{"title":"Books","description":"\u003cp\u003e \u003c\/p\u003e","products":[{"product_id":"bowery-boys","title":"Rosson Crow \"Bowery Boys\"","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eExhibition catalogue\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHardcover 100 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDeitch Projects 2010\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Bowery Boys\" by Rosson Crow March 2009\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eText by Kathy Grayson\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMORE ABOUT THE EXHIBITION:\u003c\/p\u003e\n\u003cp\u003eRosson Crow’s exhibition of large-scale oil paintings explores the history of “bad boys” in underground art and as an agent of culture in New York. From the flamboyance of a wild-style bombed train pulling into a subway station in the 1980s to a haunting red opium den from Chinatown in the 1880s, Crow investigates the rebellious and lawless side of New York history. Rendered in hallucinatory layers of oil paints and washes, her theatrical confabulations collapse centuries and synthesize styles to reveal the nature of interior space and the affinities that align across time.\u003c\/p\u003e\n\u003cp\u003eOne painting features a superimposition of the stained-glass windows of the gothic Bowery Mission onto the interior of its neighbor, the New Museum; a second pairs a vintage New York sex club, Plato’s Retreat, with the new Boom Boom Room and a Bruce Nauman neon; a third adorns an 1800s barber-shop with 1980s Allen Ruppersberg texts in bold colors. Some canvases straightforwardly conjure the artist’s imagining of bad-boy dens or lairs without historical hybridization: Kenny Scharf’s black-light disco, Cosmic Cavern; Dash Snow and Dan Colen’s Nest at Deitch Projects; and Keith Haring’s Pop Shop.\u003c\/p\u003e\n\u003cp\u003eCrow has always shown an interest in masculine spaces. She has previously painted saloons, gun shops, oil derricks, rodeos, stock-market floors, and many incidents in the arguably male-dominated tradition of modern art. Here she imaginatively explores the idea of the bad boy as fawned over by art audiences and celebrated in New York history. Gangs, graffiti, gays, drugs, and illicit sex are part of the city’s spirit but also a big part of the art world today. How has New Yorkers’ love for this spirit shaped the history of art and exhibitions today? The cultural moment in underground New York when hip-hop met graffiti met the East Village scene in the 1980s led to an art explosion of interdisciplinary activity. Many of these paintings explore that moment and its legacy for artists working right now.\u003c\/p\u003e","brand":"Deitch Projects","offers":[{"title":"Hardcover","offer_id":75275122,"sku":"11822","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1412.JPG?v=1469214176"},{"product_id":"live-through-this","title":"Live Through This: New York 2005","description":"\u003cp\u003eExhibition catalogue\u003c\/p\u003e\n\u003cp\u003eDeitch Projects, 2004-5\u003c\/p\u003e\n\u003cp\u003eSoftcover, 114 pages, 11.5 x 11.5 inches\u003c\/p\u003e\n\u003cp\u003eEssays by Kathy Grayson, Jeffrey Deitch, Phillip Guichard, Cory Arcangel, Larry Rinder\u003c\/p\u003e\n\u003cp\u003eEdited by Kathy Grayson\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eLive Through This\u003c\/i\u003e brings together more than 30 of the most exciting art, music, and fashion creatives who are changing art making in New York. New art practice is now intimately tied to the lived experience of the artists themselves, and this book, through more than three hundred color photographs of artists, artworks, studios, off-duty behaviors, zines, concerts, openings, and parties, illustrates and examines the nature of this relationship. Thoughtful criticism is provided by five essays: Larry Rinder writes about the groundbreaking nature of Fort Thunder and Providence scene--, Jeffrey Deitch offers an historical and personal look at New York's underground, musician Philip Guichard describes the past five years of music in the city, digital artist Cory Arcangel talks about collectives and new media, while Kathy Grayson provides a behind-the-scenes thesis. Major attention is paid to artists working in New York City, but also in Providence and San Francisco. The list includes several major names in art, fashion, and music, but some decidedly underground ones, thus emphasizing community affiliations and working collaborations. This is a most authentic look at what New York's art scene truly is, organized and produced by the members themselves through extensive collaboration. Edited by Kathy Grayson.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Deitch Projects","offers":[{"title":"Paperback","offer_id":75275152,"sku":"11826","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/DSC_4889.jpg?v=1470436284"},{"product_id":"panic-room","title":"Panic Room","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eExhibition Catalogue\u003c\/p\u003e\n\u003cp\u003ePanic Room at the DESTE Museum, Athens Greece 2006\u003c\/p\u003e\n\u003cp\u003e172 pages softcover 12 x 12 inches\u003c\/p\u003e\n\u003cp\u003eEdited by Kathy Grayson and Jeffrey Deitch\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003ePanic Room\u003c\/i\u003e\u003cspan\u003e documents the works on paper collection of Dakis Joannou including top artists on the international scene, all of whom work with drawing as their primary medium. Gathered into book form with design by Rachel Carns, this big, bold compendium showcases an eclectic and unconventional group of artists who mix contemporary art with the culture of comics, graffiti, music, psychedelia and fantasy. Artists include assume vivid astro focus, Tauba Auerbach, Devendra Banhart, Hernan Bas, Marc Bell, Hisham Bharoocha, John Bock, Brian Chippendale, Bjorn Copeland, Verne Dawson, Sam Durant, Robert Gutierrez, Daniel Guzman, Jo Jackson, Chris Johanson, Cameron Jamie, Margaret Kilgallen, M\/M (Paris), Barry McGee, Ted Mineo, Dave Muller, Ben Peterson, Paper Rad, Matthew Ritchie, Clare Rojas, Jim Shaw, David Shrigley, Kelley Walker and others. \u003c\/span\u003e\u003c\/p\u003e","brand":"Deitch Projects","offers":[{"title":"Default Title","offer_id":19133869125,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1414.JPG?v=1469214054"},{"product_id":"beautalism","title":"Kembra Pfahler \"Beautalism\"","description":"\u003cp\u003eExhibition catalogue\u003c\/p\u003e\n\u003cp\u003eDeitch Projects 2008\u003c\/p\u003e\n\u003cp\u003eSoftcover\u003c\/p\u003e\n\u003cp\u003eEssay by Kathy Grayson\u003c\/p\u003e\n\u003cp\u003eThis book captures Kembra Pfahler's participation in the 2008 Whitney Biennial, her recent exhibitions at Deitch Projects, her performances at Art Basel Miami Beach 2008.\u003c\/p\u003e","brand":"Deitch Projects","offers":[{"title":"Paperback","offer_id":75275172,"sku":"11828","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1374.JPG?v=1469213866"},{"product_id":"buddy-system","title":"Barry McGee \"The Buddy System\"","description":"\u003cp\u003eExhibition catalogue (with minor damage on the back cover)\u003c\/p\u003e\n\u003cp\u003eDeitch Projects, 1999\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eSoftcover, 172 pages, 11.5 x 9.5inches\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRare early Barry McGee catalogue from Deitch Projects solo show \"The Buddy System\"\u003cbr\u003eBook has many blank white pages in the back to serve as a tag book, for graffiti writers to collect and exchange tags.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMore on the exhibition:\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e“The Buddy System” was a floor-to-ceiling painting, drawing, and sculptural installation by Barry McGee that filled the entire gallery. McGee draws on a range of influences, including Mexican murals, tramp art, graffiti art of the 1970s and ’80s, and the work of the San Francisco Beat poets, to create a unique visual language. The work has the strong, immediately recognizable visual signature of the best graffiti art, but it is also enormously poetic and evocative. It communicates the artist’s strong empathy with people who have been left behind by contemporary society.\u003c\/p\u003e\n\u003cp\u003eThe work fuses found and invented imagery, tags, and assorted objects. It also has a strong sense of performance. In the words of McGee, his paintings “try to capture the overload of the senses that one might feel walking down the street of any one of our fine American cities.”\u003c\/p\u003e\n\u003cp\u003eAlso known by his street name, Twist, McGee has a large following in the street-art community. Since the mid-’80s, he has worked on thestreets of San Francisco, his native city, where his images endure on walls, mailboxes, and other surfaces despite the continuous campaign of public authorities to paint them out. McGee long resisted showing his work in museums and commercial galleries, but he has become more active in the conventional art world.\u003c\/p\u003e\n\u003cp\u003ePublished by Deitch Projects\u003c\/p\u003e","brand":"Deitch Projects","offers":[{"title":"Paperback","offer_id":75275282,"sku":"11841","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/The_Buddy_System.png?v=1297308295"},{"product_id":"keith-haring-houston-street-and-bowery-mural","title":"Keith Haring \"Houston Street and Bowery Mural\"","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Haring - Mural 1982\/2008\u003c\/strong\u003e \u003cbr\u003e May 04, 2008 — December 31, 2008\u003cbr\u003eHouston Street and Bowery\u003c\/p\u003e\n\u003cp\u003eSoft cover\u003c\/p\u003e\n\u003cp\u003eThe \u003ca href=\"http:\/\/www.haring.com\/\"\u003eKeith Haring Foundation\u003c\/a\u003e, Goldman Properties and \u003ca href=\"http:\/\/www.deitchprojects.com\/projects\/sub.php?projId=239\"\u003eDeitch Projects\u003c\/a\u003e announce the recreation of Keith Haring’s celebrated Houston Street and Bowery mural. The mural became an instant downtown landmark after Keith painted it in the summer of 1982. The mural was up for only a few months in the summer of 1982 before it was painted out but its image remains imprinted in the memory of many people who were part of the downtown artist community in the early 1980s.\u003c\/p\u003e\n\u003cp\u003eThe mural is being repainted by Gotham Scenic using the extensive photographic documentation of the original work. The work will be unveiled on May 4, 2008 the day that would have been Keith Haring’s 50th Birthday.\u003c\/p\u003e","brand":"Deitch Projects","offers":[{"title":"Default Title","offer_id":19154176069,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1370_34fadfc1-8055-4a3d-b3e7-f900b176e00c.JPG?v=1469214862"},{"product_id":"mail-order-monsters","title":"Mail Order Monsters","description":"\u003cp\u003eExhibition Catalogue\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eDeitch Projects, 2008\u003c\/p\u003e\n\u003cp\u003eRigid Softcover, 26 page softcover book and 20 artwork plates included\u003c\/p\u003e\n\u003cp\u003eMail Order Monsters is a traveling exhibition that explores new trends in \"fucked-up figuration.\" This unique portfolio\/catalogue features a 26-page booklet containing an essay by curator Kathy Grayson, as well as 20 framable prints by Mat Brinkman, Tomoo Gokita, Joe Grillo, Evan Gruzis, Ben Jones, Eddie Martinez, Dan McCarthy, Taylor McKimens, Takeshi Murata, Aurel Schmidt, Francine Spiegel, and Dennis Tyfus. Ben Jones and Taylor McKimens each contributed spectacular wrap-around covers.\u003c\/p\u003e\n\u003cp\u003eExhibitions: Max Wigram Gallery London, Peres Projects Berlin, Andreas Melas Presents Athens, and Deitch Projects New York.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Deitch Projects","offers":[{"title":"Default Title","offer_id":19133955397,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1402.JPG?v=1469213875"},{"product_id":"swoon","title":"Swoon","description":"\u003cp\u003eExhibition catalogue\u003c\/p\u003e\n\u003cp\u003eDeitch Projects\u003c\/p\u003e\n\u003cp\u003eSoftcover, 192 pages \u003c\/p\u003e\n\u003cp\u003eThis first monograph on the street artist Swoon is a crash course on the incredible range of her diverse artistic practices. Filled with brilliant color photographs, the book brings reader to streets around the world to see her life-size prints and paper cutouts that transform as natural elements slowly erode and destroy them. It travels across the waters to include striking images from her most recent projects, Swimming Cities, which show a team of craftsmen and collaborators scavenging junk to create makeshift steamships that are part floating artwork, part performance, and part experiments in communal living. And it brings readers inside her art collective, Toyshop, which orchestrates organic public theater that includes everything from street parties to public demonstrations.\u003c\/p\u003e\nSWOON has been creating street art in New York City since 1999. She studied painting at the Pratt Institute in Brooklyn and has traveled internationally to create exhibits and host workshops. Her work can be seen at the Museum of Modern Art, the Brooklyn Museum, the Tate Modern, or on the streets of Brooklyn.\n\u003cdiv\u003e\u003c\/div\u003e","brand":"Deitch Projects","offers":[{"title":"Default","offer_id":76407252,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1410.JPG?v=1469214315"},{"product_id":"portrait-of-a-generation","title":"Portrait of a Generation","description":"\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eExhibition Catalogue\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eSoft cover, 164 pages\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003e\u003cspan\u003e9 x 5.9 inches\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003e\u003cspan\u003eIntroduction by Kathy Grayson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eThis serves as a kind of yearbook for New York City in 2012.\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003e\u003cstrong\u003ePortrait of a Generation:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis book was from the exhibition “Portrait of a Generation” (June 7 - August 10, 2012) where over 100 artists who make up the art scene made portraits of each other to give image to a community of people. The works were hung salon style on our gallery walls, and include painted, drawn and photographic portraits.