Tuesday, October 21, 2008

"Meat After Meat Joy", curated by Heide Hatry at Daneyal Mahmood Gallery

(c)Betty Hirst, American Flag 2008, Meat and lard on panel, 33 x 60 inches, courtesy of the gallery

(c) Zahng Huan - My New York 2002, Performance, Whitney Biennial, courtesy of the gallery

(C) Betty Hirst,Baby II 2008, Meat, 14 x 8.5 x 3 inches, courtesy of the gallery
Group Exhibition runs October 16 - November 15, 2008

The flesh is weak but the spirit is strong. Using meat, as a material is most certainly an interesting concept with predisposed associations and references. Once passed a slightly sickening sweet scent at the opening there are interesting levels to investigate. The material is life and death symbolically of course but it is also a signifier something was and is no longer itself. Though it is almost impossible to get around the “spectacle” of the material, Heide Hatry plays down that aspect in order to dig deeper into the collection of works.

Betty Hirst’s works are visceral chunks formed into sculptures. In Hirst’s “American Flag” piece she creates horizontal lines of meat and lard sprouting maggots deteriorating before your eyes within its frame. Possibly, we have come to this collectively, a carcass of ideals left to fester. In her work “Dried Baby” the meat infant is a basic figure with minor details alluding to gender. Faceless lying on a light pink satin material under a single hanging gallery light, small stains have begun to settle into the fabric. The disturbing warmth of the yellow light washes over the work as in a strange hatchery...

In Zahng Huan’s video “My New York 2002 – Performance Whitney Biennial” Huan’s meat suit is as bulked up as any contemporary super hero. He is now publicly fully exposed, vulnerable without the most basic protection of his own skin.

Carolee Schneemann’s "Meat Joy (1964) performance" in which both men and women roll around biting raw chicken unleash unabashed desire bound to the body but not exclusive to it. They roll and slide, playfully confident in their “being” without concerns of social or sexual pre-conditions and judgment.

Curious by nature, I oddly found myself wanting to touch the work to experience its texture first hand. Would it really feel different because of its placement in a gallery and presence as art object than preparing it for dinner? This is where the brain kicks in to add its two cents to the experience.

Heide Hatry wearing a black jumper with thin slices peeking through cut outs invited me to touch it. Naturally, I did hoping to find an unexpected reaction. Still supple with a slightly dried thin layer, the meat against her body gave way as if I were touching something deeper. She had given me something which felt very personal, a moment to see beneath the layers of skin through the cut outs of the jumper.

What she had given was a rare experience.

Daneyal Mahmood Gallery
511 West 25th Street, 3FL
New York, NY, 10001
T: 212 675 – 2966
F: 212 675 – 3966

contact the gallery for further information and a full list of participating artists.

Monday, October 20, 2008

Emergency Arts Open Studios

(c) Vadis Turner, "Sex Swing" photograph courtesy of the artist

(c) Daphne Parks, "Peace" photograph courtesy of the artist

Creating a new history, the large warehouse building known as Emergency Arts on Eleventh Avenue in Chelsea was completely gutted and renovated using the original and donated materials as well fixtures designed by selected artists. The four-story space is a catacomb of artists’ studios and large event areas. The work created here since it’s inaugural opening several years ago has been exceptional. In this years open studios I found several artists of particular interest.

Annysa Ng’s work, which I’ve followed since our first meeting, was impressive. Poetic, meticulous and philosophic pieces ranging from paintings and sculptures to installation are absolutely wonderful. In particular is her installation piece, “Who is the dreamer” a plain wooden chair slightly off kilter, one leg precariously perched on a crackle glass ball. Yellow butterflies gather resting along one side of the chair while strands of braided and loose dark hair flow from the ceiling cascading over suspended clear bars. Fantastic to see in person.

Daphne Park’s paintings on paper are interesting images of figures in transformation or a metamorphosis of sorts twisting new tales to be told. They are gentle expressions at first glance with a subtle uneasiness lingering in your thoughts. Her work “Peace” depicts an almost Allison in Wonderland” girl fluttering within a rich reddish brown space. An animal skull mask covering half her face, a long pipe in her mouth wafting smoke into a billow of form reminiscent of the Cheshire cat. Standing on two pairs of doe like legs a shorter pair between the second and a second pair of shoulders above the first, brought to mind two selves the conscious and unconscious in process of resolution.

