[{"id":"65940","title":"Kitty Faingold Animates The New Dirty Projectors track &quot;That&#039;s A Lifestyle&quot;","alias":"kitty-faingold-animates-the-new-dirty-projectors-track-that-s-a-lifestyle","catid":"9","published":"1","introtext":"The Dirty Projectors will be releasing their new LP,  \"Lamp Lit Prose,\" on July 13, 2018 via Domino Records, and they just released a Kitty Faingold animated video for the track \"That's A Lifesty<span class='ellipsis'>le.\"<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"\r\n<p>The Dirty Projectors will be releasing their new LP,&nbsp;<a href=\"http:\/\/smarturl.it\/LampLitProse\" target=\"_blank\" rel=\"noopener noreferrer\">&nbsp;<em>Lamp Lit Prose<\/em><\/a>, on July 13, 2018 via Domino Records, and they just released a <a href=\"https:\/\/vimeo.com\/kittyfaingold\" target=\"_blank\" rel=\"noopener noreferrer\">Kitty Faingold<\/a> animated video for the track \"That's A Lifestyle.\" Its almost the weekend, we have some acoustic vibes here, enjoy!<\/p>","video":"<iframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/W9__9oOkq2c\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe>","gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"The Dirty Projectors will be releasing their new LP,  \\\"Lamp Lit Prose,\\\" on July 13, 2018 via Domino Records, and they just released a Kitty Faingold animated video for the track \\\"That's A Lifestyle.\\\" Its almost the weekend, we have some acoustic vibes here, enjoy!\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"Kitty Faingold\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"The Dirty Projectors will be releasing their new LP,  \"Lamp Lit Prose,\" on July 13, 2018 via Domino Records, and they just released a Kitty Faingold animated video for the track \"That's A Lifestyle.\" Its almost the weekend, we have some acoustic vibes here, enjoy!    Kitty Faingold             ","created":"June 15, 2018","created_by":"18525","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2018-06-15 17:06:24","modified_by":"18525","publish_up":"2018-06-15 17:00:15","publish_down":"0000-00-00 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His work takes the form of drawings, paintings, and photographs that offer a window into this often-overlooked system of global commerce that underpins modern life.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65905","title":"Interview: HuskMitNavn Is Not Just a Face in the Crowd (w\/video)","alias":"interview-huskmitnavn-is-not-just-a-face-in-the-crowd-w-video","catid":"3","published":"1","introtext":"As a frequent theme in fine art, portraying the mundane is usually focused on finding the beauty and the special moments in everyday life. Whether in movies or paintings, these works tend to glor<span class='ellipsis'>ify <span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"\r\n<p><strong>Sasha Bogojev: How did this concept of a double show you had earlier this year with V1 gallery in Copenhagen come to be?<br \/><\/strong>Huskmitnavn: Well, since the two spaces that the gallery has were not connected, I wanted to make 2 gallery shows. The upstairs space show was about work and work-related subjects. There a lot of situations you can draw and paint that people will recognize. Most people nowadays sit in front of computer and sort of live the same life everywhere around the world. Downstairs I wanted something looser, so I can work in two different tempos. So whenever I got fed up with making a big painting for upstairs, I can make something quicker for downstairs. The variation is quite important when you're making a big show, to have big stuff and small stuff, something you can make really quickly and something you can work on for longer. If you don't do that you'll end up in the corner, just working on big stuff and becoming nervous. So you need to do something where you can see the result after like 2 hours.<\/p>\r\n<p><strong>Yeah, you seem to be constantly switching between murals, paintings, drawings, paper pieces, sculptures, books... Does that help you keep your pace?<br \/><\/strong>It fills up the holes. Cause if you're only making big paintings and big murals, you have to have the right setting for it, right weather, right wall, so you need to be able to work on different things in order to fill up the holes. It's pretty important, for me at least, to always be able to work whenever I have the moment. My workdays are so full of the usual stuff, writing emails, staying in contact, sending out photos, and I can easily spend 90% of my time on just that. So I have to be able to have an excuse to actually work on something in between those.<br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/14-kopi.jpg\" alt=\"14 kopi\" \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/14-kopi.jpg\" alt=\"14 kopi\" \/><br \/><br \/><strong>I've noticed you have an amazing and constant output. So much work keeps coming out. What motivates you to produce so much?<br \/><\/strong>Writing e-mails. Really, I get so fed up with that that my fingers start itching. (laughs) I made a webshop last December and was thinking I'm gonna dedicate some time to that, but when you start it is when you need to learn a lot of things. So that period was just packing and sending, and by Christmas I was desperate. Usually, it's ok for me to take a break from drawing, but after 3 or 4 days I'm like \"This is the purpose of my life\" (laughs) I try to make some finished works. I really enjoy, and I think everyone does, when you go home from work to be able to turn around and see what you did that day. And it's really hard when you work on a computer cause you never see any result - you answer an email, you get a reply, and it's back and forth. In the end, you think \"what have I done with my life?\", I've been pressing the reply button a lot.<\/p>\r\n<p><strong>Oh yes, I can relate to that feeling. I'm spending hours on the computer daily and there is no tangible track of me doing anything.<br \/><\/strong>Yes, but the feeling when you get something you can print out, or look at a drawing you just made, you can't really beat that. And I also like to frame my own work, cause that way the product is complete. Otherwise, if you send it to the framer it can be done between a week and 3 months, so when you get it back you sort of forgot about it. So as soon as the paint is dry I put the work in a frame, and it's finished!<br \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/unnamed-1.jpg\" alt=\"unnamed 1\" \/><\/p>\r\n<p><strong>And with such large output, do you ever feel pressured that you could work more or you should produce more than you are at the moment?<br \/><\/strong>I always have the deadlines, and that's always the pressure. But I also keep pushing myself. I enjoy drawing while running, chasing deadlines. I need that pace. I'm not the one that comes to the studio, thinks about work, looks for inspiration, goes for a walk, stuff like that. I'm here now, I'm taking a piece of paper and trying to work on ideas straight away. There is always a pressure - you need to pay the rent, pay for materials or whatever, so you can't just sit around for too long.