"Calendar"
What can readers do to make Lynda Benglis’ dildo grow into her mistletoe? Give to the Art Fag City end of year fundraising campaign! I need $5,000 to continue running the blog full time in the upcoming year, so I’m asking readers for their support so I can make this happen. Thanks to Ms. Benglis AFC has an aggressively eye-catching dick for a fundraising “thermometer”. The beauty of independent publishing is that you can enjoy it because it’s not censored by some “larger” editorial vision. I used this image because it illustrates my commitment to promoting the value of emerging art and ensuring we all share in the satisfaction of engaging in art and the fine art community. I want to continue doing this and with your help I can. As in year’s past, the blog operates with non-profit sponsorship so all donations are tax deductible. Finally, for those donors with a competitive edge, AFC has a pot sweetener: This year, the highest donor will receive their choice of print by Michael Smith or Phillip Niemeyer. Both are fantastic prints and worth their weight in donation gold! Image Credit: Lynda Benglis in her 1974 advertisement in ArtForum promoting her upcoming show at Paula Cooper Gallery. The mistletoe is an AFC addition. | |
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Lisa Yuskavage Sarah with Branch, 2004 Watercolor and graphite on paper
Paper: 14.75" x 12.125"Framed: 22.125" x 19.25" x 1.5" Signed, dated lower left $30,000
From: James Fuentes Gallery
Clare Amory is fighting Stage IV cancer. We have helped organize an art benefit for Clare to help ease her cost of living whilst fighting this disease.
By Jean Baudrillard / Translated by Chris Turner
This essay was originally published as part of Jean Baudrillard's "Le Pacte de lucidité ou l'intelligence du Mal" (2004), translated into English in 2005 as "The Intelligence of Evil or the Lucidity Pact".
The adventure of modern art is over. Contemporary art is contemporary only with itself. It no longer knows any transcendence either towards past or future; its only reality is that of its operation in real time and its confusion with that reality.
Nothing now distinguishes it from the technical, promotional, media, digital operation. There is no transcendence, no divergence any more, nothing of another scene: merely a specular play with the contemporary world as it takes place. It is in this that contemporary art is worthless: between it and the world, there is a zero-sum equation.
Quite apart from that shameful complicity in which creators and consumers commune wordlessly in the examination of strange, inexplicable objects that refer only to themselves and to the idea of art, the true conspiracy lies in this complicity that art forges with itself, its collusion with the real, through which it becomes complicit in that Integral Reality, of which it is now merely the image-feedback.
There is no longer any differential of art. There is only the integral calculus of reality. Art is now merely an idea prostituted in its realization.
Modernity was the golden age of a deconstruction of reality into its simple elements, of a detailed analytics, first of impressionism, then of abstraction, experimentally open to all the aspects of perception, of sensibility, of the structure of the object and the dismemberment of forms.
The paradox of abstraction is that, by "liberating" the object from the constraints of the figural to yield it up to the pure play of form, it shackled it to an idea of a hidden structure, of an objectivity more rigorous and radical than that of resemblance. It sought to set aside the mask of resemblance and of the figure in order to accede to the analytic truth of the object. Under the banner of abstraction, we moved paradoxically towards more reality, towards an unveiling of the "elementary structures" of objectality, that is to say, towards something more real than the real.
Conversely, under the banner of a general aestheticization, art invaded the whole field of reality.
The end of this history saw the banality of art merge with the banality of the real world -- Duchamp's act, with its automatic transference of the object, being the inaugural (and ironic) gesture in this process. The transference of all reality into aesthetics, which has become one of the dimensions of generalized exchange...
All this under the banner of a simultaneous liberation of art and the real world.
This "liberation" has in fact consisted in indexing the two to each other -- a chiasmus lethal to both.
The transference of art, become a useless function, into a reality that is now integral, since it has absorbed everything that denied, exceeded or transfigured it. The impossible exchange of this Integral Reality for anything else whatever. Given this, it can only exchange itself for itself or, in other words, repeat itself ad infinitum.
What could miraculously reassure us today about the essence of art? Art is quite simply what is at issue in the world of art, in that desperately self-obsessed artistic community. The "creative" act doubles up on itself and is now nothing more than a sign of its own operation -- the painter's true subject is no longer what he paints but the very fact that he paints. He paints the fact that he paints. At least in that way the idea of art remains intact.
This is merely one of the sides of the conspiracy.
