Each artist has been commissioned to create a completely new work for the exhibition on the theme of time, working with any medium and on any canvas apart from their usual surface of skin. Back in 2002 I had the good fortune of partnering on a truly unique project: developing a cutting-edge tattoo clothing line, now known as YellowMan.
One of the first deliveries, and perhaps the most important, came in the form of a shipping tube from Switzerland. The shipping tube and its marks held a heightened intrigue and anticipation to it’s contents, and for this reason Mui chose not to open it for some time. Many years later, and following the sudden death of Peter Mui in 2009, I was tasked with co-curating an exhibition of original tattoo artwork collected by Mui. I gave each piece of art in the exhibition a customized frame treatment to reflect the style of artwork within it’s borders, while providing a continuity and cohesion throughout the entire exhibition. I believe the enchantment of the shipping tube endured, in spite of the fact that Peter Mui did eventually open it and discover the contents. AboutAndreas Engel is a seasoned NYC Creative Director with experience in Strategic Brand Development, Digital and Print Marketing, Web Analytics, Copy Writing, Photography and Video Production. Andreas Engel has deep experience in a wide range of projects, making him a valuable go-to force in virtually any design project. With a foundation in Communication Design and Illustration, as well as a seasoned career as a colorist in Fine Art Serigraphy production, Andreas Engel has an expert eye for detail and an acute, strategic instinct for design. About AECAndreas Engel is a seasoned NYC Creative Director with experience in Strategic Design Solutions, Brand Development, Digital and Print Marketing, Web Analytics, Copy Writing, Photography and Video Production. Northern New Mexico has a new kid in town (truth is, the kid’s been here for decades). When we trace the lineage of these new expressions we see cultural influences as widespread as Kustom Kar Kulture, Surfing and Street Art, Underground Comix and Rock Art, Tattoo and Saturday morning cartoons!
The work introduced in this series of exhibitions seeks to broaden visual literacy and understanding of the imagery of consumer society - mass communication circling the heads of younger artists. In the context of art history, it makes sense that this group of artists has met with conflict.
A movement I consider dangerous (despite the great sympathy I have for its perpetrators) is taking shape among a small clan of youngsters.

As the past has taught us, virtually every new form of creative endeavor is, in its nascence, an intolerable offense to the cognoscenti. We can use Robert Williams, born in 1943 in Albuquerque, NM, as an answer to the questions stated above. Tattoo Art of New York City is running at The Flood Gallery in Greenwich from Friday, but if that’s too far for you to trek you can look at the exhibits and buy strictly limited-edition prints of the art over on their official website.
The lifeblood of the concept involved commissioning top world tattoo masters to produce original artwork which would later be digitally printed on technical fabric. The tube itself, looking like something out of an Indiana Jones adventure, was swathed in stamps and marks of various kind. I couldn’t help but think back to the origins of his tattoo-art-collecting efforts, and the iconic shipping tube from Filip Leu. This was done with subtle color washes, rubber stamps, stickers, tape, and hand-written details.
Kings and Queens of Cool is a four-part exhibition focusing on the Post-Pop or Lowbrow art movement that grew out of West Coast surfer, street and car cultures. Cars, pin-ups, punk, rock and roll, comics, tattoo, prison art, graffiti, pulp, surfer, airbrushed – anything from the streets and of the people. Add to these populist forms the powerful influence of Pop Art and Surrealism and a renewed interest in narrative content (storytelling), and a new aesthetic begins to emerge. The Kings and Queens of Cool is comprised of four unique exhibitions addressing several basic themes: Post-Pop, pinstriping, tattoo, graffiti, and a small sampling of original rock poster art.
The exhibition is also meant to unite and applaud the current culture of Northern New Mexico and its relationship to current national culture. Similar examples are historically recorded about the Pre-Raphaelite Brotherhood, Dada, Expressionism, Surrealism and so on. The exhibition then traveled to The Art Institute of Chicago and the Museum of Contemporary Art, Los Angeles. Most likely, study it to understand late 20th and early 21st- century politics and society.
Needless to say, mail deliveries to the office bore uncommon treasures from around the world.

As indicated by the ornamental skull-crested stickers, it had been sent by  Filip Leu, of the enigmatic Leu Family’s Family Iron Studio In Lausanne.
Heart versus intellect, art that embodies technical craftsmanship blended with fantastical imagery and visually dynamic narratives. Perhaps the most compelling aspect of all of this is how seemingly disparate parallel paths, bending to the subtle arc of history, have coalesced in this time and place where past, present and future converge.
When does the birth of a new movement become a rock solid, historically sound monument to the human spirit? Well, some friends of ours at the Flood Gallery are putting on an exhibition of some well fancy tattoo art from over in New York, unsurprisingly called Tattoo Art of New York City, and we reckon it’s well worth a look.
How this translates and evolves through an endless creative process can seem mysterious; however, one thing is now clear.
Art in the 1990s at the Los Angeles Museum of Contemporary Art and, in 1998, Pop Surrealism at The Aldrich Contemporary Art Museum.
Circling the placitas and cruising the local towns are stellar sculptural and mechanical feats. In the Post-Modernist art world, we are seeing the evidence of several generations of creative seekers pushing the envelope in countless directions, responding to their worlds and searching for new forms.
Their dogma amounts to a wavering schematics that proscribes modeling and volumes in the name of I-don't-know- what pictorial abstraction. It is easy to ignore the worn, plain, tagged, stucco casitas and industrial buildings that house these artists. Williams’ work filled the cultural space between the museum and comic book convention.
Is it then the responsibility of an educational institution to exhibit and teach the community and students about the new forms rising around us?

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