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.

EQUUS MAXIMUS Gregory de la Haba

Over-the-top doesn't quite capture the incredible vulgarity of it all. Gregory de la Haba's Equus Maximus is unabashedly pagan. Grand carnal passions ignite in a full-scale installation of barbarism and gaudy frills. It is the decadence of Rome and the unquenchable greed of recent years. It is primitive hunger and lust, unbridled—the return of the repressed.
This show at Jack the Pelican is so over the top, it seems completely incomprehensible to this viewer that it has not received more critical attention/ The artist told me this piece was five years in the making and was driven down to Miami for the art fair this December by himself. At one point the cops stopped his Uhaul at the midtown tunnel and were taking pictures of his black stallion that was on it's back with 20" hard on pointing skyward. In the Gallery we find Black Stallion with two white females all life-size (Horse scale) with humanoid vaginas. They are all on a real craps table from Las Vegas covered in sequins. Jack the Pelican has done some pretty wild shows over the years, but this one may take the cake. Where is the New York Times, they have not written anything about Williamsburg in a couple years. Lazy Legs must be the reason. These horses were skinned to perfection by the artist. Nancy Grave's camels would run for their lives if they saw them. Joesph Beuy's coyote would have licked his chops at the realism of the armature's. With sexy music and draped transparent shims hanging from the ceiling this installation is a perfect whorehouse for our pathetic pathos. The question here is what does an artist have to do? Richard Tuttle merely presented a few simple forms in the early seventies and had the whole board of the Whitney Museum bent out of shape. Today have we seen it all? Sometimes less is more, not in this case. If you want to get shocked out of your depression having lost half your never had net worth go see it. Mary Reed

Rico Gatson Dark Matter at Ronald Feldman

Still from video projected on pedestal on floor Spirit, Myth, Ritual, and Liberation 2008

Nigeria Power, painted wood and glitter 48x48" 2009

(detail) magic stick 1 2009 96x5.5x1" painted wood (click on images to enlarge)

RICO GATSON

DARK MATTER

February 13 – March 14, 2009

In this exhibition Gatson takes multiple forms of art: video, sculpture, and painting and brings them together in a social and racial critic. Darkness or rather Blackness pervades the gallery offset by white, gray-silver and sparkles taking a secondary place to create graphic op arty hybrids. Two of the wall pieces come supplied with their own hand painted light sources. Seamlessly moving between medium this artist uses his message to carry the form. In this work is felt a triumph of spirit perhaps now with our new kinda of Black President will
come the hope and confidence so desperately lacking in our sad times. I think that good art reveals itself on the surface as well underneath. The attention to the skin that rapes is made more powerful in it's refection.

press release

For his fifth exhibition at the Feldman Gallery, Rico Gatson will exhibit a large-scale video installation, sculpture, paintings, and works on paper that continue his exploration of racial issues and shared cultural histories. Gatson uses conceptual and other artistic strategies to distance emotionally-disturbing events and injustices which can never be fully understood or forgiven. The exhibition suggests that coming to terms with the grief of the past may only be possible through a process that takes place over time. With his eye for geometry and its orderly laws, Gatson balances the dark side of his subject matter.

The exhibition features a reconfiguration of Spirit, Myth, Ritual and Liberation, 2008, a site specific video installation created for the New Orleans biennial art exhibition, Prospect.1. It was shown at the historic location of the African American Museum in the Treme section of the city, the first community of freed slaves in the country. The videos, consisting of fast-paced, kaleidoscopic patterns appropriated from films, include the murder scene of Meredith Hunter from Gimme Shelter (1970), projected on white Plexiglas panels; and a theatrical scene of violence from Jean Luc Godard’s socio-political film, Sympathy for the Devil (1968) which is projected on the floor. Gatson’s sound track includes The Upper Room by gospel singer Mahalia Jackson and Death Letter Blues by the Delta blues singer and guitarist, Son House.

