Resist LED-Deli sign by Luke M. lukelab.com

~NOAH BECKER / ‘WHAT IF . . . ‘

NOAH BECKER . . . !!
what, IF ?!!!!!

NOAH BECKER, perhaps best known as the publisher of WHITEHOT MAGAZINE.COM /


check out: WHITEHOT MAGAZINE on Instagram / @whitehotmagazine

has an even deeper passion: his own, art !!

he exhibited . . .
a wonderful, twisty narrative, dreamy, screaming painting . . this past Fall, that still – haunts me.
half self-portrait / half shout-out to the . . world.
and, which most definitely . . invoked the vast dark unknown, the unrelenting furies, the very possibly, and near, deep . . scary future / was it a dream ?
that settles on every one of us, in our deepest times.
not to mention: the ‘code’, and power . . of the color: RED.
and, the 3 horsemen / . . . of yore.


NOAH BECKER, ‘Three Figures’, 2021.
acrylic on canvas / 48 x 36 in.
image via FILO SOFI ARTS Instagram / @filosofiarts


it was part of a group show called, ‘What If . .’,
that was mounted by FILO SOFI ARTS, and ran Aug 25 – Oct 3, 2021.
the exhibit was curated by: KaPow & Gaboo / a curatorial & advisory team – founded by:
Gabrielle Dominique Aruta, (owner of Filo Sofi Arts), and Kourosh Mahboubian, (fine art dealer, and advisor).
note: the painting was placed strikingly, on a pink wall – of no small hue (!!)


see: FILO SOFI ARTS on Instagram / @filosofiarts

check out more: ‘What If . . .’ – FILO SOFI ARTS’ – website

‘What If . . .?’ / was a show – which asked us to . . “to consider whether the hypothetical and that which we imagine – might also be part of our reality.”


detail, NOAH BECKER, ‘Three Figures’.
image via FILO SOFI ARTS Instagram / @filosofiarts


detail, NOAH BECKER, ‘Three Figures’.
image via FILO SOFI ARTS Instagram / @filosofiarts

still intrigued, I asked Noah . . . last week, Nov 15 – 20, 2021:

1. What drives you to paint ?
his answer: “Sometimes trauma, but I’m learning to feed off of more healthy feelings. Most people create based on stress or trauma. I’m thinking more about love these days.”

2. Does this (red) painting have a message or narrative ?
his answer: “It’s about distorting nature and enhancing certain colors – so you find yourself in a painting. Nature is usually used more naturalistically. This piece has a naturalistic feeling even with the heightened aspects.”

3. Why is this painting red . . rather than say, blue ?
his answer: “It’s a heightened experience, so the viewer feels the work more electrically – within their subconscious.”

4. What’s your goal here, in this painting ? And/or in life in general ?
his answer: “Sometimes life feels like a waste of energy, and just a waiting period before death. Other times I’ll make something special like this painting, and my love, and excitement for life – is restored.”

from the ARTLOVERSNEWYORK ARCHIVE:


NOAH BECKER, with his self-portrait, Lodge Gallery, Lower East Side, NYC.
Nov 7, 2013
PHOTO: NANCY SMITH


NOAH BECKER, another self-portrait, this time / in conversation with: JEAN-MICHEL (BASQUIAT).
Lodge Gallery, Lower East Side, NYC.
Nov 7. 2013
PHOTO: NANCY SMITH

see: NOAH BECKER – LODGE GALLERY, L.E.S. – artloversnewyork



~BLINN AND LAMBERT / ‘HOW DO I MEASURE MY GRATITUDE?’ . . .

PIX FROM THE OPENING, NOV 12, 2021 – PHOTOS BY KATE CERIGO

BLINN AND LAMBERT /
aka the creative COLLABORATIVE of: NICHOLAS STEINDORF & KYLE WILLIAMS . . . in:
‘How Do I Measure My Gratitude?’ – curated by SOUHAD RAFEY
THE AMERICAN ACADEMY of ARTS & LETTERS
the show runs thru . . . JAN 26, 2022

more on the show: ‘How Do I Measure My Gratitude?’ – American Academy of Arts & Letters


BLINN AND LAMBERT, (NICHOLAS STEINDORF and KYLE WILLIAMS), ‘Dormers’, 2020
Fifty-four archival pigment prints under museum glass . . on a custom wood table of their own making /
21 x 42 x 98 in. / each photo is: 5 x 7 in.


check out: BLINN and LAMBERT on Instagram / @blinn_and_lambert

and, from the ARTLOVERSNEWYORK ARCHIVE:


BLINN and LAMBERT / from left: NICHOLAS STEINDORF & KYLE WILLIAMS
‘EDGE of LIGHT’, PLAXALL GALLERY, LONG ISLAND CITY, QUEENS, NY
DEC 3, 2020
PHOTO: NANCY SMITH



~JAMES MILLER / ‘HOW DO I MEASURE MY GRATITUDE?’ . . .

PIX FROM THE OPENING, TUES NOV 9, 2021 – PHOTOS BY KATE CERIGO

JAMES MILLER . . . in:
‘How Do I Measure My Gratitude?’ – curated by SOUHAD RAFEY
The American Academy of Arts and Letters
the show runs thru . . JAN 26, 2022

more info: ‘How Do I Measure My Gratitude?’ – American Academy of Arts and Letters


JAMES MILLER . . .


JAMES MILLER, ‘Lid’, 2019.
acrylic on canvas / 79 x 55 in.


JAMES MILLER . . .


on the right:
‘JAMES MILLER, ‘Receiver’, 2019.
acrylic on canvas / 79 x 55 in.


check out: JAMES MILLER on Instagram / @skinlizard

and, from the ARTLOVERSNEWYORK ARCHIVE:


JAMES MILLER, Brooklyn, June 2015
Photo: NANCY SMITH

check out: JAMES MILLER & friends – JUNE 2015 / DEDALUS FOUNDATION / artloversnewyork
where that photo of James, above came from / one of my best photo-shoots ever . . between the art, the people, the venue & the great lighting !! – one of my all-time favs !!



~DREW MILLER / ‘HOW DO I MEASURE MY GRATITUDE?’ . . .

