Jane Fine

Jane Fine

Blockbuster, 2009
Acrylic and Ink on Canvas, 32 x 50 inches
http://www.pierogi2000.com/flatfile/finejane.html

Santalopes

performance 9/11/09

		gallery 2 “She Who Destroys the Light" is Carol ‘Riot’ Kane’s gothic cathedral of an exhibition, with rock stars as saints. Fandom is usually insipid. Here, it's a monumental cosmology, fully realized. Read more
“The Sweetest Thing” is Andrew Erdos’s joyously ridiculous, NC-17 melange of photos, video, sculpture and performance. Santalopes are everywhere. Visitors will encounter a giant Santalope gingerbread house, a video of Santalope sex on a deserted Australian beach, Mrs. Santalope’s live North Pole dance—and her unabashed girl-on-girl eroticism—Santalopes at the Great Wall of China, Santalopes in glass, and lots and lots of candy. What is a Santalope?

Spaced Out

Spaced Out / On Time

Joan Brown
Sadie Laska
Chris Martin
Katherine Bernhardt
Otis Houston Jr.
Dona Nelson
Agathe Snow

September 11 - October 11, 2009
Opening reception: Friday, September 11, from 6:30 to 8:30 PM

"It’s amazing what you can do when you don't listen to what 'they' say." - Otis Houston Jr. (A.K.A. Black Cherokee)

"Baby, I'm not always there when you call, but I'm always on time. And I gave you my all, now baby be mine!" - Ashanti / Ja Rule

Damn you time! And the warships of fashion. I will be my own timekeeper and that way always ready! Be mine! Get physical. Get spaced out. Dismantled this place. Lost in thought and color, and stain, and mess, in construction, in color, in time, ON TIME. Lets get lost! These artists are not afraid to go way over there. Their art is the tether that allows for the trip. The artist can to lose it, to forget it, get beyond and through and away and follow objects back down to the ground, like a breadcrumb trail. The art is the evidence, the result and the fact of these explorations. No matter how far they go, these things are back here on time. We are lucky to have them all together, now in one place.

These artists make us bigger and braver people. Some of this work we know intimately. As students and colleagues of Dona Nelson, we have been intimately influenced (startled, intrigued, entranced) by her painting for over a decade. For ten years we have commuted past Otis Houston's studio and stage under the Triborough Bridge. His daily practice teaches us what art is suppose to be. Five years ago, Agathe brought potatoes in a spare tire nest to CANADA. To this day she continues to make free sculpture for the next Pepsi generation. Come meet me in the belly of your Whale! Ms. Lily Ludlow introduced us to Sadie Laska who is a drummer and a painter. Her intensely physical paintings in sand and goo are made with brush, stick and sponge. They are from the streets: tar and gum. Cave with the lights off, drip drop. Katherine Bernhardt (who introduced us to Chris Martin) can't be stopped still. Her strong and vulnerable paintings keep the faith (an now keep the time too). Make it! ! Make it YEs YEs! Joe Bradley asked us to look at the paintings of Joan Brown: where pattern meets painting and spirit is clearly in gear. We haven't been the same since. Her insistence is on her own way, which reminds us of Chris Martin who paints whatever he likes better than most. His works are funk driven and lost and full of painting explored. Close your eyes and let's go, keep digging, deep earth mining. Dig deeper, fry higher. Be Brave!

"If you can trust yourself when all men doubt you, and yet make allowance for their doubting too! If you can wait and not be tired by waiting or being lied about, don't deal in lies! Or being hated, don't give way to hating, and yet don't look too good nor talk too wise! If you can meet with triumph or disaster and treat those two impostors just the same!" - Dr. Bronner

CANADA is located at 55 Chrystie Street between Hester and Canal Streets in New York City. Gallery hours are Wednesday through Sunday, 12 to 6 PM. For more information, please contact the gallery at 212-925-4631 or at gallery@canadanewyork.com

Twin, Twin III

Twin, Twin III, curated by Matt Freedman

Reception: 5-8pm on Friday, September 11

Location: 10-20, 45th Rd. 2nd floor, Long Island City, NY 11101, tel: (917) 847 8613, a short walk from the E, V, 7 and G trains. There is a map and more information at www.bigandsmallcasual.net.