\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAaron Rose\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAdam Tullie\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAdam Schleimer\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAlex Prager\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAlexey Sizov\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAlison Blickle\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAllison Schulnik\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAnders Oinonen\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAndrea Sonnenberg\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAndre Saravia\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAndrew Jeffrey Wright\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAndrew Kuo\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAngeline Rivas\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAri Marcoplolous\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAshley Macomber\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAurel Schmidt\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eAssume Vivid Astro Focus\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBarry McGee\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBec Stupac\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBen Brock\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBen Jones\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBijoux Altimirano\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBill Powers\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBilly Grant\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBody By Body\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBrengar\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBrian Belott\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBrian Degraw\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBrian Kenney\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBrain McPeck\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBruce High Quality\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eBruce Labruce\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eCass Bird\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eCaroline Snow\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eCasey Spooner\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eChelsea Seltzer\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eCheryl Dunn\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eChris Johanson\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; 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font-style: normal; line-height: normal; font-family: Arial;\"\u003eStefan Bondell\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eSteve Powers\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eSue Webster\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eSusy Oliveira\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTaylor McKimens\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTerence Koh\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTheo Rosenblum\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eThreeAsFour\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTim Biskup\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTim Hull\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTim Noble\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTjorg Douglas Beer\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eTodd James\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eVanessa Prager\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eWes Lang\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eYamataka Eye\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003eYoko Ono\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; font-style: normal; line-height: normal; font-family: Arial;\"\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/unnamed_large.png?5323876846465364757\" alt=\"\" width=\"111\" height=\"31\"\u003e\u003c\/p\u003e","brand":"The Hole","offers":[{"title":"Default Title","offer_id":270204750,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1372.JPG?v=1469214105"},{"product_id":"andrepolis-by-andre-saraiva","title":"André Saraiva \"Andrépolis\"","description":"\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003eThis book catalogues the first major solo show by André Saraiva “Andrépolis” at The Hole Summer 2012\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003eTexts by Olivier Zahm, Glenn O'Brien\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003eFeaturing: Milla Jovovitch, Kembra Pfahler\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003eHardcover, 50 pages\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e\u003cstrong style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003eOlivier Zahm, Purple Magazine:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003eThis exhibition, \u003c\/em\u003eAndrépolis\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003e, is not only the most important exhibition that André has ever done in the United States, it is in fact the ultimate realization of his vision and of his artistic universe.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003eThe exhibition is an installation of fifteen monumental sculptures, forming an urban landscape composed of stylized New York skyscrapers. It evokes giant toys, a theme park, or perhaps miniature maquettes of nightclubs with their ever so discreet, well-guarded doors, their nocturnal, informational neons … Once again André is creating clubs, but this time they aren’t in a city, they’re in a gallery. With this good-natured gesture, he reminds everyone that if he did contribute to the night scene with his clubs— which he continues to do — it is as an artist, and without ever giving up his vocation, which renders clear everything he does.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003eThe urban phantasmagoria of \u003c\/em\u003eAndrépolis \u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003eis indeed child-like, but it is also as eroticized as the streets of Pigalle and as idealized as a drawing in a metaphysical comic book, linking Paris and New York, André’s two favorite cities. The one from which he came and the one where he met the woman he loves. \u003c\/em\u003eAndrépolis\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003e is also a link between the world of children (building games, comic books) and the art world (the artist graffiti he came from, the city according to Matt Mullican or the work of Mike Kelley). This is his strength, being able to pass from one world to another, from the world of children’s games to the contemporary arts scene. And to be able to connect so easily to everyone, children, adolescents, the art world; only a few artists who came out of graffiti have succeeded this way. I think Keith Haring, one of his heroes, incredibly creative, generous, embodying the accessibility of contemporary art, the artist connecting with people in the street – and we must add Little Nemo …\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003e \u003c\/em\u003e\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003eThis exhibition synthesizes André’s artistic journey and his daily obsessions: the graffiti of Mr. A, drawn wherever he goes, love graffiti for each new love, and Mickey with his erection (“I have a Mickey Mouse\/ a real club in his house. And if you shake him he goes off…” as Serge Gainsbourg used to sing, rather more pornographically in French), which André remade for the occasion, the silver exhibition. Ironically, these sculptures of nightclubs also link to his activity as a creator of clubs. Each of these sculptures is an altar to the passions in his life: partying, the night, and the irresistible attraction of the lights in the bars and the clubs of the city he is exploring.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003eAnd the exhibition has a surprise at the end, a carousel for adults, for those who are not afraid to ride the wings of desire… the way André does in \u003c\/em\u003eAndrépolis\u003cem style=\"margin: 0px; padding: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; border: 0px;\"\u003e.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 10px; padding: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; border: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px;\"\u003e \u003c\/p\u003e","brand":"The Hole","offers":[{"title":"Default Title","offer_id":270206622,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1376.JPG?v=1469212895"},{"product_id":"chicken-or-beef-book","title":"Chicken or Beef?","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eExhibition Catalogue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSoftcover\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis catalogue is from the exhibition, Chicken or Beef?, assembled by Danish curator Jesper Elg in conjunction with Kathy Grayson, on view at the gallery from March 6 - April 20, 2013. This show is a Transatlantic survey of figurative painting in Europe and America, named after the ubiquitous question posed on transatlantic flights. The catalogue includes work by over 30 artists from Europe and America, including Allison Schulnik, Anders Oinonen, Anna Bjerger, Antonio Ballester Moreno, Barnaby Furnas, Bjarne Melgaard, Cecily Brown, Dan Attoe, Devon Troy Strother, Eddie Martinez, Ella Kruglyanskaya, Erik Parker, Geoff McFetridge - HuskMitNavn, Jannis Varelas, Jemima Kirke, Jocelyn Hobbie, John Copeland, John Korner, Jules de Balincourt, Katherine Bernhardt, Keegan McHargue, Lola Montes Schnabel, Margaret Kilgallen, Maya Bloch, Miriam Cahn, Misaki Kawai, Peter Linde Busk, Rosson Crow, Ryan Schneider, Tal R, Taylor McKimens, Todd James, and Troels Carlsen.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole","offers":[{"title":"Default Title","offer_id":294355789,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1419.JPG?v=1469214699"},{"product_id":"area-1983-1987","title":"Area: 1983-1987","description":"\u003cp\u003e\u003cstrong\u003eArea: 1983-1987 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003e304 pages, \u003c\/span\u003eHardcover, 2013\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eauthors: Eric Goode, Jennifer Goode\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003ePublished by Abrams Books\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eDimensions: 12 x 9.5 x 2 inches\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan\u003eThis book accompanies the exhibition AREA at The Hole November 2013\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan\u003eThe fabled New York nightclub Area opened its doors in September 1983 and virtually overnight became the nexus of one of the most vibrant downtown art and club scenes in New York. Despite its short-lived history (it closed in 1987), Area was \u003c\/span\u003e\u003ci\u003ethe \u003c\/i\u003e\u003cspan\u003eplace where A-listers from disparate worlds went to see and be seen.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan\u003eArea was the brainchild of four guys from California, among them author Eric Goode, whose vision was to create an art project on a monumental scale: Every six weeks, they gutted the enormous space at 157 Hudson and transformed it with a different art theme. Their wildly creative invitations to the opening night of each new installation became the hottest tickets in town, coveted by writers and photographers who together chronicled the club’s legendary scene. Drawing from an incredibly rich archive of material, Eric and Jennifer Goode tell the behind-the-scenes story of the club and its people, creating an illustrated memoir of an exciting time and place in the annals of New York nightlife.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eADDITIONAL INFO:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThirty years after its opening, AREA, the nightclub that defined the 1980s in New York City, and invented \u003c\/span\u003e\u003cspan\u003ethe nightclub as “art”, is celebrated with: AREA, a 387-page book published by Abrams, a week-long exhibit \u003c\/span\u003e\u003cspan\u003eat The Hole, a dance party at the Bowery Hotel, plus an AREA-themed window at Bergdorf Goodman. \u003c\/span\u003e\u003cspan\u003eThe fabled nightclub opened its doors in September 1983 and virtually overnight it became the nexus of the\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003edowntown scene in New York City. It was the place where people went to see and be seen. It was the \u003c\/span\u003e\u003cspan\u003ebrainchild of four young guys from California—Eric Goode, Shawn Hausman, Christopher Goode and \u003c\/span\u003e\u003cspan\u003eDarius Azari. Their vision was to create an art project on a monumental scale. Every five or six weeks they \u003c\/span\u003e\u003cspan\u003egutted the enormous space at 157 Hudson Street and transformed it into a spectacularly realized theme: \u003c\/span\u003e\u003cspan\u003eSuburbia, Natural History, Gnarly, Art, and Fashion, to name a few.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan\u003eCurating the project—his first New York project in five years—Jeffrey Deitch reunites with former Deitch \u003c\/span\u003e\u003cspan\u003eGallery Director Kathy Grayson, founder of The Hole. He says, “AREA was both a vital part of its time and \u003c\/span\u003e\u003cspan\u003eway ahead of its time in its experiential approach to art and its integration of art, music, fashion and \u003c\/span\u003e\u003cspan\u003eperformance.” Eric Goode adds, “We didn’t want to just recreate what happened thirty years ago. We want \u003c\/span\u003e\u003cspan\u003epeople to have sense of what AREA would be like today.” \u003c\/span\u003e\u003cspan\u003eABSOLUT, the iconic Swedish vodka that was a major part of the Eighties art scene partners with AREA’s \u003c\/span\u003e\u003cspan\u003efounders and The Hole to bring the AREA experience to life. During the weeklong installation, the \u003c\/span\u003e\u003cspan\u003egallery will host three AREA-style parties with an anarchic take on cocktails. Alban de Pury, the brand’s Art \u003c\/span\u003e\u003cspan\u003eAmbassador explains, “Our artist ad campaign of the Eighties and Nineties will never be forgotten, but \u003c\/span\u003e\u003cspan\u003etoday we are focused on creating art inspired experiences for our customers and fans. AREA offers the\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eperfect milieu.”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Hole","offers":[{"title":"Default Title","offer_id":720686385,"sku":"","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1392.JPG?v=1469212935"},{"product_id":"taylor-mckimens-stoic-youth","title":"Taylor McKimens \"Stoic Youth\"","description":"\u003cp class=\"p1\"\u003eExhibition catalogue\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSoftcover, 90 pages\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Hole September 2015\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003eMORE ABOUT THE EXHIBITION:\u003cbr\u003eIn this tightly conceived exhibition, over twenty new paintings explore the same subject—two people’s heads—inspired by two Greek sculptures from the Metropolitan Museum. These androgynous and perplexingly blank heads are the common denominator in a diverse show where McKimens experiments boldly with formal painting aspects like color, line, volume and figure-ground relationships. Employing his traditional painting and drawing talents, and pushing past their limitations, the artist fixes his subject matter so he can experiment within these restrictions to innovate. The result is a very atypical figurative painting show that looks at what the concerns of figurative art might be in 2015.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eTaylor McKimens has been known for years as a painter of “American Life” today, making large and narrative paintings that feature rural tableaux, economically marginalized people, overlooked and often beautiful details of the natural world and cultural debris. He is such an evocative visual storyteller and technical draftsman that viewers may not have noticed that his paintings were getting more and more experimental in technique. Over the past few years the backgrounds have gotten abstract and hectic, colors have gone haywire as he switches color mid-brushstroke and inverts shadows and highlights, and topographical line work has proliferated to both render volumes and collapse space.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eIn this new body of work we see paintings that are bouncing around the extremes of where drawing and painting intersect, where figuration and abstraction resonate. There are works where slashes of color inversion crisscross the piece, and the lines go from red to green to brown and back again as you move across the figure’s cheek. Works experiment with black and white tonality, reflective paints, stains and spattered drop cloths. Even just within each painted eyeball in the series of heads, the shape and color of the highlight ranges from pink and green semicircles to white stars to green serrated ovals. McKimens sees himself as “part technical draftsman and part lazy laborer just trying to finish the job,” often composing something highly technical and flashy then wiping it out with superfluous contour lines or illogically contrasting color.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eMcKimens was drawn to these heads because “they seemed to be having all emotions simultaneously” and were titled by the museum “Head of Youth” because of their indeterminate gender and identity. In this show the serenely sphinxlike faces are a template through which the artist can systematically explore the concerns of painting and drawing, not ignoring the sentimental implications of rendering a humanlikeness, but by their blankness and repetition allowing the viewer to move on to other aspects of the work besides “who is this” or “what can I learn about this person.”