Brion Gysin Internet Circulation Project

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

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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

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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.”

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.

William Stone

THE PROPOSITION 2 Extra Place New York, NY 10003 | 212-242-0035 | www.theproposition.com

We are very excited to announce the re-location, re-opening and re-invention of The Proposition. The Proposition is now located at 2 Extra Place, East 1st Street between Bowery and 2nd Avenue, the alley behind the historic CBGB’S, steps from the New Museum on the new platinum coast of the Bowery. In its new location, The Proposition will present a series of shows juxtaposing artists shown during its seven years in Chelsea with an exciting group of architecturally and sculptor based furniture designers. We will also explore multi-media artists’ adventures into furniture making and other functional objects with the emphasis on line, process and surface. INAUGURAL SHOW WILLIAM S. STONE | THE ROUGH STUFF JUNE 01 - JULY 11 OPENING RECEPTION: JUNE 1st 6-8 PM Our inaugural show, The Rough Stuff, features veteran New York artist William S. Stone (in co-operation with James Fuentes LLC) and includes a section of the film “Out of Our Minds,” (2009) by Melissa Auf der Maur and Tony Stone, conceived and shot at the Stones’ country residence documenting the felling of majestic pine trees within the framework of “19th century period piece” on their property. Subsequently, these very trees become the material for the whimsical collection of the artist’s “functional” and “non-functional” art objects, which will comprise the objects of our first exhibition. William Stone has been featured in solo exhibitions at James Fuentes LLC, Tom Cugliani Gallery, Emily Harvey Gallery and The Clock Tower/P.S. 1 Center for Contemporary Art, in addition to group exhibitions at The New Museum, Deste Foundation for the Arts, The Aldrich Museum and most recently; Socrates Sculpture Park and Engholm Engelhorn Galerie. Stone is represented by James Fuentes LLC, New York. James Fuentes was the curator for The United States of America vs. Alfredo Martinez at The Proposition in 2003, as well as Survival of the Shittest, featuring work by Brian DeGraw and David Perry at The Proposition in 2004.

Civil unrest

Eva and Franco Mattes

May 15th – June 19 2010

EVA and FRANCO MATTES aka 0100101110101101.ORG

Reality is Overrated

opening reception: Saturday may 15, 6-8 pm

www.postmastersart.com - info online

Postmasters Gallery is pleased to present "Reality is Overrated" by Brooklyn based artists Eva and Franco Mattes aka 0100101110101101.ORG. The exhibition will include several new net-based performances as well as their very first work together, a project that has been kept secret for 14 years. The show will open on May 15th and will be on view until June 19th.

The works in this exhibition engage in charged, high resonance issues of crime, sex, war, and death.

What we see in "Reality is Overrated” is a slow process of disintegration of some of our core beliefs about art and culture: the need for material objects, the authority of institutions, the uniqueness of an artwork and the distinction between reality and simulation. Museums have been mysteriously robbed and art objects become dust gathering, obsolete commodities. In order to get real and spontaneous reactions the artists are looking for their audience outside of traditional art spaces, confronting groups of unaware viewers.

In their work Eva and Franco Mattes manipulate video games and Internet technologies creating a permanent state of insecurity by blurring borders between reality and fiction, art and confrontation, intent and its often unexpected consequences.

For “No Fun” Franco Mattes simulated committing suicide in a public webcam-based chat room. Thousands of random people watched while he was hanging from the ceiling, swinging slowly, for hours. The video documentation of the performance, which was just banned from YouTube, is an unbelievable, at times very disturbing, sequence of reactions: some laugh, some are completely unmoved, some insult the supposed corpse, some take pictures with their mobiles. Notably, out of several thousand people, only one called the police.

In “Freedom” we are faced with a live performance set within the popular first-person shooter videogame “Counter Strike”. Here the artist, Eva Mattes, is refusing to accomplish the basic role of the game: kill the enemy. She instead tries to convince the other players to save her because she is “trying to make an artwork”. The result is the performer being endlessly and brutally killed and abused by the other players.

The artists' earliest work “Stolen Pieces” is shown here for the very first time : over a period of two years (1995-1997) Eva and Franco stole dozens of fragments of works of art - masterpieces by famous artists, such as Kandinsky, Duchamp, Beuys, Rauschenberg, Warhol, and Koons - from the most renowned museums of contemporary art in the United States and in Europe. For 14 years they have never revealed its existence. Besides the fragments themselves, the exhibition features a video, shot with a hidden camera, documenting their last heist. Making a mockery of our belief in the sacred nature of art, this controversial work is an open question: where does the value of a work of art lie? Are objects overrated?