Vadis Turner’s work twists basic domestic materials into another realm. Her work “Peek-a-Boo” is a sexy lingerie set made from wax paper in which she uses pins and tooth pics to gingerly create the lace pattern. Precious little bows tie the peek-a-boo areas around the nipple and crotch area of the undergarments. “Sex Swing” is made from quilting patterns from childhood into a pillow like swing suspended from the ceiling, complete with a little heart pillow. Though the materials or process of the works are very “innocently feminine” by traditional standards, Turner is not only questioning but breaking these ideas with an added sense of humor.

Harima Midori’s sculptures constructed from a collage of various black and white images on paper were quite stunning. In particular was a piece with several life size coyote type animals arranged in a semi circle. One looking directly up at you is very menacing. You’ve stepped where your presence is in question like an intrusive visitor being sized up for acceptance or denial. Not to miss is the eerie large carousel piece. There’s a separate gallery entrance to this.

You don’t need an emergency to pay a visit to this home of inventive new work.

Friday, October 03, 2008

“Art Under The Bridge”, Dumbo Art Festival

(c) Kyle Goen, studio at 55 Washington Street photograph courtesy of the artist

(c) Kyle Goen, studio at 55 Washington Street photograph courtesy of the artist

(c) Kyle Goen "John Walker Lindh Tea Towels"photograph courtesy of the artist

All roads lead to Brooklyn, as both the Manhattan and Brooklyn Bridge converge in the little area with big ideas known as Dumbo. The bridge to somewhere indeed a weekend of art at it’s best. “Art Under the Bridge” is a weekend festival of open studios, interventions, strange parades, music and a bit of humor in these tumultuous times. Projects by artists included a video of free floating fetus images projected on the walls of a little alcove of the Brooklyn bridge, a huge strange media organism piece sponsored by Current TV, clone babies in a carnival glass box to win for $2, parades of strange superheroes, dancing participants on grass throwing flowers under a huge grid of color blocks, an infinite wishing well of light and mirrors in a lobby and the open studios at 55 Washington Street.

As the world is turned upside down and inside out, we ride the roller coaster belted in our seats. Artists did not go gently into that good night but rather came out swinging fearlessly. At 55 Washington Streets Open Studios, artist Kyle Goen brings together both message and aesthetic in political art. Working primarily in a combination of painting and printmaking as well as large installation pieces, the works bravely take on the issues of our history and it’s consequences. In Geon’s piece, "John Walker Lindh Tea Towels" the progression of the portraits is chilling. More so for me is the fact that they are printed on a domestic material whose purpose is to “clean up a mess, to wipe it clean”. The texture of the fabric lends itself to the newsprint dot, reinforcing notions of printed media images, identification photos, wanted posters and morgue photos. The orange red tones of the prints and woven material have an unsettling beauty to them juxtaposed to the images.

For the price of a token and a quick train ride, this weekend brought the best views from the Brooklyn side.

Monday, July 14, 2008

The Waterfalls, Olafur Eliasson

I took a little stroll to see the waterfalls on a hot summer day with a friend. A treat to walk along the water and see these gushing water falls bend and flow with the wind. An interesting bonus, was the scent of water which wafted through the air, microscopic droplets filling the air.. refreshing and clean from a body of water not exactly known for clean scents...

Photograph courtesy of Aaron Thompson.

I found a lovely little cafe across from one of the waterfalls to sit a spell and just enjoy the moment.. This is why I love public art in New York city.

