Monday, March 31, 2008
Sunday, March 30, 2008
Gallery HD (one of my favorite TV Shows!) and Illuminations Media are seeking two artist candidates to take the shoes of Jack Kerouac and go on an amazing road trip and I'm hoping a blog reading affiliate will help me to live this experience vicariously. Two Artist/Art Racers will cross the US in 40 days, surviving only on Art. Equipped with art materials, cameras and a $1 dollar budget, the Artist/Art Racers are required to “trade” Art for food, shelter and other art -works. Starting on opposite coasts (one in NYC and one in LA), their adventure culminates in a home-city exhibition of all the works they have created and collected along the way. The winner is determined by which Artist sells/trades the most artwork. Here's the "classified" skinny:
Looking for great communicators who interact well with all sorts of people and can make smart commentary as life happens. Intelligent, sassy and witty are good too. All participants must live in the New York or Los Angeles areas, be at least 21 years old and a US citizen or legal resident alien. If this is you, please submit the following:- recent photo (no older than 6 months)- bio or resume- sample of your art (photo reproduction okay)- short essay explaining why you are an Art Racer- be sure to include your full name, home city and phone number. Please send all ASAP to: email@example.com**Bio/Resume & Essay should be in body of email**photo attachments okay ART RACE shoots May 26 – July 11 for appx 40 days on the road + up to 5 add’l shoot days & voice over. Each Art Racer will receive $20,000 US for participating.Production Company is Illuminations Media UK http://www.illuminationsmedia.co.uk/
Saturday, March 29, 2008
By Lindsay Pollock
March 27 (Bloomberg) -- Collector Donald B. Marron noticed a less-frenzied pace at New York's Armory Show art fair yesterday as he strolled the aisles during the VIP opening.
``You can see people contemplating the art,'' said Marron, chairman of Lightyear Capital LLC, with his curator at his side. ``It's the way you ought to look at art.''
Following a seven-year jump in prices for contemporary art and a proliferation of international art fairs, the speculative boom may be losing some steam.
``I'm not sure, at the end of the day, how good business is,'' said Roland Augustine, head of the Art Dealers Association of America and co-founder of Chelsea gallery Luhring Augustine, which isn't exhibiting. ``I'm not sure if the market can absorb all this.''
The fair, a showplace for 160 international galleries selling from booths on Pier 94 on the west side of Manhattan, runs through Sunday. Last year attendance topped 52,000 and organizers reported sales of $85 million.
Marie-Josee Kravis, chairwoman of the Museum of Modern Art's board, and real estate developer Arthur Zeckendorf were among other VIPs. Europeans, particularly French and German, attracted by the weak dollar, were out in force.
Some dealers fretted over few or no sales, but business was brisk in some quarters. Chelsea gallery Friedrich Petzel sold works by Allan McCollum, Sarah Morris and a $120,000 sculpture by Cosima von Bonin, made from grungy stuffed animals dangling on clothespins.
Pendulous Breasts Greenberg Van Doren Gallery sold their priciest work, a $275,000 androgynous wooden sculpture by Katsura Funakoshi with an elongated neck and pendulous breasts.
``After 40 years of collecting, are we pulling back? No! We are buying a ton of art,'' said the tanned, white-haired Don Rubell. ``But if everyone else pulls back, we'd be delighted.''
Annette Lemieux's installation at Paul Kasmin Gallery, based on a country fair, featured gingham paintings, old barn wood, and free apple pie served with whole milk from the jar. A bumper sticker proclaiming ``No Bull'' cost $1.
Most of the art wasn't rebellious, but Joe Bradley's bland beige painting at the Lower East Side's Canada gallery poked fun at ``art as luxury goods,'' said Wallace Whitney, a dealer at the gallery. ``This is a tough piece.'' The ``Bread'' painting -- Whitney said the color reminded the artist of Wonder bread's crust -- was priced at $30,000. There were no takers.
(Lindsay Pollock writes on the art market for Bloomberg News. The opinions expressed are her own.)
Friday, March 28, 2008
Three years ago, Seymour Hersh wrote Torture at Abu Ghraib for The New Yorker which along with photos taken by servicemen and woman, burned an image of hooded, tortured and humiliated war detainees into my mind forever. While this iconic image of hooded figures has become an symbol for political cartoons and anti war t-shirts, it has become detached from the horrific story from which it originated.
