Saturday, September 19, 2015
Friday, September 11, 2015
Friday, September 4, 2015
"Stranded" by Oliver Ressler
When thinking about dead bodies on the beach, these days most people think of refugees whose boats sank during the dangerous sea crossing to the European Union. The number of refugees drowned in the Mediterranean Sea in 2015 is the highest ever, reaching 2,500. The killing of these men and women can effectively be seen as a direct – and deliberate – act of EU policy, making the border between Northern Africa and Europe the deadliest in the world.
The photographic series “Stranded” shows men lying motionless on an empty beach. But unlike refugees these men wear business suits, the standardized clothing of politicians and managers. Their bodies are partly in the water, partly on the beach; they appear to be stranded.
These images could be seen as depicting those responsible for the policy of drowning refugees. The current European Union measures go beyond “refugee deterrence”. Today the EU makes use of the catastrophe it caused itself (through support for dictatorships, political intervention in uprisings, continuous wars on terror and economic strangulation of Africa and the Near East) to prepare renewed military intervention behind the back of the population.
Meanwhile, corporate executives have for decades used their global economic reach to enrich their shareholders at the expense of environmental, social and labor standards, causing entire regions to sink into poverty.
The photographic images in the “Stranded” series point to something that might happen in the future as the collapse of the capitalist system as we know it continues. The economic breakdown is already underway: as it spreads and deepens disasters, wars, and uprisings of all kinds will follow. “Stranded” imagines what might happen if the managers of today's economy – those for whom there is no alternative to corporate profit and human loss – were themselves sacked and thrown overboard by the people.
"Stranded" (2015), a series of photographs by Oliver Ressler, will be on display at Artwall Gallery in the framework of Fotograf Festival Prague from 1 October to 30 November 2015.
Tuesday, August 25, 2015
High Desert Test Sites - 2015 Postcard Project
High Desert Test Sites is now accepting postcard images for the 2015-2016 Postcard Project.
Each year a carefully curated selection of limited edition postcards is produced to benefit High Desert Test Sites. They are available on our website, at the HDTS HQ at Sky Village Swap Meet, and at some of our favorite shops in Joshua Tree and beyond. Sales of the postcards help support future HDTS programming.
Selected artists will be fully credited for their contributions, and will receive a complimentary set of this year's postcard selections.
Please send all submissions as email attachments in JPEG format (4 x 6”, 350 dpi, CMYK), along with artist name and image title (if applicable) to info@highdeserttestsites.com by October 1, 2015. Include your first and last name in each filename, using the following filenaming convention: lastname_firstname_1.jpg. (Example: zittel_andrea_1.jpg.) No more than 3 postcard submissions per person please.
Wednesday, August 19, 2015
Friday, August 14, 2015
Donate a Plant
Dear Friends and Plant Lovers,
This October I will be creating a socially engaged greenhouse sculpture titled “Creative Evolution (life together)” at The Clemente on the Lower East Side, for the exhibition Closed Garden at the Abrazo Interno Gallery.
I
am looking for participants to donate cuttings from their plants. These
diverse cuttings will be propagated into a gallery environment, tended
by volunteers, and eventually transformed into a permanent garden,
providing The Clemente with a new green sanctuary.
I'm
seeking a diversity of cuttings, preferably indoor houseplants,
although suitable outdoor plants are welcome too. Mature plants and even
plants that need a foster home are accepted as donations, provided that
the individual has had the plant for a while. No newly purchased
plants, please.
Your
contribution would be greatly appreciated. Cutting donors will be
acknowledged in the exhibition and a leaflet will be distributed with
the names of donors and species of plants. The exhibition will take
place in early October, with the permanent garden taking root in spring
of 2016 with public access.
DROP OFF TIMES :
Cuttings will be accepted from August 13 -September 13, 2015
To donate a cutting (or a plant if you prefer), please come to The Clemente and fill out the information sheet provided at the front desk and drop off your cutting.
The Clemente
107 Suffolk Street
(between Delancey and Rivington)
New York, NY 10003
Monday through Saturday, 3.30pm - 10.30pm
*Information to be provided includes, your name, address, email, name of plant, date
CUTTING INSTRUCTIONS:
Cuttings
should be around 3 - 6 inches. Place the cutting together with a wet
paper towel in a well-zipped ziplock bag. Please label your bag with
your name, email and any special instructions you may have. You are
welcome, in fact encouraged, to provide more than one sample (as it may
not “strike” and it will be good to have a few). If you are providing a
few species, please label the bag accordingly.