Monday, April 28, 2008

"Current Orphan Works Legislation Affects Us All"

Both House and Senate versions of the Orphan Works Act of 2008 can be downloaded from the IPA homepage:
Many groups are coming together to oppose this bill. We’re preparing letters you can customize and send to your representatives through our push-button link. Please stay tuned and we’ll give you the tools we need to make our voices heard.
For additional background on Orphan Works, go to the IPA Orphan Works Resource Page for Artists
Visual Artists Copyrights Under Attack:
Open letters from Brad Holland and Cynthia Turner
Forwarded by Walter King
I am forwarding these letters to all of you at Absolutearts and the various feeds they service. This issue is of great importance to all visual artists as well as anyone who regularly creates and provides creative content and intellectual property for publication in any form.
Brad Holland and Cynthia Turner have been working on this issue for quite some time. When I was the Chair of Illustration at the Columbus College of Art and Design CF Payne brought the issue of artist rights to me. Together we organized a round table discussion giving early exposure to an issue of great importance to all artists. The dialogue on illustrators rights and the need for an organization to help educate artists and help illustrators protect their rights was beginning to resonate. That was more than10 years ago. Shortly after that round table a biennial Illustrators Conference was established igniting a debate on the issue of stock art companies, copyrights and collecting societies. Shortly after that the Illustrators Partnership was forged separately. The Partnership has come to maturity during the last decade in which copyright issues have come to the forefront because of contemporary business models and the confusion caused by the internet. Brad testified before Congress a while back helping to defeat the previous version of this upcoming bill. He feels that this next version has strong support in both houses and might pass. The letters are very informative. Especially the last part of the second letter which clearly shows why this issue is important to visual artists. Certainly Illustrators should be aware but all visual artists essentially will be affected.
You don’t need to be set up to sell copyrights professionally for this to be an issue for you. Just the fact that you publish your work on the web could become a problem allowing infringers to use your work with out paying for it. I encourage every visual artist to read both letters carefully. Do some further copyright research on the net. You'll be surprized how many myths there are out there that we've all bought into. Get educated about perhaps the most important issue to affect your work since the creation of the personal computer and the internet during the last century.
Be prepared to write your Senators and Congressmen to express your concerns about this bill when it appears.
Walter King
More from Brad Holland and Cynthia Turner
From: illustratorspartnership@cnymail.comSubject: "Promoting" Orphan WorksDate: Fri, 14 Mar 2008 18:28:51 -0400
Yesterday ( Thurs. Mar. 13, 08) the House subcommittee on Intellectual Property held their first hearing on new Orphan Works legislation. Note the title:
"Hearing on Promoting the Use of Orphan Works: Balancing the Interests of Copyright Owners and Users"
Balance, however doesn’t seem to be part of the Orphan Works juggernaut. Indeed, after this hearing, we can no longer assume that the U.S. Copyright Office is an advocate for the protection of creators' rights. As they wrote on page 14 of their original Orphan Works Report:
"If our recommendation resolves users’ concerns in a satisfactory way, it will likely be a comprehensive solution to the orphan works situation." (our emphasis)
But how can any copyright law be "comprehensive" if it makes millions of copyrights, no matter how valuable, available to users, no matter how worthy, under a system that would introduce permanent uncertainty into the business lives of creators?
Private Sector Registries
Since the last bill died in committee in 2006, the advocates of this legislation have promoted the creation of private commercial registries. On January 29, 2007, a lead attorney for the Copyright Office warned us that under their plan any work not registered with a private sector registry would be a potential orphan from the moment it was created.
This means you would not only have to register your published work, but also:
— Every sketch or note on every page of every sketchbook;
— Every sketch you send to every client;
— Every photograph you take anywhere, anytime, including family photos, home videos, etc.;
— Every letter, email, etc., professional, personal or private.
This Would End Passive Copyright Protection: Under existing law the total creative output of any "creator" receives passive copyright protection from the moment you create it. This covers everything from the published work of professional artists to the unpublished diaries, letters and family photos of the average citizen.
But under the Orphan Works proposal, none of this material would be covered unless the creator took active steps to register and maintain coverage with a commercial registry. Failure to do so would "signal" to infringers that you have no interest in protecting the work.
The Registration Paradox: By conceding that their proposals would make potential orphans of any unregistered works, the Copyright Office proposals would lead to a registration paradox: In order to "protect" work from exposure to infringement, creators would have to expose it on a publicly searchable registry. This would:
— Expose creative work to plagiarists and derivative abusers;
— Expose trade secrets and unused sketches to competitors;
— Expose unpublished and private correspondence to the public on the Orwellian premise that you must expose it to "protect" it.