Artist Daniel Heyman, began incorporating renderings of hooded figures into silkscreen prints and etchings following The New Yorker article in spring 2004. He came to realize the depersonalization and loss of relevance and impact.
It was a serendipitous meeting with Susan Burke, lead attorney in a reparations lawsuit against civilian interrogators and translators at Abu Ghraib, which led him to an invitation to join Burke’s legal team on a trip to Amman, Jordan. Depositions from former prisoners were to be taken and Heyman would sit in on the interviews and create drypoint etchings. For nearly a full week in Amman he listened to dozens of men and women relive their most hideous physical and emotional abuse under humiliating interrogations. He also joined Burke’s legal team for a duplicate round of depositions in Istanbul following in August. Working quickly, Heyman captured words as well as images. His own perspective is embedded in the work: In drypoint etching the copper plates are scratched into with a stylus in reverse so when printed they become "right-reading". He began drawing their faces as the interviews commenced. He listened to the reporting of biographical information through the translator, their marital status, the number of children they had, where they lived, but mostly Heyman concentrated on getting a good start on the portrait. They were often in prison many months, and the nature of these interviews was a recitation of the entirety—as much as they could remember—of all that time. Heyman had to listen, and alternate between capturing their image with documenting
Thursday, March 27, 2008
Malcolm Bray is a painter and print maker born November 2, 1958 in Hull, England.
He emigrated to the United States in May 1984. He presently resides in Delaware Township, NJ and was the former owner of Old English Pine (antique furniture imports) in Lambertville, New Jersey. In March of 2004, Bray gave up his import business of 19 years to concentrate full-time on his art career. He can be found working from his second floor studio/gallery above his former company in Lambertville.
From this spacious loft, Bray has organized annual group art exhibitions since 1994, and the participating group is identified as New Eclectic. This group also displayed at MCS Gallery, Easton, Pennsylvania in 2003 and West Chester University, Pennsylvania in 2004. This particular exhibition has included many artists from the local community and others from the region. In the last two years these artists included Rachel Bliss, Luis Bujalance, Jacques Fabert, Harry Georgeson, James Groody, Michael Hale, Diane Levell, Bonnie Maclean, Pat Martin, Barry Snyder and Mitchell Yarmark and Bray. Bray hoped the viewer would consider these exhibitions as "one unit" while at the same time acknowledging each artist's distinctive style.
During the summer of 2004, Bray attracted the attention of Cheryl Hazan Gallery in New York and is also represented by Morpeth Gallery in Hopewell, New Jersey. His present abstraction is spontaneous but structured in a way that elements within the composition evoke the dimensional aspects of volume and space. There is a clear relationship between his work and that of the New York Abstract Expressionists.
Art and Technology Integrated in Julius Popp's
Bitfall installation at MOMA
Using technological wizardry, Julius Popp’s Bitfall reproduces the ‘flood’ of media information in the form of a real waterfall. Comprised of 128 nozzles, Popp’s curtain collects a continuous stream of water droplets. Directing their flow with a complex system of magnetic valves controlled by computer, text and graphics randomly selected from the internet appear in the drizzling liquid, creating a DIYplasma screen. As each message drips into a collection tank, its feeds back into the cycle, creating a metaphor for the impermanence and flux of the perception of ‘reality’. At MOMA February 24–May 12, 2008 at the Design and the Elastic Mind Exhibit.
The Graphical Waterfall ® was invented by Stephen Pevnick, a professor of computer art at the University of Wisconsin in Milwaukee, Wisconsin, USA.
When Pevnick was a graduate student, he became interested in exploring nature at a very rare and beautiful moment as art. In 1973 (the year Popp was born) he began experimenting with sound and space using a computer to produce falling water droplets to make sound on a drum. Upon producing sound he noticed that with proper timing it was possible to build falling images in space!
In 1974 Pevnick received a grant from the University of South Florida to explore the idea of forming graphics in free falling water droplet images. In 1977 he produced the first three dimensional computer controlled waterfall image, a falling diamond, on a machine which would evolve into today’s Graphical Waterfall®. The valve system was a horizontal square, 4 feet by 4 feet and had an 8 nozzle by 8 nozzle grid totaling 64 nozzles. At the University of Wisconsin - Milwaukee, where Pevnick began teaching in 1978, he was able to develop the first one foot square graphic producing waterfall with the help of a National Endowment for the Arts, Design Arts, Project Fellowship. In 1982 he developed the technology to spell with letters in English and Western languages using free falling water droplets and in 1983 he won one of 10 Design Excellence Awards from the Industrial Designer’s Society of America at their National Conference in Chicago.