The show is up for one weekend only, and gallery hours are noon til 6, Saturday 12 and Sunday 13 Sept.

Meredith Allen; Michael Ashkin; Mike Ballou; John Berens; Leslie Brack; David Brody; Ken Butler; Luisa Caldwell; Mary Carlson; Robert Chambers; Cece Cole; Caroline Cox; Jane Dickson; Carol Diehl; Jane Fine; Barbara Friedman; Barbara Gallucci; Daniel Georges; Ken Green; Laurence Hegarty; Lisa Hein; David Henderson; Douglas Henderson; Clara Hess; Faten Kanaan; Nina Katchadourian; Jerry Kearns; David Kramer; Julia Kunin; Lenore Malen; Shelley Marlow; Douglas Paulson; Eung Ho Park; Ann Pibal; Katherine Powers; Carol Saft; Julia Schwadron; Bob Seng; David Shapiro; Judith Shea; Ward Shelley; Barry Sigel; Sonita Singwi; Tim Spelios; Greg Stone; Jude Tallichet; Anne Thulin; Hanne Tierney; Rachel Urkowitz; Daniel Wiener; Charles Yuen

Matt Freedman's "Twin Twin III, Artists Edition" is the first show of the new occasional exhibition space, Big & Small/Casual Gallery in Long Island City, near PS1. In this, the third incarnation of his evolving "Twin Twin Project", Freedman has invited artists familiar with its history to contribute pieces of their own work that evoke in them a spontaneous recollection of the events of September 11, 2001, similar to the effect of Freedman's collection of tower-like objects.

Islip Art Museum

The government of the town of Islip is intending to lay off all the staff of the Islip Art Museum, the letters are going out on Monday. They seem to think they can do what they want as they might not know that there is support for this institution by a wider community.

As you may know the Islip Art Museum has been a beacon of contemporary art showing artists from all over the world. We have received much critical attention over the past 30 years or so. We are the only institution to show such work between New York City and the Hamptons. We are an educational institution bringing contemporary art to an underserved community. Let the councilmen know that this is a loss and that you care about it.

Please send a letter and an e-mail to the following officials and ask anyone you know to do the same.

Please contact people you know, not just artists, and ask them to lobby on our behalf. Something simple is good, like:

The Islip Art Museum is one of the most valuable resources for young artists in the tri-state area. I understand that you are considering laying off the entire staff, a move that would effectively close the Museum. I know fiscal problems are everywhere--nonetheless, I urge you not to eliminate this important cultural institution.

Phil Nolan, Supervisor

Christopher Bodkin, Councilman

Steven Flotteron, Councilman

John Edwards, Councilman

Gene Parrington, Councilman

The address is:

Islip Town Board

Town Hall

655 Main Street

Islip, NY 11751

email to: supervisorsoffice@townofislip-ny.gov

And/Or Gallery and The House of Dang Celebrate the Last Dance

And/Or Gallery and The House of Dang Celebrate the Last Dance

This is it, Seniors. The last dance.

And/Or Gallery Press Release #23: A final music installation and dance party to celebrate And/Or Gallery's move to NYC (Fall 2009), The House of Dang's relocation to a design studio in Oakcliff and their new clothing line to open with Launch, at the Galleria (Fall 2009).

24.312 via Flickr by only alice

In the gallery during this party, we're creating a replica of a rave, which you may notice is not dissimilar from shows we've put on before except for the volume. Video content will be provided by our artists: Kevin Bewersdorf, Paul Slocum, Guthrie Lonergan, Tom Moody, Marcin Ramocki, Kristin Lucas, Michael Bell-Smith, and Travis Hallenbeck. The music will be a mixture of house and rave-appropriate techno, selected by Paul Slocum. The playlist will include remixes and new material by Tree Wave. It's the LAST DANCE!