Black sculptures, fashioned from wood and other vernacular materials, include Magic Sticks, a cluster of upright snake-like forms, referencing native, religious-based artifacts and confronting the notion of early twentieth-century sculpture based on the “primitive.” Nigeria Power, a wooden wall panel, conflates the aesthetic design of a target with its sinister function. Several works on paper depict hand-drawn lines in African colors and patterns radiating from photographs of well-known, African American activists, suggesting an historical perspective and the power of words that have a life of their own.

Rico Gatson has had recent one person exhibitions at Steve Turner Contemporary (Los Angeles), Pocket Utopia (Brooklyn), the MCAD Gallery at the Minneapolis College of Art and Design, and the Cheekwood Museum of Art (Nashville). His work has been exhibited at The Studio Museum in Harlem, Exit Art, P.S.1 Contemporary Art Center, the Whitney Museum of American Art at Altria, the Brooklyn Museum of Art, the New Museum of Contemporary Art, and MIT List Visual Arts Center.

For information contact Sarah Paulson (212) 226-3232 or Sarah@feldmangallery.com.

Tom Gregg at George Billis gallery

While this is the kind of show or gallery that would normally find itself on this blog the artist has been showing almost every year with George Billis for many years and tells me he never got a review so we take the challange. Let me give a little background information Gregg went to Yale with the likes of Lisa Yuskavage her show at David Zwirner mentioned below, John Currin, Richard Phillips, Moyna Flannigan, Kyle Staver, Matvey Levenstein, Dik F. Liu, Joe Begonia, Jim Mcshea, Charles Long , Mathew Barney, Sean Landers, Barbara Galluchi, Don Doe, to name a few that might be familiar. The first name signed in the book was William Bailey who at the time was pushing the figurative painting thing really hard, and a few of the above obviously caught the message. Tom Greggs paintings have taken the masters lessons to heart, and in these new paintings take the incredibly quiet world of still life with it's slow slow attention to detail and thrown it into the realm of the big bang. The backgrounds undulate, no percolate with simmering hues of chroma setting their objects ablaze. The only thing wrong with this show is George Billis ability to cram crappy realist painting of an artist painting fairly similar scale still life painting onto a facing wall in the hallway causing pathetic distraction to Tom's craft. Take Greggs paintings and swap them with Yuskavage at Zwirner or Currin's at Gagosian and boy will you have some art criticism. Combining watermelons, hand grenades, plastic toys, cheesy animals, and tea cups and painting them with he same cool distance makes
the fiction completely timeless. Animals in still-life will probably be the next thing, as they are a wonderful metaphor for our own reduction in the humanity department. Placing of explosives
on the table furthers the message pretty graphically. The context inside the picture is perfect and outside could not be more wrong.

Real Life

Casting a 1x1x1.5" pixel in plaster artMovingProjects converted into studio.
Newspaper on floor from a great show at Capricious Gallery Brooklyn. Painting: Marcin Ramocki "Facebook Portrait"
See show online here: www.clubinternet.org
Curated by: Laurel Ptak and organized by: Harm van den Dorpel
Club Internet's assignment "Reverse Engineering."
Participants include: Mark Callahan, Martijn Hendricks, Jon Rafman, Damon Zucconi, Aleksandra Damanovic, Robert Wodzinski, Marc Kremers Philipp Otto, Chris Collins, Constant
Dullaart, Vadik Marmeladov, Joel Holmberg, Miltos Manetas Nathan Havenstein, Charles Broskoski, Dennis Knopf, Tom Moody, Alexindr Skarlinski, Laura Brothers, Justen Kemp, Thomas Traum, Oliver Laric, Travis Smalley, Pascual Sisto, Jam Robert Leegte, Kevin Bewersdorf, and last but not least Guthrie Lonergan whose piece was one of my favorites.
This show was made by the artists in 4 hours starting at 4.00p.m . It was D.J.ed by Harm
and I had the opportunity to sit between Kevin and Jon who were 2 of the 4 or 5 who worked at the gallery- the rest worked outside. The audience included: Heather Rasley and Casey Pugh among a few others who came and went. As performance this was really quite amazing. Like most things made from the web it's presence lives comfortably at the club. The evening before
found a panel discussion that suffered from talking geek head- but I heard Paddy Johnson from ArtFagCity made some good points.
(any names spelled wrong please comment and will correct)
Mary Reed

