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The Hogar Collection | ||||||||||||||||||
Thursday, February 24, 2011
Ken Butler Live (Hogar Closing)
Saturday, February 12, 2011
Beat Night
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POSTER BY ANDREW HURST JASON ANDREW + NORTE MAARpresents: BEAT NITE Bushwick Art Spaces Stay Open Late Friday, February 18, 6-10PM BUSHWICK, BROOKLYN�Jason Andrew + Norte Maar bring back the late night with the fifth installment of BEAT NITE: Bushwick Art Spaces Stay Open Late, Friday, February 18, 6-10PM. This bi-annual night is half art stroll, half bar crawl, where selected art spaces from the legit galleries to the DIY apartment spaces stay open late for each other and the public welcoming the public to see real art in real time, one night only. Each of the ten spaces will host new art and offer true neighborhood hospitality in the form of drinks and music in what has become the signature party of all parties with art above all else. This episode of BEAT NITE is sponsored by HYPERALLERGIC.COM. Participating art spaces include among others: English Kills, Centotto, Fortress to Solitude, Famous Accounts, and re-installation by Austin Thomas of the apartment gallery that started it all, Norte Maar. The night also featuring the closing party for current show at Centotto and the celebration of the opening of a brand new space Curbs and Stoops (566 Johnson Ave). Don't miss the official after party at THE BODEGA (24 Saint Nicolas Ave) where DJ Scot Bowman will spin the town tunes and host Jason Andrew (aka Paddy Johnson�s muscled Cyborg) will take off his shirt at 11:30PM. Bushwick is the place to make art from the ghetto to the glamour. Artists have found solace in the supportive neighborhood made up of emerging and established artists, choreographers, writers, alternative spaces and reputable galleries. Putting the spit on the art world where community means more than commerce join Jason Andrew + Norte Maar for this event where the art is real and the people making it are to. MORE INFO: 646-361-8512 |
+++++ DOWN LOAD MAP (COMING SOON) +++++ |
:FEATURED TRACKS |
| NORTE MAAR 83 Wyckoff Avenue, #1B Brooklyn, NY 11237 on exhibit: MARK IT!: a group show of artists at the beginning of a new project including: Paul D'Agostino, Lars Kremer, Aron Namenwirth, Cathy Quinlan, Julie Torres, and Audra Wolowiec. Organized by Austin Thomas to celebrate her public art project for the Historic Moore Street Market in Bushwick. |
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ARCH COLLECTIVE 18 Wyckoff Avenue Brooklyn, NY 11237 on exhibit: IMAGINARY ARMS: MAN DIES: Joe Strasser, Grover Watts, Joseph O�Neal, Clark Russell, and Jeremy McDaniel. Curated by Max Demetrio and Jason R. Jensen. |
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CENTOTTO 250 Moore Street, Brooklyn, NY 11206 on exhibit: PORTFOLIO X APPUNTI: new work by Zane Wilson. |
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CURBS AND STOOPS 566 Johnson Avenue, Brooklyn, NY 11206 on exhibit: GRAND OPENING! Featuring new works by resident artists Jonathan Chapline, Rachel Labine, and others to be announced. Also live music and beverages provided by Dogfishhead Craft Brewed Ales. |
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ENGLISH KILLS 114 Forrest Street, ground flr Brooklyn, NY 11206 www.englishkillsartgallery.com on exhibit: STEVEN THOMPSON: new work. |
FAMOUS ACCOUNTANTS 1673 Gates Avenue, Ridgewood, NY 11285 http://famousaccountants.wordpress.com/ on exhibit:Obsession: The Book of Revelation from the Koran, an installation by Meg Hitchcock. |
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LAUNDROMAT 70 Wyckoff Avenue, #1J, Brooklyn, NY 11237 http://laundromatgallery.blogspot.com/ on exhibit: NEW LOCATION NEW EXHIBIT: New works by Alexa Hoyer and Walsh Hansen. |
STOREFRONT 16 Wilson Avenue, Brooklyn, NY 11237 on exhibit: MARY JUDGE: Pop-Oculus and in the back room: WAVELENGTH: new work by Judith Braun, Maureen McQuillan, and Suzanna Starr. |
SUGAR 449 Troutman Street, #3-5 Brooklyn, NY 11237 on exhibit:VISCERAL LOGIC: new work by Erika Keck and Throwhite. |
Sunday, February 6, 2011
Mark It!