The other side is that of the spectator who, for want of understanding anything whatever most of the time, consumes his own culture at one remove. He literally consumes the fact that he understands nothing and that there is no necessity in all this except the imperative of culture, of being a part of the integrated circuit of culture. But culture is itself merely an epiphenomenon of global circulation.
The idea of art has become rarefied and minimal, leading ultimately to conceptual art, where it ends in the non-exhibition of non-works in non-galleries -- the apotheosis of art as a non-event. As a corollary, the consumer circulates in all this in order to experience his non-enjoyment of the works.
At the extreme point of a conceptual, minimalist logic, art ought quite simply to fade away. At that point, it would doubtless become what it is: a false problem, and every aesthetic theory would be a false solution.
And yet it is the case that there is all the more need to speak about it because there is nothing to say. The movement of the democratization of art has paradoxically merely strengthened the privileged status of the idea of art, culminating in this banal tautology of "art is art", it being possible for everything to find its place in this circular definition.
As Marshall McLuhan has it, "We have now become aware of the possibility of arranging the entire human environment as a work of art".1
The revolutionary idea of contemporary art was that any object, any detail or fragment of the material world, could exert the same strange attraction and pose the same insoluble questions as were reserved in the past for a few rare aristocratic forms known as works of art.
That is where true democracy lay: not in the accession of everyone to aesthetic enjoyment, but in the transaesthetic advent of a world in which every object would, without distinction, have its fifteen minutes of fame (particularly objects without distinction). All objects are equivalent, everything is a work of genius. With, as a corollary, the transformation of art and of the work itself into an object, without illusion or transcendence, a purely conceptual acting-out, generative of deconstructed objects which deconstruct us in their turn.
No longer any face, any gaze, any human countenance or body in all this -- organs without bodies, flows, molecules, the fractal. The relation to the "artwork" is of the order of contamination, of contagion: you hook up to it, absorb or immerse yourself in it, exactly as in flows and networks. Metonymic sequence, chain reaction.
No longer any real object in all this: in the ready-made it is no longer the object that's there, but the idea of the object, and we no longer find pleasure here in art, but in the idea of art. We are wholly in ideology.
And, ultimately, the twofold curse of modern and contemporary art is summed up in the "ready-made": the curse of an immersion in the real and banality, and that of a conceptual absorption in the idea of art.
"... that absurd sculpture by Picasso, with its stalks and leaves of metal; neither wings, nor victory, just a testimony, a vestige -- the idea, nothing more, of a work of art. Very similar to the other ideas and vestiges that inspire our existence -- not apples, but the idea, the reconstruction by the pomologist of what apples used to be -- not ice-cream, but the idea, the memory of something delicious, made from substitutes, from starch, glucose and other chemicals -- not sex, but the idea or evocation of sex -- the same with love, belief, thought and the rest..."2
Art, in its form, signifies nothing. It is merely a sign pointing towards absence.
But what becomes of this perspective of emptiness and absence in a contemporary universe that is already totally emptied of its meaning and reality?
Art can now only align itself with the general insignificance and indifference. It no longer has any privileged status. It no longer has any other final destination than this fluid universe of communication, the networks and interaction.
Transmitter and receiver merging in the same loop: all transmitters, all receivers. Each subject interacting with itself, doomed to express itself without any longer having time to listen to the other.
The Net and the networks clearly increase this possibility of transmitting for oneself in a closed circuit, everyone going at it with their virtual performances and contributing to the general asphyxia.
This is why, where art is concerned, the most interesting thing would be to infiltrate the spongiform encephalon of the modern spectator. For this is where the mystery lies today: in the brain of the receiver, at the nerve centre of this servility before "works of art". What is the secret of it?
In the complicity between the mortification "creative artists" inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties.
Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity.
Interface and performance -- these are the two current leitmotifs.
In performance, all the forms of expression merge -- the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located.
A (non-)event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this global total fact.
Photography has the selfsame problem when we undertake to multi-mediatize it by adding to it all the resources of montage, collage, the digital and CGI, etc. This opening-up to the infinite, this deregulation, is, literally, the death of photography by its elevation to the stage of performance.
In this universal mix, each register loses its specificity -- just as each individual loses his sovereignty in interaction and the networks -- just as the real and the image, art and reality lose their respective energy by ceasing to be differential poles.
Since the nineteenth century, it has been art's claim that it is useless. It has prided itself on this (which was not the case in classical art, where, in a world that was not yet either real or objective, the question of usefulness did not even arise).
