Showing - Jim Isermann 'Viynll Smash-Up 1999-2007' @ Dietch Projects - New York

Showing - Roswell Angier @ Gitterman Gallery - New York

He’s just too good. Too hot. Too much of an in your face mix of chicness, crassness, and general tell it like it is, funk. Yep, as far as I’m concerned Roswell Angier is a bit of a God. It’s the way he gets down low to street level and documents street life in a frank, honest, raw way. Of course his subjects are pretty enigmatic too. Think; labourers, strippers, hustlers and pimps. These are the people that make the world go round. They help keep society moving and grooving. However, just to add an extra helping of (old) spice, these are the original toe tappers from way back when Hustler was a baby. Indeed, this 70s, full-funk vibe has been caught perfectly in Angier's head lights. It’s all boogie nights and Larry Flint by way of Boston’s finest strip joints and burlesque clubs and is superb.

Angier's photographs are all gritty and raw and quietly sexed-up. While these prints may be in black and white, packed with big haired girls and sharp suited, shady looking guys, they’re continually relevant today. Because, nothing much really changes with society and its various sub-cultures, and although many of these folk may now be a little less agile, their legacy lives on through Angier; and that, to me, is golden.

Roswell Angier at the Gitterman Gallery, 170 East 75th Street, New York, NY 10021 from 18th May – 28th July.

Showing - MACO - Mexico

MACO (Mexico arte contemporaneo) kicks off this month with a whole mash up of works from a pile of international artists. Created by Zélika García, the enterprise is now in its fourth year and is growing by a rate of knots. Indeed, it is now one of the most important fairs in Latin America. This time round there’s over seventy galleries expected to exhibit. These include Washington's Connor Contemporary , which will be showing pieces from Erik Sandberg, Maria Friberg and Leo Villareal (Left; 'Solaris' (LED)).

Showing - Face Invasion - Galerie PremArts - Berlin

Showing - Group Show 'DC Dusseldorf Contemporary' @ Alison Jacques - London

Not True News From Banksy - UK

News - £5-million Collection Left to the Courtauld - UK

So, it’s been quite a week for art news; the best story concerning a so-called recluse, Dorothy Scharf, who recently passed away, leaving 51 artworks to the nation. Now, given that Scharf lived in a two-bed, ex-council flat, you’d think these paintings would be kind of average. Well, you’d be wrong. Scharf left a serious collection, valued at around £5 million, including pieces by Turner, Constable, and Gainsborough, to the Courtauld Institute. Needless to say, an upcoming show is in now in the pipe line.

A Lil' Something For You

Showing - Clare E. Rojas 'Sympathetic Magic @ Stuart Shave - London

News - Washington's National Gallery Stocks Up On Jasper Johns' - US

Back when I was a young thing at art college, one of my tutors told me that my work was similar to that of Jasper Johns. Now, I’m ashamed to admit, at that time, I didn’t know who Johns was (I know, shocking, shocking). However, who knows what planet my tutor was on, because my work couldn’t have been more dissimilar and, I might add, I have never painted a flag in my life. But that’s not to say my tutor didn't do me a favour (for once). She steered me in the right direction. She introduced me to his talents and I became a big old fan.

Johns is quiet the icon (he’s even appeared in The Simpsons) and his work, well, it's just superb. It’s just too cool, too gritty, so typical of our times. While his name evokes images of stars and stripes, his pieces transcribes across all sorts of boundaries, be they cultural or historic.

So, let’s cut to the chase. Here’s the Jasper Johns news; Washington’s National Gallery of Art will be adding around 1,700 proofs of his work to their esteemed vaults and walls. These pieces include lithographs, etchings, relief and screen prints. They artworks are worth millions and where they were hiding pre-National days, I haven’t a clue. All I know is I would mind a gander. I imagine the Gallery, at some stage in 2008, will be putting on quiet a Johns show, and who can blame them.

