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

~’RED ENVELOPE SHOW’ . . incl ANTHONY ZINONOS & MATT STANTON / GRUMPY BERT / OPENS FRI

OPENING FRI – FEB 23, 2018 / 7 – 10 PM !!
the show runs thru MARCH 11, 2018
‘THE RED ENVELOPE SHOW’ – ‘YEAR OF THE DOG’
GRUMPY BERT, 82 BOND ST, BROOKLYN


ANTHONY ZINONOS, ‘damnDOG’, ‘RED ENVELOPE – YEAR OF THE DOG’, 2018, collage on envelope for Grump Bert
3.5 x 6.5 in.
image via GRUMPY BERT


MATT STANTON, RED ENVELOPE, YEAR OF THE DOG, 2018, acrylic on envelope
3.5 x 6.5. in.
note . . the ’embellished’ detail on the background !!
image via Instagram @mattstantonartist


MATT STANTON, ‘RED ENVELOPE, YEAR OF THE DOG’, 2018, acrylic on envelope
3.5 x 6.5 in.
image via Instagram @mattstantonartist



~JIM HOLYOAK . . NKD RESIDENCY / NORDIC ARTISTS ‘ CENTRE DALE / NORDISK KUNSTNARSENTER DALE / NORWAY

by sheer coincidence,
must be a super special, mass joyful time to be in . . NORWAY !!
seeing as they are sweeping the 2018 Winter Olympics !!
but, just in general, Norway feels so bursting with new life.
and . . so beautiful.
and then there’s all the old Nordic / Viking tales re-surfacing lately.

gnarly old Nordic tales . . . and, the twisted dark as night, contemporary tales !!
that might be one reason, why JIM HOLYOAK finds himself in Norway. right, now.
he’s a master of the night, animal spirits, monsters, and fabled landscape pen & ink drawings.
and looks like . . ELFS, now too.
JIM is actually in Reykjavik, Iceland right now, arriving in Oslo this Fri Feb 23, 2018.

MONTREAL-BASED artist, JIM HOLYOAK will be in residence at NKD,
along with his friend, and oft-time ‘mural’ collaborator . . MATT SHANE, also Canadian
from March thru May 2018.


see: NKD / NORDIC ARTISTS’ CENTRE DALE – NORWAY


JIM HOLYOAK – INK DRAWING, FEB 8, 2018


JIM HOLYOAK, INK DRAWING, FEB 6, 2018
. . . night monster


JIM HOLYOAK, INK DRAWING, ‘The Mountain Knows Your Name’, Jan 14, 2018
. . . Himalayas, Goechla


JIM HOLYOAK, FEB 11, 2018
. . Year of the Dog

ALL IMAGES VIA INSTAGRAM @jimholyoakj


I see JIM . . made good use of a previous time in . . ICELAND.
he received his ‘Elfs-and Hidden people-research-study diploma’ !!
image via: JIM HOLYOAK / MONSTERS ARE FOR REAL /C.V.

JIM also has an MFA (2011) in Drawing & Painting from Concordia University, Montreal, QC.
he was also an apprentice (2007) . . of master ink painter SHEN LING XIANG in Yangshuo, CHINA.

see: JIM HOLYOAK – BIO / MONSTERS ARE FOR REAL

see: JIM HOLYOAK – ARTIST PORTFOLIO WEBSITE / MONSTERSAREFORREAL.com

don’t miss: JIM HOLYOAK / incl MATT SHANE – VIDEO DOCUMENTATION


JIM HOLYOAK – VIDEO DOCUMENTATION
IMAGE VIA . . JIM HOLYOAK / MONSTERS ARE FOR REAL



~’WE LIVE IN PUBLIC’ . . hits PAGE SIX !!

JOSH HARRIS .. MEET YOUR NEW HOMIES !! !!

our supreme leader JOSH HARRIS . . is crashing LA LA LAND !! !!

OMAROSA !! TRUMP !! TAYLOR SWIFT !! LENA DUNHAM and . .

JONAH HILL as . . JOSH HARRIS !!!!!!

and, it’s going to be a “dramatic adaption” . . . !! !! !!

“AS FOR WHO .. will play his then girlfriend Tanya Corrin, HARRIS says, I like TAYLOR SWIFT,
but the producers are talking AMY SMART.”

read: ‘JONAH HILL set to star as as Internet pioneer JOSH HARRIS’ – by RICHARD JOHNSON, PAGE SIX, NEW YORK POST / FEB 18, 2018



~TOMMY MALEKOFF . . AGNES B

‘TOMMY MALEKOFF – FILMS & PHOTOGRAPHS’
FEB 1 – FEB 28, 2018
AGNES B GALERIE BOUTIQUE NEW YORK, 50 Howard St, Downtown, NYC

there was a nice easy feeling to this show. which, also, keeping in step with this particular art season – leaned to the small side . . scale-wise. it still worked, just a little more like clockwork, than grand, raw gesture.

the first work I saw by TOMMY MALEKOFF, was in Feb 24, 2016 / almost 2 years ago to the day. playing on a loop – it was his short, essay-like film, ‘The Outdoor World’, 2016.
all ‘real-life’ footage. good flow-thru editing. I guess that makes it a documentary of some kind of genre. urban landscape ?
Projected large, and I mean . . wall-size in a large, empty storefront on the Lower East Side, the screening was hosted by SEAN VEGEZZI, ANDREW KASS & assorted friends, it mesmerized the hardcore audience. although much of the footage dwells on middle America, it also hit up on some extreme young black high school beat dancers, the contrast was the unspoken tension. though there was no overt joking, there was no judgement: just the flow of the oddness – of our culture, no matter on what side of the style line – it fell.
sweet curiosity is all I can say, in summary.
Tommy makes sure the world . . goes round. there were also some rough, low-fi hard-copy. still photo hand-outs.

Tommy makes sure the sound tracks, which are key – to his films, are as light-handed, and yet just as moving, or fluid as his images . . & in this, local musician / D.J. JOE WILLIAMS excelled with his, not easily defined . . original music soundtrack. more magic / more than travelog.
let’s just say: elevated & dreamy, if dreamy could be hardcore . .
music / to travel by.
see: ‘TOMMY MALEKOFF – ‘THE OUTDOOR WORLD’ – OPENING PIX / artlovers archive

the 2nd screening, I saw was just last year, also at just about this same time. Tommy must favor February, or Feb sure favors . . him !!
(witness the current show at Agnes B . . FEB 1 – 28, 2018.)
titled, ‘Perennial Shadows’, (2017), it was about the invasive & unstoppable, green destroyer . . Kudzu / the interloper weed that is taking over the southern USA. again a gorgeous film, with no words. and needing none. again, with a beautiful, oriental-tilting, ‘soundscape’ . . by JOE WILLIAMS.

“In the 135 years since its introduction (at the 1876 World’s Fair Centennial Exhibition in Philadelphia), kudzu has spread over 3 million hectares of the southern United States & continues to ‘consume'” – voraciously.
Kudzu: It’s a big, fast moving . . geographic ‘topic’.

ironically, and rather ‘sustainability-wise’ (!!), the film was screened at the small, but internet ‘infinite’, 24/7 digital gallery called JEFFREY STARK, which is located within a small white box of an actual ‘booth’ . . in an Asian global-style mini-mall, in the heart of Chinatown, 88 East Broadway. the exhibits are online real-time, and can be viewed through the glass wall. this small, minimalist-leaning, avant-garde, highly curated space, with its steel & glass infrastructure, was actually a great ‘foil’ for the nature-driven documentary.
although the film screened on a large scale (in the main lobby of the mall), for the opening, it played on a much smaller scale for the length of the exhibit, and was definitely none the worse for it.
there was also a rather casual, tack board of commercial grade, color photos from the film’s production, in the hallway.
it’s rawness, of the photograph presentation – was very engaging, esp as it was so casually a part of the surrounding mall activity.
see: ‘PERENNIAL SHADOWS’ / artlovers archive

this current screening at AGNES B BOUTIQUE GALERIE NEW YORK, turns out to be more of a mini-retrospective, and the projections are even smaller, which makes things – very curious for art mavens, who have been feeling like Alice in Wonderland for the past few months.
as well, the accompanying photographs have evolved to professional color art prints, in professional frames. and it is a more formal array of photos.
actually, it was really nice to see some photos – in this more formal setting.
esp on the Agnes B. brick wall. switching up – is good.


this is an image from ‘The Outdoor World’ (North Carolina), part of a nice little trailer produced specifically for this show.
you can watch it, here: AGNES B. BOUTIQUE GALERIE – TOMMY MALEKOFF

from the press release:
“TOMMY MALEKOFF (b. 1992) . . is a New York based visual artist from North Carolina. His work with video and photography deals with insular worlds and displaced phenomenons in the American landscape.”