The Graphical Waterfall(r) was first exhibited with the Klein Gallery in 1988 at the International Art Exhibition at Navy Pier in Chicago. The waterfalls were called the “Rainfall Project” until the 1990’s when the name was changed to Graphical Waterfall®. Early ideas about nature at a very rare and beautiful moment as art evolved into the idea of “painting” graphics and words with water. The resulting Graphical Waterfalls® make kinetic graphics like lines, shapes and multiple dancing ribbons which are a synthesis of art and nature. When a Graphical Waterfall® is programmed, there are always kinetic graphics interspersed among the words and logos to keep an element of surprise or mystery which keeps viewers watching and waiting to see what will come next. Pevnick’s current research centers around real-time multimedia and computer controlled kinetic sculpture and water. As the artist and designer, Pevnick oversees the graphical content so that the waterfall maintains a unique aesthetic. The Graphical Waterfall®, when installed in a large public venue, blurs the boundaries between Art, Design and Theater and provides viewers with a unique unforgettable experience.
Friday, March 21, 2008
Utilizing symbol and shadow, the artist alludes to one potential outcome of the Iraq war. The purple tipped fingers are a clear reference to Iraqi voting practices yet, in this piece the woman dressed in a black burka is using a pair of scissors to auto-amputate her own finger, implying that the Iraqi people are responsible for their own chances for implementing a democracy. Again, the artist employs the technique of placing floating objects (severed fingers) in a gravity-less world. He is also hiding loaded iconic imagery within shadows. The floating fingers cast a shadow on the blood red floor. In these shadows the viewer will find the dead body of a U.S. service man along with his rifle and helmet.
Oil on paper 34 1/2 x 26 1/2 inches
Mark Borghi Fine Art
One of the best ways to get close to the psyche of Robert Dash is to walk through his intriguing garden and share a cocktail in his home overflowing with books! Since that might not be possible, I refer you to his book of gardening essays he has authored. In an excerpt from the book of essays, Dash refers to writer, Koethe which explains the name of the painting recently acquired by The Nelson Atkins Museum of Art in Kansas City, MO. "The painting "Koethe" is a black rose. It is my "portrait of the poetry"of renown poet and philosopher, John Koethe" said Dash in a recent conversation.
John Koethe (pronounce: kay-tee) (b. 1945 -) has published several award-winning volumes of poetry. Many critics place him in the tradition of Wallace Stevens and John Ashbery, or, as Robert Huddleston noted in the Chicago Review, "poets who used landscape as a figure or setpiece through which to address an array of concerns from the personal to the social." Koethe is also a professor of philosophy at the University of Wisconsin, and his works include Domes, The Late Wisconsin Spring, Falling Water, and North Point North. He has also authored a collection of essays about poetry, Poetry at One Remove, as well as the academically-oriented The Continuity of Wittgenstein's Thought.
The writings are about “Madoo” which is artist and author, Robert Dash's residence and whimsical garden in Sagaponack on the outskirts of Bridgehampton. Described in the New York Times as "Robert Dash's ever-changing masterpiece," it has been pictured in many books and magazines and visited by garden lovers and artists from around the world. Dash, author/artist/gardener, describes his making of Madoo in the book from which I have included an excerpt below. It is a delightful read and will open the door to Dash’s soul. Dash as a painter as well as a writer is influenced by the movement of air and the effects of light and color. Any artist or gardener would be moved by his prose.