For
details on appropriate plants or how to take or transplant a cutting,
please email me for guidelines. If you have additional
questions about the exhibit, please email me at lilixc@hotmail.com
Please feel free to forward this onto friends who may have an interest in donating.
With gratitude,
Lili Chin
Sunday, August 9, 2015
Sunday, July 19, 2015
Tuesday, July 7, 2015
Opening Thursday: Cosmicomics @ Frosch&Portmann
Cosmicomics
@
53 Stanton Street, NYC
Opening Thursday, July 9th, 2015, 6:00-8:00 PM
July 9th - August 16th, 2015
In Italo Calvino’s collection of short stories, Cosmicomics,
interstellar particles meet, fall in love, part ways, reunite, argue,
pine for one another, and search for meaning, all while travelling
through space and years of galactic evolution. Characters navigate the
changing universe, moving through primordial gases and celestial ooze,
clinging to rock formations that hurtle through the atmosphere at the
speed of light. Calvino's creatures contemplate their morphing world,
lament their own insignificance, and rank love among the galaxy’s finest
treasures.
The
artists in this show are not particularly interested in science,
science fiction, or astronomy—or maybe they are, it was never discussed,
but they have been chosen for a common sensibility. Their work shares
an interest in human emotion, otherworldly beauty, and a sense of
humor. Calvino’s voice, candid and humble, sentimental and romantic,
playful and funny, is alive in these drawings, paintings and sculpture
that use concrete experience as a jumping-off point for amused
imaginative play.
Katherine Bradford
likes Superman because he can fly, wears bright colors and comes from
the realm of the supernatural. Her Superman is earnest yet
goofy, pointing towards the transcendent. Here, Bradford’s Pink and Black Superhero fills in to do his best.
In David Finn’s Weight,
on Tyvek, smaller shapes pull at the larger central forms bringing a
family of bodies into focus. Even as it is clearly figurative, it is
more alien than human, playfully suggesting that the pull of family
connections is universal.
Grant Huang’s unpretentious marker drawings
tell stories—of companionship, sentimentality, death, astronomical
phenomena, and the dispassionate cruelty of nature. They are both
serious and sophomoric as they simultaneously exalt and poke fun at the
cosmos.
Jay Henderson's Moon
hovers over the show with an amusing awareness of its own fakery. The
large flat disc, oozing metallic paint and spinning is both like and
unlike any actual moon. His Roof sculpture has landed improbably in the middle of the gallery, an emissary from an unimaginable world.
Sasha Pichushkin’s work is abstract, but it nudges us gently into a private world of natural forces, cryptic language and universal beauty.
Ellen Siebers’
quiet paintings take the visible world and turn it inside out, strip it
bare, mine it for meaning. The choices are strange and perfect, and
while recognizably of this world, they offer a parallel narrative,
placing us in the role of newcomers in an unusual, alternate world.
In Vicki Sher‘s drawings, shapes and lines float in airy space, relying on balance and gravity to hold them together.
Daniel Wiener’s Faces
are at once monstrous and beautiful, foreign and familiar. They evoke
aliens and weird extraterrestrial terrains whose grotesque, oozy swirly
shapes in whimsical color invite exploration.
Ye Qin Zhu’s
small wax sculptures demonstrate a constant delight in the ordinary.
Every herb, fruit fly, and piece of studio dust can be dipped in wax
and/or rolled into orbs of recorded experience, displayed in the gallery
like objects gathered on extraordinary journeys.
Saturday, July 4, 2015
NYC ArtCondo Orientation Meeting
ARTCONDO WILL BE HAVING A SPECIAL ORIENTATION MEETING ON THIS MONDAY, JULY 6TH @ 7:30 PM, AT 853 BROADWAY, 15TH FLOOR (SOUTH OF 14TH STREET). THINGS TO TALK ABOUT … OUR UPCOMING MOTT HAVEN PURCHASE ...
Monday, June 15, 2015
Painting In Trees: Music Day - Saturday, June 20th, 2015 - 3:00 PM
1237-1241 Broadway at Greene Ave.
