POW! WOW! Antelope Valley returns for our third year this coming September 5 through September 12 in Lancaster, California. International and area muralists will adorn the walls of the city, adding to the 31 murals and installations created during the 2016 and 2018 editions of the festival. Founded in Hawaii, back in 2010, POW! WOW! is a series of global events that celebrate culture, music and art.
We are excited to share with the Antelope Valley community the art of eleven amazing creatives this coming September. Taking part will be ABCNT, Allison Bamcat, Carlos Ramirez, Casey Weldon, Chloe Becky, Gustavo Rimada, Huntz Liu, Manuel Zamudio, MJ Lindo, Spenser Little, and Victoria Cassinova.
As the new murals come to life, be sure to explore our existing murals and installations from Aaron De La Cruz, Amandalynn, Amir Fallah, Amy Sol, Andrew Hem, Andrew Schoultz, Bumblebeelovesyou, Carly Ealey, Christopher Konecki, Dan Witz, David Flores, Ekundayo, Emily Ding, Hueman, Isaac Cordal, Jeff Soto, Julius Eastman, Kris Holladay, Lauren YS, Mark Dean Veca, Meggs, Michael Jones, Mikey Kelly, MOUF, Nuri Amanatullah, Scott Listfield, Spenser Little, Super A, Tina Dille, and Tran Nguyen.
For the safety of the artists and the general public and in compliance with the Los Angeles County Health Department’s COVID-19 protocols, we will not be holding any public events during POW!WOW! AV. While the expansion of the Antelope Valley’s outdoor museum is exciting and visiting the murals offer some escape for all that have been trapped indoors these past several months, we ask that you wear a mask while touring the new murals as they come to life. Please respect the artists’ working space and safety by keeping well away from their work zone and do not distract them with conversation. We thank you in advance for your understanding and support.
The Lancaster Museum of Art and History is dedicated to strengthening awareness, enhancing accessibility, and igniting the appreciation of art, history, and culture in the Antelope Valley through dynamic exhibitions, innovative educational programs, creative community engagement, and a vibrant collection that celebrates the richness of the region.
Thinkspace Projects was founded in 2005; now in LA’s Culver City Arts District, the gallery has garnered an international reputation as one of the most active and productive exponents of the New Contemporary Art Movement. Maintaining its founding commitment to the promotion and support of its artists, Thinkspace has steadily expanded its roster and diversified its projects, creating collaborative and institutional opportunities all over the world.
Made possible due to the support and sponsorship of the Lancaster Museum of Art and History and Thinkspace Projects from Los Angeles, California.
Special thanks to the City of Lancaster, Destination Lancaster, The BLVD Association, Signs & Designs, and all who helped bring POW! WOW! AV to life.
NEW JAMES BULLOUGH PRINT DROP THIS FRIDAY, AUGUST 7th at 9am PST
Excited to offer our second edition from our recent solo show with James Bullough. Bullough’s show was our last physical opening back on February 29th and it seems like a decade ago now. “Gravity” was one of the highlights of the exhibition, and has been beautifully captured by the team at Static Medium for this special edition.
JAMES BULLOUGH Gravity Standard Edition of 40 Special Edition of 7 hand-embellished with metallic acrylics & mixed media Fine art print on Signa Smooth 300gsm paper 20 x 30 inches / 50.8 x 76.2 cm Signed and numbered by the artist
The Hand Embellished edition features numerous new accent lines added by Bullough using metallic acrylics, traditional acrylics, and mixed media, going ever so slightly onto the white borders to really make them pop. Each one is ever so slightly different.
Please Note: This special edition will ship the week of August 17 and tracking details will be shared with you at that time. If ordering from outside the States, we strongly suggest choosing a shipping option other than post. Thank you.
First and foremost, thank you for supporting us and purchasing prints through our webshop over the past few months. Please know that due to the COVID-19 outbreak, delays may be experienced with the fulfillment of orders and shipping transit time.
Please know any print orders shipping via post, will experience delays and will, most likely, not be able to be tracked. This is normal, and is completely out of our control. Some shipments are taking two months or more to reach locations outside of the States, but all are eventually arriving safely.
Please be patient and trust we will do our best to keep an eye on all.
If you have questions regarding an order, it is best to contact firstname.lastname@example.org for any issues. Please know we only have someone answering emails on Wed through Friday at that account. We’re only at the gallery from Tuesday through Friday currently, due to COVID-19 restrictions and aiming to keep our family safe.
