The 22 Magazine


An Interview with Adam Niklewicz.
July 31, 2012, 11:06 pm
Filed under: ART, INTERVIEWS | Tags: , , , , , , , , , , , , , , , , , , , ,

by Jade French

Adam Niklewicz plays with the relationship between identity and nationality with a slice of sausage in the middle. Removing our typical relationship with food (eat and run) Niklewicz forces the viewer to reimagine how we can view food with everything from beautifully rotating chicken bones to musical sausages! His sculptures are multi-faceted creations which resituate objects outside of their normal habitats. We caught up with the artist to find out more…

Jade French: How does your relationship with both Poland and America inform your work?

Adam Nikelwicz: On one hand, there’s the visual vocabulary of my Polish childhood, on the other – the American pop-cultural and commercial iconography. The two clash and blend together (there’s a bit of smoke) and all this occasionally produces some creative leaven.

JF: Do you think through creating art you gain a sense of identity? Or does art incorporate a universal feeling, which negates nationality?

AN: I’d dread to hear that my art is somehow ethnic, hermetic or obscure. True, I often base it on quirky, ethnic, folkish facts but I do hope I’m able to distill these facts into works with universal appeal.

JF: Can you explain more fully how ‘Romantycznosc is a reflection on the Polish psyche? How did you create that piece of work? Its amazing that the sound is so pitch perfect when made out of meat!

AN: It’s hard for me to explain the Polish psyche notion (other than through art itself), I know though it reaches its peak when a Pole plays a polonaise on the instrument. Putting this piece together took a lot of effort and a lot of sausage.  And there were these frequent (up to three times a day for a few weeks) visits to my local Polish deli, which confused the store clerk.  My appetite for always the same mundane kind of sausage, the shear amounts of the product purchased, the fact that I’d often produce a tape measure from my pocket to check on the sausage’s length before buying – all this made the clerk uneasy.  I fought against the instinct of explaining myself.  I decided that the explanation (I’m not really weird, I’m only making a musical instrument out of sausage) would not boost my image with the man. In other words, I enjoyed the process and misperceptions it produced.  The process has recurred several times since with other projects.  What makes the piece utter the right kind of sound must remain a secret.

JF: One thing that strikes me is the manipulation of found objects into functioning equipment- like the Art Forum kaleidoscope. How important is it that your art has a function, as well as an aesthetic value?

AN: I want my work to both look good and to possess content.  Yes, I need my objects to function, but their purpose must not adhere to an easy logic.

JF: Is the Art Forum piece a comment on art journalism? I noticed you cut the visuals from the review sections out- how much do art reviews affect an artist?

AN: Perhaps it’s a comment on the nature of art.  I truly believe that art is ever-changing (like the kaleidoscope effect used here) and ever-fresh (not unlike nature itself).

JF: Do you think using microscopic visuals forces the viewer to look harder at your artwork, or engages them in a different way?

AN: A small object of art feels precious, like a piece of jewelry. I noticed that people gladly focus their attention on a small work. They feel encouraged to wrap their minds around it.

JF: Would you classify your work as playful?

AN: I’m very happy when someone calls my work playful.  I’m equally happy when viewers find it humorous.

JF: Pieces such as Ounce have a strong sense of nostalgia and poignancy- does this piece relate directly to personal experiences?

AN: I love that you misspelled the title of this piece!  The actual title – ONUCE, stands for a garment of sorts – two pieces of fabric or paper (often a newspaper) designated to be wrapped around feet, usually in addition to socks.  All this for an extra protection against cold.  I suspect the term made the title partially because it looked like a misspelled English word (e.g. ONCE, OUNCE).  I used to wear onuce as a child.  Big time!

JF: Pieces such as Calle Lunga’ and Monument to Borscht, although stationary, seem to incorporate a sense of movement- is that something you recognize yourself?

AN: These two pieces are not really built to last.  They appear to face the imminent prospect of collapsing, breaking, sagging. I think, this is where the sense of movement comes from; their fragile nature implies change and change is related to movement.

JF: The kinetic sculpture Chicken Souphas a sense of frailty to it – what do you think this piece is trying to say?

AN: I like fantasizing about that chicken I consumed. I assembled its bones in a rather aerial manner.  I wonder- is this transformed bird on the verge of taking off?

JF: Why is there a link between food and heritage within your work?

AN: Food is a visible, tactile, sensuous (and surprisingly meaningful) way of experiencing a cultural heritage.

JF: I also read that you ate paint as an art student, which relates to the piece of bread with orange oil paint – can you tell us the story and why you recreated this moment later in life?

AN: The incident happened many years ago during a drinking party of a bunch of 17-year old art students – all ready, perhaps even certain, to conquer the artworld.  In my own drunken stupor, I spread orange oil paint over a slice of bread and challenged everyone to take a bite.  Nobody did!  Meanwhile, I put myself on the spot and now I had to have a good chunk of the slice.  The long forgotten incident returned to me quite suddenly, and made me realize that the then display of adolescent stupidity was in fact an act of commitment. A vow. I’m the only participant of that gathering from he past that keeps making art.  I recreated that ‘action’ now to renew the old vows.

For more about Adam visit his website.



The back door.
May 29, 2012, 4:43 am
Filed under: POETRY, WRITING | Tags: , , , , , , , , , , , , , , , , , , ,

By Erica Manolith.

I don’t understand,

your life.

The sick look by the back door,

porch screen, flapping in the wind.

You don’t seem to notice the human,

of the humans around you.

Perhaps this makes you vomit?

Where are your skills?

Where is your voice?

It’s a vapor,

it’s a screen in the wind,

it fades,

it aches,

it has nothing to say,

and from nothing,

there is born,

nothing.

 



Erica Manolith is a writer living in Northwestern Pennsylvania. She is currently finishing her degree in France, and is home for the summer writing poetry for sport.



Tiny Naked Men Riding on Small Feral Animals: Philippe Jarry.
March 8, 2012, 1:00 am
Filed under: ART | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , ,

WEBSITE.
OTHER.

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The Weekend:Dec 2-4.
December 2, 2011, 8:55 pm
Filed under: THE WEEK/THE WEEKEND | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

FRIDAY:

TED BROOKLYN:
We’re living in what is commonly referred to as the “Information Age.” With the emergence of social networks, we build new communities by pressing the “Like” and “+1″ buttons and becoming fans. As we become increasingly interconnected with the Brooklyn community in these new ways, we find ourselves grasping for a new common ethos. In other words, we are striving to refine and define “better.” On December 2 at Brooklyn Bowl, we will address these issues with talks from the best and brightest minds of Brooklyn and beyond.