Yet registries will not be able to monitor infringements nor enforce copyright compliance. Even after you’ve shelled out "protection money" to a commercial registry to register hundreds of thousands of works, you still won’t be protected. A registry would do nothing more than give you a piece of paper. You would still have to monitor infringements - which can occur anytime anywhere in the world; then embark on an uncertain quest to find the infringer, file a case in Federal court, then prove that the infringer has removed your name or other identifying information from your work. Meanwhile all the infringer will have to do is say there was no such information on the work when he found it and assert an orphan works defense. This will be the end result of trying to "resolve the users’ concerns" at the expense of time-tested copyright law.
Coerced registration violates the spirit and letter of international copyright law and copyright-related treaties. And because this bill would effectively eliminate the passive copyright protection afforded personal correspondence, family photos, etc. it would tear one more slender thread of privacy protection from the fabric of fundamental rights we currently take for granted.
We urge Congress to carefully reconsider the unintended consequences of this radical copyright proposal.
— Brad Holland and Cynthia Turner, for the Board of the Illustrators’ Partnership
Please post or forward this email in its entirety to any interested party
From: illustratorspartnership@cnymail.comSubject: Orphan Works: IPA Written StatementDate: Thu, 20 Mar 2008 23:21:03 -0400
Concerning Orphan Works Legislation
Written Statement of Brad Holland and Cynthia Turner on Behalf of the Illustrators’ Partnership of America
The Subcommittee on Courts, the Internet and Intellectual Property
Committee on the Judiciary
U.S. House of Representatives
March 20, 2008
Mr. Chairman and Members of the Subcommittee, while this statement is being filed by the co-chairs of the Illustrators Partnership of America, it reflects a statement previously submitted to the Copyright Office and endorsed by 42 national and international organizations representing a broad spectrum of the commercial and fine artists who make their living from the exercise of the exclusive rights guaranteed to them by the U.S. and international copyright law and treaties.
We respectfully request that the subcommittee delay any action on the pending legislation until we have been able to inform its members fully about our concerns and to work with the subcommittee to address those concerns. It then may be possible to craft legislation that does not unfairly prejudice the interests of those whose livelihood depends on meaningful copyright protection. We also are concerned that the legislation, as drafted, may have spillover effects on a wide variety of copyrighted works that are important to a growing and healthy U.S. economy in the information age.
Under this legislation, as we understand it, effective copyright control to a work, including works of visual art, would require submission of a copy or copies of the work to as yet-to-be created private registration companies that would use untested technologies to scan images submitted by unlicensed users. These users would then be excused from any liability for infringement unless the legitimate rights holder responded within a certain period of time to grant or deny permission to use the copyrighted work. This is a radical departure from any existing business models or practices in the field of copyright.
Further, it radically abridges the fundamental principal of exclusive rights granted to creators under the copyright law, and creates a sweeping compulsory license permitting large scale unauthorized use of not only older works, the provenance of which may be difficult to determine, but also of the valuable contemporary works that are the economic life blood of those in our profession. U.S. copyright law currently contains a number of statutory licenses that legitimize either de minimus use of a work created principally for other uses, or that deal with the special needs of not-for-profit organizations and others that skirt the boundaries of fair use. However, all of these statutory licenses provide for a system of remuneration to the copyright owner for uses that have not been directly authorized. This legislation is neither limited to de minimus uses of works nor does it provide a method of compensation for such uses.
The cavalier disrespect for the fundamental principle of exclusive authors’ rights that is inherent in the Copyright Office’s legislative scheme is reflected in the following colloquy between this author and the General Counsel of the Copyright Office at a meeting in which he responded to the concerns of visual artists about the potential harmful effects of this legislation.
Holland: If a user can’t find a registered work at the Copyright Office, hasn’t the Copyright Office facilitated the creation of
an orphaned work?
Carson: Copyright owners will have to register their images with private registries.
Holland: But what if I exercise my exclusive right of copyright and choose not to register?
Carson: If you want to go ahead and create an orphan work, be my guest!
(From the author’s notes of the meeting.)
We believe strongly that this legislation as now written violates the obligations and commitments of the United States under Article 5 (2) of the Berne Convention on Literary and Artistic Rights which states:
"The enjoyment and the exercise of these rights shall not be subject to any formality." (Emphasis added)
This Berne Convention principle has been incorporated into the Universal Copyright Convention and Article 13 of the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS). These agreements acknowledge narrow limitations and exceptions to the exclusive right of copyright – so long as the exceptions don’t exceed the constraints of the TRIPS Three-Step Test:
"Member [countries] shall confine limitations and exceptions to exclusive rights to:
(1) certain special cases
(2) which do not conflict with a normal exploitation of the work
(3) and do not unreasonably prejudice the legitimate interests of the rights holder."

