AUSTIN, TX--(Marketwire - November 24, 2009) - STAGES, the global art exhibition produced by
Nike and dedicated to raising awareness for the LIVESTRONG Global Cancer
Campaign, will have its finale at the most important art show in the United
States, Art Basel Miami Beach, Dec. 4-6, in Miami, Florida. STAGES features
14 works of art for sale by premier artistic talent including Cai
Guo-Qiang, the Clayton Brothers, Dzine, Futura, Tomoo Gokita, Geoff
McFetridge, Erik Parker, Raymond Pettibon, Lari Pittman, Richard Prince,
JR, Tom Sachs and Dustin Yellin. The exhibition is at O.H.W.O.W. supported
by Deitch Projects (888 Biscayne Blvd.). All proceeds benefit LIVESTRONG.
Inspired by Lance Armstrong, LIVESTRONG founder and chairman, cancer
survivor and champion cyclist, STAGES premiered at the Galerie Emmanuel
Perrotin in Paris during the 2009 Tour de France, then traveled to New
York, where it was exhibited at Deitch Projects, Oct. 31-Nov. 21. The
entire exhibition includes 27 participating artists who designed works to
engage the creative community in a new visual dialogue about the global
cancer burden. STAGES unites the world of art, philanthropy and sport to
support the fight against cancer and the 28 million cancer survivors around
"With cancer projected to become the leading cause of death worldwide by
2010, the timing of this large-scale global exhibition is especially
significant in helping LIVESTRONG elevate its urgent message that cancer
needs to become a global priority now," said Armstrong. "Nike is an
extraordinary example of how corporate social responsibility can change the
world for the better and its contribution to our cause is phenomenal."
STAGES ART FOR SALE:
"Tree with Yellow Blossoms"
Gunpowder on paper, mounted on wood as a four-panel folding screen, 230cm x
Cai's reputation as one of the foremost exponents of contemporary Chinese
art is rooted in the innovative approaches he has brought to painting,
sculpture and event-based artworks while incorporating materials and
symbols that refer to his specific cultural heritage. In "Tree with Yellow
Blossoms," Cai explains, "I used gunpowder to create a large, thriving tree
with yellow flowers in full bloom. It symbolizes the endless cycle of life
and growth and its power to put forth new life and hope." His method of
"drawing" with gunpowder and producing precisely choreographed "explosion
events" with fireworks highlights the importance of transformation as a
physical, political and intellectual capacity for Cai. He is represented
by Cai Studios, NYC.
Mixed media on canvas, 213cm x 213cm.
Los Angeles-based brothers-in-arms Rob and Christian Clayton work together
in the kind of tightly orchestrated way that can only result from sharing a
blood bond. The art-making pair work in seamless unison to channel a
collaborative vision deeply rooted in the visual traditions of folk and
outsider art, and tempered by the sensibilities of punk, German
expressionism and the genuine naiveté of children's art. Process is key to
the inseparable childhood companions who view their joint art studio as yet
another "shared bedroom," and they place a premium on the tandem experience
of constructing their dense imagery. Heavy use of symbolic elements as
allegorical cues is a constant theme, and color is like lifeblood to the
work. In "Always Alive," the brothers took a maiden voyage deep into the
exploration of the color yellow and its association with hope and healing.
The process of creating this work required building up layers, then
stripping away and erasing elements before going back in to build up new
graphic layers, mimicking the healing Armstrong experienced during his own
battle with cancer. Rob and Christian teach at Art Center College of
Design in Pasadena, California and are represented by Patrick Painter in
Los Angeles and Apama Mackey in Houston, Texas.
"The Tipping Point"
Lowrider bicycle (24kt gold plating, 23kt gold leaf, custom engraving,
chrome, nickel plating, enamel paint, automotive paint, suede,
Swarovski crystals, neon, rubber, iPod/audio speakers and mirror), 117cm x
183cm x 66cm.
