
Rhetorics of memory
An installation by Jorge Miñano Ramírez
September 5 – Sept 22, 2009

Opening Reception: Saturday September 5 6pm to 9 pm

Eastern Expansion Gallery
244 W 31st St  Chicago
El: Red to Sox/35th.  Bus: 29, 35

Artist Statement:
The exhibition is a starting point for a reflection about the concept of cultural memory and how it has overcome a binary opposition between the individual and the collective experiences. This reciprocal relationship came across my mind when I had to leave my own country; and experience a completely different place with a new community of friends. The feeling becomes more obvious when a visiting person has to go back home.

New concepts are related with the perspective of familiar history, memory and gender; colonial, postcolonial, and transatlantic studies; museums, monuments, and memorials, as well as the practical implications for heritage industries. It is also a skeptical way to leave one’s mark and prolong the virtual existence of a person in a specific place with techniques other than photography. The show is composed of graphic, writing, mail correspondence and actions in the city which were created for the exhibition as a tribute to Chicago. The artist also is going to take a group photo of friends and assistants during the opening in the gallery.

About the Artist:
Jorge Miñano Ramírez is a Spanish artist working with experimental narrative in film, video and photography. He documents actions about personal and collective experiences related to food, family and friendship. Using archive, reconstruction or performance, he creates different images to reflect our personal desires and the influence of one’s surrounding. He studies at the Academy of Fine Arts of the Complutense University of Madrid and in 2008 received a fellowship from this university and the Bancaja Foundation to study at the School of The Art Institute of Chicago.

For more information visit:
www.jorgeminano.es

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Freakie Outie @ Eastern Expansion

2009-08-13T21:45:00.001-07:00

Freakie Outie @ Eastern Expansion

freakieoutie

Eastern Expansion is pleased to host Freakie Outie for a one night only performance August 14, 2009 from 7-9pm

Referencing peep shows and iPod commercials, Freakie Outie is a window-based performance installation which ties together personal electronics, affect, pop music and sensoral memory. Four performers at a time are contained within the boundary of a storefront window, with sets of headphones dangling from the top of the exterior. Each performer wears a uniform consisting of a green sensible sweater and khaki slacks. Each pair of headphones, one for the performer and one available for a viewer, is connected to one audio source playing a pop song selected by the performer. The performer rocks out to the pop song they have selected in a manner normally only practiced in a private space, as he or she would do in front of a mirror or in their bedroom at home. Viewers are welcome to listen to a set of headphones along the performance boundary for as little or as long as they like, or not at all. Freakie Outie is a study in personal connectivity to pop music which discusses the fine line between what makes one rock out and what doesn’t.

Eastern Expansion
244 W 31st Street

Freakie Outie at Eastern Expansion

2009-08-10T18:41:00.001-07:00

Eastern Expansion is pleased to host Freakie Outie for a one night only performance August 14, 2009 from 7-9pm

Referencing peep shows and iPod commercials, Freakie Outie is a window-based performance installation which ties together personal electronics, affect, pop music and sensoral memory. Four performers at a time are contained within the boundary of a storefront window, with sets of headphones dangling from the top of the exterior. Each performer wears a uniform consisting of a green sensible sweater and khaki slacks. Each pair of headphones, one for the performer and one available for a viewer, is connected to one audio source playing a pop song selected by the performer. The performer rocks out to the pop song they have selected in a manner normally only practiced in a private space, as he or she would do in front of a mirror or in their bedroom at home. Viewers are welcome to listen to a set of headphones along the performance boundary for as little or as long as they like, or not at all. Freakie Outie is a study in personal connectivity to pop music which discusses the fine line between what makes one rock out and what doesn't.

Eric Fensler's installation precede's MJ's Heart Attack

2009-06-30T12:19:00.000-07:00

Eric Fensler's installation at Eastern Expansion gallery may have presaged Michael Jackson's recent heart attack. Fensler's psychic intervention re-appropriating MJ's t-shirt featured in the the video Beat It could be the culprit. The work will be on view until July 4, 2009.

Eric Fensler @ Eastern Expansion

2009-05-26T14:09:00.000-07:00

May 30, 2009
6-9pm

Eric Fensler will create an installation for Eastern Expansion Gallery.
Eric will be hosting the opening. Stop by and have a Groslch.
Stop by Co-Prosperity Sphere afterwards for the Cardboard Show.

The installation will run through June 17, 2009.

Jennifer Juniper Stratford Video

2009-05-21T17:28:00.000-07:00

ENTERPRISE by John Maus from Telefantasy Studios on Vimeo.

Reuben darling, Jennifer Juniper Stratford just finished this recent video.

Michael T Rea On Daily Serving

2009-05-18T09:58:00.000-07:00

Michael is given a nice mention on Daily Serving. Michael has work as part of Scion's 1000 Days exhibition.

Michael T Rea at HPAC

2009-05-04T21:37:00.000-07:00

Michael T Rea installed Suit for Stephen Hawking as part of the Artists Run Chicago exhibition at the Hyde Park Art Center.

Exhibition Reception
Sunday, May 10, 3 – 5pm
Runs through July 5, 2009.

Seripop needs your help.

2009-05-04T21:32:00.000-07:00

Our clients at Seripop need a hand. If they win the most votes for this t-shirt design they will get an edition of them made at threadless, the grand daddy of t-shirt action! Kids will be able to order it, our team will win, and the world is a little brighter.

Please VOTE FOR THEIR DESIGN RIGHT HERE! Go ahead and sign up, too.
thanks!

