For a few years now I've heard tale around the Bushwick art scene of a photographer who goes by the name Worm Carnevale. He's friend-of-a-friend to three different groups of friends, so when the opening for his new show "It's NOT a FU#%ING Polaroid" at photographer Rafael Fuchs' gallery came rolling around I got pelted with facebook invites from all sides.
I have mentioned this before, normally I don't like taking pictures at galleries showing photography for a few reasons. The main one being, me taking photos of better photos taken with a better camera is not only redundant, but not flattering to the original work, but in this case I made an exception. There was just no way I could avoid a party where I would be seeing so many friends, and I also couldn't turn down the opportunity to finally meet the man called Worm.
They are "NOT FU#%ING Polaroid's" because I guess technically they are not Polaroid brand photos. In the same way that a photocopy done on a Lexmark brand machine is technically not a Xerox. But isn't that just semantics? They are both instant printing photo cameras that if you shake the picture (I can only assume) Andre' 3000 will burst into the room like the Kool-Aid Man, singing "Hey Ya!" (Shaking a Polaroid Picture is like the Bat-Signal to him, he can't resist) & if Andre' 3000 can't tell the difference, neither can I.
This is the third time this year I have seen Polaroids (or in this case, NOT FU#%ING Polaroids) blown up to gigantic proportions. The first being the David Hochbaum show at Munch Gallery (Read: Next to the Sea - ArtSucks.com), which were photos actually shot with a borrowed giant Polaroid camera (one of only five in the world created as prototypes for the World's Fair).
The second time was at a show at Black & White Gallery in Williamsburg, titled FUCKED UP IN MINNEAPOLIS by Robert Whitman (Read: Second Friday in Williamsburg - ArtSucks.com) which were just candid shots he took of his wild parties back in the 70's featuring lots of his friends in mostly nude situations (whom most likely never thought they would decades later be blown up and tacked to a gallery wall - or signed any model releases to that effect).
But I have never seen them blown up and made into a massive wallpaper such as this. Here Worm himself stands in front of his wallpaper of photos wearing his signature Die ballcap.
The show had a ton of work, 500 or more individual photographs lining the walls in three horizontal rows. A lot to take in.
Good friend and fellow artist Mark DeMaio, whom I met last year at his showing of Pop Goes The Bible (Read - Pop Goes The Bible - Mark DeMaio Cartoons Creationism - ArtSucks.com) one of several of my art friends whom I have a piece of their work in my permanent collection.
Art curator Frankie Velez, artist Raquel Echanique, ArtSnapper's Mario Valbuena
, and Model Red Ramirez.
I ran into artist, video documentarian, and friend Loren Munk, whom only earlier that day I had pointed out to him on Facebook that he is the NY Times posterboy for "the power of creativity." (see below: first 5 seconds)
Kristy McKay, Mark DeMaio, and Fashion Blogger Jillian Mercado.
Most of the photographs were one-of-a-kind pieces, but here is a signed edition print for sale of a collection of photos, including a toilet, drag queens, Pikachu, and an oddly out of place portrait of Gilbert & George.
I managed to hand my camera over to photographer David Ha. Pictured Left To Right: Photographer Athenais Alcibar, Red Ramirez, Frankie Velez, Cojo (me) towering over them, Raquel Echanique, and Mario Valbuena
Oh how cute, Mickey Mouse is checking out some of the . . .
WHAT THE FUCK?!
It's actually fashion designer NVRMND. Phew, I haven't been this scared since Mickey Mouse bitch slapped, and ate me in Orlando back in 2006 (Read: Mickey Mouse Ate My White Ass - ArtSucks.com .
Artist Michael Alan, whom I'd met earlier this month at Antoinette Johnson's show.
The always sexy painter & hair sculptress Antoinette Johnson with her hair in a much more sedate fashion than usual.
Antoinette looks at the work, she appears in at least three of the pictures.
Photographer Rafael Fuchs looks pimp in the other room of his gallery where he has some of his more abstract photos on display.
Artist Don Pablo Pedro looks how I would picture a young Santa Claus if he lived in Haight-Ashbury in the late 60s.
It was getting late, Frankie Velez had already split out to see another show called Purple in Williamsburg, and we wanted to make it over there before it wrapped up.
Out on the street a fog had come in making the street lights glow. Fall is the best season to live and be young in NY.
Click Like, Comment, and continue on our journey to Williamsburg (Read:Purple Opening at Causey Contemporary - ArtSucks.com).
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