artMovingProjects Blog

Saturday, April 16, 2016

10 CloverField Road

Mary Elizabeth Winstead, John Goodman, John Gallagher Jr., give incredible performances in this movie written by:
Josh CampbellMatthew StueckenDamien Chapelle and directed by: Dan Trachtenburg

This critic has not been inspired to write about art for many years but upon watching this masterpiece not once but twice on the big screen, faith is renewed in the powers of science fiction to awe. In what is a story of running away from commitment our hero Mary Elizabeth Winstead a new face, confronts all obstacles which are a many. Starting with her bondage by John Goodman, who's ass she kicks over and over again, to an incredible and even more enormous alien that has her trapped in an old truck 25 ft. above the ground. What is really remarkable about the film is that every moment and all the objects, lead to further understanding of what is happening in this nightmare that becomes reality.
The minimal set of an underground fall-out shelter is beautifully designed. It is claustrophobic and homey creepy with it's ducts and stairways to the outside world whose state of existence remains as uncertain as Goodman's multiple personalities. Winstead likewise shows us many emotions from superhero like confidence to utter fear and confusion. She moves a like dancer which she was and has the projection and nuance of a musician. This woman is a superstar watch out. John Gallagher also does a knock out job, in a cast from his own errors he is the ultimate victim. The guy everyone loves and feels sorry for, not too smart, kinda good looking in a not flashy way, really honest, we know he is going to take the bullet. John Goodman is just getting scarier and scarier with age. This gaze he has with monotone drall is the paranoid, veteran, survivalist, pedophile, that we all know but pretend is not our uncle's cousin. The weight he carries when he dances is the weight and reality of our unhealthy diets. It is the stored anxiety of Andy Warhol's soup cans on the shelf falling like our belief in the outside world, our government,  to protect us from the future.  But we don't need them, not with Winstead and her Leonardo Divinci like drawing and fashion sense. Thank you for making a movie that does not rely on all the same formulas and keeps us guessing.

Friday, August 9, 2013

Studio visits Tom Moody, Ken Butler, and Jeff Tolbert

 above: Jeff Tolbert paintings and delights

 Ken Butler: Playing my Dane, couch on more or less awesome axes

Tom Moody: painted box and prints

Friday, July 19, 2013

Glafira Rosales

Dealer Is Arraigned on Charges Related to Sale of Disputed Masterpieces

An art dealer from Long Island pleaded not guilty Friday in Manhattan to charges that she laundered money and evaded taxes as part of a scheme in which prosecutors contend she sold dozens of fake paintings that she told customers had been created by some of the most famous artists of the 20th century.
The dealer, Glafira Rosales, who has been held without bail since her arrest in May, entered a federal courtroom in Lower Manhattan handcuffed and dressed in a blue prison smock. She uttered only the words “not guilty” in a low voice when asked about the charges by Judge Katherine Polk Failla in Federal District Court.
On Wednesday, federal officials in Manhattan announced that Ms. Rosales had been indicted on seven counts of wire fraud, money laundering, filing false tax returns and failing to report foreign bank accounts. Prosecutors said that from 1994 to 2009 Ms. Rosales sold two prominent Manhattan galleries more than 60 works that she said were by artists like Mark Rothko, Jackson Pollock and Willem de Kooning, but the authorities say were, in fact, forgeries.
According to the indictment, Ms. Rosales laundered the proceeds of those sales by transferring money through foreign bank accounts, then hid the income generated by the scheme by filing false tax returns and failing to inform the United States government of the existence of the foreign accounts.
The government says Ms. Rosales received more than $33 million for the works and failed to declare at least $12.5 million of it as income.