<\/p>\r\n<p><strong>Now that you mentioned the piece of paper, how did those folded drawings started?<br \/><\/strong>They started pretty slowly - first, it began with one drawing, and then, later on, I made another drawing and that was looking at the first one, so they were speaking together. And then I started focusing on how can I break this square piece of paper? Cause I've been working on a square piece of paper ever since I was 3 years old, and you never really question the format. But at some point, I began to wonder what if I just crumble it and draw a guy, so his shirt was all wrinkly. It was also about saving time\u2014I don't have to draw things that I can just do with the paper itself. And often it works much better than if I drew that. Then they started following each other and one idea and instead of starting a new one, one idea would lead to the next one.<\/p>\r\n<p><br \/><iframe width=\"875\" height=\"492\" src=\"https:\/\/www.youtube.com\/embed\/k8Mmrww0mwo\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/><br \/><strong>I remember you had certain rules for making them. Like no scissors, and stuff like that. Do you still have those?<br \/><\/strong>Yeah, no scissors, no tape or glue.<\/p>\r\n<p><strong>Is origami allowed?<br \/><\/strong>Yeah, folding is allowed and I have to be able to keep the shape with 2 hands. But when taking photos I'm sort of cheating as I need one hand for taking photos so sometimes I use blue tac.<\/p>\r\n<p><strong>Do you have any further plans with those?<br \/><\/strong>Not really. I work on them every once in a while and sometimes I just can't think of any new ones cause I already used all the obvious ones. I already made more than 300 of them. Some of them are really good and some are just ok. But you need to do a lot of shitty ones to get to the really good ones. (laughs)<br \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/IMG_3147-kopi.JPG\" alt=\"IMG 3147 kopi\" \/><\/p>\r\n<p><strong>As far as I know, they really took off on Instagram. Do you think that was a significant moment for those works?<br \/><\/strong>Yeah, cause all of a sudden you have a place to show them. And I think that for a lot of people, including myself, as soon as you get a smartphone it becomes your best friend and your biggest problem. Because it takes so much time from your actual physical surroundings and all of a sudden you're not speaking to your child but you're looking at a photo you already looked at 10 times.<\/p>\r\n<p><strong>Same<\/strong>.<br \/>So yeah, that's the problem, but it's also completely magical because before the social media it was hard to promote your work. If you had a show you had a write a press release, try to get free newspapers or websites to write about it, it was pretty hard. I think out of that came the whole street art thing. Cause people were taking the stuff to the street cause that's where they can actually meet the audience and they didn't have to hope for a gallery show or anything. You just did it yourself. So when the smartphones and social media came along, everyone had their own little newspaper and ability to build their own following.<\/p>\r\n<p><strong>But to go back on the folded drawings, I feel like they are good research for your bigger works. Like Framework body of work could be a more elaborate version of them.<br \/><\/strong>Yeah, they are related. It's about looking at the material that you have in front of you, instead of wondering what kind of mountain landscape can be painted on the canvas. Instead of that, you look at the canvas and you ask \"What's in front of me?\" - it's a wooden frame with stuff stretched on it. Can I make that into a cloth on a table? The same thing with the picture frame - there is actually wood around the drawing. Can I turn that wood into something that relates to the drawing? It's also cause I enjoy drawing a lot of drawings and I don't have a character that I draw over and over again. I make different pieces every time so I need some source where I can get inspiration from.<br \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/IMG_3152-kopi.JPG\" alt=\"IMG 3152 kopi\" \/><br \/><strong><br \/>I also noticed you're shifting between the techniques and even visual languages. Is that out of curiosity or you're still searching for the right one?<br \/><\/strong>No, it's not cause I haven't found the right one, but it's cause I'm curious and my motivation is to be able to execute the drawing really fast. So I'm always figuring out the way what material works the best.<\/p>\r\n<p><strong>So oil is not an option?<br \/><\/strong>No, oil is not an option. If you work with oil you need to work on many different paintings at the same time, then it's ok. But the acrylic paint is so good that you don't need oil. And it's not like I just want to get over with it, but I'm just always curious when I go to paint shop and I'm always hoping I'm buying the wrong thing. Cause my greatest discoveries came from buying the wrong stuff. The mistakes are pretty important and sometimes I'm hoping for them so I'm not repeating myself.<\/p>\r\n<p><strong>Do you have any formal artistic education?<br \/><\/strong>I have an art teacher education. But it was never my plan to become one. In Denmark, when you're getting an education, you get money from the state so you can almost survive off it. And you don't need to pay it back. So it's free education, and you get paid to get it, and it gives me the time to figure out what I wanna do. But this was 20 years ago.<br \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/IMG_0785.JPG\" alt=\"IMG 0785\" \/><\/p>\r\n<p><strong>How did your journey from painting graffiti to showing at galleries and museums look like?<br \/><\/strong>I was in that first generation to jump from a sort of NY graffiti into other parts of the art world. I remember in the 90s there was nobody that I could look at and say \"I want this guys career\". Cause if you were painting graffiti the most you could hope for is to become a graphic designer or something. But I wasn't into computers. Then in the late 90s, people started to experiment with other mediums, and in early 2000s we were a group of people here in Copenhagen that did different things like clothing or ran galleries. We all knew other people outside Denmark through graffiti community, through trading magazines, photos, so there was a network that started to do things from nowhere. Around that time I was doing graffiti, I still do it once in a while, but back then I made these hand-drawn street posters and they were pretty effective. I also figured they were a big success but I'm not gonna do that when I'm 60. So I stopped right away and started trying to learn how to paint along with doing traditional graffiti. I knew that was gonna take over. Most of the time I've been doing everything at the same time. And when I started showing it people were like \"Oh yeah, it's street art shown indoors\". But it's never been like that, I've always made specific artwork for indoors and specific work for outdoors.