\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e“I've read that many successful people wear the same outfit every day. It's one less decision to have so more time can be spent on more important trains of thought. These paintings are that same basic idea. I like the idea of a head being used as an abstract compositional element. Every brushstroke evokes a certain feeling: a line, a triangle, a square, or a drip all evoke different things and are individual ingredients that when combined create a recipe with harmonizing and contrasting elements. I think a head can be an element just the same as any formal abstract element, so in that way I welcome narrative with these new paintings. But rather than tell a specific story, I'd like to evoke feeling and stir up preconceived ideas about what a head like this might mean, or what figurative painting looks like.”\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eIf the works were purely abstract they would be about, perhaps, how to “draw with color” and after viewing the series of similar faces they do become almost abstracted; however, the lure of the face with its hypnotic, spiraling irises always persists, challenging our emotional responses:\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e“I want these to essentially be abstract paintings, but I like serving up a dollop of big-eyed figurative imagery smack in the middle of it to confront the fear of sentimentality and emotion in art. I think soul is an essential ingredient prevalent in all types of art from music, food, writing etc., but has been largely absent in highbrow art. I'd like to poke at that sensitive spot and shine light on how ridiculous the fear of sentiment is in high art. Its absence often seems more like insecurity than an enlightened omission.”\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eCan paintings be both “about something” and formally sophisticated today? Why does figurative painting seem to have “too much baggage” to a more abstract-inclined audience, or why can it often veer into being “embarrassing”? The artist explores the zone in between:\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e“People with too strong of a love for figurative art often can tend to be very conservative and overly respectful to the traditions of realistic or academic approaches to image making. They tend to be the Civil War re- enactors of the art world, making artwork that has little to do with genuinely reflecting on the era we currently live in\u003cspan class=\"s1\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003eI have a strong love of abstract art and formal ideas as well but am wary of a tendency toward too-reductive pursuits that ultimately steer artists away from powerful and volatile subject matter, ending up with a safe sort of boring visual Muzak.”\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eGrowing as an artist through comic or illustrative styles of figuration, McKimens’ background informs his approach to “high art” as an outsider and insider:\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e“Growing up in a small desert town on the Mexican border, I had no access to museums or galleries to see original art. I learned how to make art by looking at print: the bumblebee on a Cheerios box, cartoons in the paper, Ratfink, comics, crummy illustrations with bad printing on Mexican products, the lines on George Washington's face on a dollar bill. I think it's a very common story for American artists raised outside of big cities with significant museums and deep European traditions. When most of these artists go to art school they're usually forced into the decision of either wiping out their past identity and conforming to the look of ‘high art’, or the more prideful yet limiting path of rejecting the art world entirely and pursuing a more ‘low brow’ art.\u003c\/p\u003e\n\u003cp class=\"p6\"\u003eI see my graphic, pop roots as a strength and reflective of a very American story, and I apply them to the various painting traditions that I have come to understand and love. These paintings are about exploring the ways those two worlds clash and vibrate with each other visually, spiritually and conceptually.”\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eThe works in exhibition seek to exist between genres of figurative or abstract, highbrow or lowbrow, sentimental and academic, and all the other limiting binaries of interpretation to be more volatile and less conservative, more soulful and less austere, containing elements that appeal to both sides of the interpretive continuum, or as the artist puts it, “ambassadors between the two mindsets.” When the paintings stop being anchored to identity and narrative, how much more content can they take on instead?\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eMcKimens (b. 1976 Winterhaven, CA) has exhibited widely in both gallery and museum shows, and has work in many prominent collections. Notable exhibitions include solo and group exhibition at Deitch Projects, NYC and Loyal Galerie in Sweden, group exhibitions at The Hole NYC, the Macro Museum, Rome and the Garage Center in Moscow. Some recent exhibitions include a solo show at the Watari Museum of Contemporary Art, Japan; \u003cspan class=\"s2\"\u003eWhen Things Get Back to Normal\u003c\/span\u003e, Galerie Zurcher, Paris curated by Peter Saul; \u003cspan class=\"s2\"\u003eSpaghetti and Beach Balls\u003c\/span\u003e, curated by Donald Baechler, Studio d’Arte Raffaelli, Trento, Italy; and \u003cspan class=\"s2\"\u003eCommissions \u003c\/span\u003eby Paul Bright, a solo exhibition of recent work February 2015 in NYC.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/unnamed_large.png?5323876846465364757\" alt=\"\" width=\"111\" height=\"31\"\u003e\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":17858773381,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1387.JPG?v=1469214204"},{"product_id":"two-on-two-exhibition-book","title":"\"Two on Two\" Exhibition Catalogue","description":"\u003cp\u003eThis book captures the four-person exhibition \"Two on Two\" presented at The Hole March 2016\u003c\/p\u003e\n\u003cp\u003eFeaturing Johnny Abrahams, Matt Mignanelli, Palma Blank and Russell Tyler\u003c\/p\u003e\n\u003cp\u003eWith introduction by Kathy Grayson\u003c\/p\u003e\n\u003cp\u003eSoftcover, 40 pages\u003c\/p\u003e\n\u003cp\u003eEdition of 100\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/unnamed_large.png?5323876846465364757\" alt=\"\" width=\"125\" height=\"35\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMORE ABOUT THE EXHIBITION:\u003c\/p\u003e\n\u003cp\u003eThe Hole is proud to announce two two-person exhibitions, “Two on Two,\" opening this Tuesday, March 1st. In the main space Johnny Abrahams and Matt Mignanelli meet, while the big back Gallery 3 teams together Russell Tyler and Palma Blank. These four artists make abstract works that look at line and texture through geometric or optical abstraction in a fresh, digital-era way. Each of the four artists has an unmistakeable personality, however, that comes through in both their approach and way of looking. From Russell Tyler pitching paint balls of oil at his pieces to Palma’s taped-off winnowing of thick acrylic, the sphere of interest is shared but the details distinctive.\u003c\/p\u003e\n\u003cp\u003eJohnny Abrahams and Matt Mignanelli both make mechanical looking canvasses with an exaggeratedly handmade paint job to explore process oriented painting. Johnny often combines super-precise painted lines with not-so-precise limning in the same piece. In his new body of work created for this show, phase shifts in line are coupled with shifts in canvas shape to accommodate the offsets. Some shaped works look like origami instructions, while others relate to the hard mechanics of early digital imaging software with the Sol LeWitt-like appearance of an executed formula.\u003c\/p\u003e\n\u003cp\u003eMatt incorporates speckles and slops into his gloss enamel and acrylic paintings that are done by hand though they look super silkscreened and precise. The monochromatic squares with diagonal transections proliferate across his works with gloss enamel, in narrow canvasses that look like Xanax to larger works that evoke early Super Mario scenery or architectural diagrams. Their lustrous gridding creates not just illusory depth but something more phenomenological.\u003c\/p\u003e\n\u003cp\u003ePalma Blank and Russell Tyler use texture and directionality to colorfully optic ends. While Palma layers acrylic lines into thickly grooved surfaces, Tyler scrapes, slaps and smears oil paint into surprisingly controlled-looking ab ex rectangles. Both painters are creating low relief wall objects where texture plays a key part in their optic efforts.\u003c\/p\u003e\n\u003cp\u003ePalma explores seeing with overlapping color lines that create motion on your retina and new chromatic deceptions. Where warm and cool lines slice thin triangles of slanted stripe, the colors morph and vibrate. Their precision and glow evoke vector graphics and video games or perhaps even logos and sportswear. Their sensation might be described as “accelerating.”\u003c\/p\u003e\n\u003cp\u003eRussell seems to paint abstraction about abstraction and painting. His oil paintings contain controlled moments of action and gesture, lumps where a giant dollop of paint is plopped on, smears where fingers swipe in more pigment, even mini explosions of color where a laden brush slaps hard against the surface. Around the little universes of paint marks with personality are crisp borders and perfectly abutting textured backgrounds. The palette is strongly skewed towards salmon and turquoise and all variants therein contained; and for all the mayhem, the restricted palette and confining borders really pull together this painting party.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":18099788037,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1420.JPG?v=1469214734"},{"product_id":"vanessa-prager-voyeur","title":"Vanessa Prager \"Voyeur\"","description":"\u003cp\u003eExhibition catalogue\u003c\/p\u003e\n\u003cp\u003eThe Hole February 2016\u003c\/p\u003e\n\u003cp\u003eSoftcover, 60 pages\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/em\u003eMORE ON THE EXHIBITION:\u003c\/p\u003e\n\u003cp\u003eThe Hole is proud to present the first New York solo show by painter Vanessa Prager. In “Voyeur”, Prager installs sixteen new paintings, some viewable only through a tiny peephole.\u003c\/p\u003e\n\u003cp\u003ePrager paints dense and furry oil paintings that relish in the peaks and valleys of extruded oil paint. With multiple colors of paint on the brush she blends pigment not just in the X or Y dimensions but gravity-defyingly outward into the Z.\u003c\/p\u003e\n\u003cp\u003eHer subject is the face, and her technique creates an image that hovers between figuration and abstraction in a sort of non-image. “Blooming Through the Brush” obscures features in a thicket of paint, while “High Five” resembles more a Franz Auerbach of frosting, crisscrossed with angry strokes. “Faded” is a sculpture of gestures, unblended strokes piled one on top of the other past the point of forgetting the facial armature that held them. Paintings like “Faded” really don’t have a face at all unless you want to put one in there, as in “Mandy” who, despite the proper name, looks like a crazy arrangement of warm yellow tones and some eyelashes.\u003c\/p\u003e\n\u003cp\u003eOne explanation of the huge volume of oil paint used in each work is that visually they look as though the female face had painted on makeup over and over and over until it became this thick slathering of gunk. Like mascara put on a thousand times over and over, strata of foundation and powder and blush, forty layers of lipstick, the faces are totally buried by the painted faces they wear, the mask is overpowering the person beneath. The inflected way the paint is applied clearly intends to tantalize, and the faces that peek in and out seem there to tease us. Even if the exhibition title hadn’t pointed us in the direction, the puckerings of paint and motif of pinks and oranges point us towards a flirtation. Perhaps the paintings are about what is hidden and what is revealed, and the anticipation or the promise of pleasure.\u003c\/p\u003e\n\u003cp\u003eAccording to the artist these paintings came from a period where she thought a lot about privacy and how her paintings are experienced by a direct viewer or a remote and clandestine viewer. That is to say how complicit, how engaged we might be when approaching a painting, how much the artist reveals, and how that experience changes when engaging with art through digital mediation.\u003c\/p\u003e\n\u003cp\u003eMore people will see this exhibition through Instagram or the gallery website than in person, so how much of these high-texture paintings will get communicated through those tubes? Furthermore those who do come to the gallery and engage with the paintings in person will be held at arms-length, in areas, by the intercession of peep-hole partitions. Some of the paintings people can stick their nose in and smell the wet oil paint and gratuitously eye-grope the glossy surfaces, while other paintings are coyly concealed.\u003c\/p\u003e\n\u003cp\u003eVanessa recently exhibited “Dreamers” at Richard Heller Gallery in LA and has been in group shows at M + B Gallery, Castor Gallery and the Santa Monica Museum of Art. This is her first solo show in NYC. She has appeared in Flaunt, Elle, and most recently Interview Magazine, and you can see more of her work on her website \u003cspan\u003evprager.com\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/unnamed_large.png?5323876846465364757\" alt=\"\" width=\"110\" height=\"31\"\u003e\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":18099814597,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1389.JPG?v=1469214237"},{"product_id":"post-analog-painting","title":"Post-Analog Painting","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eExhibition catalogue\u003c\/p\u003e\n\u003cp\u003ePost Analog Painting at The Hole Arpil-May 2015\u003c\/p\u003e\n\u003cp\u003eSoftcover, 40 pages\u003c\/p\u003e\n\u003cp\u003eEssay by Kathy Grayson\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMORE ABOUT THE EXHIBITION:\u003c\/p\u003e\n\u003cp\u003eThe long and complex shift in culture from analog media to digital media is the most significant transformation of our generation, and it has long-reaching and manifold effects that continue to permeate all modes of visual expression. In painting the effects have been slow to reverberate. “Inkjet on canvas” was the center of these discussions for many years; however, after Roberta Smith deemed the Wade Guyton show at the Whitney acceptable, everyone could chill out about whether paintings were composed in a computer and printed out or whether an actual paintbrush was wielded.\u003c\/p\u003e\n\u003cp\u003eBut the more interesting shift in painting has nothing to do with the media used but instead the forms, composition and content in painting. Digital tools have affected our imaginary, the logic of Photoshop or pixelation shapes a painter’s approach to color, form, depth, shade, tone, volume; all the parameters that guide the application of paint to canvas. When Trudy Benson paints a circle, it’s the specific kind of sloppy shape a hand and mouse draws, not the shape a hand holding a brush would make.\u003c\/p\u003e\n\u003cp\u003eContent of paintings has been affected (in this show: Angry Birds, Anime and pizza) as well as meaning, as the viewer takes in the work or communicates the work. If the painting gets a like, you might snap a photo before you move on; an Instagrammable image has a leg up in the market, a high-contrast composition with punched up colors that looks good at 72dpi will get re-blogged more often, and the push and pull between what inspires the work and how it is shared cycles onward as content, meaning, approach and reproduction accelerate.\u003c\/p\u003e\n\u003cp\u003e“Post-Analog” is meant so suggest that the paintings in this show were not even conceivable before digital imaging changed the structure of our images. Sure, we erased things, but not the way the “erase tool” erases. Items at shallow depth leave shadows but not the standardized way a drop-shadow filter does. Focus and resolution exist in emulsion photography but the way that paint is applied in this show has more in common with low-res JPEGS and pixels-per-inch.