OPERA ON TAP/Roulette Sisters.
Opera is fun. Most people don’t seem to realize how much fun it really is. In order to prove it, Opera on Tap has taken its act to barrooms where they found out that beer on tap enhances the operatic experience. The company is made up of young singers and instrumentalists who relish the direct contact with audiences not inhibited in their reactions by the looming menace of giant chandelier.The Roulette Sisters have been turning heads and stopping traffic since forming in the cold winter of 2003. Noticing that their warm velvet harmonies and spicy hot licks were melting the snow outside, the sisters realized that they had started something not only weather-altering but soul-stirring as well. The sexy sisters play a hip-shaking blend of American country blues, traditional songs, popular tunes and old timey music from the first half of the 20th century. With Mamie Minch: resonator guitar, Meg Reichardt: electric guitar, Megan Burleyson: washboard, Karen Waltuch: viola.

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Bicentennial Parade 1976 by Maude Larke.

the band comes closer
until the clapping ladies
in their gaudy flowered dresses
and the beer-bellied men
can feel the drum
striking in their throats

a beat that is now hardly felt
by the silent wraiths
making their own unseen procession
on the village green

the farmer is there,
who harnessed his ox
and milked each cow
with his own hands
on clean gray mornings
the hymn writer
playing the pump organ
at the meeting house
on Sundays
the buckskinned savage
who opened the secrets
of the new land
to new minds
and set his home
in any valley

the carpenter
who knew each work in his shop
and shaped it with his sure hands

the mother who made soap and butter
and raised her children
and read them the bible by the fire
the pastor
who shook the walls
and spoke thunder,
who was listened to
understood
and believed

other shadows are also here.
a buffalo shakes his horns,
the flesh on his strong shoulders twitching,
watching calm-faced –
the mustang, mane flying,
writing its history in the dirt with its stamping hoof –

the eagle, who was taken from his home
and fastened by his back
to flags and emblems, and died there, starving

these spirits are now
shadows behind the shadows
on the village green
listening to the big brass bands
and the silence in the crowd’s memories
caused by the unawareness
in the rest of their minds.

they were once living words
nobility, simplicity,
charity, resourcefulness,
optimism, knowledge.
They weren’t invited
to this century.
They’re left
to watch the parade
from their view;
the view of
things forgotten,
left behind,
refused,
or ignored.








Maude Larke has come back to her own writing after years of ‘real’ work in the American, English and French university systems, analyzing others’ texts and films.  She has also returned to the classical music world as an ardent amateur, after fifteen years of piano and voice in her youth.  She has several short stories and poems, three novels, and two screenplays to offer so far.  Publications include Cyclamens and SwordsSketchbook and The Centrifugal Eye.



12SEPTEMBER2001 (Part 3 of 3) BY MIYOKO CAUBET.



memories, desires, dreams and fantasies the ingredients with which one builds their own story and self identity? This is the question from which the video “12september2001” was conceived. The passing images live in the mind of the narrator. His inner voice addresses two young women whom he sees in a house – imagined to be abandoned and destroyed – which they used to spend their summers together. He recalls memories and dreams, shares his nostalgia, and confesses his still vivid fantasies about them.

These images are a mix between the narrator’s memories, his fantasies and emotions, and his personal experience of historical events, all of which are constitutive elements of his identity.

Directed by Miyoko Caubet
Text written by Matthew Mowatt
narrated by Georges Vitek

Part 1
Part 2



12SEPTEMBER2001 (PART 2 OF 3) BY MIYOKO CAUBET.

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12september2001 (Part 1 of 3) by Miyoko Caubet.

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THE WEEK: August 8-12th.
August 8, 2011, 2:30 pm
Filed under: THE WEEK/THE WEEKEND | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Social Hijinks! A screening and live action lecture night
Wednesday August 10, 7:30 pm

In conjunction with the exhibition Why Participate?, Angela Washko has organized a lineup of videos and live performative lectures by artists whose projects take place within social spaces. The works being presented and discussed are mischievous, critical, occasionally hilarious, and examine the boundaries of legality. Artists Jason Eppink, Nate Hill, Ann Hirsch, Jaime Iglehart, Action Club, Paolo Pedercini, and Jeff Stark present and talk about their works discussing surveillance, costumed public service, reality television, knock-off culture, collaboration, video game evolution, protest, and performance in public spaces.
Free + Bring your own beverages and snacks
(images courtesy of Jeff Stark)

Gian Luigi Diana, electronics & Ben Gerstein, trombone
Wednesday, August 10, 10pm

SEEDS:Brooklyn - www.seedsbrooklyn.org
617 Vanderbilt Ave., Brooklyn (preceded at 8:30 by Jacob Garchik, trombone/computer)

All Star Poetry: A Benefit at the Bowery Poetry Club.
Tuesday, August 9

Nine poets from the First Annual New York Poetry Festival join forces to raise funds for the Festival and Bowery Arts + Science. Featured poets include Lisa Marie Basile, Jassie Harris, Meghann Plunkett, Rita Mercedes, Sarah Feeley, Ayala Sella, Nick Adamski and Bob Holman w/ Molissa Fenley.

Books will be available for purchase after the reading.
Admission: $8
The Bowery Poetry Club is located at 308 Bowery (between Houston and Bleecker)

New York Poetry Festival Afterparty at the Bowery

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AN INTERVIEW WITH STEPHEN CLARKE BY MATT MOWATT.

Stephen Clarke, a British journalist and novelist, has lived in Paris for more than a decade and worked in a variety of trades including BBC comedy and creative lexicography. He has published many novels, one being the hugely successful A Year in the Merde, chronicling the adventures of Paul West, a gaffe prone Brit in Paris. The autobiographical tone of the work confused some folks who thought Stephen had indeed dealt with things like a naked landlady, but not enough to dampen the success which produced four more books in the Merde series alone. He currently lives in Paris where he is writing and actively seeking a rock band to play bass in.

Matt Mowatt: You wrote three novels before self-publishing A Year in the Merde. Do these novels carry the same tone and humor as your other books?

Stephen Clarke: They carry basically the same humor because it’s my humor. One of them was a prototype of A Year in the Merde, and that one was called Who Killed Beano? He [the character] was like Paul West except he was living in my hometown, and he was a bit more grungy, more into drugs and alcohol. The other book I called at the time Beam Me Up – it just came out actually, under the title, A Brief History of the Future. It’s a third person narrator, more of a toned-down, ironic, comedy sci-fi. It’s not like spacemen or anything; it’s in the here and now. It’s about a bloke from my hometown in Bournemouth who goes to New York and finds someone’s invented a very simple teleportation machine, but only for objects; he brings it back to Bournemouth and causes complete criminal anarchy like teleporting drugs directly into people’s nostrils.

Matt Mowatt: Is this your first attempt at sci-fi?

SC: Well, I suppose it’s my only attempt. I mean it wasn’t really even sci-fi. It’s just what would happen if someone really did create this thing. And, working as a journalist, I realized that half of the science stories I was working on were about some scientist somewhere who tried to invent teleportation or some other technology related to Star Trek, and I was thinking, “Why are they trying to make all of this Star Trek stuff come true?” So, in the novel [A Brief History of the Future] someone has made this Star Trek machine real and the chaos it would cause if teleportation were really possible (which it almost certainly isn’t because, apparently, in quantum mechanics you can’t make these things happen).