<\/p>\r\n<p><strong>And you pretty much reached a household name in Denmark. How does that feel?<br \/><\/strong>It's a bit schizophrenic, cause within this corner of the art world that is called street art, post-graffiti, whatever, I'm one of the few dinosaurs that are left anonymous. Most people just skipped that part but I really enjoy it. I've done a lot of stuff that's been pretty visible in Copenhagen or Denmark, so if I came out of the closet, people would look at me strangely when I'm at the supermarket or at metro. And when people don't really recognize you but they are trying to place you, they tend to stare at you thinking \"Did I go to school with you? Did you use to date my sister? Do I like you?\" And I'm not interested in that. Because as an artist you make your living observing the surroundings. I look at the world and I try to draw it. But if the world is looking at you funny, then it's kind of hard to make something. (laughs) So I need to be the face in the crowd and not the guy that stands out.<\/p>\r\n<p><strong>Did you ever think about how much time you spend observing the world, coming up with ideas for work?<br \/><\/strong>Well, if I come across some situation that I think looks funny, I'll try to remember it, write it down or draw it, but most of the time I sit at my desk and think of situations that people have in common. So I try to find a theme that a lot of people can relate to. So not some nerdy stuff, but something very general. Like traffic - everyone knows something about traffic. Then I start thinking about it and if within like a minute I can come up with 10 images, I know I'm onto something. And then if I'm making a show and I need 30 pieces and have only 20, I might go for a walk to search for inspiration. But sometimes its hard to come up with a theme cause I get stuck. Like \"global warming\", and I have 10 very depressing images. That's not gonna work.<br \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/8-kopi.jpg\" alt=\"8 kopi\" \/><\/p>\r\n<p><strong>You mentioned \"funny\", and there is a lot of humor in your work. Do you think it helps you personally deal with everyday stuff?<br \/><\/strong>It's more fun to make and more fun to look at. I'm not particularly into going to museums or gallery exhibitions, so when I do I always think \"what am I missing here?\", \"why am I spending such short time here?\" I could be seeing Rembrandt's most famous work and spend few seconds looking at it. So I always think how can I make it a pleasant experience? It's not like I want people to stay for 3 hours looking at my work, but when you make something fun you can actually communicate some pretty heavy stuff. I tend to shut down if it's over serious and heavy stuff, and some of it is taking itself too seriously. So I figured there isn't much fun art - that can be my spot!<\/p>\r\n<p><strong>Do you get a lot of feedback from people, especially making work that is very relatable?<br \/><\/strong>Yeah, because I draw inspiration from my own life and my surrounding, my friends leading the same life. People can relate to my age too cause I started almost 20 years ago and the work back then was about getting drunk, painting graffiti, and all that. People that have been following me since then now have regular jobs, children, same life that I have, and it's my big idea to keep doing this. So if I'm lucky enough to get that old I wanna paint life in a retirement home, pissing the bed at night, all of that stuff (laughs) When you look at painting the life, the images are right in front of you! It's like looking for a cucumber in the fridge and you can't see it cause it's right in front of you. The same thing when you need to come up with stuff about everyday life - it's so close that you don't see it. You're looking further ahead, at the bigger picture.<br \/><strong><br \/>What about negative feedback? Did you experience people being offended or not liking the images? Like portraying bad parents or parental failures?<br \/><\/strong>Well, it's not really controversial. Like I'm not drawing parents that are hitting their children. But hiding in the bathroom from your own kids. You know you're a bad parent, but you don't have the energy to actually do something. It's only human. The main message is - you're not alone. I also don't know what I'm doing. (laughs)<br \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/IMG_0485_copy.JPG\" alt=\"IMG 0485 copy\" \/><\/p>\r\n<p><strong>Do you think that your career could be inspirational to young creatives, and what would you like them to take from it, especially being a parent yourself?<br \/><\/strong>A lot of things I make, like some basic folded drawings, are easy to recreate at your kitchen table. Some of the paintings or drawings too, and I also do coloring books. I try to keep it simple and make a door that you can enter through and actually take a part in it. I'm not interested in people copying the stuff, but doing the first drawing, perhaps imitating one of the mines, and then they come up with their own things. But I really enjoy drawing and I like to share that. Nowadays young people spend their time on Instagram or whatever, so instead of seeing a clip of Ronaldo scoring a goal, it's cool if they see something that will inspire them to try doing similar things themselves. Cause as you move forward, you need to have life skills. You can not be really good at checking your phone. And there is a lot of art that you'll never have a possibility to make it yourself. Like someone painting a big mural. Yeah, it's super nice mural, but you can never do that - you don't have the lift, the materials, the skills, anything. But when you see a small drawing - everyone got a piece of paper and a pen.<\/p>\r\n<p><strong>But along with these mundane subjects, you also create work that is focused on more serious issues, politics, refugee crisis. How important for you personally it is to express those opinions?<br \/><\/strong>Most people can only shout at their TV but I can actually transform them into a drawing and I have my own channels, my social media, where I can show those. When I feel like something can be twisted into a drawing, like seeing Donald Trump saying stupid stuff, I just make it. I don't think much about should I do it or not. I know I'm looking at the biggest jerk on Earth, and there probably some other people thinking like this. It's a fun challenge to think how can I make this into a fun drawing making fun of him, instead of just a middle finger to him or something simple like that. As an artist, your role is to make fun of people in power and to point out to their weak spots.<\/p>\r\n<p><strong>Speaking of politics and more serious subjects, what are your memories of the 2006 show <em>Mohamedansk<\/em>, \"a show about the Danes and their fear of everything that isn't Danish\"?