Please be patient as we work through some pretty insane obstacles with shipping restrictions and delays. If you get tracking, and a week later it shows that your package is still sitting in Los Angeles, trust it has left… as mentioned above, tracking is seldom activating on any shipments leaving the US. Again, this is sadly out of our control and we can’t do anything to expedite things further. We know all are eventually reaching their final destinations, it is just taking 3-5 times longer than in the past (pre-COVID).
UPDATE ON RECENT PRINT RELEASES:
To all collectors who purchased a KAYLA MAHAFFEY “Unwind” Timed Edition print. Thank you for baring with us. The prints have returned from Kayla’s studio and are currently in the process of shipping. The first 300 went out last Friday, and are already arriving at their new homes. The second half will go out by July 31 to their new homes.
To all collectors who purchased a JIMMER WILLMOTT “Officer Pinkmen” Timed Edition Print, the prints have FINALLY returned from Jimmer. The delays with customs took forever and we do apologize for that. Those are currently being packed and shipped. All should be on the way by August 4 to their new homes.
To all collectors who purchased a BRIAN M. VIVEROS “We Stand Together” Timed Edition Print, the prints have returned from Brian’s studio and are currently being packed and shipped. All should be on the way by August 4 to their new homes.
To all collectors who purchased an ERMSY “Split Hero” print, please know those will ship out on August 4 and August 5.
New Prints / Editions Coming Soon From: James Bullough / Marie-Claude Marquis / Giorgiko / Kayla Mahaffey / Scott Listfield / Dragon76 / Super A / Kathy Ager / Hilda Palafox (aka Poni) / Max Sansing / DULK / Sarah Joncas / Anthony Clarkson / Kevin Peterson / Alex Garant / Josh Keyes / Alvaro Naddeo
THE NEW VANGUARD III Curated by Thinkspace Projects
September 12 through December 27, 2020
Lancaster Museum of Art and History 665 W. Lancaster Blvd. Lancaster, California 93534 www.LancasterMOAH.org
Featuring Solo Exhibitions From: Kevin Peterson – ‘Embers’ Kayla Mahaffey – ‘Adrift’ Alex Garant – ‘Deconstructing Identities’ Kathy Ager – ‘Fool’s Gold’
(Lancaster, CA) – The Lancaster Museum of Art and History, in collaboration with Los Angeles’ Thinkspace Projects, is pleased to present The New Vanguard III, a dynamic group exhibition of works by international artists working in the New Contemporary art movement. The highly anticipated follow up to 2018’s successful second iteration of The New Vanguard, on view in tandem with this year’s POW WOW! Antelope Valley will feature special solo projects by artists Kevin Peterson, Kayla Mahaffey, Kathy Ager and Alex Garant.
The New Vanguard III, in keeping with the first two installments, will present a diverse and expansive group of curated new works. In addition to the solo exhibitions on view from Mahaffey, Peterson, Ager and Garant, we will also be presenting our ’Small Victories’ group show focusing on suicide prevention and mental health. We’ve lost one of our greatest allies and friends and one of our rising stars to this ever-growing epidemic in recent years. Sadly this issue is very widespread in the creative community and we want to help raise awareness and funds. If it helps guide just one person out of the darkness, it was more than worth it to mount this collection of works.
This special showcase will include new pieces by ABCNT, Adam Caldwell, Ador, AKACORLEONE, Allison Sommers, Angel Once, Anthony Hurd, Anthony Solano, Atomik, Brad Woodfin, Brian Mashburn, Bryan Valenzuela, Carl Cashman, Charlie Edmiston, Chloe Becky, Clare Toms, David Rice, Derek Gores, Dovie Golden, Dragon76, Drew Young, Edith Lebeau, Eduardo F. Angel, Erik Mark Sandberg, Frank Gonzales, Ghost Beard, Goopmassta, Hilda Palafox, Hola Lou, Huntz Liu, Imon Boy, Jaime Molina, Jeff Ejan, Jimmer Willmott, Kaplan Bunce, Kate Wadsworth, Kelly Vivanco, Ken Flewellyn, Kim Sielbeck, KOZ DOS, Lauren Hana Chai, Lauren YS, Linsey Levendall, Mando Marie, Manuel Zamudio, Mari Inukai, Max Sansing, McKenzie Fisk, Meggs, Molly Gruninger, Mwanel Pierre-Louis, Nicola Caredda, Patch Whisky, Ricky Watts, Roos van der Vliet, Sergio Garcia, Shar Tuiasoa, Stephanie Buer, Tati Holt, Telmo Miel, TMRWLND, Waylon Horner, and Wiley Wallace
A movement unified as much by its diversity as its similitude, ‘New Contemporary’ has come to denote an important heterogeneity of styles, media, contexts, and activations over the course of its establishment since the 90s. Unified in its fledgling beginnings by a founding countercultural impulse searching for its own nomenclature, the New Contemporary movement’s shifting and inclusive designations have offered alternative narratives over the years to those popularized by the dominant art establishment and its conceptual predilections.