Showing - World to Mother's 'Dead Trees Yellow Leaves Cups of Tea' @ Stolen Space Gallery - London

Showing - Andreas Gursky @ Monika Sprüth Philomene Magers - London

Apparently the only music Andreas Gursky listens to is techno. He has this inkling for banging house music, as he feels, apparently, that its ‘simple symmetry’ reflects that of his work. For some reason I find this vaguely amusing; amusing in a kind of cynical, techno-ed out way. I think it’s probably because techno is so damn hard, and Gursky’s work is, well, rather serene. At least I think it is. And let’s be honest here, there is nothing remotely serene about techno. So where the pair get together, who knows.

Moving swiftly on, and Gursky’s work is something of an enigma. His mega-size photographs are filled with details; details of life and that which goes on around and about our little worlds. He’s got a thing for football pitches, supermarkets, architecture and crowds. Of course, these are all seemingly standard scenes. However, it’s the way Gursky shoots and presents his prints of 'standard scenes', which makes them stand out from the rest. Taken from from a high focal point, and printed in a massive format, these works are something else. They document our times. They tell it like it is; warts and all.

As Gursky holds the record for the highest price ever paid for a print from a living photographer ('99 Cent II Diptychon' sold for $2.48 million in 2006) it probably goes without saying, he's exhibited worldwide and has hung everywhere from MoMA to the Tate. This month he’s back on British soil with a show at Monika Sprüth Philomene Magers, covering work produced over the past five years. These pieces go down a more digital route for Gurskey and focus on ‘the 21st century as the age of a globalized, capitalistic society’.

Andreas Gursky is showong Monika Sprüth Philomene Magers 7A Grafton Street, London W1 from 22nd March – 12th May

Showing - Kristin Baker 'Surge and Shadow' @ Deitch Projets - NYC

Showing - Jeanloup Sieff, 'The Years of Harper’s Bazaar, New York 1961-1966' @ Galleria Carla Sozzani - Milan

The late, great Jeanloup Sieff was nothing short of a genius. His work was slick, sassy, sexy, and just packed full of style and finesse. He was a real old school photographic master. The type that makes Holly Golightly look crass and all too Hollywood. Needless to say, during his illustrious career he shot everyone from Jane Birkin to Alfred Hitchcok and Rudolf Nureyev. He exhibited worldwide, and won all sorts of awards including the Chevalier des Arts et Lettres in 1981 and the Grand Prix National de la Photographie in 1992. However, it was during the ‘60s, while working for Harpers Bazaar, that he made a major fashion splash, churning out prints that were both surreal and sophisticated. In light of all this fabulosity, this month Galleria Carla Sozzani presents 'The Years of Harper’s Bazaar, New York 1961-1966'. It's bound to be superb and frankly, if I was swanning around Milan, right about now, I'd be feeling a little ecstatic, shimmying about this exhibition.

Jeanloup Sieff, 'The Years of Harper’s Bazaar, New York 1961-1966' at Galleria Carla Sozzani, Corso Como 10 – Milano, from 10th March - 7th April.

Showing - 'Surrealism and Design' @ V & A - London

Listen, I know that the Surrealists are a, been there, done that, got the T-shirt kind of thing. I’m well aware that since their emergence during the ‘20s, they’ve flooded fashions throughout all genres, be it clothing or interiors or simple je ne sais quois style. And yes, I know you’re probably sick to the back teeth of hearing about these guys. So, sorry (in advance), if you’ve seen it all before; but the fact remains, the Surrealists are influential and will continue to be so, because this group – Magritte, Ernst, Schiaparelli, Dalí and co. – and their endeavours were, and are, remarkable. I suppose, that would be why the V & A are presenting a big old mash up of Surrealism and it’s various influences on ‘the world of design’, with ‘Surreal Things – Surrealism and Design'. The show comprises of some 300 exhibits, which means that the museum has gotten their hands on any piece or work that bears interest; Meret Oppenheim’s 'Table with Bird’s Legs', Dalí’s 'Mae West' sofa and Schiaparelli ‘Tear’ and ‘Skeleton’ dresses, they’re all there. And if they bore the hell out of you, ‘cos you’ve seen them all before, well, hey, there’s another 297 exhibits to check out.