PIX FROM THE OPENING, TUES NOV 9, 2021 – PHOTOS BY KATE CERIGO

DREW MILLER has several of his fantastical drawings . . . in:
‘How Do I Measure My Gratitude/’ – curated by SOUHAD RAFEY
The American Academy of Arts and Letters
the show is up thru . . . JAN 26, 2022

more info: ‘How Do I Measure My Gratitude?’ – American Academy of Arts and Letters


DREW MILLER, ‘Ground Fault’ / colored pencil on paper.
24 x 30 in.


DREW MILLER, ‘Cicada House’ / colored pencil on paper
19 x 22 in.


DREW MILLER, ‘Worms’ / colored pencil on paper.
22 x 23 in.


check out: DREW MILLER on Instagram @drewrileymiller

and, from the ARTLOVERSNEWYORK ARCHIVE:

DREW MILLER, NYC. MAY 5, 2016
PHOTO: NANCY SMITH



~MICHAEL HANDLEY / ‘HOW DO I MEASURE MY GRATITUDE?’ . . .

PIX FROM THE OPENING, TUES NOV 9, 2021 – PHOTOS BY KATE CERIGO

MICHAEL HANDLEY . . . in:
‘How Do I Measure My Gratitude?’ – curated by SOUHAD RAFEY
American Academy of Arts and Letters
the show runs thru . . . JAN 26, 2022

more info: ‘How Do I Measure My Gratitude?’ – American Academy of Arts and Letters


MICHAEL HANDLEY, large painting in . . .’How Do I Measure My Gratitude?’?
part of a very ‘existential’ . . installation !!


MICHAEL HANDLEY, installation . . . ‘How Do I Measure My Gratitude?’.
image via Instagram @mchlhndl


see: MICHAEL HANDLEY on Instagram @mchlhndl

and,from the ARTLOVERSNEWYORK ARCHIVE:


MICHAEL HANDLEY, and LADY SOULE, Brooklyn, June 2015.
PHOTO: NANCY SMITH



~JOHN SZLASA / ‘HOW DO I MEASURE MY GRATITUDE?’/ AMERICAN ACADEMY of ARTS & LETTERS

SOME PIX FROM THE OPENING, TUES NOV 9, 2021 – PHOTOS BY KATE CERIGO

JOHN SZLASA . . . in:
‘HOW DO I MEASURE MY GRATITUDE?’ – A BIG GROUP SHOW of 46 ARTISTS
CURATED BY SOUHAD RAFEY
AMERICAN ACADEMY of ARTS AND LETTERS, 633 WEST 155 STREET, NY, NY 10032
the show runs thru . . . JAN 26, 2022
HRS:
NOV 12-28 / FRI-SUN 1-5 PM
from thereafter thru . . . JAN 26, 2022 – OPEN BY APPOINTMENT

THE ACADEMY’S curator of 23 years, SOUHAD RAFEY . .
is retiring at the end of 2021 & has . . “organized a farewell exhibit featuring the work of 46 artists
who have supported and collaborated with Souhad during her career in their ‘day job’ at the Academy
as art handlers, museum guards, fine art truckers, and museum colleagues, as a way of honoring them by showcasing their own art work.”

read more & see artist list: ‘How Do I Measure My Gratitude?’ – American Academy of Arts & Letters

Artlovers has run into 5 of those artists over the years, and we are so pleased to showcase their work in the show – on our page – as well !!


JOHN SZLASA, ‘FASTPLANT’, 2020.
polymer modified gypsum cement, pigment acrylic, burlap and construction mesh.


JOHN SZLASA, ‘Untitled (blue, free), 2020.
polymer modified gypsum cement, fiberglass, pigment, and acrylic.


see: JOHN SZLASA on Instagram @johnszlasa

and, from the ARTLOVERSNEWYORK ARCHIVE:


ANTONE KONST, and, on the right . . . JOHN SZLASA.
‘The Socrates Annual 2018’ – Group Exhibit, Socrates Sculpture Park, QUEENS, NY.
March 24, 2019.
Photo: NANCY SMITH



~P.A.D. RETROSPECTIVE – RUMMAGE SALE / ‘IN WITH THE OLD’ / WALTER ELWOOD MUSEUM / AMSTERDAM, NY / SAT NOV 13

‘IN WITH – THE OLD’ . . . . !!!!!!!
START – YOUR MOTORS – RUNNING !!!!!!

PATRICK MOHUNDRO & P.A.D. / PROJECT ART DISTRIBUTION . . .

INVITE YOU TO THE: P.A.D. ‘IN WITH THE OLD’ / RETROSPECTIVE – RUMMAGE SALE . . . !!!!!

THIS SAT NOV 13, 2021 / 2 – 8 PM !!
AT . . WALTER’S – THE CONTEMPORARY WING of the WALTER ELWOOD MUSEUM – of the MOHAWK VALLEY
100 CHURCH ST., AMSTERDAM, NY, 12010 / UP-STATE / ABOUT A 3 HR. DRIVE from MANHATTAN
PS: THE EXHIBIT WILL BE UP & . . ‘INTERACTIVE’ – THRU . . . FEB 27, 2022.

CELEBRATING . . . THE P.A.D. – almost 5 year retrospective !! /
‘IN WITH THE OLD’ . . . is a curated presentation of
over 200 artists – with 350 works / curated from the first 50 . . P.A.D. / PROJECT ART DISTRIBUTION / POP-UPS.
spanning – the past 4.5 seasons !!

‘IN WITH THE OLD’,
besides being a large ‘survey’ look back / is also ‘interactive’ – in that it also functions – as an old-fashioned community-based ‘rummage sale’ / where viewers are “encouraged to touch & actually buy the art on exhibit” / which is so . . . the P.A.D. mission /
bringing new artists to community awareness & while most definite over-riding – the ingrained / and seriously ‘slow’ / ‘institutional’ status-quo.

note: 90% of the works on sale will be under $75 !!, with some as low as . . $5 !!

so yo, people: go, get yourself – some cutting-edge / history-making art !!!!

all the while finding yourself – in the Adirondacks / Mohawk Valley region, amidst a brilliant, crisp Fall slowly changing out – into winter, just before . . . the big ‘Cold’ sets in.
The Walter Elwood Museum – looks like such a fun, folksy, richly archival / place to explore, too / the minute I read Mohawk Valley, I was already researching the deep-rooted Native American history – of the area.

for SURE:

‘IN WITH THE OLD’ . . . will be chock-full of all kinds of artist editions, including zines of all formats, incredibly diverse hand-made artifacts.

it’s going to be – some of the most . . . cutting-edge, curious, creative, hysterical, sobering, skilled, just plain crazy, & often . . serious mission statement & ‘souvenir’ items / you’ll ever see in one place again, or . . . for awhile, anyways !!
everything – priced . . . to go !!
at the very least, re: these social-media thick / online virtual days
‘IN WITH THE OLD’ . . . “is for you – to touch, hold, smell, and listen to” !!!!