My garden is at the far eastern end of Long Island, in New York State, in a town settled in 1656. It is set amidst fields continually farmed since that time, and one would need a maul to separate it from its profoundly English influences. Yet it might take a wedge struck with equal force to pry it from its continuous involvement with the patterns of abstract expressionism, a largely American form of painting.Within that pattern much else went toward the making of my garden: a love of Indian paths, rather like the secret walks small children make (which counts a lot for how one moves through my garden); an admiration of the roan beauties of abandoned farmland pierced by red cedars laced and tied by dog roses, honeysuckle, and brown, dry grass; the memory of a meadow of a single species of short, gray-leaved, flat-topped, open-flowered goldenrod, whose October display was feathered by hundreds of monarch butterflies. I have a stubborn Calvinist belief in utility, which causes me to plant vegetables among flowers, use herbs as borders and berry bushes as ornamentals. The brutish littoral climate leads me to choose only such plants as have infinite stamina. There are recollections of an ancestor who planted hollyhocks at the gate and lilacs out back-but all gardens are a form of autobiography. Moreover, as a painter, I am predelicted toward shape, mass, and form and have learned that the predominant color of all gardens is green and all the rest is secondary bedeckment. Finally, there is something else-a fierce addiction to privacy, which is why my windbreak is thicker than it need be. Madoo, which in an old Scots dialect means "My Dove," is the name of my garden of 1.98 acres, and I have been at it now since 1967. I have gone about it as I would a painting, searching for form rather than prefiguring it, putting it through a process more intuitive than intellectual. The blunders are there to learn from; the successes, more often than not, are the result of bold throws. I started from the house and went out toward the edges, often revising solid achievements until they seemed made of finer matter, like marks and erasures of work on paper, which sometimes may be torn and fitted again in collage.Although I like white on white (the 'Duchess of Edinburgh' clematis on a white fence over Rosa 'Blanc Double de Coubert'), and I like to whiten white by throwing autumn clematis (C. terniflora) over yew, 'Huldine' over holly, the major push is for green on green. I have never cared much for all-gray gardens or all-blue gardens; indeed, I am not certain that they are ever successful, color being too quixotic to control in that fashion, full of lurking betrayals, so that sky blue becomes sea blue or slate blue and then not blue at all. The air over my garden, from whose several points I can see the Atlantic surf, is full of a most peculiar double light, rising and falling, and is itself one of the heroes of my landscape, kinder to foliage and bark than to flowers. Wild air will always do the painting. I have increased the atmosphere's multiple shimmer by putting in three small ponds, above whose surfaces small mists sometimes gather. In contrast I have made darkness with a copse of twisted, pruned arctic willows and another of a spinney of fastigiate ginkgoes, the former underplanted with a mix of epimedium, woodruff, Japanese wood anemones, and ferns, and both washed with the littlest of spring bulbs. Paths are of brick, pebbles, or setts, or disks of telephone pole, or grass. Curves alternate with strict, straight geometries, the better to bound, heighten, and confine the predominantly relaxed, semiwild, superabundant atmosphere I like.A meadow garden has been quite successful. Formerly, it was lawn giving a rather dull view from the dining table, made duller by summer heat and inevitable drought. America is no climate for lawns. I did not starve the soil to make the meadow but plunged robust, thrusty perennials through the grass into pits carefully nourished with well-rotted manure and much peat moss. It is roughly oval with a backing of Nootka cypress, cryptomeria, and rhododendron, whose darks perfectly outline the brighter foil of foliage.To my way of seeing, a garden is not a succession of small rooms or little effects but one large tableau, whose elements are inextricably linked to the accomplishment of the entire garden, just as in painting all passages conduce to the effect of the whole. Lack of keyed strength in any one of them may lower the pitch and thrust of the finished canvas.A muting of a too-perfect area is often in order, no matter how lovely it might be. Just so I have found 'Silver Moon' clematises are too huge a cynosure to be acceptable to the general garden, and I have taken them out. One can very definitely have too much of a good thing, unless it be some grand groundcover like Lamium 'Nancy', whose very modest performance excludes it from the egregious. Subtlety is always more alluring. The quieter painting enters the heart and stays, when one of tremendous impact has long since faded away.I do not paint in the way that I garden or garden as I would employ the brush, although the process is often the same-both are arts of the wrist, the broadest, largest sort of signature, if you will, highly idiosyncratic, the result of much doing, much stumbling, and highly intuited turns and twists before everything fits and adheres to the scale of one's intention. A good tree must often be moved to a more reticent spot when it begins to dominate and thus ruin the total orchestration. Beautiful tunes don't end up as symphonies, nor do witticisms write books. Certain flowers may emblazon a room but be abusive to a fine garden. For that reason and that of stamina and the ability to take the brunt of the climate (I am in Zone 7a, whose average lowest temperature is five to zero degrees Fahrenheit), I choose older varieties of the plant kingdom, whose foliage and blossom are, more often than not, circumspect and discreet.I am now becoming more geometric. In front of the winter house and winter studio I have just installed a brick path I call a view-swiper. It is 120 feet long (flying out to the potato fields and to the ocean, bringing all that fine view inside the purview of the garden as if it were mine), 8 feet wide at the near end, 6 at the far, with 80 roses ('Fru Dagmar Hastrup') on the sides. The far border will have other, taller rugosa roses and daylilies mixed with teasels. The site is but a narrow spur attached to my property, surrounded by changing crops whose patterns of growth and tilling are overwhelmingly seductive, requiring only the simplest sort of anchor to moor the peninsula.My canvases now have changed, too, and are rather like foliant form held very close to the eye. Both gestures, then, are new for me, and the feeling from both is a bit scary, akin to that of someone in the middle of a new high-wire act performing over a slowly withdrawing net. The air of gardens and paintings now seems to me to be filled with a wild, deliciously cold oxygen through which I can still see the first plain view of the working barns I converted three decades ago, gray above a blowing field of grass. That verdure, it seems to me, was the very soul of the place "working backwards, year by year," as John Koethe wrote in "The Near Future," until it "reached the center of a landscape."The English bones with which I began now seem entirely covered by what I have done, but that is the way of flesh. Copyright (c) 2000 by Robert Dash. Reprinted by permission of Houghton Mifflin Company.