\u003c\/p\u003e\n\u003cp\u003ePeter Halley postulated that texture in painting would be what saves analog painting from screenic culture; an insistence on the physical object that must be seen with an eyeball in person; but what if we can 3D-print the thick brushwork and impastoed surface that makes paint-lovers sigh? Airbrush and spray are frequent tools of digitally-minded painters so that their IRL creations can have the feeling of a computer gradient or a glowing laptop screen.\u003c\/p\u003e\n\u003cp\u003eThe topic of how digital imaging has changed the way young artists approach painting is too broad to tackle here but in the exhibition, some of the most interesting changes are the most subtle. Jonathan Lasker’s small oil and pigment on paper work poses an interesting puzzle; graduating from CalArts in 1977, this pioneering abstract artist’s career has completely spanned the analog to digital shift, though his work has not changed drastically. To me, his kind of pictorally-suggestive abstraction features “units of painting” in a way that perhaps recapitulates the units of data that make up all images today.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/unnamed_large.png?5323876846465364757\" alt=\"\" width=\"110\" height=\"34\"\u003e\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":18693725253,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1388.JPG?v=1469214121"},{"product_id":"friends-with-you-rainbow-valley-coloring-book","title":"FriendsWithYou \"Rainbow Valley Coloring Book\"","description":"Add your own color to these super smiley FriendsWithYou characters for hours of old-school entertainment.","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":18693926213,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1375.JPG?v=1469213673"},{"product_id":"joe-grillo-selected-black-and-white-works-on-paper","title":"Joe Grillo \"#%@\u0026?!!!\"","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eExhibition catalogue.\u003c\/p\u003e\n\u003cp\u003eSoft cover\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe Hole is proud to announce the first solo show at the gallery by Joe Grillo.\u003c\/p\u003e\n\u003cp\u003eWhile one of the first shows we put up at The Hole when we opened in 2010 was a collaborative exhibition between Kenny Scharf and the collective Dearraindrop (of which Grillo is a member), this will be our first exhibition of Grillo’s solo work. The exhibition looks closely at the core of Grillo’s practice which is drawing and collage, insane and abundant, from which his larger paintings, sculptures and other works all spring from.\u003c\/p\u003e\n\u003cp\u003eThe proliferation of works created by this artist suggests an intense compulsion to create that you can see in each piece; inventive and spontaneous, the works seem to shoot out of a fire hose of imagination that at times, perhaps, overwhelms the viewer.  The artist is also a collector; from music to comics to art history books, a mindset you can see in the works with repeated favourite characters and esoteric references and “rare finds”.\u003c\/p\u003e\n\u003cp\u003eFor this show we will try to capture the breadth and excitement of his small works on paper as well as show the way they are transformed into his larger wall works and larger paintings. We will have to look closely at both if we mean to understand the diverse talents of the artist. The small works we framed right to the edge because the edge of each collage is a thoughtful decision about space; and yet there is so much going on that to verbally describe one 8.5 x 11 drawing would take paragraph after paragraph. Most people I find have to look at about twenty or so before they realize they are coming into contact with a real genius artist; here we exhibit about 300.\u003c\/p\u003e\n\u003cp\u003eThe middle of the gallery features canvasses that appear to be enlarged line-paintings of aspects from the drawings. As the drawings are so overwhelming to look at closely, the artist here allows us to back up and see things at a more manageable scale; this move from the micro to the macro gives us a chance to consider different aspects of composition, line or figure ground relationships.\u003c\/p\u003e\n\u003cp\u003eLastly in the rear of the gallery are the more traditional colorful paintings that are both very precise and somewhat slapdash; the ideas are mutating and proliferating faster than the brush can be dipped in the right color it sometimes seems. At the same time, however, we see that the “best” characters, the most interesting juxtapositions, and the most exciting compositional approaches have been culled from the abundance of drawings to be activated “primetime” in the masterful large paintings.\u003c\/p\u003e\n\u003cp\u003eMining a kind of throwaway culture of 99-Cent stores, the ubiquitous thrift shops of his home town of Virginia Beach, with their long-forgotten cartoon characters or cereal box mascots, broken toys or instruments, crazy fabrics or discarded lamps, Grillo generates a constant flow of remixed and regurgitated visual information of hybrid pop nonsense that when organized and presented in his artworks and shows, stops seeming random and starts speaking meaningfully to an audience that can synthesize the amount of cultural information he does, and who looks as closely at fine art concerns as he does. It is safe to say that he has achieved “cult status” as an artist, and his work is extremely influential. Grillo was a founding member of Paper Rad and Dearraindrop.\u003c\/p\u003e\n\u003cp\u003eGrillo was born in Meteorcity, AZ and lives and works in Virginia Beach, VA. He has been exhibiting with his collective Dearraindrop and on his own since 2003. Recent solo exhibitions have been at the Nordiska Akvarellmuseet, a museum in Skarhamn, and a solo exhibition at Loyal Gallery in Sweden. Group exhibitions include The Hole here in NYC, Cooper Cole in Toronto, Allegra LaViola Gallery NYC, Canada Gallery NYC, OHWOW in LA, V1 in Copenhagen, Max Wigram in London, Peres Projects in Berlin, Andreas Melas in Athens, Deitch Projects in NYC and John Connelly Presents.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":18694524741,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1378.JPG?v=1469213848"},{"product_id":"nudity-today","title":"Nudity Today By Jesse Pearson","description":"\u003cp\u003e208 pages, Softcover, 2013\u003c\/p\u003e\n\u003cp\u003eAuthors: Jesse Pearson\u003c\/p\u003e\n\u003cp\u003ePublished by PictureBox; 1St Edition edition (May 31, 2013\u003ci\u003e\u003cspan\u003e)\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions: 11.9 x 8 x 0.7 inches\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eFurther information on \u003cem\u003eNudity Today\u003c\/em\u003e:\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003ci\u003eNudity Today\u003c\/i\u003e\u003cspan\u003e explores the nude photography of ten young artists roughly between the ages of 20 and 30, including Tim Barber, Jerry Hsu, Sandy Kim, Maggie Lee, Nicole Lesser and Jordan Bennett. It examines the new moods and outlooks in photography engendered by the heady era that witnessed the explosion of the snapshot aesthetic, the birth of digital photography and the proliferation of online networks and outlets for sharing and exhibiting images.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs these technological changes shaped the means of photography, the continuing relaxation of social mores transformed its ends. The young art photographers of today are more open in their sexuality and freer in their bodies than the generations that came before them, and the intimacy and spontaneity of their lives comes across unfiltered in their work. \u003ci\u003eNudity Today\u003c\/i\u003e opens with an introduction that examines the major influences on these young artists--the photographers Ryan McGinley, Terry Richardson and Richard Kern. Kinship with and the influence of these three artists can be seen in ever-varying combinations in the generation of photographers that made themselves known in the first decade of the twenty-first century. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe sensuality and earthiness of McGinley, the humor and raunch of Richardson and Kern's concision and voyeurism have molded the younger photographers who are making nude photography today. With its wall-to-wall, scrapbook mode of design, \u003ci\u003eNudity Today\u003c\/i\u003e illuminates just how big this movement is--how many young artists are making intimate, beautiful, funny, and even sometimes shocking nudes.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":19133770309,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1413.JPG?v=1469214010"},{"product_id":"womanizer-by-julie-atlas-muz-kembra-pfahler","title":"Kembra Pfahler \u0026 Julie Atlas Muz \"Womanizer\"","description":"\u003cp\u003eAn exquisite corpse of provocative works that explore and dissolve notions of gender.\u003c\/p\u003e\n\u003cp\u003e\"EVERY MAN AND WOMAN IS A MAN AND WOMAN.\"\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":19152435333,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_1360.JPG?v=1469214285"},{"product_id":"holton-rower-pour-paintings","title":"Holton Rower \"Pour Paintings\"","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eExhibition catalogue.\u003c\/p\u003e\n\u003cp\u003eThe Hole, 2015\u003c\/p\u003e\n\u003cp\u003eSoftcover, 30 pages, 12 x 9 inches\u003c\/p\u003e\n\u003cp\u003eIntroduction by David Carrino\u003c\/p\u003e\n\u003cp\u003eEssay by Kathy Grayson\u003c\/p\u003e\n\u003cp\u003eHolton Rower, \"Pour Paintings\"\u003c\/p\u003e\n\u003cp\u003ePublished by Anteism, The Hole, Dior Beauty\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cimg height=\"31\" width=\"111\" alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/unnamed_large.png?13150111521692038130\"\u003e       \u003cimg height=\"28\" width=\"54\" alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/dior_jpeg_logo_large.jpg?4899117818302194043\"\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":19550950405,"sku":"1","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/DSC_4882.jpg?v=1470432617"},{"product_id":"bruce-labruces-the-reluctant-pornographer","title":"Bruce LaBruce \"The Reluctant Pornographer\"","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e207 pages, softcover\u003c\/p\u003e\n\u003cp\u003eSigned!\u003c\/p\u003e\n\u003cp\u003eEssays by Bruce LaBruce\u003c\/p\u003e\n\u003cp\u003eGutter Press 1997\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":19553597125,"sku":"","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/DSC_4815.jpg?v=1470428988"},{"product_id":"maiken-bent","title":"Maiken Bent","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eExhibition catalogue\u003c\/p\u003e\n\u003cp\u003eMaiken Bent\u003c\/p\u003e\n\u003cp\u003eHardcover, 128 pages\u003c\/p\u003e\n\u003cp\u003eTexts by Martha Kirzenbaum, Tokke Lykkeberg,  and Ferdinand Ahm Krag.\u003c\/p\u003e\n\u003cp\u003eIMO Projects 2012\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":19554272581,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/DSC_4855.jpg?v=1470432490"},{"product_id":"jamie-warren-dont-you-feel-better","title":"Jamie Warren \"Don't You Feel Better\"","description":"\u003cp\u003e50 pages, soft cover\u003c\/p\u003e\n\u003cp\u003eColor plates by Jamie Warren with introduction by Starlee Kline\u003c\/p\u003e\n\u003cp\u003eAperture Foundation 2008\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":19554411781,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/DSC_4828.jpg?v=1472874748"},{"product_id":"e-v-day-kembra-pfahler-giverny-in-monets-garden","title":"Kembra Pfahler \u0026 E.V. Day \"Giverny, in Monet's Garden\"","description":"\u003cp\u003eExhibition Catalogue.\u003c\/p\u003e\n\u003cp\u003e20 pages, softcover\u003c\/p\u003e\n\u003cp\u003eIn collaboration with \u003cem\u003e\u003ca href=\"playboy.com\" target=\"_blank\"\u003ePlayboy\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":19554612805,"sku":"4","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/DSC_4818.jpg?v=1472874713"},{"product_id":"ben-jones-comics","title":"Ben Jones \"Comics\"","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBen Jones -  \u003c\/span\u003e\u003cem\u003eComics\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition catalogue.\u003c\/p\u003e\n\u003cp\u003eSoftcover, 8 pages.\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMore about the exhibition:\u003c\/p\u003e\n\u003cp\u003eSeptember 8th-October 2, 2016\u003c\/p\u003e\n\u003cp\u003eThe Hole is proud to announce our first solo exhibition by new media pioneer and comic visionary Ben Jones. What else? “Paper Rad member”, “Paper Radio partner”, “animated television executive”, “post-minimal sculptor” “video-painting inventor” and “zine master”, what else? We are very excited.\u003c\/p\u003e\n\u003cp\u003eFor this exhibition Jones will exhibit over thirty oil stick on canvas paintings that look at narrative and intent, line and composition in paintings–and in comics. Taken as a whole, in order, these panel paintings comprise a newly published comic zine, available at the exhibition. From comic it begins, and to comic it must return; but in between there are a lot of things to ponder in the exhibition.\u003c\/p\u003e\n\u003cp\u003eIn a way this is a “back to basics” exhibition for an artist who has exhibited video paintings, shaped panel paintings, furniture, hacked computer cartridges, performances, award-winning websites and who has spent the past five-plus years making network animated television. Comics form the alpha and omega of Jones’ practice, a creative bedrock for his diverse pursuits, and it will be fascinating to take a closer, longer look at what comics are and can be.\u003c\/p\u003e\n\u003cp\u003eThe paintings are highly regular, mostly 3 x 3 foot squares on which are painted scenes, characters, text or items. Hung somewhat in “order” the paintings tell bits of stories and juxtapose absurdist vignettes. We think Ben’s grey short hair cat features prominently as a character in the works, which also include hamburgers, Louis CK and “the internet”.\u003c\/p\u003e\n\u003cp\u003e“Comics” shows off the compelling way Jones draws and the unique way he tells a story, but also contains the distillation of the artist’s radical and experimental creative life, at least for those that know how to see it between the lines. Like the humble power of his early comic zines, this exhibition is not really about him but instead a painting show about the simple and transcendent potential of paper and pencil.\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":20447577605,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Z1A5570.jpg?v=1623095368"},{"product_id":"post-analog-painting-ii-catalogue","title":"Post Analog Painting II","description":"\u003cp\u003eExhibition Catalogue.\u003c\/p\u003e\n\u003cp\u003eSoftcover, 72 pages\u003c\/p\u003e\n\u003cp\u003eRainbow foil stamped title\u003c\/p\u003e\n\u003cp\u003eSaddle-stitch binding\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eThe catalogue for the celebrated second installment of digitally-influenced painting is here Post Analog Painting II. This twenty-six person exhibition was on view at The hole from April 8 - May 14th, 2017.\u003c\/p\u003e\n\u003cp\u003eIn the catalogue all works are reproduced with short texts on the artist, introduction by curator Kathy Grayson and installation views. \u003c\/p\u003e\n\u003cp\u003eIncluding: Anne Vieux, Austin Lee, Ben Jones, Caroline Larsen, Drake Carr, Eric Shaw, Guy Yanai, Jeanette Hayes, Joe Reihsen, Josh Reames, Julie Curtiss, Keith Farquhar, Kristin Baker, Lauren Silva, Mariah Dekkenga, Mark Wehberg, Matthew Hansel, Matthew Stone, Michael Dotson, Morgan Blair, Robin F. Williams, Royal Jarmon, Ry David Bradley and Trudy Benson!\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":36399908176,"sku":"50","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_9633.jpg?v=1494283021"},{"product_id":"eric-yahnker-art-brussels-catalogue","title":"Eric Yahnker Art Brussels Catalogue","description":"\u003cp\u003eExhibition Catalogue.