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Ryder Ripps

Surveillance Portraiture

Ryder Ripps is a conceptual artist who uses the internet like a painter uses paint. He takes web based technologies and manipulates them in ways that often reveal hidden natures of our complex relationship with the internet. His new project, Surveillance Portraiture, captures subjects from an unannounced, unseen eye. The result raises more questions about the ubiquity of surveillance than it does offer answers, but therein lies much of the power of Ripps’ work. Instead of simply interviewing Ripps, we decided to collaborate with him, presenting Surveillance Portraiture alongside his take on the piece, and his motivations in creating it.

 

Film Short: NeueHouse Media for NeueJournal

Brigitte Lacombe’s
Los Angeles

A sharp eye for detail

In her storied career, Brigitte Lacombe has made many of our most celebrated images of Hollywood’s legendary personalities and cultural icons. She is a great photographer, but more than that, a powerful seer, a master of perspective who has spent decades showing us the world from her unique vantage point. Earlier this year, Lacombe collaborated with NeueJournal, photographing seven distinct covers of our inaugural print publication, and now, with the opening of NeueHouse Hollywood drawing near, we joined her on a journey through Los Angeles. With a sharp eye for detail and subtlety, Lacombe reveals her take on the City of Angels and looks at how NeueHouse Hollywood is going to fit within its framework.

Ron Arad

Boundaries don't exist

An institution in the product design world, Ron Arad captured the eye of the art world with the introduction of his ‘Rover Chair.’ His experimentation with the possibilities of materials has put him at the forefront of contemporary design. He joined us in conversation at NeueHouse to discuss his work, inspirations and the blurred lines between art and product design.

The Sex That
Changed My Life

Tales, Trials and Tribulations

What was the sex that changed your life? The good, the bad, the weird, the meaningful, that somehow set your sexual blueprint, or altered who you were or how you saw the world? ELLE magazine asked this question of some of today’s finest— and funniest— writers, and featured their responses in its January issue.

 

These writers joined us at NeueHouse for an evening of live readings featuring the best of the best from ELLE. Comedian and TV star Whitney Cummings, E. Jean Carroll, Cathi Hanauer, and Susan Squire took the stage to tell their unpredictable, moving, and hilarious tales.

Benjamin Verdoes

The Future is a Bandit

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Benjamin Verdoes, a songwriter from the Pacific Northwest, sings “The Future is a Bandit,” from his latest album “The Evil Eye,” in NeueHouse’s recording studio.

 

In the last decade Verdoes, who is well known for his unorthodox style, has written four albums – two as a part of Mt. St. Helens Vietnam Band. “The Evil Eye,” which he began composing in 2011, is his first solo recording released under his own name.

Theophilus London

NeueHouse presents "TV Party" hosted by Glenn O'Brien at Miami Art Basel

At this year’s Miami Art Basel NeueHouse presented a 2014 take on a piece of New York City history: Glenn O’Brien’s public access show, TV PARTY at Casa Claridge. On air from 1978 – 1982, the show rejected the standard talkshow format in favor of fun, and featured icons such as David Byrne, Debbie Harry and Jean-Michel Basquiat. The new TV PARTY, co-hosted by O’Brien and Andre Saraiva, featured lights, cameras, and action, including performances by Theophilus London, ASTR, and Kembra Pfahler.

Faile to Succeed

The Brooklyn-based Artists Wax Lyrical About Their Latest Title, Works on Wood

7 Images
Open The Gallery
7 Images
Open The Gallery
7 Images
Open The Gallery

We caught up with Patrick McNeil and Patrick Miller of the Brooklyn-based art group FAILE to talk about their recent book Works on Wood, published by Gestalten. The ideas of form, temporality and appropriation have been a part of FAILE’s work since their early wheatpaste work. Needless to say, we were intrigued to see how the age old medium of wood plays into their ever evolving art.

 

You guys are well known for working with a wide range of materials and media: prints, paintings, salvaged materials, large-scale installations. Why did you decide to focus on wood for your latest book?
Our work tends to incorporate several different materials. I think we’ve always loved the physicality of different materials, especially when you find them in the city and they are being used for purposes other than what you would expect. Working on wood has been such a love over the years, from the street then into the studio, that it seemed something to celebrate. There is a clear lineage from our early street works to the studio paintings and sculptures on wood. Also we feel it’s some of our most original and unique work. The wood paintings and sculptural works developed more fully in our practice over time; they’re not something that was there from the beginning, so it’s a nice visual story of process and exploration to share.

 

What qualities and caveats does wood possess as an artistic medium?
The allure of wood is the surface and the durability of it. It’s a medium that you can really work with. You can beat it up. You can stand on it. You can sand it down. You can build with it. It has a living history. I think that’s the romance. The way we work with wood, it sort of becomes a part of the studio, physically and artistically over a period of time – and there’s a record of that through the work. The only real caveat, so far, is its weight. But we’re that much stronger because of it.