<br \/><\/strong>That was crazy! In Denmark we had this \"Mohammed drawing crisis\", a cartoon crisis. But I came up with the idea for this exhibition 6 months before that cause the political climate started changing. So I wanted to make an exhibition about this change, make fun of it and try to address the subject. But on the very day I had the opening the Mohammed drawing crisis blew up, and I had nothing to do with that. So on the opening night the Danish embassy in Damascus got burned down, and I had to go to the gallery and double check all the works in case there is something on them that can offend somebody to the point that I get \"fatwa\" or whatever you call it on me. Because I wasn't really interested in that, and I'm not that dedicated. The cartoonist that did draw the image of Mohammed with a bomb on its head is still nowadays living underground and with constant security because people tried to kill him a couple of times. So I ended up being interviewed for CNN cause the whole world media was here at the time. The timing was crazy.<br \/><br \/><img src=\"images\/Evan%20Pricco\/2018\/June2018\/HuskMitNavn\/IMG_0828.JPG\" alt=\"IMG 0828\" \/><\/p>\r\n<p><strong>Yeah, but your idea was obviously something completely different. So how do you see how much the world has \"progressed\" since then?<br \/><\/strong>It was 5 years after 9\/11 and there was the whole Osama Bin Laden and Bush thing, and everything was new back then. And now is just normal. People don't raise an eyebrow when politicians make the crazy decision for refugees or whatever. People don't care anymore what's going on in places like Syria, Yemen, all these places. You don't have these immediate crises. The entry points to Europe are blocked, so you have these people in limbo in Turkey, Greece, south of Italy, but people in North Europe are like \"what crisis?\" So right now is on hold, but its gonna come back. The world is pretty schizophrenic right now - I'm living the same life, I'm eating the same food, nothing has really changed, but there is something on the horizon. The refugees, the climate change, all these things are huge. When are we not gonna be able to buy chocolate at the store cause there are no more rainforests left? And you know it's gonna come. You know that places like Copenhagen are bound to be flooded in the future, but they are still building along the harbor. And I wanna make these things into pictures, but some of it I'm still struggling how to do it.<\/p>\r\n<p><strong>It's gonna be interesting to see you transform that kind of reality into your work.<br \/><\/strong>Well, I made single pieces but I'd also like to make shows but the themes are really heavy so it's hard to come up with a concept to make a show. When you make a commercial show you need to make work that people will actually buy. Like the poster I did for the refugees - it needs to look good so people will actually hang it on the wall, but it also needs to remind them of the issue. When you make stuff for the museum you can make whatever, like dead children or puppies or whatever. But when you're making it in a gallery you can't. Few artists can do it, but I can't. I need to make other types of images that still deal with the subject, and that's the whole challenge of it.<br \/><br \/><em><strong>HuskMitNavn's work is on view at <a href=\"https:\/\/www.beyondthestreets.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond the Streets<\/a>, on view through July 6, 2018 in Los Angeles.<\/strong><\/em><\/p>\r\n<p><span style=\"color: #111111; font-family: Roboto, Arial, sans-serif; font-size: 14px; white-space: pre-wrap;\"><\/span><\/p>","video":null,"gallery":"{gallery}65905{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"As a frequent theme in fine art, portraying the mundane is usually focused on finding the beauty and the special moments in everyday life. Whether in movies or paintings, these works tend to glorify regular people and regular life moments by portraying them as something exceptional. And while Danish artist Huskmitnavn (who has work currently on view at Beyond the Streets, including a full drawing room-interactive installation) is working with that exact same theme, both his approach and his end results are significantly different.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"Huskmitnavn\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"As a frequent theme in fine art, portraying the mundane is usually focused on finding the beauty and the special moments in everyday life. Whether in movies or paintings, these works tend to glorify regular people and regular life moments by portraying them as something exceptional. And while Danish artist Huskmitnavn (who has work currently on view at Beyond the Streets, including a full drawing room-interactive installation) is working with that exact same theme, both his approach and his end results are significantly different.    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Returning to the gallery after his sold-out debut in 2016, the Dutch artist showed an all-new collection of large-scale paintings and smaller drawings on paper.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65808","title":"Fluidity, Evolution, and Connection: Laura Berger&#039;s Wide Open World","alias":"fluidity-evolution-and-connection-laura-berger-s-open-world","catid":"19","published":"1","introtext":"Laura Berger's characters and colors are hard to miss, or at least anywhere but a desert landscape perfectly organized into aesthetically pleasing shapes and spaces. However, Berger's work is mor<span class='ellipsis'>e th<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"\r\n<p><strong>What's your story of becoming a working artist? Where do you remember start painting, quit your job, and when did you start painting in the style you do now?<\/strong><br \/>I've had a really slow, organic, and initially kind of accidental path to my art career. It really goes to show you that no matter how much you try to plan (read: freak out about) your life, things just sort of naturally follow their own path. I wish I had known that and freaked out a lot less about what was to become of me when I was in my 20s, haha. <br \/><br \/>Ever since I was a kid, drawing and painting were probably my favorite hobbies so I've done them for fun forever. I actually studied theatre in college; my major was performance, my minor was design, and the first real painting work I did was there. They needed a huge stage-sized replica of a French Renaissance painting for a backdrop for a production, and the task was given to me so I totally just got thrown into the fire. I definitely cried several times during that project but it all worked out and I learned a ton about technical stuff and color mixing. After school, I worked freelance doing scenic art and also waited tables, as performance majors do. Then, when I was 27, things kind of fell apart a little; my long-term relationship ended in a really rough way, and then 6 