Extending this principle, it is enough to elevate any object to uselessness to turn it into a work of art. This is precisely what the "ready-made" does, when it simply withdraws an object from its function, without changing it in any way, and thereby turns it into a gallery piece. It is enough to turn the real itself into a useless function to make it an art object, prey to the devouring aesthetic of banality.
Similarly, old objects, being obsolete and hence useless, automatically acquire an aesthetic aura. Their being distant from us in time is the equivalent of Duchamp's artistic act; they too become "ready-mades", nostalgic vestiges resuscitated in our museum universe.
We might extrapolate this aesthetic transfiguration to the whole of material production. As soon as it reaches a threshold where it is no longer exchanged in terms of social wealth, it becomes something like a giant Surrealist object, in the grip of a devouring aesthetic, and everywhere takes its place in a kind of virtual museum. And so we have the museumification, like a "ready-made", of the whole technical environment in the form of industrial wasteland.
The logic of uselessness could not but lead contemporary art to a predilection for waste, which is itself useless by definition. Through waste, the figuration of waste, the obsession with waste, art fiercely proclaims its uselessness. It demonstrates its non-use-value, its non-exchange-value at the same time as selling itself very dear.
There is a misconception here. Uselessness has no value in itself. It is a secondary symptom and, by sacrificing its aims to this negative quality, art goes completely off track, into a gratuitousness that is itself useless. It is the same scenario, more or less, as that of nullity, of the claim to non-meaning, insignificance and banality, which attests to a redoubled aesthetic pretension.
Anti-art strives, in all its forms, to escape the aesthetic dimension. But since the "ready-made" has annexed banality itself, all that is finished. The innocence of non-meaning, of the non-figurative, of abjection and dissidence, is finished.
All these things, which contemporary art would like to be, or return to, merely reinforce the inexorably aesthetic character of this anti-art.
Art has always denied itself. But once it did so through excess, thrilling to the play of its disappearance. Today it denies itself by default -- worse, it denies its own death.
It immerses itself in reality, instead of being the agent of the symbolic murder of that same reality, instead of being the magical operator of its disappearance.
And the paradox is that the closer it gets to this phenomenal confusion, this nullity as art, the greater credit and value it is accorded, to the extent that, to paraphrase Canetti, we have reached a point where nothing is beautiful or ugly any more; we passed that point without realizing it and, since we cannot get back to that blind spot, we can only persevere in the current destruction of art.
Lastly, what purpose does this useless function serve?
From what, by its very uselessness, does it deliver us?
Like politicians, who deliver us from the wearisome responsibility of power, contemporary art, by its incoherent artifice, delivers us from the ascendancy of meaning by providing us with the spectacle of non-sense. This explains its proliferation: independently of any aesthetic value, it is assured of prospering by dint of its very insignificance and emptiness. Just as the politician endures in the absence of any representativeness or credibility.
So art and the art market flourish precisely in proportion to their decay: they are the modern charnel-houses of culture and the simulacrum.
It is absurd, then, to say that contemporary art is worthless and that there's no point to it, since that is its vital function: to illustrate our uselessness and absurdity. Or, more accurately, to make that decay its stock in trade, while exorcizing it as spectacle.
If, as some have proposed, the function of art was to make life more interesting than art, then we have to give up that illusion. One gets the impression that a large part of current art participates in an enterprise of deterrence, a work of mourning for the image and the imaginary, a -- mostly failed -- work of aesthetic mourning that leads to a general melancholia of the artistic sphere, which seems to survive its own demise by recycling its history and its relics.
But neither art nor aesthetics is alone in being doomed to this melancholy destiny of living not beyond their means, but beyond their ends.
DUMP.FM PRESENTS IRHELL
October 30 - October 31, 10:00pm-???
Halloween parties in Mexico City and Brooklyn will be connected through dump.fm.
Visuals by Thunderhorse // Performances by Anamanaguchi, Nullsleep, Gatekeeper, Brenmar, Physical Therapy, Jon Lynn (Unsolved Mysteries), Laurel Halo, Magick Mountain, DJ Brother Ladypantz, Oscouro, Flash Porno
319 SCHOLES is at 319 Scholes Street in Brooklyn, NY (map)
the image above was dumped by lucy.
