how it comes of blood.
how it comes of bleeding.
how it comes with feeling.
like you eat the way the slaughterhouse felt/feels.
it’s in the meat, like a secret
ingredient the FDA doesn’t wanna talk about. and it becomes you. and u wonder, y am
i so sad?
u go 2 the dr.
and you trust what comes in an orange plastic bottle with a nice white paper label and
directions for use in the typography of impartial findings.
slowly, your systems get confused-‐-‐is that cancer, some disease, or just another
expectation of me?
don’t be embarrassed. they’ll clean your bedpans, mop up the blood you come of, open
you and brace you open, and cut out of you the stuff you’re made of, throw it out, a barf
of surgery. you’re just hunks of made the easy way. and your funeral is the big show.
or someday, language will say these things. and we’ll see ourselves in its mirror like
things we never stood for.
like another war, and another war.
death before the bastard’s innocence.
like emptiness. like arduousness and emptiness, trying and trying and emptiness, and
trying and trying and trying and emptiness, and trying and trying and trying and trying…
cobra, phoenix, amoeba. mule deer, monkey, bee, moth, mammoth, giraffe, wolf-‐-‐ different things in different spaceships. be made, remade of cantaloupe and cucumbers,
of avocado and almonds, nuts and kale and flax seed, kelp and tomatoes and sea salt and lettuce and cayenne pepper.
robot and his monkey brother.
and lo!-‐-‐the sun doth riseth, a wailing, wasted ball of drunken water on fire, less
idealism, merely, and the ponderosa’s sap is hot and flowing, it flows, in the sunlight
glowing, and the mosquito is fat on blood and on the ponderosa napping when-‐-‐poor mwah-‐skweet-‐O!-‐-‐he is trapped in hot drip of sap avalanche and preserved for 40 million years.
d. is a graduate of the University of California, Davis and the University of Virginia, Charlottesville. d.’s work has appeared or is forthcoming in Tattoo Highway, Fringe, The Collagist, Orion Headless, Birkensnake, and other places. d. lives on the river in Portland, Oregon.
Holi is the Hindu festival of colors. It celebrates the coming of spring, fruitful harvests, unity, joy, and a tale from the Bhagavad Gita. In addition to the throwing of colored powder (Holi Gulal) it is traditional to light bonfires in celebration of the miraculous escape that young devotee of the god Vishnu. A demon tried to throw him into a fire, but he escaped without any injuries due to his unshakable devotion. In most areas, Holi lasts about two days. One of Holi’s biggest customs is the loosening strictness of social structures, which normally include age, sex, status, and caste. Holi closes the wide gaps between social classes and brings Hindus together. Together, the rich and poor, women and men, enjoy each other’s presence on this joyous day. Additionally, Holi lowers the strictness of social norms. No one expects the decorum of normal life; as a result, the atmosphere is filled with excitement and joy.
HAZMAT MODINE draws from the rich soil of American music of the 20’s and 30’s through to the 50’s and early 60’s, blending elements of early Blues, Hokum Jugband, Swing, Klezmer, New Orleans R & B, and Jamaican Rocksteady. The band is fronted by two harmonicas which use call and response, harmony, melody, and syncopated interweaving rhythms. The band includes tuba, guitar, and percussion, claviola and Hawaiian steel guitar. The band’s sound reflects musical influences ranging from Avant-garde Jazz to Rockabilly and Western Swing to Middle-Eastern, African, and Hawaiian musical styles.
Photographing the Dead: The History of Postmortem Photography from The Burns Collection and Archive
FIRST BOOK BROOKLYN HOLIDAY PARTY & FUNDRAISER
PROJECT FUKUSHIMA! BENEFIT CONCERTS @ THE STONE.
8/15 Monday 8 and 10pm
PROJECT FUKUSHIMA! BENEFIT CONCERTS
John Zorn, Ned Rothenberg (sax) Uri Caine, Shoko Nagai, Karl Berger (piano) Ikue Mori (electronics) Ha Yang Kim (cello) Nels Cline, David Watson (guitar) Yuka Honda (keyboards) Satoshi Takeishi (drums) Shayna Dunkelman (percussion) Chuck Bettis, Michael Carter (electronics) Kato Hideki (bass) and many special guests!