months later my dad was diagnosed with terminal cancer. After he died, I tried to run away to Costa Rica to teach English, as some do when their life falls apart, but then I got mugged at gunpoint (what can I say, I was on a roll,) so I just scrapped all plans and traveled around aimlessly for awhile. When I got back to Chicago, I was alone, grieving, and trying to rebuild everything. I started painting every night after work because I literally didn't know what to do with myself and I thought it would be something positive to focus on. The paintings were not good, but that was the beginning of my learning process. It was when I learned how to create my own imagery, and also the beginning of a disciplined painting practice. I quit my job about 8 years ago now and I was completely terrified, but I took a leap. I'm sure I've been working towards my style this whole time, but I've really started to feel more comfortable or settled in with my technique and voice in the last few years. Of course, it's always and forever evolving, I'm constantly striving to improve and keep growing.<\/p>\r\n<p><img src=\"images\/EbenBenson\/2018\/May-August\/LauraBerger\/Carrying-the-Sun-Up-The-Hill-Rolling-The-Moon-Back-Down.jpg\" alt=\"Carrying the Sun Up The Hill Rolling The Moon Back Down\" \/><img src=\"images\/EbenBenson\/2018\/May-August\/LauraBerger\/Carrying-the-Sun-Up-The-Hill-Rolling-The-Moon-Back-Down.jpg\" alt=\"Carrying the Sun Up The Hill Rolling The Moon Back Down\" \/><\/p>\r\n<p><strong>Up until we first spoke, I always thought you lived in California. Even once you told me you live in Chicago, I still think you live in California and have to remind myself. Something about the muted tones, palms, and light, reminds me of California and the desert. What do you think draws you to this kind of imagery? What kind of place do you associate your environments with?<\/strong><br \/>Haha, I think I feel the same way actually! Most of my work opportunities have been coming from California, and I've always felt a strong connection and pull towards there. I feel really good and comfortable on the west coast, so hopefully I'll find a way to be living there sometime... maybe not too long from now :)<br \/><br \/>I know for sure that I feel the most grounded and healthy when I'm by the ocean or mountains. My dad was only 61 when he died and he had never gotten to travel outside of the US, so that really gave me a sense of urgency about things. I made a vow to myself that I would visit at least one new country every year, starting then. So when I first started painting I was traveling to places like Mexico, Latin America, Indonesia, and Japan. I also did a bunch of cross-country road trips with California as the destination, and I had a really amazing trip through southern Utah that was definitely formative in many ways. We were camping with no tents, just out in the open air with all of the gorgeous rock formations, stars, and wild animals, which was new and very powerful for me. I feel like all of those experiences and sights mix together with the life history in our brains to create a whole new <em>thing. <\/em>That mixing really forms the visual base and the general vibe of my work. I don't really think consciously about those things when I'm working out environments, but maybe that's the filter things are coming through. I mostly like to work with shapes and colors, I focus more on the <em>feeling<\/em> of an image. I often paint environments to communicate feelings of ease, freedom, or calm.<\/p>\r\n<p><img src=\"images\/EbenBenson\/2018\/May-August\/LauraBerger\/Desert-Moon.jpg\" alt=\"Desert Moon\" \/><\/p>\r\n<p><strong>Your work really evokes an illustrative quality, did you start out as an illustrator? Normally when someone has illustration chops, they go one of two ways: either their painting practice builds directly on their illustrations, or they try to lose all the vestiges of detailed illustration, usually in favor of more abstract work. Do you remember coming to that crossroad?<\/strong><br \/>When I started making art, I knew more people who were doing illustration for a living than working as full-time painters. I'm sure that was influential in the way I viewed possibilities, because it was all just a whole new world to me. So, I'd say I started out doing more illustration with some painting on the side, but then I loved painting so much that I ended up putting most of my energy and focus there, which eventually made it my primary medium. This was another really organic thing for me, which I didn't think about too much, it just sort of happened naturally over time as I grew as a person and artist. There's so much crossover in everything though, and I love doing all of it. It's really good for me to switch around with different forms of expression. I like to do animations, sculpture, design work, and they all feed each other to create a nice cycle of inspiration. I'll feel a little burnt out on painting, so I'll make an animation, and then the movement or something in it will end up giving me an idea for a new painting, and then I'll be excited to paint again.<\/p>\r\n<p><strong>Ok straight up, what's your most listened to album? Not the cool one but the embarrassing one...<\/strong><br \/>My most listened to album is probably <em>Un D\u00eda<\/em>&nbsp;by Juana Molina. I'm not embarrassed by it, I love it! Ok, now I'm trying to think of an embarrassing one that I've listened to a lot. It would probably be something from when I was growing up, when I only had like 5 things to listen to, and would just listen to the same things over and over again... I loved <em>Appetite For Destruction<\/em> by Guns n Roses. Also, I know all of the words to most Salt n Pepa songs. Is that cool? It's probably pretty uncool, but is potentially useful at parties.<\/p>\r\n<p><img src=\"images\/EbenBenson\/2018\/May-August\/LauraBerger\/Fresh.jpg\" alt=\"Fresh\" \/><\/p>\r\n<p><strong>What's your process like when doing a brand collaboration? How do you approach it and make sure you're not taken advantage of?<\/strong><br \/>I've only done a handful so far, but the projects I've worked on have been super inspiring in entirely new ways for me, and I always learn a lot, so I'm looking forward to hopefully doing more collaborations in the future. When someone approaches me from a brand, the first thing I usually do is research the company, if I'm not familiar with them, and make sure it's something I can align with. Having integrity is important to me, and I always want to stay solid across the board with my values, so I try tirelessly to get clarity on things in that realm. If that feels like a good fit, then I look at the proposed concept to see if it's something that seems like it will naturally work well with my work, without trying to stretch to fit it into something that feels dishonest. Of course, I always want to get an agreement on paper before starting work. I really think the most important thing with any kind of collaboration or project is being able to tap into how I feel in my gut about it; does it make me excited? or do I feel any kind of trepidation or uneasiness? If it's not an entirely positive feeling, I'm learning that it's better to let it go and keep that space open for the right thing to come, or, to just have more spaciousness to work on my own.