Lars KremerMark it! @ Norte Maar
Opening: Friday, February 18, 6 - 10 PM
Norte Maar 83 Wyckoff Avenue, #1BBrooklyn, NY 11237 USA
Hours by appointment 646-361-8512
“Mark it” presents a group of artists at the beginning of new projects including; Paul D'Agostino, Lars Kremer, Aron Namenwirth, Cathy Nan Quilian, Julie Torres, and Audra Wolowiec
organized by Austin Thomas to celebrate the beginning of a new public art project for the Historic Moore Street Market in Brooklyn
Beat nite Bushwick, galleries stay open late organized by Jason Andrew and Norte Maar sponsored by Hyperallergic
Saturday, January 29, 2011
Austin Thomas Hosts ‘Hippie Potluck’ at Hyperallergic
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A patron saint of the Brooklyn art world's DIY, Austin Thomas is coming to Hyperallergic HQ to share her good vibes & nurturing of ideas with all who come. Thanks to artist Tamara Gonzales for the use of her painting as a background.
On Monday, January 24, starting at 7pm, Austin Thomas will be hosting an informal “Hippie Potluck” at Hyperallergic HQ and we’re calling it “Covered Dishes & Current Affairs.”
Attendees are invited to bring a covered dish for the potluck and join in the roundtable discussion about issues of importance to New York’s vibrant art community, which consists of artists, critics, curators, bloggers, writers, collectors, gallerists, art handlers, hanger-on’ers, groupies, and fans.
Check out: Rob Sevo
We had an in depth conversation about some things i have been thinking about involving the relationship or lack there of in the creative process of music and fine art.
Tuesday, January 11, 2011
Art Lies
New Media and the Gallery
Paul Slocum
Galleries understandably dwell on the romance of the unique object. My house is filled with items that demonstrate my sympathy, but as I read about first-graders carrying laptops to school, I wonder how the object is going to weigh against virtual art experiences for the next generation of art viewers? As an early adopter and longtime professional user of computers, I think the shift has already happened for me. Many of my most rewarding art experiences come from the Internet and other virtual mediums, while the gallery grows curiously stale. Like contemporary art for many, virtual is an acquired taste.
For decades, probably longer, some in the art world have known that a number of the greatest artworks exist outside the carefully laid boundaries of fine art. So, the art world (me and my own gallery included) gave asylum to other art forms through things like bands playing in the gallery and movies screening on the walls, even though the acoustics in the gallery are bad and the seating is never appropriate for films. Advance one generation to new media art and we’re installing computers and monitors in the gallery when most of the people attending have the same equipment at home. Maybe the future of the physical new media gallery is simply a clubhouse so the artists can meet up while art is exchanged online?
The results of transplanting digital artists to the gallery space have been as expected. Some new media work translates well to the gallery, some doesn’t. Some artists have the aptitude to thrive in the commercial art environment, others fail and retreat to the Internet. A few successful high-profile exhibitions like Breaking and Entering: Art and the Video Game at Pace Wildenstein (now The Pace Gallery) and Rhizome ArtBase 101 at the New Museum (both in 2005) demonstrated that new media artists are capable artists in real life—not just hippie computer nerds. As a result, new media has edged its way into the archive of art history—museums acquired some pieces and Cory Arcangel made the cover of Artforum. But despite a bit of critical success, most new media artists I know have found it extremely difficult to make a living with their artwork in the commercial art system. Granted, it is difficult to make a living as an artist at all, but traditionally, with a certain level of critical success, exposure, museum shows, etc., you expect a meager living. Not that anyone is surprised, though: for $2,000, the gallery offers you a painting or a CD-ROM containing a file that they could send you in an email attachment. It’s understandably difficult for collectors to make this transition, and this is probably why my gallery only ever lost money.
But many of the differences between a JPEG and a painting are illusion if you experience the work wholly. At the level of theory and physics, both are just optical information suspended in a fragile medium, coded by elementary particles on a canvas or on a hard-drive platter. The detailed physical processes behind seeing a painting and seeing a JPEG described mathematically are both absurdly complex. Beyond the subtleties of how each is stylized by its technology or nostalgic spin, the most effective difference between JPEG and painting technology is the economy of duplication and transmission. Because the JPEG’s economy of endless duplicates does not fit well into the art-world’s market of rare objects, gallerists may compensate by converting the file into an editioned giclée print, a more tangible form of object with real-life copyright protection.