When: Friday July 24th from 7pm - til
Where: And/Or Gallery
4221 Bryan St. Suite B
Dallas, TX 75204
214.824.2442

For more info, contact Paul Slocum (gallery director) at 214.676.5347

Kevin Bewersdorf Performance at Rhizome Benefit

Mildrids Lane Program

Home Introduction History Program Description Artists Course Schedule Applications Contact

"I dream of a new age of curiosity. We have the technical means for it; the desire is there; the things to be known are infinite; the people who can employ themselves at this task exist. Why do we suffer? From too little: from channels that are too narrow, skimpy, quasi-monopolistic, insufficient. There is no point in adopting a quasi-protectionist attitude, to prevent "bad" information from invading and suffocating the "good". Rather, we must simply multiply the paths and the possibilities of comings and goings." —Michel Foucault About the Mildred's Lane Program Mildred's Lane is an artist-driven project for the rethinking of the contemporary art complex, which is tucked away in the woods of Pennsylvania, on the upper Delaware River. It is a large-scale collaboration between the artists J. Morgan Puett and Mark Dion who have lived and worked on this rustic 96-acre site since 1998. From the beginning there has been a desire to critically re-imagine the space between environmental practice, artistic domesticating, and socially engaged research. By hosting and supporting international cultural producers, organizing informal residencies, developing site sensitive projects, seminars, dinners, research think tanks and more — they have made Mildred's Lane a significant but invisible center for new forms of cultural practice. Now, out of the dialogues and the innovative cultural projects produced at this site, a new form of institution and educational program is emerging. We are embarking on this adventure in the spirit of critical curiosity to foster an experimental location to bring diverse researchers, makers, and thinkers together to take on broad ranging interdisciplinary matters of concern. Dion, Puett and their associates will teach from within this mode of doing. This program initiates what we feel needs to happen both in terms of art making and art teaching — the development of socially engaged research into broad ranging conceptual issues of 21st century life, comportment, and environmental practice. This experiment is currently most visible in several large-scale, site-sensitive art projects in the form of architectural experiments, 19th century out-buildings, landscaping interventions, as well a large archive. These projects and their histories will become the core of the new complex — The Mildred's Lane Historical Society and Museum — so titled to honor Mildred Steffens Miller, a remarkable woman farmer who lived on this land. Parallel to this museum is the educational and research program. This creative environment will allow for something not possible in a traditional academic institution or arts organization — a working-living-researching site for large-scale project-based practices. Mildred's Lane welcomes this "new age of curiosity" — activating connections that situate themselves at the nexus of science, methods of living and critical artistic practices, thus engaging in, and with the world. A Curriculum for New and Emergent Practices What is different about Mildred's Lane is that it functions entirely to reassemble the connections between working, living, and researching — centered around specific projects within a pedagogical strategy. This unusual program affords students the ability to participate in the production of large-scale research driven art projects within a truly transdisciplinary environment — a rare opportunity that is unavailable in any institution. As the system at Mildred's Lane has developed, working with students has become a critical component. It is out of this work and realization — that project based art making requires a fundamental rethinking of the parameters of education — that a curriculum has been developed at Mildred's Lane. At the core of this new curriculum are two principles: (1) that for students, project based art making is best pursued in the context of actual site and (2) education should be principally involved in the development of modes of life — what we are calling workstyles. This is an unusual site and a unique program which does not strive to duplicate other studio program models. Students do not get studio spaces — the site itself is the studio. The program is made up of a series of one-of-a-kind research, development and project building sessions during which students live and collaboratively work with internationally renowned artists who will direct the sessions to produce an ambitious new work. Thus each session will result in a single, concrete site-sensitive installation and/or body of research. During the session students will have the opportunity to be involved in all aspects of a project's development — and in addition, each session will produce documentation in the form of a publication, website, exhibition and/or other project forms which the students will