Matt Mowatt: There wouldn’t be parking lots anymore.

SC: No, but I think breaking down your car into its molecules and reassembling it wouldn’t be very good for the engine.

Matt Mowatt: A Year in the Merde has certainly put you on the map as a popular writer, but do you feel that your two other self-published books have been eclipsed by it’s success?

SC: Yeah, I only chose to try to publicize A Year in the Merde because I was living in Paris and it was about France. So I eclipsed them deliberately and I was just lucky that it worked. I got a publishing deal and I just went for that.

Matt Mowatt: Merde Happens is your third completed “Merde.” Did you travel to the States for research?

SC: Oh yeah, in Merde Happens the hero, Paul West, drives across America in a Mini [Cooper] with his French girlfriend. So you get the English perspective of America, the French perspective (which is very different, sort of schizophrenic love/hate relationship). So, yeah, I went back about six or seven times…I would drive the leg of the journey, mostly in a Mini. So I did one trip from New York right down the east coast along New Jersey…I was writing travelogues so I would go there, come back to write a travelogue for a newspaper, write a bit of the novel, and then go back to America. So I went across Florida and New Orleans, along the Gulf of Mexico, up to Las Vegas and over to the [West] Coast.

Matt Mowatt: You mention the French having a schizophrenic view of Americans, I definitely agree (being married to a French woman). What can you tell me of the views that the British have of Americans?

SC: Well, I say in one of my books, 1000 Years of Annoying the French, that we Brits, unlike the French, don’t mind that we lost America. The French, you know, deep down think that they should still own America, but they sold it – a huge chunk of it (for not very much money). We Brits, you know, we don’t mind…

Matt Mowatt: You’re not sore losers…

SC: Well, we don’t think we necessarily lost because we think that you’re sort of our cousins – we both speak the language, but you can’t spell it correctly. We don’t mind losing because we really have no desire whatsoever of governing Texas.

Matt Mowatt: -Laughs- Yeah, well, I don’t think half of America desires to govern Texas either.

SC: Yeah, we really don’t mind losing, but we’re kind of the old part of the family you left behind to explore the world. Brits love to embrace wholeheartedly all of American culture, which sort of annoys me slightly because we do it linguistically as well. So one of my favorite words, “bloke,” is dying out.

Matt Mowatt: They don’t say “bloke” anymore in Great Britain?

SC: Hardly, no. They say “guy,” like, “hey guys.” And “bloke” isn’t the same as “guy.”

Matt Mowatt: In your new book, Paris Revealed, you’re invited by the French government to be one of the judges in the Grand Prix de la Baguette de Paris – pretty much the equivalent of singing the National Anthem at the World Series.

SC: Yeah, like being part in the jury at the Cannes Film Festival. It’s a huge honor.

Matt Mowatt: Were you shocked as an English person [being invited to a very French event]?

SC: I was shocked, but I was more shocked by what went on during the competition. I was surprised to be invited because, as you say…it’s more like being knighted or going to the White House. The competition was so French. For example, there was supposed to have been a set number of jurors, and then a baker turned up. They told him that he wasn’t in the jury, but he said, “I thought I was going to be in the jury…If I’d known that I wasn’t going to be in the jury, then I would have entered the competition.” So they said, “Well, okay, you can be on the jury.”

Matt Mowatt: -Laughs- I should have walked in and said this.

SC: And then there were hundreds of baguettes piled up on the table with a kind of ring of paper on them with a number. There were no gloves, no plastic bags…

Matt Mowatt: And you visiting America, you’ve noticed that everything is wrapped in plastic.

SC: Well, it’s the same in the U.K. Everything’s really hygienic…So all of these baguettes were all piled up; one or two of them fell on the floor. When they were brought to the judging tables, they were stuffed into the armpit of one of the assistants and dropped on the table…I was sitting in the middle of the table, so by the time I tasted the baguette it could have been prod about, sniffed, and nibbled by a few other people.

Matt Mowatt: Was the baguette good nonetheless?

SC: They were good. The only thing is, of course, once you’ve tasted a hundred and fifty of them, you could hardly tell the difference.

Matt Mowatt: So were you craving some chevre chaud after a while?

SC: I was sort of dehydrated…I was sitting between two bakers and they were looking over at me saying, “How could you give that one four marks? It’s too crusty.” I said, “Well, yeah, but I like the crust.” So they were trying to influence my marks…So it’s a huge honor for the winner because not only do they get massive amounts of publicity, they also get to deliver baguettes every day for a year to the Presidential Palace. And I was sitting next to last year’s winner, and I asked him, “So have you been taking baguettes to the Presidential Palace every day?” He said yeah, and I asked him if he has seen Carla Bruni, and he said no. So I said, “So she never comes down there in her dressing gown to get the baguette?” He said no.

Matt Mowatt: -Laughs-

SC: But anyway, they [the Presidential Palace] wanted their baguettes at eight o’clock in the morning. So I [the baker] told them, “There’s no way to get there at eight in the morning. I’m much to busy in the shop. I’ll be there at ten.” So he delivered his baguettes at ten…fuck the President, you know.

Matt Mowatt: -Laughs- That’s very French…After seven books about pointing out the idiosyncrasies between the French and English culture, are you running out of ideas or is finding quirks in French culture sort of a renewable resource?

SC: I’m lucky because I’ve never run out of ideas. I’ve been living here for a long time, and I am a Parisian. I see what Parisians are up to and they are changing a lot. The thing we all love about Paris is that it never changes. Fundamentally it never changes. It hasn’t really changed since Napoleon. The buildings might have changed, you know, and there are cars now, but people’s attitudes have hardly changed. They do evolve very slowly. It’s geological, but…they’ve sort of evolved kicking and screaming. For example, I’m writing another Paul West “Merde” novel. It really is sort of a post-credit crunch novel, because the credit crunch has sort of undermined a lot of things about Paris. They’re finally seeing a horrific dawn where jobs for life won’t be possible anymore. And the average French person, when they start a job at twenty-something, starts to think, “I wonder what age I’m going to retire?” That’s their basic attitude towards work. Nowadays they’re suddenly thinking, “Shit, the retirement age is going up, I might not have a pension.” This has given them existential twinges, so they’re more on-edge; they’re getting more aggressive. People are more willing to tell you that they hate their job, they hate their boss or their customers. You might not notice it if you visit Paris, but you’ll notice it if you live here.

Matt Mowatt: And this change happening is the theme for your new novel?

SC: It’s the background to the new novel.

Matt Mowatt: Do you find the sense of humor gap between French and British to be a rather large one?