\u003c\/p\u003e\n\u003cp\u003eSoftcover, 28 pages\u003c\/p\u003e\n\u003cp\u003ePerfect bound silver foil stamped cover\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eGifted LA artist Eric Yahnker exhibited a mini solo show of nine new pastel drawings at ART BRUSSELS with The Hole. Along with images of the works, this catalogue features an exhibition intro, the artist's bio, and installation images.\u003c\/p\u003e","brand":"The Hole","offers":[{"title":"Default Title","offer_id":36400160336,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_9631.jpg?v=1494283279"},{"product_id":"alex-gardner-romcom","title":"Alex Gardner \"ROMCOM\"","description":"\u003cp\u003eExhibition Catalogue\u003c\/p\u003e\n\u003cp\u003eThe Hole September 2017\u003c\/p\u003e\n\u003cp\u003eSoftcover, 24 pages\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e  \u003c\/div\u003e\n\u003cp\u003eMORE ON THE EXHIBITION:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eRomCom\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSeptember 7th – October 15th, 2017\u003c\/p\u003e\n\u003cp\u003eWelcome to Alex Gardner’s 1st solo show in New York, “RomCom”, featuring fourteen new acrylic on linen paintings by the Long Beach-based artist. His entangled ink-black bodies are draped with dramatically folding white cotton separates and posed in pastel environments where the reflections of color produce subtle gradients and thoughtful tonal shifts.\u003c\/p\u003e\n\u003cp\u003eThe paintings indicate in gesture and pose a wordless “romantic comedy”. As in Mannerist paintings, they capture drama with their bodies through the distortion of torsion, a clump of muscle, a knobby knuckle, a languid wrist. Over-articulated fingers and feet contrast with completely featurelessly smooth faces; expression is only through body language. Gender is hinted at but as with the skin and the clothes and the environments, all cultural signifiers are smoothed over to de-individuate and universalize.\u003c\/p\u003e\n\u003cp\u003eIn these paintings the artist charges the familiar with poignancy, highlights the details as important, and paints figures that all genders and races could see themselves in. Mimicking snippets of classical painting—from an El Greco hand to a Pietà carry, a crucifixion foot, a Michelangelo muscle group—he is not just inserting his contemporary identity into art history, but also opening up these art historical perspectives for all viewers to connect with.\u003c\/p\u003e\n\u003cp\u003eThe body parts are not anatomically perfect and, as with the drapery, willfully fancified; signs the artist is not working from figure models or photographs but from his imagination augmented by emotion. The smooth gradient paint style of layered acrylics (illogical for figure painting as a genre) must be maddening to apply, painstaking to perfect. There may be chill pastels and casualwear in these works, but the compositions scintillate with restrained emotion.\u003c\/p\u003e\n\u003cp\u003eHis titles try to ease the tension: “Forgot My Wallet” negates the intimacy depicted of one figure carrying the other, while “Picnic with a Future Ex” is glib. “Audition in the Frozen Food Section” emphasizes the performativity of romantic relationships as a theme, but the detached vibe doesn’t match the intense and dramatic works: as in the layers and layers of acrylic built up to form these precise gradients, there’s a lot going on beneath the surface.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":42441257360,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Z1A5580.jpg?v=1623095672"},{"product_id":"eric-yahnker-the-long-goodbye-at-cam-raleigh-flip-book","title":"Eric Yahnker: \"The Long Goodbye\" at CAM Raleigh Flip Book","description":"\u003cstyle\u003e\u003c!--\n.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }\n--\u003e\u003c\/style\u003e\n\u003cdiv class=\"embed-container\"\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/teNvEGeoXkI\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eLimited Edition only (50) printed.\u003c\/p\u003e\n\u003cp\u003eCAM Raleigh\u003c\/p\u003e\n\u003cp\u003eSoft-cover 50 pages\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Yahnker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe Long Goodbye\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJuly 7th – September 10th, 2017\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContemporary Art Museum Raleigh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e409 W Martin Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRaleigh, North Carolina\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"http:\/\/camraleigh.org\/\"\u003eCAM Raleigh\u003c\/a\u003e is pleased to present the first museum solo show by Eric Yahnker. In a site-specific installation of drawing and video, Yahnker takes the 44th President Barack Obama as his subject in “The Long Goodbye.” Wrapping around the three walls of our main exhibition space are installed a sequential series of 44 pastel on paper drawings that, when viewed in sequence or on the video in the center of the space, depict every frame of a short video of Obama dropping the mic at the 2016 White House Correspondent’s Dinner. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThis intersection of drawing and animation hearken’s back to Yahnker’s roots as a student of animation at CalArts and his early work on South Park and other animated shows. The political subject and emotional content are a signature in the artist’s oeuvre, an LA-based artist whose main output is drawing and main subject is cultural critique. \u003c\/span\u003e\u003cspan class=\"s2\"\u003eSince 2008, Yahnker has had solo exhibitions at The Hole in New York, Ambach \u0026amp; Rice and Zevitas Marcus in Los Angeles, Paradise Row in London and Jeanroch Dard in Paris. Recent group exhibitions include Brand New Gallery in Milan, M+B in Los Angeles, the Torrance Art Museum in Torrance, TX and Galerie Ampersand in Cologne.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eText by the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e“Next year at this time, someone else will be standing here in this very spot, and it\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003e’s anyone\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003e’s guess who \u003cu\u003eshe\u003c\/u\u003e will be.” – Barack Obama, April 30, 2016 – White House Correspondent\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003e’s Dinner.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOn April 30, 2016, President Barack Obama delivered a speech to a packed house at the annual White House Correspondent’s Dinner, a self-congratulatory, celebrity-laden, black tie, red carpet affair, hosted by the press themselves. As is now customary, a sitting U.S. president must tap both Washington speech writers and Hollywood comedians to craft a speech that’s equal parts serious policy discussion, slurping the press’s ass, and most importantly, mildly acidic comedic roast—the latter being the only reason anyone bothers to actually tune in. In a moment now scented by pungent schadenfreude, mere moments after grilling then-GOP-Presidential hopeful Donald Trump, Obama infamously raised a mic in his left hand, kissed the index and middle finger of his right hand, cocksurely pronounced, “Obama out!” and like a true hip hop MC, coolly released his grip and dropped the mic to the stage floor with a sonic thud. Cue thunderous applause…\u003c\/p\u003e\n\u003cp\u003eNearly all press headlines (and twitter feeds) from the evening immediately lit up:\u003c\/p\u003e\n\u003cp\u003e“\u003cstrong\u003e\u003cem\u003eObama Roasts Trump, Drops Mic.”\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKnowing what we now know about Trump, it seems obvious that these headlines would have deeply disturbed candidate Trump and further emboldened his fateful run for the White House. Exactly one year later, in an unprecedented move, President Trump would avoid the Correspondent’s Dinner altogether, instead holding a campaign-style rally in Pennsylvania as if to directly compete with the Nielsen ratings and celebrity sightings the annual press event typically enjoys—a mere microcosm of the vindictive and competitive spirit that comprises Trump’s personal and political outlook.\u003c\/p\u003e\n\u003cp\u003eThe choice to further immortalize this light-hearted ‘mic drop’ gesture is that I believe it will be forever imbued with and contextualized by the contentiousness and shocking outcome of the election that followed. For blue-blooded Democrats and progressives, the self-assured ‘mic drop’ turned out to be the ultimate rug pull—the sonic thud of the mic hitting the stage floor, replaced by the wet, cacophonous thwack of our liberal college-educated brains split wide open by the concrete reality of a new Trump-merica. A cosmic disconnect so seismic, it’s akin to being bathed in a warm ray of majestic sunlight picnicking in a serene meadow only to realize it’s actually a flaming, lava-spewing meteor hurtling straight toward your vegan picnic basket.\u003c\/p\u003e\n\u003cp\u003eFor a majority of white, middle-class Americans and right wing Republicans, alongside Hillary Clinton’s ultimate defeat in the face of lopsided, inaccurate polling, the ‘mic drop’ gesture was the closest thing to a modern day “Dewey Defeats Truman” headline—an in-your-face last laugh, festering war wound on the ass cheek of every out-of-touch elite who refused to see the Trump train coming. This brief, tongue-in-cheek, meme-culture moment captures perhaps one of the last, and now possibly most cringe-inducing displays of liberal cocksureness and blinding naiveté. After all, we were living in such an innocent time that liberal’s most vociferous battles were over just how progressive Hillary Clinton’s agenda would be when she does in fact become President, rather than how Donald Trump would ride an enormous ‘white lash’ directly into the most important office in the known universe.\u003c\/p\u003e\n\u003cp\u003eIndeed, there is a glorious comedic tension when a serious man with the weight of the world on his shoulders, can loosen his tie—and his tongue—for a single night, but, when Obama dropped the mic and uttered the phrase: “Obama out!,” no one in the audience, let alone the nation, the world, and possibly even Donald Trump himself, believed it meant his legacy, as well.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Long Goodbye\u003c\/em\u003e\u003cem\u003e…\u003c\/em\u003e\u003cem\u003e \u003c\/em\u003emakes reference to Raymond Chandler’s 1953 novel, once described as “a study of a moral and decent man cast adrift in a selfish, self-obsessed society where lives can be thrown away without a backward glance and any notions of friendship and loyalty are meaningless.”\u003c\/p\u003e\n\u003cp\u003eIt also refers the palpable sense that the Obama phenomenon–a romanticized and intellectually stimulating eight-year blip in time that perhaps some card-carrying progressives took for granted, is now needing to be properly eulogized and held up as an example of a political and moral ideal many will be clawing and clambering to rapidly return to. How long will it sting? How much will it haunt us? How long until sanity returns? How much of a mess will we be left with? Can we, in fact, stop the bleeding? Is there a tourniquet big enough? How long will this long goodbye ultimately last?\u003c\/p\u003e\n\u003cp\u003eViewers entering the dimly lit Main Gallery will encounter 44 velvety-surfaced drawings on pastel-blackened sandpaper, installed edge-to-edge around the 3-wall expanse of the space—as if to suggest an oversized film strip or life-size zoetrope. At the center of each individual sheet is a hand-drawn pastel rendering depicting a single frame of Obama’s ‘mic drop’ moment, appropriated directly from the live White House feed of the 2016 Correspondent’s Dinner. Together, the 44 drawings (each measuring 3.5 ft. square), are in fact frames, forming an expansive rotoscope-animated sequence. At the very center of the space, a square-shaped monitor plays an endless loop of the 44 hand-drawn frames, its blueish glow subtly reflecting on the polished concrete floor below.\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":5090313502750,"sku":"","price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/The_Long_Good_Bye.jpg?v=1517450597"},{"product_id":"eric-yahnker-untitled-miami-exhibition-catalogue","title":"Eric Yahnker Oil Pastels 2017 Catalogue","description":"\u003cp\u003eExhibition catalogue.\u003c\/p\u003e\n\u003cp\u003eSoftcover, 36 pages\u003c\/p\u003e\n\u003cp\u003eRainbow foil stamped cover\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eCatalogue featuring Eric Yahnker's works in oil pastel, from Art Brussels to his 2017 solo both at Miami UNTITLED. Images of past exhibitions, one page text.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":5127196344350,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/holeshop-5818.jpg?v=1545507425"},{"product_id":"joe-reihsen-structural-color","title":"Joe Reihsen \"Structural Color\"","description":"\u003cp\u003eJoe Reihsen\u003cem\u003e Structural Color\u003c\/em\u003e exhibition catalogue.\u003c\/p\u003e\n\u003cp\u003eThe Hole March 2018\u003c\/p\u003e\n\u003cp\u003eFeaturing works form The Show at The Hole NYC and past works and exhibitions. \u003c\/p\u003e\n\u003cp\u003eSoft cover, 20 pages.\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eMore about the exhibition:\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe Hole is proud to present \"Structural Color\", the second solo exhibition at the gallery by \u003c\/span\u003e\u003cspan\u003eJoe Reihsen\u003c\/span\u003e\u003cspan\u003e. While his debut show here in 2016 “About Face” introduced New York audiences to a comprehensive look at Reihsen’s techniques and styles, this exhibition focuses closely on a new body of work that introduces the paradox of iridescent color and a smooth surface. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJoe Reihsen has exhibited widely in LA and Europe and pretty much pioneered a new way of painting in the abstract; creating brushstrokes on plastic that are peeled up and adhered to a painted surface. The strokes grew and glowed and were sprayed to have a dramatic topography; across a diversity of paintings they were giant skins or tiny holographic blips. The paintings had big muscular movement, varied marks and textures but also somehow looked digital or computer-generated. This led to Reihsen being seen as a pioneering digital era painter who actually doesn’t use computers or printing at all. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this new show, “Structural Color”, Reihsen has again invented a new way to make an abstract painting, again making something with just paint that is mind-bogglingly not digital in any way. These works are made more like a monoprint, paint from one surface is transferred to another surface by being stuck onto plastic. Elaborate armatures and physical effort were deployed in creating these paintings, especially the twelve-foot pieces. Here with the assistance of clear matte medium, airbrush and some magical wet-on-wet acrylic behaviours, the artist has again innovated within the medium. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese pieces are both super smooth surfaced and iridescent with color. Almost metallic looking, the new paintings shimmer and glow almost in the manner of a butterfly wing, soap bubble, peacock feather: what is known as structural color. While not microscopically textured to interfere with visible light (as are some feathers, beetles, or berries are) the paintings instead have an almost lenticular design, where opposing sides of each painted “cliff” are hit with different hues. The paintings look wet with color, sticky with it, yet touching them (please don’t touch them!) reveals they are totally smooth. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe paintings are composed in multiple “transfers” sometimes with changes in rasterization, some transferred only partially as the artist “scribbles” a wiggly line of paint to transfer onto the canvas. The compositions take on grid structures as a layer of horizontal painting is applied to a vertical layer; two works in the show are print partners, with the same shape of paint transferred back and forth, a “variable edition”. One of the enormous paintings has a six-painting transfer with different “screens” lining up to cover the expansive canvas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhile obviously doing some very advanced things with acrylic, the artist is not super obsessed with the process and instead focuses on composing the works with consideration, not merely to flaunt the technique. Building up a painting in layers is of course very classical however here the artist doesn’t have complete control of each layer; with clear gel or white paint as like the “transfer coefficient’, the colors and composition aren’t visible during the application of layers. A lot of happy accidents form, a lot of unhappy accidents get removed or discarded. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe surfaces look scraped and gritty, torn or squeegeed, scribbled or sanded. Some of the transfers seem torn or wrinkled, some are slopped and gooed, or snowed-in with white. All these diversely evocative surfaces come across on a completely smooth acrylic painting. Taking it a step further, acrylic paint is just a fancy type of liquid plastic, so the plastic sheets of transfer are just another layer in the plastic Olympics here. Just as Judd celebrated plastics and industrial materials as the perfect media to tackle modern alienation, Reihsen uses it in the digital era to create a non-space where layers of plastic give the illusion of life or connection. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThrough a more poetically-minded lens, the paintings in “Structural Color” are a contradiction; their iridescence suggests a three dimensionality of surface that almost magically isn’t there. They are all, in a sense, trompe l’oeil works whose physical objecthood is insistent while their window into an alternate reality equally enticing; their artificial light drawing you to them, their artificial depth waiting to be explored. Just like structural color in the animal kingdom being used to attract a mate, evade predators or even communicate over long distances, here iridescence is used to confound and seduce the viewer: whether these paintings communicate over long distances is yet to be evaluated. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJoe Reihsen was born 1979 in Minnesota and lives and works in Los Angeles. Solo exhibitions at Praz-Delavallade in Paris, LA and Brussels; Brand New Gallery in Milan; Anat Ebgi in Los Angeles; group shows at Arsenal in Montreal, with Lawrence Van Hagen in London and here at The Hole; art fairs around the world; all have established Reihsen as an important new voice in abstract painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":7711861112862,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/IMG_2644.JPG?v=1520710975"},{"product_id":"clay-today-exhibition-catalogues","title":"Clay Today Exhibition Catalogues","description":"\u003cp\u003e\u003cstrong\u003eExhibition Catalogue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eClay Today \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003eat The Hole April 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSoft cover, 40 pages \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEssay by Kathy Grayson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlice Mackler, Allison Schulnik, Aubry Broquard, Brie Ruais, Christian Vargas, Cristina Tufino, Dan McCarthy, Diana Rojas, Francesca DiMattio, FriendsWithYou, Gustav Hamilton, Heidi Lau, Jenny Hata Blumenfield, Jennie Jieun Lee, Jesse Edwards, Joakim Ojanen, Kate Klingbeil, Linda Lopez, Ling Chun, Rebecca Morgan, Rose Eken, Roxanne Jackson, Shinichi Sawada, Thomas Mailaender, Trevor Baird, Valerie Hegarty, Zimra Beiner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Hole is proud to announce a comprehensive group exhibition of new ceramic works. Spanning the very emerging to the well-known, CLAY TODAY looks together at both the diversity of recent clay making and some shared tendencies.\u003c\/p\u003e\n\u003cp\u003eCeramic works have recently been getting a lot of play in gallery and museum exhibitions and fairs, staking a claim for being an important medium to look closely at right now. To say ceramic had been sidelined in recent decades would be too strong, but there is probably a reason that they just released VITAMIN C (clay and ceramic) this winter despite being most appealing vitamin to name in the book series that began in 2002. It has really come to the fore in the past five years: more and more artists are jumping in with both hands, more collectors are coveting clay and more galleries are hoisting these heavy works into the public view.\u003c\/p\u003e\n\u003cp\u003eAn ancient medium, some of the earliest human art is clay and yet it spent many centuries marginalized as craft. Sometimes, clay is a prep or a model for a more “important” medium like bronze; sometimes, clay is viewed as too functional to be very Fine, somehow separated even from the genre of sculpture. I’m more interested in examples of artists using clay to make something very contemporary and how they go about doing it and why. Many included artists are not formally trained in ceramic and instead discover it because of its ease and tactile satisfaction. While quite a few artists in this show focus almost solely on clay, many others are experimenting on the side of their main work which might be in another medium. There is room for both super skilled ceramic technicians and the self-taught.\u003c\/p\u003e\n\u003cp\u003eIn the 2010s, the piling up of clay steadied. Slick fabrication has perhaps created this backlash in favor of the handmade and unique, and seeing ceramics by older much-loved artists like Ken Price or Betty Woodman go around the world in traveling museum retrospectives probably emboldens young artists to test their hand. The mutability and adaptability of the medium could also be seen as a great choice in times of cultural upheaval (LOL but what art isn’t?). Or it could just provide a cave-man escape getting mudded up to take us away from all the glowing screens.\u003c\/p\u003e\n\u003cp\u003eIt’s hard to imagine an artwork more opposite to a digital creation than the stalwart and imperfect mounds of \u003cstrong\u003eAlice Mackler\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(pictured above). Lumpy and evocative, her figures stand firmly embodied, planted on the lines of invisible exchange. Humorous, idiosyncratic and even elegant in a way, the glazed ceramics could definitely be seen as an antidote to photoshopped idealizations and evanescent digital bodies.\u003c\/p\u003e\n\u003cp\u003ePushing humor and idiosyncrasy even further would be \u003cstrong\u003eJoakim Ojanen\u003c\/strong\u003e and his squid posse, \u003cstrong\u003eRebecca Morgan\u003c\/strong\u003e and her ugly pot people, \u003cstrong\u003eChristian Vargas’\u003c\/strong\u003e 200-member two-faced superhero army. \u003cstrong\u003eFriendsWithYou’s\u003c\/strong\u003e Play-Doh-ish punk Bart Simpson has the defaced quality of a middle school desk while \u003cstrong\u003eTheo Rosenblum \u003c\/strong\u003eplaces the most bizarrely enigmatic “King Carrot” in the middle of the gallery, epoxy clay painted in detail with acrylic paint.\u003c\/p\u003e\n\u003cp\u003eTransforming clay into inventive new types of surface or incorporating irreverent materials into the work, we find the impossibly fuzzy \u003cstrong\u003eFrancesca DiMattio\u003c\/strong\u003e, whose tall vessel in Ming-vase colors confounds the medium: a mutating muppet engulfing and incorporating traditional porcelain objects. \u003cstrong\u003eLinda Lopez\u003c\/strong\u003e makes clay look like a soft tendriled undersea creature, and Swiss artist duo \u003cstrong\u003eAubry\/ Broquard\u003c\/strong\u003e affix ceramic to laminated panels, using clay as postmodernist collage.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThomas Mailaender\u003c\/strong\u003e also cultivates the randomly juxtaposed with snippets of internet debris baked into lava slabs. Like \u003cstrong\u003eGustav Hamilton’s\u003c\/strong\u003e wall piece nearby–which will send you googling what Ernest Hemmingway and Genesee Cream Ale have to do with each other—the notion of making permanent in fire something culturally ephemeral has an inherent humor.\u003c\/p\u003e\n\u003cp\u003eThen there are works that “immortalize” the everyday in clay: \u003cstrong\u003eRose Eken\u003c\/strong\u003e is not overly fussy in her recreation of objects in ceramic, here taking an evocatively impressionistic approach to horse stuff, from boots and whips to a bridle to a pile of poop. \u003cstrong\u003eDiana Rojas\u003c\/strong\u003e sculpts her own exotic shoe collection as those sick Balenciaga Tripe S sneakers are just too expensive, while \u003cstrong\u003eJesse Edwards\u003c\/strong\u003e glazes realistic ceramic televisions with scenes of Morrissey and Alice in Wonderland, images burned into a screen permanently.\u003c\/p\u003e\n\u003cp\u003eFor ceramic as vessel, we have \u003cstrong\u003eJenny Hata Blumenfield\u003c\/strong\u003e assembling floppy failed pots into a wall piece with a silhouetted vessel overlaid. \u003cstrong\u003eTrevor Baird\u003c\/strong\u003e contributes traditional enough vases but elaborately painted with comics and doodles, a sort of drawing\/ceramic hybrid.\u003c\/p\u003e\n\u003cp\u003eClay can be inscrutably figurative as well– we find \u003cstrong\u003eDan McCarthy’s\u003c\/strong\u003e off-kilter face pot smiling damagedly at you, as do the beleaguered looking beauties by \u003cstrong\u003eJennie Jieun Lee\u003c\/strong\u003e. \u003cstrong\u003eCristina Tufino’s\u003c\/strong\u003e piece is literally a sphinx especially enigmatic behind giant sunglasses.\u003c\/p\u003e\n\u003cp\u003eElemental and embodied earthworks are a commonality here, including the ceremonial-feeling circle by \u003cstrong\u003eBrie Ruais\u003c\/strong\u003e and the obese and intestinal \u003cstrong\u003eZimra Beiner\u003c\/strong\u003e work. \u003cstrong\u003eHeidi Lau\u003c\/strong\u003e contributes a work evocatively titled “Seventh and Eighth Level of Hell” which looks like long-encrusted crab traps and dredged-up shipwreck. \u003cstrong\u003eShinichi Sawada\u003c\/strong\u003e exhibits two works that seem to be from a different millennium altogether – this Japanese artist presents intensely inventive, almost prehistoric looking ceramic. \u003cstrong\u003eValerie Hegarty\u003c\/strong\u003e has taken shipwreck debris very literally in the past, but here shows two ceramic landscape paintings in ornate frames distorted by time and memory.\u003c\/p\u003e\n\u003cp\u003eIn a kind of mythical realm pushing the glazes to their unicorn best are works by \u003cstrong\u003eRoxanne Jackson\u003c\/strong\u003e and \u003cstrong\u003eKaley Flowers\u003c\/strong\u003e, creating works in ceramic that look like treasures from another dimension, like the detailed bowl filled with pearlescent pigments by \u003cstrong\u003eAllison Schulnik\u003c\/strong\u003e. The fantastical exterior is contrasted with the physical reality of the glazes pooling inside the pot in a super thick, vitreous puddle. \u003cstrong\u003eKate Klingbeil’s\u003c\/strong\u003e dark fantasy scene of magical nudes depicts a fairy, nude apart from socks, caressing her own body as a woman admires her pet’s kill- a decapitated man’s head, freshly impaled by pegasus’ shiny horn.\u003c\/p\u003e\n\u003cp\u003eI got \u003cem\u003efired up\u003c\/em\u003e about clay watching the DESTE Museum’s presentation on Hydra by Roberto Cuoghi. Along the island slope, he built traditional kilns from various centuries, belching fire as the sun set, taking out molten crab sculptures and dipping them in stinky and steaming vats of glaze and mineral. The beautiful ceramic crustaceans were lovely when finished, but the hell-scape of their creation was the most memorable part. The alchemical physical transformation of the earth, the dirt around you, into something magical and permanent is what grabs me.\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":12110809825374,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/holeshop-5633.jpg?v=1545507743"},{"product_id":"royal-jarmon-fire-escaping","title":"Royal Jarmon “Fire Escaping”","description":"\u003cp\u003eRoyal Jarmon \u003cem\u003eFire Escaping\u003c\/em\u003e Exhibition Catalogue\u003c\/p\u003e\n\u003cp\u003eThe Hole April 2018\u003c\/p\u003e\n\u003cp\u003eSoft cover, 15 pages  \u003c\/p\u003e\n\u003cp\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe Hole is proud to present “Fire Escaping”, the debut solo show here by emerging artist Royal Jarmon. In our black-bricked rear gallery, Jarmon exhibits eight new fire escape paintings, hung like windows opening out onto New York fire escapes.\u003c\/p\u003e\n\u003cp\u003e“Fire Escaping” brings together one of Jarmon’s favourite themes in his work, the “still life” of the junk that accumulates out there. Across the city and the LES especially, old steel monsters screwed to the sides of tenement buildings are a defining characteristic of the landscape. Part emergency exit, part makeshift patio, these beasts were required to clamp onto buildings from the late 1800s up until 1968. Having lived on Ludlow street and covered my fire escape with ash trays, dead plants, clothes, beer bottles and truly unimaginably random objects, I can attest to their tendency to retain debris. It might have perhaps (very illegally) also furnished a little grill in the summer….\u003c\/p\u003e\n\u003cp\u003eThese fire escapes are a riff of the traditional still life painting by juxtaposing unexpected objects on a fixed surface. We are tempted to let the objects tell us a story; one apartment has perhaps been renovating, with their tape measure, screwdriver and level. Another apartment with playing cards and a milk crate suggests some al fresco gambling. A Squirt bottle that looks like it is from the 1960s may suggest a weird old shut-in dude behind the opaque window. Many apartments have fruit outside for some reason, and almost everyone drinks a lot of Modelo beer.\u003c\/p\u003e\n\u003cp\u003eThe perspective is always crushed up towards you, many objects you can see both the top and bottom and middle of. The background is airbrushed blurriness suggestive of urban scenes and the foreground objects sometimes super crazy detailed and sometimes quite minimally suggested. The buildings you can see snippets of are super brushy and smeared around expressively. At least three types of paint application are going on in each one; some objects are rendered with stippled color outlines a la Peter Saul, some have the lurid neon static of an Ed Pashke, the discrete areas of smear thru brushiness I’m not sure I can find a precedent for.\u003c\/p\u003e\n\u003cp\u003eThere is some strong computer vibes in the paintings, tho they are purely made my hand and involve no computers in any way. The blurred background, the off-kilter perspective, and the nuclear neon colors are some kind of future pop; how many photoshop filters would it take to turn a Morandi bottle into this wiggly Squirt bottle? The virtual reality feel in these very non-digital paintings is my personal point of entry here; but if the title is any indication, the artist is more in the habit of providing egress. Is the implication that fresh air is being breathed into the still life genre? Or that there is something escapist about relishing the randomness of decorating these spaces? The fire, however, is definitely these paintings.\u003c\/p\u003e\n\u003cp\u003eRoyal Jarmon was born in 1986 in Sacramento, CA and currently lives and works in Brooklyn. Solo exhibitions at Gallery Urbane in Texas and Castor Gallery on the LES debuted Royal to audiences in 2016; here at the Hole we first included his work in “Post Analog Painting II” a group show of how computers have influenced traditional painting.