collaboratively design, author, edit, curate and publish in collaboration with Mildred's Lane. The core of the practice and educational philosophy at Mildred's Lane is an attempt to collectively create new modes of being in the world — this idea incorporates questions of our relation to the environment, systems of labor, forms of dwelling, all of which are an ethics of comportment — and are embodied in workstyles.As a student at Mildred's Lane these issues will be negotiated daily through the rethinking of one's collective involvements with food, shopping, making, styling, gaming, sleeping, reading, and thinking. This is a program and a place where a work-live-research environment is developed to foster a rigorous engagement with every aspect of life. In parallel to and co-evolving with every research session will be the intensive reconsideration of workstyles — there will be visits to alternative farms, discussions around food and cooking; cleaning, maintenance and the total space of the domestic will be part of the course of study — we will collectively work on the full space of our total system of engagements via doing, making, and researching. Institutional Involvement Notes There are numerous ways in which to become involved in the early generation of the Mildred’s Lane experimental project: The artist, the student AND the institution have important roles as we attempt to co-evolve with an emergent strategy. From our own experience as artists and teachers, and also close contact with friends and colleagues doing the same, we hear and understand the frustrations and limitations of conventional visual art programs; however, there is anew optimism amongst our colleagues to explore alternatives to educational conventions.We have done this throughout our own practices for years, and now we have formalized our methods without becoming a burden or a threat to traditional school systems. We invite you to participate in this experiment to rethink visual and social arts and trans-disciplinary education in the context of a very unusual contemporary art complexity. •Mildred’s Lane directors and advisory board members invite Artists to propose projects for this 95-acre site in NE Pennsylvania. These artists receive an honorarium for their involvement at Mildred’s Lane. They propose a project, event, or other, and we collectively construct a course of study around and within each project. These generally range from 1 to 3 week intensives; or/and can have evolving phases for more than one season. •Visiting Lecture Events during each Project session are co-curated by the Project Artist and Mildred’s Lane. The Artists coming as invited guests are involved through presentations and discussion around the project in session at that time. These invited Artists/Lecturers also receive an honorarium for their participation. •Institutions, departments, or faculty may develop a course of study around a project, or possibly invent a new project with and for Mildred’s Lane, and become a sending institution. •An institution may take on adjunct contracts (negotiable based on student enrollment), with one or more of the artists working on projects at Mildred’s Lane; hand selecting students for the program, (previous syllabus info available upon request). •A sending institution, department or faculty may hand pick students whom they feel would benefit from this unusual environment of trans-disciplinary practitioners and, with their recommendation, encourage them to apply. Students sign up for any of the project courses for credit through the sending institutions. Room and board fees may apply and vary depending on each sending institution’s arrangement with Mildred’s Lane. •A Faculty could come as an invited Project Artist of Mildred’s Lane, paid by their respective institution and bring there own class of select students, or we can put together the students to work on their project via other sending institutions. •A sending institution may take on adjunct contracts (negotiable based on student enrollment), with one or more of the Visiting Artists working on projects at Mildred’s Lane. •Independent Students, Post Graduate and Independent Artists may also apply individually for non-credit. Tuition is $1,500. plus $1,000. room and board fee. •Mildred’s Lane is also a special environment for institutional retreats, for think tanks, symposia, and more and may be arranged with the co-directors J. Morgan Puett and Mark Dion. •OR, simply come as a guest to one or more of our public events, lectures and dinners. An invitation must be requested, and a confirmed RSVP is based on available space for each event. Individual Tuition For *Independent Students, Post Graduate and Independent Artists •1 individual (Non credit) $1,500. •Room and board for each student per session $1,000. Room and board fees will be required, but there are limited work study programs that can help with those fees. Please contact us for more info. TOTAL $2,500. From: Art Fag City

If you see this image you are not at artMovingProjects but an imposter we do not move art physically anymore. - we would never use a blond to advertise our services:)