P.A.D. / PROJECT ART DISTRIBUTION INVITES YOU TO . . . .’IN WITH THE OLD’.
PRESENTED BY . . . PATRICK MOHUNDRO
CURATED BY . . . SOPHIA MA & ELIANA BLECHMAN
WITH MUCH THANKS TO . . . WALTER’S – for HOSTING !!

THE BIG OPENING – IS THIS . . . SAT, NOV 13 / 2 – 8 PM
THE EXHIBIT – WILL BE RUNNING . . THRU: FEB, 27, 2022.

check: WALTER ELWOOD MUSEUM for the HRS. / post NOV 13th.

yes !! YES !! check out: the WALTER ELWOOD MUSEUM / MOHAWK VALLEY / COLLECTIONS & HISTORY !!

follow: P.A.D. – IG

WATER ELWOOD MUSEUM IMAGES / COURTESY: WALTER ELWOOD MUSEUM / MOHAWK VALLEY



~PETER VAN TOORN / CANADIAN POET / A POETIC OBITUARY . . .

for: the true . . WORDSMITHS.

when people die, it’s like a little fire goes out . . .
I hadn’t spoken to Peter van Toorn, ever since I left Montreal for NYC, in 1981,
just over 40 years ago, by now – but still, I was shocked, and so saddened by his passing.

“There’s a silence, and there’s silence. And then there’s a stillness to hold it all without noise.
Enough! The crazy fingers of the wind just hit the roof and raise the red roof tiles . . . ”
~ PETER VAN TOORN, ‘Mountain Easter’, in ‘Mountain Tea’, pg. 78.


PETER VAN TOORN, and NANCY SMITH,
at the ubiquitous Greek diner,
in the Mt. Royal / St. Laurent section of Montreal, ca. mid-to-late, 1970s.
yeah, he was a little bit older – than me / but we both came from recent immigrant English-speaking families.
PHOTO: Collection Nancy Smith

I knew him very well during the period when he wrote what was to be – his last published book / a great work, a collection with the depth of, of . . knock-knock-on-that mountain, solid-as-rock & wide as the sky, almost sing-songs / original poems, & which also included some absolutely brilliant translations / of other poets’ classic, historic poems, the book titled . . . ‘MOUNTAIN TEA’.

I painted the watercolor, that was printed in gray-scale, which graced the cover of the original first edition. as well I contributed the cover art for a few other books – he put out – with various collaborators, all under the creative whirlwind of Vehicule Press / then an Indie artist / writer start-up, in Montreal, and which has gone to become almost an institutional powerhouse, that it is – today.

to be an English poet in Montreal, especially in the French language rights era of the 1970s,
was to be a unique & stubbornly contrarian voice . . .
a collective subconscious cultural landmark, a cry, a burning vision, a voice, which not only embraced the poetic whole of Montreal, but which would also not be – denied.
down with DNA – up with poetic truths.

PETER, still relatively un-sung in the Canadian mainstream media / in only the way a country like Canada can treat it’s best / don’t get me started / was the leader of the English talent pack, and will be – forever.
A brilliant, brilliant poet, who preferred to look inwards, and knock, knock out those poems – working, and re-working them, for years, really, until they sung like tapped glass, or spun copper – sturdy as the old metal typewriters, on which he tapped, tapped them out – til they were rendered with pure hardcore perfection, and, . . . meaning, like a wondrous pebble – skipping across the cold, cold surface, of a blue, blue . . . lake.
see: PETER VAN TOORN (1944 – Oct 6, 2021) – Wiki


see: VEHICULE PRESS
see: History of VEHICULE PRESS

PETER VAN TOORN, ‘MOUNTAIN TEA & Other Poems’, the first edition / with my watercolor, reproduced in gray-scale, on the cover.
published by McClelland and Stewart, Toronto. 1984.
Cover illustration: Watercolour by NANCY SMITH, photographed in black & white by G. SZILASI.

Peter wanted a tea pot, but one that was rural, a peasant utility – in a campfire metal, but that still spoke “Chinese” (!!), and, was designed to .. pour widely, as diverse as the ground the poems, yet elegant with homespun, heartfelt generosity. the original watercolor is all rendered in earthy tones of dark greens 7 ddeep blues, with a hint of turquoise, and jade. It’s night time, it’s time to pour a warm cup of tea, on a circular woven folk art mat, flecked with ‘listening’, and spin some tuneful, poetic thoughts – up, into the night sky.

“I can tell fresh milk from fresh flies,
I can tell nice ties from nice guys,
I can tell good from bad weather,
I can tell apples by their blush,
I can tell trees from their green gear,
I can tell who’s broke from who’s flush,
I can tell hefty, from handy, I can tell nothing about me . . ”
– the first verse from PETER VAN TOORN, ‘Mountain Dragon’, translated from VILLON,
‘MOUNTAIN TEA’, pg 81.

IF, you know anything about me – you know, there I go.

he also inscribed a good-bye gift, a vintage hardcover book on Mexican Folk Art / published 1966 (!!),
to me, just before I departed for the unknowns – of NYC.

“for Nancy
Give that cotton canvas one of your snazzy swats and get on the map with both Emily’s (Carr & Dickinson) as a first-rate fire-head – and man snucklers tuck their tongues in !
Peter / Mar 20, 1981”.
quite the send-off.
and, like a Mayan sacrifice, off to the to challenge the harsh gods, of NYC – I went.

after writing this about me,
in a poem that was indeed published – in ‘Mountain Tea’:

‘Mountain Cameo’ – for Nancy Smith

“How to show this fresh lie to her –
I’ve licked its wet fur clean,
fed it cream of dream,
heard its vowels puu,
but if the smell of my hands is on it
she’ll bite its head off.”
~PETER VAN TOORN, last verse of ‘Mountain Cameo’,
in ‘Mountain Tea’, pg 95.