Legal scholars Jane Ginsburg and Paul Goldstein have warned that Orphan Works legislation must precisely define the scope of its mandate or fail to meet the three-step-test. As they wrote in their submission to the Orphan Works Study:
"[T]he diversity of [orphan works] responses highlights the fundamental importance of precisely defining the category of "orphan" works. The broader the category, or the lower the bar to making the requisite showing of due diligence, the greater the risk of inconsistency with our international obligations to uphold authors’ exclusive rights under copyright. Compliance with Berne/TRIPs is required by more than punctilio; these rules embody an international consensus of national norms that in turn rest on long experience with balancing the rights of authors and their various beneficiaries, and the public. Thus, in urging compliance with these technical-appearing rules, we are also urging compliance with longstanding practices that have passed the test of time." 1., p. 1, OWR0107-Ginsburg-Goldstein (Emphasis added).
We do not believe the Copyright Office proposals address the concerns of professors Goldstein and Ginsburg and would, if enacted, subject the United States to complaints of treaty non-compliance at the World Trade Organization. And, we would expect the international reprographic and artists rights societies which endorsed our submissions to the U.S. Copyright Office would be able successfully to encourage their governments to bring such complaints.
As the world’s leading creator and exporter of copyrighted works, the credibility of efforts of the United States to secure effective international enforcement of copyright would be materially weakened by the enactment of this proposed legislation. Certainly any law that prevents effective remedies or imposes arbitrary burdens on the right to bring infringement actions – much less provide for compensation for de minimus uses – would be seized upon by those in other countries who wish to defend piracy of U.S. works.
In addition to our concerns about the compulsory licensing aspects of this legislation we would like to acquaint the subcommittee with the unique characteristics of illustration and other visual works of art that distinguish us from those who create other categories of copyrighted works such as literary works, songs and films. Unlike these other categories of works, works of visual art lack universally accepted titles that would allow users to search for them by name. Therefore the role of image recognition technology is critical. This technology is still in its infancy, is untested, and its use raises a number of very practical concerns. Among these concerns:
- The number of works created by the average visual artist far exceeds the volume of the most prolific creators of literary, musical and cinematographic works;
- The cost and time-consumption to individual artists of registering tens of thousands of visual works, at even a low fee, would be prohibitive; therefore
- Every artist would see thousands of his creations potentially orphaned from the moment of creation.
- No registry would be meaningful until billions of pre-existing works (both published and unpublished) from artists (both living and dead) have been digitized; but
- Few, if any, living artists could afford the time and expense of digitizing and registering a backlog of tens of thousands of their own works; therefore
- Countless working artists would find countless existing works orphaned from the moment they create them.
Further, we have a number of unanswered questions about how the registries that are key to this legislative scheme would work, such as:
- Who is to be trusted with this [these] valuable database(s)?
- Why should any professional creator be forced to entrust his or her entire creative inventory to the control of other commercial entities?
- What happens when a registry is hacked?
- What happens when it’s acquired?
- The contents of these image registries will be more valuable than secure banking information. What happens when the terms of service are changed?
- What happens when registration fees become prohibitive?
- What if individual artists cannot afford to maintain their immense bodies of work in competing registries?
Finally, we are concerned that, even if artists do comply with these coercive measures, they might still find their work orphaned. Let’s say an artist registers tens of thousands of images with one or more commercial registries. A user searches for one of his images and makes a match. The user contacts the artist and asks to use the art for a silly or distasteful ad. Or he asks to use the art for free. Most artists already see such inquiries and we know there aren't enough hours in the day to deal with them. Yet under this law, we would be obligated to respond to every irresponsible request! All this uncertainty would drive ordinary business transactions into the courts where uncertainties would multiply: judges unfamiliar with commercial markets would routinely have to render decisions regarding countless disputes in fields in which they lacked expertise.
The imposition of coerced registration in the U.S. could force foreign rightsholders to pay to register their work with U.S. registries, inviting foreign governments and business to retaliate in unpredictable ways.
And, many of the images to be affected by these proposals will be works created since 1976, when the current copyright act was passed. That law promised artists that their art would be protected even if it was not marked and registered. Yet if the Copyright Office proposals become law, any unmarked picture created in compliance with the 1976 law will become an instant orphan. Countless rightsholders will be penalized for not having done over the last 30 years what the law never required them to do.
We appreciate the opportunity to submit these comments and look forward to working with the subcommittee to address our concerns.
– Brad Holland and Cynthia Turner, for The Illustrators’ Partnership of America
Please post or forward this email in its entirety to any interested party