Rachael Marszewski at NFO XPO

2009-04-23T00:11:00.000-07:00

Reueben Kincaid client, Rachael Marszewski, will be presenting work at the Version Festival's NFO XPO on Saturday April 25 and Sunday April 26, 2009. Her piece " How to learn Finnish in 48 hours will be conducted over the two days of the art fair.

No really, I only can spend 10 minutes in your studio before It creeps me out.

2009-04-04T21:38:00.000-07:00

Studio of Sylvia B

Next 2009 "Welcome To My Walled, Multicultural Military City"

2009-04-04T21:22:00.000-07:00

Michael T Rea “Your Lust Will Hold You Up, Float on the Dragons Breath”2009

Reuben Kincaid is back from Switzerland and has decided to pull together his top artist, so get ready!

Michael T Rea
Mike Genovese
Matthew Hoffman
Aron Gent
Hale Ekinci
Anna Shteynshleyger
and more if we get a bigger space....

Aron Gent "Untitled Outpost", 2008

Field trip to the Netherlands

2009-01-21T22:24:00.000-08:00

Reuben is going to The Netherlands to conduct business.

While there he will be checking out: http://trendbeheer.com/artrotterdam/ where he is checking up on works exhibited by Juan Chavez, Cody Hudson, Sighn, Aron Gent, Jason Lazerus, Brian Ulrich and Michael T Rea.

Talking to MFA students at http://www.akvstjoost.nl/eng

He will be resenting at AKI, ArtEZ academy of Visual Arts Enschede re: Artist run culture in the US.

And he will also be going to http://www.extrapool.nl to freak out.

Image Splimage

2009-01-09T14:26:00.000-08:00

Image Splimage: Recent Paintings by Brad Biancardi

January 15 - February 17, 2009
Opening reception: January 15, 6-9 pm

EASTERN EXPANSION
244 W 31st Street Chicago Illinois, 60616

773.837.0145

About the work
Brad Biancardi's work begins with direct, observational drawings of specific spaces or objects that carry personal importance. Working from observation is the most important mode of informing his work. Though they begin from observational drawings, they eventually abandon their dependence on them and enter an area that exists somewhere between invention and representation. For this reason Brad describes his studio practice as “referential.” Sometimes he begins with a space, sometimes he attempts to subvert a pop-cultural icon in order to transform them into something more personal and elusive, i.e. bikes, the spacecraft from the Star Wars films, governmental buildings, etc.

The mathematical system of linear perspective is one formal tool within which Brad's explorations occur; color is another. He composes his imagery based on a symmetrical model with full knowledge that asymmetrical nuances are inevitable and will bring life to the work.

Brad also desires to retain a direct connection to art history by utterly consuming the potential of basic formal tools. As contemporary culture inevitably permeates his working process, he attempts to consume it, contemplate it and eventually either abandon it or use it. It is an ever-present concern of his to be equally aware of both contemporary culture and historical knowledge. Brad finds fault in the painter who feels embedded in twentieth century theoretical matters. At the same time he thinks that contemporary art is becoming more concerned with ideas of market and fashion, while moving further away from an artistic utopia.

Biography:

Brad Biancardi received his MFA from the University of Washington. From 2005 – 2007 he was a member the Seattle based artist collective Crawl Space: Artist-Run-Gallery. He has exhibited his paintings and drawings in Seattle at Platform Gallery, the Lawrimore Project, Soil, and was an artist-member of the Crawl Space gallery from 2005 through 2007. He has exhibited in Chicago at the Co-Prosperity Sphere and the Zhou Brothers Art Center. He teaches at Gallery 37, was a visiting artist at Harold Washington College, and has taught at the University of Washington, Pratt School of Fine Art in Seattle, the Northern Indiana Artists Association and at the Museum of the Art Institute of Chicago. His studio is currently rejecting him like a virus.

The Dave The Lightbulb Man Show

2008-12-10T10:28:00.000-08:00

Reuben is pleased to announce a new tv shorts series called the Dave the Lightbulb Man Show.
Co-produced by RKAM client Thunderhorse video.

Looking to serve you more

2008-12-09T20:54:00.000-08:00

Reuben Kincaid has informed that he is looking for new works and projects for 2009.
If you have an idea or proposal for a solo project space exhibition please contact RKAManagement@gmail.com.

Radar Eyes Opens In Houston

2008-09-11T07:45:00.000-07:00

If anyone is going to be in Houston make sure you check out the Radar Eyes show at the Art Car Museum, it will be up until November 9th. http://www.artcarmuseum.com/

All Stars Show

2008-08-19T07:44:00.000-07:00

The Bridgeport All Stars show is a snapshot of work made by artists living and working in the community of the future.

People like: John Salhus, Linda Kim, Steve Badauskas, Steven Stankowicz, Rachael Marszewski, Rachel Welling, Brad Biancardi, Mr. Thor, Ryan Murray, Peter Skvara, Justin Goh, Gabe Lanza, Ian Whitmore, Vicki Fowler, PHOR, Ray Emerick, Chris Smith, Ed Marszewski, Gina Hutchings, Nicole Lucaroni, Henry Glover, Thorne Brandt, Dave the Lightbulb Man, Aron Gent, Jose Mesarina, Nate Lee, Carl Virgo, Zipporah Hodges, Jorge Golgo Quintero, Al Pocious, Mike Pocious, Daniel Mejia, Elizabeth Buchanan, Michelle Faust, Nat Ward, Patrick Willie, Rebecca Meyer & others.