‘THE INSECURITY of ART’, Essays on Poetics /
Edited by KEN NORRIS & PETER VAN TOORN.
Vehicule Press, Montreal, 1982.
Published with the assistance of the Canada Council.
Cover artwork by NANCY SMITH.
Cover graphics by JW STEWART
Book Design by SIMON DARDICK.

I remember, clear as crystal, how absolutely stunning it was. to see . . my watercolor,
published full-page, and in . . . full color !!
thank you, so much: to the book’s prescient designer . . SIMON DARDICK / Vehicule Press.

one of Peter’s essays was: ‘Kosher Carp on the Nuclear Harp’ (!!), pg. 138.
which began thus:

“There is no shock in the acknowledgement: poets have chucked their fountain pens. Gone
the goose quill which once gave them wings on paper.”

and, so from the painter / a sable-tailed . . a watercolor brush spun out, a top . .
a tea cup.

PHOTOS: NANCY SMITH



~COLD, COLD HEART . . .

dedicated – to the stab-you-in-your-back / players in the art world,
here & in . . . Paris.
so tired of that greedy. lying, thieving . . old school game, can’t you guys – EVOLVE ?!!!!
the world is def, gonna leave you – behind.

ELTON JOHN, DUA LIPA . . .

“it’s a human sign
when things go wrong . . .
Cold, cold heart
Hardened by you (oh)
Some things lookin’ better, baby
Just passing through . . . ”

watch: ELTON JOHN, DUA LIPA . . ‘Cold Heart’ / Official video



~LUKE MURPHY / ‘Pixel-by-Pixel: Interventions’ / SMoCA / Scottsdale Museum of Contemporary Art, ARIZONA / OCT 30, 2021 – April 10, 2022 –

watch out . . . . . !!!!
you.
you . . . cold, cold heart.

‘Pixel-by-Pixel: Interventions by LUKE MURPHY’
OCT 30, 2021 – APRIL 10, 2022
SMoCA – Scottsdale Museum of Contemporary Art
7374 East Second Street, Scottsdale, Arizona 85251

more: LUKE MURPHY – SMoCA


LUKE MURPHY, ‘Monument to the Glitch (Tower 3)’, 2019.
LED light sculpture – with custom computer elements / software & assorted hardware.
image via: SMoCA

“LUKE MURPHY . . . subverts & liberates technology through re-purposing and recontextualizing it – to reveal its . . innate h-u-m-a–n-i-t-y.”

“To him, technology, screens, and code are physical and fragile in the same ways that we are – we break, crack, glitch, and can get repaired.”

“MURPHY . . . works with the LED screens we often see outside advertising the next big thing. He sees LED screens as part of the landscape, and although these light panels are intended to be selling machines, Murphy views them as beautiful, chatty companions, so he uses them as his primary medium, undermining their form and function.

“MURPHY’S . . . interventions (placed) throughout the Museum are interruptions to the norm. His work questions whether our interaction with screens are the real experience and art is simply just the content of the experience. He is interested in exposing the materiality of technology because there is such an effort to hide the material nature of tech to achieve total seamlessness.”

Organized by Scottsdale Museum of Contemporary Art
Curated by JULIE GANAS, curator of engagement and digital initiatives.

note: all above quotes – are from, & please read full statement: SMoCA – LUKE MURPHY EXHIBIT

NOTE: the animated, text-based / digital “LED DELI BANNER” – ‘RESIST’,
that runs across the top of this page – is also by LUKE MURPHY.

see: LUKE MURPHY / lukelab.com – ARTIST
PORTFOLIO

see: LUKE MURPHY INSTAGRAM / @lukemurphy49

& watch this, you . . . neon-colored, but cold, cold – heart !!
see: ‘You’ve Been Lonesome, Too’ / WIP – LUKE MURPHY, RECENT VIDEO / IG



~ANNA KUNZ with her . . . RAYS !!

color studies – in the key of DREAMS !!

‘ANNA KUNZ: WITH RAYS’
ALEXANDER BERGGRUEN / UP THRU . . . NOV 20, 2021.

read more: ‘ANNA KUNZ: WITH RAYS’ / BERGGRUEN


ANNA KUNZ with . .
‘Unseeing Green’, 2021.
acrylic on canvas
60 x 66 in.


a glimpse of:
ANNA KUNZ, ‘The Tide’, 2021.
acrylic on canvas
66 x 60 in.


ANNA KUNZ, ‘Demo’, 2021.
oil on linen / 13 x 11 in.

PHOTOS: KATE CERIGO



~’ANNA KUNZ : WITH RAYS’ / ALEXANDER BERGGRUEN / UPTOWN / OPENS WED OCT 20

yeah.
fill me up with some of those . . . bright-eyed, thinking-mind / sun, sunny rays,
just before that cold, cold and pretty much /
I’m guessing . . cold-hearted !!
Winter 2021 – rolls in.

‘ANNA KUNZ: WITH RAYS’
OPENS WED OCT 20 / 5 – 9 PM
and runs thru . . NOV 20, 2021
ALEXANDER BERGGRUEN GALLERY, 10118 MADISON AVE, Fl 3. UPTOWM, NYC NY 10075

the gallery states that . . .
“With respect to the JOSEF ALBERS’ . . . 1959 painting, ‘Homage to the Square: With Rays’, (collection of the MET Museum, NY), KUNZ seeks to convey through her compositions . . . optical progressions – as colors ‘ray out’ towards the viewer and, into their vision.
Following Albers in drawing parallels between the relationships of colors, and those of humans, Kunz’s approach to color perception produces an ‘intra-active’ – (term composed by feminist physicist Karen Barad), which postulates that action originates from within relationships’ structures, not from cause and effect between individual entities – viewing experience.”

ANNA KUNZ . . . lives and works in Chicago, Il.

read more: ‘Anna Kunz – WITH RAYS’ / BERGGRUEN


ANNA KUNZ, ‘Birches’, 2021.
acrylic on canvas / 90 x 80 in. / 7 ft. 5 in. x 6 ft. 6 in.
image: courtesy ALEXANDER BERGGRUEN



~’BUBBLE ORCHESTRA EXHIBITION’ / PRECOG MAG / NARS FOUNDATION / OPENING FRI OCT 15

PRECOG MAGAZINE . . is excited to announce their latest curatorial project for the NARS FOUNDATION / EXHIBITION SPACE
‘BUBBLE ORCHESTRA’ . . is the first physical exhibition based around Issue 5 of Precog Magazine.

