Alexia Stamatiou


Painter said...

Alexia Stamatiou @
237-A Eldridge Street

PinkandlacePony said...

Cool. I love Alexia's work. That is a lot of babies to take care of.

rainbowandskull said...

This work reminds me of a lot of work coming out of California but it has a stronger narrative than most pushing past hip/hippy decorative.
Is this a new gallery?

closeuup said...

painter - u got some crazy stuff up on popparatzzi. that photo of alec baldwin made my day. 30 rock is my favorite show right now. thanks

zipthwung said...

Reminds me of when I was little and the cat had a litter - she licked them unitl they were dry and then they all died of distemper.

Then my dad smashed a black widow spider with a shovel.

Somewhere in there my brother lit a bonfire by the fence, under the tree.

The flames were higher than me.

That was awesome.

Then my dad came running and yelling and that was awesome.

no-where-man said...

that image makes me angry i don't know y maybe it should this is dope

closeuup said...

The Rapture and the Left behind. good riddance, eh?

Sir James Frazier thinks that the reason religion came about in the first place was fear of the human dead.

fear uncertainty doubt? whatever

Cooky Blaha said...

i can never find this gallery. Is it at ground level?

zipthwung said...

I hate deckled edges. I hate them.

Anonymous said...

Hello painternyc community and greetingssss

I look at this and think "population control".
The sun is hot. The woman is cool. The spawn are many. The woman is sort of dumbly and too contentedly procreative. If she's supposed to be giving all her life force away to these male creature-spawn, she's gonna look pretty contented with it if she don't wipe that stupid grin off her face.

I'll give it a B-. It seems like it done gotta be politically motivated but then it jus don't make lotta sense in erny perticulla d'rection. Durn blass' it if I ain't jus bamboozled right'n good by dis leetle sucker.

It is cold and detached one way notha' Playin it good an safe, but I like it.



But is it good diplomacy? The third reason why no one asks this question can be found in a neglected chapter of Cold War history: the late 1960s and '70s. That was when a new generation of American writers, rock stars, musicians, filmmakers, and visual artists adopted a confrontational stance toward “the system” (meaning the war in Vietnam, white racism, political dishonesty, and the power of U.S. corporations). As everyone knows, this 1960s counterculture offended conservative sensibilities in the United States. But from the vantage point of cultural diplomacy, it had one distinct advantage: it also upset the powers-that-be in Eastern Europe and the Soviet Union.
For example, the anarchic rock musician Frank Zappa was hardly on the list of approved artists sent abroad under the U.S.-U.S.S.R. cultural agreement. But that did not stop Zappa and his band, the Mothers of Invention, from becoming a symbol of freedom to Czech playwright (and later president) Vaclev Havel. In 1969, after the Soviet invasion crushed the Czech dissident movement, the most effective voice of protest was a rock band, the Plastic People of the Universe, who took their name, and some of their style, from Zappa. Indeed, Zappa remained one of President Havel’s heroes: in 1990, he offered Zappa a job as special ambassador to the West on trade, culture, and tourism.[4]
The State Department could not showcase someone like Zappa officially. But they could, and by most reports did, feel secret delight when the works of Zappa and other countercultural figures, introduced as contraband into the Soviet sphere, proved more subversive there than they were at home.
A similar delight was voiced during the winter of 2001–2002, when the United States and its allies ousted the Taliban from Afghanistan, and the editorial page of the Wall Street Journal-- not known for praising post-1960s rock music--celebrated its return to the long-hidden record players of Kabul. But these murmurs have not been heard lately, perhaps because most Americans suspect that today’s “envelope-pushing” popular culture--foul-mouthed rap, sniggering sitcoms, gory films, and video games with no moral compass--is not the best way to counter enemies such as the resurgent Taliban.
How did American popular culture become so debased? To some critics, especially those steeped in Platonic skepticism toward democracy, the answer is simple: popular culture is debased because it is popular. Plato accused poets of catering to the “small minted coin” of the mob, which is why he banned them from his republic. Yet this is not my view, because popular culture has not always been this way. What are the characteristic vices of democratic taste? Sentimentality, bombast, vulgarity, violence. American culture has never lacked for these vices. But its genius has always been to offset them with commensurate democratic virtues: humor, vitality, openness, diversity, dynamism.
If the vices dominate today, it is not wholly because of democratic taste. The real change is among elites--not just professors and intellectuals, but also people in the entertainment industry, from “A&R” (artists and repertory) executives to decision makers, gate-keepers, and opinion leaders of all kinds. Here is a recent example: we are now living with the disappointment of not being able to read O. J. Simpson’s latest book, If I Did It. In case you have been in a state of cryogenic suspension for the past few months, this “novel,” in which the acquitted murderer describes how a fictional character named “Charlie” butchered Nicole Brown Simpson and her friend Ron Goldman, was signed by Judith Regan of HarperCollins, and its publication was scheduled to coincide with a much-hyped interview on Fox TV. The aim, of course, was to titillate the public with a quasi-confession, replete with blood-and-guts detail.

triple diesel said...

Sunday is a relatively new space. The former director of Freight&Volume opened it.

zipthwung said...



Anonymous said...

Don't like deckle.? I love this piece.

Deck the halls with little dolls.
Happy Solstice.

Anonymous said...

The gallery is in the middle of the block - Eldridge Street between E. Houston and Stanton. Close to the 2nd Ave. / Lower East Side stop on the F train. It's ground level, and it's painted bright white. The gallery's winter hours are Thursday-Sunday 12-5 PM. More info on the website: http://www.stirusfreeus.com.

Marc said...
This comment has been removed by the author.