Philippe Zumstein

Fugu Kiss

2013

Where the Road Crashes into the Sea, 2008 Aluminum, rivets, glass, acrylic paint, fabric Dimensions: 55 1/2 x 55" Mixed Media Sculptural Wall Hanging Art. This painting was made after visiting the location of the fatal Jackson Pollock car crash and includes a silkscreen photograph of the scene. The letters are formed from cut up old license plates. Ryan Humphrey (born 1971) is an American artist who currently lives and works in New York City. Education: BFA, Ohio University, MFA, Hunter College, New York 1999; Skowhegan School of Painting and Sculpture, Maine, 2001; Whitney Museum of American Art Independent Study Program, NY, 2005-2006 Ryan Humphrey grew up in a small town in Ohio building things in his yard, riding BMX bikes and skateboarding. He then moved to Pittsburgh, Pennsylvania for the next three years to work at The Carnegie Museum of Art and obtain a commercial art degree where he developed an interest in contemporary fine art. This inspired him (along with a scholarship) to attend Ohio University where he earned his BFA in Sculpture. After moving to New York City he received his MFA from Hunter College, paying his way through school by working at The Dia Center for the Arts. After attending The Skowhegan summer residency program in Maine he worked for The Andy Warhol Foundation and participated in the Whitney Museum Independent Study Program. He has exhibited extensively. He currently lives and works in New York City. His work has been featured in the traveling exhibition Will Boys Be Boys? Questioning Adolescent Masculinity in Contemporary Art :Photograph, video, painting and sculpture curated by Shamim Momin of the Whitney Museum of American Art. (it included Slater Bradley, Larry Clark, Lilah Freedland, Tim Gardner, Luis Gispert, Anthony Goicolea, Janine Gordon, Ryan Humphrey, Nikki S. Lee, Julia Loktev, Maria Marshall, Ryan McGinness, Chloe Piene, Jeff Reed, Tom Sachs, Dean Sameshima, Collier Schorr, Type A (Adam Ames and Andrew Bordwin Humphrey's most recent solo exhibition, All of Nothing, was at DCKT Contemporary. Humphrey was also a contestant in Season I of Top Design, Bravo's reality show. Recently, Humphrey was included in the Queens International 4 exhibition at the Queens Museum of Art. His large-scale installation, titled Fast Forward (2009), included BMX ramps adjacent to a wall-to-ceiling assemblage tapestry, collection of trophies and customized BMX bikes, and he continued this theme in his installation Look for the dream that keeps coming back (2010) at Kunsthalle Galapagos. Humphrey expresses his growing up in BMX and skateboard culture through his art. The assemblage also included several paintings, created by the artist for the exhibition, and several sculptures of BMX bike wheels. The paintings were small drips that recall the works of Jackson Pollock, and the BMX sculptures are similar to Marcel Duchamp's Bicycle Wheel. The installation included an opening night performance by legendary BMX pro Dizz Hicks and Ryan Humphrey on the ramps. An edition of 20 silkscreen posters was made by the artist, and signed by himself and Dizz Hicks, to commemorate the event. He was included in the show 5 X 5 at the Whitney Museum of American Art at Philip Morris. Reed Anderson, Rina Banerjee, Susan Graham, Ryan Humphrey and Larry Krone -- each created a work inspired by one (post-1985) from the museum's own collection. Christopher Wool, Donald Lipski...

This depicts civil rights icon MLK, the Statue of Liberty, Iwo Jima, an assemblage of mixed media photographic images and painted collaged elements. A powerful, moving work, an ode to the black civil rights movement. John M. Mitchell is originally from North Carolina, and as an art student at North Carolina Central University, he was involved with the Civil Rights movement including participating and getting arrested at a sit-in protest in Durham in 1963. After graduating, he was one of the first art teachers to take a position at the newly integrated schools in his home state. Mitchell continued his education in the 1990s and earned an MFA in painting from the Savannah College of Art and Design in 1993. He later served as a professor there from 1998-2006. Of his inspiration to create, Mitchell says: "A lot of my work is based on my experiences during the Civil Rights movement," he says. "I see art making as a 'record' of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus and narrative of my work." Savannah-based artist John Mitchell believes that a home is more than a simple edifice. Rather, he argues that the sociological, psychological, architectural, and historical associations embedded in the structure “tell us about our culture, our lives. It tells us about where we come from.” Mitchell's signature shotgun house constructions, crafted from found materials and scraps of newspaper headlines, reference his childhood in North Carolina, where such modest architectural structures were once commonplace. In "ALA 1963," he uses the shotgun shape to create a heartfelt memorial to a group of African-American girls killed in a racially motivated church bombing in Alabama nearly 50 years ago. He also incorporates the shotgun symbol in "Victims," a powerful reflection upon crime in Savannah in the early 1990s, which reveals how little has changed over the past two decades. Mitchell's mixed media constructions operate, in many ways, like memory itself. Scraps, fragments and pieces loosely cohere around a central idea, making symbolic and metaphorical connections. In these richly narrative and boldly stream-of-conscious assemblages, the whole truly is greater than the sum of its parts. Mitchell's jazz collages - carefully crafted from scraps of newspaper, sheet music, magazines and tissue paper - celebrate key players in Savannah's jazz scene, from sultry female vocalists to wiry male saxophone players. A tribute to the late jazz bassist Ben Tucker, a true Savannah legend, is especially moving, incorporating a pencil sketch of the standing bass player as well as newspaper clippings of other Savannah jazz musicians. Mitchell grew up in a shotgun house in North Carolina, a style of vernacular architecture that is particularly prevalent in the South. Mitchell fills his sculptural homes with objects of metaphorical and symbolic, iconic, importance. In Home Sweet Home he includes the American flag, a photograph of Martin Luther King Jr. and Malcolm X, and a china plate depicting The Last Supper, among other items that convey a personal and historical narrative. He notes that making art acts “as a ‘record’ of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus, and narrative of my work.” While this contains elements reminiscent of folk art and outsider art this is a quite sophisticated tour de force. He was included in the show Complex Uncertainties, Telfair Museum: Modern and contemporary art comprise painting, prints, drawing, photograph, sculpture, and works in new media, representing American artistic achievement from 1945 to the present day. The exhibition includes works by artists such as Bruce Davidson, Elaine de Kooning, Carrie Mae Weems, Sam Gilliam, Ethel Schwabacher, Radcliffe Bailey...

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