Monday, December 9, 2013

Photographer, Najee Amor Smith at LIU's S.A.L. Gallery + Art Style Knock-Offs + Easy Way to Peel Oranges

"LA X" by Photographer, Najee Amor Smith
Photographs by 
Najee Amor Smith

Last month at the Hillwood S.A.L Gallery, a part of Long Island University POST, located at 720 Northern Blvd. Brooklyn, Najee Amor Smith showed off his recent black & white prints. (Exhibition dates: Nov. 19-26) 

Editors Note:
By chance I was riding on a plane (over Thanksgiving) sitting next to his father and later through his recommendation I found this photo show. Young talent rarely gets a break, so here for all the world to see is the show: "FLY BY NITE..." Photographs by Najee Amor Smith! Enjoy.

(Second Editors Note: We are working hard on our holiday gift guide, which we will publish later this week.)

Photographer Najee Amor Smith
Najee's peeps at the exhibition.

(All Photographs, above are © Najee Amor Smith, 2013)

Art Style Knock-Offs
Many "new artworks" are just appropriations, copies or lampoons of work from the 60s, 70s and 80s!

(This excerpt is a portion of the original article written by John Yau, published in - To read the entire article go to this link: )

Was Wade Guyton's "OS" exhibition at the Whitney just showing a new medium but only using a borrowed style, "minimalism"?

What does it mean when you hook up your work to that of a late modernist giant working in a reductive vein — Ad Reinhardt, Agnes Martin, Robert Ryman, Ellsworth Kelly, Frank Stella, or Donald Judd, for example — like a caboose? I am not talking about engaging directly with another artist’s work or ideas, but of perpetuating a look or, in the case of Wade Guyton, the various monochromatic, striped and geometric surfaces we associate with Minimalism. Guyton’s mid-career survey at the Whitney Museum of American Art (Wade Guyton OS, October 4, 2012–January 13, 2013) suggested that if you know how to efficiently package and produce that look, success may well come your way, that you too can be a caboose that makes a difference. In other words, you become a high-end art director in the guise of a forward-thinking conceptual artist.

"What they look like are large facsimiles of Minimalism but without the expenditure of labor that went into the real thing."

For all the praise circling like an irremovable halo above Guyton and his use of an Epson inkjet printer to make his paintings (further complemented by the self-satisfaction of institutional apparatchiks relishing the seamless fit between his lack of creativity and their academic narrative — the one that concludes with the death of painting and all the other attendant deaths — the elephant still in the middle of the room is the way the paintings look.
What they look like are large facsimiles of Minimalism but without the expenditure of labor that went into the real thing. Efficient artistic production with just the right conceptual twist, it seems, is nothing to sneeze at. Guyton and his studio assistants might tug the folded canvas through the printer, but that is hardly the same as an individual making a painting or, for that matter, a drawing.
Their labor is proficient manufacture under the sign of art, which is not the same as Jorge Luis Borges’ fictional author, Pierre Menard, “recreating” Don Quixote word-for-word. Guyton’s paintings are the aesthetic equivalent of the nearly perfect copies of Louis Vuitton bags that you can buy on Manhattan street corners. They don’t cost as much as the original, and they look pretty good.
One reason I am thinking of Guyton and his myriad examples of well-produced scruffiness is because, in the eyes of tastemakers, the creation of  imperfect and, in some cases, ironic variations of the artistic canon is a sanctioned way of dealing with what Harold Bloom called the “anxiety of influence.” The post-Bloom mantra seems to be this: Don’t take on, address or engage, but appropriate, copy and lampoon. If wielded with the right amount of panache, this strategy can significantly cut down the wait time between  a young artist and art world success.
We are well past Arshile Gorky and Willem de Kooning and their years of struggle, with no intention of looking back. This is not necessarily a bad thing, because the model of the suffering artist is hackneyed and tiresome, a B-movie version of bohemian life. It is the academically approved replacement model that I have a serious problem with, which smugly dismisses anything that seeks to delve beyond the surface. Appearance, it seems, has now become the art world’s highest goal, a shift in aesthetics more in keeping with the aesthetics of Hollywood and fashion designers. Stonewashed, artily torn jeans bought off the right shiny rack are infinitely preferable to ones that have gotten that way through actual use....

A new & easy wayto eat oranges,without peeling!

Until later,


ARTSnFOOD, is an online publication dedicated to "The Pursuit of Happiness through the Arts and Food." ™ All rights reserved for all content. Concept, Original Art, Original Text & "Original or Assigned Photography" are © Copyright 2013 Jack A. Atkinson under all International intellectual property and copyright laws. All photographs were taken and/or used with permission. Artworks © individual artists, fabricators, respective owners or assignees.

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