<\/p>\r\n<p><img src=\"images\/EbenBenson\/2018\/May-August\/LauraBerger\/Waiting-For-The-Sun-To-Rise.jpg\" alt=\"Waiting For The Sun To Rise\" \/><\/p>\r\n<p><strong>Do you book yourself up ahead of time and use that as an incentive to get lots of work done, or are you able to make work every day and fit that to a show\/collab\/mural?<\/strong><br \/>For the last few years I've been booking up the year in advance so my time is almost entirely spent working towards those exhibitions and projects. Deadlines really do help with discipline and productivity, no question about it. But, it also sounds like a dream to just make things in a fluid way and see how they all connect together. I'm totally holding onto that lifestyle goal for the future...<\/p>\r\n<p><strong>If you weren't a working artist, what would your dream occupation be? <\/strong><br \/>I really miss singing, so I'll go with that. Maybe I should be a backup singer because that seems like less pressure. I'd get to hang back and do all of the nice harmonies, maybe I'd have some barely noticeable dance moves and possibly a tambourine or a maraca or something like that.<\/p>","video":null,"gallery":"{gallery}65808{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Laura Berger's characters and colors are hard to miss, or at least anywhere but a desert landscape perfectly organized into aesthetically pleasing shapes and spaces. 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perfectly organized into aesthetically pleasing shapes and spaces. However, Berger's work is more than just aesthetics, she uses creating as a cathartic process to explore complex thoughts, focusing on the expression of feelings into a piece, minimizing the hindrance of words and convoluted thoughts that can cloud emotive expression.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65809","title":"Academy of Art Hosts Their 2018 Spring Show in San Francisco (Sponsored)","alias":"academy-of-art-hosts-their-2018-spring-show-in-san-francisco-sponsored","catid":"19","published":"1","introtext":"Academy of Art University\u2019s 2018 Spring Show officially opens on Thursday, May 17, 2018, from 7:00 p.m. to 10:00 p.m., to showcase the finest student work from the Academy\u2019s emerging talents <span class='ellipsis'>in a<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"\r\n<p>Taking place at 2225 Jerrold Avenue, the&nbsp;<em>Spring Show<\/em> is an immersive artistic experience where viewers can see firsthand how a formal education from a top San Francisco art school can help turn a passion into a profession. From paintings and sculptures to fully developed video games and car models, there is no shortage of talent on display.<\/p>\r\n<p>The final pieces of student work will remain on display daily starting Friday, May 18, until June 9 (except Sundays and holidays) from 10:00 a.m. to 5:00 p.m.<\/p>\r\n<p>Attendees will not only get to explore a collection of some of the freshest, most innovative creations from the Academy\u2019s more than 30 areas of study, but also learn why many Academy graduates go on to professional careers working for worldwide industry-leading companies. Most of the artists selected to have their art and designs showcased are at the senior and graduate level.<\/p>\r\n<p>Some of the participating Academy schools include<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=hyeCOCr_txtmojin3li0C3EXJzE9uI9Wdp39Ep05-tJnTA7zXc4Hx2ei1f5Mu5bDaz3ZcGco_lsy9sp3HYTfklKi0lkJLBdIsM3ieqXMJTS5ZMw6tqzAiHN-XleSSx12ppyzP42II7wwIlFXDJrjaA6-RgcvtDISQV7i_OX6X_w=\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Animation and Visual Effects\">&nbsp;Animation and Visual Effects<\/a>,&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=TXJbJ3iX8ptlHjfzSI7xnJZDEuoab3Xm4QvqgTBvkybvAEzcqX860bjqUQ8TNA19TVXi1lvKqJIZrzDcy2zz99aoZHwJDiQM3KpWyOjksD8=\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Fine Art\">Fine Art<\/a>,&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=gWbucDCRE4zd19q_TNtPwDxK4_7Qg_q3zMPx5fCw4095kMMh7cJPjpoqLYarKeeIDJOFSYRevUFIiGccArQQv05XH8BUItvxWauCJaGCUKbZfWo69nv_m8sh178SOFck\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Illustration\">Illustration<\/a>,&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=-sC-_AIrgPrffCDfVg-0KkxpKmG1u3bkNH_m2EwlULWxFEolZbjin9UumpApf_n5XTzbG8qKDQH2peVPscgexWw6e9BBQU6kccrLS00LQrDBN_6vV3V6lEiLQKaG-WfT\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Industrial Design\">Industrial Design<\/a>,&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=bc4KheQcxPZlMgtLy7CStCWICXRwVbzaZK49M5s_NvLYKDdrwFeZxUBkKRcaXlV_wS9hK5Ca2kZTMQGDZXYTKkVNg1uO_ffQAtZ9UCUQF3O4Y05I-IsHlDfpUZb35Gz-tGU0Cgppe0nFsYwQOjcEGg==\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Jewelry and Metal Arts\">Jewelry and Metal Arts<\/a>,&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=zkXAiK4j5KrzSnbmyKEo4A9nX0kwyBuyAHFA4g6sKXd-x7rTwItv3Hsm5VA8JSp2rsxGkHjiYSdUCFXww20_o98gYUyLqMnVEqAZGVRd_dfPx-KBoLXDQBHydHaHJIBjdKdIKB6Eq6zjb7XmfENjjs_iVhtgb8QAulbrLaM6_-M=\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Motion Picture and Television\">Motion Picture and Television<\/a>,&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=EL-qvbTT6A7lZkPOLqghH3KXlPSPit1I1SKrIayCO1la4iTItNqbydx7I73nLxhl4rb7nOkMbzb5wbFuKKcvTVq7Nh8amp8iQRSwXJCNTdMWTwtOjumQtLpLHWXQlqKj6cPcW09njwBMOB1P2XrJPzt9Vg18hkPlC2cP8iITBhs=\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Music Production &amp; Sound Design for Visual Media\">Music Production &amp; Sound Design for Visual Media<\/a>,&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=nyJez2ltTwJlPce1npZUPvswZfWV3l3tnpn55V2_kg7RDHsOL8C3b6dM0GMvFMyAsM5MLOiEcAaX8ZJYE_Mq8xJkHYxVki6HLOh4RIC0m5aTt8MaD9fM5n4hxz_2Ef5E\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Photography\">Photography<\/a>, and&nbsp;<a href=\"https:\/\/www.globenewswire.com\/Tracker?data=dq9U0HvUqJ_-9D_SLDVBqubQGmcmWc85XZQrPob182WHMCFh04rzAh03_klcDUT5cRacLtNf8bh-oqBKF0Py51S1vkRatwX7dL7_1IirOAINvFYTi6LmgMwJmJPYoIQW\" rel=\"nofollow noopener noreferrer\" target=\"_blank\" title=\"Visual Development\">Visual Development<\/a>.<\/p>\r\n<p>\u201cFor many students, it\u2019s the culmination of years of hard work by extremely talented graduate and undergraduate students,\u201d Academy President Elisa Stephens said. \u201cThe experience every year is truly unforgettable.\u201d<\/p>","video":null,"gallery":"{gallery}65809{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Academy of Art University\\u2019s 2018 Spring Show officially opens on Thursday, May 17, 2018, from 7:00 p.m. to 10:00 p.m., to showcase the finest student work from the Academy\\u2019s emerging talents in all areas of art and design.