Opening Reception: Saturday, August 23, 2008 7pm
The Co-Prosperity Sphere • 3219 S Morgan Street • Chicago IL 60608

Performances: 10pm by Mutual Divorce, Church Bus and Waterbabies.
Food design by Tony’s Catering ($5 donation after 9pm)

Open Saturdays 3-6pm and by appointment 773.837.0145 For additional programs visit lumpen.com

The show was supported in part by a grant from the Illinois Arts Council. They rock.

Hic et Nunc

2008-08-09T23:13:00.000-07:00

The show will only be up for a two more weeks, so make sure you stop by and see it before it's gone. E-mail me at arongent@arongent(dot)com for an appointment.

Leah Evans Interview by Brian Ulrich

2008-08-09T23:06:00.000-07:00

The interview was conducted on June 7th in Leah’s booth at the 57th street art fair in Hyde Park.

Bryan- So I think you could start by telling me a little about your background. I read your bio on the wall of your booth, but I think I need a little more detail about how you came from Kansas to Madison and how you started doing these art fairs.

Leah- I grew up in Kansas in the Flint Hills, which are geologically distinct. I went to KU for textile design. Then right after I graduated I started working at a National Park in Michigan. There, I met my boyfriend and he wanted to go to school in Madison, so I went with him. I kind of like the upper Midwest. Madison is a great place to work if you’re an artist, but not a great place to sell art. So that’s part of why I’m doing the art fair thing.

B- So how did you decide to become an artist? And where you making art before your undergraduate?

L- I grew up going to these craft fairs as a child. My family has always been working with their hands or constructing something; mostly woodworking. My dad actually is showing his woodworking in the tent next to mine.

B- Really? That’s great that you guys are next to each other.

L- When I graduated high school my parents really wanted me to go to college. They didn’t care what I did, they just wanted me to get a degree. I was first thinking of fashion but then I realized that I wasn’t cut out for that and just stumbled upon textile design and realized that I could work with my hands.

B- So I’m really interested in how people decide to become artists, because step one is going to school and step two is making a living with your art. Have you ever shown your work at galleries?

L- At some, whatever presents itself. I haven’t actively tried to show my work at them. It’s this act of progression, it’s like this is what I like to do and this is what I know how to do, so what else would I do? I kind of make enough money to stay afloat and I just don’t think about it. This is what I do, and it seems to be working right now.

B- So then how did you starting doing these fairs? Did you make a choice once you graduated to make art for the fairs?

L- So when I graduated I kept making work. I grew up going to the fairs with my parents, so I decided to try it. My parents were disappointed with me. They told me that it was a horrible way to make a living. So I started applying to the shows and getting into some of the better shows and they kind of got excited for me. It’s pretty great. I work for myself, and at least break even at the shows. I rarely lose money.

B- Do you feel that there is a community of people that go to these fairs? And do you try and keep in touch with those people? Or do you just set up your booth and then go home?

L- No, it’s definitely a community all its own. I don’t know of another place where you would experience the same thing. It’s kind of grueling. You’re on the street for two to five days at a time; putting yourself out there trying to sell your work. We are all in the same boat and help each other out. You have to deal with thunderstorms, a chance of getting mugged- there are definitely things that you don’t experience with any other job. We can all commiserate with each other. It’s a great group of down to earth people who probably couldn’t find another job.

B- I’ve been photographing at these fairs for a little while and I see that’s how they survive in the world; not just monetarily but actually functioning. That’s just what they have to do with themselves.

L- It’s interesting; a lot of the people live in fairly isolated areas. They find these interesting places to live in the country where it is inexpensive and they start their own artist communities. There is a lot in the South where they start these communities to live and do fairs to sell their art and make a living.

B- Do you see it as a political gesture or a counter culture thing to make your work outside of this whole art world thing?

L- No, I don’t see it as being against something. A lot of the work at these fairs is the same, and really only about five percent of it is fascinating work that you wouldn’t see anywhere else.

B- How do you feel about the audience that comes through these fairs? Do you try and build relationships with the people that buy the work?

L- I think that there are very few people that connect with what I’m doing, and when they do; I think it is a very special thing. They somehow find a way to come back and support me. I have had students that have followed my work and when they have a decent paying job they come back and buy a piece. It’s really satisfying to know that people who aren’t just throwing around money want to buy my work, but for people who it’s a big deal to buy my work for $300, simply because they like it.

B- In last five years there has been this boom in the art world about purchasing works as investments.

L- I wasn’t aware of that…(laughs) I think I heard something about that. I’m kind of outside that experience.

B- In my opinion the commoditization of the art world has become quite big. The work is judged on its sale ability value, not its aesthetic value. I think it’s interesting in how you describe the people who buy your work. It seems they buy it as this object they enjoy, not because when they turn fifty or sixty they can sell it or donate to a museum because of its value.

L- Maybe some of the people I sell to typically don’t even buy art, they are just taken by the piece and enjoy it for its aesthetic qualities.

B- I guess we should probably talk about your maps and maybe we could start with if they are direct references of places, and what is the inspiration behind the maps and why you choose the different elements that are in the maps.

L- My maps are not specific places. I kind of start with an idea and lately I have been focusing on impacted landscapes. This new series is based on strip mining, where they are searching for different types of materials; zinc, coal, lead. So when they are done digging for these materials the areas fill up with water and become these man made lakes. A lot of my work explores the boarders of different elements like roads and rivers and different settlements that interact with those natural and geographical elements. It explores how our society deals with land and also with its terrain and water systems.