Chicago-based Dzine has an acknowledged penchant for embellishment and
produces objects that command attention while toying with elements of
irony, beauty and sincere tribute simultaneously. He continues to
introduce a fresh new language that is finding its place in our
contemporary art discourse. In "The Tipping Point," Dzine has created a
playful response to Armstrong's comment, "It's not about the bike," by
producing a custom two-wheeler so baroque that it may stand as the ultimate
tribute to the bike in general. The ubiquitous gold plating that
embellishes nearly every surface is an overt homage to LIVESTRONG yellow.
Dzine is represented by Deitch Projects, New York; SCAI the Bathhouse,
Tokyo and Leeahn Gallery, South Korea.
"Les Sept Etoiles"
Spraypaint on canvas, 214cm x 46cm.
Born Leonard McGurr, the enigmatic young artist quickly adopted the telling
nom de guerre of Futura 2000 as the graffiti movement exploded in train
yards throughout the five boroughs in the 1970s, when he cut his teeth
alongside the nascent legends of the day. Coming to prominence during the
cultural renaissance of New York City in the 1980s, Futura became one of
the foremost artistic innovators of the era at a time when a premium was
placed on originality above all else. A lifelong cycling enthusiast who
once worked as a Manhattan bike messenger, Futura customized two bikes with
his designs in Armstrong's 2005 Tour de France victory and has provided
design innovation on Nike's LIVESTRONG collection. In "Les Sept Etoiles,"
the far left border closely resembles a long strip of caution tape with
seven black notches -- one for each of Armstrong's seven consecutive Tour
de France wins between 1999-2005. The bright yellow background represents
the LIVESTRONG cause while the countless black speckles symbolize the
enormous population of people affected by cancer worldwide.
Acrylic on canvas, 53cm x 46cm.
Gokita, an emerging Tokyo-based artist, is on the rise with his
monochromatic tableaus that are captivating in their austerity, yet
expressive in a way normally reserved for the world of color. An
accomplished draftsman with a keen eye and inexhaustible wit, Gokita's true
genius is revealed in his fluid black and white gouache and acrylic
paintings that combine varying measures of figurative rendering and free
form doodling that have become the hallmark of his early work.
Conspicuously incorporating varying eras of art tradition -- Surrealism,
Abstract Expressionism, Conceptualism, Op Art, Minimalism, Psychedelia --
Gokita then filters his influences through a lens of vintage B-movie kitsch
and film noir atmospherics that imbue his paintings with eerie irreverence
and dark undertones. Breaking with his exceedingly strict monotone
palette, the color yellow makes its Gokita premiere in "A Couple" in honor
of Armstrong, LIVESTRONG and the cause at hand. He is represented by Honor
Fraser in Los Angeles and ATM Gallery in New York.
"Even the Simplest Shapes Wish to Become Logos One Day"
168cm-diameter circular sculpture (made up of large individual yellow
In "Even the Simplest Shapes Wish to Become Logos One Day," McFetridge has
created a special tribute to the iconic yellow LIVESTRONG band. "Pins are
a reoccurring visual motif that I have used over the years. I like their
clunky ordinariness. In this piece, I imagine each pin as an individual.
Each part works to complete the ring," he explained. "The yellow
circle/bracelet becomes an object of unity and strength. In this way I am
using my own graphic language to interpret Lance's. If each bracelet
represents a person's solidarity to the cause, each of these pins can also
represent an individual -- a survivor, a future survivor, or one who will
come across cancer in his or her life, which is all of us."
Acrylic on canvas, 109cm x 102cm.
Parker, a visionary artist, channels a furious energy into his paintings
that recalls the abstract fervor of the psychedelic artists of the 1960s,
but with a stylistic freshness and contextual purpose that is distinctly
modern and entirely his own. Born in Stuttgart, Germany and raised in San
Antonio, Texas, Parker's interest in art developed at a young age and his
early drawing style was indelibly influenced by such street level Pop
Culture touchstones as psychedelia, skateboarding, graffiti and street art,
and acid culture throughout his oftentimes wayward youth. A drive to become
a professional artist developed later for Parker and he ultimately received
a scholarship to the University of Texas at Austin where his studies under
the legendary painter Peter Saul helped solidify his most wild graphic
ambitions. "Fake Out" reveals the story of a psychedelic fish-like
creature overcoming all odds and faking out cancer, all bathed in vivid
swirling colors. Parker is represented by Honor Fraser Gallery in Los
Angeles and Paul Kasmin Gallery in New York.