TWO SPECIAL SETS OF IMPROVISED MUSIC AS PART OF A WORLD-WIDE INITIATIVE FOR THE LAND AND PEOPLE OF FUKUSHIMA. ALL PROCEEDS WILL GO TO PROJECT FUKUSHIMA!—TWENTY DOLLARS
THIS NIGHT WILL BE BROADCAST LIVE OVER WEBSYN RADIO BY DOMINIQUE BALAY—THE LINK http://droitdecites.org/2011/06/08/websynradio-en-direct-de-the-stone-new-york-fukushima/
Friday, Saturday and SundayFringeNYC? The New York International Fringe Festival (FringeNYC) is the largest multi-arts festival in North America, with more than 200 companies from all over the world performing for 16 days in more than 20 venues. In addition to 1200 incredible performances, FringeNYC includes…..(READ MORE.)
Maya Zack: Living Room
The Jewish Museum
July 31, 2011 – October 30, 2011
In the installation, Living Room, artist and filmmaker Maya Zack uses large-scale computer-generated 3D images accompanied by sound to evoke a Jewish family’s apartment from 1930s Berlin. While listening to the stories and memories of Manfred Nomburg, visitors can experience the apartment visually. 3D glasses enhance the oversized images reimagining rooms in the apartment and give them immediacy and depth.
Everybody Loves the Monster!
Thursday, August 18, 2011, 10 a.m.
In 1818, when Frankenstein, or the Modern Prometheus was published for the first time, Mary Shelley could not have imagined the monster she was unleashing on the world. The creature in Shelley’s novel is remarkably sympathetic and an eloquent speaker, capable of measured, intelligent, and articulate argument. But based on Boris Karloff’s 1931 film performance and confirmed by countless other films, comics, and illustrations, the general perception today is that Frankenstein’s creature is a “monster” who grunts or speaks—if he talks at all—in disjointed monosyllables.
Why has popular culture largely denied the creature his reasonable voice? This symposium brings together four scholars and the curator and bibliographer of The New York Public Library’s Carl H. Pforzheimer Collection to reflect on graphic and film representations of the “monster” from the past two centuries. The first half of the day will feature presentations on key visual adaptations of the creature, while the latter half will engage questions about what these appearances mean for understanding him as a political and historical subject.
Yana Dimitrova and Angela Washko: Cheap Paradise of Familiar Tasks and Places
Opening reception: August 19th, 6:30 pm on
Consider escaping your common, everyday tasks and places without using your common, everyday devices. Through installation, painting, drawing, and video, Yana Dimitrova and Angela Washko portray the mundane patterns and structures of everyday experience and consider models of living that exist outside of our “to-buy-is-to-gratify” mentality. Stripping fast food architecture and smart phone technology of it’s branding and context, Washko and Dimitrova present what remains – hollow monuments to consumer culture.
PETER KAYAFAS: TOTEMS @SASHA WOLF.
Opens Wens May 25th 6-9pm.
May 25 – June 19, 2011
Opening Reception: May 26, 6-8 pm
Read Bernheim’s Press Release
Craft Night returns to the City Reliquary on May 26. This Craft Night, Anna Grant will be teaching us how to make terrariums. For $5 you will be supplied with a plant, as well as materials to decorate your terrarium. Just be sure to bring your own glass container. And because it is the month of Bicycle Celebrations and Bicycle awesomeness, we will have tiny bicycles.
Screening party at K &M Bar, 225 N 8th St., Brooklyn NY, 8-11PM
Episode #3 of ESP TV airs Wednesday, May 25th on at 9:30 on channel 57 (Time Warner) / 84 (RCN) / Manhattan Neighborhood Network 3.
Featuring performances by:
with videos by: Jordan Levine, Meredith James and Rachel Mason, Aaron Nemec, Jason Underhill, Team Louis V E.S.P. and more!
With your host Sam Mickens (Sam Mickens Ecstatic Showband Revue, The Dead Science, Xiu Xiu)
Regina Silveira @ Alexander Gray
May 26 – July 29, 2011
Alexander Gray Associates is pleased to present the gallery’s second exhibition with the Brazilian artist, Regina Silveira. Since the 1960s, Silveira’s work has defied genre, moving between forms of installation, printmaking, sculpture and photography to explore visual distortion, perspective and scale.
For her exhibition at the gallery, Silveira presents her signature vinyl-decal mural-installations. The main installation, from her celebrated series, Desaparencia, depicts black and white diagrams of artists’ ateliers, graphically suggesting the ghosts of easels, tables, palettes, and other tools of the artist’s studio. In its iteration at Alexander Gray Associates, Silveira’s installation suggests the disappearance of traditional studio practice and location, as well as expectations of creation and alchemy that surround artistic mythology.
JAMES DAVIS @ RARE.