B- It’s great how you approach this medium, because instead of starting with the form you start with the subject, allowing the subject to dictate the form.

L- A lot of people come to my booth and look at my work and say, “wow, I’ve always seen a quilted landscape while looking out of airplane windows.” I always viewed it as dissecting these lands into strips and piecing them back together. (It starts to rain heavily and the fair is about to close) I think I need to start packing up.

B- Do you need a hand in packing up?

L- Do you think you could pull down the front flap the booth so we don’t get any more water coming in? It’s interesting how we can be carrying our entire year’s income at one of these fairs, and it could all be destroyed fairly quickly.

B- Well we’re here to help, so if there’s anything else- let us know.

Hic et Nunc

2008-07-02T21:35:00.000-07:00

"Staring Contest" Jon Gitelson, 2008

Hic et Nunc
(Here and Now) A survey of new guard photography

Featuring the work of:

Claudia Burns
Sean Fader
Jon Gitelson
Mandukhai Kaylin
Jason Lazarus
Aron Gent
Tealia Ellis Ritter
Terttu Uibopuu and Sarah Mckemie
Brian Ulrich

July 18, 2008 7pm
Co-Prosperity Sphere
Chicago Il 60608

Ph: 773.837.0145

July 18, through August 8, 2008
Opening reception July 18, 2008 7pm - 11pm

Gallery hours: Saturday 1-5pm and by appointment

The show is supported by Public Media Institute, a non profit arts
organization. publicmediainstitute.org

An exhibition catalog will be available for purchase at the closing of the exhibition (August 8) which includes an essay written by Michael Weinstein.

RK presents thunderhorse, Michael perkins and Pure Magical Love is The Capricorn

2008-06-20T22:44:00.000-07:00

Thunderhorse Video collective will be setting up their space adventure ride at the Hyde PArk Art Center this Saturday as part of the Clothesline:Movememnt festival @ Hyde Park Art Center

View the promotional video below or right here:

Party Planet Promo VHS

And Michael Perkins and Pure Magical Love is The Capricorn will be performing !
come in the evening. stay for the magic. then go back north around 10pm to see the show in Bridgeport with Adam farcus at 32nd place and Morgan >> visit: http://www.secondbedroomproject.blogspot.com/

Details:
June 21, 3pm - 10pm
Clothesline: Movement @ Hyde Park Art Center
5020 S. Cornell

On the day of the summer solstice and the International Day of Music HPAC is hosting the third clothesline event and its shaping up to be the best and most exciting of all.
http://www.hydeparkart.org/exhibitions/2008/06/clothesline.php

7:30pm: Pure Magical Love is The Capricorn
8:30pm: Michael Perkins

The Art Center will host a Dance Party on the plaza to celebrate the month-long exhibition of Videodance, which will be projected in excerpts on the Jackman Goldwasser Catwalk Gallery. The evening includes live dance and music performances and art demonstrations. Lumpen and Reuben Kincaid Artist Management will present the Thunderhorse Party planet redux and ThinkArt will present artist David Gista, who will be demonstrating his technique of drawing with torches.

This is a free event!

Seripop at Bongout!

2008-06-15T23:32:00.001-07:00

Our Seripop buds are touring europe and did a mini Exhibition in the Bongout Shop in Berlin

Opening Saturday, Juni 7th at 7PM
From Juni 7th till June 28th 2008

Seripop is a whacky and prolific duo of graphic designers from Montreal. Renowned since 2001 for their handmade DIY-psychedelic-punk noise rock concert posters (Lightning Bolt, the USA is a Monster, TV on the Radio, XBXRX, An Albatross, Wolf Eyes, Black Dice…), they have adopted silkscreen printing as their favourite medium. It seemed normal that we should invite them to make the Bongout showroom their home for a few weeks.

Seripop ist ein abgedrehtes und arbeitswütiges Grafikerduo aus Montreal. Die seit 2001 für ihre handgemachten DIY-punk-psychedelischen Konzertposter für Noise-Rock-Konzerte (Lightning Bolt, the USA is a Monster, TV on the Radio, XBXRX, An Albatross, Wolf Eyes, Black Dice…) bekannten Grafiker haben den Siebdruck als bevorzugte Ausdrucksweise für sich entdeckt. Es schien uns also geradezu logisch, sie für ein paar Wochen in den Bongout- Showroom einzuladen.

Bongout Showroom
Torstraße 110
10119 Berlin
Germany
Opening hours: Tue-Sa, 12 - 07 PM
+49(0)30 280 93 758

Project Space Show

2008-06-09T14:54:00.001-07:00

Baby Robots

2008-05-06T20:53:00.000-07:00

Curated by Dave Teng Olsen and Mike Rea

Dave and I are very excited about all of the work and think this may be one of the best Baby Robots ever. As you may or may not know this is an auction show and we have work starting at prices as low as one dollar. A great opportunity to purchase an amazing piece of work for a low price. So please join us for the first Baby Robots of the Year. Where/ Chicago at the Co-Prosperity Sphere 3219 South Morgan Street, Chicago Illinois, 60608 . on May 16th. Biding starts @ 7:00 pm and concludes @ 10:00pm, and if all goes well you will be leaving with your very own baby robot. See you there, for more info please go to http://gbr.siamesebirds.com/

Gimme Baby Robots is a large artist collaborative founded in 2005 in Madison, WI. It is comprised of over 100 artists throughout the United States. The show is a one-day event that happens during the year in which all of the art is auctioned off at very affordable prices to allow everyone a chance to own a great piece of original artwork.