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"2018 Spring Show\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2018-05-17\"},{\"id\":\"2\",\"value\":\"2018-05-18\"},{\"id\":\"10\",\"value\":\"2225 Jerrold Ave, SF, CA 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of Art Hosts Their 2018 Spring Show in San Francisco (Sponsored)","numOfComments":"0","text":"Academy of Art University\u2019s 2018 Spring Show officially opens on Thursday, May 17, 2018, from 7:00 p.m. to 10:00 p.m., to showcase the finest student work from the Academy\u2019s emerging talents in all areas of art and design.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65802","title":"Merging Identities: Keith Rankin On Ohio, Running a Record Label, and His Surreal Artwork","alias":"merging-identities-keith-rankin-on-ohio-running-a-record-label-and-his-surreal-artwork","catid":"3","published":"1","introtext":"Keith Rankin is an illustrator, musician, and producer based in Columbus, Ohio. Also known by his music-moniker Giant Claw, he is the co-owner of Orange Milk Records with Seth Graham, a small rec<span class='ellipsis'>ord <span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"\r\n<p><strong>Which did you get into first, visual art, or music? What was your access point to each?<br \/><\/strong>I was doing visual art since I can remember, then as a teenager I stopped for a time and focused on music, missing out on some crucial years of development before getting back into it later. There were too many access points, if you can remember being that young almost everything you hear is mind-blowing and new, what I heard and saw on the radio or movies for example was pure stimulus and inspiration.<\/p>\r\n<p><strong>What was the music scene like where you grew up in Ohio? How did this lead to you getting into underground electronic music?<br \/><\/strong>There was a rock music and a harsh noise scene in Dayton, Ohio where I grew up, but I never interacted with them heavily because those scenes can feel like exclusive clubs when you\u2019re on the outside looking in, even if they aren\u2019t really. Being part of forums and peer to peer networks online was where I felt that first crucial connection to a community and how I became aware of electronic music.<\/p>\r\n<p><img src=\"images\/EbenBenson\/2018\/May-August\/KeithRankin\/Bitcoin-final-med.jpg\" alt=\"Bitcoin final med\" \/><img src=\"images\/EbenBenson\/2018\/May-August\/KeithRankin\/Bitcoin-final-med.jpg\" alt=\"Bitcoin final med\" \/><\/p>\r\n<p><strong>Could you describe how you connect your surreal visual art to the music your label puts out?<br \/><\/strong>It\u2019s intuitive and in some ways the connection is just through proximity. Unless we want to hire outside artists for every release, which becomes really expensive, it makes sense to use my art, and I think if you repeatedly pair audio with visuals they start to spawn a new merged identity, or natural connection points emerge. But sometimes we do hire outside artists if the music\u2019s feeling is something I don\u2019t think I can even start to approach with my visual capabilities or if I don't have enough time.<\/p>\r\n<p><strong>Are you still based in Columbus? If so, what has kept you there rather than moving to one of the \"big market\" cities? Many artists are willing to pay the exorbitant prices, but it's becoming less and less appealing\/possible.<br \/><\/strong>Yeah I live in Columbus. I must have a midwestern core, I just prefer that slower pace of life. When I would be on tour I would stay with my label partner Seth in New York, and I realized we would mostly sit and talk or record music, the same thing we would do in Ohio.<\/p>\r\n<p><img src=\"images\/EbenBenson\/2018\/May-August\/KeithRankin\/Japan-comp-square-med.jpg\" alt=\"Japan comp square med\" \/><\/p>\r\n<p><strong>What's your average day look like?<br \/><\/strong>I can tell you what I did yesterday. After waking up I wash my hair, cause it will get really greasy if I don\u2019t, I eat cereal and watch Youtube on my TV. Then, I get on my computer and check emails and pack Orange Milk orders for a while. I take a break to make lunch and watch more Youtube, then play Magic the Gathering on my phone for a little. Then I get back on my computer in my audio program Logic and play around, designing sounds that I plan to use for a piece of music later. I\u2019ll listen to tracks I have in progress but feel stuck with several times, trying to figure out what direction to go in. I look at twitter and listen to Orange Milk demos, finish tape layouts in Photoshop. It goes on. Basically I'm on the computer a lot since I make a living as a freelance artist. Sometimes I just sit around doing nothing all day to mentally recharge if I don't have a commission, then when I\u2019m feeling good, I\u2019m working on audio or in photoshop nonstop every waking hour.<\/p>\r\n<p><strong>Who are some of your all time favorite visual artists and who are some more recent favorites?<br \/><\/strong>Every time I see an image I like online I save it, so I have this massive folder of images that is my main source of inspiration on a day-to-day level. To be more specific, and name some people, first I have to say my partner and collaborated Ellen Thomas who is a great painter. I love old painters like Joan Mir\u00f3, Toyen, and Vangel Naumovski, who I think is somewhat overlooked. I love Japanese airbrush artists like Pater Sato, Yosuke Onishi and many more in a similar style, and more fantasy or sci-fi artists like Karel Thole or even new insane Dungeons and Dragons-style fantasy art. For modern artists I love Robert Beatty who helped me with Photoshop technique when I first started, and Nicole Ginelli who helped me with Illustrator, so many people on my instagram like Braulio Amado, Jamian Juliano-Villani, Emma Stern, Donnie Fredericks, and of course my IRL friends Galen Tipton, CJ Brazelton, Ginssiyo Apara and Zach Armstrong, and many other 3D artists\/painters doing interesting things!<\/p>\r\n<p><img src=\"images\/EbenBenson\/2018\/May-August\/KeithRankin\/Shmu-2017-cover-md.jpg\" alt=\"Shmu 2017 cover md\" \/><\/p>\r\n<p><strong>What's a direction you'd like to take the label and your visual art in the future? Do you have any upcoming projects that you're really looking forward to?<br \/><\/strong>With visual art, I still have a long way to go, I have felt the weight of my influences for a long time, and it can take even longer to find some identity for yourself, so I hope to keep moving forward. Orange Milk is a combination of me and Seth\u2019s taste which also keeps evolving, but I would like for us to get better at being organized and promoting releases. I\u2019m excited for a lot of upcoming releases, we have an LP from Co La that is finished, and have tentative plans to work with artists like Pascale Project and Meuko! Meuko! as well as the Japanese artists toiret status and Koeosaeme who we have worked with before, but their new material is really mind blowing.