Robert Dash was born in downtown Manhattan in 1934 Robert Dash was home schooled for most of his young life due to ongoing illnesses. Never formally studying painting, he developed a strong interest in the abstract expressionists, particularly De Kooning, in college. He attended the University of New Mexico in Albuquerque, in part to escape the city.After college he spent a year in Italy and upon returning to New York City worked for Arts and then Art News, while painting at night. He had his first show in 1960. Since then, he has painted, written and gardened near Sagg Pond on eastern Long Island, at residence among the changeable celebration of plantings, paths, views and architectural expressions of Madoo, a much-admired garden conservatory of his own making. A longtime Hamptons resident, Dash’s works have been exhibited in one-man exhibitions in Holland, England, and Germany as well as numerous major American art galleries. He also participated in many group exhibitions including the Museum of Modern Art, Yale University and the Fine Arts Gallery University of Missouri. His works are also featured in museum collections including the Modern Art Museum, Munich; Guggenheim Museum; Boston Museum of Fine Arts; Philadelphia Museum of Fine Arts; and the Corcoran Gallery.
Thursday, March 20, 2008
Baghdad was once called Dar es Salam, meaning “City of Peace.” Inspired by that fact and by the city’s extraordinary history, the painting features layers of the map that chase more than five thousand years of splendid, then destroyed grandeur of what was once the greatest city on earth.
Included in this work are the cuneiform creation myth found in Iraq on a clay tablet dating to 3000 B.C.E. and an aerial photograph of Baghdad from 1925 C.E. The painting honors Baghdad as emerging from the cradle of civilization, the Round City (762 C.E.), center of a great cultural and intellectual renaissance, and site of Islamic architectural achievement.
Baghdad: City of Peace, Truly takes its border pattern from the Al-Kadhimain Mosque (1515 C.E.), the great Shi’ite shrine there. The painting’s center, the Round City with its radiating gates and waterways, encloses a mirrored muqarnas, referencing the medieval Zumurrud Khatan Tomb, whose dramatic, lobed exterior models its interior form. Two large-scale figures bow to the outer world, as we bow to the people of Iraq, in honor of them and their great city.
The cuneiform text in the painting reads: “When heaven above was not yet named, nor earth below pronounced by name, Apsu, the first one, their begetter and maker Tiamat, who bore them all, had mixed their waters together, but had not formed pastures, nor discovered reed-beds. When yet no gods were manifest, nor names pronounced, nor destinies decreed, then gods were born within them.” (translator, Stephanie Dalley)
He has received significant awards including a Joan Mitchell Foundation Grant, Pollock-Krasner Foundation Grant, New York Foundation for the Arts Fellowship, and the Edward Mitchell Bannister Society’s Artistic Achievement Award. He has been an Artist in Residence at the Studio Museum in Harlem and the International Artist-Workshop in Capetown South Africa. He teaches at the Rhode Island School of Design and Cooper Union. Click here: Gregory Coates for Gregory Coates images, video interview and resume. Then to see his post on anaba blog: New work and resume here: Gregory Coates
C H A S E G A L L E R Y
129 Newbury Street Boston MA 02116 617-859-7222
edited and experted from Suzanne Deats, Maine, Spring 2006
Tuesday, March 18, 2008
Spitzer devised a plan to set up his own sweatshop in the city's garment district, turning out shirts, pants and sweaters, and hiring 30 laborers. The shop manager eventually got close to the Gambinos, and officials were able to plant a bug in their office. The Gambinos, rather than being charged with extortion, which was hard to prove, were charged with antitrust violations. Thomas and Joseph Gambino and two other defendants took the deal and avoided jail by pleading guilty, paying $12 million in fines and agreeing to stay out of the business.