Wednesday, July 10, 2013

Art and Fraud

U.S. stops sale of Picasso painting valued at $11.5 million

By Carol Cratty, CNN Senior Producer
updated 8:42 PM EDT, Mon June 24, 2013
The private sale of
The private sale of "Compotier et tasse," a 1909 work by Pablo Picasso, was halted by the U.S. government.
  • Picasso's "Compotier et tasse," valued at $11.5 million, was for sale in New York
  • The U.S. stopped its sale at the request of the Italian government
  • The would-be seller is accused of bilking the city of Naples of $44 million in tax revenue
Washington (CNN) -- The United States obtained a restraining order Monday to block the sale of a painting by Pablo Picasso valued at an estimated $11.5 million at the request of the Italian government, the Justice Department announced.
The case involves a 1909 work by Picasso known as "Compotier et tasse" which had been offered for private sale in New York.
Photos: 10 paintings worth millions Photos: 10 paintings worth millions
British Museum acquires Picasso etchings British Museum acquires Picasso etchings
American officials obtained a restraining order blocking any sale and preventing the painting from being moved after Italian authorities asked for help in connection to the prosecution of Gabriella Amati. She and her late husband, Angelo Maj, were charged by Italian prosecutors with embezzlement and fraud.
The couple allegedly worked with an official for the city of Naples and embezzled approximately $44 million of the city's tax revenues, according to Italian court documents.
The Picasso was not stolen but was purchased with money that Amati and her husband allegedly obtained through criminal activity, said a U.S. law enforcement official.
Agents working for U.S. Immigration and Customs Enforcement located and recovered the painting in New York, where it was being offered for sale, on May 21.
"Restraining this valuable artwork is an effort to help recover some of the estimated $44 million that this couple stole from the tax-paying citizens of Naples," ICE Director John Morton said in a written statement.

Thursday, February 7, 2013

Fundraiser Goodbye Blue Monday


On Saturday February 9 and Sunday February 10, Goodbye Blue Monday will celebrate its 8th anniversary and kick off an Indie Go Go Campaign to raise money for essential improvements that the business can not presently afford.

Since opening in February of 2005, GBM has maintained an open-booking policy with bands and artists inside and outside of New York, providing a critical step in the development of many artists.

The needs of the venue at the end of 2012 called for quick action by Steve Trimboli, the founder of Goodbye Blue Monday. Asking for help of friends close to the venue, it was decided that an Indie Go Go campaign and a 2 day musical kickoff would be the best way to raise the needed funds. Bushwick neighbor and musician Ray Rizzo is organizing the 2 days of music that will help draw attention to the campaign. At press time, the list of artists scheduled to appear include:


Martin Bisi - experimental rocker and iconic New York recording engineer/producer (Dresden Dolls, John Zorn, Bill Laswell, Sonic Youth)  
Thomas Bartlett - solo artist (Doveman) producer (Glen Hansard, Trixie Whitley, Julia Stone) and sideman (Martha Wainwright, Anthony and The Johnsons)
Alana Amram - country-tinged songstress and long-time neighbor
Oren Bloedow - solo artist, co-leader of Elysian Fields, and sideman (Wayne Horowitz, Dr. John, Lounge Lizards)
Sam Cohen - guitarist, singer and composer, leader of Yellowbirds, formerly of Apollo Sunshine 
Ben Miller - american rock and avant guitarist
Mesiko - psychedelic folk smack rock by Ray Rizzo, Raquel Bell, and David Marshall
Frogbelly and Symphony - a band made of UK and Brooklyn musicians currently recording with Martin Bisi, with Liz Hanley of Emmanuel and The Fear and Thomas LaBioda
Joe Crow Ryan - anti-folk genius and co-host of Goodbye Blue Monday's Tuesday Teacup Open Mic
James Sera - acoustic guitar, instrumental psychedelic improvisationalist (it sounds like a word to me!)


Corn Mo - Corn Mo is a hero to all of us. He sings, plays accordion, and rocks the house.
Lady Rizo - grammy-winnng international and downtown NYC chanteuse and performer
Mindtroll - avant pop straight from the waters of the Gowanus Canal
NuSonics - NYC rockers w/ close ties to Scrap Bar history
A.C. Haley - eclectic, two-year weekly residency bass-playing brunch entertainer at Goodbye Blue Monday and choir singer elsewhere

Music will begin at 3pm on both days and go long into the evening. There will be no cover but the hat will be passed A LOT and donation stations will be set up at the venue for people to contribute directly to the campaign. More artists will be announced in the coming days.