-Mike Rea

Studio Visits

2008-05-06T20:01:00.001-07:00

Jeremy Uglow Drawing

While Reuben Kincaid has been visiting holland for the last week, I have been busy doing studio visits in the cheese state. I visited the Kincaid house in Whitewater, WI, where Jeremy Uglow showed me some of his new paintings he's been making for his future solo show in the fall. The show still needs some work, but I think with some hard work over the summer it's going to be great.

Leah Evans Studio

Later that afternoon I visited with fiber artist Leah Evans at her studio in Madison, WI. Her show will be in July and August at the project space. She will also be at the 57th Street Art Fair in Hydepark on June 7th and 8th, and at the Bucktown Arts Festival on August 23rd and 24th.

Version Fest 2008

2008-04-18T07:50:00.000-07:00

Last night was the opening of Version Fest 2008, which kicked off the 10 day arts and culture festival. Tonight will be the opening of the main show "Dark Matter" at CPS1 and tomorrow come check out Rueben Kincaids Booth at the NFO-XPO. All of the information is at versionfest.org

Also check out the story behind the Dark Matter theme at WBEZ

Mike Rea Interview on Fecal Face Dot Com

2008-02-26T06:03:00.000-08:00

Written by Ryan Christian

Throughout my formative days in school I eventually decided that almost everyone is pretty willy nilly in the wood shop. Maybe my generation has phobia of power tools to some extent or a larger ratio of us are mega sensitive to saw dust. It could have been a geographical concern, but I didn't think that the case either being that I was in rural Illinois. The tightest thing I had even seen made out of wood was maybe a big tree, or a really fancy birdhouse, or the structure of a swanky home being built. There wasn't anything interesting and wooden in my life.

Then back in 2006, I go to this Mike Rea guys opening at the Butcher Shop/ Dogmatic Gallery in Chicago. The space (a very large one) was jam packed with these, super elaborate, grandiose, all wooden sculptures. I had never been immediately engaged by work like that before upon entering a gallery, it was more like walking in to a theme park than an art show.

Since then he has continued to artistically push it to the limit and top himself over and over again. I even saw him eat a bacon cheddar burger pretzel dog once, that's ambition.

Check the rest out at Fecal Face Dot Com

HOW 2008 International Design Awards: Best of Show

2008-02-24T18:38:00.000-08:00

Artist collective Seripop Wins Best of Show, Congratulations from Reuben!

Poster Children: Seripop

by Bryn Mooth

Ordinarily, the judges’ debate about which entry out of nearly 4,000 stands out as the Best of Show is intense but fairly short-lived. Every contender gets a fair shake, but there’s typically a quick consensus.

Not this year. Judges Nathan Hendricks, Debbie Millman and John Foster carried on a spirited discussion for about two hours, as they weighed which of the 10 Outstanding Achievement winners would score the top honor.

The project that finally emerged as Best of Show was noteworthy not just because of its magnitude (a series of 16 screen printed posters) but also because of its craftsmanship and style. The Montreal design shop Seripop created, illustrated and printed these gig posters for the underground music promotion company Blue Skies Turn Black. While the judges debated whether a no-creative-limits project for a risk-taking client and a narrow audience truly merited their votes, they agreed that the posters’ uniqueness stood out. “This is the culmination of everything that was good about the whole show,” says judge John Foster.

Check out the rest of the article at Howdesign.com

Artist Interview: By Jay Wolke

2008-02-16T13:47:00.000-08:00

Jay Wolke: Is this whole thing your studio?

Philip Matesic: This is my studio. This semester I’ve converted it into a cafe for four hours a day, serving art students coffee and hopefully engaging them in this social exchange with me or with other coffee drinkers.

JW: Well, do you have anything like milk or creamer? As long as you’re in the business, I might as well really push you. Oh, the real thing! This is great, thank you.

PM: No problem.

JW: I guess I’m here to give you the once over, beat you around the mid-section a little bit. So what’s with this café? Are you going to become a restaurateur? I guess I’ll start with a silly question, why a café?

PM: I have started these projects within other communities since I’ve been in grad school. I did this project last semester with a street vender in Pilsen, where I had sewn this winter shelter for him. He sells tamales on 18th street, so I improvised this shelter for him as he waited for people to come by. For my second project, I placed electric outlet covers I made over free outlets in the city that I would find. I would go around testing random outlets around the city and leave these covers for people to find.

JW: So, you would tag these outlets with your outlet cozies.

PM: Exactly. People would think that they were CTA things until they got closer and they saw this comic like lightning bolts on the red covers.

JW: I was going to say, it looks a little like batman or a marvel comic kind of thing.

PM: So, I found a courtyard on Roosevelt and State Street right by the red line, and there were six working outlets and I was wondering what I would do. Then, I saw some people walking through and I asked them what they would want in the station, provided they could use the outlets. Over the next two weekends I asked everyone who walked through the courtyard and tallied the responses up. Then, for an afternoon I set up a cell phone charging station, the internet, music and food. I was taking this free electricity from the city and giving it to the people that lived there.

JW: It’s interesting how you describe it as free electricity. Which actually brings up an interesting question, because it in fact brings up this idea about the grid and its alternative uses. So how do you feel that your work brings up utility? What does that mean to you? Are you just this cultural squatter no matter where you are; is there a kind of unbounded nomadic utility in your work?