Thursday, April 10, 2008

The Art of Giving; Special Fundraiser for Tribes Gallery

Tribes Gallery (aka: A gathering of the Tribes gallery)

has been an East Village Staple or should I say Lower East side Staple back before realtor's decided to add new names....

It has fostered and supported the art work and careers of many artists including myself from all disciplines providing fertile ground for exploration, innovation, free thought and some simply dam great conversations. As a non-profit organization it does depend on donations to continue it's work.

With that said..... celebrate, commiserate, exhilarate with old and new friends in support of this gem in the East Village.

This Fri. -- opening + Steve Cannon birthday/fundraiser!
Double Opening Reception
Get-him-out-of-the-red birthday party for Tribes founder Steve Cannon!
(All donations welcome and appreciated please spread the word...)
Fri., April 11, 6 - 9 pm
(closing April 30)

Currently Showing:
"The Secret of XS", by Chin Chih Yang
and"Flow", by Grace Rim

also check out Chivisa Woods new book "Love does not make me gentle or kind"
available at Tribes. I finished reading it some time ago and loved it.

285 E. 3rd St. (betw. Aves. C & D)2nd Floor
New York, NY 10009
(212) 674-3778

Wednesday, March 26, 2008

New York City blooms with art

Like a tenacous ivy, the artworld winds its way through New York City March 27 -30 with art fairs throughout the mighty island. If your out and about check out the work of

Jorden Eagles, Red Dot
Heejin Chong at Pool Art
Broad Thinking Collective artists
Chris Twomey (also at Pool art), Kyle Goen, Peggy Cyphers, Elizabeth Riley, Alyssa Fanning, Jane Fire, Madeleine Hatz, Steven Salzman, Ann Shostrom, Robert Smithson, Holly Sumner at Art Now
Heide Hatry (Hatry's work with Pierre Menard gallery) at Art Now.

Fantastic work for the mind, body and soul.

At the Armory check out ;
Lehmann Maupin Gallery
Cheim & Read Gallery

A great map with the locations of all the fairs can be found at;


Saturday, March 01, 2008

A.I.R. Gallery and National Womens History Project kick off the month of March

March begins Women’s History month with a rediscovery and new perspective of work created by women.

A.I.R. Gallery and the National Womens History Project kicked off their programming last night with a tour through the Works on paper show at the Armory with groups led by Judith Brodsky, founder of The Brodsky Print Center and Marjorie Van Dyke of Van Deb Editions and special guest artists Faith Ringgold and Judy Pfaff.
"Works on Paper" Art Fair, the Park Avenue Armory from 643 Park Ave, between 66th & 67th St. For more info: http://www.sanfordsmith.com/