Goodbye Blue Monday
1087 Broadway in Bushwick
equidistance between the Myrtle and Kosciuszko stops on the J Train (also M train to Myrtle)

For information about Goodbye Blue Monday and it's fundraising campaign contact Kate Vandever at

For information about the music on Feb. 9 and 10 contact Ray Rizzo at

Not sure about anything or everything? send it here -

Saturday, November 17, 2012

Tom Moody Apex art "as real as it gets"

"Here, there was the continuous purring of a machine at work, the customers shovelled in, heaped in front of the displays and dazzled by the goods, before being hurled against the cash desks."
-Émile Zola

In conjunction with the exhibition As Real As It Gets, organized by Rob Walker.

Tuesday, November 27: 6:30 pm

An exercise in sonic branding, this event asks musicians from the Disquiet Junto collective to create pieces that interrogate the atmosphere and sounds of a department store as described in an Émile Zola novel.

Brian Biggs
Ethan Hein
Shawn Kelly
Kenneth Kirschner
Tom Moody
Joon Oluchi Lee
Roddy Schrock

Musicians affiliated with the online Disquiet Junto collective, organized by Marc Weidenbaum, will gather to perform speculative sound works that employ as source material documentary audio from retail establishments. These musicians will present imagined soundscapes inspired by Émile Zola's characterization of the department store, in his novel The Ladies' Paradise, as "a machine working at high pressure." They'll also discuss their creative and technological practices.

Marc Weidenbaum founded the website in 1996 at the intersection of sound, art, and technology. He has written for Nature, the website of The Atlantic, Boing Boing,, and numerous other publications. He's teaching a fall 2012 class on sound at San Francisco's Academy of Art. He's commissioned and curated sound/music projects that have featured original works by Kate Carr, Marcus Fischer, Marielle Jakobsons, John Kannenberg, Tom Moody, Steve Roden, Scanner, Roddy Shrock, Robert Thomas, and Stephen Vitiello, among others. He's currently writing a book about Aphex Twin's 1994 album Selected Ambient Works Volume II for the 33 1/3 series. He lives in San Francisco.

Please join us.
All events are free and open to the public.
apexart's exhibitions and and public programs are supported in part by the Affirmation Arts Fund, the Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, Edith C. Blum Foundation, Mary Duke Biddle Foundation, The Greenwich Collection Ltd., Lambent Foundation Fund of Tides Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts.
291 Church Street, NYC, 10013
t. 212 431 5270 Directions: A, C, E, N, R, W, Q, J, M, Z, 6 to Canal or 1 to Franklin.

Thursday, November 15, 2012

Gus Mazzocca: 4 Decades/4 Generations

The University of Connecticut

Contemporary Art Galleries
830 Bolton Road Storrs Connecticut 06269 - 1099 phone 860 486 1511 Fax 860 486 3869

Press Release

Contact information:
Barry A. Rosenberg
(860) 486 -1511

Gus Mazzocca: 4 Decades/4 Generations

Contemporary Art Galleries (Storrs Campus)
January 28 – March 1, 2013

Jorgensen Center for the Performing Arts
January 28 – March 15, 2013

Gus Mazzocca’s Roast and Reception
Contemporary Art Galleries (Art Building)
January 28 - 5:00 to 6:30 pm

After four decades of teaching printmaking at the University of Connecticut, Prof.
Gus Mazzocca retired at the end of last year. The Contemporary Art Galleries will be
hosting a multi-site retrospective on Gus and his work entitled Gus Mazzocca: 4
Decades/4 Generations, beginning on January 28, 2013. In addition to a monograph
exhibition of Gus's work at the CAG, from January 28 through March 15 we will be
featuring a group exhibition at the Jorgensen Center for the Performing Arts. This
show will feature work from four artists who studied with Mazzocca. The multi-site
retrospective stands as a testament to Mazzocca’s legacy at UConn, both as an artist
and as a teacher.