John Illig Mixed media very very large 2010
Contributing Artists:
Marina Adams Diana Al-Hadid Joe Amrhein
Michelle Araujo assume vivid astro focus Mike Ballou
Sarah Bedford Louise Belcourt Michael Berryhill
Fiorenzo Borghi Lee Boroson Katherine Bradford
Sebastiaan Bremer David Brody Sally Brody
Jude Broughan Tom Burckhardt Kathy Butterly
Duncan Campbell Francis Cape Rebecca Chamberlain
Seong Chun Dawn Clements Jennifer Coates
Susanna Coffey Marsha Cottrell Jen Dalton
Beth Dary Jay Davis Nancy Diamond
Julia von Eichel Nicole Eisenman Sebastian Errazuriz
James Esber Jane Fine Dan Fischer
Matt Freedman Jeff Gabel Linda Gottesfeld
Red Grooms Kirsten Hassenfeld Eric Heist
Elana Herzog Katie Holten Henry Horenstein
David Humphrey Julia Jacquette Yvonne Jacquette
Susan Jennings Kysa Johnson Dana Kane
Darina Karpov Beth Kattleman Steve Keister
Zilvinas Kempinas Dan Kopp Jill Levine
Jeanne Lorenz Tracy Miller Jaye Moon
Andrew Moszynski Linda Nagaoka Aron Namenwirth
Itty Neuhaus John Newman Laura Newman
John J. O’Connor Mark Orange Angel Otero
Roxy Paine Marilla Palmer Gary Panter
Bruce Pearson Liza Phillips Tamara Rosenblum
Alexander Ross Gina Ruggieri David Sandlin
Bill Schuck Max Schumann Ward Shelley
Adam Simon Guy Richards Smit Greg Stone
Eve Sussman Barbara Takenaga Jude Tallichet
Kate Teale Fred Tomaselli Momoyo Torimitsu
John Tremblay Mark Dean Veca Sarah Walker
Sarah Wallace Sally Webster Ken Weaver
Alan Weiner Martin Wilner Alexi Worth
Jane Yeomans Dan Zeller
There will be approximately 100 art works contributed to the raffle. That same number of tickets will be sold. Each ticket has a unique number and all ticket holders should retain possession of their tickets. All ticket holders will receive a piece of art!!
IMPORTANT: You do not need to attend the event to receive a work of art. If you are unable to come to the auction you can choose someone to be your proxy.
Auction/raffle preview will begin at 6pm on Monday November 15th at Pierogi.
When arriving at Pierogi, ticket holders will be given a numbered list of the 100 art works. Each person should make note of their top ten or fifteen choices. As the evening progresses you may need to amend this list a few times.
At 7 pm precisely we will begin a short, live auction. There will be three or four surprise items, followed by a live auction for the chance to have the first, second and third pick of art work from the gallery. Immediately thereafter the raffle will begin. The entire raffle should take no more than 90 minutes.
As the raffle is being conducted all ticket holders must pay close attention and cross off artworks as they are chosen. When your ticket number is called you will have LESS THAN ONE MINUTE to announce which item you want. Please call out the number of the piece you want, and not the artist’s name. Artworks will be removed from the wall and carefully wrapped soon after they are chosen. Buyers are free to leave once they have their purchase in hand.
Tickets are 250$ The best way is of course by check, made out to ESPA, or Earth School Parent Association. Hold on to the checks with your package of unsold tickets until you are done selling or until our next meeting.
However, for people you are soliciting from afar, they can pay by PAYPAL on the school's website. We lose about 3% of the money in fees, so try to only use this when absolutely necessary.
http://www.theearthschool.org/
off to the right side it says DONATE and there is a paypal link above
the following make up benefit commitee so they should have tickets.
Jane Fine & James Esber
Christian Viveros-Fauné & Lisa Johnson
Tom Burckhardt & Kathy Butterly
Gregory Volk
David Brody
Jane Yeomans
Mark Orange
David Sandlin
We should have some tickets some here too.
The Drawing Center will present an enhanced version of an exhibition originally on view at Middlesbrough Institute of Modern Art (mima), UK in 2009. This presentation is comprised of approximately 50 graphite, watercolor, and ink on paper drawings made by Gerhard Richter (b. 1932, Dresden, Germany) over a period of five decades from 1966 to 2005. Although Richter is most celebrated as a painter, this exhibition focuses on the artist’s works on paper and explores his complex personal relationship with drawing. The first of its kind in the U.S., the exhibition will also be Richter’s first solo show in a public institution in New York since 40 Years of Painting at The Museum of Modern Art (2002).
Curated by Gavin Delahunty, Curator, Middlesbrough Institute of Modern Art, UK.
Image: Gerhard Richter, R.O., 22.1.1984, 1984. Watercolor on paper, 5 1/8 x 7 1/8 inches. Private Collection, Berlin.