Bubble Orchestra. . . prompts ideas around the concept and materiality of bubbles: as a metaphor for thinking through ideas of individuality & group cohesion; echo chambers and their tenuousness; algorithms; and the fragility of identity.”
~Precog

with:
ALISON KUO, AMIKO LI, ANJULI RATHOD, BEN ROSS DAVIS, BLINN AND LAMBERT, CARLOS FRANCO,
OLOLADE ADENIYI, PATRICIA DOMINGUEZ, UMBER MAJEED, and VIRTUAL DREAM CENTER.

OPENING: FRI OCT 15 / 6 – 8 PM
and running thru . . . NOV 5, 2021
NARS FOUNDATION / MAIN GALLERY: 201 46th St, 4th Fl, Brooklyn, NY 11220.
see: NARS INFO & HRS

see: Precog Magazine

see: NARS Foundation

more info: ‘Bubble Exhibit’ – NARS



~FLORENCIA ESCUDERO / ‘CANCIONES en la COLMENA’ / KRISTEN LORELLO . .

a few more images !!
the show is up thru . . NOV 9, 2021
KRISTEN LORELLO

‘Canciones en la Colmena’ / Songs Inside the Beehive

Brooklyn-based Florencia Escudero – was born in Singapore in 1987 / she is also a co-founder, co-publisher & co-editor of Precog Magazine

the sound elements – are by Mexico-based artist and writer Lucia Hinojosa Gaxiola with a “techno-futuristic vibe”.

more info: Florencia Escudero – Kristen Lorello


FLORENCIA ESCUDERO,’Odalisque’, 2021.
Hand-sewn digitally printed satin, hand-dyed and silk-screened ribbed cotton over piping, silk-screened vinyl, crocodile-stamped pleather, cast pewter, handbag chains, foam, and crushed velvet hand-sewn over foam.
28 x 18 x 15 in.
Photo courtesy: Kristen Lorello


FLORENCIA ESCUDERO, ‘Gitana’, 2021.
Hand-sewn digitally printed satin, cast resin, cast resin with speaker, cast resin with cst resin lips, vinyl hand-sewn over piping, foam, speaker, wires, metal, amp, and MP3 player with original sound piece by LUCIA HINOJOSA GAXIOLA: ‘Mass of Branched Decomposition’, MP3 recording from live performance, and field recording made with voice, SK-5 Casio sampling keyboard, rocks, dry lichen, dry leaves, bark, sticks, wood, tin bucket, 12 mins, looped.
26-1/2 x 24-1/2 x 20 in.
Photo courtesy: Kristen Lorello



~FLORENCIA ESCUDERO / ‘CANCIONES EN LA COLMENA’ / KRISTEN LORELLO / UPTOWN / BEGINS SAT OCT 8

‘SONGS inside the BEEHIVE’ – how pretty !! complex, strong, gentle, fantastical & . . . poetic !!!!!

FLORENCIA ESCUDERO – ‘Canciones en la Colmena’
open to the public / SAT OCT 8
running thru . . . . NOV 9, 2021
KRISTEN LORELLO, 23 E. 73rd St., Manhattan / 5th Floor, Buzzer 5F
HRS: TUES-SAT / 11- 6 PM

see: KRISTEN LORELLO GALLERY / IG

see: FLORENCIA ESCUDERO / IG


image via Instagram @floescu
FLORENCIA ESCUDERO / in her studio.
everyone calls her: FLO, and ‘flow forth’ (!!!) – she does !!

FLORENCIA . . . wears many hats, she’s a co-founder / co-publisher & co-curator of Precog Mag /
and, she works in many mediums / mostly . . in the ‘soft’ realm.
it would be very hard – not to say limiting / to try and put a label on her, or her work.
unless you want to say: experimental, hard-worker / with, a huge imagination & a heart of gold.


image via Instagram @floescu
FLORENCIA ESCUDERO – large fabric sculpture


image via Instagram @floescu
FLORENCIA ESCUDERO / I guess that’s – the ‘hive’ !!
a kind of, and kind !! metaphor for community – mindset !!



~JACK HENRY / P.A.D. / SOHO / SAT OCT 9

JACK HENRY, part of: ‘Or a Moon’s Surface the Planet Admires’,
P.A.D. / PROJECT ART DISTRIBUTION / PATRICK MOHUNDRO / SIDEWALK POP-UP / SOHO
this Sat, Oct 9, 2021 / 11am – 8pm
Spring & Mercer !!

see: P.A.D.
see: JACK HENRY @jackbhenry


JACK HENRY / image via Instagram @project_art_distribution
“casting trash into treasure, Jack Henry’s resin objects keep us attuned to the little. overlooked
things in our New York lives.’
~P.A.D.


JACK HENRY, ‘lock’. image via Instagram @project_art_distribution
“come pick up – a small momento of your daily commute !!”
~P.A.D.



~’HENRY FOOL’ / TRIEST / BROOKLYN

looking good !!!

‘HENRY FOOL’ – 11 person group show
opened OCT 5, 2021
runs thru . . . ????
TRIEST, 526 WILSON AVE., BROOKLYN 11207 / BUSHWICK
OPEN BY APP’T

with: JOE SPEIER, DANI ARNICA, JAMIE LYNN KLEIN, JAKE SHORE, ERIC SCHMID, HUNTER HUNT HENDRIX,
WALTER SMITH, JACK LAWLER, DEVON LOWMAN, RYAN FOERSTER, & BROCK BIERLY

see: TRIEST / INSTAGRAM @triest.es

here’s a small sampling:


JOE SPEIER, ‘Millennial Painting 10 (Sunny Day Girl)’,
acrylic medium, acrylic paint, glitter, ballpoint pen, marker on canvas.
48 x 60 in.
image via Instagram / @joe_sleepover


JACK LAWLER, ‘Frustrated’, oil on canvas.
image via Instagram @triest.es


‘HENRY FOOL’ – POSTER
image via Instagram @triest.es



~ANDREW FRANCIS / P.A.D. / SOHO, NYC / TODAY – SAT OCT 2 / 11 – 8 PM

ALL HAIL . . THE ‘REBEL’ VERNACULAR !!
IT’S COMING TO BITE – YOUR TOES !!