From a short list of outstanding artists provided by Mazzocca, Barry A. Rosenberg,
Direc tor of the Contemporary Art Galleries has selected four to appear at the
Jorgensen—one representing each decade of Mazzocca’s career. All four of these
alumni have gone on to live exciting lives as well as having successful and
idiosyncratic careers, and all four cite Gus’s teaching as a vital influence on their

Representing the 1970s is Michael Maslin, a longtime cartoonist for the New Yorker
whose work has been published extensively. His first-ever publication was printed
for a limited release at UConn in 1976, and he still remembers his time with Prof.
Mazzocca fondly. “I'm thrilled that the university is doing this for Gus, Maslin told
Rosenberg. “I will be sure to attend the opening reception whether or not my work is

Aron Namenwirth, who studied with Prof. Mazzocca in the 1980s, is now a
professional artist living in Brooklyn. He described Mazzocca as his best professor,
including those he studied with for his MFA at Yale. “Gus was one of my favorite
teachers, I look forward to the opportunity to tell him that.” In addition to his work in
printmaking and painting, Aron is also a musician.

Tyler Starr received his BFA from UConn in 1997, and was recommended by
Mazzocca for his Fulbright Scholarship to study in Poland. He received his MFA
from the University of Minnesota. He has worked as an emergency medical
technician, which he cites as an important influence on his art’s interest in mortality
and the unexpected. He is now an Assistant Professor at Davidson College. Starr
holds a PhD from the Tokyo University of the Arts, and he works in video and
animation as well as works on paper.

Representing the 2000s, Kristi Arnold has been living in Australia and is nearing the
end of her studies toward a PhD there, after previously earning her MFA at UConn.
Her work engages vividly with color and symmetry. Mazzocca encouraged Arnold to
spend time in Poland, where she, too, held a Fulbright Scholarship—she cites this as a
profound influence on the trajectory of her career. Arnold commented when invited
by Rosenberg to represent our present decade, “I've always had a soft spot for Gus.
He's such a caring mentor and was such a huge inspiration for me.”

The Contemporary Art Galleries is very excited about the opportunity to put together
this retrospective for Gus Mazzocca. In addition to the retrospective at the CAG and
the group show at the Jorgensen, we will have open walls for student and alumni
contributions their thoughts in words and images of their own connection to Gus and
printmaking on the UConn campus. in the Arena Gallery. The opening reception on
January 28 will feature a roast of Prof. Mazzocca, with Prof. Deborah Dancy as

Gus Mazzocca was born in Boston, Massachusetts. He received an M.F.A. degree in
Painting/Printmaking from The Rhode Island School of Design, a B.F.A. degree in
Painting, and a B.A. degree in Political Science from the University of Connecticut.
He has been awarded a Doctor of Arts (honoris causa) from the Akademi Sztuk
Pieknych w Krakowie (The Art Academy of Krakow) His work has been shown in
numerous solo and group exhibitions at galleries and museums in Austria, Poland, the
Netherlands, Germany, the Czech Republic, Italy, Japan, and the United States. He
has been teaching at the University of Connecticut since 1970.

“I continue to use the figure as a vehicle to create unfixed narratives that reflect
movement, tension, struggle and celebration. The use of the digitally produced
elements along with the more raw scratched and carved marks of the woodcut present
a dichotomy that is ideally suited to these issues I present visually.”

Wednesday, November 7, 2012

Marcin Ramocki Ultra

L’associazione non profit art ex dono e spazio ULTRA sono lieti di annunciare la mostra personale di Marcin Ramocki intitolata
, curata da Chiara Moro. La mostra sarà inaugurata il 17 Novembre alle ore 18.30 presso lo spazio ULTRA _ Piazzetta Valentinis, 5_Udine _ Italia _ e potrà essere visitata fino al 26 Gennaio 2013 dal Mercoledì al Sabato dalle 14.30 alle 19.30 o su appuntamento.