SC: Yeah, very large. One reason is…you know most French people often don’t realize that we’re joking. So what you have to do in France is when you say something funny you laugh to make them realize it’s funny. That’s one huge difference, one that I used to my favor when I worked in a big company. We’d go to meetings, sort of brainstorming meetings and I’d joke and make a really stupid suggestion…either they think you’re joking and say, “Oh, it’s not bad, he deliberately said a stupid thing,” or they think, “Wow, that is complete genius. We’ve never thought of that.” So it’s a win/win situation. And also the thing is, Brits anyway, within limits, we don’t take anything seriously. For example, in the U.K. a politician, unless it’s a crisis, will make jokes, especially on social occasions. Whereas in France the politicians take themselves so seriously that there will be no joking. So, we don’t take ourselves too seriously, which means we can joke at any time. But the French can be very satirical, really cutting with their humor. There are magazines here that say outrageous stuff with no reverence at all, which I really like.

Matt Mowatt: It seems like French jokes are aimed at somebody, and maybe the American and British are sort of self-loathing jokers.

SC: I wouldn’t say loathing. Maybe self-deprecating, but, at least in Britain, we have a huge culture of stand-up comedy.

Matt Mowatt: The last…well…the last funny British person…

SC: -Laughs-

Matt Mowatt: …I saw was that guy from the Office.

SC: Ricky Gervais.

Matt Mowatt: Yeah.

SC: I love him. I love it when he does those awards ceremonies.

Matt Mowatt: He’s so scathing…So, my next question is what publishing advice would you give, say, an American copywriter and music reviewer living with his French wife in the 19th [quarter], for example?

SC: -Laughs- It depends what you want to do.

Matt Mowatt: Fiction. I just finished a novella.

SC: In that case I would do what I did which is to get the novel as good as it can possibly get, right down to the last full-stop. And then send it off to some literary agents. And if they don’t want it, self-publish.

Matt Mowatt: Last two questions. Don’t you find Dickens a bore, especially now that he’s dead and what are you currently reading?

SC: I have nothing against dead authors. One of my favorite authors is dead, you know. It’s not their fault they’re dead. Dickens comes from a time when the world was much slower and people had time to read his descriptions. Some of Dickens I really love, some of his atmospheres in London are still true today. If you go and stand on the banks of the River Thames now…when the tide goes out, the beach is exposed to sort of bricks and tires and body parts…it’s really Dickensian. You know, when the tide comes back in, the Thames…the river flows backwards, it flows uphill. It’s amazing. Dickens captures all of that really well. But his descriptions are way too long.

Matt Mowatt: When I read Dickens, that’s the major issue I have: a ten or twenty-page description of a chair.

SC: Yeah, but he was like Emile Zola. He was trying to document the times. Also, he was paid by the word. He had written them in articles and had them published week by week.

Matt Mowatt: So what are you reading currently?

SC: A mixture. I just read an Evelyn Waugh novel, Scoop, which is very light and funny. There are some people like Evelyn Waugh, Graham Greene, George Orwell…they’re such crafted, brilliant writers with a wonderfully simple style that doesn’t smack you around the face. So, you always know you’re going to get something good.

Matt Mowatt: I’d like to thank you again for coming, Stephen.

SC: Thank you.



33 years-old, Paris 2010, a portrait by Miyoko Caubet.


Video portrait of a 33 year-old french woman overcoming a heartbreak made from still images and inner voice over.
A video by Miyoko Caubet – french video artist
with Mélanie Mary – french actress, theater director and writer

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Nouvelle Cuisine by Andrew de Freitas.

Don’t feel too chewed up. I think as we get older it will be easier to feel this way. Yes I feel like shit at times, probably lately more than ever, but it’s only a temporary paralysis. If I have a goal in life it’s to make sure that it’s always temporary, despite the inevitability. That’s a real goal, and I’m content to deal with it. I’m trying to follow the example of cutting-edge Japanese cooking and French nouvelle cuisine, which is more concerned with difference and variation in savor and texture than with taste sensation in mouthfuls. Yes it’s the same as it’s always been, what you said.

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THE WEEK: JUNE 1-3.
May 31, 2011, 9:38 pm
Filed under: THE WEEK/THE WEEKEND | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

!Women Art Revolution SCREENING @ IFC.

This revelatory “secret history” illuminates the Feminist Art movement through interviews with and works by visionary artists, scholars and critics like Miranda July, The Guerrilla Girls, Yvonne Rainer, Judy Chicago, Marina Abramovic, Yoko Ono, Cindy Sherman, Barbara Kruger, B. Ruby Rich, Ingrid Sischy and Carolee Schneemann. Score by Sleater-Kinney’s Carrie Brownstein.

In person appearances:
Wednesday, June 1: Lynn Hershman Leeson & Alexandra Chowaniec at 6:10pm, Leeson, Chowaniec, & Kathleen Hanna at 8:10pm
Thursday, June 2: Chowaniec & Howardena Pindell at 2:10pm, Chowaniec & Carolee Schneemann at 6:10pm, Chowaniec & J. Bob Alotta at 8:10pm
Friday, June 3: Chowaniec& Janine Antoni at 12:10pm, Chowaniec & Joyce Kozloff at 6:10pm, Chowaniec & Martha Wilson at 8:10pm
Saturday, June 4: Chowaniec & Howarden Pindell at 2:10pm, Chowaniec & B. Ruby Rich at 6:10pm, Chowaniec & Guerrilla Girls Frida Kahlo and Kathe Kollwitz at 8:10pm
Sunday, June 5: Chowaniec & Howardena Pindell at 2:10pm
Monday, June 6: Chowaniec & Carey Lovelace, Chowaniec & Connie Butler at 6:10pm
Tuesday, June 7: Chowaniec, Carey Lovelace & Faith Ringgold at 6:10pm

SCREENING TIMES.

GUERILLA GLEE CLUB (CLICK LINK FOR MORE INFO) (DATE CHANGED TO JUNE 2)


The Peripheterists
curated by Jocko Weyland

June 1 – July 30, 2011

Opening reception: Wed, June 1: 6-8 pm

Guided Tour: Wednesday, June 8: 6:30-8 pm
Music Event: Thursday, July 14: 7 pm

Featuring work by:
Nicole Andrews Brandes, Natascha Belt, Dave Bevan, Dwayne Boone, Gerardo Castillo, Rick Charnoski, Edward Colver, Ale Formenti, Renée French, Joseph Griffith, Thomas Hauser, Mark Hubbard, Chuckie Johnson, Gary Kachadourian, Taliah Lempert, Doug Magnuson, Alfredo Martinez, William McCurtin, Stu Mead, James Niehues, Gloria Park, Daniel Pineda, Randy Turner, Dennis Tyfus, Unidentified Cameroonian barbershop painters, Sereno Wilson, Jesse Wine, Jason Wright.