Jillian Mcdonald Lilith

http://jillianmcdonald.net/blog/2009/04/19/upcoming-performance-in-sweden/
More info including press release here:
http://www.lilithperformancestudio.com/
Article in Sweden's People magazine by Mirjam Johansson here (use the right arrow to scroll a few pages in, your guess regarding what it says is as good as mine ):
http://www.peopledigital.se/tidningen/

Michael Smith Mothersday Performance

http://www.metmuseum.org/press_room/full_release.asp?prid=%7BC4A7C182-0BD8-478F-89A4-77024BD6A1D4%7D


SUNDAY AT THE MET

Sunday, May 10
The Grace Rainey Rogers Auditorium
Comedy and humor were vital to the group of artists featured in the exhibition. This event brings together two of the great artist-performers of the period, Michael Smith and Paul McMahon. Smith reprises an early piece from the 1970s entitled "Minimal Message Movement" and stages a birthday party for Baby Ikki, the perpetually 18-month-old character (played by Smith) who is an archetype with an unclear mission. McMahon performs a selection of his acerbic songs lampooning the 1980s art world and also appears as the Rock 'n' Roll Psychiatrist, providing on-the-spot musical responses to personal problems posed by the audience. Please note: contains adult content
Performances by artists Michael Smith (assisted by Carol Smith Mitchell and Cameron A. Larsen) and Paul McMahon
2:00

Momenta Benefit

	Alyson Aliano Amanda Alic David Ambrose Kristin Baker Michael Ballou Bengala John Bjerklie Josh Blackwell Andrea Blum Lee Boroson Leslie Brack Joe Bradley Sarah Braman Susan Breitsch Christopher Brooks Melissa Brown Lordan Bunch Ken Butler Sari Carel Carter Janice Caswell Anne Collier Jeri Coppola Ethan Crenson Mark Dagley Blane De St. Croix Steve Defrank Louise Despont Jim Dingilian Marianna Ellenberg Lori Ellison Redmond Entwistle the eteam Simon Evans Rochelle Feinstein Brendan Fernandes Keltie Ferris Glen Fogel Alexa Forosty Paul Gabrielli Chris Gallagher Marc Ganzglass Jackie Gendel Chris Gentile Tamar Halpern Kirsten Hassenfeld Susan Havens Karen Heagle Sean Hemmerle Oliver Herring Daniel Hill Alex Hubbard Andrew Hurst Yoko Inoue Jason Irwin Mathew Paul Jinks Jane Kaplowitz Jennifer Karady Jennifer Keshka Scott King Elisabeth Kley Chelsea Knight Aaron Krach Peter Krashes Larry Krone Fay Ku Pam Lins Michael Mahalchick Stephen Maine David Mann Ari Marcopoulos Robert Marshall Patrick Martinez Keith Mayerson Tom McGrath Martin McMurray Maureen McQuillan Margery Mellman John Melville Terrence Miele Jeff Morris Erik Moskowitz & Amanda Trager James Nelson Odili Donald Odita Eung Ho Park Sean Paul Ian Pedigo Leanette Peles Marsha Pels Gelah Penn Gary Petersen Danica Phelps Heidi Pollard Barbara Pollack Ross Racine Robert Ransick Halsey Rodman Bea Romeo Kay Rosen Theo Rosenblum James Rosenquist Monique Safford Rafael Sánchez & Kathleen White Heidi Schlatter Mira Schor Eugene Schroeder Zoe Saldaña Sheehan Chelsea Seltzer Diana Shpungin Philip Simmons Judy Simonian Josh Smith Suzy Spence William Steiger Joshua Stern Rodger Stevens Barry Stone Kikuko Tanaka Gwenn Thomas Austin Thomas Joanna Tully Joanne Ungar Kathleen Vance Venske + Spänle Sarah Vogwill Don Voisine Sarah Walker Julie Weitz Alan Wiener Faith Wilding Jonas Wood and • The raffle will also offer a special limited edition print by Eve Sussman printed by Luther Davis – Axelle Editions

