August 21, 2010

The All Ironlak Graffiti Competition

Previously only for Australian heads, this year’s version of the competition is bigger and better than ever. This time around the competition is open to residents of Australia/ New Zealand and the Americas and features two different categories; Best Production and Best Piece. The Ironlak Family will be choosing a set of winners from Australia/ New Zealand and another set of winners from the Americas, so here’s your chance to flex your skills and win a gang of paint in the process. (click image above for more details)

We’re searching for the freshest pieces and craziest productions in Australia/New Zealand and the Americas.

Select a category:

Category 1: Best production.
Paint a production wall with your crew/ homies (2-6 people per entry).
Entries will be judged on overall theme and composition, background elements, characters and pieces/ letter styles. Aim to impress!

Prizes:
Three winners will be chosen from Australia/ New Zealand and three winners chosen from North/ South America; Judged by the Ironlak Family.
First PRIZE: 500 cans of Ironlak.
Second PRIZE: 240 cans of Ironlak.
Third PRIZE: 120 cans of Ironlak.
Encouragement award: 48 cans of Ironlak.

Category 2: Best piece.
Rock a solo piece (One person per entry only).
Entries will be judged on style, letter structure, originality, connections, colour scheme and fill effects. Make it burn!

Prizes:
Three winners will be chosen from Australia/ New Zealand and three winners chosen from North/ South America; Judged by the Ironlak Family.
First PRIZE: 240 cans of Ironlak.
Second PRIZE: 120 cans of Ironlak.
Third PRIZE: 60 cans of Ironlak.
Encouragement award: 36 cans of Ironlak.

How to enter:
Select your category above. Email a large photograph of your finished wall AND photographs of your used cans in front of the wall to: competition@ironlak.com

Pieces must be painted with 100% Ironlak paint (roll/ buff paint is allowed as a base). Enter as many times as you like. Competition closes 31 August 2010, so don’t sleep!

TERMS AND CONDITIONS: ALL ARTWORK MUST BE PAINTED WITH PERMISSION. OPEN TO RESIDENTS OF AUSTRALIA, NEW ZEALAND, USA, CANADA, HAWAII, MEXICO, COLOMBIA, ARGENTINA, CHILE, PERU, GUATEMALA & PUERTO RICO. SHOULD THE WINNER BE FROM A CITY THAT RESTRICTS THE SALE OF SPRAYPAINT TO MINORS, THE RECIPIENT OF THE PRIZE MUST BE OF LEGAL AGE. ENTRANTS GRANT IRONLAK PERMISSION TO USE ALL IMAGES FOR MARKETING PURPOSES

April 8, 2010

EXIT THROUGH THE GIFT SHOP, the first film by renowned graffiti artist Banksy, became the hottest ticket at the 2010 Sundance Film Festival where it made its world debut. Banksy is a graffiti artist with a global reputation whose work can be seen on walls from post—hurricane New Orleans to the separation barrier on the Palestinian West Bank. Fiercely guarding his anonymity to avoid prosecution, Banksy has so far resisted all attempts to be captured on film. Exit Through the Gift Shop tells the incredible true story of how an eccentric French shop keeper turned documentary maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner – with spectacular results. The film contains exclusive footage of Banksy, Shepard Fairey, Invader and many of the world’s most infamous graffiti artists at work, on walls and in interview. As Banksy describes it, “It’s basically the story of how one man set out to film the un—filmable. And failed” (Excerpt originally posted by Known Gallery)

February 25, 2010

Located at 164 Allen Street New York city, TEDDY BOY is an incredible mens and womens retail boutique. Luckily for us, a friend of mine, Casey RAnderson Lives and works in NYC as a Filmmaker/Photog/Fashionisto/Overall badass dude. He recently shot a short teaser for the Teddy Boy shop and it turned out real smooth with a simple classic feel. I always enjoy sharing the work of friends and fellow associates, just wanted to pass this little gem along to keep the inspiration flowing. Easy.