ANDREW FRANCIS in . . .
PATRICK MOHUNDRO – PRESENTS P.A.D. / PROJECT ART DISTRIBUTION
in his latest NYC sidewalk pop-up / ‘Head, Shoulders, Feet and Toes’
SAT OCT 2, 2021 / 11AM – 8PM
SPRING & MERCER / SOHO, DOWNTOWN / TRIBECA, NYC

see: ANDREW FRANCIS – INSTAGRAM

see: P.A.D. / PROJECT ART DISTRIBUTION – INSTAGRAM


image via Instagram @andrewmeriwetherfrancis
ANDREW FRANCIS,’KIM & KANYE GO TO THE MUSEUM’ aka ‘KIM & KANYE SPLIT’ (!!!)
DYE-SUBLIMATED IMAGES / VIA A COMMERCIAL PRINTER / MEN’S SOCKS / UNIQUE SET, 2021.
cost: sliding scale $40-$25 / go get . . yours !!!!

Language, cynicism, community, and real ‘care’ – about this world we inhabit,
and, a big big vibe of wicked smart humor – are all a big part of this creative’s – going wild on ‘utilitarian’ / commonplace & functional / body warmth – objects / aka ‘your clothing’ !!
and, very much – a wicked step-cousin to quilt-making – btw.
warmth, communication & visual . . hurrah !!


image via Instagram @andrewmweriwetherfrancis
Andrew posted this photo – of the work-in-progress in home / studio !!

it interests me for the energy, but also as a kind of answer – to those of you who may be thinking / Soho ? Lord !!
what would . . . JACKSON POLLOCK – be thinking ?
well, squint your eyes at the image / ha,ha not – so far off.


image via Instagram @andrewmeriwtherfrancis
Andrew will also be hawking some of his . . . ‘I Love Judy Woodruff’ / custom printed shirts !!
for all of youse – heading back into on-site work spaces and/or offices, and needing to re-fresh your work-from-home Covid attire !!!

Andrew says: “come bask – in her moral rectitude’ . . . &
I say: yeah, for sure: be part of the new / . . . hand-made DIY vernacular !!
and, maybe help change people’s dumbass – mindset / along the way.

can you imagine finding these – in a thrift shop / 20 years down the road ?
and, the world just keeps on – turning !!



~ERL / A$AP Rocky / MET GALA QUILT / DATING CONTROVERSY / LOST & FOUND . . .

the ERL / A$AP MET GALA QUILT is QUITE . . the ‘VERNACULAR’ – STAR !!

but, NO, is is not ‘ANTIQUE’ – it is . . ‘VINTAGE’.

AND DATES – FROM THE 1970s.

so, a woman came forward on Instagram – to claim that it was she who had donated the ‘Puff’ quilt / used by ERL as the basis for his show-stopping . . A$AP Rocky Met Gala ‘cape’ . . to the thrift shop, where ERL found it.
so interesting / what social media makes possible.
see: ‘A$AP Rocky’s Met Gala Quilt – Backstory’ by JOYANN JEFFREY, BUZZFEED / posted SEPT 26, 2021.


IMAGE VIA Instagram @books_n_babies

funny how – this story has . . . legs !!

but, also in being found – some info – got lost . . or ‘confused’, esp regarding the ‘originality’ of the quilt, and its . . date.

VOGUE – the ‘fashion bible’, lol / did not help by terming the quilt ‘antique’.
as per that BUZZFEED link above /
According to VOGUE, “Linnetz purchased ‘the antique quilt’ from a thrift shop.”
well, unless an object is over 100 years old, it is not antique / it is vintage.

also, Sarah . . the IG woman who claims to have given away the quilt, says it was made by her great-grandmother . which probably also confused some people. if you take 20 years as a kind of average generational indicator / that still gets us back to the 1970s,
when all things DIY, but esp quilts, knitting, and crochet began to grow in popularity, leading to a new advancement of skills /starting life in 70s as ‘hobby projects’, and leading to the full flower renaissance we see today. though there is still a heirarchy of ‘ making’. with top s designers like RAF SIMMONS making incredible hi-end sweaters with PRADA, through hand-knit ‘amateur’ hats & scarves, to the truly vernacular kid DIY projects such as puppet-making, or even . . . yarn dolls.

in the textile world, it is actually quite solid, not much grey area / and, easy to date things, such as quilts – by the fabric / for example: woven (very antique !!), or printed / which in turn breaks down into early / such as woodblock, or roller-printed textiles (colonial times) to silkscreens, to more modern, contemporary mass production factory techniques. and any decent textile reference book, would clearly find this quilt to be of 1970 manufacture.


detail ERL – A$AP Rocky MET GALA quilt / via full scale BUZZFEED image

another big clue, as to the dating of this quilt, would be that, although it is ‘pieced’ / i.e. made up of small units of cloth sewn together to make a whole bedspread, this is not the case here / in that, in the pattern we can easily see there was enough of a big yardage of each color, that permitted the quilt-maker to cut out as many squares, to makes as many ‘Puff’ pockets, as she needed to complete the grid pattern, without resorting to an i old-fashioned ‘scrap bag’. when this quilt was made, whole textile yardage, and micro-printed yardage at that / reflects ‘store-bought’ yards of material, and it was cheap, and widely available – so VOGUE, you can scratch off . . ‘antique’, once – and for – all.

PIECED:

the concept of ‘pieced’ quilts dates back to colonial times , when cloth was rare, and printed clothe even more rare / as it was imported from England, and therefore very very expensive. thus collecting, cutting out the remaining ‘good’ bits, and re-using these ‘pieces’ / from worn-out clothing – was the American pioneer way . . to make ‘sustainable’, large ‘bed’ coverings. think Amish quits, etc.

and, regarding the cloth that was local, woven & home-made, hand-dyed, maybe be even / roller-printed, woodblock printed with a rudimentary pattern / was also expensive, and labor-intensive / and, so it was harvested as well, from older garments – saved up, as ‘scraps’ in a ‘scrap bag’ / to ‘piece’ into larger quilts. obviously, not – the case here. in fact, one way to date real ‘antique’ quilts, or to assess the wealth or lifestyle of the maker / is to examine the ‘variation’ in the different, maybe ‘red’ textiles used to innovate – to complete – a continuous, over-all pattern, obviously – not the case here.

then we come to ‘feed sacks’ !!
dry food goods, such as flour or sugar, or animal feed, seeds, etc / at a little bit later time, think ‘Little House on the Prairie’, came in big multi-pound sacks made from cotton. (there was no synthetic fiber, or plastic at the time), and at some point these dry goods merchants realized if they roller-printed or woodblock printed) these cottons, that would increase their (i.e. sustainability) re-use, and also encourage the farmers’ wives to pick the brand of flour, or sugar that had pattern they coveted, and also women would gather scraps and trade, like a form of early trading cards. so that era also had ‘pieced’ quits.

by the mid 1900s, ‘piecing’ – was a conceptional ‘conceit’ / not done through necessity, cost or
industry, but as a ‘project’, as a way to follow and emulate older quilt traditions. this ‘pieced’ quilt falls under that evolution.