Surreal Things – Surrealism and Design at the V & A, London from 29th March – 22 July.

Street Sounds - Part2ism 'ECOCENTRAL' - UK

Showing – David Bray ‘Catford Classics’ @ StolenSpace – London

I don’t know a whole lot about David Bray’s background; what I do know is that he’s a damn fine artist. Seriously, his work is very cool. Very slick. Very, kind of funky, filled with saucy looking women and horny animals. There's also a few My Little Ponies thrown in too, generally flowing from someone or another's nose (left; 'Reunited in Heaven'). What this means, I haven't clue. Whatever, the content of his pen and pencil pieces work. He’s represented by StolenSpace, who also represent such luminaries As D*Face, Shok1 and Connor Harrington. Indeed, the gallery, alone, has gone from murmur to a big old noise since launching in 2006, so it probably goes without saying; this guy is good. Tonight he presents his first solo show, ‘Catford Classics’, a n exhibition which should launch him into the srty stratosphere, to sit next to the rest and best of them.

David Bray’s ‘Catford Classics’ takes Place at StolenSpace, Old Truman Brewery, Brick Lane, London E1, from 23rd February – 12th March.

News – FISTA showing in Yorkshire – UK

Simon Sunderland, aka FISTA or AJAX, was given five years in '96 for 'defacing railways, bridges and walls'. The sentence was considered, by most, nothing short of shocking, and kicked off a ‘Free FISTA’ campaign. Subsequently his term was dropped to two years and, although I have no idea how much time Sunderland finally spent inside, six months for his so-called prolific tagging would have been overkill. Since, there have been murmurs concerning Sunderland’s work; art agent Mark Ticktum reckoned he might be a Basquiat in the making. While this may well be hearsay, Sunderland, who is now in his 30s, will soon be exhibiting his work at the Archipelago Gallery in Yorkshire. A bona fide legal show, it will launch Sunderland as a legitimate talent; though many would say he was legitimate decades ago.

Showing - Ian Monroe 'Planit' @ Haunch of Venison - London

Showing - Damien Hirst 'New Religion' @ Wallspace - London

Say what you like about Damien Hirst – and God knows, I’d said a few things in the past – but there’s no getting round the fact that he ain’t a bad artist. And have you ever read any of his interviews? Let me tell you, they’re pretty interesting. OK. Yes. I’m stating the obvious; the guy has something to say. Sure the Pharmacy stuff was a bit obvious. But the whole Pharmacy restaurant thing was a bit, well, off key to say the least. And, yes, yes, admittedly, Hirst can come across a touch abrupt, pompous even. But wouldn’t you be if the whole concept of Brit Art hinged on your contribution and influence? However, having said all that, Hirst has been quiet of late. He hasn’t ruffled any feathers or caused a scene. Gone are the coke-fuelled nights in Soho. Hell, his old hangout Grouchos’ is now stayed and dull; a media hangout for the highbrow-have-it-alls. Yep. Hirst has long been established, and today he’s been nothing if not subdued.

Not for long though. Now, the man is giving his all to ‘New Religion’, a show that, unsurprisingly, is taking place in a church turned art venue; All Hallows in London Wall. The whole point of the show is the rift between science and religion – religion, the most overly debated subject in the history of mankind. So, the whole thing will undoubtedly cause a little stir. While the exhibition is presented by Wallspace, Hirst is holding centre stage with a selection of works covering almost every medium from silkscreen to sculpture. These include a child’s scull cast in silver and a heart pierced by syringes, razorblades and nasty looking medical paraphernalia (above). The latter is a pretty hot piece of work. It’s the kind of sculpture that give’s you goose bumps. It’s poignant. It's superb. It’s brilliant. So there you have it. Pharmacy may have been pants but this new stuff, it’s bang on.

Damien Hirst 'New Religion' @ Wallspace, All Hallows on the Wall, 83 London Wall, London EC2, from 7th March.