Brooklyn
Saturday, June 20th, 2015 at 3:00 PM
3:00 pm -- Mark Micchelli 30 min musical prodigy sort - acoustic accordion and guitar
3:45 -- Veronica Torres-- mystery performance (10mins)
4:00 -- Jeremy Sigler Poet - He’s published a whole ton of stuff. "Crackpot Poet"
4:45 -- Terminal Intrusion-- The amazing poet/performer/artist/
5:30 -- David Shull-- sings songs
6:15 -- Daniel Klag-- soundscapes
7:00 -- The Spookfish
8:00 --Colin O’Con Dark Carpet 35 min rock&roll bandcamp.com/darkcarpet
9:00 --Michael Perrone artist and short film projectionist
Brought to you by the 'Paintings in Trees' People to Benefit the People's Garden
Opening: Cosmicomics @ Frosch&Portmann, NYC
Cosmicomics
@
Frosch & Portmann
53 Stanton Street
New York, NY 10002
Opening: Thursday, July 9th, 2015
July 9 - August 16, 2015
curated by Vicki Sher
Wednesday, June 10, 2015
Thursday, June 4, 2015
Tuesday, June 2, 2015
Wednesday, May 27, 2015
Typography Summer School, NYC
TYPOGRAPHY SUMMER SCHOOL
August 10 - 14
NYC
The 2015 tutors in New York are: Julian Bittiner, Yoonjai Choi, Bob Gill, James Goggin, Geoff Han, Other Means, Fraser Muggeridge, & Alexander Tochilovsky.
Friday, May 15, 2015
Opening: Tamara Zahaykevich @ KANSAS
Tamara Zahaykevich: ZAHAYKEVICH
59 Franklin Street
NY, NY 10013
May 16 - June 20, 2015
Saturday, May 2, 2015
Work for an Earth Artist: Star Axis
Artist Assistant needed for Star Axis:
Sculptor building large earthwork in New Mexico is hiring one intern. Star Axis is an earth/sky work on a remote mesa 1 1/2 hours from Santa Fe, NM. Please investigate Star Axis before responding: www.staraxis.org, and www.charlesrossstudio.com
Studio: Detail oriented. Building skills (incl. power tools), painting and preparing surfaces for a large installation, and some model making. A plus: photography and video shooting experience (GoPro and PremierPro). Also a plus: photoshop, illustrator, 3d drafting.
House Responsibilities: trips into town for supplies/food, some cooking, pitch in to help keep common areas clean. Help host visitors to the site.
Requirements/Qualifications: Interns should be mature, flexible, independent, and interested in learning how a large earthwork is created (funded, designed, organized, and built). Also be enthusiastic about learning new skills, detail oriented, and interested in spending time alone in a remote desert ranch location. (House is off-grid.)
Interns have their own private cabins. This is a remote location. Must have a vehicle.
Artist Assistant: Room & Board +
$500/month stipend. mid-June – mid-October (dates somewhat flexible).
Sculptor building large earthwork in New Mexico is hiring one intern. Star Axis is an earth/sky work on a remote mesa 1 1/2 hours from Santa Fe, NM. Please investigate Star Axis before responding: www.staraxis.org, and www.charlesrossstudio.com
Studio: Detail oriented. Building skills (incl. power tools), painting and preparing surfaces for a large installation, and some model making. A plus: photography and video shooting experience (GoPro and PremierPro). Also a plus: photoshop, illustrator, 3d drafting.
House Responsibilities: trips into town for supplies/food, some cooking, pitch in to help keep common areas clean. Help host visitors to the site.
Requirements/Qualifications: Interns should be mature, flexible, independent, and interested in learning how a large earthwork is created (funded, designed, organized, and built). Also be enthusiastic about learning new skills, detail oriented, and interested in spending time alone in a remote desert ranch location. (House is off-grid.)
Interns have their own private cabins. This is a remote location. Must have a vehicle.
Application Instructions:
Please email a cover letter, CV, and
images of work to Jill at info@staraxis.org. Please write:
"Internship" in the email subject heading. We will be interviewing in
NYC until mid-May.
Thursday, April 23, 2015
Wednesday, April 8, 2015
Family Ties: Brooklyn | Dallas @ 500X Gallery, curated by Julie Torres and Bonny Leibowitz, during the Dallas Art Fair
FAMILY TIES...
mostly Brooklyn Artists with mostly Dallas Artists...
curated by Julie Torres & Bonny Leibowitz...
Opening: Saturday, April 11th 7:00pm - 10:00pm...
500X Gallery
500 Exposition Avenue
Dallas, TX 75226
On view: April 11 - May 3rd, Saturdays & Sundays, Noon to 5 p.m. Weekdays by appointment.