This show proved a let down. It appears that Richter is very good with color, paint and representation, none of the ingredients of this small survey of enigmatic works. The few paintings in the exhibition shined, but felt misplaced. Recently, I was looking through the artists website which got me really interested in his work again. www.gerhard-richter.com/art/paintings/abstracts/detail.php?6076
GR 1973
Aron Namenwirth untitled 19 (The Sound of Money) acrylic on panel 48x36" get this painting for $1,750.00I’m running a Kickstarter campaign to help raise funds for the production of an LP full of art sounds heard in New York called The Sound of Art. $10,000 is the base number I’d need to complete the project, a very scary number for an independently run blog such as this to raise. It’s possible the goal won’t be reached, in which case the project receives nothing: Miss your target goal, and Kickstarter doesn’t fund the campaign.
I’m running this fundraiser in spite of numbers that make nervous, because I have to. I passionately believe in this project, and as cliche as it sounds, I would be too deeply burdened by regret if I didn’t do everything I could to make it happen. This project is too large to complete though without the help of everyone who comes here regularly.
Already, countless people have already donated their sounds and time in an effort to make this project, many of whom are mentioned below. In addition to overseeing the project, for my part, I am offering a studio visit or gallery crawl of your choice to those who donate $150 dollars or more. For a mere $50 dollars more, you will receive an offset lithograph by Phillip Neimeyer titled Picturing The Past Ten Years. For $350 more, donors will receive a print made in response to the record, by celebrated artist Michael Smith be given the opportunity to eat dinner with me and twitter maven and art world critic artist William Powhida. We’ll go somewhere better than the local C-Town I promise.
Reach the target number, and none other than AndrewAndrew have promised to host the final party. There are no better night than the one’s they’re involved in, so let’s make this thing happen.
ABOUT THE PROJECT
For the past five years I’ve been looking at art and writing about what I see. But I’ve also been listening. Does art have a distinctive sound? Sometimes I think I could be in a remote cabin in Maine, and still instantly recognize the sound of an art video or a performance piece. Yet the things I hear in galleries and performance spaces don’t seem to share any formal qualities – they run the gamut from noise to melody, recitation to wordless grunts.
I want to produce an album full of the sounds art makes in order to document and investigate this range, but I also want to take such sounds and set them free in the world, to be remixed and reused – sampled, mashed up, Auto-tuned, chopped and screwed.
More people than ever are engaged in this kind of cultural recycling, though they rarely draw their sources from the field of fine art. Frankly, the art world doesn’t make it easy – it’s a profession invested in its own scarcity.
More than anything, I want to make a record of the Sound of Art because I want to see what people will do with it. It’s a project guided by Jasper Johns’ description of the art-making process: “Do something, do something to that, and then do something to that.”
WHAT IS IT?
The Sound of Art is a limited edition vinyl LP composed of sounds heard in New York galleries, museums, and project spaces over the last five years. Inspired by classic DJ battle records, it features forty tracks of diverse sounds culled from art video, performance footage, and kinetic sculptures. This is not an easy listening record. It’s an audio document and a tool to create new sounds and new work.
WHAT WILL BE ON IT?
Work by artists well-known and not-so-well-known. Difficult electronics. Sounds of stampeding animals, Hebrew prayer, a transformer fire, a children’s carousel. One hundred carpenters pounding 10,000 nails. Field recordings of recordings by guitar genius John Fahey, and archival sound pieces by the pioneering conceptualist Lawrence Weiner. An iPod drum circle and thoughts on nostalgia. Also, yes, a toy monkey with cymbals.
Sounds have been donated by a large spectrum of artists and venues throughout New York City – everywhere from big fancy museums to odd little project spaces. We’ve also introduced Internet artists, as “wild cards” on this album.
Keep checking this page and our kickstarter blog for upcoming teasers and other audio-visual treats. We’ll be profiling various artist work as the campaign progresses.
WHO’S INVOLVED?
This is a collaborative project, with dozens of people donating their work and their services. Project Manager Michelle Halabura has been working from Art Fag City headquarters since last spring to make Sound of Art a reality.
Matt Madly Azzarto at Think Tank Studio will be producing the record.
Phillip Niemeyer of Double Triple is designing the album cover, and is offering a limited edition offset lithograph to 10 lucky funders at the $200 level. Edition of 60, see the print HERE.
Celebrated performance and video artist Michael Smith will create a limited edition screen print of 50 in response to the sounds on the album, available to funders at the $250 level.