Tony Bennett unsuspectingly coined a new term of surprising relevance when he once said he liked what Oskar Kokoschka did “along the peripheter.” Though meaning the perimeter and periphery in the painting itself, he innocently zeroed in on a murky netherworld away from the formal where success and failure, acceptance and indifference, and Tony Bennett and Oskar Kokoschka meet. Like these two disparate personalities, the artists in The Peripheterists elude the standard definition of outsiders to form a diverse and unaligned but oddly complimentary non-scene that doesn’t really register with either the hoi polloi or the intelligentsia. In many cases low-key and unsung though prodigiously gifted, all are fairly unconcerned with and unknown in that rarely satisfying milieu known as “The Art World.”

The Peripherterists examines the wide-ranging connections, affinities, and allusions amongst works that posses the popular appeal often absent at the your typical white cube. That luck, social standing, ladder climbing, and a multitude of other variables determine who gets fêted is not news by any means, but it does give rise to an urge to address that vexing situation with a gathering of mostly uncelebrated rare birds. A few encounters amongst many will have Mark Hubbard’s fantastical diagrams for actual skateparks, Gloria T. Park’s expressionist wig designs, and Jim Nieuhues’ paintings that are the basis for ski area maps consorting with Sereno Wilson’s glittery Nubian goddesses, Nicole Andrews’ paper cutouts of ennui-suffused suburbanites, and Stu Mead’s poignant, troubling, and very funny depiction of sexually active adolescents. This is not a polemic but an excursion into parallel realm of wonderful art that combines the fiercely individualistic and unorthodox with the accessible, and brings up old-fashioned but eternal questions about what art is and why people bother.

Jocko Weyland is the author of The Answer is Never – A Skateboarder’s History of the World (Grove Press, 2002) and has written for Thrasher, The New York Times, Cabinet, Apartamento and other publications, and is also the creator of Elk magazine, books and gallery.

 Full Moon Storytelling Night: Folk Tales and Tellers From Guyana

Wednesday, June 1, 6:30-8:30pm
St. Stephen’s Church
East 28th St. and Newkirk Ave. (East Flatbush)


Moonlight Stories in the Garden (duppy (ghost) stories of the Caribbean and tales of the sea)

Thursday, June 2, 7-9pm
Prospect Heights Community Farm
256 St. Marks Avenue (Prospect Heights)

DIXON PLACE:
CHANGING SKINS: FOLKTALES ABOUT GENDER, IDENTITY AND HUMANITY
WEDNESDAY, JUNE 1 AT 7:30PM
& SCHISMISM: NATURAL LAW FRIDAY, JUNE 3 AT 9:30PM

SCHISMISM: NATURAL LAWCHANGING SKINS

SCHISMISM: NATURAL LAW: Lisa Karrer’s multi-media performance is inspired by the life of Charles Darwin. Karrer’s collaboration with composer and multi-instrumentalist, David Simons, features an arresting assortment of sonic and visual backdrops, including video sequences linked with original soundtracks, voice, triggered theremin, and live acoustic and electronic compositions. These combined elements illuminate an interwoven collection of concepts, associations and stories that mirror Darwin’s complex exploration of evolution and universal connectedness. In the spirit of natural selection, audience members choose the sequence of onstage events during the performance.

CHANGING SKINS: Compiled and performed by Milbre Burch and directed by Emily Rollie, featuring photographs from “Meta-Genesis,” (above) an exhibit of portraits of transgender folk by Columbia, MO-based photographer, Jane Lavender.Changing Skins interweaves gender-bending folktales from cultures spanning the globe with musings on the construction of gender and identity. Compelling storytelling for grownups!

Under Glass: A Victorian Obsession
An Illustrated Lecture and Show and Tell with Glass Parlor Dome Collector John Whiteknight

Date: Thursday, June 2nd
Time: 8:00 PM
Admission: $5
Part of the Out of the Cabinet: Tales of Strange Objects and the People Who Love Them Series, presented by Morbid Anatomy and Morbid Anatomy Scholar in Residence Evan Michelson

A smoking monkey dressed as a Marquis, a Wild West scalping scene created in beeswax, a cemetery scene made from the deceased’s hair, and stuffed pug dog puppies, all under glass domes!!!!!

The bell jar, or glass parlor dome, is synonymous with our memory of the Victorian Age (1837 – 1901). During the 19th century, these blown glass forms were referred to not as domes but as shades, and graced nearly every parlor, protecting a broad variety of treasures–including miniature tableaux, waxworks, natural history specimens, taxidermy of exotic birds and pets, automatons, and delicate arrangements of hairwork, featherwork, and shellwork–from dust and curious fingers. (READ MORE.)

MUSEUM OF (UN) NATURAL HISTORY featuring new works by KIM HOLLEMAN
Opening FRIDAY JUNE 3rd 6-10PM
65 Union Street  Brooklyn  NY

WORK Gallery is pleased to present Museum of (Un) Natural History featuring new sculptures and a street installation by artist Kim Holleman. The Museum is a collection of environments that have all been drastically physically and/or psychologically changed by human intervention. Using mostly synthetic materials, noxious chemicals, and items culled from the trash or found on the street, Holleman creates models of parks, empty lots, nostalgic structures and architectural futures. Each miniaturized landscape represents and critiques our consumptive habits and land use, the visual results of which are both fantastical and grim. Hazardous threats to the environment’s natural balance overwhelm the landscapes, leaving an eerie beauty in the wake of irreversible destruction.

In a truck lot adjacent to the Museum is Trailer Park: A Mobile Public Park, a “portable, natural, public park” inside an RV trailer. The interior is an actual park, where visitors go inside to go outside. Masonry paths, a waterfall, and the splendor of living shrubs, trees are ready for dispatch to wherever a green refuge is needed.


ASHES // JEREMY DYER || JUNE 2 // 6-9 PM @OCCULTER


OPENING RECEPTION
THURSDAY JUNE 2, 2011,  6-9PM
SOUND PERFORMANCE BY IAPETUS
RUNS THROUGH JULY 3

“I create fictional spaces that explore the intersection of memory, history and myth through the landscape-as-image. My method is to photograph, collect, deconstruct, and reassemble photographic material — collapsing multiple points in time and space into a single scene. This mirrors the fragmentation and flattening of experience as it occurs in the creation of memory while reflecting a sense of dislocation from place. As an atavistic response to the landscape, my images engage ‘land’ as a site of indifferent natural forces. Seen through a texture of skin, ash and the blackened fuzz of a violent guitar, each work is subsequently a nostalgic articulation of our histories, new histories made impossible by memory and mythology”. Jeremy Dyer lives and works in Brooklyn, NY.

UPTOWN ART STROLL: INWOOD/WASHINGTON HEIGHTS

NoMAA is pleased to announce the arrival of the Uptown Arts Stroll 2011, the most anticipated annual community arts festival in Washington Heights and Inwood. The Stroll will showcase the outstanding painters, photographers, writers, musicians, actors, dancers, and other creative people and arts groups that are contributing to the cultural life of Northern Manhattan. These artists will exhibit and perform in local businesses and institutions, open spaces, parks and other local venues throughout the month of June.