Monday, March 17, 2008
Part of the "Private Roads,Prophetic Turns"
series, 2007-8 inspired by landscape of crossroads of Norfolk,Conn. and Southfield, MA
The artists works in a variety of mediums: acrylic, oil, pastels, aquarelle, oil sticks, varnishes, glazes, finishing and surface techniques. SHe explores the basics of opacity, color, form, depth, obfuscation and revelation in life, language and in art. "I cannot help but be influenced by philosophy, poetry, literature, psychological symbolism, fairy tales, music, myths, conceits, and metaphors, especially of strong feminist models: women’s conflicting roles in a changing time throughout the centuries" says Cohen Banker.
She has a background in design, writing, and psychology. Her early childhood and life experiences evolving as a woman and mother combined with international study of these issues has contributed to her growth as an artist. Her primary themes are inner restoration and survival, challenging reality vs. myth.
In the summer of 2005 Grant Haffner, his twin sister Carly and her boyfriend, Don Porcella, rented Ashawagh Hall in Springs, East Hampton to exhibit their work in show they titled, Bonac Tonic.
Haffner exhibited eight prismacolor pencil drawings, marker and oil pastels, and three paintings. He sold four drawings and all of his paintings. Following the positive reaction to his paintings he began concentrating on painting. It is at that point he began the road/landscape series solidifying his aesthetic voice. Just when I think he can't come up with another image, he does. Grant continues to explore the same genre but is contemplating larger works.
The time is ripe to pick from this tree so don't wait too long before adding a Grant Haffner to your art collection.
Excerpted from ARTNEWS, “New York Reviews” – Alex Rosenberg Gallery – 1984
Written by Ronny Cohen
In 2008, we are in the midst of a mapping revolution. Thanks to the personal computer, the Internet, space satellites for data collection, and an expansive array of related technological tools, the scope of information available for mapping has exploded; we simply choose how we would like to select, filter, manipulate, magnify. Tracked by GPS, our physical locations and motions may be mapped in real time (never to be lost again), while at the same time we navigate through a vast virtual network, locating and relocating ourselves perpetually. Using Google Earth to view one's own neighborhood or childhood home; routinely linking Mapquest directions to e-mailed party invites, building networks of Myspace friends: we have become habitual mapmakers as well as blips on a vast array of other people's maps. ...With thick, slick, clear resin surfaces coating colorful, glittery, minutely detailed aerial maps of imaginary interlocking architectures and lawns, Darlene Charneco's sculptural paintings have a terrific physical presence. Yet her appealingly homespun approach is in fact significantly inspired by aspects of cyberspace, particularly its potential for empowering "social, interactive and collaboratively built spaces." Like aerial views, which provide an instant glimpse of patterns and connections not so easily discerned from the ground, so do virtual worlds collectively constructed through games like SimCity and Second Life reveal, more rapidly than in "real life" a vivid picture of societal tendencies and desires." Rather than overly discouraged by what these virtual worlds currently suggest, Charneco is "inspired by the thought that with the continued progress and eventual integration of mapping tools such as geographic information systems with computer gaming technologies, we just may be able to evolve the needed feedback to recover from what seems to be a dangerous myopia." Her work communicates this hopeful sense of a humanitarian re-mapping.Charneco's Sitemap generates specifically from the concept of a memory palace: "a mentally constructed architecture or location which has been used since ancient times as a mnemonic device for the recollection of intentionally embedded information," she explains; and from that of a sitemap: "typically used in web-based information architecture to enable a more thorough exploration of a website's content by search engines." Seeing potential for merging the two types of structures, her Sitemap, with its interlocking parts, meandering passageways, and mushroom-like nodes projecting from various chambers functions as a sort of imagined prototypical structure for storing information to be later accessed/recalled..." and armature for a theoretically infinite number of different exercises. (a catalogue excerpt)
Artists: Corrie Baldauf, Darlene Charneco, Brian Collier, Matt Dehaemers Andrea Flamini, Jorge Garcia, Adriane Herman, Mike Hill, Wopo Holup, Timothy Hutchings, Anne Lindberg, Justin Newhall, Garry Noland, Anne Pearce, Dana Sperry, VxPxC, James Woodfill, and Matt Wycoff. Curator: Kate Hackman
Saturday, March 15, 2008
Friday, March 14, 2008
Guild Hall’s 70th Artist Members Show is the oldest non-juried exhibition remaining on Long Island. This important exhibition allows Guild Hall to directly connect with the artistic community that support and inspire our arts institution all year long. Art critic Linda Yablonsky will be the 2008 Members Show Awards Judge. For 2008, the show has been organized into two parts due to the restoration of the John Drew Theater and less gallery space. However, it means more opportunity for artists since there will be two of every prize awarded. Exhibition organized by Michelle Vertucci, Curatorial Assistant/Registrar.