PM: I think that’s a really good read on the work, because a big component to all the work is mobility and being nomadic. I think that squatting is a good term because squatting is a short-term, ephemeral action, and my projects are very much like that. It’s all about me in these different locations I find myself, deploying something to engage people in conversation or to utilize some language or resource.

JW: So then have you ever stuck yourself as an open user into a system when it was a closed? Has that ever happened to you?

PM: It hasn’t happened to me yet. I feel that I’m trying to take these open systems and make them more open. I’m not this artist who says, I want to have a giant inflatable stage in this courtyard and play my kazoo as a performance for the public to watch. I feel that would be a breach for security and to the people who use the courtyard. I felt that my project had to be more democratic.

JW: So then what is your definition of transgression and how does it play into your work? And why is it so important to be transgressive as an artist?

PM: I’ve thought a lot about that during the trajectory in making these urban interventions. One of my first projects I made were tents that fit under these modernist sculptures that would blend in with the pieces. I would find a piece I liked, take its measurements, build the piece in studio and then set it up under these sculptures. For a few hours, as people would walk by, they would not even notice the tents. I feel that my work is slowly transitioning away from being transgressive and moving more towards opening a dialogue between people.

JW: So then what exactly do you want your viewer to experience? It’s one thing to express a personal need as an artist to truly create something but it’s another thing to create something that has an impact on a community or a viewer. Transgression, in a way, is designed to provoke and in a particular way to shock and take risks and it places unexpected artifacts into conventional environments. So ultimately moving away from transgression, what are you trying to communicate with all this communication?

PM: My work still has an element of transgression, it’s just not as aggressive as some artists currently making work. I’m trying to make projects in a nicer way to hopefully engage the viewer and allow them to feel comfortable while interacting with the piece. This can operate in two ways, first there needs to be an element to provoke curiosity that hopefully allows a person to come up to me during a performance and engage in some form of a social exchange. Or it makes the viewer feel uncomfortable in which they walk away, not thinking too much of the work.

JW: So anyway you look at it, it’s a provocation and in that sense your work is as much about creating a social exchange as it is about creating a particular artifact.

PM: Sure, that’s largely a part of the projects. As I make them I look forward to that social exchange, from its idea to its design, to the deployment, and the potential that the social exchange that could happen. Then, finally how to bring it back to an art audience, because I feel a lot of the social exchanges that occur are really magical moments that happen with the people I am working within the different communities. This is a way of translating a project so that it can have the same effect on a person in a gallery environment.

JW: So this suggests the idea of how things and places are more a catalyst for other things and less of an end in and of itself. So I see all of these maps in your studio and looking at these abstractions somehow lend themselves to the meaning of these places. It reminds me of the term, “psychogeography” and how you are emotionally moving about these places.

PM: I do have these emotional connections to the locations where I do my performances. I bought this t-shirt a while ago that said Lake Zurich (Illinois) and my girlfriend is from Zurich, Switzerland. I ended up wearing it for a few weeks and people kept asking me if that’s where I went to school . I then realized it was only 45 minutes north of Chicago. So then I started doing research and found out that this utopian thinker named Seth Paine founded Lake Zurich in 1836. Upon visiting the town, it turned out to be this rich suburb with BMW’s and huge Mc-mansions. I tried to think how the town was still connected to this utopian thinker. I later found out that the grade school was called the Seth Paine Elementary. I thought that it was very radical that they kept the name of the utopian founder. So I ended up doing this utopian workshop in one of the classes where I dressed up as Seth Paine, told the kids about his life story and had each kid draw their own utopia and explain the pictures. During the entire workshop, I was dressed as Seth Paine. In doing that project I was trying to bring the community closer to its location through teaching and enacting a part of their radical history.

JW: Your work has this wonderful stream of idealism running through it. You advocate a kind of utopian thinking on the part of everyone you engage with, from plugging into public utility outlets; the idea that we should all benefit from the fortunes around us. How is all that idealism working out for you? Do you have faith in your work to change the world or is it a comment on the lack of communication or the loss of idealism in the world?

PM: I think that art is a radical gesture, but small. I became interested in art because I like how certain projects can have an impact on myself and change me perspective for a moment time and maybe have an impact on a few other people. I’m not trying to be overly critical about things, but have an optimism about these alternate types of thinking.

JW: So now were do you go from here after graduate school? I’m sure Chicago played a certain roll in your life, but where do you go from here?

PM: My girlfriend lives I Zurich, Switzerland and I really don’t know if I’m going to stay in Chicago and keep working within this art community or move and continue my nomadic art practice in Europe. Did you know what you were going to do after grad school?

JW: No, I still don’t know what I’m going to do! When you leave school you lose that safety net, you may have to shout louder when you get out. Your work deals very much with risk and as your life becomes more risky, it will be interesting to see if you’re willing to incorporate as much risk in your art as in your life. I hope you will.

I Wish to Communicate With You.

2008-01-25T09:32:00.000-08:00

Reuben Kincaid on Location:

2008-01-15T15:14:00.000-08:00

Outside television producers Telefantasy Studios

We’re standing around outside a Bestwestern coffee shop in Hollywood, just off the 101 freeway drinking coffee while we wait for our table. I’m here with the producers from Telefantasy Studios to talk with them about their new project “Multinauts,” their student grant program “Hondas for poor kids,” and some of the driving forces behind their production trio. The group consists of Riley Swift, Christine Adolph, and Jennifer Juniper Stratford (JJ) who have given us such classics as TV.2525, Willow Don’t Cry, the Dungeon Majesty series and the inspiration behind the “We're Rollin',They're Hatin'” theme of version 7.