PIX FROM THE OPENING – FEB 1, 2018 – AGNES B. GALERIE BOUTIQUE NEW YORK


TOMMY MALEKOFF at the opening.
photo courtesy: Agnes B.


the venue. a small portion of the front of the very chic, storefront / retail fashion boutique is dedicated to showing very close-to-the-bone, art shows.
small is sustainable is chic.


the crowd piled in, as the night went on.


a frame from a loop / random, yet . . NOT.
very Americana.


Kudzu takes over. very green, AF.
but sustainable ? not so much, more like . . native-killer.


headphones. you could hear the soundtracks – in dedicated concentration.


there was also a loop of more personal clips. kind of like a fast forward diary.
this must be Sean, apparently a deep sleeper, because he sure got . . shook.


a framed photo.
horses, esp carnival or rodeo . . were a subtext.
the un-brutal, sunny side of being . . a boy, a horse. a cowboy.


the opening coincided with NEW YORK FASHION WEEK / NYFW 2018.

PHOTOS: NANCY SMITH / unless otherwise noted.


see: TOMMY MALEKOFF – PORTFOLIO WEBSITE



~VIVIAN LE . . Chang’e No. 2

Keep on Truckin’. . .
seems, Everybody got to walk through life deflecting . . arrows.


VIVIAN LE . . ‘Chang’e No.2’
image via VIVIAN LE . . VILE / portfolio website

def, check out: VIVIAN LE, born 1992 /Chicago-born & based – PORTFOLIO WEBSITE



~VIVIAN LE . . I ONLY HAVE EYES FOR YOU !!

update: yesterday, FEB 14th later would become a day sadly marked by a high school massacre in Florida.
the 19 yr shooter a former student, turned on the fire alarm to cause more panic.
what ? are we gonna have contests now ?
body counts ?
I thought Bloody Valentine’s Days . . were for Depression-era mobsters.
this artist is 26 yrs old . . she is speaking to something, something hard, real & sad . .
a fissure . . in her cultural reality.
in a very gentle, the line work (!!), girly (no diss !!) graphic way, that sadly, makes for an ironic, yet solid . . twisted-out / connect.


VIVIAN LE, b. 1992 Chicago – ‘I ONLY HAVE EYES FOR YOU’


check out: VIVIAN LE – PORTFOLIO WEBSITE



~JOEY D . . MINIATURE BILLBOARD / YAB, GALERIE F, CHICAGO

just because . . .


wip / work in progress by JOEY D, for the GALERIE F, DEC 2017 group show . . .
‘You Are Beautiful Billboards’, mini billboard – group show.
Image via Instagram @galerief


JOEY D. , ‘Beautiful Insides’, 2017
acrylic paint & custom cut wood embellishment – on YAB miniature billboard kit for 2017 / Galerie F FAB group show.
size: 17 x 8.5 x 7 in.
image via Galerie F / Beautiful Insides

see: Galerie F / YAB Billboards



~SPEAKING . . miniatures / replica spaces / dollhouses & YEAR OF THE DOG !!

I’ve been fascinated by ‘miniatures’ ever since I can remember.
I collect them from random places, mostly thrift shops and the odd flea market.
they are actually pretty hard to find.


my greatly prized . . butcher’s block !!


a few more of my most recent finds.


lol . . yes, that’s tiny dog bowl, on the right !!
one of my best finds, ever. great graphic.
unbelievably contemporary color hues.


Kate recently scored the tiny black sewing machine for me . . in Door County, Wisconsin.
the one behind it, in a slightly larger scale, too big for a dollhouse !! / is actually a vintage Christmas ornament.
ornaments: that’s actually – a whole other subtext of . . tiny.

PHOTOS: NANCY SMITH



~RED ENVELOPE SHOW . . ‘YEAR OF THE DOG’ / GRUMPY BERT / PREVIEW

of course, one of the earliest ‘tiny’ art shows, in the current art cycle (!!) . .
was the RED ENVELOPE SHOW at GRUMPY BERT, the first one happened in Feb 2016.

artists are asked to submit original art work on lucky red, Happy Chinese New Year (money) envelopes, with the loosely held theme – based on the celebration of the whatever Year of the Animal it is, in the Chinese horoscope – which is based on the year of your birth.
the envelopes are: 3.5 x 6.5 in.
& they are usually priced well below $100 / though you’d prob want to keep them out of direct sunlight, as the red envelopes do fade in hue, after time.
but maybe for some that is the . . . point.
longevity – being a factor of ‘scale’ – as well.

this year – is the YEAR OF THE DOG !!

and it looks to be . . outrageous !!

‘RED ENVELOPE SHOW’
OPENS FRI FEB 23, 2018 / 7 – 10 PM
the show runs thru MARCH 11, 2018
GRUMPY BERT, 82 BOND ST, BROOKLYN

see: GRUMPY BERT, RED ENVELOPE SHOW, YEAR OF THE DRAGON / OPENING PIX / ARTLOVERS ARCHIVE

here are some previews from . . this year’s event.
what’s really great is, you get to see alot of really off-the-wall, illustrators work, which you normally don’t get to see too much of in New York, on ‘exhibition’ walls.


‘YEAR OF THE DOG’ – RED ENVELOPE by . . MARK WANG (@ouch_you_slouch)
originally from Tucson, Arizona, now based in NYC.

see: MARK WANG – ILLUSTRATOR PORTFOLIO WEBSITE


‘YEAR OF THE DOG’ – RED ENVELOPE by . . HELLEN JO (helllllenjjjjjo)
L.A. based


see: HELLEN JO – ILLUSTRATOR PORTFOLIO WEBSITE

all images via Instagram @grumpybert



~OLIVIA SWIDER . . ‘THE TEXTURE Of WANT’ / MOUNTAIN GALLERY / PREVIEW (with a side of ‘The Big Short’ & Catbox Contemporary)

OLIVIA SWIDER . .
might not have had ‘scale’ in mind as a priority, when she made this symbol-loaded, fade-out . . but, though she is talking ‘want’ (emotion), and ‘texture’ (plasticity) . . she is playing with everyday ‘scale’ signifiers / ordinary shapes & things, whose size we are all familiar with, and which really do the heavy lifting – in terms of our coming to grips with the piece.
esp as to . . .’how big is that ‘teen-age crush’ lush, plush soft pink carpet triangle ?’

esp as to how, it is presented: solely, as a digital photograph, with no other clues – as to size. no background, no dimensions in the accompanying text.
which is the way most things are presented now, btw.

it is a ghost . . in our comprehension of its reality. an ‘advance’ image. digital, published on the gossamer walls of social media – way before, we have ever even seen it.
we are only doing our best guessing, when we try to process it /shake it down.
we see it as ‘life-size’ / keyed to the ‘rosary’ and the 2 other clues . . the tiny plastic rosary sleeve, & the must-be tiny trophy. we are already evaluating dimension. from the get-go.