Linda Yablonsky is an art critic for Bloomberg News who also writes for The New York Times, Style Magazine, Art and Auction, ART News, Elle Décor. She also has a popular presence in the “Scene & Herd” column of Artforum.com. Yablonsky is the author of The Story of Junk: A Novel and she is at work on a second book. She lives in New York, where she teaches at School of Visual Arts.
REGISTRATION DEADLINE HAS BEEN EXTENDED TO MARCH 17, 2008!!
Click here to download Members Letter.
Click here to download Members Information form.
Click here to download Exhibition Calendar.
Click here to download Registration form.
Click here to download Labels.
Wednesday, March 12, 2008
Monday, March 10, 2008
Maybe I am missing something in my life. According to the books I’ve posted below,
purging can be spiritual. At the Whitney Biennial, perhaps the artists using recycled materials (Sustainable Art) are seeking redemption of sorts. Rather than sending trash to the land fills, they are stacking it up and manipulating it into “art”. It’s ingenious really but the real creativity appears to be in the titles!
I was particularly moved by the work of Stephan Prina, The Second Sentence of Everthing I read is You: The Queen Mary (1979-2006). Someone explain this please. In the photo, notice the viewer has found something more compelling to ponder outside the window- enough said. I suppose this reaction of disdain for the art masterpiece could be exactly what the artist was hoping for. For more of a rant on the biennial from another artist, go to the blog section (right/scoll down) and go to “Brooklyn Days” blog.
Friday, March 7, 2008
Izzy Seltzer shot this at MOMA a few weeks ago, reveling at what's happening behind a Duchamp and in a Duchamp. Izzy has an uncanny nack of capturing magic through the lense. He looks beyond the obvious and takes the viewer into his world of reflections and distortions.
Place cursor over image and click to enlarge for detail.
Marquez makes a poignant visual commentary on the US dependency on foreign oil leading to an “in the red” budget crisis. On the surface of the poles which pierce the orb on the left of the composition is the face of a dollar bill and subliminally, in the poles’ shadows, an image of an oil rig representing a possible attribution for the unstable dollar. The orb encircled with war jets, casts a cornered shadow upward revealing the image of a dead American serviceman. The socio/political work represents the artist’s view of the financial devastation of the US caused by the dependency on foreign oil which lies beneath the war in Iraq. Despite the monumental size of this work, an intimacy is created by the cornered composition and confined space within which the elements are arranged.