Upcoming events of interest are; March 4-29th
“Structured Incidents,” curated by Charlotta Kotik,
an A.I.R. National Artists Exhibition @ A.I.R. Gallery, 511 West 25th Street
March 6th
“Structured Incidents,” – Opening Reception 6pm – 8pm
March 1st and March 8th
Art W of artDC "Art Walk Chelsea" , led by Xanda McCagg of Art Introductions
Cocktails and hors d'oeuvres, tour of galleries exhibiting women artists.
Meet the Dealers making a Difference! 1- 3pmBUY MARCH 1 WALK TICKET OR BUY MARCH 8 WALK TICKET
March 9th
"Documenting the Feminist Art Movement: Film and Personal Stories"
PS1, 22-25 Jackson Ave, Long Island City, 11101 2:00-6:00PMCo-sponsored by PS1, The Feminist Art Project, Rutgers Institute for Women and Art, AIR Gallery presents a program on the films of two pioneering feminist artists, Lynn Hershman and Joan Braderman. The afternoon features excerpts from their films and panel discussions with each filmmaker together with leading artists of the feminist art movement.
March 19th
"Panel: DIY Feminisms: from Pioneer to Punk to Post Digital"Moderated by Judith K. Brodsky, co-director, Institute for Women and Art at Rutgers University and Kat Griefen,Director, A.I.R. Gallery with Panelists Daria Dorosh, artist and a founding member of A.I.R. Gallery; Kathleen Hanna, artist and founder of Riot Grrrl Movement; and Raphaele Shirley, video artist and founder of PAM (Perpetual Art Machine)
March 28th
"National Women's History Project High Tea and Honoring Ceremony"
The Puck Building, 295 Lafayette Street 2:00-5:00PMBUY TEA TICKETS NOW
March 28th
"A.I.R. Gala Celebration & Exhibition"
A.I.R. Gala @The Puck Building, 295 Lafayette St - 6:00PM BUY GALA TICKETS NOW

Friday, January 11, 2008

Runts: Robert Rauschenberg’s New Series and Much More

Runts: Robert Rauschenberg’s New Series and Much More at Pace Wildenstein.

What more can be said about Robert Rauschenberg that has not been said before? Runts are said to be the smallest works he has produced in many years. The images are from his archive of photographs, and in some cases, stirred up my own by gone memories of the architecture and graffiti I’ve walked by a million times. Pace Wildenstein was buzzing in anticipation of his presence. The crème of the crop were all out and about last night and in attendance. Chuck Close was there sitting quite high in his hydraulic wheel chair chatting with people when in rolled the ever dapper Rauschenberg. Chiding Close (and this is not verbatim as I’m recounting this from memory) “Chuck, you always try to out do me.” Both artists laughing as he rolled over to Close, it was a fantastic, strange dance of wheel chairs much to the delight of everyone as they hugged greeting each other. Not ten minutes later in rolled another from the gang, I’ll let you guess his name as not to give it all away but, it has an M. and the crowd responded with “Oh my god can you believe it isn’t this wonderful!” It was a very touching moment I will always remember as the cameras were clicking away from all sides. …And so the evening at Pace was complete; I went on my way with a smile.

Robert Rauschenberg: Runts
January 11, - February 16, 2008

Pace Wildenstein
534 W. 25th Street


Wednesday, January 09, 2008

Sit Back And Get Comfortable, This Will Take Awhile

Back Side
A collaborative exhibition featuring:
Chris Coffin, Michelle Jaffe', Kristine Robinson, Chris Walsh

image (c) Chris Coffin and Jeremy Slater, Video Stills "Hudson River, Bump and Grind".

Sit Back And Get Comfortable, This Will Take Awhile...

In an age of one minute to feel anything, sound byte moments, and short attention spans, artist Chris Coffins’ (sound component by Jeremy Slater) DVD and sound installation Hudson River Bump and Grind, does not adhere to the notion that the public is said to only spend five minutes or less viewing a work of art. His work is the exact opposite, requiring your attention with all senses ready…

