Come See The “Big Picture”

July 6, 2010 · Print This Article

Tom Sanford with friend, collaborator and fellow genius painter, Ryan Schneider have been working on the show “Big Picture” for about a year and are very proud and excited for it.

In simplest terms BIG PICTURE is just that, a show of big pictures. The pictures – all paintings – are big in terms of size, subject matter, energy, ambition and visual generosity. Many are aggressive or even garish in the color, they are often over worked, heavy layer upon layer of paint, combining dissonant styles and subject matter. These paintings are big in that there is a hell of a lot to look at. Some of the pictures are so big in scope that they seem unresolved, open ended, too big for the canvas they are on.

Schneider & Sanford organized this show to make a case for a young generation of New York picture-making painters who have emerged over the past decade. We asked each of 19 painters that we invited for one big picture that would serve as a strong argument for that artist’s position. Ostensibly, these paintings vary widely and wildly in style, subject matter, and point of view. However, when we look at the show, we like to view it in terms of the big picture.

These are all painters who make pictures of things, in that they all refer to the culture at large; their paintings are about painting, but they are about other things as well. The pictures deal with the biggest of universal themes, like Love, Sex and Death. The big subject matter is often juxtaposed with more idiosyncratic information about subculture or the extremely personal, political or emotional. These are painters of a generation to whom irony and collage-like juxtapositions are second nature, where high/low cultural distinctions are meaningless, to whom technology allows access to every image that has ever been seen or even imagined. These are painters who take advantage of the vastness of their surroundings, the open-endedness of their culture, and this Big Picture is reflected back in their work.

Featuring paintings by:

Kamrooz Aram, Colleen Asper, Paul Brainard, John Copeland, Holly Coulis, Justin Craun, Van Hanos, Dan Heidkamp, Aaron Johnson, Emily Noelle Lambert, Wes Lang, Liz Markus, Eddie Martinez, Brian Montuori, Lisa Sanditz, Tom Sanford, Ryan Schneider, Michael Williams, and Jeremy Willis
BIG PICTURE
JULY 8 – AUG 7 OPENING PARTY JULY 8 6-9PM
Priska C. Juschka Fine Art
547 W 27th street, 2nd floor.

Opening Reception 7/8/2010 6-9 pm




Beautiful Wearable Dress Has Over 24,000 LEDs

November 13, 2009 · Print This Article

The Galaxy Dress is the center piece of the “Fast Forward: Inventing the Future” exhibit at the Museum of Science and Industry in Chicago. The museum is celebrating its 75 years and has commissioned the GalaxyDress for their permanent collection.

The wearable dress made up of over 24,000 full color super thing LEDs, 4,000 Swarovski crystals & enough bateries to keep it on up to an hour at a time is something to be seen first hand and no photo or video recording does it justice. All this makes The Galaxy Dress the largest wearable display in the world.

Designed by Francesca Rosella and Ryan Genz, the London-based design duo behind interactive clothing company CuteCircuit




The Dubai Fountain Unveiled After Over A Year of Work & $218 Million USD

November 9, 2009 · Print This Article

The Dubai Fountain which was announced in June of 2008 by developer Burj Dubai has officially been opened. At an estimated cost of $218 Million USD or 800 Million AED the fountain is the largest and most complex of it’s kind. Surpassing the Fountains of Bellagio at Las Vegas by at least 25%.

The fountains which are over 300 yards in length can shoot to the maximum height of 150 meters, which is equivalent to the 50-story building or 1/5th of the way up the nearby Burj Dubai super-skyscraper that is set to be completed by January of 2010.




Oversize Art, How Does It Fit In A Undersize Economy?

September 24, 2009 · Print This Article

Kelly Crow with the Wall Street Journal kicks off the new Weekly full color arts coverage in WSJ magazine with “Out Size Art” an article that explores the influence that the recession has on consumers desire to invest in large-scale art installation pieces. As buyers scale back, large pieces are the first to go asking are they more of a headache then a dramatic statement.

Ernesto Neto’s “Mother Body Emotional Densities, for Alive Temple Time Baby Son” (2007)

Ernesto Neto’s “Mother Body Emotional Densities, for Alive Temple Time Baby Son” (2007)