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Artist Decoded

"I started this series as a means for exploration, an exploration of self and an exploration of the perspectives of other artists. This series is an unabridged documentation of conversations between artists. It’s a series dedicated to breaking down the barriers we tend to set up in our own mind. I want to inspire future creatives to have the courage to explore and experiment. This is about making dreams a reality and not about letting our dreams fall to the wayside. My intention is to give my audience a sense of real human connection, something that feels rich and organic. When I was thinking of a title I thought of the word “movement”. In relation to the Renaissance period in art, my goal for this program is to signify a rebirth of consciousness towards the way we look at contemporary art." - Yoshino
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Now displaying: October, 2017
Oct 31, 2017

Dave Elitch first garnered attention with his band Daughters of Mara’s debut album “I am Destroyer” in 2007, but his time touring with the American progressive rock band The Mars Volta in 2009-2010 is what really put him on the map. He has since worked with Miley Cyrus, Justin Timberlake, M83, The 1975, Juliette Lewis, Big Black Delta, as well as many others. He is a regular in the LA session scene, including performing on various records, syncs and film scores for major motion pictures, (most recently “Trolls” and “Logan.”) In addition to playing, he also conducts master-class lectures worldwide and keeps a busy private teaching practice in Los Angeles where he has developed a reputation as THE technique/body mechanic specialist who has helped many of the industries top players as well as educators.

“Ever since I decided that I was going to be a drummer, I wanted to be the best I could possibly be, and I put all my faculties toward that. Eventually that can take a toll, so I kind of hit a wall and needed a break. I’ve always had an appreciation for art, and luckily where I live in LA there are all these rad galleries – the Getty, the Hammer, Thinkspace, C.A.V.E., Giant Robot – so I frequent those. I get a different vantage point on the creative experience. I started getting inspired by documentaries about artists, like The Radiant Child about Jean-Michel Basquiat, Rivers and Tides about Andy Goldsworthy, the Gerhard Richter documentary Painting, Francis Bacon movies on YouTube… It’s just such a fascinating take on making sense of the world around you. Plus, I’ve dedicated my life to knowing all there is to know about drums, and I’m expected to know everything, With art, I can just go from my gut, so there’s a huge sense of freedom and escape for me there.”Dave Elitch

Topics Discussed In This Episode:

  • The pitfalls of formalized education
  • The realities of being a musician
  • Over exposure of art through technology
  • Distractions of social media
  • How Dave became a professional drummer
  • Andy Goldsworthy “Rivers and Tides”
  • Drawing similarities and differences between his approach to music and his approach to art
  • The compulsion for knowledge and exploring
  • Understanding the veil of perception
  • Creative adaptability
  • Spirituality in art
  • Breaking free of systematic thinking
  • Branding within the art world
  • The ripple effect of art and commerce interacting with each other

www.artistdecoded.com

Oct 29, 2017

With iconic photography of young iconoclasts, musicians, and bands like the Red Hot Chili Peppers, Tom Waits, Nick Cave, The Circle Jerks, Ice Cube, and Bad Religion, as well as hundreds of other early punk and hip hop bands, Edward Colver was an insider to the turbulent and burgeoning underground music scene of early-eighties Los Angeles. Since active in photography for more than forty years, he first documented an average of five local shows a week using only a 35mm camera, flash, and Kodak Tri-X film. 

Colver’s book, Blight at the End of the Funnel, collects some of the best of his hardcore punk and promotional work for record companies. His shot of Henry Rollins for the cover of Black Flag’s “Damaged” album was used on billboards and lamppost flyers throughout Los Angeles during the Annenberg Space for Photography’s Who Shot Rock and Roll installation in 2012, curated by Brooklyn Museum curator and author Gail Buckland. In addition to numerous other openings, including Shepard Fairey’s Subliminal Projects gallery and a solo show at Lethal Amounts this last year.

Topics Discussed In This Episode:

  • The punk rock revolution in Los Angeles
  • Edward’s experience shooting Henry Rollins for Black Flag’s “Damaged” album cover
  • His run in with Jerry Lee Lewis
  • Working with Ice Cube
  • Suing Interscope Records
  • His experiences shooting photographs for 36 years
  • Shooting the Circle Jerks “Group Sex” album cover

www.artistdecoded.com

Oct 3, 2017

Winning the Archibald Prize as Guy Maestri did in 2009 would be a defining moment in most artist’s careers, but he is quick to cite physical immersion in the landscape as revolutionary to his painting practice. It’s easy to gloss over the history of plein-air as a European tradition, born of gentle grasses and mild sunlight. Practiced in Australia, away from the slip of green coastline, plein-air demands rigor of vast dimensions. For Maestri, the material and temporal challenges of extended painting sessions in the hard country around Hill End, Wilcannia and Broken Hill has been instrumental in a new understanding of local art histories and ecologies, as well as the atmospheric and elemental qualities of landscape. Beholden to intimacies of place, the artist stakes out a subtle void or stillness in these dry landscapes without surrendering his animated, almost kinetic approach to paint.

Masquerading as a shady retreat, the studio retains its disciplinarian attitude but demands a different kind of focus. Here the void is more theatrical, Maestri’s compositions orchestrated with operatic tempo. Desiccated road-kill (the anti-trophy of inland highways) perform as contemporary Gothic vanitas, shot through with equal measure of beauty and pathos, the eye and the heart facing off.

A graduate of the National Art School, Maestri won the 2014 Kings School Art Prize and the 2013 Premier’s Plein Air Painting Prize. He is a regular finalist in the Wynne Prize for Landscape at the Art Gallery of NSW and his work is held in several public collections, including the National Portrait Gallery and Parliament House collections.

Topics Discussed In This Episode:

  • His experience studying at The National Art School in Sydney
  • Education in the arts
  • Exploring mediums within your artistic practice
  • How his work has evolved over the years
  • His paintings of road kill
  • Discussing self portraiture
  • How he began experimenting with sculptures
  • His process creating his sculptures
  • Morbid curiosities
  • Wes Anderson

www.artistdecoded.com

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