because . . .
that is . . unless.
unless . . it’s a replica. mini-me. miniature . . ‘dollhouse’ rosary, a necklace for a Barbie type doll (?) in which case – that will be, quite the surprise.
& which somehow, I highly doubt.
esp with regard to the length of the chain.
the trophy, on the other hand . . is more curious.
it must be a ‘tiny’ souvenir bell, or a paper weight ?

after the past few weekends, I’ve been through, I’m def NOT taking ‘scale’ – for granted.

starting with the startling ‘The Big Short’, and ending in a glorious cathouse free-fall, the NICHOLAS SULLIVAN pieces were made to fit the catbox, yet at ‘The Big Short’ ELIZABETH FERRY’s tiny bronze-like ‘matchbox’, hanging on the tiny wall . . of a teeny tiny Water McBeer ‘gallery’, with immaculate mini white walls, & even with tiny floor trim, and imposing miniature wood floors, called all things ‘scale’ into question.
replica of a larger piece ? illusion ? or, real matchbox – tiny gallery ?
tiny sculpture ?
while at the ESSEX FLOWERS presentation . . MARGARET LEE produced 2 tiny perfect potatoes, that look real, and big / life-size, even in photos, but are not so much, on a tiny bathroom shelf !!

these things have me . . all . . size-spooked out !! tread lightly.
is it for real ? is it an illusion.
does it matter – in context ? yes.

and then, there’s the size of the venues, themselves.

tiny apt / living room gallery . . to tiny Catbox platform, in a living room, is apparently not that far-fetched.
it’s some kind of ‘Alice in Wonderland’ meets ‘Gulliver’s Travels’ . . moment.

get that art up, and out there . . is the only rule.


OLIVIA SWIDER. image via Instagram @mountain.bushwick

SAVE THE DATE !!

OLIVIA SWIDER & DALIA AMARA – ‘THE TEXTURE of WANT’
OPENS . . SAT FEB 24, 2018 / EVENING
MOUNTAIN (APT) GALLERY – BUSHWICK, BROOKLYN



~NICHOLAS SULLIVAN, ‘O’ . . CATBOX CONTEMPORARY / INSTALLATION SHOT

NICHOLAS SULLIVAN , ‘O’
thru MARCH 11, 2018 – BY APPOINTMENT
CATBOX CONTEMPORARY

Q: I wonder if you want to buy some of this work, if you can just buy the whole install as is, with the incorporated, site specific . . . ‘O’ catbox as a collector Catbox ‘Catellite’ / i.e. off-site . . satellite ??

I mean, how else ???


image via Instagram @catboxcontemporary

SCALE . . is a such a many splendored thing.
it’s so relative. it can be so illusion-ary, esp in the digital age.
it so depends on your past experiences for . . understanding.


NICHOLAS SULLIVAN, ‘O’ . . installation shot
image via CATBOX CONTEMPORARY

see: more photos of the installation – NICHOLAS SULLIVAN, ‘O’ / CATBOX CONTEMPORARY



~NICHOLAS SULLIVAN, ‘O’ . . CATBOX / w MIKE LINSKIE & PHILIP HINGE side notes / OPENS SUN FEB 4, 3-6 PM

MR. UN-HINGED !!!!!!!!

the race to be the smallest & most inventive . . is on !!
or: the tiny canary that ate, the . . big cat !!

NICHOLAS SULLIVAN . . . O
OPENS TODAY SUN FEB 4 2018 / 3 – 6 PM
the show runs thru MARCH 11, 2018
CATBOX CONTEMPORARY, RIDGEWOOD, N.Y.

contact the gallery for exact address
after the opening reception, viewing is by appointment only

artist PHILIP HINGE . . runs CATBOX CONTEMPORARY.
it seems to have started up, just about this time last year.
“The gallery is located in my cat’s cat-tree in Ridgewood, NY. The unique size circumstances make for some really inventive and exciting shows.”

Mr. Hinge . . appears to be quite the conceptual goth, zany lyricist & way whacky pictorialist, himself. not to forget . . super challenging of convention, by the way !!
It seems only (non)logically right, then, that in his desire to up-end the art world shopping ‘cart’, he would arrive at some kind of very equally zany, provocative, contrarian & absolutely original, self-proclaimed exhibition venue, with which to stake a claim, for his serious, art world ambitions.
the strange part: he seems to be succeeding !!

I saw my first Catbox outing, last weekend . . at ‘The Big Short’, a group show of 9 very very different alternative curatorial projects / presented in the Hunter hunting grounds uptown, by artist curators: EMILY JANOWICK and PATRICK MOHUNDRO.

it sounded kind of iffy on paper, and didn’t really strike me as more than ‘too cute’, upon first sight. but close-up was – the epiphany !!
m-e-o-w.

the artist CATBOX presented, MIKE LINSKIE . . rose to the challenge, with a teeny, tiny one man show that fully celebrated what is not only a micro-space, but . . a curvaceous one, at that !!

the postage stamp size drawings (3 x 3 in.) were a delight, and the magic only kept on growing, in tiny increments . . with the ‘wall-sized’ murals, (watercolor, 11 x 14 in.) the hand-painted hermit crab shell sculptures packed a totemic punch, despite their tiny, DIY ‘beach souvenir’ stance.
totemic . . which also brings up the deeper philosophy of the Catbox – as art venue. under Philip Hinge’s guidance, not only are the artists asked to innovate, and switch up the scale, but ‘meaning’ is just as important, as plasticity, or art for arts sake.


see: MIKE LINSKIE,’Morning Sand’, CATBOX CATELLITE, for ‘The Big Short’ – CATBOX CONTEMPORARY WEBSITE

see: PHILIP HINGE – ARTIST PORTFOLIO WEBSITE

from the gallery press release:

For, O, Sullivan transforms both the upper and lower galleries (!!) into incubators for visual and formal oddities, creating an observed stasis for the characters and objects contained within. His use of familiar objects and pop-icons like Snoopy, the Pink Panther, or a bar of butter allow the viewer to assert their visual and emotional response into the space. An overarching narrative about personal and collective experience is given a coded history through the mixed means of Sullivan’s installation . . . . .

NICHOLAS SULLIVAN, (b. 1987) lives & works in Brooklyn. He is an assistant professor in Studio Foundations at Massachusetts College of Art and Design.

see: NICHOLAS SULLIVAN – ARTIST PORTFOLIO WEBSITE


NICHOLAS SULLIVAN, ‘Upsidedown Dog’, 2016.
Steel, Magic Sculpt, flashe
image via: NICHOLAS SULLIVAN WEBSITE



~’THE BIG SHORT’ . . . 9 ‘ALTERNATIVE’ CURATOR-PROJECTS / HUNTER BASEMENT OFFICE POP-UP / OPEN SAT / 12 – 6 PM

OPEN TO THE PUBLIC – SAT FEB 3 / 12 – 6 PM !!!!!!!!!!!!!!!
def, GET YOURSELF T-H-E-R-E.
THIS IS THE LAST DAY !!!!!!

CURATED BY: EMILY JANOWICK & PATRICK MOHUNDRO

THIS SLIVER of a SHOW . . is a KEEPER.

about the size of a glass shard,
compared to . . . ‘QUIET’ and ‘WE LIVE IN PUBLIC’ (!!),
this artist-curated show, and the 9 ‘alternative’ gallery-indie curators it presents,
are examples of how underground ‘projects’ have to work now.
just literally get your foot in the door, and put up a show.

‘THE BIG SHORT’ – CURATED BY EMILY JANOWICK & PATRICK MOHUNDRO

FEATURING . . . 9 INDIE / ALTERNATIVE CURATORIAL PROJECTS:
75 CELL, CATBOX CONTEMPORARY, CUSTOM PROGRAM, ESSEX FLOWERS, PAY FAUXN, PLUG DUMPSTER, TETE-A-TETE, WATER MCBEER, & HELPER

‘THE BIG SHORT’ . . WILL BE OPEN THIS / SAT FEB 3, 2018 / 12 – 6 PM / FOR ITS VIEWING.