Severed Ways

Marc Horowitz with Tony Stone at after party to William Stones show at James Fuentes
Photo: Aron Namenwirth
This is the most amazing movie I have seen in a while.. Brooklyn DIY aside/
Everything that one is supposed to do...... the formula is thrown out the door. Tony Stone does everything you are not supposed to do in a movie including taking a close-up of his ass squatting shit coming out- a hugh endless shit. Then wiping with little green leaves that are not suited to the job. The camera is either obscured, running through the woods or out of focus and the dialogue is completely non- existent except for a few lines in a language of the vikings that can not be understood. "We better move or we are toast" or something like that. The sound osillates between a beautiful lyric, sounds from Vermont and Newfoundland nature and heavy metal death viking rock. This is a story of transformation, life, and death. It will rival the best in cult films the like of David Lynch's "Erasurehead" and Elias Merhige's "Begotten" Because of Stones DIY effort, filmaking will never be the same.
Mary Reed

MAGNET/MAGNOLIA present A TONY STONE FILM

SEVERED WAYS: THE NORSE DISCOVERY OF AMERICA

soundtrack featuring MORBID ANGEL - POPOL VUH

BURZUM - DIMMU BORGIR - OLD MAN’S CHILD

BRIAN ENO - QUEENS OF THE STONE AGE

and JUDAS PRIEST.

Angelika Film Center March 13-19.

12, 2:30, 5, 7:35, 10

12:30am Fr/Sat

In the 11th century, Vikings, Indians, and Irish monks collide on the shores of

North America in a historical epic adventure of exploration, personal glory, and

religious dominance. Abandoned by a Western exploration party and stranded in the

New World, two lone Vikings wade through a grand primeval landscape,

struggling for survival while still in the grip of their Norse ways

"Severed Ways is a thrilling concurrence of oppositions, its disparate

and unique blend of elements working together in constantly

unexpected ways. Its primal, rustic story is set to a soundtrack of

everything from Norwegian black metal to Brian Eno, while the

camerawork encompasses both classical compositions and stylized

digital techniques. It gives nods to filmmakers from Dreyer to

Bergman to Herzog, while updating the subtitles for its Vikings’ 11th

century dialogue to colloquial English. (“If we stay here, we’re

toast.”) It is somehow both deeply serious and strangely silly. First-

time director Tony Stone has created a film that is steeped in cinema

history and completely original, both timeless and thoroughly modern."

-Rachel Rosen, LA Film Festival

"'SEVERED WAYS' IS A VISIONARY WORK from one of the most promising new American narrative filmmakers in recent years." — Indiewire

"SOME OF THE RAWEST, MOST REALISTIC, DEEPLY PERSONAL INDEPENDENT FILMMAKING I HAVE EVER SEEN. It completely encompasses the true metal spirit." — All Metal Resource

"A MUST SEE" — LA Weekly

www.severedways.com

review n.y.times movies.nytimes.com/2009/03/13/movies/13seve.html

The N.Y. Post -

www.nypost.com/seven/03132009/entertainment/movies/cut_above_the_rest_in_odd_ways__few_word_159261.htm

A couple...3

(Detail)
Marc Horowitz (click on images to enlarge)
Twitter Drawings, 2009 - detail
100 drawings, Ink on paper
4 3/4" x 5 1/2" each (68" x 64" overall)
(unique-, full set available as limited edition book)

This artist made his life into art for three months by exposing it to the public via live feed.
These twitter drawings are best seen at the gallery. Video from I need to stop below.
www.ineedtostopsoon.com/