<\/p>","video":null,"gallery":"{gallery}65802{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Keith Rankin is an illustrator, musician, and producer based in Columbus, Ohio. Also known by his music-moniker Giant Claw, he is the co-owner of Orange Milk Records with Seth Graham, a small record label based in Columbus and Dayton, Ohio that releases music from emerging noise, electronic, and experimental artists.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"Keith Rankin is an illustrator, musician, and producer based in Columbus, Ohio. Also known by his music-moniker Giant Claw, he is the co-owner of Orange Milk Records with Seth Graham, a small record label based in Columbus and Dayton, Ohio that releases music from emerging noise, electronic, and experimental artists.                 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art","published":"1","link":"\/tag\/digital-art\/"},{"id":"20716","name":"painting","published":"1","link":"\/painting\/"},{"id":"23620","name":"keith rankin","published":"1","link":"\/tag\/keith-rankin\/"},{"id":"23621","name":"giant claw","published":"1","link":"\/tag\/giant-claw\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/01bfe62f831be8e455538a75c0b5a13a_XS.jpg?t=1526405572","imageSmall":"\/media\/k2\/items\/cache\/01bfe62f831be8e455538a75c0b5a13a_S.jpg?t=1526405572","imageMedium":"\/media\/k2\/items\/cache\/01bfe62f831be8e455538a75c0b5a13a_M.jpg?t=1526405572","imageLarge":"\/media\/k2\/items\/cache\/01bfe62f831be8e455538a75c0b5a13a_L.jpg?t=1526405572","imageXLarge":"\/media\/k2\/items\/cache\/01bfe62f831be8e455538a75c0b5a13a_XL.jpg?t=1526405572","imageGeneric":"\/media\/k2\/items\/cache\/01bfe62f831be8e455538a75c0b5a13a_Generic.jpg?t=1526405572","cleanTitle":"Merging Identities: Keith Rankin On Ohio, Running a Record Label, and His Surreal Artwork","numOfComments":"0","text":"Keith Rankin is an illustrator, musician, and producer based in Columbus, Ohio. Also known by his music-moniker Giant Claw, he is the co-owner of Orange Milk Records with Seth Graham, a small record label based in Columbus and Dayton, Ohio that releases music from emerging noise, electronic, and experimental artists.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65795","title":"Superchief Hosts Open Submissions For Their &quot;TRI-COASTAL MEGA GROUP SHOW&quot;","alias":"superchief-hosts-open-submissions-for-their-tri-coastal-mega-group-show","catid":"23","published":"1","introtext":"Superchief Gallery just announced their upcoming annual group show taking place in New York, Los Angeles & Miami, all simultaneously, featuring their huge roster of contemporary artists and as mu<span class='ellipsis'>ch r<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"\r\n<p class=\"m_-5912006458774213943gmail-m_8312632545060500312gmail-p1\">Last year, Superchief celebrated five years as a gallery with gigantic warehouse gallery parties in NY and LA, and this past winter instead of hibernating, they have been busily growing that 3rd arm, their biggest location yet, in Miami, Florida, just two blocks west of Wynwood.<\/p>\r\n<p class=\"m_-5912006458774213943gmail-m_8312632545060500312gmail-p4\">This&nbsp;June 1st, Superchief Los Angeles, New York, and Miami&nbsp;will have all <em>TRICOASTAL MEGA GROUP SHOW<\/em> opening parties take place simultaneously on all three coasts, working to unite the art scenes and foster cultural relationships between the cities themselves.&nbsp;The parties will all be live streamed to each other and the internet, with special guests and performances at all three.<\/p>\r\n<p class=\"m_-5912006458774213943gmail-m_8312632545060500312gmail-p7\">As a special bonus, Superchief is doing a 5 day long free open call to artists that would like to get in the mix and show along side our favorite artists in the world. artists can be from submitting to any one of the galleries from anywhere in the world. (You just have to be down to ship your art out ASAP.)<\/p>\r\n<p class=\"m_-5912006458774213943gmail-m_8312632545060500312gmail-p1\">The LA show will feature giant murals, photography and work by artists we love such as Kristen Liu Wong, Parker Day, JJ Villard, Yok &amp; Sheryo and so many others spread across the 4,000 square-foot gallery, you can feel free to submit work to&nbsp;<a href=\"mailto:Superchiefgalleryla@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Superchiefgalleryla@gmail.c<wbr \/>om<\/a>&nbsp;(Deadline is&nbsp;Tuesday, May 14th.)<\/p>\r\n<p class=\"m_-5912006458774213943gmail-m_8312632545060500312gmail-p1\">The New York show is strictly screen-based artwork. The 7,000sqft gallery in Ridgewood will be bathed in projectors to feature the newest and edgiest video art, digital and traditional animations, and VR experiences for #STIMULATIONOVERLOAD4. Please send your digital submissions (deadline&nbsp;Tuesday, May 14th) to&nbsp;<a href=\"mailto:Superchiefny@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">Superchiefny@gmail.com<\/a>&nbsp;<\/p>\r\n<p class=\"m_-5912006458774213943gmail-m_8312632545060500312gmail-p1\">As the newest member of the pack, Superchief Miami is a gigantic, 20,000sqft warehouse gallery with shipping containers in the back lot. This location has seen two openings since they hung their skull flag last December during Art Basel, popping off the location with a secret afterparty for the EPIC Juxtapoz Clubhouse, inside of which they presented yet another full group show (and an after-after party) to the fam. Then they opened their doors again in March for the digital art show #STIMULATIONOVERLOAD3 featuring a special performance by Azealia Banks, continuing on with quarterly events throughout 2018 until they get cooking with gasoline in 2019.<\/p>\r\n<p class=\"m_-5912006458774213943gmail-m_8312632545060500312gmail-p1\">Superchief MIA is hyped to have artists including Jose Mertz, Lofty305, PoshGod, Saute, Aholsniffsglue, Atomic, Baghead, Anthony Lister in the group show and more. They are also accepting submissions of physical artwork (deadline&nbsp;Tuesday, May 14th), and submissions can be sent to&nbsp;<a href=\"mailto:superchiefmiami@gmail.com\" target=\"_blank\" rel=\"noopener noreferrer\">superchiefmiami@gmail.com<\/a>.<\/p>","video":null,"gallery":"{gallery}65795{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Superchief Gallery just announced their upcoming annual group show taking place in New York, Los Angeles & Miami, all simultaneously, featuring their huge roster of contemporary artists and as much raw new talent as they can find, opening June 1st.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"TRICOASTAL MEGA GROUP SHOW\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"Superchief Gallery\"},{\"id\":\"9\",\"value\":\"New York, Los Angeles, Miami\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"Superchief Gallery just announced their upcoming annual group show taking place in New York, Los Angeles & Miami, all simultaneously, featuring their huge roster of contemporary artists and as much raw new talent as they can find, opening June 1st.   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