THE ARTISTS INSTITUTE BASEMENT – IN THE DIRECTORS ‘CLOSET’ OFFICE / 132 E.65th Street at Lexington

“No one can see a bubble. That’s what makes it a bubble.” -MARK BAUM, THE BIG SHORT, (2015)
~gallery press release


the show’s artist curator producers . . . EMILY JANOWICK (@cyclone_bomb) & PATRICK MOHUNDRO (@mo_hun_dro),
are 2nd year MFA grad students at Hunter. I guess they could be anywhere, from this angle.


but here they are, in a small, tiny closet of an academic’s office, in the low-ceiling basement, of a grand old brownstone-type building. their show’s entire area looks to be 200 sq. ft. , if that.
including a tiny bathroom to the right, & a small couch to the right of that.
and a desk or two. a back wall lined with bookcases.


behind them is a found piece by . . . PAY FAUXN.
Pay Fauxn couldn’t exactly drag in their actual venue, which is an abandoned pay phone box, so in came the next best thing: a ‘distressed’ urban cardboard sign, which was then enshrined in a vacuum seal baggie.
very raw, Pay Fauxn is the project of . . MARY KOSUT.

“PAY FAUXN is an obsolete pay phone on the grounds of a defunct nursing home at a bus stop in Bedford Stuyvesant, Brooklyn.”
the best way to follow them, besides just walking by, would be by IG / @payfauxn
or via the website: www.payfauxn.com/.
yes, definite hit – that link.


JULIE MALEN . . . soft sculpture, looking very bloody, bad meaty !!
in the small bathroom’s exhibit curated by ESSEX FLOWERS.


JULIE MALEN.
scale is a whole other ‘bag’ of body parts, in the digital age.
what can be big can be made small, and what is small . . can seem large.
look at that, ‘Alice in Wonderland’ . . still relevant.

ESSEX FLOWERS . . put on a tiny show called ‘Please Mister Postman’, last April 2017 . . with tiny reproduction paintings by 5 contemporary artists, displayed in the gallery hallway mailbox, curated by NICHOLAS MOENICH.
referenced to, in passing conversation by ‘THE BIG SHORT’ curators, it seems to have set the bar / for mini shows, in very small & off-the-grid . . places.


still in the ESSEX FLOWERS bathroom, the back wall:
painting by . . JASON STOPA.
the black vase with the strange green plant, is also by . . JULIE MALEN.
NICKOLAUS TYPLALDOS made . . the surreal BANANA.
the set of very real looking potatoes are by . . MARGARET LEE.
curiously, they are made of plaster. strange, how compelling they were.

the Essex Flowers display even has a title: ‘Watch Out For the Water’.
it’s about . . “the etymology of 2 terms: gare a l’eau and trompe l’oeil”.
it also serves:
“as an exercise in provisional curating as it was organized from idea to installation in 72 hours.”


JULIE MALEN . . black vase and flowering cactus.


MARGARET LEE . . 2 potatoes, plaster.
I found these such compelling objects, just something about them.


CATBOX CONTEMPORARY is a gallery space run by PHILIP HINGE, “in his cat’s cat-tree in Ridgewood, N.Y.”.
‘Catbox Catellite’ – is their ‘visiting’, off-site platform.


the low fi light provided by this flood lamp, casts a dramatic spell on the tiny totemic sculptures & paintings.


miniature offerings by . . MIKE LINSKIE.
the tiny ‘Untitled (Starmen)’ drawings are 3 x 3 in., pen on paper, 2018.
the little sculptures sitting on the floor, are ‘Hermit-Man Remains’. 4 x 4 x 3 in., hand-painted hermit crab shells, plaster and sand. 2014.


a tiny mural.
MIKE LINSKIE, ‘Palm Grove’, 11 x 14 in., watercolor on paper, 2016.


the WATER McBEER install, on the couch.
“Water McBeer presents a selection from his private collection.”
the 2 framed pieces: CHRIS MARKER in ‘Nanomuseum’ curated by HANS ULRICH OBRIST; the electric naked woman painting is by JAMIAN JULIANO-VILLANI. the strange concrete circle on the floor is by IGNACIO GATICA, and the even weirder 3 prong piece is by BRENDAN LYNCH.


also, in the tiny Water McBeer gallery:
a wonderful, teeny tiny bronze-looking book of matches, by ELIZABETH FERRY !!
or, is that a real book of matches, painted to look bronzed – I asked myself later.
and, check out the detail on that miniature wood floor.


CUSTOM PROGRAM, an alternative gallery space in Brooklyn . . presented ‘The Active Denial System’ by MEGAN SNOWE.
“The Active Denial System (ADS) is a less-than-lethal, millimeter-wave direct-energy weapon developed by the US military for the purposes of perimeter security and crowd control …”


tucked in a bookshelf a tiny, but radical . .


Rasta tableau by . . HELPER !!
less scary tech !!
more Rasta magic !!


57 CELL . . an alternative publishing / curatorial project, had a retrospective of all 4 booklets to date, offered up for browsing. interestingly, 57 cell publications are only offered as hard copy, there is no online digital archive available.
57 CELL is a GREGORY KALLICHE PROJECT, see: 57 CELL


each ‘booklet’ presents the work of one artist, this is a page from:
‘ALEE PEOPLES / DOWN THE DEEP’. you would want to flip through all four.


while TETE-A-TETE had its many digital projects playing . . on multiple laptops, around the room.
see: tete-ahh-tete.net


perhaps most ethereal,
PLUG DUMPSTER . . presented a performance by EMIL BOGNAR-NADOR on the opening night.
‘Listen To The Space / An Invitation To Hear Listening’
@plugspace . . is a CRAIG MONTEITH project.
PHOTO COURTESY: THE BIG SHORT – CURATORS


leaving behind . . the infinite world in a closet of an office,
that was ‘The Big Short’.

PHOTOS: NANCY SMITH – unless otherwise noted



~ALFREDO MARTINEZ . . ‘WE LIVE IN PUBLIC ‘ / ‘PROJECT GHANA’ OPENING TO-NIGHT FRI

ALFREDO . . wants BENICIO DEL TORO to play him in the new ‘WE LIVE IN PUBLIC’ flick.

APART FROM from his huge & fully functional shooting gallery installation at ‘QUIET’, Alfredo is also famous for his real . . ‘FAKE BASQUIAT’ caper, which merited him 2 years in the ‘THE BIG HOUSE’ / Metropolitan Corrections.


this is a recent one, from late last year 2017.
he’s just born that way. he can Basquiat standing on his head.
he can do Basquiat better than Basquiat can.

ps: if you look at the ‘texts’, swirling around in the background, though . . you will see references . . . to stuff that is happening now, so they can’t possibly be . . by the real Basquiat.

except now, he signs them off as his own, as the ‘REAL FAKE BASQUIAT FORGER’, instead of pasing them off for the real goods – to unsuspecting big ticket collectors, phony artist ‘certificate’ and all.


This is one of Alfredo’s newest pieces of his own . . work.
a portrait. he usually does guns, but he’s actually a wild portrait artist & he takes great photo head shots.
it is done in the collaged / hand-made Elmer’s white glued paper diy technique he perfected in prison, because he wans’t allowed to have any drawing or painting materials. he did portraits of the mobsters & con men around him, using coffee packages and jello as pigments, apparently he was a huge sensation.
they are quite lifelike.

Alfredo has this portrait, and maybe more . . in a show opening tonight.

FRI FEB 2, 2018 / 8 – 10 PM
‘PROJECT GHANA’ / ‘BEAUTY FOR FREEDOM’ at THE FLAT NYC
23 W 24TH ST, NYC, NY 10010



~JONAH HILL . . as JOSH.

J.H. meet J.H.

JONAH HILL as JOSH HARRIS.
you may as well just fall off your chair, now.