‘Puff’, ‘Biscuit’, or even ‘Bubble’ quilts, such as this ERL found vintage quilt / . . . actually have a history going all the way back to the late 1800s, Victorian times / when the little individual ‘pockets’ were stuffed with cotton batting filling, and again were made as a way to utilize small ‘scraps’, such as velvet, or silk from more elaborate handiwork, or expensive clothing.
so again . . unless it is an historic ‘stand-out’ / that has been carefully kept – even old, as in really old, 100 year old / truly antique ‘Puff’ quilts still fell very much so, under the ‘vernacular’ genre.

so, back to now !!

although, it would help to know what was used to ‘fill’ the ‘bubble’ pockets of this ERL / A$AP Rocky quilt / was it cotton batting, was it used panty hose or nylon stockings ? . . or synthetic fiberfill ?
it’s really not necessary to know, to be able to date the quilt, but it would help.

that no one was curious enough to inspect the filling, or if they were close enough to it, as Zak Foster must have been . . to make mention of it / speaks volumes to how woefully uninterested, or unaware – all the ‘founding’ parties involved with the quilt were – in terms of quilt history, and quilt-making / in general . . .
but, especially Zak Foster, the supposed quilt expert guy who repaired it, and didn’t think twice to mention – what it was stuffed with ?

no matter,
we know from the specific cotton cloth, the specific pattern, and especially the specific color dye used – that this was 1970s fabric.
further it was cloth made specifically – to support the new-found interest in quilting, and hand-made DIY projects in general, especially of the ‘vernacular’ / outsider genre . . which called for . . . traditional-looking, cheery small floral prints, in a range of many different colors.

it also helps . . if you have an original / ‘vintage’ bolt of this kind of printed cotton – with the maker, and the actual date – stamped into the selvedge, or yard cloth . . border !!!
and, yeah.
of course . . . I do !!


this a sampling of 1960s textile / it does not match,in sheen, brightness, nor intensity of color, nor in the size or style of – the tiny printed floral repeat.
~mass-produced cotton / textile technology – still had a way to go to match the ERL found quilt.
textile source: ‘Dating Fabrics, A Color Guide 1800- 1960’, by Eileen Jahnke Trestain.
Publisher: American Quilter’s Society, Kentucky / 1998.
Photo: Nancy Smith
Collection: Nancy Smith


but, this is more like it !!!!

this . . 1970 ‘craft’ fabric – is a dead ringer !!
Photo: Nancy Smith
Collection: Nancy Smith


1970s cotton fabric such as this – was used to make . . STUFFED – DIY / Christmas ornaments !!
Photo: Nancy Smith
Collection: Nancy Smith


some more Xmas / hand-sewn & stuffed ornaments
Photo: Nancy Smith
Collection: Nancy Smith

talk about . . vernacular !!


and . . other folk art projects / a wooden clothespin doll / and probably a Xmas ornament.
Photo: Nancy Smith
Collection: Nancy Smith


the cloth came with instructions, and . . . the date the fabric was printed.
Photo: Nancy Smith
Collection: Nancy Smith


1976.
Photo: Nancy Smith
Collection: Nancy Smith

ps:
yes !!
all the above 1970 / DIY hand-sewn craft Xmas ornaments, and the wooden clothespin doll, all came from local thrift shops, including my prized . . . ‘DIY’ bolt of cotton – with the DIY ornament cut-outs & instructions, the date printed into the border selvedge.
and, none cost more than $2.50 – if that / including the historic DIY fabric.

no wonder, I got so excited seeing that A$AP Rocky waltz down – the Met Gala red carpet !!!!

.



~ERL / A$AP Rocky / MET GALA QUILT / YO, DIG-GITTY !!! THE FINAL BREAK-DOWN !!!

OK, SO HERE’S THE FINAL GONNA-BREAK-IT-DOWN / YO, DIG-GITTY !!!
ART LOVERS TAKE / ON . . . THAT SLIGHTLY RAW, WILD, YET MUTED MULTI-COLOR, TINY FLOWER DANCING PRINT – GLOBAL-AUDIENCE-REACHING / HISTORY-MAKING / MET-SHAKING / JUST AWESOME !!! VINTAGE THRIFT SHOP / PROBABLY BARGAIN BIN FIND !!!
AMERICAN AS PIE DIY, AS LOW-FI AS THEY GET, EVEN SLIGHTLY SEEDY, BUT TURNS OUT TO BE – FASHION NIGHT’S KNOCK-OUT LOOK – AMONGST A SEA OF CONTENDERS & SOME EVEN BASICALLY NUDE / THIS ERL / A$AP Rocky – MET GALA QUILT- DRAPED ON THE SHOULDERS OF A RAPPER WITH THE CUTEST SMILE & HAIR – SWEPT BY & JUST CAUGHT THE ETHOS, & TOOK . . . SAIL. LIKE A CHILD’S LULLABY.

SOOTHING EACH & EVERY ONE OF US, WITH ITS NEWFOUND RECOGNITION, AND HOPEFUL SWAGGER.

just ONE word ‘wraps’ – it up, and . . .
that word – would be: ‘VERNACULAR’.

up from the streets / just like the amazing creative / artist / musician who wore it.


