Craig Costello recently spent some time in Hawaii installing his largest site specific installation to date, via Juxtapoz:

August cover artist Craig Costello, just returned from Hawaii after finishing a new exhibition at Loft In Space, Site-Specific Painting and Sculpture. The exhibition featured Costello’s signature KRINK work; new paintings, his largest sculpture to date, and a 50ft site-specific mural. Even the governor of Hawaii, Neil Abercrombie, checked out the show. The show closed on December 9, but we still have pictures, and we are all envious to those who spend time in Hawaii in December.

More pictures after the jump.

I got an email a few weeks back from my friends over at Mid-City Arts in Los Angeles and I have been wanting to post this…

HERE COMES THE NEIGHBORHOOD is a Short-Form Docuseries exploring the power of Public Art and innovation to uplift and revitalize urban communities. The Pilot Season revolves around the Arts District of Wynwood Miami, featuring an array of internationally acclaimed and locally respected Street Artists, Graffiti Writers and Muralists.

It’s a well made series and the concept in Wynwood, Miami is impressive. The trailer and link to the rest of the series is after the jump.

As of this past Tuesday, a collection of 120 photographs of New York’s Lower East Side taken by Sol LeWitt in 1979 has been installed on the side of the Mondrian SoHo. It is a permanent installation, so you can take a stroll there anytime. The hotel partnered with the Paula Cooper Gallery on the project.

From the press release:

Sol LeWitt made photographs throughout his career, beginning in the 1960s
with serial works of images inspired by Edwaerd Muybridge.  Photography was
a means by which LeWitt incorporated narrative into his art, in a seeming
contradiction to the objective, conceptual rigor that define Lewitt’s wall
drawings and structures from the same period.  Beginning in the mid-1970s,
he published a series of books of photographic essays such as Brick Walls
(1975), Photo Grids (1977), and On the Walls of the Lower East Side, which
culminated in Autobiography (1980). The publications reproduce images that
are absent of people, sequenced in related groupings and arranged into grids
of uniformly sized reproductions that function like modular units with no
overt hierarchy.

On the Walls of the Lower East Side consists of 666 photographs in total,
depicting the decayed landscape of the neighborhood in lower Manhattan where
LeWitt then had his home and studio. (The door of his loft at 117 Hester
Street is included.) Graffiti covered walls were abundant in the area, and
LeWitt shoots mostly images of political scrawls, torn posters and
splattered paint in a straight-forward, almost deadpan, style that is in
essence social documentary.

Sol Lewitt believed that walls were public and large and that books were
small and private; that they each provide the same information through
extremely different formats. Sol Lewitt wrote, “When one sees a wall, it is
the impact of the whole that is understood at once-emotionally more than
intellectually. It is only by reading the wall that the viewer understands
it fully.” The installation of LeWitt¹s On the Walls of the Lower East Side
at Mondrian SoHo provides an opportunity for this work to be seen in the
context of the community that inspired it.

More images after the fold.

Once again Lui Bolin disguises himself and fades into the background. I kind of love this.

More images after the jump.

Over the past week Marina Abromović, or the center pieces and rotating heads she unveiled on the tables at the 2011 MOCA Gala in Los Angeles, had stirred up quite the controversy. Mostly from legendary dancer Yvonne Rainer.

While Abramović was in Los Angeles this week auditioning performers to become living centerpieces of sort at the gala dinner tables (they will be kneeling beneath tables, poking their head through holes in them), Rainer has been circulating a letter, addressed to MOCA Director Jeffrey Deitch and signed by such art-world luminaries as critic Douglas Crimp, calling the work “exploitative” and a “grotesque spectacle.”

But in its report on the controversy, Artinfo.com published long quotes from one version of the letter, and got a response from Abramović: “I hope the performance itself will bring some kind of dignity, serenity, and concentration to the normal situation of a gala, and actually change the energy of the space and bring the performance into an everyday life situation.” via: Culture Monster – L.A. Times

As with most reaction to a performance or piece of art before it is actually unveiled, it was mostly hyperbole (go figure) and the performers left the event with their dignity in tact.

Some images from the event after the jump.

Mark Jenkins makes human body casts out of saran wrap and packing tape. He then places them around the city for a variety of humorous and thought provoking effects. Watch an interview about his purpose and process after the fold.

D*Face has been at it as usual, with an impressive exhibition in Melbourne at Metro Gallery as well as installing cement spray paint cans around the city. Take a closer look after the jump.

The Anthropologist is a site put out by clothing and homewares label Anthropologie, but you’d never know it by looking at the site. The clean, minimal template is used to showcase and celebrate the works of artists. The Urban Land Project by photographer Tim Simons is one of the artist projects featured on the site.

Urban Land is a series of photographs, taken by Simmons, blown up in scale and plastered on billboards along some of L.A. and Philadelphia’s busiest highways and intersections. The images shown are close-ups of the texture and detail of the city’s land, and are meant to make viewers take a second look at their own surroundings.

More images after the jump.

In collaboration with the textile company Kvadrat, Ronan and Erwan Bouroullec have created the Textile Field Installation, now showing at the Victoria & Albert Museum in London. From the designers:

During the London Design Festival, The Victoria & Albert Museum invited us to intervene in any space we wanted within the Museum: the result is Textile Field an installation 30 meters long and 8 meters wide which takes over 240m sq of the floor of the famous Raphael Cartoons Gallery.

An invitation to lascivious reverie. Our intention is to propose a different, casual approach to freely experience what can be a quite intimidating environment, such as a museum. We conceived an expansive, coloured foam and textile piece with gentle inclinations to produce a sensual field on which to comfortably lounge while meditating on the surrounding Raphael Cartoons. Everyone can immerse into this temporary installation, for a minute, an hour or more, that is the idea. No efforts, no apprehension just contemplation.

via contemporist

More images after the jump.

The man behind the Staircase installation at Tate Modern takes on a new set of ideas in his Specimen Series, which features a new set of nylon fabric household objects found in his own home. The series explores “perception of our surroundings and how one is able to construct memory from a space.” His Specimen Series, along with two other exhibits titled Fallen Star 1/5 and Home Within a Home, will show at Lehmann Maupin Gallery beginning September 8 through October 22.

Lehmann Maupin Gallery
540 W 26th Street
New York NY, 10001

More images after the jump.