You can just see Jonah as Josh, looking up at the Livingston apple orchard, wondering where the hell, did all the . . money go,
and wtf, just happened.


JONAH HILL in . . .
‘DON’T WORRY, HE WON’T GET FAR ON FOOT’, directed by GUS VAN SANT.

watch: ‘DON’T WORRY, HE WON’T GET FAR ON FOOT’ – OFFICIAL TRAILER – YouTube

see: ‘DON’T WORRY, HE WON’T GET FAR ON FOOT’ – NYT / JAN 18, 2018



~BEN STILLER: ‘WE LIVE IN PUBLIC’ & ‘THE MEYEROWITZ STORIES’ . . . yes !!!!!!

if BEN STILLER . .

can do his just announced, upcoming feature adaption . ..
of ‘WE LIVE IN PUBLIC’, the Sundance winning documentary about JOSH HARRIS, the so-called Andy Warhol of the web, and art world bad boy . . .

just as gently; but really funny in parts, all too human, bitter-sweet, sad and even harsh in others . . .
as is the tone of the recent ‘THE MEYEROWITZ STORIES’ (2017) . . . where he plays older brother to a failed bro (musician), and successful son (wealth management for rich hipster clients) to an oppressively narcissistic forgotten artist dad,

then things are looking good for a Hollywood re-make.

though of course, ‘THE MEYEROWITZ STORIES’, though it often hit very close to home, and sometimes even . . too close to home, is a fictional though very accurate portrayal.

it kind of makes you realize just how delicate a task it might be to come up with a great, funny, sad serious, twisty, biopic on Josh, esp as ‘WE LIVE IN PUBLIC’ . . moves very fast through a time frame of several years, and is characterized by Josh’s interactions with many different, but all high-octane ‘players’, who though individually brought a lot of wild antics, collectively imploded with great gusto, along with some hard knocks, . . within the so-called ‘social experiment’, that Josh said he made, but that really – made him !!

ADAM DRIVER, has a wild cameo . . in ‘THE MEYEROWITZ STORIES’.

he plays a young wannabe rock star, who is maybe going through his first cash payday – a little bit too fast. Ben Stiller in his role as Matt, the older Meyerowitz bro – who runs a budding, start-up celebrity wealth management for hipsters business, has come in, to put a lid on the money action, but still stay .. cool af.

in that fast-paced, tone-perfect scene, I could definitely see the potential . . for a perfect storm . . of a JOSH HARRIS / ‘WE LIVE IN PUBLIC’. BIO-PIC.

they should try to find a equally brief, in & out, cameo role for Driver . .
in the ‘WE LIVE IN PUBLIC’ project.

maybe: as ALEX ARCADIA, lol.
he built that Nazi-like, real goldfish swimming in pond / moat . . ran around a 3D temple, that Alex reportedly got $80K to build, & where Josh like some the mad leader of a futuristic cult, often gave his . . ‘mission’ speeches.

with JONAH HILL . . already on-board to play . . Josh, & I can just see it, come to L-I-F-E.

it could be real big win.

‘WE LIVE IN PUBLIC’ – HELLO, H-O-L-L-Y-W-O-O-D.

‘THE MEYEROWITZ STORIES’,
came out last fall, directed & written by NOAH BAUMBACH.
it stars BEN STILLER & ADAM SANDLER (in very tapped-down comedic modes – hurray), as the very different, almost equally damaged grown (half !!) sons of the cranky, semi-seedy self-obsessed old school NYC artist, played by DUSTIN HOFFMAN, and he’s . . nailing it. performance-wise.
you know, or you will, one day . . . the grumpy guy who never made it, won’t be the faculty group show, and his best friend is having a retrospection at the Whitney.

‘THE MEYEROWITZ STORIES’ . . won the PALM DOG award at the 2017 Cannes Film Festival.

COMEDY-DRAMA ?!!!

REAL LIFE / DOCU-DRAMA ?!!!

JOSH HARRIS & CREW / ARE IN YOUR HANDS, . . . BEN STILLER !!!!!


BEN STILLER, as MATTHEW MEYEROWITZ . . . in ‘THE MEYEROWITZ STORIES’.

def, def def !! watch the trailer: ‘THE MEYEROWITZ STORIES’ – OFFICIAL TRAILER / YouTube

in fact, you can watch the entire film right now, it’s now on . . NETFLIX !!

more background . . .
see: ‘THE MEYEROWITZ STORIES’ – Wikipedia

here’s how that wiki post / re: Plot . . begins:
“After separating from his wife, unemployed DANNY MEYEROWITZ (Adam Sandler) moves in with his father, HAROLD (Dustin Hoffman), a retired Bard College (!!) art professor and sculptor, and his 3rd wife, MAUREEN (Emma Thompson) . . .”
and btw:
DANNY has a daughter (Grace Van Patten) who is just starting film school, at Bard College, who makes . . “sexually obsessed” art films.
and, we can all . . relate.



~THE ART . . . ‘WE LIVE IN PUBLIC ‘ !! / w new corrections as of JAN 30, 2018

note: JOSH HARRIS says, LUVVY is his virtual self / & not his alter ego, inner evil twin,
secret persona / or performance vehicle. etc. etc.

shhhhhhh…….

QUIET !!!!!,
WE LIVE IN PUBLIC !!!!!

EVERYBODY talks about the drama, & the future vision, but if ‘WE LIVE IN PUBLIC’ had a bleeding, beating heart . . it was the ART.

exhibition / hard copy art, even framed art, silkscreen, installation, both site-specific & not / performance art of all kinds, video, digital, computer, light, sound, architectural, food art, xxx rated burlesque: you name it.

I mean even the video footage, that went on to become the basis for Sundance winning ‘WE LIVE IN PUBLIC’, was . . art. video done as – art.
the 24-7 reality camera surveillance, was part & parcel of the ‘QUIET / WE LIVE IN PUBLIC’ art game . . . from the very get-go. prob the single most important element.
in the end the footage was stored on cassette tapes, with hand-lettered labels.
I know because I hand-labeled them.
it was year 2000.
I don’t even know what kind of computer storage existed / if it was even possible for ‘amateurs’ to upload video ?

ONDI TIMONER was hired . . as a film artist !!
her project was to document this crazy wild / 2 week long millennium party . . that Josh called ‘Quiet’ / in a spit of contrary that is very characteristic of his mindset. She was so very low-key through-out, but so focused.
she was like the – breathing & inhaling of the whole.
she was on everything – like a cat.

she was also given an additional budget, something like $100,000 to archive, and store the tapes & hopefully form them into some kind of summation / a rough edit. Josh was in doubt the project was even going to amount to anything. Sundance . . been there, done that. won. hello, Hollywood.

‘WE LIVE IN PUBLIC’ seems to jerk forward in 9 year leaps.
anything in the Mayan calendar about that ?

ONDI was one of the first artists – to be taken on specifically for ‘Quiet’, who did not come out of Josh’s usual crew.
He watched ‘DIG!’ & she got the green light. that was it.
if it was green light / it was . . Go !!
along with a production budget, that was to most of us . . an astounding cash flow.

that’s the way the dot.com boys played at the time. cash hardball. cash moneyball / double-time.
the mainstream NYC art world had no idea what was being bounced down on them, and they still . . don’t.

that . . was Josh’s best & greatest m.o.
you pitched him an idea, from any corner – and if it caught his fancy / you were up & running.
and, I mean .. up & running.
payroll ?
payroll . . rock n’roll.

you got the kind of cash budget / sometimes you even got Josh’s credit card lol, that made it possible for you to build that art / that dream, and build it . . well. if not downright glorious. and absolutely – outside the box.
way way outside the prevailing standard white wall box gallery exhibition budget, then or, now.

