Sean Bayliss

Off Campus: On Campus

June 25th, 2010 by niroylance

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.

Domino Sugar Development

Markowitz has sugar rush over Domino plan

| More Print

1:55 AM, April 12, 2010 ι By RICH CALDER

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,

You knew about this, right? We were handed this flyer by Rami Metal, our city council rep Steve Levin's right hand man. Rami says at least 50 people must sign up to testify against the Domino plan, or "they will roll right over us".

From neighborhood battles with developers in the West Village, and with DOT here in Brooklyn, we have to say that, on a local level, it pays to speak up.
We will be out of town on a job tomorrow, but will send Rami our comments at: rmetal@council.nyc.gov

Parkers Box (PERFORMANCE)

presents

Rob List Performances (Reminder) and wishing you a great summer.

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.

Top (left to right): SAMUEL ROUSSEAU, Trophée (Hunting Memory), 2010, wood, metal, paint, rubber, 31.5 x 22 x 18.9 inches (80 x 56 x 48 cm), WILLARD BOEPPLE, Tivyside Hunt, 2010, wood paint, 27½ x 12½ x 16½ inches (69.8 x 31.7 x 41.9 cm), WARD SHELLEY, Pig Head Camera, 1990, wood, steel, aluminum, electronics, 24 x 12 x 29½ inches (61 x 30.5 x 75 cm), DAVID MCQUEEN, …in his warm soft bed of pine and clover. April 2010, modified taxidermy mount, 36 x 15 x 21 inches (91.4 x 38.1 x 53.3 cm)
Bottom (left to right): PATRICIA WALLER, Geweih (Multicat / antlers), 2002, crochet, yarn, synthetic material, wood, open edition, 18 x 18 x 12 inches (45 x 45 x 30 cm), GERARD WILLIAMS, ‘International Hungarian Mail Shot,’ 2010, paper targets, postage stamps, bullet holes, 10½ x 12 inches (26.7 x 30.5 cm), MATT FREEDMAN, Bird With Bird Helmet, 2010, epoxy plastic, wood, paint, 9 x 7 x 17 inches (22.9 x 17.8 x 43.2 cm)

Rooftop Films

Friday, June 18th

NEW YORK NON-FICTION

New York City scratches, splashes, survives, creates, gets sick, dies, makes music, mourns, becomes activated, does its hair, and is reborn in a different shape to do it all again - or to do something entirely different. This year's New York Non-Fiction program traces this city and its citizens, both remembered and forgotten. New York has changed a lot over the past 30 years and yet so much is still there, under facades, behind trees, under layers of the new. It is still New York, full of struggle, of possibility, of hope.

http://www.rooftopfilms.com/2010/schedule/15-new-york-nonfiction



Where:

Open Road Rooftop

350 Grand St. at Essex St.



When:

8:00 Doors open

8:30 Live music

9:00 Films begin

11:30 After-party with open bar at Fontana's (105 Eldridge St.)





Saturday, June 19th
LOVERS OF HATE
Sibling rivalry can be either tragic or funny, but in Bryan Poyser's Lovers of Hate, it's both. The Austin-based director's savage comedy centers on floundering writer Rudy (Chris Doubek, co-star of the 2010 Rooftop Films entry The Happy Poet) and his successful brother Paul (Alex Karpovsky, co-star of the 2010 Rooftop Films entry Tiny Furniture), a children's book author who stole all of Rudy's ideas. On a whim, Rudy travels out to Park City in the hopes of surprising Paul at his spacious vacation condo. But when his brother comes home locked in an amorous embrace with the recently ex-girlfriend who broke Rudy’s heart, he decides to keep his presence in the house a mystery. Rudy hides in the shadows, spying on Paul and Diana as they engage in a secret liaison.

Poyser repeatedly shifts perspective among his three characters, combining suspense with slapstick comedy and keeping us guessing whether Paul and Diana will notice their unexpected visitor. The film was a favorite at both Sundance and South by Southwest, winning over audiences with a delectable blend of believable characters, comically awkward scenarios, and frank sexual dialogue.
http://www.rooftopfilms.com/2010/schedule/16-lovers-of-hate

Where:
Open Road Rooftop above New Design High School
350 Grand St. @ Essex (Lower East Side)

When:
8:00 Doors Open
8:30 Live Music by North Highlands
9:00 Films Begin
11:30 After Party with Free Open Bar at Fontana's (105 Eldridge St.)





Saturday, June 20th

SWEET MUD – FREE SHOW



Casting a critical and intensely personal eye on life on a kibbutz, Sweet Mud peels away the layers of folklore and romanticism to reveal the harshness of the communal enterprise. Israeli director Dror Shaul places his outstanding cast in settings of lush visual beauty in a film that was developed at the Sundance Screenwriters and Directors Lab with input by Stephen Gaghan, Ed Harris amongst others.

Rooftop Films is proud to continue our partnership with the Consulate General of Israel in New York. This summer the Consulate will mark the centennial anniversary of the Kibbutz movement with this special outdoors screening. This evening will be dedicated to the magic of this unique Israeli social phenomenon. As the kibbutz is founded upon agriculture, with a concentration on nature, the film will be screened at Solar One, a venue powered solely by green energy. Come join us for a "kibbutz-like" gathering filled with Israeli food, music and film, all under the summer skies.

http://www.rooftopfilms.com/2010/schedule/17-sweet-mud



Where:
On the pier at Solar One
23rd St. and the East River

When:
8:00 Doors Open
8:30 Live Music by Hank & Cupcakes
9:00 Film begins



---

Lela Scott MacNeil

Rooftop Films

232 3rd Street, #D101

Brooklyn, NY 11215

718-417-7362



Underground Movies Outdoors

www.rooftopfilms.com

Guggenheim and YouTube Seek Budding Video Artists

By CAROL VOGEL

Published: June 13, 2010

• ose
  • Linkedin
  • Digg
  • Mixx
  • MySpace
  • Yahoo! Buzz
  • Permalink
  • 
    

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.

ArtsBeat

The latest on the arts, coverage of live events, critical reviews, multimedia extravaganzas and much more. Join the discussion.

• More Arts News

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.”

ARTBOOM

Na festiwal zaprasza
Jacek Majchrowski
Prezydent Miasta Krakowa

KTO		CO		MADE IN INTERNET
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

Xylor Jane

Thursday, June 3, 6:30
Artist Talk by Xylor Jane

35 Wooster Street, New York, NY, 10013
tel: 212-219-2166
fax: 212-966-2976
email: info@drawingcenter.org

http://drawingcenter.org/index.php/2010/05/27/thursday-june-3-630-4-x-4-artist-talk-by-xylor-jane/


The third in a series of four talks in which artists discuss the influence and relevancy of drawing within their multifaceted practices. With diversity in both technique and approach, the artists in this series share an affinity for integrating drawing into a wide range of mediums – painting, sculpture, installation, mixed media – to critically investigate subjects of interest to them be it economics, politics, quantum physics, the human subconscious, or personal narrative. These artists’ unique forays into conceptual thinking and theoretical significance further broaden our conceptions of the field of drawing and highlight current trends and issues in contemporary art.

Xylor Jane’s intuitive systems of abstract patterns reveal the handmade imperfections of her drawn grids and suggest that the seemingly mechanical process is strongly indebted to autobiography and emotion. Jane received her BFA in 1993 from the San Francisco Art Institute and exhibits at CANADA, New York. She will have a solo show at Almine Rech in Paris, France this September. She lives and works in Greenfield, Massachusetts.