Though stylistically disparate, the work belonging to this rapidly expansive movement reveals a desire to reference the popular, social, and subcultural domains of contemporary experience, grounding, rather than rarifying, imagery in the familiar. Looking to the urban landscape and the kaleidoscopic shift of individual identities within it, these artists use the figurative and narrative to anchor their work in the accessible and aesthetically relatable. A fundamentally democratic stance governs the ambitions of this new guard, ever in search of novel ways to expand rather than to contract.
Kayla Mahaffey – Adrift
Born and raised on Chicago’s South Side, Kayla Mahaffey (also known as KaylaMay) is quickly becoming one of the city’s most sought-after artists with her unique blend of flat, cartoon elements with brilliant photo-realism.
Mahaffey’s work gives voice to the unheard stories of contemporary youth and, as explained by the artist, “serves as a guide to bring hope back into our daily lives by cherishing each moment not in the mindset of an adult, but with the fresh eyes and imagination of a child.”
Being born and raised on the South side of Chicago, IL., only ignited Kayla’s love for all things art. The artist elaborates, “seeing the struggle and the support from the community made my work evolve to a concept that is personal to me. I continue to further my technique, and creativity in my field in order to paint a beautiful picture of a new world for those around me. Living in our society can be tough and most of the time we have to make the best of it. A wild imagination can take you so far, but at the end of the day we need to realize and observe the world around us. And the world around us is where I find my inspiration to paint. Colorful paintings that contain hints of whimsy and realism that tell a story of inner thoughts and personal issues that sometimes go unheard.”
Alex Garant – Deconstructing Identities
Toronto-based, Canadian, Québéquois artist Alex Garant is a painter known for her hyper-realistically rendered Op art portraits in which the faces and eyes of her subjects seem to skip their registers through image redoubling and superimposition, Garant is in search of the frenetic internal life of the sitter.
Not unlike the fugitive flicker of a screen or the spectral layering of multiple film exposures, her portraits reveal an unsettling multiplicity, shifting beneath the subject’s surface. Garant creates faces that challenge the optics of identity and the reductive way in which it is perceived, with a visual gimmick that quite literally dislodges and displaces its coherence to produce skittering psychological images of fracture and ricochet.
Garant has long been fascinated by the interaction of patterns and symmetry, and the resulting optics of their graphic repetition and layering. Her portraits begin with a series of superimposed drawings based on her sitters, actual individuals, and muses from her life, and pushes the familiar confines of portraiture to a newly strange and re-sensitized place of sensory confusion. Her subjects and their energy seem to erupt from within, testing the tensile seams of the skin, the body, as always, an insufficient vessel for the incongruous experience within.
The artist’s labor-intensive oil paintings are meticulously executed, often incorporating patterning or other graphic elements and motifs to produce reverberating visual effects. Her color palette ranges from the subtlety of realistic flesh tones to hyper-colored gradients, saturated pastels, and translucent gem-like washes of color. Her stylizations of these vertiginous portraits thrive in surreal kitsch to interrupt the apprehension of the subject, activating a process of invested viewing, that is of trying to “see” the person amidst the trappings of hallucinatory visual interference. The compelling and somewhat unsuccessful process of attempting to stabilize the image produces a fundamental feeling of perceptual instability, one that intensifies our stolen communion with an evasive subject.
Kathy Ager – Fool’s Gold
Kathy Ager creates detailed, still lifes that feel simultaneously Baroque and acerbically modern. Inspired by the 17th-Century Golden Age of Dutch and Spanish painting, her imagery uses historical visual rhetoric to deliver intensely personal and emotively charged themes. A professional graphic designer-turned painter, this is Ager’s first complete body of work to date and will include ten new paintings.
Ager begins her process with language – an idea or expression often gleaned from music, a book, or some other source that resonates personally. She then endeavors to resolve the concept visually through objects and composition, assembling a patchwork of references – some collective and shared from pop culture, others steeped in the idiosyncrasies of the personal. Both poetic and revelatory, Ager’s works feel charged with the simultaneous misery and beauty of contemporary appropriation – and express the current world through the formal repositories of the past to create anachronistic moments of resonance and delivery. Ever present amidst moments of undeniably expressed disappointment and disillusionment are redemptive linings, beautifully poignant discoveries, and playful, irreverent mirth.