CASH / CASH / CASH
CASH 4 ART

I think in part that, ‘QUIET’ & the immediately following solo Josh (& the fake GF) project, the original ‘WE LIVE IN PUBLIC’ . . .
and then 9 years later, Ondi’s cumulative Sundance winning documentary ‘WE LIVE IN PUBLIC’ . . went basically unnoticed & definitely unremarked upon by the mainstream / usual suspects / NYC ‘art critics’ . . just, simply because of that big 90s tech dollars – cash throw-down.

one: there was a very real / very uninspired bias happening in the staid art press vs. the kind of incredible ‘art parties’ that the young tech millionaires were throwing at that time, to compete with each other, even though they were bonafide installations, which made the conventional art scene look stale & seedy, btw.
it was: they were techie parties. they weren’t art. the art critics in this town are such stupid snobs. no wonder rebel rebel Brooklyn is so alive.
(btw the tabloid press & NEW YORK mag loved Josh. they could not get enough of his ‘staged art’ installation photos.)

two: apart from the bias against who was putting on the party / install exhibits . . the institutional art critics . . just couldn’t get their small minds around a huge conceptual art ‘performance’ – that was made on such a big budget. and which was so multi-layered. at the most, all they had seen till then were Jeffrey Deitch’s small one room, ok ‘big’ room events . .

I mean, even Damien Hirst was still yet to produce his shark-in-a-tank / OBGYN-chair-in-a-tank in a room in a gallery.

Josh had 4 floors of a warehouse going on, with 2 sub-basements, not to mention a bubble-wrapped 100+ person sit-down dining room / performance space next door !!
we are talking over 100+ live-in artists incl. in-house crew . . . making art, and the whole place was open to the public 24/7 / open bars and it was a mob scene.

in a way, looking back . . it was ‘infinite’ compared to the standard art exhibit.
it was . . proto-web.

three: not only were the so-called critics not up to speed on ‘conceptual’ art as an umbrella / financed by an unthinkable budget, but Josh and his Pseudo production crew – were already on the web !!
nascent as it was. they had $81 mill in the bank !!
they were completely independent . . of the staid old gallery / old boy system.
the whole Josh Harris-curated wonderland . . just went right over their heads.
it couldn’t fit inside their tiny idea – of an art box.

IN A WAY – AN ‘INVERTED’ WAY !!!!

‘QUIET’ / ‘WE LIVE IN PUBLIC’ . . was kind of like the art scene today, with its many, tiny indie curators bypassing the stultifying mainstream art scene, by showing art wherever they can, whether from inside their tiny apt living rooms, to stuffing stuff in old abandoned phone booths !! to sabotaging advertising boxes on the street. kind of like the shattered ‘Terminator’.

Josh was the ‘Terminator’ . . whole.

Josh had the dough (supposedly $81 million) & an insane drive . . to bankroll & produce art.
He was like the Medici of the tech world. damn it, if he didn’t rent a huge 4 story abandoned warehouse, & its abandoned storefront neighbor in Tribeca, in which to throw the biggest art party this town has still never seen seen beat, & also . . splash down the megabucks for a huge hi-end loft on Spring & Broadway in Soho, in which to run his own solo / project.
we are talking: god-almighty tech million dollar art productions.

sometimes, as we all know . . CASH is a four letter word.
and so is art critic. and it’s not a pretty one.

but the downtown art scene – never ever saw better times.

here’s just a small small sampling from my own archives:


JEFF GOMPERTZ, now based in Thailand, built the incredible jaw-dropping pod hotel / art installation that housed over 100 artists. based on Japanese pod hotels, it was super functional, and sleek.
other digital artists, and technicians, whose names I don’t know, but they were masters . . wired & built the equivalent . . of a in-house proto-internet / Facebook / instagram social media / social network.
the pods were wired with surveillance cameras re: output.
re: input . .
every pod had its own screen and a few, maybe 3 channels of broadcast access . . to the 24/7 ongoing surveillance.

if, the Citizens Band was marching buck naked on the dining room table – you could see it from your pod.
if someone was having sex in the pods, you might be watching it while you ate dinner.
‘bio’ – in all its grand meaning – was a big big part of the show.
Josh – was a very curious guy. yeah, he was out to shock. and, why not ?!!
AI & Computer learning, algorithms . . take note. humans at work.

are you getting a sense of .. just how big / the big brother picture here, was ???
just how big . . the art picture was ?
this was a hardcore artist – ARMY !!!

go fit that . . in your Brooklyn living room, lol.


a birds-eye-view of the surveillance / digital HQ.
off limits . . to most of the crew.

in fact, I believe that’s ONDI TIMONER, to the extreme right, with some kind of bandana around her head.

you have to remember . . it was year 1999 – turning the corner onto 2000.
I personally didn’t even know how to email. people had cellphones, but there were no smartphones.
what was that, even the concept did not exist.
internet service was dial-up. there was no communal social media platform / this was the proto-type, in fact. a self-contained / but inter-connected 24-7 wired hub / hive.

sometimes I go to openings, and I realize . . that these kids were like . . only 4 !!
when we did this.
it was . . MEGA.


site-specific / install artist DAVID LESLIE . . concocted pretty much the whole entire basement, that wasn’t the gaming room or the shooting gallery, lol. or were those on the lower lower sub-basement ?
the opening night . . snowy ‘target practice’ / was life-size arcade blow-out . . & it was his.
it didn’t even make the cut / documentary. but all of those cheesy live action sex games, that weren’t in the pods, all those set-ups are his.
Josh’s evil alter ego Luvvy, came to life – in the footsteps of David Leslie.


eternal red-neck cowboy, MARK ENGER, R.I.P . . . of EXPLODING SKY, did a lot of the graphics, & most vividly, it was he who silk-screened circle ‘targets’ onto the in-house crew’s grey work shirts.
before there was Swizz Beatz silk-screening all over his jackets – there was Mark.


the bubble-walled dining room sat 100+ & had its own kitchen in back, with its own in-house pro chef serving 4 star meals. it totally blew everybody away. walking in, it was like turning on the Discovery channel. it made non-believers into believers. it was stunning.
commissioned by Josh himself, as were all the installations, this future-reaching, site-specific installation, shockingly visual & tactile . . was designed & made by MARIA ALEJANDRA GIUDICI.

also note, GABRRIELLE LATESSA ORTIZ ran the the food. nailed it.


ALFREDO MARTINEZ built and ran the . . SHOOTING GALLERY. licensed as a film ‘prop’. . anybody could come & safely learn how to hold & fire off a big big gun.
yeah, that’s my kid Theo, who was 9 at the time – shooting the gun.
Columbine had just happened, April 20, 1999, and, you bet: I wanted my kid to know how to handle guns.
& sad story short. high school shootings have not gone away.


the master of ceremonies, the man himself, JOSH HARRIS . . in the transparent / communal shower.
I got around that by showering under a blanket.
you had to figure out how to work it, for yourself. it was kind of a maze, a daily ritual maze.

site-specific, & very much working: lots of hot water. this functional, totally radical, transparent live in public, communal shower – was commissioned by Josh from . . and, designed by the cutting-edge design team of: MARIA ALEJANDRA GIUDICI, (who did the Bubble dining room), & her husband at the time . . MARIANO AIRALDI, who also built & installed it.
Photo via WE LIVE IN PUBLIC archives / courtesy: JOSH HARRIS


I was supposed to put on a . . . ‘live action quilt / sewing bee’ !!!!!!
alas, this was as far as I got, before I got usurped to be Josh’s right-hand production assistant.
‘QUIET’ was as quick – as the future internet was going to be, too.
you got liked or disliked . . in a blink of an Josh Harris . . eye-lash.
or . . usurped.

don’t get me wrong, he liked the quilt idea !! alot !!
just the skills that made for quilting – also made for excellent production assistant, esp in a very busy & wild ‘organic’ hive of an install – like this one.
which also seems very future vision, just check out how your IG / Instagram feed is organized.
classic 3 patch.
x digital infinity.