The Whitney Biennial 2008 opened yesterday and runs through June 1. For the first time the Biennial will extend beyond the Museum to Park Avenue Armory (at 67th Street) with installations and performances daily through March 23. A full schedule of events is available at whitney.org/biennial Featuring 81 visionary artists, with works ranging from a dance marathon to a man-made animal habitat in the Museum's sculpture court, the 2008 Biennial shows where American art stands today. The 2008 Biennial is curated by Henriette Huldisch, assistant curator at the Whitney, and Shamim M. Momin, associate curator at the Whitney and branch director and curator of the Whitney Museum at Altria, and overseen by Donna De Salvo, the Whitney’s chief curator and associate director for programs. Three advisors worked with the curatorial team throughout the process: Thelma Golden, director and chief curator of The Studio Museum in Harlem; Bill Horrigan, director of the media arts department at the Wexner Center for the Arts at The Ohio State University; and Linda Norden, independent curator and writer. Biennial events at Park Avenue Armory are organized by the Whitney and Art Production Fund in association with Park Avenue Armory. Donna De Salvo noted, “The Biennial is a laboratory, a way of ‘taking the temperature’ of what is happening now and putting it on view. It influences our thinking on multiple levels and, for the Whitney, translates directly into the choices we make about our exhibitions and collections. In dealing with the art of the present, there are no easy assessments, only multiple points of entry. For the Whitney, and for our public, we hope the Biennial is one way in.”Whitney Museum of American Art 945 Madison Avenue at 75th StreetNew York City
(212) 570-3600 http://www.whitney.org/ Park Avenue Armory643 Park Avenue at 67th Street New York City (212) 616-3930 http://www.armoryonpark.org/
Wednesday, March 5, 2008
February 15 – March 15, 2008
Opening: Thursday, February 21, 6-8 pm
Gallery Hours: Tues – Sat, 11 6 pm
Winkleman Gallery is very pleased to present a solo exhibition of new paintings by New York artist Joy Garnett. In four large canvases Garnett continues her groundbreaking exploration of the malleability of instantly globalized images and how they have begun to replace written language as the markers of mankind's collective memory or consciousness.
March 5, 2008
Carol Bove’s ‘The Night Sky Over New York’ (2007) is part of the Whitney Museum’s 2008 Biennial, which starts on March 6 at the museum and the Park Avenue Armory.
If the Whitney Museum were a bar, the 2008 Biennial would be its happy hour. Social networking is of the essence at this biennial, a fraternal, anarchic gathering. Many of the artists know each other and work on collective, nonstudio-based projects — in addition, sometimes, to making their own objects.
But it is not a private drinking club — the public are welcome revelers, too. Anyone can sign up for the 24-hour dance marathon, attend the slumber party, or participate in the choreographed animal movement class for children and adults — all events staged as part of installations at the Park Avenue Armory, the biennial's second venue. And there is even a bar — organized by exhibiting artist Eduardo Sarabia.
This is a boho biennial, and a neo-hippy ethos is reflected as much in the finished objects as it is in the leisure-hour activities of the many of the 81 artists on display.
Indeed, the thirtysomething curators Shamim Momin and Henriette Huldisch have populated the exhibit with self-consciously scrappy, ephemeral, loose-at-the-edges art in their search to define the zeitgeist. By all accounts, that process was more an amble than a scramble. The number of artists included this year, 81, is down from the 106 of the jumbled, sprawling 2006 edition of the 77-year-old institutional fixture. Of the artists selected, 43 work in New York and 29 in Los Angeles or the Bay Area. Of the few working elsewhere in America, three are in Miami.
In keeping with youthful cool, the prevailing mood of the biennial is of casual idealism. Much of the work is politically or ecologically engaged, but in place of grand statements, anger, or urgency, there is a sense that gentle subversion will aid the revolution more than barricades; that sweet silliness, rather than heavy ideology, is the Molotov cocktail of choice. Ms. Huldisch used Samuel Beckett's notion of "lessness" to characterize the dissipatedness and ephemerality of the art selected. In harmony with the thesis of the New Museum's inaugural "Unmonumental" show, Ms. Huldisch stresses the keyword of "local." This is low-carbon-footprint art that is about little moves rather than big gestures. It favors recycled, or at least modest, materials, and minor efforts in transforming them. It embraces failure, not in a heavy old existentialist sense of radical doubt, but rather humorously and solipsistically: Think holy fool, not tortured genius.
Saturday, March 1, 2008
March EXHIBIT SCHEDULE:
March 5 to March 30, 2008
First Friday: March 7, 5 to 8:30 pm
Sunday Reception: March 9, 1 to 4 pm
Sunday Snow Date: March 16
Artists' House Gallery
57 N. Second Street
Philadelphia, PA 19106 map
(215) 923- 8440
Artists' House Gallery's annual Emerging Artists Exhibit presents an impressive variety of artworks by nineteen outstanding artists. Each artist brings his or her own unique artistic sensibility and perspective to this exhibit. It is filled with delightful portraits, still life, interiors, and landscapes, an array of fine art in a variety of media.
The artwork displayed below, and others by these artists, are available in the March Emerging Artists Exhibit.