 

What has been your most challenging project to date?
For the FAILE Temple in Lisbon we created a 16ft x 30ft x 14ft ceramic, steel, marble, bronze and stone temple in decay, over the course of two years. We were the artists, architects, engineers and fabricators for that project, which tested us on many levels. But it came together nicely in the end. For the New York City Ballet we built a 40ft x 15ft x 15ft tower in four months. That was just painful. It was an all-out creative sprint to make that happen in the time it needed to. Which of course we did, but it was one of the hardest times on a physical level.

 

How has your work and creative process evolved over the last decade?
The foundation of how we create images is still the same. Which is really focused on looking at the past to find bits and pieces of that history and to create new narratives from that. The mediums have changed, the content has grown, the work (paintings and sculpture) has evolved visually, we’ve grown as people and family men – but I don’t know that the process has changed that much. I’m not sure if that’s a good or a bad thing. Images and painting are distinct things in the studio, so that makes it two paths and processes.

 

Who and what influences you from outside the art world (music, science, travel, theater, film etc)?
Radiohead, Joseph Campbell, NYC, the Midwest, religious structures, malls, quilts, Stanley Kubrick.

 

Who is your favorite fictional hero?
Clark W. Griswold and Inspector Clouseau.

 

Where are you most inspired, the studio or the street?
It’s a symbiotic relationship. Something on the street inspires something in the studio; something in the studio makes us see things on the street that we never saw before.

 

What has been your greatest failure?
Advanced Mathematics.

 

If you could have one super-power, what would it be?
Russia.

 

What is your motto?
Faile to succeed.

 

Earlier this month FAILE joined Swizz Beatz at NeueHouse for a discussion on art, music and creativity.


Sebastian Junger & Guillermo Cervera

A Discussion Between an Oscar-Nominated Director and Internationally Acclaimed Photographer

From 2007 to 2008, writer, seasoned war journalist and filmmaker Sebastian Junger went on patrol, survived an IED attack, endured firefights and boredom, and bonded with the soldiers of Camp Restrepo. Junger went on to direct the Oscar-nominated film Restrepo, which documented his year in Afghanistan. Guillermo Cervera is an internationally acclaimed photojournalist, documenting armed conflict and social issues for the international press.

 

Sebastian Junger and Guillermo Cervera recently spoke at NeueHouse about Junger’s latest documentary, The Last Patrol, and how the context of war can transform a person’s identity.

The Creative Time Sleepover

NeueHouse Partners with Creative Time for a Night of Interactive Art and Performance

The problem with any good party is that it always ends too early. Last Friday, Neuehouse partnered with Creative Time to find the ideal solution to this age-old quandary on the occasion of their annual Fall Ball: a sleepover. Guests turned up at NeueHouse’s Madison Square property, clad in their finest slumber party attire (which, in artist Dustin Yellin’s case, entailed nearly nothing) to enjoy 12 hours of food, drink, performance, art installations and a smorgasbord of artist-run activities.

 

A potent cocktail at the Absolut Elyx molecular bar (hosted by mixologist Alex Ott) was a delicious way to loosen up before testing one’s art knowledge at Sebatian Errazuriz’s Pictionary challenge. Errazuriz challenged participants to “guess the artist” from his crude depictions in 30 seconds or less, an easy feat for Creative Time’s art-minded guest list. Meanwhile, Vanity Projects’ manicurists had set up shop, offering Will Cotton-inspired nail art (Cotton was on hand to approve each mini-masterpiece). Tom Sachs’ rice and beans cart was a big hit, as was Raul de Nieves’ karaoke lounge. Sasha Frere-Jones, The New Yorker’s pop music critic, was stationed behind the DJ booth, breaking only for performances by Andrew Kuo’s psych-rock jam band Hex Message and the always-theatrical Citizens Band.

 

As the night wore on, things got delightfully strange. David Colman and his team of “officers” strip-searched attendees, commanding them to remove articles of clothing until they verbally resisted. Entitled Zip, The risqué interactive art piece was a commentary on the NSA’s encroachment on our personal privacy. In the foyer, an impromptu game of spin the bottle (or, if we’re going to get technical, spin the salad tong) emerged. Onlookers munched on pizza, the perfect 1am snack.

 

Weary from dancing, guests retired to the basement, where rows of cots had been assembled under the glow of Jonah Freeman and Justin Lowe’s short film, The Floating Chain. After a white Russian from the adjacent milk bar, it was time for a snooze.

 

At 8am guests were awoken with a commanding “Get up!” and served Matcha, a Japanese solution to their inevitable hangovers. After a tasty breakfast courtesy of Lower East Side’s healthy hot spot Dimes, and a quick yoga session led by Grey Area, the brave partiers who lasted until daybreak were ready to take on their Saturdays… or head back to their quiet apartments for a few hours of shut-eye before returning to Neuehouse for Creative Time’s dance party.