Artist Ben Coonley of Valentine for Perfect Stranger and NYUFF Dr. Zizmor Trailor fame will produce our promotional videos.
Men-about-town AndrewAndrew will host the record release party and Sound of Art DJ Battle, to be held at the ever-cool Santos Party House. (More about that soon!)
WHAT DO WE NEED?
We’ve come up with a plan, brought together a group of fantastic artists and sounds, and have enlisted some of city’s greatest creative minds to donate their talent to this project. Now we need to make it happen. We can do it for $10,000. That covers only the direct costs of this project ¬– the pressing and shipping of a limited edition album, 500 in total, the promotion of the release party, and its launch. Additionally, 50 special edition LPs will be available, including the Michael Smith screen print. Any funds we receive beyond that level will be directed to archiving and distributing the remixed music produced from this album.
THE COMPLETE LIST OF ARTISTS
MANHATTAN
Petra Cortright (Internet), Jennie C. Jones, (Sikemma Jenkins) Moyra Davey, (Orchard47) Eli Hansen (Maccarone), Ted Riederer (Marianne Boesky), Cliff Evans, (Luxe Gallery), LoVid, (LMCC), Marcin Ramocki (MOMA), Shannon Plumb (Sarah Melzer Gallery), Cardiff and Miller, (Luhring Augustine), John Fahey (AVA), Miriam Stern (Yshivah University), Jennifer Schmidt (Elizabeth Foundation Project Space), Carolina A. Miranda (Armory show), Tyler Jacobson and Chris Anderson (Canada), Tom Thayor (White Columns), Luke Murphy (Canada), Joel Holmberg (New Museum), Lawrence Weiner (Whitney Museum)
BROOKLYN
Andre Avelas, (Abrons Art Center), Aron Namenwirth (artMovingProjects), Damien Catera (Hogar Collection), Andy Graydon (LMAK Projects), Sonny Smith (Cinders Gallery), Paul Slocum (artMovingProjects), Heidi Neubauer-Winterburn (Louis V. E.S.P.), Eric Laska (Diapason), Elena Wen (AIR Gallery), Joe McKay (Vertexlist), Laura Parnes, (Internet), Heather Dewey (Issue Project Room), Peter Doble (English Kills), Douglas Henderson (Pierogi), Robert McNeil (MonkeyTown), Erick Zuenskes (Real Fine Arts), Wayne Hodge (Fivemyles), Ranjit Bhatnagar and Nick Yulman (Coney Island Museum), Lara Kohl (PS.1), Mike Koller and MTAA (McCarren Park), Brainstormers (Lesbian, Gay, Bisexual, and Transgender Center).
In this weekly feature, we will share our ideas for what you can do “off-campus” while the museum is closed. This week’s entry comes from Nicole M. Roylance, Coordinator of Public Education and Information.
Sean Bayliss, Go Penguin
This week our off-campus recommendation is that you come back onto the Vassar campus to check out the current installation at the Palmer Gallery. From today through Friday, August 5th the Palmer will be presenting You Said Something? Works by Sean Bayliss.
Art critic Michael Wilson writes of Bayliss’ work, “…verbal language intrudes quietly, sometimes invisibly, but always insistently, as if the pictures were talking or writing to themselves. The words he uses are drawn from overheard asides and friends’ stories, or function as names for situations. They may suggest explanatory captions or narrative speech bubbles, but never comfortably fulfill the demands of either form. They have an intimate relation to the images they accompany, but one that tends not to be immediately clear.”
You can meet the artist at a reception at the Palmer on Thursday, July 15th from 4:30PM to 6:30PM. The Palmer Gallery is located in Main Building and is open Wednesday through Saturday from 12-4PM or by appointment.
Brooklyn Borough President Marty Markowitz is backing the controversial $1.2 billion plan to bring 2,200 new apartments to the former Domino Sugar factory site in Williamsburg.
Markowitz Friday endorsed the project – which still faces an uphill battle with local Council member Steve Levin opposing it – saying the development “appropriately celebrates our waterfront and understands the need for affordable housing in Brooklyn.”
The beep, however, wants some minor revisions to developer Isaac Kataan and CPC Resources’ proposal. They include:
* Trimming the overall bulk and density, particularly on the upland parcel.
* Making documented, binding commitments for permanent affordable housing, including for the elderly, with eligibility for community preference extended to those displaced.
* Making commitments to provide the space for a supermarket, school and possible artisan establishments.