This year, NoMAA is delighted to partner with the 12th Annual Carnaval del Boulevard, a celebration of Dominican & Latino culture produced by the Juan Pablo Duarte Foundation, The Malcolm X & Dr. Betty Shabazz Memorial and Educational Center, and the Washington Heights Business Improvement District, to kick-off the Stroll with a community celebration on Thursday, June 2nd, 6–8:30 p.m. at The Shabazz Center. On Saturday, June 4th, NoMAA and the Stroll will join El Carnaval del Boulevard and the Washington Heights BID from 11 a.m. – 5 p.m. on St. Nicholas Avenue from 181st to 188th Sts., presenting art and performances from our local artists. read more »

KAREN J. REVIS: LUCID @ SEARS PEYTON GALLERY.

Fuse Works presents: Alarums and Excursions
At Front Room Gallery
Friday June 3, 2011, 7-9pm
open friday – sunday 1 pm to 6 pm
147 roebling street
williamsburg, brooklyn

an exhibition of multiples and prints including: Gregory Curry, Glen Einbinder, Ross Racine, Chuck Jones, Jody Hanson, Luca Bertolo, Andrew MacDonald, James Leonard, Celeste Fichter, Peter Feigenbaum, David Shapiro, Jan Obornik, Chiara Camoni, John O. Smith, Julia Whitney Barnes, Rik de Boe, Lotte Lindner and Till Steinbrenner, Sarah Vogwill, George Spencer, Emily Roz and Cammi ClimacoAlarums and Excursions is the sixth exhibition of multiples and prints by Fuse Works, an organization dedicated to exhibiting and promoting editioned artwork. The exhibition presents new work by 21 artist comprising prints, multiples, books, and digital works. (READ MORE.)

Japan Society presents
416 MINUTES
Thursday, June 2, 7:30 PM
333 East 47th Street

Join us for a surprise work-in-progress presentation of WaxFactory’s 416 MINUTES, featuring an extraordinary collaboration with artists from Japan and Eastern Europe, and inspired by the imagination of Haruki Murakami. In the company’s signature multidisciplinary style, this unsettling new work shadows an actress whose escape from a film studio sets her on a trail of chance encounters during the hours of the night when things take on a particularly eerie glow. Conceived and directed by Ivan Talijancic. Free Admission. Reception to follow.

TIX & MORE >>

SLOAN FINE ART, FRIDAY JUNE 3rd

Main Gallery: Aaron Smith “Coterie of the Wooly-Woofter”
Opening Reception: Friday, June 3rd, 6 to 8 pm
Exhibition: June 2 to 26, 2011

Project Room: Anthony Iacono “Victor Victoria”
Opening Reception: Friday, June 3rd, 6 to 8 pm
Exhibition: June 2 to 26, 2011

DAVID SANDLIN @ CENTRAL BOOKING, JUNE 3rd 6:30pm


Over the past 15 years, David Sandlin has produced eight major volumes (and several side works) of narratively connected artist’s books, collectively called A Sinner’s Progress. The books have ranged in format from hand-silkscreened limited editions to tabloid-style newspapers and pulp comics, each in service to its narrative function. Thanks to a fellowship from the NYPL’s Cullman Center for Scholars and Writers in 2010, Sandlin has begun work on a graphic novel, which he intends to be the culmination of the series. Belfaust, a love-triangle mystery loosely based on the Faust legend, will depict the backstory of the three main characters in A Sinner’s Progress and bring the narrative to closure. Sandlin’s presentation will discuss his influences and process in regard to the series.

Fri., June 03, 2011 / 7:00 PM
$12 in adv, $15 at door
Cirque des Batardes
(presented by HITS Company)

Stemming from old world styles and techniques, Cirque des Batardes is an avant-garde approach to classical forms such as vaudeville, commedia dell’arte, buffon, ventriloquism and, of course, cirque. Essentially taking on the form of a comic variety show, Cirque features a dozen acts including dancers, actors, and musicians to create a hilarious evening of spectacle and oddity. Led by their questionable emcee, the entire company seems to come from a different time. The entire production, in fact, appears in sepia tone like an old film dusted off and rediscovered. The company of misfits and performers must learn deal with their old school ways in the modern context in order to survive.

FEATURING:
Erin Debold
Krista Worby
Jo Mei
Jack Ferver
Amelia Meath
Becky Abrams
Colin Drummond
Nessa Norich
Nick Choksi
William Popp
Carly Hoogendyk
Mark Junek
Julia Eichten
Addison Anderson



OUT OF PRACTICE: CURATED BY NUDASHANK
ART BLOG ART BLOG
new temporary location:
508 West 26th St., 11th Floor

ICP Store, 1133 Avenue of the Americas
Friday, June 3, 6:00pm–7:30pm

Join Danny Lyon for a signing of his book Deep Sea Diver.

With his vintage Leica and accompanied by a young translator named Lolly Pop, American photographer Danny Lyon traveled across Shanxi Province in North West China six times between 2005 and 2009. The result of Lyon’s unfailing enthusiasm for immersing himself in local banter and customs is an extraordinary portrait of China and the Chinese, one seldom seen by foreigners. Lyon’s unparalleled photographic findings and discoveries are presented in this limited edition photobook alongside his handwritten annotations and commentary, as well as his ever-inquisitive and non-judgmental prose.



THE (LONG) WEEKEND MAY 27-29.
May 27, 2011, 7:00 am
Filed under: THE WEEK/THE WEEKEND | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

FRIDAY: MAY 27th

(TOP video, Song: The Surface of the Ocean
Matt Lavelle: composition and alto clarinet
Jason Kao Hwang: viola
Lola Danza: vocals
Francois Grillot: bass
Recorded,mixed,and mastered by Francois Grillot
http://www.myspace.com/mattlavelle

(BOTTOM video:The Local 269)

Friday May 27th, 8pm: François Grillot Contraband
Catherine Sikora – reeds
Roy Campbell – trumpet
Anders Nilsson – guitar
Daniel Levin – cello
François Grillot – bass and compositions
Jay Rosen – drums
Rhythm in the Kitchen Music Festival @
The Church of All Nations 410 West 57th Street, $10

PAINT IT NOW @FOWLER ARTS COLLECTIVE.
MAY 27 – JULY 6, 2011

OPENING RECEPTION: FRIDAY, MAY 27 FROM 7 TO 10PM

Paint it Now curated by participating artists Thomas Buildmore and Scott Chasse

The ever-changing arena of contemporary art presents endless challenges for those who find themselves caught in its currents. From white cube gallery exhibits to brick wall paste-ups and graffiti, the push and pull of what is important, relevant, or dismissible can be both distracting and empowering. (READ MORE.)

READ OR LISTEN TO AN INTERVIEW WITH THE 22. 

