GAYLETTER

We visited the solo  exhibition of the German-born Turkish based “photo realist” artist, Taner Ceylan titled: ‘The Lost Paintings Series‘ — now on view at the Paul Kasmin Gallery in Chelsea. We were told by a GAYLETTER reader to check it out. After we left the gallery we were so glad we’d had a chance to see these incredible detailed large photo realist paintings that “bespeak absolute technical mastery and precision, but which are also freighted with an emotional and sexual dimension.”

We were so curious how Taner creates these artworks, and how he picks his subjects, so we decided to reach out to the artist for an interview.

The show closes this weekend, October 26, don’t miss it.

When did you start creating art? I was born into an artistic family, therefore painting was always a normal daily activity in my life.

How does where you live (Istanbul) influence your work? The intellectual climate has changed dramatically in Istanbul in the past few years. It’s near to impossible to make an exhibition now. Especially if the subject is related to history, there is a sensitivity increasing…

How do you describe your painting technique? I am trained as a classical painter. I love abstract painting but it’s not my thing. I am into realistic painting and art critics describe me as a hyper-realistic painter. However, I am this description is not enough for my work. So I describe my art as “emotional realism.” …

I’ve had a few months of reluctance in regards to this article. I kept asking myself if this was at all relevant and or appropriate for GAYLETTER — my desire to expose this character has since abolished my neuroses. GAYLETTER is merely a vehicle for revealing, promoting and discussing intriguing things and happenings of queer interest in New York City, right?

I happily present to you — Enormous Face. He’s an artist who apparently does everything. The first time I saw him I was under the influence, it was about 3:00AM and I was at the Bedford Ave. station. I was with a group of friends — we shared a real experience. Adorned in a leotard was Enormous Face, he was blowing repeatedly on a harmonica while performing a puppet show of nightmares. I heard one rather conventional woman say to her friend “is it art?” her friend then replied with a face of sheer terror “I don’t give a fuck!”

I’ve seen him a couple times and I hope to run into him again soon. My friend Jordan actually texted me one afternoon asking me if I was at Union Square, I replied with a simple “No, why?” — Jordan then responded with a video of Enormous Face and the message: “Never mind, I thought I saw you performing.” You may have seen him at a subway, or potentially on America’s Got Talent.

Every time I see Enormous Face (either in the flesh or behind the shiny glass that lives in my laptop) I get the sensation of my ears popping upon descent — however, my ears do not pop, they’re too distracted by what I am witnessing, not viewing…witnessing. …

Chris Burden’s mind blowing retrospective ‘Extreme Measures’ has taken over the entire exterior and interior of the New Museum. This expansive show spanning the four decade career of this pioneering artist’s life offers “…an extraordinary opportunity to examine the ways in which Burden has continuously investigated the breaking points of materials institutions and even himself.” Start on the 5th floor where Burden’s early performance pieces are articulated in big red binders and in a video and audio installation and then work your way down.

Burden, using his body as a canvas, was crucified on the top of a VW bug, shot at with live ammo and pierced with pushpins, all in public performances that put him on the map in the 70’s. “The Big Wheel” a 6,000 pound cast iron fly wheel propelled by a motor cycle running at full throttle marks the artist’s pivotal shift to sculpture and opens the door to an array of massive sculptures and installations on display, all of which my words fail to describe. Be sure to see the heavily guarded “Tower of Power” a sculpture made of 100 solid gold 32 oz. bricks worth well over 4 million dollars in today’s market! The visceral magnitude of the works, one more intriguing than the last, left me inspired and exhausted.

Go check out a show by one of the most important artists to emerge in the last half century.

$16, Wed-Sun 11:00am-6:00pm, New Museum, 235 Bowery St. …

It’s fall which means the art world gets back in gear with a barrage of new shows opening all over the city. I decided to take on Chelsea over the course of three visits to galleries from 18th Street to 26th Street all with ground level access as a defining factor of my search.

Following is a list of the stand out shows from the pack. Start out your sojourn at the new Highline Hotel which has a cute coffee bar at 180 10th Ave. at 20th Street, then take a deep breath and go check out the following exhibitions:

Hauser & Wirth, 511 West 18th St. Matthew Day Jackson: ‘Something Ancient Something New, Something Stolen, Something Blue‘ up til Oct. 19. Housed in the former club, The Roxy, this extraordinary space presents new works by an artist who “Incorporates traditional techniques and cutting edge computer mapping to explore a realm he calls ‘The Horriful‘ where everything we do has the potential to create horror and beauty.”  The photo mural in the big space changes imagery every 5 minutes, be sure to stay for the whole cycle and make sure you visit the bar; you’ll see what I mean.

David Zwirner, 525 W. 19th St. Philip-Lorca DiCorcia: ‘Hustlers‘ up ’til Nov. 2. Do NOT miss this show. Philip-Lorca paid hustlers in and around LA the same amount a john would, to photograph them in specific pre-determined settings. …

This is a really tremendous project run by performance/video/music artist Colin Self — The Radical Diva Grant is an independently run arts grant aimed at queer artists. Queer artists who are inherently radical divas I presume.

“We are looking for hard-working, dedicated artists who demonstrate a socially-conscious practice and have an ambitious but realistic goal in mind.”

This grant is in correlation to the monthly dance party at Trophy Bar — called Clump. At the end of each party $20 is handed to each of the DJs and the rest is plugged right into the grant. So — the drunker you get the more money the chosen radical diva will receive. Intoxication has now become somewhat of a charitable activity.

The 2^nd recipient of this grant will be announced on October 12^th, 2013 at Clump.

For more information on the grant or to apply for the grant (before October 5th) please click here.

Please come and show your support at the next Clump party, as previously stated, the more you drink; the more money the deserving artist will receive. The final Clump before the grant winner is announced is Clump: Storm, see details below.

FREE, 10:00PM, SEPT. 14, TROPHY BAR, 351 BROADWAY. BK, NY.

 …

So, apparently Andy Warhol wrote a play — who knew? 40 still images shot of the production called ‘Pork‘ by photographer Leee Black Childers are on view at the Leslie Lohman Museum of Gay and Lesbian Art‘s Prince Street Project Space from September 13-16. Don’t dawdle or you’ll miss the show. “Pork and it’s cast and crew from the Ridiculous Theatre Comp. were influential in the subsequent evolution of glitter, glam and punk rock music.” The play opened at the La Mama Theatre in May of 1971 then moved on to the Roundhouse Theatre in London.

‘Pork’ is based on conversations Warhol had with Brigid Berlin during which she played Andy tapes of herself talking with her socialite mother Honey Berlin. Childers was the play’s stage manager and official photographer as well as one of the “cast members” of Warhol’s eclectic, subversive entourage that played a defining role in New York’s underground. Of interesting note, Childers also tour managed for David Bowie and Iggy Pop in the early 70’s, sounds like a cool dude.

The show will also include works from the Museum’s permanent collection and lithographs from Warhol’s series ‘Sex Parts.‘ The opening is this Friday, September 13 from 6:00-9:00pm and will feature readings from the play’s original script and a performance by Walter Steading. Put on some basic black and head to Soho for what promises to be an invigorating happening (that’s 60’s talk, in case you missed it.) …