so, I took to building, prob the ‘tiniest’ creative units at ‘QUIET’ / DIY paper lanterns made from two sheets of standard 8 x 10 in. typing paper, glued together at the seams.
I then collaged them with various found ‘photographic’ scraps, that were all over the place.also tiny lost sequins, beads, red glitter & red Xmas thread, and hung them from the ceiling pipes, in random places, as I raced around doing Josh’s bidding.
. . & if that isn’t very FUTURE BROOKLYN – I don’t know what is.


what was so cool, was I would string em up at night, un-announced.
very private. very anonymous. no artist credit whatsover, no signature anywhere . .
and the next day, they would have colored professional lights projected on them.
I felt, in that great creative chaos, of huge $$$ artist projects, and even huger artist egos, someone was creepin’ on me.
someone . . got me !!

looking back, yeah, I was . . self-publishing.
I was making ‘comments’ ’emojis’ ?
in the proto-zone / Pseudo internet.
I was a tiny nano unit – that ‘vibes’ the communal hive, & keeps the bizz/buzz level up.
I reached in, to connect.
I was the tiny singular voice – that had . . a voice !!
I was just one outsider / in the insider singularity of the whole.
I had nothing but my own strong primal / prey driven desire . . to make art.
create . . a beat in the background, a response. articulate a skill.

I was commenting . . on the vibe of the underground, & I was diggin’ it.

yeah, someone got me.
and that someone was: Josh.

and that’s how we all felt working & making art . . for JOSH.

LONG LIVE – PSEUDO !! LONG LIVE INDIE REBEL ART !!

just we got to do it on a scale, that would blow all – your Brooklyn minds, apart !!

PHOTOS: NANCY SMITH / unless otherwise noted



~BEN STILLER takes on ‘WE LIVE IN PUBLIC’ / JONAH HILL to play JOSH HARRIS . .

the BIG ANNOUNCEMENT . . came out this past weekend at SUNDANCE 2018 !!


IMAGE: screengrab Indiewire

“ONDIE TIMONER’S . . . 2009 SUNDANCE GRAND JURY PRIZE-WINNING DOCUMENTARY, ‘WE LIVE IN PUBLIC’, will become a feature film directed by BEN STILLER, starring JONAH HILL as JOSH HARRIS, the dot-com millionaire who carried out a surveillance experiment with 150 residents at a Manhattan hotel amid Y2K panic.
BOLD FILMS will finance the project, which Timoner will produce with Stiller’s RED HOUR FILMS.”

read: BEN STILLER TO DIRECT JONAH HILL in film adaption of ‘WE LIVE IN PUBLIC’ / Indiewire, JAN 20, 2018

wow, a lot of people fell off their chairs – when they heard that !!

JONAH HILL . . portraying Josh – is brilliant.
I heard ALFREDO MARTINEZ told someone, if he had his dibs, he’d want BENICIO DEL TORO to play him.
sweet – it is.

and, in typical, ‘provocative JOSH-mode’, which is saying it nicely, Josh immediately emailed me to ask: who I wanted to play myself ? & my real bad hubby, SIMON CERIGO, RIP.
who brought his girlfriend along for the ride, nice move – Simon.

somebody else emailed me & said they hope it’s gonna be a . . comedy ?!!

I hope, not !!
it’s already jam-packed with characters and chaos up the wazoo . .
instead, I hope they play it very straight-up, close to the chest, real down-low, and serious. totally against the grain. I hope they play it . . Shakespearean.
even though it was totally far-out, fast & furious, not to mention wildly hardcore, wildly illegal, eventually getting shut down by the NYPD, the FDNY & FEMA, all 3 !! the personal cost of this visionary quest, was harsh. many of the ‘WE LIVE IN PUBLIC’ participants, including their leader Josh, were burned by their up-close brush – with the . . ‘future’.

taking it down to a very personal level, thanks to 24/7 computer-archived surveillance, I literally got to see my so-called hubby throw me under the bus.

on the bigger picture, Josh . . might be now be called, among a small group of cult cognizanti, the ‘father of social networking’, and the . . ‘Andy Warhol of the web’, but his prey-driven compulsion to intuit & uncover the potential of the new world of ‘online’ . . for both the individual & the culture at large, left him depleted, and broke $$$. the man who mined the social dynamic of the vast unknown that was the web in 1999-2000, was the prob the first to fall victim to it’s peculiar irony: the great social universe vs. primal human personal needs fall-out.

and, of course the biggest tragedy of all, is how the mainstream art world, just dropped the ball on the whole scene.

“hotel”, my foot . . !!
it was in reality, 2 decrepit warehouse buildings, which Josh took over on Broadway at Leonard, on what was then, the outer fringes of sleepy Tribeca. it was open to the public – 24/7. it was party central with free, free-flowing bars, lounges, dance parties, art exhibits & art-in-the making / install & site specific wips. there were hi-end tech and web gaming. the in-house crew, running the parties & producing the shows, of which I was a part, wore custom EXPLODING SKY silk-screened work uniforms. we had a live-in 4 star chef cooking the meals, in the futuristic bubble dining room, that sat 100 easily. there was almost no security, despite being wired 24/7 big-time for video, and definitely no fire escapes. just the way we like it. all up-close, & in-your-face, wild & free. with lots of early 90s start-up money getting thrown around, everywhere & every which way.

“desperate” . . ? I don’t think so.
Josh loved talent, esp. the ‘real real’ !!
people were making more money in those 2 weeks, then they had in the past 5 years.

“hotel” . . ? lordy !!
more of an underground bunker – filled with underground artists, in 1999 there was NO Brooklyn, let alone the Bronx. downtown / including the LES was it, the low-rent land of the hardcore. no wonder, ‘QUIET’ the huge millennial party that birthed ‘WE LIVE In PUBLIC’, exploded into chaos. and, . . brighter than light, insight. for an artist, being there was the chance of a lifetime.
and, at the apex, there was . Josh.
the wonder boy multi-millionaire tech entrepreneur, with lots of money, but limited social skills, and ‘Luvvy’ the clown, his alter ego / sidekick . . as maestro. the nerdy junior high school social scientist & his inner bad boy / calling the shots. directing the games.

if you could keep his fast moving attention, you were in. if you couldn’t – you were out.
if you could flow like mercury, and fly like a bee, all the better.
at ‘Quiet’, we lived in a communal space, which was a joke . . because artists by nature, are so indie, so competitive & plus we were all competing . . against each other for Josh’s time & dough.
non-stop game of musical chairs.

the one rule was: if you left the building, you could not come back. you were out.
sunlight. what’s sunlight ?
personal life ? there was no personal life / there was only . . JOSH-LIFE !!
that was it / that was the mind-set. that was the . . WEB.
or should I say, proto-WWW/WEB.

you may as well have been on a disco-balled space ship heading to Mars.
which was pretty much part of the original scenario from the get-go.
24/7 surveillance didn’t come across as so bad. 24/7 cameras, & the we live in public mindset . . wasn’t really the bad part. even when it was not just being recorded, but playing on screens live – everywhere.

it was more . . the closed-circuit Josh / the mad social scientist/artist & his sidekick Luvvy the Clown . . at the controls, running his ‘social experiment’ / like some mad Wizard of Tech Oz, that was really what made for the intrepid partiers go off the rails.
and break down in tears.
Josh baited, and lured.
“Off to the Interrogation room” / yes .. there was a Nazi-like interrogation room, was basically . . a modern take on: “off with their heads, Alice” in Wonderland.
Luvvy had very little compassion. Josh had even less. the generous art patron had a double life.

he could give, but he could just as easily pull the carpet right out from under you. that was actually an interesting departure for me/ re: collectors who buy art like sheep. I gave him more credit for that, than many others did. bottomline for me was the: the real real survived. to live another day, maybe.
don’t get me started.