SUPERCODA PRESENTS:
Show 1 (Friday, 5/27. 9-midnight) : Mamie Minch, Eliza Rickman (LA), Anomylos @CAFE ORWELL.

http://www.myspace.com/mamieminch -
As devilishly funny, irrepressible and irreverent as the former Roulette Sisters frontwoman is live, a lot of this album is rivetingly dark. Minch’s solo debut is a sparse, terse collection of both original and classic acoustic blues songs, several of them imbued with Minch’s signature wit, but it also shows off an altogether different side of her writing. As any good blueswoman knows, the blues can pack a mighty emotional wallop, and Minch sings with an unflinching honesty, even anguish in places. Minch’s soulful, passionate alto voice resounds over old-school instrumentation.

http://www.myspace.com/elizarickman = Toy Pianist Extraordinaire

http://anomylos.com/

Annual End-of-the-Season Poets’ Potluck

FRIDAY MAY 27 / 10PM

Come celebrate the end of another season at the Poetry Project!  The Poets’ Potluck is an opportunity for New York City’s poetry community(ies) to come together for an evening of readings, performances, and delicious food.  An array of writers from the Poetry Project series as well as other local reading series will read/perform their work.  Any one interested in bringing a dish for the potluck will contribute to an amazing feast.  If you’re interested in bringing food, please email Brett Price at fridaynightseriesp@gmail.com.

VIDEOROVER: Season II
Curated by: Rachel Steinberg
May 27 – Dec 17, 2011
Opening Reception: Friday, May 27, 7-9 PM
Screening begins at 8 PM
910 Grand St
Brooklyn, NY

NURTUREart Non-Profit is pleased to present VIDEOROVER: Season II, the second installment of its semi-annual video series. VIDEOROVER: Season II is curated by Rachel Steinberg and features artists: Fatima Al Qadiri and Lyndsy Welgos, Cecilia Bonilla, Juan Pablo Echeverri, Derek Larson, Dana Levy, Pernille With Madsen, Colin Snapp, and JULIACKS.

VIDEOROVER seeks to present a wide range of works from artists locally and internationally who are all working to expand the perceptual limitations of video. This season’s selection aims to disorient viewers by removing an essential reality context, only to redeposit them into seemingly familiar settings.

Dana Levy, Fatima Al Qadiri and Lyndsy Welgos explore the pluralism of eastern and western conventions by looking at traditions through a contemporary perspective. Cecilia Bonilla examines our relationships to the seductive nature of commercial images of women through minimal manipulation, while Juan Pablo Echeverri shows us a self-projected fantasy of mass-produced femininity. Colin Snapp acts as a ‘journalist’ of sorts, documenting moments of real-time, but relieving the viewer of imposed intentions. Pernille With Madsen dizzies and disorients us with a vision of how to imagine architectural surroundings. Derek Larson’s playful experimentations extend through other worldly humor while JULIACKS’ narrative pulls back and forth between a character’s inner psyche and external world. (READ MORE.)


Photo Courtesy of Paper Magazine

CLOSING PARTY! OLEK’s Knitting is for Pus****
Friday May 27 6-9pm

Christopher Henry Gallery

127 Elizabeth Street
New York, NY

See “Knitting is for Pus****” for the last time (in NYC) and like never before… with a **SPECIAL BLACK LIGHT PRESENTATION!**

On Friday May 27th, 2011 Christopher Henry Gallery NYC will host a Closing Party for Celebrity Artist OLEK. Olek’s acclaimed installation “Knitting is for Pus****” has created a total sensation since it 1st opened back in September 2010. It traveled to SCOPE MIAMI, and was extended repeatedly due to pop…ular demand and endless press requests… next it will be highlighted in a traveling museum show called “40 Under 40″ opening at The SMITHSONIAN Museum in 2012!

SHOW! 

Two terrific improvisers are on tour and will be performing one night in NYC , Joe Burgio and Andrew Eisenberg, two of Boston’s most creative and strongest performers.

Carol Liebowitz (pno)
Adam Caine (gtr)
Claire DeBrunner (bsn)
Ratzo Harris (bs)

Joe Burgio (movement/dance)
Andrew Eisenberg (percussion/found objects)
Chris Welcome (gtr)
Shayna Dulberger (b)

Elliot Levin (sx)
Tom Zlabinger (b)
John Wagner (dr)

Take the 61 bus to Ryerson from jay street the AC and F trains transfer at jay street. The 54 bus is also a good option. You would take it to the bus stop b/t ryerson and grand. the subways that transfer are the 2 and 3 at Hoyt St as Well as the BMQR at Dekalb ave. Also the L train takes you to the 61 bus at N 6 and Driggs. You Could also take the G Train to Classon.

We’ll have cheap beer! Shayna might make Baklava!

SATURDAY: MAY 28th


Return of the Mini Zine Fest @ PETE’S CANDY STORE

Join Marguerite Dabaie and tons of rad zinesters at Pete’s Candy Store for the upcoming Mini Zine Fest!
Saturday, May 28th
3PM – 7PM
More info

Pub(l)ic Identities: Reading Medical Representations of Sex

woman1

An illustrated lecture with medical artist Shelley Wall
Date: Saturday, May 28th
Time: 8:00 PM
Admission: $5
Presented by Morbid Anatomy

“It’s a girl!” “It’s a boy!”… The genitals, those body parts conventionally expected to remain most hidden, are also the first and most powerful shapers of our public identity. In this illustrated talk, medical artist Shelley Wall considers how sexual anatomy, gendered bodies, and dimorphic sex have been represented in the visual discourse of medicine. From early anatomical atlases through to present-day clinical illustrations and the Visible Human datasets, medical imagery has influenced ideas about sexual identity and what it means to be “normal”.

Ashley Bickerton
Through 25 June 2011

540 W. 26th Street, Chelsea
In Nocturnes, Bickerton’s third solo exhibition at Lehmann Maupin, the artist revisits mankind’s antithetical attraction and repulsion to the grotesque, exotic, and sexual. Whereas previous works depicted abundant worlds of health, happiness, family, and cohesion, Bickerton has become disillusioned with the brilliance and wholesomeness that colored these preceding works, now drawing inspiration from the phrase ‘twisting and flapping in the neon wilderness’. For more information and to view images from the the exhibition,Click here
Show 2 (Saturday, May 28th 9-midnight): Nick Lyons Trio, Yoni Kretzmer Double Bass Quartet (Yoni Kretzmer/Ruben Radding/Sean Conly/Mike Pride), Jessie Nelson Trio (Jessie Nelson/Todd Martino/Conner Martinez)

http://www.reverbnation.com/nicklyons
http://www.yonikretzmer.com/
http://jessiemnelson.com/

JIM GAYLORD: SPOILERS @JEFF BAILEY GALLERY.

May 25 – July 1, 2011
Opening Reception:
Thursday, May 26

THE FITTING ROOM
25 MAY – 25 JUNE, 2011

DAVID BRODYMERNET LARSENNICOLE WITTENBERG
CURATED BY DAVID COHEN

PRESS RELEASE download
PARTICIPANTS download

(READ MORE.)