"No Title (From the Ends)"
Pen and ink on paper, 91cm x 56cm.
An iconic countercultural artist, Pettibon's proximity to the early Los
Angeles punk rock scene as brother of musician/producer Greg Ginn of Black
Flag and punk record label SST played a significant role in his artistic
development and the branding of an era. During his tenure as in-house
designer for SST through the late '70s and early '80s, he experimented with
his distinctly lo-fi comic book-influenced drawing technique on album
artwork and concert flyers. Throughout his career, Pettibon has continued
to combine figurative drawing and oftentimes enigmatic and cryptic text,
typically rendered with black ink or watercolor on paper though he's come
to embrace the use of bright color in his most recent work. His texts are
often gathered from a disparate array of profound literary sources before
being transcribed in slightly altered form and placed in ironic
juxtaposition with his imagery. Pettibon's STAGES work features a train
crash fronted by a yellow tinted graveyard as a powerful reminder about the
devastation inflicted by this global epidemic and the urgent need to defeat
it. Pettibon is represented by Regen Projects in Los Angeles.
Acrylic, cel vinyl and aerosol lacquer on gessoed canvas over panel, 132cm
Drawing from diverse visual traditions including folk art and commercial
design, Pittman creates paintings that fill the picture plane with an
abundance of patterns, figures and text. He weaves these layers into a
tapestry of visual information, forcing the viewer to linger over each
painting, pulling at threads to unravel shades of meaning. Pittman's
STAGES work expands on his recent interest in 16th- and 17th-century
vanitas paintings, which incorporate themes such as skulls, cut flowers and
rotting fruit to mark the passing of time and the transience of life. But
the somber tone of these traditional works is reimagined in Pittman's art,
which marries bright colors, playful animals and illuminated globes to
suggest that it is the joy and hope in life we should seize upon when
confronting our finite nature. Pittman is a professor of art at UCLA and
is represented by Regen Projects in Los Angeles.
"I'm Not Coming Home"
Collage and acrylic on canvas, 117cm x 86cm.
Known as brilliantly iconoclastic and often controversial, American artist
Prince has developed a method of repurposing existing media content
observed by millions in a way that frees them of their typically inane
origins and allows them to spark new visual dialogues in the process.
Well-known examples include his "Cowboy" series, derived from cigarette
ads, his "Jokes" series, incorporating lines (oftentimes purposefully bad
ones) copied from joke books, and his iconic "Nurses" series, which employs
imagery of nurses taken from the covers of men's midcentury pulp novels.
In "I'm Not Coming Home," Prince has combined a "Joke" painting with
"Nurse" imagery, an exceedingly rare feat. He has done so to both
reference cancer -- the joke part being a riff on the 1902 song "Bill
Bailey, Won't You Please Come Home" -- and to pay personal tribute to
Armstrong -- since the cyclist was cared for deeply and constantly by the
nurses of Indiana University. Prince lives and works from his house in
upstate New York and is represented by Gagosian Gallery.
Mixed media (photograph, speakers, soundtrack), 324cm x 240cm.
JR, the French artist known only by two letters, assembles large-scale
reproductions of his black and white portrait photographs in cities around
the world, forming unconventional open-air galleries for an unsuspecting
mass. His mission is to break down the traditional boundaries of the fine
art world by creating work about underrepresented people on a global level
and displaying it in vast public spaces so that the images may be seen and
experienced by all regardless of class, wealth or level of access. His 28
Millimeters project, an ongoing photography series of young residents in
post-conflict zones around the world, took JR to the favelas of Rio de
Janeiro. He returned to this disadvantaged neighborhood instituting a
huge-scale fine art installation by adhering his work to the tops and sides
of houses, buildings and even entire trains. His intention is to celebrate
the dignity of his subjects and raise awareness about the conditions in
which many of them continue to live. "Heart Beats" is a compelling mixed
media sound sculpture in tribute to one of the women he met while creating
his favela project. He explains, "Linda lives in Morro da Providência, the
oldest favela in Rio, Brazil. In this place, houses are made of plastic,
and kid's guns are made of steel. Nothing runs: no schools, no hospitals,
no social services. Linda has throat cancer and she might be dead by the
end of the STAGES exhibition tour. She used to be a choral teacher. She
lost her voice, but her heart is still beating..."