“hotel” . . ?
we bunked, piled on top of each other / a sleeping residence for 100, inspired by Japanese pod hotels. if you want to talk, “hotel”. what you really want to say is: beehive.
what you really want to consider, is the ‘singular’ individual vs the web ‘community’.

and, so short story fast. in this way, Josh stumbled upon the . . FUTURE.

it’s name was: SOCIAL NETWORKING.
& it’s twin nano baby siblings, were . . self-recording, & self-publishing.


the dvd cover / logo for . . ‘WE LIVE IN PUBLIC’, 2009.
the seeds of social media / networking . . were sown in a wild underground bunker party thrown by a prey-driven social scientist tech entrepreneur, JOSH HARRIS & played-out by the wildest bad-ass underground artists that he could find, to ring in the Millennial/ year 2000 & boldly usher in the unknown potential of the computer, which at that time, nobody envisioned further than spread sheets, emails, writing that could auto-correct without white-out, and .. porn.

funny, how well it cleaned up !!

9 years later – with the documentary, the cover image says it all.
apparently, new rules of politically-correct / tamped-down social behavior had to evolve to catch up.
well, that was 2009.

it’s now, 2018, only another short 9 year interval later, and seems . .
we’re only humans after all, and . . man can even our President – let loose on twitter.

not to mention:
fake news, bullying, scams, & au contraire: awareness, knowledge.mass information. bad warnings of in-coming missiles. on your phone, at breakfast. in Hawaii.
the sheer availability of information has actually out-run the available solutions.
the new power of group voices have super-ceded the courts. the court of opinion is like an orphan who has finally found their mother 20 years later.
mass waves of protests / based on communal words, sentiments, and hashtags. hopefully for the good / abuse victims getting strength to speak out in numbers. rappers & wrestlers getting taken down by bad behavior endless personal content. reality. IG stories, little kids watching DIY YouTubes of other little kids opening endless tiny ‘presents’. AI. the power of the random, the power of the mass. from digital artist platforms archiving exhibits for eternity, to just plain ole renting your apt on Craigs list.

chaos ? desperation ? ‘Quiet’, ‘We Live In Public’ / year 2000 in an underground bunker in NYC.
surely you . . jest.

the real real artists – are always going to win.

I hope this movie crushes, absolutely crushes, the mainstream art world in this town, and the clueless art critics who missed the ball on ‘QUIET’ – even though it was the biggest & most important art party / installation this town has ever seen.

yeah, DUDE: BEN STILLER, KEEP IT . . SHAKESPEAREAN.



~’THE BIG SHORT’ . . 57 CELL, CATBOX CONTEMPORARY, CUSTOM PROGRAM, PAY FAUXN, PLUG DUMPSTER, TETE-A-TETE, WATER MCBEER, ESSEX FLOWERS, HELPER / THE ARTISTS INSTITUTE BASEMENT / OPENS TO-NITE SAT

THE BIG SHORT . .
with artwork by: MIKE SCHREIBER, MIKE LINSKIE, MEGAN SNOWE, GREGORY KALLICHE, MARGARET LEE, NATHAN GWYNNE & MANY MANY OTHERS !!

AN EXHIBITION ABOUT . . . ALTERNATIVE EXHIBITION ‘SPACES’ !!
FEATURING – 9 ‘DIVERGENT’ . . P-R-O-J-E-C-T / S-P-A-C-E-S.

or, as one of the 2 curators puts it:

“Big art in a short Room” . . . ~EMILY JANOWICK !!

some kind of big witches brew . .
happening at the HUNTER COLLEGE STOMPING GROUNDS, uptown . . to-nite !!!!

‘THE BIG SHORT’
curated by @mo_hun_dro . . . . PATRICK MOHUNDRO / MFA Candidate Hunter College
and, @cyclone_bomb . . . . EMILY JANOWICK / ‘just a little bird floatin on a hurricane’
SAT JAN 20, 2018 / 6 – 8 PM
THE ARTISTS INSTITUTE BASEMENT, 132 E. 65th ST & Lexington, UPPER EAST SIDE, NYC

SHOWCASING . . ARTIST-RUN GALLERY / INDIE PROJECTS:
57 CELL / GREGORY KALLICHE, CATBOX CONTEMPORARY, ESSEX FLOWERS, CUSTOM PROGRAM, PAY FAUXN, PLUG DUMPSTER, TETE-A-TETE, WATER McBEER & HELPER


CATBOX CONTEMPORARY / CATBOX CONTEMPORARY


HELPER / HELPER PROJECTS


@plugspace_ / CRAIG MONTEITH
“You can’t just throw any artist in a dumpster.”
‘Plug Dumpster is an art gallery in a dumpster.’
@plugspace_: EMIL BOGNAR-NASDOR’s Plugdumster project this Saturday at the ARTISTS INSTITUTE.


WATER MCBEER GALLERY / WATER MCBEER GALLERY
@watermcbeer: Me and #hrgiger / HR GIGER / @giger_art


Tete-a-tete . . hosts online exhibitions, each month inviting an artist to contextualize one of their works with something dound online.
@teteahhtete: just launched our 2017 Retrospective — all 6 projects together on our homepage — just in time for our first IRL exhibition curated by @mo_hun_dro + @cyclone_bomb at @theartistsinstitute featuring 9 NYC “divergent” spaces.
DEF, CHECK OUT: TETE-A-TETE / tete-ahh-tete.net


@customprogram: we will be presenting MEGAN SNOWE’s ‘Active Denial System, a companion piece to ‘Less-than-Lethal / @m.snowe
CUSTOM PROGRAM / customprogram.org


@essexflowers: see this glorious MARGARET LEE SCULPTURE at the opening of ‘Watch Out for the Water’ – a group show organized by ESSEX FLOWERS as part of ‘THE BIG SHORT’ in the director’s office @artistsinstitute. This exhibit features work by LEE, JULIE MALEN, JASON STOPA, & NICKOLAUS.
ESSEX FLOWERS / ESSEX FLOWERS 19 MONROE


@_emilyshanahan: late night summons @payfauxn


PAY FAUXN
Throw garbage in it have sex in it pee in it sleep in it put art in it.
def, CHECK OUT: PAY FAUXN / payfauxn.com
PAY FAUXN . . will be exhibiting MIKE SCHREIBER !!


@blondeartbooks: #57cell by @lifelikegregory / 57 Cell BOOKS by GREGORY KALLICHE
def, check out: BLONDE ART BOOKS
BLONDE ART BOOKS – Brooklyn-based publisher, established in 2012 by SONEL BRESLAV

ALL IMAGES VIA INSTAGRAM



~ANTONE KONST & CLAYTON SCHIFF . . ‘LOOSE PARTS’ / FISHER PARRISH / OPENS TO-NITE FRI

way to go, annnnnnnnnnnnnnnie !!!!!!!

‘ANTONE KONST & CLAYTON SCHIFF: LOOSE PARTS’
OPENS TO-NITE FRI JAN 19, 2018 / 7 – 10 PM
the show runs thru FEB 25, 2018
FISHER PARRISH, 238 WILSON AVE, Brooklyn 11237
HRS: SAT & SUN / 1-6 PM or by appointment

read more: about the show & artists / ‘Loose Parts’ – FISCHER PARRISH


ANTONE KONST, b. 1887 New Haven, Ct & now NYC / Brooklyn-based / M.F.A., Yale (2014).
‘Dellirium’, 2017.
clay & pigment, hydrocal, fibergals, aluminum, wood. 24 x 18 in.
image via Instragram @annnnnnnnnnnnnnnie


CLAYTON SCHIFF, b. 1987 Boston, Mass & now NYC / Brooklyn-based / B.F.A., RISD/Rhode Island School of Design (2009).
‘Dining’, 2018.
oil on canvas, 50 x 36 in.
image via Artsy/CLAYTON SCHIFF
find Clayton on IG / @claytopia675


def, check out: ANTONE KONST – ARTIST PORTFOLIO WEBSITE


def, check out: CLAYTON SCHIFF – ARTIST PORTFOLIO WEBSITE