A$AP Rocky in his ERL / found vintage ‘Puff’ quilt / at the recent MET FASHION GALA.
image via Instagram @highsnobity

if you refer to it just as a ‘quilt’ / as everyone from the ERL founder himself, to the Brooklyn artisan guy who got to repair it, and make a custom backing – with which to (garment) line it, to the entire media talking heads who covered it, but who don’t know a knitting needle – from a crochet hook, let alone a specific quilt ‘genre’, / and, just call it: ‘magic’, you are so missing the point.

this quilt was, just simply put: the runt of the quilt-making lexicon / the runt of the litter . . it was highly unlikely to have set foot in the MET, let alone a Folk Art Museum, unless said venue had a small niche for . . lowly ‘arts & crafts’ & family projects, of yore.
I mean maybe eventually, like in a hundred years. and then, just out of curiosity, and for the record.

talk about . . . vernacular / folk art, and hobby – all in one ‘loser’ breath.

this quilt was:

~most likely,’Appalachian’ basement – DIY !!! I haven’t seen any up here in the North East (?).
~btw ‘Appalachian’ said here, with a great deal of respect. early mountain quilting, is quite renown / those old timers have an amazing legacy – that goes way back. they were mostly focused, just eking out a subsistence living . . providing, originally / all hand-stitched functional, utilitarian / farm quilts, for their neighbors. with young children helping out, starting in early, learning the skills.
but, with a rich individuality & great, great needle skill, much like their country music. ditto children learning.
~but these ‘Puff’ quits were by the 1970s / with the advent of factory-made bed covers / Mother-&-young-kids craft / family project – DIY !!!
~these ‘Puff’, or ‘Biscuit’, or even ‘Bubble’ quilts – had become by this time / more of a ‘hobby’ project / the old skills & patience, and time, need / had been lost. it was all about cutting out simple square shapes, sewing them together on 3 sides, followed by the super easy fun of ‘stuffing’ – the resultant ‘Puff’ pocket, and then simply assembling the over-all grid.
-following a straight-forward ‘template’, that indeed we can see here, in this ERL / A$AP Rocky quilt. ~probably straight out of the pages of your average ‘Womens Craft Magazine’, found monthly in the supermarket aisle.
~a template quilt. to be followed. and strung together, and not deviated from much.
~if you look into blogs on the web, writers recall working on them, with their mothers, and sisters, stuffing the ‘puffs’ – with old pantyhose. busy, and happy.
~yet they were mostly successful as ‘projects’ / they were not really comfortable, let alone snuggly, truth be told. too heavy. too bulky. too stiff. too much fabric.
~today they are mostly made as small baby ‘rugs’, gentle things babies can be placed on, where they can roll around a bit, but not too much, among the gentle cushioned pockets, but also not get – too far off.
~but back, to the older full sized ones / their lumpy fate was finally, to be, not even wanted / even as low-fi ‘hobby’ quilts / they got no respect – and after a generation or so, families were happy to discard, or ‘donate’ them to thrift shops, which in turn dumped them into the $1 bin.
~I doubt if Eli Russell Linnetz paid even, much more than $3.50 / for his ‘Puff’ quilt, in which he was to find so much delight & new inspiration, and the resultant recognition.
sometimes, it just takes another person’s genius / and . . vision. sometimes it just takes a talented person – from another cultural background, to see the truth in our own eccentricities.

yet, this was to be the beginning of the new – American Quilt revival !!

interest in everything DIY, hand-made free-will expressive, or simply decorative / and yet functional, sparked after Woodstock, after the 60s . . . after ‘The Age of Aquarius’ !!
and, there was no going back. and, to prove it /
we have quite the DIY culture today, don’t we. from Granny Squares, to BODE, and back.
interest in all things DIY, hand-made & functional, yet individually expressive – have made made a tremendous renaissance.

this ERL / A$AP Rocky Met Gala quilt was at – that very tipping point.

there’s . . the magic.

and, yet for all its humble origins,
when A$AP Rocky sashayed down that Met Gala red carpet, on Rhianna’s arm, draped in this almost ‘generic’ mass of . . cheerful, craft project color, with the big 3-D puffy pockets, like nothing so much as . . . big textile ‘Chinese dumplings’ – everybody, but everybody caught . . the vibe.

A sense of warmth / an emotional support – that would / could envelop you, soothe, empower, and protect you. all in a great big bubble – of gentle / popping fun.
it was all about the industrious, thrifty voices of our proud American past – a rallying call to arms / our kind of arms – the ‘creatives’ ones.

afterward:

in fact I was going to title this little essay:
‘AGE Of AQUARIUS, not’
vs.
‘Age of VERNACULAR, yes’.

but luckily, I decided maybe I had better look it up first / see what ‘cosmic’ era, this is anyway ?

& GUESS WHAT . . . . EVERY-BODY !!!!
ROCK – YOUR BODY !!!

WE ARE . . . APPARENTLY, JUST ENTERING – A NEW AGE of AQUARIUS !!!!
SO, SURPRISE, SURPRISE, not !!
it seems we are to be in a hopeful cosmic vernacular ‘corridor’.
that the ‘vernacular’ / up from the streets / self-taught, and driven from with-in, and in turn / from within our wider community, propelled by a strong creative drive / will rule.

it’s also supposedly hitting real hard, real, real, super powerful hard / because they say this ‘2021 Age of Aquarius’ is super rare / as it involves / a meeting of 2 STRONG PLANETS, specifically: “a great COSMIC conjunction of Jupiter & Saturn” / that only comes round – every 800 years.”

so, yeah. magic. might be the word that comes to mind. as in a spectacular & happy leap of faith / that lands just right / in a sheer moment of creative thinking / setting all things right – and moving forward with more wisdom, and kindness / and creativity.
if, only.

even among quilts – there is a . . . ‘hierarchy’.
there are quilts that are so skillful, so splendidly colorful, so visually inventive or spiritually compelling, or that are such well pieced historical records, or personal poems . . . that they are cherished, and wrapped in tissue, and only taken out – on holidays, and handed down from generation to generation, with care and pride / until usually, or hopefully, ending up in a museum collection that will not only care for, but share them.

A$AP Rocky’s ERL quilt / was quite – the opposite. totally vernacular in voice,
its composition was generic, following a simple ‘template’ / lifted from a women’s handiwork supermarket magazine.

I’ve been reading about Leonard Cohen, lately.
he said: “there is a crack in everything, and that’s how the light gets in.”
A$AP Rocky in that old, lumpy vintage / not so skillful, not so unique quilt, was just that primordial crack & everybody could feel the light.