Preview at Momenta 359 Bedford Avenue, Brooklyn, NY April 24 – May 3 Thur-Mon, 12-6pm First view and reception Friday April 24, 7-9pm Auction & Raffle at Sara Meltzer Gallery 525-531 West 26th Street, New York, NY Wednesday, May 6th Preview work starting at 12pm Event begins at 5pm Auction at 6:30pm followed by Raffle

Luke Murphy at Canada

CANADA

Luke Murphy
Certainty Shelter
April 2- May 3, 2009
Opening Reception: April 2, 6-9pm

We are proud to announce Luke Murphy's third solo show at CANADA. In one room with three large digital projections, a central pedestal holds three Geiger counters with their probes pointed at what appears, at first glance, to be an innocuous glass vase. That vessel however is made of Vaseline glass, also known as uranium glass, which glows with UV fluorescence. The glaze used on Vaseline glass is a mild beta emitter that naturally decays and releases fast-moving electrons and positrons. Each of the three Geiger Counters detect the charged particles and sends a unique signal to a computer, which responds by generating the speed, color, placement, and transitions in the three projections. Unlike work that uses random number sequences, which are not 100% random, Murphy harnesses uranium’s decay to create “perfect randomness”. The use of randomness, the aleatory (from the Latin to roll dice), and chance elements or sources has a long history in art. From the Lascaux cave drawin!! gs where the forms of the animals seem to result from the rock formations to Alexander Cozens and his “New Method” of random blots to Strindberg, the Surrealists, Duchamp and Cage, the relation of the artist to the random has moved from suggestion and inspiration to a kind of anti-esthetic. Murphy believes there are roughly three models of randomness as part of the artistic process: suggestion, inspiration, and subversion. Common to all however is that the random is a strategy to circumvent our normal controls and frames of reference. It is a cipher for nature itself both as a generative and as a destructive force, in other words, the sublime.

“The time between ticks of the Geiger counter is the wholly unknown that makes up the fabric of the universe. It is the emptiness and unknowability of the machine. The computer translates that sublime unpredictability into a new sublime of information by taking the truly random intervals and making them true random numbers. Confronting the fact that no tick interval can be predicted is like accepting the reality of a vacuum. It exposed the limits of language and imagination.”

CANADA
55 Chrystie Street
NY, NY 10002
212 925 4631

• Art

  Time Out New York / Issue 653 : Apr 2–8, 2008

  Culture report: gatekeepers

  No man’s De Land

  The art world tries to carry on a legacy.

  
  

  By T.J. Carlin

  

  Photograph: Courtesy powerHouse Books

  Legendary New York gallerist Colin de Land (1956–2003) inspired devotion by championing experimental work (like allowing artist Gareth James to close the dealer’s gallery, American Fine Arts, for a month to protest the art world’s focus on money). While no one dealer today fills his shoes, his followers are out there shaping the scene.

  In 2001, Peter Nesbett and Shelly Bancroft founded Harlem nonprofit Triple Candie. The couple (whose controversial “David Hammons: The Unauthorized Retrospective” featured photocopies of the artist’s work) says they focus on how institutions affect the perception of art, questioning the establishment the way De Land did.

  “I think about De Land almost daily,” says artist Austin Thomas, who last summer started Pocket Utopia. Open twice weekly, the gallery is a hangout for area artists, much as De Land’s LES space was.

  At Orchard, the “shows” are as likely to consist of seminars as art. “We started with a desire to fill the void left by Colin and [his wife] Pat [Hearn],” says the gallery’s director, R.H. Quaytman. A three-year project, Orchard will close in May. Here’s hoping another idealist venture takes its place.

  For more, check out the brand-new book Colin de Land: American Fine Arts, edited by Dennis Balk.

Cynthia Bloom Namenwirth

Small oil on canvas, this would have been her 76th birthday rest in peace.