New media artist Leo Villareal risking the appearance of "selling out" in the Yale Alumni Magazine, September/October 2010; courtesy the author
So, why can’t we just sell the file online? Not as a conceptual art project, but as an attempt at a new model of putting food on the table through selling art. We’re expending a lot of energy translating this digital stuff to the gallery, while almost every other content industry sells files on the Internet: software, movies, music, books, games. Consider the concept of selling art online like software or music, or using free Internet art to sell advertising or merch. Whether or not the market is too small for this depends on your definition of the boundaries of art, because the masses clearly already buy some forms of very art-like digital content over the Internet through the iTunes Store and Netflix.
It seems like Internet commerce for Internet artists should be a natural extension. If we as Net artists know so much about the Internet—its aesthetics, its social systems, its hidden worlds—then shouldn’t we be able to at least manipulate it enough to grift a simple living with our practice? Yet many artists I know, myself included, have idealistic tendencies and have really latched onto these Internet philosophies of freedom (as in both speech and beer). Giving away the work online makes it difficult to sell online. I do love the idea of universal access to information, but I don’t think I can continue to place such a huge gulf between free and really cheap. Isn’t it all just a gradient where you find your place? Keep in mind that the commercial art world only does really expensive.
An image-conscious artist who has overcome the free mentality may then balk at the risk (or appearance) of selling out when mixing art and Internet commerce. A commercial place like the Internet is surrounded by commercial temptations, and without the established business etiquette of the art market, it’s difficult for “sell-out” accusers or accused to even consistently define selling out. All this could be dangerous for artists who plan to keep a foot in the traditional art world. Even if an artist avoids the sell-out trap, the art industry seems to handicap credibility on art delivered in mass-produced forms, making the effort less fruitful. It’s a shitty road!
Long term, the art world is just a massive pile of artifacts related to artworks produced throughout history, including writing, visual documentation, sales records, the artworks themselves, memories, every perceivable piece of substance related to art. The Google PageRank-like formula that the art world uses to determine the significance of artworks within this pile largely considers the textual records, but it clearly also places heavy emphasis on the sales records. New media art may eventually find its market, but since it currently has not, its prominence in the art archive may depend on those in the field writing avidly about the unique experiences they’re having with art, computers and the Internet. New media artists are pouring themselves online every day to see a fuller picture, and they must report back often lest others miss out on the astonishing beauty of the Internet.
Saturday, January 8, 2011
Friday, December 31, 2010
Lisa Hein and Bob Seng
"Calendar"lighting animation in two independent loops
10' x 8' x 3'
Whenever your holidays hit -- stay lit!
Lisa Hein and Bob Seng
dusk to midnight daily thru feb 13
gridspace
112 rogers ave at sterling
thanks to ian burns and macdowell colony
Wednesday, December 22, 2010
AFC Fund raiser
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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Thursday, December 16, 2010
Clare Amory Benefit
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.
Works can be viewed online but also, thanks to David Zwiner Gallery, are available for viewing in person on Sunday, December 20, 12-8pm, at 533 West 19th Street.
Info on the works for sale can be found here: link
For sales inquires please contact Becky or James at info@jamesfuentes.com or 212.577.1201.
Saturday, December 11, 2010
Wednesday, November 24, 2010
Monday, November 8, 2010
Contemporary Art
Contemporary Art: Art Contemporary with Itself
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.
Sunday, October 31, 2010
Twitter with Marcin Ramocki
From: Marcin Ramocki:( http://twitter.com/59tweetthesis / ) tomorrow, Sunday (10.31) between 2-3pm EST!
On the 493 anniversary of Martin Luther's "Disputatio pro declaratione virtutis indulgentiarum" I'll be tweeting
my text "59 twitter theses: light hearted disputation concerning artistic practice in the era of social media".
My piece was conceived as a companion for the exhibition "Future Is Not What It Used To Be" (11.11 – 26.12.2010), curated by Magda Sawon (Postmasters Gallery) at The Center of Contemporary Art Zamek Ujazdowski in Warsaw. The final text will become one of the catalogue essays for the show.
"59 twitter theses" is an attempt to open up a conversation about artistic practices in the age of social apps.
The text will be permanently left on Twitter.
From: Tom Moody
Tonight!
From: Tom Moody
Tonight!
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.
Tuesday, October 5, 2010
I am a dung beetle hole
John Illig Mixed media very very large 2010An example where pictures do not do justice. Went over to artists studio/ blown away!
Friday, October 1, 2010
Save Date Nov.15 Earth School Auction at Pierogi
Dan Kopp "untitled" acrylic on paper 12x16" 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
Auction and Raffle Procedure
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.
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