As we are called to our table we spot Rebecca Romijn Stamos (minus the Stamos) and Jerry O’Connell (detective from Crossing Jordan) enjoying a morning Coke float. It’s great to be in LA and I’m glad that Telefantasy had the time to meet with me. The team has been working day and night on the production of “Multinauts”, which will premiere its first episode at the next Version Fest in April. The three of them are outside television producers, which means they don’t have the luxury of a writers’ strike and have to work straight through to make the spring deadline.

The new series Multinauts is a multi-dimensional time-traveler show that JJ says, “is a straight up adventure show.” It has three characters from different dimensions and time periods that join together to fight the corporate villain “Oysters Rockefeller.” The show will be shifting from Telefantasy’s traditional public access production style to a new television network aesthetic and will be more along the lines of their music video “Willow Don’t Cry”. The time and place for the premiere has not been set, but make sure you bring your Dungeon Majesty Fan Club card to get reserve seating and member gifts.

The original series Dungeon Majesty has given telefantasy studios the most critical acclaim and has put them on the map in the LA television community. The idea for the series started back in April 2004 while the three were playing a game of Dungeons and Dragons (Riley’s the Dungeon Master) and decided to make a show about the game. The show isn’t them just playing a game of D&D, but it’s an adventure series with detailed models, special effects, blue screens and improvisational acting(the best kind). The series currently consists of six twenty-five minute episodes and ten shorts that explore the many different aspects of D&D. The production value has increased every episode, but is still deeply rooted in a public access aesthetic. Each show leaves you wanting to make your own detailed outfit of your D&D character to wear to your next match, so watch! It’s on the “tube”.

As we finish our meal and settle up the bill, we walk towards our trusty Honda in the lot and grab one more glance at Rebecca Romijn’s perfect ponytail. Til’ next time, it’s Aron Gent signing off for Reuben Kincaid on location.

Check out more at www.dungeonmajesty.com and make sure to take your card with you!

Marie Harten Interview

2007-12-09T12:40:00.000-08:00

Interview of Marie Harten by Adam Brooks
Her show "Ghostfuck" opens Dec. 14th from 7-11 pm
at Reuben Kincaid Project Space

Adam Brooks: So lets start from the beginning of the project because I’m assuming that this quite elaborate structure with the sheets, the boxes, and questionnaire all came a little after you were thinking how this project would work. If you could start on sharing your motivations in the beginning and how it has developed into something more conceptually structured.

Marie Harten: I think it started in my moving to Chicago and this new situation away from my boyfriend, family and friends. This new apartment and these things that were left in my room and how these people used these shorts and shirts and cloths (Objects she embroidered on). Why they left them in my room and why they didn’t want to have them. That was kind of the starting point. Then it just came to me, I saw my figure alone in a sexual way. I think it deals with problems that I had with my boyfriend at home. I have this feeling that sex is a way to get in contact with people and for me it was a way to get in contact with my new surroundings. So I had sex with these things that were left behind by embroidering my sexual figure on them. I started to try and feel what was left behind and where I am now.

AB: So in one way you are colonizing the space that you are in.

MH: Yeah that’s so true, I feel that I went from a little area such as myself and then my room and finally the rest of the apartment as I conquered the space around me. I went though the apartment leaving my figure behind on the objects as my tracks on the path I took.

AB: For most of the figures it is very unclear that they are sexual positions. How did you go about cataloging the positions that became the embroidered image and does your memory lead you to recreate these positions? And last do you mind that there are many readings for what the figure is doing?

MH: I just thought about which positions I like to do while having sex. It comes from memory and me recreating these positions, then photographing myself. I had to edit out some of the pictures because I didn’t want them to become pornographic and didn’t want people going crazy over a young woman in a sexual position. I want to show a personal thing of me and the personal side of having sex, you know what I mean?

AB: Then how do you know what is authentic and not just a stereotypical sexual position?

MH: It was more of a feeling and remembering during the recreation of the positions that made them feel authentic, not the pictures themselves. It’s like a review of my sex life and which positions I’ve grown to like.

AB: So then they became triggers back to the memory of pleasure, which is kind of an elusive thing anyways. They say we can’t remember pain, because if we could remember what pain was like, then life would become unbearable. We could also say that we can’t remember pleasure unless we are involved in it at that particular time. How truthful are these images and do they depend on your memory of that position giving you the best feeling? With the work being so much about you, how important is the audience?

MH: I thought about the positions more for me and I didn’t care if they were sexual or not. At the start of the project I would have the photos hanging in my studio and my friends would come over and say wow, what is that, that’s very sexual, please embroider that on my shorts, I would really like to have it. After that I decided to make them more abstract and in having them abstract I am trying to make them less sexual and more personal in a way, but then with the title of the work being Ghostfuck, I bring it to this feeling of sexual aloneness.

AB: Then with them being more abstract you leave room for multiple readings. Your comment about people wanting them on their shorts, have you ever thought of making it into a commission where you embroider them and their favorite positions on clothes?

MH: That’s not what I want. I don’t want to make a fashion line that the guys can be proud of the naked figure. We already have that in the culture, it’s funny, but that’s not my thing. When I embroidered the shorts and the shirt I went through both sides so its not functional anymore.