Nella sua prima mostra personale a Udine, Marcin Ramocki presenterà un nuovo progetto incentrato sul concetto di corpo, in particolare del corpo umano e della sua re-definizione.
, titolo della mostra e del suo ultimo lavoro video, che sarà presentato per la prima volta a Udine, è il tag che definisce la fine di tutti i contenuti della pagina web. Fine effettiva del corpo del documento, ma sostanzialmente, inizio di una esplorazione poetica di cui il corpo necessita. Che cosa, quindi, è il "corpo" nell'universo della pura simulazione? Come si sente e percepisce? Ha ancora dei rimandi al corpo del 1993, quando appariva il primo browser pensato per il web?
La ricerca di Marcin Ramocki cerca delle risposte, non definitive, a questi quesiti attraversando linearmente l'intera mostra.

Grazie alla partnership con Accademia delle Belle Arti di Venezia, Assi.Udine, Cec,
ETRARTE, eflux, Visionario, Marcin Ramocki sarà presente:

_Giovedì 15 Novembre presso l'Accademia di Venezia dalle 10.30 alle 17.30 _ Lecture e
_Venerdì 16 Novembre alla proiezione del video documentario 8Bit e alla prima assoluta del suo
nuovo lavoro video alle 20.15 presso il Visionario di Udine, seguirà un party in suo
onore con performance musicale di Railster
_Sabato 17 Novembre all’inaugurazione della sua prima personale a Udine presso lo
spazio ULTRA alle 18.30


The non-profit association art ex dono and ULTRA space are pleased to announce the solo exhibition of Marcin Ramocki entitled , curated by Chiara Moro. The exhibition will be opened on November 17th at 6.30pm at the ULTRA space _ Piazzetta Valentinis, 5 _ Udine _Italy _ and it will be open until January 26th, 2013 from Wednesday to Saturday from 2.30pm to 7.30pm or by appointment.

In his first solo exhibition in Udine, Marcin Ramocki will present a new project focused on the
concept of the body, especially of the human body and its re-definition.
, title of the exhibition and his most recent art-video, which will be presented for the first time in Udine, is the tag that defines the end of all content on the web page. End of the body of the document, but also an opening of certain poetic exploration that the body needs. So, what is "body" in the universe of pure simulation? How does it feel? Does it resemble the body we
remember from 1993, when the first browser for the web appeared?
Marcin Ramocki research seeks to answer these questions crossing as main thread all the exhibition in Udine.

By partnering with the Accademia delle Belle Arti di Venezia, Assi.Udine, Cec, ETRARTE, eflux, Visionario, Marcin Ramocki will attend

_Thursday, November 15th at the Accademia delle Belle Arti di Venezia from 10.30am to 5.30pm _
Lecture and Workshop
_Friday, November 16th at the screening of 8bit, documentary-movie and the world premiere of his
new video at 8.15pm at Visionario in Udine, followed by a party in his honor with
musical performance by Railster
_Saturday, November 17th at the opening of his first solo exhibition in Udine at ULTRA space at
Piazzetta Valentinis 5, 33100 Udine, Italy

Tuesday, October 23, 2012

Cole Sayer at JTT

JTT is proud to announce its first solo exhibition with New York based artist Cole Sayer (b.1984 Nashville,TN).
Artist Statement:
I like this argument that’s taking place in sports right now around the use of performance enhancement. The ban on steroids, certain fabrics, and inevitably prosthetics goes beyond regulating a level playing field. Rather, it gives definition to the dividing line between natural and synthetic, ontologically enforcing a staid definition of what it means to be human. It’s like the old dialogue of what is art, before legalizing steroids in the art world a long time ago and blowing the roof off the house.
I want to give form to the limitless promise of the upgrade, how the newest version will always surpass the old. Walking into an art store is no different than walking into the Footlocker. The state-of-the-art supplies echo the guarantee of the latest moisture wicking, light weight, energy efficient sneaker; the promise to make you run faster and jump higher than ever before. Only in small increments though, Olympic athletes train their entire lives to improve the one hundred yard dash by a fraction of a second. There’s a really nice fatalistic poetry to that.
The sculptures and paintings in …like we said we would are not made any differently than how one intuitively makes a sculpture or painting. Material is manipulated, bent, and squeezed. I make a mark on the canvas and then step back, look at it, and make another move. It’s that same techno influenced, self aware formalism that shows you surf the Internet, just performance enhanced by whatever weird plasticky product was newly released. The aesthetics of gradients, texture mapping, and polygons bare a kind of optimism for progress. The work mimes the façade of technology that becomes an ergonomic mirror of the desires of its host, revealing the competitive elephant in the room. It offers the world but barely moves even a millionth of an inch.  — 2012