The black and white video of frozen ice on the Hudson River moves from large over view angles to close up shots of particular pieces. Large broken forms of ice become abstract, bumping up against each other by the natural rhythm of water. In a macro view they are a collective of shapes reminiscent of cells, or a carapace protecting the fluid underneath. It is as if one is watching something so tremendous it is impossible to comprehend its scale, breathing, watching, waiting, and sleeping an ancient guardian of the ocean. Moving slowly into close up shots of individual sections, the bumping and grinding against each other take on living characteristics, nudging, sliding, flickering lines of light surrounding the forms where the water catches light are a silent communication. An alien pattern seemingly rooted in mathematics or musical composition. The nervous system or brain’s electrical flickering also comes to mind. Natural sounds of the environment surround you, wind, water flowing and lapping up against the ice forms…. Crackling sounds repeat… and you move in for an even closer view, now of two forms. Their edges rounded by centuries of movement, your sense of time slows down, and you’re in a prehistoric realm observing the earth shift. One piece, bobbing in the water, nudging the other as if it is its soul mate appears tender and lamenting. The second form appears still, floating in the water, life-less. They are like a pair of large orca’s or hump back whales, in the vast ocean, and you are a voyeur within the most private intimate moment between them, hoping for the forms to somehow connect. The depth of the water, smaller piece’s submerged, their weight and thickness throw you off kilter, questioning, contemplating the relationship and responsibility between human-kind, the environment and the universe itself. After a deep breath, I emerge from the small room into the bright, large expanse of the warehouse space, changed, affected, emotions laid bare.

45-46 21st Street second floor
Long Island City, NY 11101

Exhibition Dates: Sat. Jan 5th 3:00pm to 6:00pm
Sunday Jan 6thopening 3:00pm to 6:00pm
*Monday Jan 7th 3:00pm to 6:00pm
Sat. Jan 12th 3:00pm to 6:00pm
Sunday Jan 13th 3:00pm to 6:00pm

Contact: Chris Coffin: http://www.chriscoffin.com/

Thursday, January 03, 2008

John Moores 25 Prize call for entries

LIVERPOOL, UK.-The launch of the call for entries this year marks the 50th anniversary of the John Moores prize. First held in 1957, it is the UK's best-known competition for painters and is named after Sir John Moores (1896 - 1993), the founder of the competition.

The exhibition is held every two years at the Walker Art Gallery in partnership with the John Moores Liverpool Exhibition Trust. Next year the John Moores exhibition coincides with Liverpool’s year as European Capital of Culture 2008 when it forms a key strand of the well established Liverpool Biennial. The John Moores exhibition showcases the best new paintings produced in the UK today and attracts a broad spectrum of artists. No preference is given to levels of experience or particular practices of painting. The work is selected anonymously from an open submission by the jury, who also award the main prizes. There is a first prize of £25000 along with four further prizes, each of £2500. In addition, in celebration of Liverpool’s year as Capital of Culture, our popular visitors' choice prize is increased to £2008. This prize will be announced towards the close of the exhibition. Entrants from the last competition said: "It is the premier painting competition in the UK" "Having been selected has already opened doors for me" "Highly regarded forum for emerging and established artists" “Most of the contemporary British artists I admire have been in a John Moores exhibition" “Widely regarded as the best showcase for British contemporary painting" Jury 2008: Jake and Dinos Chapman, artists; Sacha Craddock, art critic / curator; Graham Crowley, artist; Paul Morrison, artist.

Entry: The competition has a two-stage entry procedure. Stage 1 – submission by image (one painting per artist). Stage 2 - sending in shortlisted paintings for final judging. Key dates: 15 February 2008 - Deadline to register. 29 February 2008 - Deadline for submission of images. 27 to 30 May 2008 - Sending in shortlisted paintings. 20 September 2008 to 4 January 2009 - Exhibition Prizes: First prize £25000. 4 prizes £2500. 1 visitors’ choice prize £2008.

Contact: http://www.liverpoolmuseums.org.uk/

Wednesday, January 02, 2008

Happy New Year !

A dawn, a new day, time to begin again...
Looking foward to a whole new ball of wax
maybe the impossible becomes possible,
the perfect understands perfectly - imperfect
a gaunlet is thrown
trick will be played
a laugh will be had

the shows will spill out into the winter streets
and I'll be out and about freezing my....

If you see some great shows this season
email me, scream, rant, rave, gafaw, excite, break down in tears
enjoy, support this crazy thing we call art in all it's forms.

best wishes to all