May 26 – June 23
This past Friday, I paid a visit to Deborah Simon who has an upcoming show at NY Studio Gallery‘s LZ Project Space opening this Friday, May 20th. Deborah has been a painter and sculptor for several years now and will be part of the Sculpture Space residency in Utica, this coming October and November. She has worked at the Bronx Zoo building habitats and “intellectual toys” for the animals, and her work reflects the understanding of the dual nature of man-made versus natural environments and the drawbacks and necessity of both. Her sculpture’s present a strange encounter and cause the viewer to approach the animal in an unusual and raw manner, suggesting a reevaluation of the nature of human and animal interaction.
We truly appreciate her taking the time to talk about her work and upcoming show.
The 22 Magazine: You worked at the Bronx Zoo correct? Can you tell us a little about what you did there?
Deborah Simon: Sure, I did some design work. It was everything from giving exhibits face lifts to mural work, to sometimes just flat out designing and building exhibits. [I also built] intellectual toys for the animals. With that you have to make everything look natural. So [you have to make a] tiger toy that looks [for example] like a rotten piece of wood. It was one of those oddball weird request situations, keepers would come and say we need hummingbird feeders made out of XY and Z and we’d have to figure how to make them look natural.
The 22: How did you get into that kind of work? Did you study design in school or elsewhere?
DS: No, I’ve got a fine arts background. [I studied at] San Francisco Art Institute, which prepares you for nothing but making conceptual art. I just happened to have a realistic bent to what I do, which was thoroughly discouraged but…
I started working as a muralist and then the zoo had an ad in the paper. I replied to it and got hired. It’s one of those jobs where the guy who runs the department is fantastic, and he just expects that you need a lot of on the job training. You need to be able to weld, you need to be able to fiberglass, you need to be able to do some basic carpentry. There are just so many skills that no one person is going to have them all. They do invest in teaching you quite a bit [so], I learned a lot, and it all goes back into what I do.
The 22: In regards to your artists statement, which talks a little about the animal confronting the viewer in an unrestricted environment, did working at the zoo conflict with ideas of how animals should be treated in any way?
DS: I think it’s a conflict a lot of the people who work at the zoo have, because everyone who works there more or less loves animals. We all have multiple animals, we are deeply concerned about animal welfare. Some of the holding areas are very old and not that great. Some of the animals are permanently on medications because [there is] not the best ventilation but, on the other hand, you can’t just let them go. [I believe] Finland ran into this problem. They decided it was cruel and inhumane to keep this baboon exhibit. They decided it was inhumane to keep more tropical animals in Finland, but they couldn’t get rid of them because they breed really well and every zoo has a ton of them. So, they were going to euthanize them but the public had a fit and they had to keep them. So, now they have these unhappy baboons; animals that are obviously not doing well, but there are no other options for them. [I think] a lot of the people [that work at the zoo] go through this. [They think] these animals didn’t ask for this, they didn’t want to become ambassadors of their species, but on the other hand sometimes when your standing and watching the public watch these animals and they suddenly make this connection to the human traits of the animals you really hope it does something. They are suddenly more aware of them and, you think, I hope this means that it will translate into something, maybe [that wouldn’t be there] if they hadn’t seen it. Then again, zoo animals they don’t behave like wild animals, they have three meals a day, they sleep all day. [In the end] it’s a lot of mixed emotions.
The 22: A lot of your animals actually are puppets or look a lot like traditional marionettes. Stylistically how did you decide this was how you were going to build?
DS: It’s weird because I have this totally anal goal to be as accurate as humanly possibly, but I’m always reminding myself it’s art, not taxidermy. I was living in India for a while and India is a very sculpture oriented place. I had been painting for years and years at that point, and maybe it was just being around so much sculpture. I was home in the states and one day I just thought, what would happen if I make sculpted animals with fake fur? The hyena was the first one. I found [the hyena’s fur] in the bargain bin and I thought, this looks just like spotted hyena fur, no wonder it’s on sale. I brought back Sculpy and fur and whatever else I thought I wouldn’t be able to get in India, and just started working. I was originally thinking of porcelain dolls-[with] the hard heads and the soft body. I was thinking more along the lines of what would it be like to make these things so they look like creeped out porcelain dolls, but they actually ended up a little but more like [weird] taxidermy.