Cole Sayer
October 28 - December 9

We should have ended it all there
in the Hamptons on acid
like we said we would

Opening Reception
Sunday, October 28, 6 - 8pm


Tuesday, October 9, 2012

The Towelettes Sail your sunfish into the Sun

Freddie's Back Room
Special Thanks
Stephanie Young and Vellum Magazine

Friday, September 28, 2012

John S. Gregoropoulos

John was a painting professor of mine. Not only was he he a great teacher, but his paintings really rocked, hailing the sublime in a Rothko esque light and color. He was also an incredibly nice guy inviting us to his studio for cheese crackers and wine many a weekend. He was cool too, coming into the University of Connecticut art School with style, biplane goggles and scarf ready to take us into the clouds.

Tuesday, September 11, 2012

Lucky Climber

Creator of Luckey Climbers Has Died

Branford's Thomas Walker Luckey remembered by daughter Owen Luckey.
Thomas Walker Luckey, an artist, sculptor and architect renowned for his one-of-a-kind climbing sculptures, died Sunday, August 19 at Yale-New Haven Hospital at the age of 72 from complications of pneumonia. A graduate of the Yale School of Architecture, Tom’s fascination with movement and his desire to create positive spaces inspired a diverse portfolio including merry go-rounds, a convertible staircase/slide, and the iconic “Luckey Climbers” that have delighted children and adults alike, in cities across America and the world.

Tom Luckey was a visionary, a creative genius, a legendary optimist, an exuberant showboat, and an infamous fun-maker. He was an avid collector of friends, regardless of age; all that mattered was whether you were willing to take a leap with him towards his ultimate goal: superlative joy.

Tom was born on January 6, 1940 in Quantico, VA, on the Marine Corps base where his family was stationed. His parents were Cary Dabney Walker and Robert Burneston Luckey, Lt. Gen. USMC. His grandparents were General Merriwether Lewis Walker and Edith Colby Carey (maternal) and George B. Luckey and Alice Owens (paternal). Tom was the quintessential military brat, moving frequently throughout his childhood.

Even in those early years, Tom showed a unique ability to envision and bring to life imagined forms. He was always working with his hands and led by his dreams. From simple carvings, he built up to larger projects including a little cottage on Martha’s Vineyard, which he built when he was 16. He eventually settled in Branford, CT, where he subjected his house to imaginative additions and modifications for more than 35 years.

Throughout his career, Tom welcomed challenges and was stimulated by obstacles. He embraced uncertainty in his art and adapted to unanticipated hurdles. Most recently, he suffered a tragic accident that left him paralyzed from the shoulders down.  This was a change in his life most would find impossible, but Tom was often heard to say that “falling on my head was the best thing that ever happened to me.” It was a brave statement that he somehow made believable with his remarkable wit and optimism. Indeed, his career took off and his social life flourished during the final chapters of his life, testament to his remarkable talent and insatiable curiosity.

Tom leaves behind his wife Ettie Minor Luckey, and their children, daughter Kit and son Walker, as well as two older children, daughter Owen and son Spencer from his first wife, Elizabeth M. Possidente. He is also survived by his sister, Laura, brother, William, and three grandchildren.

A Memorial Service will be held on Saturday, September 8, 3:30 p.m. at Battell Chapel, Yale University, New Haven, CT, followed by a reception at 200 Meadow Street, East Haven CT. All are welcome.
Information provided by Owen Luckey