The title of this show refers to the actual human condition in which the perception of reality is more and more filtered by the media. Humanity abandoned reality to live in front of screens, concerned only with media attention disguised as communication, and narcissistically hoping to be the protagonist of this spectacle, while chatting compulsively. For their recent works Eva and Franco went down the dark side of the Internet to meet this humanity.

All the works in this show can also be seen online on the artists’ website.

This is the Matteses third solo exhibition at Postmasters. Their work has also been show at Performa, P.S.1, the Walker Art Center, Manifesta, ARoS Kunstmuseum, The National Art Museum of China, the New Museum and the Venice Biennale. They have been recently invited by Marina Abramovic to perform at Plymouth Art Center, UK. A monograph on their work has just been published by Charta.

Postmasters is open tuesday through saturday between 11 and 6 pm. Please contact Paulina Bebecka or Magdalena Sawon with questions and image requests.

image: Eva and Franco Mattes aka 0100101110101101.ORG No Fun, 2010, online performance 2010, screengrab

upcoming exhibtion:

June 29 - August 7, 2010

Defrosted, a Biography of Walt Disney

ADAM CVIJANOVIC and DAVID HUMPHREY will recount the life of Walt Disney in the form of an exhibition. Paintings, collaborations and sculptures by Cvijanovic and Humphrey (also including some guest appearances with works by other established artists) will be assembled into an installation whose subject travels from Kansas to California to Florida and beyond.

Magdalena Sawon

Postmasters Gallery

459 west 19th street

New York, NY 10011

212-727-3323

www.postmastersart.com

magda@thing.net

Devon Dikeou

179 Canal Street, 2nd Floor

New York, NY 10013






Devon Dikeou : “It’s Déjà vu All Over Again”

May 6 – May 28, 2010




179 CANAL presents "It's Déjà vu All Over Again", an exhibition by Devon Dikeou. The title/quote (a Yogi-ism) originates from Berra witnessing Mickey Mantle and Roger Maris hitting back-to-back home runs in an early 1960’s Yankee’s game. Sports aphorisms aside, the exhibition revisits Dikeou’s multifaceted works as artist, curator, publisher and collector, 1991 though the present.

Never one to settle for stagnation, Dikeou has continuously sought to engage her audience with works that invite viewer participation while questioning the nature of observation from the inside-out and outside-in. In “Takes a Licking, and Keeps on Ticking”, viewers are invited to clock in and out of their tour of the exhibition. Sparking some self-consciousness, viewing time is quantified, recorded and presented publicly. The piece engenders nostalgia and gives the audience a chance to experience rarified social practices, as Dikeou’s work is unmistakably tied to America of yesteryear. In her series “Displaced Denver”, warm color photos capture Denver at street level. We recognize the buildings in their familiar post-war mid-century facades. If that was the future then, the artificial flora and fauna and mirrored planter box that makes up “Cajole” (Oriental Opulence and Tropical Paradise), are relics from their past. This floral arrangement looks as if it was plucked straight from one these building lobbies, with official signage generously elucidating the botanical nomenclature, though are we convinced yet?
“So we Must Keep Apart, You There, I Here, with Just the Door Ajar, That Oceans are, and Prayer, and That Pale Sustenance, Despair”, a functioning summer screen door, divides the exhibition space and on the other side, “What’s Love Got to Do with it: ” zingmagazine 1-21” is installed. Before the first issue of zingmagazine was published in 1995, Devon Dikeou was already addressing cross-pollination, in this ongoing installation in which a selection of the iconic directory boards listing every artist in every artist in every group show she has been in since 1991. This related series appropriately hung within the zingmagazine reading room, lists all the participants that have been published in zingmagazine. Viewers are encouraged to get cozy and reacquaint themselves with past issues. Dikeou’s most recent work “Buddha or Machiavelli”, is a color photo taken of the plaque installed at Mezzogiorno Restaurant reserving a table for the pre-eminent art dealer Ileana Sonnabend. We once again encounter the reverential and paradoxical position of an insider looking in and putting out.

All in all, this is the final show of a really great year here at 179 CANAL and it feels like bases are loaded. Let’s see how far we can hit this one out of the park. We will be closed for summer vacation. Thanks for everything and see you soon.

M.L., NYC, 2010

Charlie Horse

curated by: Catharine Ahearn
(last show)

Cityscape

CITYSCAPE: SURVEYING THE URBAN BIOTOPE
May 2 - August 1, 2010
Opening Reception: Sunday, May 2, 2010, 2-6PM

Artists:

Saul Becker George Boorujy William Cordova David Kennedy Cutler Lillian Gerson Janelle Iglesias Katherine McLeod Ester Partegàs Zena Verda Pesta Christine Howard Sandoval Mark Lawrence Stafford

This exhibition will feature eleven artists who are exploring both the cultivated and invasive presence of nature in our built urban environment.

Amy Sillman