Showing - Kirsten Telfer Beith 'You're Behaving Like a 5 Year Old' - Vinyll - London

Showing On a Street Near You - Part2ism - Lo-Tech Branding - UK

Showing - Haluk Akakce 'They Call it Love, I Call it Madness' @ Deitch Projects - NYC

Showing – Gert and Uwe Tobias, ‘The Hora Never Stops’ @ Sprüth Magers Projekte - Munich

There’s these two twins, and they do big old woodcuts and sculptures. You’ve probably heard of them; Gert and Uwe Tobias. Apparently they come from a Transylvania-esque part of Romania, and whether or not this is PR banter, I don’t care, because I rather like the notion of woodcuts and Dracula. Their work's kind of interesting too. It’s full of skulls and monsters and shock-frock horror. It’s the type of stuff you’d expect from a couple of men from Transylvania, who’ve grown up surrounded by the ledgend of Vlad the Impaler, under the tyrannical rule of Nicolae Ceausescu. The duo moved to Germany in '85 where they first discovered Bram Stoker's Dracula (Ironically, Ceausescu wasn’t so keen on airing that part of Romania’s history). Much like the rest for the world outside communist Romania, all this folklore must have been a surprise for the Tobias boys. It must have been like a breath of pine-fresh, fruity air.

Given all this experience, it’s probably not that surprising the Tobias brothers’ work is kind of dark, laced by a little wry, dry humour. It makes sense, really, because these guys know where they’re from and in that, they also know precisely where they’re at. It also makes for some interesyting works.

Like the Chapmans, it’s a collaborative, reciprocal effort between the two brothers. However, the Tobias’ have three studios; one each, and a third, which they share. It's a system that works as the pair can certianly churn out work. For their upcoming show at Sprüth Magers, the duo have gone for four large woodcuts, a selection of works on paper, and couple of sculptures. They’ll be exhibiting these pieces in a red setting as the gallery walls will be painted in an ox-blood tone. They've dubbed it ‘The Hora Never Stops’. Funny that...

Gert and Uwe Tobias, ‘The Hora Never Stops’ @ Sprüth Magers Projekte, Ludwigstr. 780539, Munich, from 25th January – 17th March.

Showing - Jeff Wall @ MoMA - NYC

Not so long ago, purely by chance, I fell into a Jeff Wall exhibition at Tate Modern. Now, I’ll be honest here, save one picture based on Ralph Ellison’s 1952 novel, Invisible Man, which blew my mind (left; 'Invisible Man'), the show didn’t do it for me – not one bit, not a touch, not at all. It just left me cold. And that's kind of weird, and pretty embarrassing too, since Wall is generally considered to be one of the most innovative and adventurous photographers of his generation.

Moving on and this month, he’s showing at MoMA in New York. In that, I got busy, checking out his work once again. Well. I’m eating my words here, because and hands up, I got it wrong at Tate Modern. Wall’s work is superb. It's remarkable; and it’s remarkable because, by offering up seemingly standard images – a group of people walking down the street, a flooded grave, a sink soiled by filth – he’s suggesting that average isn’t average.These images are clever, they’re smart, not because Wall has the savvy to stick a massive light-box behind each photo illuminating every colour in sight – they’re clever because they capture a static moment before or after another moment, leaving you with the dark suggestion that something has or will happen. And as the viewer, you want to know, what’s going on, what's the story here? But of course, Wall doesn’t give an answer. And that, least for me, is precisely why the man is a bit of a genius.

Jeff Wall @ MoMA, Sixth Floor, 11 West 53 Street, NYC, 25th February – 14th May.

Part2 with Part2ism in Switzerland

And Ya Put it All Together - Men in Black 3 Graff Clip

Banksy in Palestine - BBC Footage - UK

Showing – Albert Watson ‘Epic’ @ Guy Hempner – London

If you haven’t heard of Albert Watson, you’ve probably been living under a stone somewhere. His photographs are pretty much omnipresent in the world of fashion, fads and media, and have been for the past couple of decades. He’s done umpteen covers for Rolling Stone, and numerous others for Time, Vibe, and Vogue. He’s dealt with ad campaigns for Chanel, Gap, Levi’s and Chanel. Has shot everyone from Alfred Hitchcock, Mick Jagger, Jonny Depp, Jack Nicholson and Naomi Campbell. Hell you name it, he’s done it. In that, it’s hardly surprising, Watson’s upcoming exhibition at Guy Hepner Contemporary has been dubbed ‘Epic’. Kicking off on the 5th February, the show centers on mega prints, some measuring 96”x 72”, and is certainly worth checking out.