\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":12111230992478,"sku":"15","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/holeshop-5671.jpg?v=1545507525"},{"product_id":"matthew-stone-neophyte","title":"“Neophyte” Matthew Stone","description":"\u003cp\u003eMatthew Stone \u003cem\u003eNeophyte \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition Catalogue\u003c\/p\u003e\n\u003cp\u003eSoft cover, 30 pages\u003c\/p\u003e\n\u003cp\u003eMay 12th - June 24th 2018\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn our fourth solo show from British artist \u003cstrong\u003eMatthew Stone \u003c\/strong\u003e(b. 1982, UK) we are proud to present over twenty new works filling all galleries here on the Bowery for \u003cem\u003eNEOPHYTE\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e“Newly planted”; the evocative etymology of the word neophyte, means someone entirely new to a subject, skill or calling. With late spring finally unfolding in the city this exhibition will start on a sunny day in May and simmer on through the end of June.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBy photographing paint strokes made on glass and working in various 3D software, the artist is able to sculpt bodies together in three dimensions using layers of these painted marks. Stone’s figures inhabit a shared world; defined by a grey infinity floor, proliferating petals of paint and a raw linen void as backdrop.  This realm is just on the heroic side of human scale, obeys the laws of light and gravity, and is the stage for complex bodies and paint interacting. In this mode of painting, brushstrokes respond as objects within their virtual environment rather than purely as illusionistic marks existing to suggest space.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe figures maintain a consistent scale across different sized canvases. All works are hung at a height that aligns with the same grey floor, making the show a series of windows into a universe that exists beyond the walls of the gallery. Some of the works capture different angles of the same figures allowing the viewer to discover and compare different vantage points.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBesides exploring the interaction of two and three dimensionality, where painted strokes become sculpture that then becomes a stretched painting on linen, one key territory this work explores is visibly the technological. Putting aside the painstaking way these pieces are made, what do the technological tools actually open up to artistic expression here, to figure painting?\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eStone has always believed there to be a spiritual component to art making and the entry point to these new springtime works would be plant-consciousness, technology and the body. Instead of the works trying to teach the viewer, instead of my explaining the works in the press release, this show is approached by artist, gallerist and hopefully viewer from the position of a creative strategy “newly planted.”\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe artist has installed 500 hand painted dropper-bottles containing plant-medicine in the form of four flower essences. They will be made available for free to visitors. Flower essences are traditionally used for emotional healing. Two of the essences were made in London and used personally by the artist. The others were made in New York from wild flowers in Tompkins Square Park.\u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":12168255864926,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/holeshop-5790.jpg?v=1545507330"},{"product_id":"we-are-friendswithyou-book","title":"We Are FriendsWithYou Book","description":"\u003cp\u003e\u003cspan\u003eWe Are \u003cem\u003eFriendsWithYou\u003c\/em\u003e Book \u003c\/span\u003e\u003c\/p\u003e\n\u003cul class=\"book-attributes\"\u003e\n\u003cli\u003e\n\u003cspan\u003ePublish Date: \u003c\/span\u003eMay 06, 2014\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003eFormat: \u003c\/span\u003eHardcover\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003eCategory: \u003c\/span\u003eArt - Individual Artists - General\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003ePublisher: \u003c\/span\u003eRizzoli\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003eTrim Size: \u003c\/span\u003e9-1\/2 x 12-1\/2\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003ePages: \u003c\/span\u003e240\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003eDear Friends, We are so excited to announce the release of our monograph \"We Are FriendsWIthYou\", published by Rizzoli. The book spans our first 12 year journey, and features contributions by musician, producer and long time collaborator and friend Pharrell Williams, director, film maker, and spiritual guru Alejandro Jodorowsky, and Dallas Contemporary museum director Peter Doroshenko. Our book launch event will take place at the MOCA Grand Avenue in Los Angeles on May 31 from 3-6pm. Our event will feature a book signing , installation bounce house \"Fun House\" engineered for all ages, a live sound environment performance by Money Mark, live airbrush pieces created on site by artist Malcolm Stuart, and the debut of the FriendsWithYou\/Print All Over Me capsule collection. Special thanks to Ian Luna, Emma Reeves, Maxwell Williams, \u0026amp; Roxane Zargham, our team responsible for helping us achieve this vision.\u003c\/span\u003e\u003c\/p\u003e","brand":"rizzoli","offers":[{"title":"Default Title","offer_id":12168266842206,"sku":"","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/holeshop-5973.jpg?v=1545506892"},{"product_id":"jim-joe-copying-is-stealing","title":"JIM JOE Copying Is Stealing","description":"\u003cp\u003eJIM JOE Exhibition Catalogue\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCopying is Stealing\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSoft Cover\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eHand stamped by the artist\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":13059143663710,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Z1A5574.jpg?v=1623095427"},{"product_id":"mathew-zefeldt-100-paintings","title":"Mathew Zefeldt “100 Paintings”","description":"\u003cp\u003eMathew Zefeldt \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e100 Paintings\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by \u003ca href=\"http:\/\/www.smalleditionsnyc.com\"\u003eSmall Editions\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eCover design by Nicole Killian\u003c\/p\u003e\n\u003cp\u003eSoft Cover, 100 pages \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":15902066278494,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/image_6245ad5e-e53b-4988-acd8-4594c7517aef.jpg?v=1545500210"},{"product_id":"eric-shaw-exhibition-catalogue","title":"Eric Shaw Exhibition Catalogue","description":"\u003cp\u003eEric Shaw Exhibition Catalogue \u003c\/p\u003e\n\u003cp\u003eSoft cover, 30 pages \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/theholenyc.com\/2018\/12\/08\/untitled-miami-2018-2\/\"\u003eUntitled Miami\u003c\/a\u003e 2018, December 5-9th\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":15978928013406,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/image_2c9a30b3-8923-48f4-b0d5-543f25c50acb.jpg?v=1548427259"},{"product_id":"morgan-blair-booklet","title":"Morgan Blair Artist Book","description":"\u003cp\u003eMorgan Blair Artist Book\u003c\/p\u003e\n\u003cp\u003eSoftcover, 30 pages  \u003c\/p\u003e\n\u003cp\u003eFeaturing forward written by Rachel Ng. Showcasing artworks and exhibitions by the artist. \u003c\/p\u003e\n\u003cp\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":16002711355486,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/image_629eb5f7-f69c-41bb-942e-6b86ebdd8711.jpg?v=1549320985"},{"product_id":"editorial-magazine","title":"Editorial Magazine","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eThe Hole Shop, \u003c\/strong\u003eis proud to feature \u003ca href=\"http:\/\/the-editorialmagazine.com\/\"\u003eEditorial Magazine\u003c\/a\u003e.  An artist run publication founded by Artist Claire Milbrath. \u003c\/p\u003e\n\u003cp\u003eGet em while they last!\u003c\/p\u003e\n\u003cp\u003eFrame it, read it and enjoy it. \u003c\/p\u003e\n\u003cp\u003eYOU'RE WELCOME.\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eShipping from Canada\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eTo USA: $15.00\u003c\/p\u003e\n\u003cp\u003eTo International: $22.00\u003c\/p\u003e\n\u003cp\u003eTo Canada: $8.00\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEditorial Mag Issue #17\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e92 pages, full color, 9x11 inches.\u003c\/p\u003e\n\u003cp\u003eIncludes original risograph poster by Clay Hickson\u003c\/p\u003e\n\u003cp\u003eCover by Monika Mogi\u003c\/p\u003e\n\u003cp\u003eIncluding work from: Logan White, Louisa Gagliardi, Alake Shilling, Taylore Scarabelli, Slayrizz, Remy Fox, June Canedo, Tess Herbert, Olivia Whittick, Nick Williams, Antoha MC, Yulia Zinshtein, Sasha Mademuaselle, Drake Carr, Rowan Oliver, Thomas McCarty, Bambii, Jessica Canje, Neva Wireko, Bobby Bowen, Ariana Reines, Fiona Duncan, Stefan Schwartzman, Fatine-Violette Sabiri, Francois Gravel, Whitney Mallett, Sophie D’Ansembourg, Sojourner Truth Parsons, Darby Milbrath, Estelle Davis, Kate Howells, Logan Jackson, Silvia Cincotta, Roscoe, Maya Fuhr, Chad Burton, Claire Milbrath, Rian Pozzebon, Scott Parsons, Kiera McNally, Come Tees, Joe McMurray, Kristy Benjamin, Sarah Iannone, Oumayma B. Tanfous, Samuel Fournier, Kari Cholnoky, Giovanna Flores, Marcus Cuffie, Cruz Valdez, Michael the III, Monika Mogi, Goichi Hosaka, Brad Phillips, Jonny Negron, Matthew Wong, Viola Chen, Rebecca Storm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe latest Editorial Mag\u003cspan\u003e \u003c\/span\u003eIssue #18\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFresh faced Editorial Magazine! Hot off the press don’t burn your hands!\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFeaturing Brook Hsu, Ambera Wellmann, No Sesso, Elysia Crampton, Nhozagri, Orion Martin, Caley Feeney, Kirin J Callinan, Walter K Scott, Chai, Monika Mogi, Julia Kennedy, Ariel Pink, Caravaggio, Whitney Mallett, Maya Fuhr, Talvi Faustmann, Klein, Jessica Canje, Paul Descamps, Victoria Dailey, Logan White, Kate Howells, Madeline Glowicki, Woodear Mushroom, Char Esme, Barbara Cartland, Iris Fraser-Gudrunas, Isabelle Fein, Darby Milbrath, Claire Milbrath, Dustin Henry, Antosh Cimoszko, Takanori Okuwaki, Ayano Santanda, Kurt Johnson, Mia Rankin, Yulia Zinshtein, Agusta, Sam Lipp, Drew Zeiba, Denise Kupferschmidt, and MORE!\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eCover featuring Agusta by Yulia Zinshtein\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e92 pages, full color, 9x11 inches.\u003c\/span\u003e\u003c\/p\u003e","brand":"Editorial Mag","offers":[{"title":"17","offer_id":31710216257630,"sku":"","price":10.0,"currency_code":"USD","in_stock":false},{"title":"18","offer_id":31710216290398,"sku":"","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Editorial_17_Cover_low_1.jpg?v=1588825956"},{"product_id":"aurel-schmidt-trash-dolls","title":"\"Trash Dolls\" Aurel Schmidt","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003ci\u003eTrash Dolls \u003c\/i\u003eAurel Schmidt\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\"\u003e24 pages\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"arial, sans-serif\" color=\"#000000\"\u003e25.5 x 19 cm\u003c\/span\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\"\u003e10\" x 7.5\"\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003eColor Offset\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003eFirst Edition 2020\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003ePublished by \u003ca href=\"https:\/\/www.nieves.ch\/1652\/trash_dolls\" target=\"_blank\"\u003eNIEVES\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\"\u003e\u003cspan color=\"#000000\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003eAurel Schmidt’s intricately detailed drawings are a reflection of her life here in New York in that their individual parts pulled from the physical and emotional detritus of downtown. The drawings include objects such as flies, condoms, and cigarette packs and burns which are pieced together to form larger figures. Precious and personal, the work is exacting, highly detailed and teeming with overt intimacy. By using leftover garbage as the building blocks for her subjects, Schmidt’s work becomes a sort of memento mori—a reminder of our own vulnerability and mortality.\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003eAurel Schmidt (b.1982,\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/strong\u003eKamloops, BC) was included in Phaidon Vitamin D2 and has exhibited nationally and internationally, including solo shows at P.P.O.W, New York; Half Gallery, New York; Deitch Projects, New York; Peres Projects, Los Angeles. Schmidt was included in the 2010 Whitney Biennial and has contributed to group exhibitions at The Hole, New York; Lomex, New York; Saatchi Gallery, London \u0026amp; Deste Foundation For Contemporary Art, Greece. Her works are included in the Zabludowicz Collection, London; the Dakis Joannou Collection, Athens; and the Whitney Museum of Art, New York, amongst others.\u003c\/span\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"arial, sans-serif\" color=\"#000000\" style=\"color: #000000; font-family: arial, sans-serif;\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"info\"\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003ePublished by \u003ca href=\"https:\/\/www.nieves.ch\/1652\/trash_dolls\"\u003eNieves\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/Screen_Shot_2020-05-27_at_11.27.44_PM_480x480.png?v=1590697260\" alt=\"\" width=\"106\" height=\"141\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Hole","offers":[{"title":"Default Title","offer_id":31895769186398,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/image3.jpg?v=1594313574"},{"product_id":"10-years-eric-yahnker","title":"\"10 YEARS\" Eric Yahnker","description":"\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003e10 YEARS\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Yahnker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHardcover\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSize: 8” x 10” \/ 20.25 cm x 25.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePages: 312 (color)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e2020\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"https:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003ePrinting and binding by \u003ca href=\"https:\/\/www.bookart.ca\/\" target=\"_blank\"\u003eBookArt\u003c\/a\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eForward by Kathy Grayson\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003eIntroduction by Eric Yahnker\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cem\u003e\"10 YEARS,\u003c\/em\u003e is the first comprehensive book on the artist Eric Yahnker. Exhibiting in galleries for ten years, this book captures his first works and first shows, then traces his progress through his most recent solo show in New York at the beginning of 2019. As his works have always been closely tied in content to the cultural and political upheavals in America, these ten years of artworks (2009-2019) also reveal the seismic shift in American culture itself during that decade. High quality reproductions of his virtuosic draftsmanship skills in graphite, charcoal and pastel is emphasized, as are his installation and sculptural works. Almost a catalogue raisonne!\"\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCombination orders of non Eric Yahnker \u003cem\u003e10 YEARS \u003c\/em\u003eare processed separately.