The seductive darkness with which Ager reveals universal human longings is both disarming and consuming. Broken hearts are offered up as organs in a bowl, skeletal memento mori abound, and dating feels about as abject in the modern world as butchery; books are stacked with suggestive spines, and flowers wither while fruit threatens to decay. The abattoir is never far from the transcendent ambitions of classical statuary in Ager’s world, while beauty is embroiled in the vulnerability of intimacy and self-exposure.
Kevin Peterson – Embers
Kevin Peterson, a gifted hyperrealist painter, creates a fictional world in which innocence and collapse are brought into difficult proximity. His arresting images combine portraits of children accompanied by kindly sentient beasts in a state of kindred displacement. Alone, though together, in strangely desolate, richly graffitied urban scenes, these babes and their benevolent conspirators appear interchangeably as beacons of hope and symbols of dispossession.
Peterson’s works harness a dystopian social hyperrealism through painstaking attention to every possible fraction and detail of the mundane in their execution – every contour is excised, every surface meticulously rendered. The weird crystal clarity of the hyperreal in the depiction of these desolate underpasses and structural ruins provides a starkly strange backdrop for elements of fairytale, like the fantastic alliances proposed between children and animals, and the magical narratives these allegiances imply. A psychologically poignant, if not ambiguous, feeling of transformation and hope lingers in these impossibly arresting scenes of solitary kids. The resilience they suggest is haunting, while the unsettling verity with which these vulnerable fictions are cast strike something in our shared fear of literal and figurative exposure.
Always in search of poetic tension and compelling contrasts, Peterson alloys unlikely parts: beginnings and ends collide, the young appear in worn and weathered worlds, innocence is forced into experience, and the wild infringes upon the ‘civilizing’ city limits. In Wild, Peterson explores themes of protection and marginalization, staging wild animals, ironically, in the humanizing and civilizing charge of caregivers. Though a recurring suggestion in previous works, the role of the animal in a nearly shamanistic role as protector and watcher appears more overtly in the new. Small children are attended by wild bears, watchful raccoons, gentle fawns, mythic looking ravens, owls, and jungle cats, among others, as they hold a living and protective vigil against the crumbling architectures around them; their guardianship staged like a protective bulwark.
Peterson’s hyperreal paintings are at times uncomfortably close in the pathos of their offerings; they remind us, too, of something uneasily present in us all, a childhood that haunts the posturing of all of our adulthoods. Ultimately, Peterson’s works offer beautifully jarring reminders of the need for redemptive outcomes in a disappointed time.
The inspiration behind the exhibition: In ‘Don’t use me, I’m broken’, I basically wanted to talk about the flaws, fails, and challenges, unique to each individual, that make us interesting and complex beings. But since this exhibition was mainly created during the pandemic, it took a darker turn than my usual work. Before this period, some of us had the opportunity to avoid facing problems, consciously or not, by loading our lives with work, obligations and activities. But because the recent confinement had a mirror effect on ourselves, it forced us to confront our darker facets and our relationship issues and I wanted to address that with the show. It will, therefore, be a mix of reflections, overflow, fears, hope, humor, and once again an attempt to encourage the spectator to express his feelings and to free himself from a weight that a person is often unconscious of carrying.
About Thinkspace: Thinkspace was founded in 2005; now in LA’s Culver City Arts District, the gallery has garnered an international reputation as one of the most active and productive exponents of the New Contemporary Art Movement. Maintaining its founding commitment to the promotion and support of its artists, Thinkspace has steadily expanded its roster and diversified its projects, creating collaborative and institutional opportunities all over the world. Founded in the spirit of forging recognition for young, emerging, and lesser-known talents, the gallery is now home to artists from all over the world, ranging from the emerging, mid-career, and established.
The New Contemporary Art Movement, not unlike its earlier 20th Century counterparts like Surrealism, Dada, or Fauvism, ultimately materialized in search of new forms, content, and expressions that cited rather than disavowed the individual and the social. The earliest incarnations of the Movement, refusing the paradigmatic disinterest of “Art” as an inaccessible garrison of ‘high culture’, championed figuration, surrealism, representation, pop culture, and the subcultural. By incorporating the ‘lowbrow,’ accessible, and even profane, an exciting and irreverent art movement grew in defiance of the mandated renunciations of “high” art. Emerging on the West Coast in the 90’s partly as a response to the rabid ‘conceptual-turn’ then championed on the East Coasts, the Movement steadily created its own platforms, publications, and spaces for the dissemination of its imagery and ideas.