Teddy Boy Web Spot from Casey RAnderson on Vimeo.

February 8, 2010

It has been a very busy weekend over here at Phoenicia Association. We have recently switched over our website host, allowing us more space and speed to keep you up to date. We also saw the arrival of artist MR. BEN VENOM to Phoenix, he will be gracing our walls through March so if you missed out on the opening you have plenty of time to view this incredibe work. Of course we also hosted an amazing jewelry trunk show held in our gallery space last Thursday. Alex Ozers (From the Reliquary), Sam Wilkes, and Jared Tate (Dear Raymer) provided an excellent selection of hand crafted one of a kind pieces that are definitely on the forefront of what’s hip. We hope to do this again soon and thanks to everyone who was involved and came out to support local art and fashion.

February 3, 2010

Thursday February 4th Phoenicia Association will be hosting a trunk show focused on mens and womens jewlery. In collaboration with Alex Ozers, Sam Wilkes and Dear Raymer this show will provide an excellent selection of one of kind hand made pieces. We are very proud to have these artists showcasing their works and we hope you can make it out this Thursday (tomorrow) February 4th at 7pm inside the Phoenicia Association Gallery.

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February 2, 2010

This First Friday Phoenicia Association proudly presents “I HAVE ALWAYS BEEN HERE” featuring the works of San Francisco based artist MR. BEN VENOM. This show is very special to us and this is why it will be running for a full two months, with a special musical guest planned for a March reception. Be sure to stop by for the opening this Friday starting at 7pm for an exclusive first look.

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I aspire to be a visual commentator on the unique culture found in the Southern United States.  Having been born and raised in the dirty south I am very conscious and aware of my Southern roots.  I see my work as a reinvention of my southern identity and an attempt to critique and praise this unique and historic geographic region.  The majority of the work operates in response to my nickname, Venom.  Much like a truck driver’s handle, Venom functions as an identity or brand in the form of flags, banners and tobacco products.

Southern politics, racing, and heavy metal all play a vital role in this ongoing body of work. Cultural icons from rural America’s lowbrow aesthetic are borrowed and re-formatted.  The number 1987 (or 87) works asa historical signifier for the heydays of Heavy Metal as well as Venom’s racing number.  The Venom Dip series simultaneously promote and mock issues associated with aspects of the rural and southern states. While the hand stitched flags and banners reference issues of strife and rebellion in response to the Civil War or commonly labeled War of Northern Aggression.

- MR. BEN VENOM

January 25, 2010

Hey everybody it’s Greg Gainor your resident photog associate. I just wanted to drop a few macro shots of a new painting I’m working on, showcasing the details of the piece. I will be contributing to the blog regularly so stay tuned for more, and in the mean time check out GregGainor.com for a look at some of my other work. All other inquiries contact ggainor@mac.com

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January 20, 2010

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“The Subconcious Art of Graffitti Removal” explores the idea that humans are creating art on levels beyond there concious realm, leading to a new medium of artistic expression.

Broken down into two definitions: Graffiti Removal – The act of removing graffiti by painting over it.

Subconscious Art – A product of artistic merit that was created without conscious artistic intentions.

This video makes a very strong case for the removal of “art” as an art form in itself. Using examples found in the streets all across our globe, it appears humans are mimicking our great modern artists with no idea what so ever. The video goes on to cite works by Rothko and Malevich as key comparisons to our new approach at modernism. Starting with the initial tag, bomb, or throw up, the removal process takes on many shapes and sizes leading to a wide spectrum of variances while maintaining only three specific stylistic forms. Another point that is highly relevant and almost alarming, is in the idea that more money is spent removing graffiti than supporting the arts. Considering how “pristine” our local sheriff loves to keep our streets, this “art form” appears expansively across Phoenix. Which raises the question; could this new form of institutionalized modernism be an eye sore to those with a more avant-garde palette?

Video originally posted by Wooster Collective