* Public transit improvements, including increased bus service to the L and G and J/M/Z subway lines, and increased L train service.
Michael Lappin, CEO of CPC Resources, was obviously sweet over Markowitz’s support.
“We are particularly gratified by his recognition of the many significant public values the development brings to the community,” he said. “His approval, with modifications, underscores the need for a balanced approach to create a viable, attractive mixed-income development.”
Despite the beep’s support, the project faces an uphill battle with both Levin and Brooklyn Democratic Party Boss Vito Lopez against it.
The project will next go to the city Planning Commission where it will likely be endorsed because Mayor Bloomberg has said he supports it.
But the City Council will ultimately decide the project's fate and usually backs the wishes of the local council member – in this case, Levin (D-Brooklyn) -- on land-use issues. Levin is the ex-chief of staff and a major ally of Lopez, who himself wields great influence over the council.
Levin says the project is too large and would create transportation woes in the area, as has Community Board 1.
The project is gearing up to become yet another big political battle over development in North Brooklyn.
One of Lopez’s biggest critics, Councilwoman Diana Reyna, a Bushwick Democrat supports the project.
Reyna won re-election in November despite Lopez’s opposition, but couldn’t convince the rest of the Council to shoot down the Lopez-backed Broadway Triangle development project in Bushwick in December.
The mixed-use project Domino project on the Williamsburg waterfront also includes four acres of public recreation space, 274,000 square feet of retail space, and an esplanade overlooking Manhattan. It needs city approval for a zoning change to allow for residential use because the 11.2-acre footprint was not part of the 2005 neighborhood rezoning.
The project, the second-biggest in Brooklyn behind Atlantic Yards, came under fire last year over the possibility that the illuminated "Domino Sugar" sign would be lost. But the developer opted to keep it following massive opposition from residents.
from: Robert Seng and Lisa Hein
Greetings Brooklyn neighbors,
presents
Rob List is presenting different performances each week, with a different roster of collaborators who have been coming in from South America and Europe.
The current group, highly respected artists in their own right will be here THIS WEEKEND ONLY.
So, if you have the time and inclination to drop by the gallery, TONIGHT AT 11PM, or this weekend at 4, 6 or 11PM, we'd love to have you join us.
Rob List Performances
JUNE 4 -27, 2010
Rob List in Folly
Rob List with Melissa Cisneros, Diego Gil, Constance Neuenschwander, Olivia Reschovsky, Tjebbe Roelofs, and David Weber-Krebs.
At Parker’s Box during the month of June, Rob List will be orchestrating a body of ongoing performances, collaborations, research and experiments. Rob List and his performers will be offering on request individual five minute performances every day from 1-4pm, as well as performances from his repertoire at 4, 6, and 11pm.
THU/SUN JUNE 17-20:
ON THE BALCONY 1-4PM
INJERTO/GREFFE 4 and 6PM
INJERTO/GREFFE 11PM
THU/SUN JUNE 24-27:
ON THE BALCONY 1-4PM
NATURA MORTA 4 and 6PM
ENGRAVE 11PM
Concurrently in the Showroom
Ten Years Hunting – [Part Three]: The Trophy Room
The Trophy Room
In celebration of our tenth anniversary, Parker’s Box has invited a wide circle of artists to respond to the “Hunting (for art)” theme by contributing to an exhibition of artists’ “Hunting Trophies.” The rich dialogue between the works presented in “Trophy Room” together constitute an installation piece that encapsulates the continuing desire of Parker’s Box to engage with exciting contemporary art practices both as a facilitator and as a participant in the process of art making and presentation, with as deep an involvement as the artists themselves.
For artists, being included in a museum exhibition generally means first having to penetrate the well-guarded gates of a prestigious art gallery. But now the Solomon R. Guggenheim Foundation and YouTube are aiming to short-circuit that exclusionary art-world system, at least briefly, in much the same way that other hierarchical systems have been blown apart in the Internet age.
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Beginning Monday anyone with access to a video camera and a computer will have an opportunity to catch the eye of a Guggenheim curator and vie for a place in a video-art exhibition in October at all of the foundation’s museums: the Solomon R. Guggenheim in New York, the Deutsche Guggenheim in Berlin, the Guggenheim Bilbao in Spain and the Peggy Guggenheim Collection in Venice.