Kristin Lucas "The future is not what it used to be" Postmasters Gallery
In this floor installation Lucas casts candles in wax of antiquated relics of technology
and during the opening sets them alight. This has been the movement of the new media community, to take what is once ephemeral- code, electrons dancing on a screen, and make it into craft. Transform something that exists in the realm of the mind and materialize it in this world. Place it in the white box with purpose. Lucas uses her seniority or experience to accomplish this in triumphant fashion. These sculptures are both real and by nature ready to burn. They are both useless and full. They are both new media and Art with a capital A and so their place is successful. This well curated show is totally awesome, so if you have an interest in computers, or the internet your time spent here will be well rewarded.


Dan Kopp (Detail) HTML at The Volta Art Fair

Joe Mckay " The Fut..." Postmasters -Digital Print on Aluminum or Plexi (detail)
This is a great piece that I will not be able to explain completely, He uses google maps street views and the reflection of a van to create this image.
It takes technologies ability to see everything all the time and the absurdity of being able to see
is blindness if there is no comprehension of what we are looking at. Joe hope that is okay.
Anyway brillant, funny, profound this is the most overlooked artist working in new media today. Again, I feel experiencing his work at Vertexlist in the form of cellphones interactively and through installation, or outside in a field may suite him better than a cog in the wheel. The small photograph takes something warm and funny and cools it down.

Marcin Ramocki "The Future..." Postmasters
Still from animation with sound by Paul Slocum
This piece is a composite of animations posted to Spirit Surfers. Ummm It questions whether
something is as good as the sum of it's parts and whether transforming by changing it's context benefits use. Each of the parts in the format was created for spirit surfers and life on the internet. The collaboration is so strong that making a piece for the gallery, seems a daunting task. At the opening with the sound crippled by the crowd I was not sure about the piece. On returning it rocked along, but in retrospect writing this- I go back to the internet. Each element is so great as boon or wake hence, context rules, and the source spirit surfers wins. This is one of my favorite artists and have no doubt his next effort will totally blow me away. I write this after coming to the conclusion that new media artists don't take criticism well, more on this another time.
Detail: Kevin Bewersdorf Postmasters
This work is by an artist/guru and member of spirit surfers and creator of Maximum Sorrow.
I am not sure what to think when he makes stuff for the gallery, but on the internet Kevin has few that can hold a candle to him. Tom Moody would be such a person who would have been a nice addition to this powerful and nicely curated group show featuring web artists. As far as the piece above "it asks more questions than it answers"- Marcia Tucker and so elevates itself to this post. It challenges what our expectations of what well behaved art should do and for that super.



Dan Kopp at CTRL gallery Houston TX- Volta
These are incredible paintings that while they benefit from the concept of the Fair suffer from the Fair - that they are not really experienced with the space and time they could use. Kopp has the ability to make every gesture in his painting work. Basically using transparency and the lessons of Morris Louis he has re delved the depths of surrealism making Matta roll in his grave. One of the few painters today who can make heroic paintings that seem UP and philatelic yet not turn his back on the fact that we are totally fucked. These paintings are like William Blake if he could paint and draw and did not have a stick up his ass. Kopp has got it all content/color/ light - eastern- western@##$ it is like looking at the whole of art history, while getting cracked over the head with a wine bottle. Or getting off on the stained glass windows at the Vatican Cathedral while doing crack and getting it with a bottle of Absolute.




Postmasters
Eva and Franco Mattes (aka 0100101110101101.org)
Reenactment of Marina Abramovic and Ulay's "Imponderabilia" - Synthetic performance in Second Life , 2007
HD video, color, sound
running time: 8 minutes 40 seconds
Edition of 3 +AP
During the opening i was transfixed until realizing that this second-life online piece was not happening in real time and was a loop. What a let down as those characters went from the actions of people transformed into something static and dead. That said, hats off to Postmasters for bringing this important and under represented subject into focus in this unfocused moment of history.
Mary Reed