80+ artists from Brooklyn and 40+ artists from Dallas with a few others from a few other places...
Artists:
Albert Weaver, Alex Paik, Alexis Granwell, Ann Glazer, Anne Russinof, Ashley Garrett, Austin Thomas, Bailey K Chapman, Barbara Laube, Becky Yazdan, Benjamin King, Ben Pritchard, Ben Terry, Bonny Leibowitz, Brett Dyer, Brian Edmonds, Caetlynn Booth, Cande Aguilar, Cecilia Salama, Chance Dunlap, Christina Tenaglia, Christopher Moss, Christopher Rose, Claudia Tienan, Daniel John Gadd, David Michael Connolly, David T Miller, Deanna Wood, Douglas Florian, Elizabeth Gourlay, Elizabeth Riley, Ellen Letcher, Emily Berger, Enrico Gomez, Eric Mavko, Erica Stephens, Fran Holstrom, Fran O'Neill, Fred Gutzeit, Georgia Elrod, Ginny Casey, Giovanni Valderas, Gwendolyn Plunkett, Helen O'Leary, Inna Babaeva, James Prez, Jamie Powell, Jason Rohlf, Jay Henderson, Jeanne Neal, Jeff Parrott, Jennifer Shepard, Jenny Leigh Jones, Jill Vasileff, Joan Mellon, John Kesling, Jonathan Cowan, Julia L Trinh, Julia Schwartz, Julie Alexander, Julie S. Graham, Julon Pinkston, Justine Frischmann, Karen Schifano, Karl Bielik, Karla Areli, Katherine Mojzsis, Kevin Andrew Curran, Kristen Biles, Ky Anderson, Kyle Gallup, Lael Marshall, Lauren Collings, Leeza Meksin, Leslie Kerby, Levi Haske Liz Ainslie, Liz Atzberger,MaDora Frey, Maria Britton, Marian Brunn Smith, Mary Judge, Matthew Neil Gehring, Maxwell Stevens, Mayra Barraza, Meg Atkinson, Melissa Capasso, Melissa Staiger, Michael Frank Blair, Nancy Ferro, Paul Behnke, Peggy Epner, Phillip J. Mellen, Polly Shindler, Rachael Gorchov, RE Cox, Rebecca Litt,Rebecca Murtaugh, Roberto Munguia, Ryan Goolsby, Ryan Michael Ford, Sally Warren, Sean Montgomery, Seth Mulvey, Stephen B. MacInnis, Suhee Wooh, Susan Carr, Susan Cheal, Teresa Ekasala, Todd Camplin, Vicki Owen, Vicki Sher, Wendy Klemperer, Will Hutnick, William Crump, William Eckhardt Kohler, William Lawler, Zak Vreeland, + + +
Tuesday, March 10, 2015
Cordy Ryman @ Zurcher
Cordy Ryman: Chimera 45
@
Zurcher
33 Bleecker Street
NYC
Caught between sculpture and painting, Ryman’s artwork is characterized by recycled wood, metal, cardboard, scrap metals, acrylic and enamel paints and other found objects. When working with wood, he often keeps the rough jagged edges visible. This creates a very tactile surface which reveals a tight connection to the human hand. Ryman alters the surfaces of his artwork to change the appearance but still allows for the character of the materials to be recognized.
Sunday, March 8, 2015
How to Drive a Getaway Car
How to Drive a Getaway Car
By MALIA WOLLAN
New York Times
MARCH 6, 2015
Never mind trying to outrace another vehicle when you need to escape, says Walter Farrer, a security consultant who teaches evasive-driving courses to business executives and wealthy Mexican families who want to avoid kidnappings. Disappear instead: drive a minivan, which is like an automotive duck blind, mobile camouflage for the road. “They make you hard to follow,” Farrer says. A newish minivan or midsize S.U.V. in gray with no bumper stickers is ideal. “Make sure both taillights work,” Farrer says. “You don’t want anything on your car that is easily identifiable.” In particularly high-risk cities — kidnappings for ransom are a persistent problem in Mexico — he presses his clients to drive cars covered in dust bearing local plates.
Once behind the wheel, follow a few basic rules — what Farrer calls “habit changes” — no matter whom your pursuers are. Vary the routes you take to work, your children’s school, the gym. Predictability makes for easy surveillance, and, as Farrer tells his students, “routine movements are the riskiest.” Keep the windows up and the doors locked. To facilitate speedy exits, back into parking spots. Wait for a well-lit public place before pulling over, especially if it’s for a fender bender. Never tailgate: “Give yourself space to maneuver,” says Farrer, whose courses include instruction on how to ram through roadblocks, drive in reverse in a slalom pattern to dodge bullets and skid 180 degrees in what’s called a “bootlegger’s turn.”