AB: Now if you could tell me about the second part of the project and how the kit came about?

MH: Throughout the whole thing I was thinking about relationships. I am kind of disappointed with relationships right now….. or with guys. I was wondering how people live their relationships and how important is sex and if people still feel lonely even if they are in a relationship? It was a form of conquest and me forcing myself into relationships by having them sleep on my sheets.

AB: How important is it what happened on the sheets? Because in the instructions you leave it open to the couples with what they do with the sheets. Then when you got the sheets back did you examine the sheets at all and how much residue is left on the sheets in regards to how it is presented?

MH: I bought them used at a thrift store, but I had a feeling that it wasn’t strong enough for me. So I tried to make it more intense by having a couple use them. I had to be careful in working with the couples. I didn’t want to come off as a pervert wanting to embroider their dirty sheets, it was more of an energy thing.

AD: You can’t say you are only interested in the energy thing, I think you are also interested in what they left behind, whether it be a stain, hairs or even their smell. It is all wrapped up together in being an element of the work. If we were to be in a television show, we would be in a lab and there would be the good looking forensic criminologist finding all of the evidence to prove that they did use the sheets the night before someone was killed. And that is what the viewer is going to be looking for whether it is there or not.

MH: I’m not interested in the stains, but when I started embroidering I knew which couple had which sheet and I really thought about each couple and their relationship. I read the surveys and had my own thoughts on the sheets, because one would be very smoky and another many hairs and one smelled like incense, it was very intense. I didn’t find anything dramatic, but these little things reminded me of the couple.

AB: Why didn’t you take the couples favorite positions and put them on the sheets? Why did you put your own?

MH: I didn’t want that, the project is about me as a woman entering into their relationship and reflecting upon my relationships.

AB: There’s something peculiar about you being in their relationships, even if it’s not about infidelity or a love triangle. Part of it is with the sexual charge and dynamic of the three of you, what do you think about that? And how important is it that you know these people and that their not from a random post on Craig’s list?

MH: I Think that would be a totally different project if I didn’t know the people at all. It was very personal for me while I was embroidering the sheets and thinking about the couples and how I personally felt about them. It wouldn’t be the same with strangers, and I think it’s more intense when I know the people.

AB: How did you pair the sheets with your favorite positions?

MH: I paid more attention to the patterns and the colors of the sheets and imagined where I would find them. One of them is very pail with light pastel flowers on them and I imagined them being on my grandmothers bed with the sexual positions embroidered on them. Those types of things went through my mind when I was thinking about the sheets and which positions. It’s a weird combination but I had fun with that.

AB: Well that certainly brings up a more taboo area like geriatric sex. Old people having sex, which we are not suppose to ever think about. But I’m sure you could find it on the Internet and that someone certainly subscribes to it as a turn on. Thanks, now I can never imagine sleeping on sheets with flowers next to my head.

MH: Sorry….. I really paid attention to the patterns and spent hours picking out the perfect sheets at the thrift store. I picked up one that was very grey with stripes and imagined this math student with those tiny glasses and all he has in his life is math and then there’s this woman, breaking into his life on the sheets, and making out, and stuff like that. Breaking rules, something like that I like too.

RKAM Group Show

2007-11-13T09:00:00.000-08:00

Last friday was the opening to the Reuben Kincaid Project Space. The turn out was great and everyone enjoyed the new space Reuben created to exhibit his favorite artists. If you missed the opening don't worry, there will be a closing party on the 16th of November at CPS1 (3219 s Morgan). I will not be attending the closing, Reuben has sent me to LA to do an interview and studio visit was JJ Stratford and Telefantasy Studios. I will report back with my findings and hope to see you at the spaces first solo show by Maire Harten, "Ghost Fuck" on December 14th.

-Aron Gent
Director of RKAM Project Space

Reuben Kincaid Store Front

2007-10-03T17:13:00.000-07:00

Reuben Kincaid has been informally advising and managing emerging artists, musicians and writers for the past decade. In attempt to gain them mindspace in today's pernicious and competitive cultural climate Reuben has been committed to exposing our clients to the world in innovative ways.

The goal of RKAM is to strategically aid our clients in advancing their careers in the various mediums and formats within which they work. We do this by helping them with promotion, exposure and participation in events, projects and media that go beyond the reach of their own efforts.

RKAM provides a gallery showroom for its clients by opening a 200 square foot project space in Bridgeport, the community of the future. The project space gives our clients exposure to various audiences that visit the experimental cultural center, the Co-Prosperity Sphere. Reuben Kincaid has also procured a window display case that is viewable from the street. Both the project space and the window display give our clients a flexible space to work on their installations, ideas and other presentations of their work. The showroom also allows us to provide interested parties a concise look at our clients work.

RKAM organizes shows, projects and appearances for its clients. We provide exposure for our clients through our various media partners. We also aid our clients by fostering their participation in festivals, projects, and shows worldwide.

In the past RKAM has helped our clients participate at various festivals and galleries including, Impact Festival (NL), Art Basel Miami, Version Festival (Chicago), Select Media Festival (Chicago), Art Chicago, De Player (NL), Bitterzout (NL), and many others.

RKAM distributes the work of its clients via its showroom, partner publications, local and international events, public television, and the internet. Stay tuned to become more acquainted with our roster of clients. And let us know if you are interested in working with any of them.

Ed Marszewski, Manager of RKAM
edmarszewski@sbcglobal.net

Aron Gent, RKAM Project Space Director
arongent@arongent.com