Albert Watson: Epic @ Guy Hempner Contemporary, 27 Cork Street, London W1, from 5th – 10th February.

Showing - Jason Schmidt 'Artists' @ Deitch Projects - New York

News - Steve Wynn's Fourty Million Dollar elbow - US

It’s been quite the relationship between Steve Wynn and ‘Le Reve’. It’s been a saga that’s turned out a real corker of a story. It’s a tale of love, money and misfortune, and it’s infinitely better than the recent palaver with Munch’s ‘Scream’. In case you’ve been living under a rock for the past few years and the tale has passed you by, it goes a little like this; Wynn picked up the Picasso painting of his lover, Marie-Thérèse, in 1997 for a reported $48.4 million. Then he decided to sell the painting to hedge-fund honcho Steven Cohen. They agreed on a price, apparently, an incredible $139 million, and a sale was imminent; so close that Cohen practically had the work hanging in his bedroom. His people had checked 'Le Reve' out, declared it perfect, and all that was to be done was an exchange of cash and canvas. It was a match made in heaven, least it was until Wynn somehow managed to elbow the work leaving a hole the size of a ‘silver dollar’ slap bang in the middle of Marie-Thérèse’s forearm. Dear. Dear. Give him his due, Wynn has an eye problem, something called retinitis pigmentosa, which frankly sounds pretty nasty and in Wynn’s case, rather expensive. Still, given the work took Picasso a couple of hours to paint, it kind of puts the whole (no pun intended) thing into perspective...

Still. It must have been a pretty shitty week, or year, for Wynn. ‘Le Reve’ is now said to be worth around $85 million and Wynn has since lost his claim for $54 million, which he's submitted to Lloyd’s. Now the Vegas mogul is said to be planning to sue his insurer. So, I say it’s a some story, but really it’s so far from over.

Back in the Day - Style Wars and Tracy 168 - NY

Showing - Final Exhibition at 4 Clifford St - Alison Jacques Gallery - London

Showing - Phillip Lai 'Free to Meet for Coffee Sometime' @ Stuart Shave - London

Showing – John Sonsini @ Cheim & Read – New York

John Sonsini is showing at New York’s Cheim & Read this month, and that’s great, because Sonisi’s work is really rather great. His chunky brushwork, his cool, calm, use of colour, his simple content; pull them together and what have you got? You’ve got a superb piece, or collection, which is hangable, sellable and just wickedly easy on the eye. Of course, that suggests that Sonsini’s paintings are average. But they’re quite the opposite. To be honest, I can’t say why they’re wonderful. Though, I suspect that it has a lot to do with the sheer honesty and intimacy of his work. His paintings are frank, without being intrusive or objective. They are individual, figurative and arresting yet serene. They're about the sitter and artist. Sonsini’s talks with, and to, his subjects whilst painting. He gets to know them. And when he’s through, he simply entitles the given painting with the name of the man or men involved (above; 'Gabriel, Louie, Jorge', 2004). It’s the kind of care that transcribes onto canvases.

Sonsini first broke through into the artistic limelight during the ’80s, exhibiting generally homoerotic works at LA’s Newspace Gallery. While he's gone through various guises since, his intrest continues to lie with the masculine form or character. The works showing at Cheim & Read take Latino labourers as subjects - which is hardly surprising as Sonsini lives in a predominantly Latin area of LA. As his first show with the gallery, it marks a onwards and upward move for this artist, and again that's, well, great.

John Sonsini is showing at Cheim & Read, 547 West 25 Street, New York, from 10th January – 10th February.

Showing - Modern Art vs Rock 'n' Roll - US

Showing - Total Kunst Gallery - Edinburgh