The project, called YouTube Play and conceived as a biennial event, is intended to discover innovative work from unexpected sources. It is open even to entrants who don’t consider themselves artists, and actively encourages the participation of people with little or no experience in video. “People who may not have access to the art world will have a chance to have their work recognized,” said Nancy Spector, deputy director and chief curator of the Guggenheim Foundation. “We’re looking for things we haven’t seen before.”
For YouTube the project is one in a series of experiments in tradition busting. In late 2008 it created the YouTube Symphony Orchestra, which allowed any musician to audition for a concert at Carnegie Hall conducted by Michael Tilson Thomas; the previous year it helped create the CNN/YouTube debates, giving everyone with a Web cam a chance to ask a question of a presidential candidate.
“What we’re doing is removing the middle man,” said Hunter Walk, director of product management for YouTube. “Whether it be Carnegie Hall or the Guggenheim, we’re giving people a way to see the aspirational light on the hill. And not just online but in the physical world too.”
While the company does not publicly discuss it, some of its officials say it is also hoping that collaborations with august institutions like Carnegie Hall and the Guggenheim Foundation will attract high-end advertisers.
Applicants will be able to submit their videos (only one entry per person) starting Monday, uploading them on a channel created for the initiative, also called YouTube Play (youtube.com/play). The works must have been created within the past two years and cannot be longer than 10 minutes, made for commercial use or excerpted from longer videos. The deadline for submissions is July 31.
A team of Guggenheim curators will look at all the submissions — the foundation is expecting many thousands, Ms. Spector said — and narrow them down to 200, which will be seen by a jury of nine professionals in disciplines like the visual arts, filmmaking and animation, graphic design and music. (Ms. Spector, who will be a juror herself, is putting the group together.) Although the jurors will know the names of entrants, Ms. Spector said, the makeup of the jury should be diverse enough to prevent art-world or other biases from infecting the process.
Then, in October, the jurors’ final selection of 20 videos will be on simultaneous view at all the Guggenheim museums. And the 200 that made it through the first round will be available on the YouTube Play channel.
There will be no first prizes or runners-up among the 20, Ms. Spector said, “because this is not about finding the best, but making a selection that represents the most captivating and surprising work.”
That work could come, the foundation and YouTube say, from any quarter. “Within the last few years you can get a camera and for a few hundred dollars get the tools to create Hollywood magic,” Mr. Walk said. And Hewlett-Packard, which is collaborating on the project, is not only providing hardware to all the Guggenheim museums for displaying the videos, it is also offering online tutorials on YouTube Play to teach skills like editing, animation and lighting to the video-naïve.
While Ms. Spector and YouTube say they created the project as a way of breaking down traditional art-world boundaries, some in that world question how meaningful it really is.
“Hit-and-run, no-fault encounters between curators and artists, works and the public, will never give useful shape to the art of the present nor define the viewpoint of institutions,” said Robert Storr, dean of the Yale University School of Art, the organizer of the 2007 Venice Biennale and a former senior curator at the Museum of Modern Art, in an e-mail message from Europe.
“It’s time to stop kidding ourselves,” Mr. Storr added. “The museum as revolving door for new talent is the enemy of art and of talent, not their friend — and the enemy of the public as well, since it refuses to actually serve that public but serves up art as if it was quick-to-spoil produce from a Fresh Direct warehouse.”
But those involved in the project, naturally, see it differently. “If this is all the Guggenheim did, it would be a problem,” Ms. Spector said. “There are many layers to our programming. And we can’t say at this point that this won’t spawn ongoing relationships with people we discover through this process. One can only hope that it will.”
| KTO | CO | MADE IN INTERNET | ||
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| 0100101110101101.ORG Banovich Tamas Bell-Smith Michael Cortright Petra Davis Paul B. Endlicher Ursula Eteam (Lamprecht Franziska and Moderegger Hajoe) Holmberg Joel JODI Lonergan Guthrie Lucas Kristin McKay Joe Moody Tom MTAA Murphy Luke Olson Marisa Slocum Paul Stead Jessie Van Den Dorpel Harm Yeh Cj Marcin Ramocki (Organizator) | Reenactment of Gilbert&George's The Singing Sculpture, 2007 Seria inscenizacji historycznych wewnątrz światów syntetycznych, takich jak Second Life. Wszystkie spektakle tworzą Eva i Franco Mattes poprzez swoje awatary wykonane jako odwzorowanie ich ciał i twarzy. Publiczność z całego świata może oglądać i brać czynny udział w spektaklach na żywo po zalogowaniu się w grze. Seria spektakli rozpoczęła się w styczniu 2007 r. http://0100101110101101.org |
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