Still, the most basic evasive-driving lesson is one that could make better drivers of us all: be more keenly aware of your surroundings. Notice the quotidian. If something is off — a car is following, a strange roadblock looms ahead — early recognition will give you a few moments extra to react. “A successful criminal surprises the victim,” Farrer says. “Become more alert, and you’ll be harder to catch.”
By MALIA WOLLAN
New York Times
MARCH 6, 2015
Never mind trying to outrace another vehicle when you need to escape, says Walter Farrer, a security consultant who teaches evasive-driving courses to business executives and wealthy Mexican families who want to avoid kidnappings. Disappear instead: drive a minivan, which is like an automotive duck blind, mobile camouflage for the road. “They make you hard to follow,” Farrer says. A newish minivan or midsize S.U.V. in gray with no bumper stickers is ideal. “Make sure both taillights work,” Farrer says. “You don’t want anything on your car that is easily identifiable.” In particularly high-risk cities — kidnappings for ransom are a persistent problem in Mexico — he presses his clients to drive cars covered in dust bearing local plates.
Once behind the wheel, follow a few basic rules — what Farrer calls “habit changes” — no matter whom your pursuers are. Vary the routes you take to work, your children’s school, the gym. Predictability makes for easy surveillance, and, as Farrer tells his students, “routine movements are the riskiest.” Keep the windows up and the doors locked. To facilitate speedy exits, back into parking spots. Wait for a well-lit public place before pulling over, especially if it’s for a fender bender. Never tailgate: “Give yourself space to maneuver,” says Farrer, whose courses include instruction on how to ram through roadblocks, drive in reverse in a slalom pattern to dodge bullets and skid 180 degrees in what’s called a “bootlegger’s turn.”
Still, the most basic evasive-driving lesson is one that could make better drivers of us all: be more keenly aware of your surroundings. Notice the quotidian. If something is off — a car is following, a strange roadblock looms ahead — early recognition will give you a few moments extra to react. “A successful criminal surprises the victim,” Farrer says. “Become more alert, and you’ll be harder to catch.”
Thursday, March 5, 2015
Two Coats of Paint: Spring/Break Art Fair Quiz
Sharon Butler's Two Coats of Paint Art Fair Quiz:
Although the Spring/Break Art Show is known more for installations, dimly lit rooms and video projections, there were a fair number of paintings on the walls this year. Can you identify these? Send your answers to twocoatsofpaint@gmail.com with SPRING/BREAK QUIZ in the subject line. Whoever has the most correct answers will receive a post about his or her work or upcoming projects. Deadline: March 8, midnight. Get out there and see some art. Good luck!
Thursday, February 19, 2015
Maria Calandra: Request for Collections
A request from artist Maria Calandra:
Dear Friends,
I am looking for art collections to draw as an extension of my project Pencil in the Studio for my upcoming show at Sardine Gallery this May. The idea here is that I will be drawing the artworks where they live, as opposed to where they were made. If any of you could put me in contact with someone who has a collection, or if you yourself have a collection for me to draw, it would be a great help. I am hoping to have a mix of both artists’ and collectors’ collections to work with. It would mean drawing for a couple of hours on site, much like the studio visits, and the work would be only for the show and not the blog. Thank you for any help you can provide or leads you can give me. I have attached a couple of studio visit drawings from the past several years as examples. The studio's are of Saira McLaren, Rachel Beach and Jules de Balincourt.
Thank you,
Maria Calandra
Maria can be contacted directly via: calandramarialouisa@gmail.com
Friday, February 13, 2015
A Secret Restaurant by Math Bass & Lauren Davis Fisher @ Public Fiction, Feb 13th at 7:30 PM
by Math Bass & Lauren Davis Fisher with a few special guests & performances...
@
Public Fiction
749 Avenue 50
LA, CA 90042
February 13th at 7:30 PM
Please make a reservation by emailing shhh@publicfiction.org
Dinner will have a vegetarian option.
Suggested donation $20-25
Public Fiction
749 Avenue 50
LA, CA 90042
February 13th at 7:30 PM
Please make a reservation by emailing shhh@publicfiction.org
Dinner will have a vegetarian option.
Suggested donation $20-25
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