By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
His Bandana, Silhouette Series, crafted from die-cut paper, exudes the same type of cinematic vibe as Kara Walker's cut black-paper tableaux yet is much more modest in scale.
The work reflects Typoe's desperado self-image while also raising questions about assumed identities and cultural stereotypes in contemporary society.
Out in Wynwood's edgier fringes at OHWOW (3100 NW Seventh Ave., Miami; 305-633-9345; oh-wow.com), Ari Marcopoulos thrashes out his vision of the Big Apple's nascent skateboard scene during the early '90s in "No Cause." The gritty, unrestricted look at the urban subculture features portraits, black-and-white and color snaps, photocopies, and drawings capturing the youthful air of defiance varnishing the cultural moment. It marks the Dutch shutterbug's Miami debut.
Since arriving in New York in 1980, Marcopoulos has emerged as one of the most influential voices documenting America's underground and marginalized subcultures. He has photographed everything from rust-rimmed, blood-coated public bathroom sinks to surfing Eskimos, homemade zip guns, angst-addled cherubim, and Swedish techno raves, as well as created intimate portraits of Warhol, Mapplethorpe, Basquiat, and other denizens of the '80s downtown New York art scene.
His works on view at OHWOW coincide with the release of the artist's new book, Stoopz, featuring pieces from the exhibit as well as additional images.