The 22: They seem to have this really human quality, a very aggressive straight on gaze…
DS:I feel even though animals are a really popular subject right now, it’s always animal as metaphor or animal as parable. They play the role of an odalisque and they don’t confront the viewer. They are a stand in for history, they’re a stand in for human behavior, but they are never just themselves, and when they are themselves it’s more kitschy animal art. I want it to be as if you were walking into their space. It’s kind of that feeling when you out in the woods or hiking, or even in Central Park [where] it tends to be a bird of prey, a hawk or something, and you have that instant where they look at you, and you look at them, and you have no idea what’s going to go on. Especially if it’s big enough to hurt you. Then it’s this totally different interaction than the zoo or anything else. Your walking into their space, and they are psychologically dominating it. The sculptures themselves are going to be hung so your going to have to walk around them. They force you to move around them instead of being on the walls or giving a pathway.
The 22: Can you tell me a little about Coyote Pursue’s puppet project?
DS: It was a pretty amazing experience. Collaborating was new to me but Matt Reeck is a good friend and amazing to work with. We shored up each others strengths and weaknesses really well. I would never have been able to direct something like that. I think in the future I may do more puppetry but do it so it’s video.
The 22: Is there a difference between building the puppets versus building the sculptures? Is that something you had to learn?
DS: Yes. St. Ann’s puppet lab is a nine month program so they are a huge resource, but it took me forever just to figure how to walk them. It took me two months just to build one, to actually physically construct it so that it moved properly. Once I got the basic structure it took me weeks to figure out how to string it, and that’s one of the times the lab was great. I brought them in and said I don’t know what to do, and one of the guys [showed me], and it was done. It was wonderful.
The 22: The piece itself was about a world where humans are gone, and coyotes are the only ones left right?
DS: [Matt Reeck] is a wonderful poet and he gave me a book of his poetry and asked me to illustrate it. At the time I was just feeling like, I don’t want to paint anything, and I don’t want to sketch.
[But] I was thinking [the poetry] would be perfect to do a puppet show with, and so we said what the hell, we’ll write a puppet lab. We threw it together in two weeks, and we were really surprised we got in. Originally we had taken three of his poems, more short prose really, and the one we both had a very clear vision-that was the same vision-was [the coyote] one. We started building and time started ticking by, and we realized the other two we’re never going to make it, and that we wouldn’t have time [to perform more than one]. You only got twenty minutes tops to perform. So, we decided just to focus on the coyotes, and it was really based on his writing, and [the idea of] not using the animals as parables but to be really Darwinian about it. What would a coyote really be doing if they were wandering around in this world with nothing really left. We were thinking of it as The Road but with coyotes.
The 22: Did you do a cover for The Beastie Boys [Intergalatic]?
DS: I had actually done the paintings and they ended up on the cover. The paintings were actually in the small works show at NYU and Mike D’s wife bought them. So, she came over to my studio and she’s chatting and we’re having this very nice conversation, and she keeps talking about her husband’s band and so I’m thinking….ok, band whatever and being polite, I ask oh what band is your husband in? And she’s says, The Beastie Boys, and at that point I’m immediately intimidated. So about six months later, they called to see if it was ok with me if they used it as an album cover and I just thought….ooook, twist my arm. It was just this little freak thing, they were just these little freak paintings, that I wasn’t planning to do as a body of work or anything.
The 22: What about the memento mori series paintings? Can you talk a little about what this series means to you and why you decided to do it?
DS: I think in that series I’d been reading a lot about evolution. I was thinking about how death influences life. I was thinking about a Darwinian perspective, you have these animals with these constant pressures, and it’s survival of the fittest but also thinking about viewing what human’s do in the world [destruction and pollution] as unnatural, but it is natural because we are part of the world and this is part of what we do. Animals routinely destroy their environments, but they don’t do it in the same numbers that we do. Elephants constantly trash environments and have to move on, but there are so few of them, they aren’t ruining Africa or Asia-we sort of beat them to it. I guess I was thinking about that simple pressure and interaction, and how some of your stiffest competition is from your species. You know species always have more children than your going to need. You really only need a one to one replacement and chances are that’s all your going to get if your lucky.
Episodes 1 and 2 feature performances by:
Rachel Mason and Little Band of Sailors
“The Dust Up” w/ host Sam Mickens
Dana Bell w/ Kerry Davis and Leah Retherford
w/ your hosts Bradford Nordeen as “Mary Boome” and Hayley Blatte as “Coco”
with videos by: Brian Zegeer, Erica Magrey, Sophia Peer, Derek Larson, Colby Bird, Jennifer Sullivan and Andrew Steinmetz, Jonathan Phelps, Kate Gilmore, Andre Perkowski, Katrina Lamb
While searching for another artist of similar moniker, I happened to stumble across this Ken Davis and liked what I saw. A heavy metal update of “keep calm, carry on”. The Streisand piece? Icing on the cake.