"Lance's Tequila Bike for Girls"
Carbon fiber Trek Madone race cycle with mixed media (CETMA rack, welded
steel, synthetic polymer paint on plywood, peristaltic pump, Tequila
bottles and tea bags), 99cm x 156cm x 51cm.
Sachs, a sculptor, is best known for his elaborate recreations of various
modern icons, all of them masterpieces of engineering and design ranging
from Knoll office furniture made of phone books and duct tape to a
McDonald's built using plywood, glue and assorted kitchen appliances to
Hello Kitty and her friends in foamcore and bronze. A lot has been made of
the conceptual underpinnings of these sculptures: how Sachs' sampling
capitalist culture, remixing, dubbing and spitting it back out again, so
that the results are transformed and transforming. Intended as a
thought-provoking machine, "Lance's Tequila Bike for Girls" plays off media
stereotypes of Armstrong while capturing his sense of humor. This rolling
wet bar is a work of art that must be experienced in person to be fully
appreciated. Sachs is represented by Sperone Westwater, Galerie Thaddaeus
Ropac, Baldwin Gallery and Tomio Koyama Gallery. Sachs' Space Program is
represented and supported by Gagosian Gallery.
"5 for 99 cents"
Mixed media (acrylic, silkscreen, spray paint, oil and glitter on linen),
152cm x 122cm.
Scharf first gained recognition among the fertile East Village art
community of the 1980s, developing a proto-Pop graffiti style at the
creative dawn of the medium. Though best known for his paintings of
cartoonlike figures, both invented and appropriated from popular culture,
and his sculptures that comprise found objects richly decorated with paint
and appliqué, Scharf's more recent work also includes slick yet
relentlessly fun renderings of everyday objects like cars and doughnuts --
equal parts Pop Art and ad annual. "5 for 99 cents" offers a kaleidoscopic
viewing of floating Pop motifs including brightly colored tumor-like
formations that represent the threat of cancer lurking in our lives. He is
represented by Honor Fraser Gallery in Los Angeles.
"If Ink Were Blood (Man and Woman)"
Resin, acrylic and ink, 182cm x 60cm x 34cm.
Existing in a genre-defying netherworld between the narrow classifications
of "painter" and "sculptor," the Brooklyn-based Yellin creates unique
hybrid works that might be best described as "3-D paintings." Yellin
explains the twin life-size sculptures in "If Ink Were Blood,"
"...represent the incomprehensible biological ingenuity that compose the
human machine. As time passes, mutations occur, and one can only imagine
what the human form will look like in 1,000,000 years. This couple
represents and deconstructs the human form from the inside out. It brings
the delicate tissues and circulations to the foreground of a bodily
representation. They are testaments to the collective scientific vision and
understanding of the human body. To cure cancer is to understand this
To view work and for more information, visit www.stages09.com. O.H.W.O.W.
is open Fri, Dec. 4-Sat., Dec. 5, 12-8pm ET and Sun., Dec. 6, 12-6pm ET.
To contact O.H.W.O.W. call (305) 633-9345 or visit www.oh-wow.com. STAGES
art is for sale until sold. After Dec. 6, enquiries can call LIVESTRONG at
At LIVESTRONG, we fight for the 28 million people around the world living
with cancer today. There can be -- and should be -- life after cancer for
more people. That's why we kick in at the moment of diagnosis, giving
people the resources and support they need to fight cancer head-on. We find
innovative ways to raise awareness, fund research and end the stigma about
cancer that many survivors face. We connect people and communities to drive
social change, and we call for state, national and world leaders to help
fight this disease. Anyone anywhere can join our fight against cancer. Join
us at www.LIVESTRONG.org.
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