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIf you have any question, please don't hesitate to ask! \u003ca href=\"shop@theholenyc.com\"\u003eShop@theholenyc.com \u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg height=\"69\" width=\"84\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/checkout_logo__480x480.png?v=1517032444\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg height=\"29\" width=\"104\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/files\/unnamed_1a6766b7-9571-4624-aeee-7042a35ac086_480x480.png?v=1596817280\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Hole NYC","offers":[{"title":"Default Title","offer_id":32119196942430,"sku":"","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/EricYahnker_Monograph.gif?v=1617292852"},{"product_id":"moko-moko-doki-misaki-kawai","title":"MOKO MOKO DOKI DOKI - Misaki Kawai","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eMOKO MOKO DOKI DOKI\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003eMisaki Kawai \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003eHandmade Fur Hardcover\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003eLimited Edition of 18 per color\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003e(Yellow, Green, Blue, Red, Pink, White)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e8.5\" x 8.5\" \/ 21.5 cm x 21.5 cm\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan color=\"#0000d9\"\u003eSaddle-stitch binding\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e52 color pages\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003ePrinting and binding by \u003ca href=\"http:\/\/www.bookart.ca\/\" target=\"_blank\"\u003eBookArt\u003c\/a\u003e \u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e","brand":"The Hole NYC LLC","offers":[{"title":"Yellow","offer_id":38221394935991,"sku":"","price":100.0,"currency_code":"USD","in_stock":false},{"title":"Green","offer_id":38221394968759,"sku":"","price":100.0,"currency_code":"USD","in_stock":false},{"title":"Blue","offer_id":38221395001527,"sku":"","price":100.0,"currency_code":"USD","in_stock":false},{"title":"Red","offer_id":38221395034295,"sku":"","price":100.0,"currency_code":"USD","in_stock":false},{"title":"Pink","offer_id":38221395067063,"sku":"","price":100.0,"currency_code":"USD","in_stock":false},{"title":"White","offer_id":39251560530103,"sku":"","price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/MisakiKawai_MokoMokoDokiDoki.gif?v=1614219490"},{"product_id":"moko-moko-doki-doki-zine","title":"MOKO MOKO DOKI DOKI - Zine","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #161010;\"\u003e\u003cb\u003eMOKO MOKO DOKI \u003cspan color=\"#0000d9\"\u003eDOKI\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #161010;\"\u003eMisaki Kawai \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003ePublished by \u003ca data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/www.anteism.com\u0026amp;source=gmail\u0026amp;ust=1622768591264000\u0026amp;usg=AFQjCNH9aA8zKNifu0XaSb8E_4qmXvzTGA\" href=\"http:\/\/www.anteism.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003ePrinting and binding by \u003ca data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/www.bookart.ca\u0026amp;source=gmail\u0026amp;ust=1622768591264000\u0026amp;usg=AFQjCNG1Y4-D4K0UNThLSmiwVQT_98nGqA\" href=\"http:\/\/www.bookart.ca\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBookArt\u003c\/a\u003e \u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #1b1717;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #1b1717;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #1b1717;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #1b1717;\"\u003e52 color pageS\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e8.5” x 8.5” \/ 21.5cm x 21.5cm\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eMORE ABOUT THE BOOK:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"\"\u003eMisaki shares open and inviting works with the public to build connections through art presented in her new artist book\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMoko Moko Doki Doki.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eThe book documents Misaki’s production sketches, sculptures and paintings which show the building blocks of the world, \"chu\" (kiss), \"suki\" (like), \"peko peko\" (hungry), \"pero pero\" (licking), \"kuru kuru\" (spinning). Using mimetic word pairings Kawai creates a zone of creative play; bold, colourful and immersive.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Hole NYC LLC","offers":[{"title":"Default Title","offer_id":39251719192759,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Z1A5597.jpg?v=1623095560"},{"product_id":"katsu-anonymous","title":"ANONYMOUS - KATSU","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKATSU (New York, USA)\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eANONYMOUS\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003ePhotos\u003cbr data-mce-fragment=\"1\"\u003eAri Marcopoulos, GX1000\u003cbr data-mce-fragment=\"1\"\u003e@nickseesnickshares\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePublished on the occasion of\u003cbr data-mce-fragment=\"1\"\u003ePrinted Matter’s NY Art Book Fair at MoMA PS1\u003cbr data-mce-fragment=\"1\"\u003eSeptember 21-23, 2018\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePublished in 2018\u003cbr data-mce-fragment=\"1\"\u003e16.5 x 23.6 cm\u003cbr data-mce-fragment=\"1\"\u003e28 pages\u003cbr data-mce-fragment=\"1\"\u003eColor Offset Printed\u003cbr data-mce-fragment=\"1\"\u003eFirst Edition\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ewith Poster Supplement\u003c\/p\u003e","brand":"Innen","offers":[{"title":"SIGNED","offer_id":40004348969143,"sku":"","price":100.0,"currency_code":"USD","in_stock":true},{"title":"NOT SIGNED","offer_id":40004349001911,"sku":"","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Z1A5588.jpg?v=1623095536"},{"product_id":"second-smile-exhibition-catalogue","title":"SECOND SMILE Exhibition Catalogue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eExhibition Catalogue.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSoftcover, 86 pages\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003ePrinting and binding by \u003ca href=\"http:\/\/www.bookart.ca\/\" target=\"_blank\"\u003eBookArt\u003c\/a\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eThis book captures the 39-artist thematic group show titled \u003cstrong\u003e\u003cem\u003eSecond Smile\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e that was scheduled for April, but was, unfortunately, not open to the public due to the pandemic lockdown.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWith an introduction by Kathy Grayson and installation shots showcasing \"our only 'lost show': the only Hole exhibition that not one person saw.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAaron Elvis Jupin, Adam Parker Smith, Alexander Harrison, Ali Bonfils, Alison Blickle, Anders Oinonen, Anthony Iacono, Ariana Papademetropoulos, Aurel Schmidt, Ben Sanders, Ben Spiers, Botond Keresztesi, Brittney Leeanne Williams, Cathrin Hoffmann, Charline Tyberghein, Emily Mae Smith, Emma Stern, Eric Yahnker, Giorgio De Chirico, Jana Euler, Kara Joslyn, Kevin Christy, Leonor Fini, Louisa Gagliardi, Maria Fragoso, Mimi Parent, Molly Greene, Nicolas Party, Pedro Pedro, René Magritte, Robert Lazzarini, Salvador Dali, Samual Weinberg, Tali Lennox, Tony Matelli\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"The Hole NYC LLC","offers":[{"title":"Default Title","offer_id":39947806638263,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Z1A5545.jpg?v=1623089032"},{"product_id":"nature-morte-exhibition-catalogue","title":"NATURE MORTE Exhibition Catalogue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eExhibition Catalogue.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSoftcover, 120 pages\u003c\/p\u003e\n\u003cdiv\u003ePublished by \u003ca href=\"http:\/\/www.anteism.com\/\" target=\"_blank\"\u003eAnteism\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003ePrinting and binding by \u003ca href=\"http:\/\/www.bookart.ca\/\" target=\"_blank\"\u003eBookArt\u003c\/a\u003e \u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis book captures the 62-artist thematic group show titled \u003cstrong\u003e\u003cem\u003eNATURE MORTE\u003c\/em\u003e\u003c\/strong\u003e presented at The Hole from April 8th to May 16th, 2021.\u003c\/p\u003e\n\u003cp\u003eWith an introduction by Kathy Grayson and installation shots showcasing the design of this expansive exhibition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eFeaturing: Aaron Elvis Jupin, Adam de Boer, Adam Parker Smith, Aleksandra Waliszewska, Allison Schulnik, Amanda C. Baldwin, Aurel Schmidt, Austin Lee, Barry McGee, Botond Keresztesi, Bryant Girsch, Charline Tyberghein, Chason Matthams, Chris Johanson, Christian Rex Van Minnen, Dan Attoe, Daniel Gordon, David Benjamin Sherry, Donald Baechler, Emily Mae Smith, Eric Yahnker, Fernando Botero, Gao Hang, Ginny Casey, Guy Yanai, Henry Gunderson, Henry Hudson, Holly Coulis, Ivan Seal, James Ulmer, Jon Young, Jonathan Chapline, Josh Smith, Kevin Christy, Koichi Sato, Laurens Legiers, Lucia Love, Lydia Blakeley, Mark Posey, Matthew F. Fisher, Matthew Hansel, Molly Greene, Nick Dahlen, Nicolas Party, Oliver Clegg, Paul Wackers, Pedro Pedro, Robert Lazzarini, Rosson Crow, Roxanne Jackson with Jefferson Nelson, Royal Jarmon, Ryan Travis Christian, Samantha Rosenwald, Sean Landers, Stephanie H. Shih, Stevie Dix, Taylor McKimens, Theo A. Rosenblum and Chelsea Seltzer, Thomas Lerooy, Tomokazu Matsuyama, Ulala Imai, Valerie Hegarty\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Hole NYC LLC","offers":[{"title":"Default Title","offer_id":39947809816759,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/Z1A5537.jpg?v=1623088918"},{"product_id":"the-golden-teacher-nicole-nadeau-good-taste-publishing","title":"Nicole Nadeau  \"The Golden Teacher\"","description":"\u003cdiv class=\"page\" title=\"Page 1\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"layoutArea\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"column\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"http:\/\/www.nicolenadeau.com\/\"\u003e\u003cstrong\u003eNicole Nadeau\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe Golden Teacher\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e59 pages \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHand-stamped soft cover Printed in Montreal \/ \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/paigesilveria.com\/Bookshops-Publishing\"\u003e\u003cem\u003eGood Taste\u003c\/em\u003e \u003c\/a\u003ePublishing 200 copies \/ \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e2021 \/  \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eThe Exhibition\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003e“All Tomorrow’s Parties” curated by Michael Slenske features Nadeau’s installation “The Golden Teacher,” which operates as an altar and talisman, celebrating the mushroom as an intelligent conduit for knowledge: Something special, other worldly and mysterious. Sacred in presentation, Nadeau wanted to ritualize the object. The light box’s seductive glow illuminates the psilocybin beautiful varying forms cast in resin. By making the organic encapsulated material eternal, Nadeau displays its powerful, secretive, seductive nature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Artist: \u003c\/strong\u003e\u003cspan\u003eTrained in industrial design and a fifth generation craftsman, NY\/CA-based Nicole Nadeau’s work blends the manufactured with natural materials and techniques to create conceptual installations \u0026amp; sculptures. Select Press: Vanity Fair, Whitewall, Dezeen, Autre \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eThe Publisher\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eGood Taste\u003c\/em\u003e is a site-specific art exhibition platform and publishing company, curated by Paige Silveria. GT presents an intimate take on the current state of arts and culture — simultaneously existing in the mainstream, yet provoking and predicting it. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Good Taste","offers":[{"title":"Default Title","offer_id":41018470629559,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/domicile_The-Golden-Teacher-Book_highres_8of8.jpg?v=1639520003"},{"product_id":"the-banana-republican-recipe-book","title":"The Banana Republican Recipe Book","description":"\u003cp\u003eThe Hole Shop is proud to present, \u003cmeta charset=\"utf-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Banana Republican Recipe Book. \u003c\/em\u003ePublished by Johannah Herr and Cara Marsh Sheffler. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEqual parts propaganda and home economics, \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Banana Republican Recipe Book\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dark riff on the United Fruit company’s recipe booklets of the mid-20th century. Now known as Chiquita Brands, United Fruits was anything but a cheery purveyor of tropical produce. Rather, the corporation worked hand-in-glove with the US Government and the CIA to facilitate regime change, crush labor organization, defeat environmental advocacy, grab indigenous land, and, above all, ensure that the banana stayed unreasonably cheap—and astronomically profitable—in supermarkets across the world. \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Banana Republican Recipe Book\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a fresh take on the rotten underbelly of America’s favorite fruit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAdditional info:\u003c\/p\u003e\n\u003cp\u003e“Banana Republican Recipes” is a corollary to our 2020 catalogue, “Domestic Terrorism: War Rugs From America.” “Domestic Terrorism” documented and expanded upon Johannah’s ongoing “War Rugs From America” series—rugs which use the material and visual narrative strategies of Afghan War Rugs to interrogate state-sanctioned violence in America. In that catalogue, we aimed to portray American decline as what it invariably is: a consumer experience.\u003c\/p\u003e\n\u003cp\u003e“War Rug X (Banana Republics\/US Intervention in Latin America),” is another machine-tufted rug in this series. It is featured in the New Art Dealers Alliance on Governors Island this spring and summer (2021) with the support of Geary Gallery. Johannah’s installation, “Above the Fruited Plain (America! America!)” applies her war rug rhetoric to the violent legacy of American intervention—corporate and military—in Central America and the Caribbean. The rug is paired with a work on paper, “The Chemical Composition Of a Coup”; a subversive tropical wallpaper; and “Banana Republican Recipes.”\u003c\/p\u003e\n\u003cp\u003eWe lighted upon the medium of a recipe book to convey our curatorial content because United Fruit released them regularly from the 1940s to the 1970s. Light romps packed with nutritional information and cultural appropriation, they were part of a larger corporate propaganda campaign that enlisted doctors to tell patients to feed their children bananas and found its way into home economic classrooms across the country for decades. As Americans, we literally consumed that propaganda and, in the process, bought into a larger narrative about America as a good actor and benevolent, all-knowing protector during the Cold War.\u003c\/p\u003e\n\u003cp\u003eThis narrative is as toxic as the numerous pesticides used to protect the Cavendish banana monoculture. The notion of monoculture itself is shortsighted, weak, and doomed to fail, taking down so many lives, ecosystems, and communities with it. While the book is meant to be enjoyable and provide a little levity in the absurdities of late-stage empire, it begs to ask what a banana could cost—versus what it should. We want to encourage the reader to question when something seems a little too cheap to be true, take a closer look, and a longer view.\u003c\/p\u003e\n\u003cp\u003eEnjoy with someone you who would also enjoy :)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePrinted in NY, NY \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e2021\u003c\/p\u003e\n\u003cp\u003e65 p. + one double-sided poster\u003c\/p\u003e\n\u003cp\u003e17.78 x 12.7 cm\u003c\/p\u003e\n\u003cp\u003ePaperback Binding\u003c\/p\u003e\n\u003cp\u003eDigital, laser printed color\u003c\/p\u003e\n\u003cp\u003eEdition of 100\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e","brand":"Cara Marsh Sheffler","offers":[{"title":"Default Title","offer_id":41104548954295,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0065\/2322\/products\/ScreenShot2022-02-26at1.05.33PM.png?v=1645901076"}],"url":"https:\/\/shop.theholenyc.com\/collections\/books\/kai-regan.oembed","provider":"The Hole NYC LLC","version":"1.0","type":"link"}