OBSTACLE @INVISIBLE DOG ARTS CENTER

MAY 14 – JULY 10

Curated by Steven and William. This exhibition is part of PLUS ONE CURATION SERIES

Works by: Chris Astley, Carlton DeWoody, Ethan Long, Steven and William, Suzanne Sattler, Chris Dunbar, Antonia Wright, Ruben Millares, Wayne Adams, Paul Bloodgood, Sally French, Allyn Bromley, Stephen Freedman, Deborah Nehmad, Evan Ryer, Michael Joaquin Grey, Project Lab @ PS58, Aaron Padilla, John Silvis, Anne Pearce, Andrew Zuckerman, Jennifer Mills, Robin Kang, Ian Trask. Artists Bios here

OPENING PARTY SLIDESHOW HERE


Through The Warp @REGINA REX
5/28/2011 – 6/19/2011 

Through a variety of processes connected to the act of weaving, Through The Warp presents seven different approaches to the same overarching structure—material building upon material via linear repetition and overlap. From woven fibers and pigments to language and pixels, artistsJoell Baxter, Karl Erickson, John Houck, Beryl Korot, Jamisen Ogg, Mike Paré and Lawrence Weiner engage with this ancient framework in ways that warp prior perceptions of familiar structures, or even put forth a new language altogether. (READ MORE.)

SUNDAY: MAY 29th

Class: Mummification @OBSERVATORY
Date: Sunday, May 29th (sold out, but see newly added class info here)
Time: 1-4 PM
Admission: $60
*** Must RSVP to morbidanatomy [at] gmail.com in order to attend this class; Class size limited to 15 people
In today’s class, learn the mummification process as described in the “Egyptian Book of the Dead” (Book of Coming Forth By Day). Instructor Sorceress Cagliastro will guide students in the use of the traditional materials–such as natron salts, canopic jars, oils and herbs, dried flowers and linen or gauze wraps–and traditional ritual–such as ritual of the opening of the mouth–in the creation of an authentic and perfectly respected animal mummy. Each student will leave class with an animal mummy of their own making. (READ MORE.)

Super Coda Soundproofing Benefit Wonderful Show Time Vegetarian Potluck

Sunday, May 29th, from 6-1030, Papacookie Hosts a Special Super Coda Soundproofing Benefit Wonderful Show Time Vegetarian Potluck, Festively. Featuring:

The Red Light New Music Collective - http://www.redlightnewmusic.org/

Sxip Shirey - http://www.sxipshirey.com/

Dream Zoo (Valerie Kuehne/Lucio Menegon/Jeff Young/Sean Ali)
http://www.youtube.com/watch?v=q8W01gC1Mik

Jonathan Wood Vincent - http://www.reverbnation.com/jonathanwoodvincent

Papacookie is a private residence apartment fantasy world atop the Upper West Side. Here’s the address:
201 W. 86th st. The Belnord
Apt. 806 (tell the doorman you are here to see Jonathan Vincent)
Non-flesh potluck at 6
Exquisite Music to begin at 7.
We will be asking everyone for donations. This show is a fundraiser to soundproof Cafe Orwell so the Super Coda may continue.
Here’s the Kickstarter campaign we’ve been running so you know what I am talking about -http://www.kickstarter.com/projects/827158541/keep-the-super-coda-living-through-creative-soundp

Jim Sullivan at Nancy Hoffman Gallery
May 26-July 1, 2011
The next exhibition at Nancy Hoffman Gallery will be new graphite drawings of trees by Jim Sullivan, opening on May 26th and continuing through July 1st.  This is the artist’s
first solo show in six years, and reveals a new vista onto nature. His last show included a series of horizontal landscapes, wide cinematic views into invented
detailed oriented oils.  The artist delighted in painting myriad details.  These were obsessive paintings,
and as the artist says: “The new drawings, the work of the past five years, present the same viewing issues
as the long landscapes, in that they have normal viewing distance but offer a close scrutinizing experience
(of infinite detail) on closer examination.”




DEREK LARSON.

MORE WORK.

ABOUT THIS VIDEO.

ABOUT THIS VIDEO.

ABOUT THIS VIDEO.



Help support DAMP PATCHES with April Gertler.

HELP SUPPORT CONTRIBUTOR APRIL GERTLER’S BOOK PROJECT: DAMP PATCHES.
I’ve had the very great pleasure of seeing some of these pieces in person and each one of them is so uniquely lovely. April will talk about this and other projects in the forthcoming video interview for the 22 but in the meantime help her make it happen!

Donations range from $25 to $750 (which includes a personal hand-made collage from April.)

ABOUT THIS PROJECT

In October 2010 I was invited to Paris for an artist residency at l’entreprise culturelle. Out of that residency came DAMP PATCHES – which is a new collection of work I developed into an artist book that mixes my collage work with photography and drawing. The title of the book comes from the loose translation of a deodorant ad from the French fashion magazine Votre Beaute (1973): Prisonnière des taches d’humidité sous les bras. – A prisoner of damp patches.

I like working with collage because I enjoy using original source materials such as found photographs, fashion magazine ads, and bits and pieces that I find on the street or in the trash, and the hands-on experience of working with paper, glue, scissors and thread. It feels increasingly relevant to use a hands-on approach as many other parts of my life are being swallowed by the digital world.

I use collage as my primary medium because I feel it is the best way for me to combine images and explore various concepts that interest me the most, such as; the complex dynamics of intimate relationships, female empowerment, and the anonymity of urban life. I am dedicated to my original source materials which tend to restrict the final size of my work, but in that way they become more precious and intimate for the viewer, DAMP PATCHES has challenged my continuing understanding of what collage can become.

The idea of creating a book surrounding the project came together when I was speaking to my colleague and friend, Eduardo Serafim about DAMP PATCHES. Eduardo co-founded AML-Press in February 2011, and suggested that AML print the book with their newly acquired Risograph printer; a machine part Xerox copier, part offset press which has the quality of a silkscreen.

The Risograph machine was not initially intended for artist books or printed projects but rather for high volume commercial use. I loved the idea of using the Riso because the quality and texture of the images produced by the machine highly compliment the source material I use in my work which typically comes from the 1960′s – 1980′s.

The final book will marry the low-tech feel of the collage work with the high tech printing method of the Riso. As a result the collages and photographs will be the same size and the same texture as the original works. I am really enthusiastic about this part of the project because it helps me push my practice further by exploring my interest in all 3 mediums and takes them to a new level.

The funding I’m requesting would support the production of the book by supplementing the printing costs, paper, assembly, and shipping/distribution of the finished book.

The book would be:

  • 36 pages
  • Book size (closed) 8.5″ x 11.5″
  • Printed on the Risograph
  • Staple binding
  • Edition of 300

I hope you are interested in sharing in my enthusiasm. Thank you for your time, attention and support.

My best,

April Gertler

////

Kopenhagenerstrasse 4

10437 Berlin, Germany

a@aprilgertler.com

www.aprilgertler.com

Project location: Berlin, Germany




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