give me INDIE, or give me – nothing.
CINDERS PROJECTS PRESENT:
DECADE OF DECADUNCE – CINDERS CELEBRATES 10 YEARS
CURATED BY STO LEN & KELIE BOWMAN
DOSSIER OUTPOST – SOUTH STREET SEAPORT
the show opened last THURS, JULY 10, 2014
HOURS: OPEN EVERY DAY FROM 12-7PM in JULY 2014
so I am now facing the blogger’s worst nightmare, I just started writing up 170 SUFFOLK, which ran MAY 31-JUNE 5, 2014, and then along comes CINDERS . . with a summer show that is currently up and running, and so do I continue with 170 SUFFOLK, which is down – or do I jump to the present ?
and then go back to 170 SUFFOLK, cause that’s not falling thru the cracks, no matter what ?
I guess so.
serves me right for comparing the 2 shows in the first place, and my BAD !!
as I remember the post – I believe CINDERS got the short end of the stick – something about local NYC kids being more grit !!!
well guess there’s 2 sides to GRIT – after all.
both are Indie group shows put on by artist curators / both are pop-ups, both are collective consciousnesses with no tangible brick & mortar homes – hey, the whole world IS your oyster . . when you have talent.
170 SUFFOLK is relatively new to the scene, or, rather in manifesting it’s presence – their first real collective roaming exhibit – was 15 WARREN of this New Year’s 2014.
so they are celebrating their FIRST YEAR.
CINDERS is celebrating their 10th year.
yes, it’s true CINDERS represents a broader spectrum of artists, from all over, incl zines out of BERLIN (re-surgo), but esp of the states, while 170 SUFFOLK remains very much a New York City born & bred tight knit group.
and, yes while 170 SUFFOLK hits the metal with a harsh and gritty slash, in its own way CINDERS hits the – edge too, as in the ‘ashes’ !!
you know, through the flames – burn the ashes.
grit = ashes.
yeah, after I saw the Cinders show, yes I did make the opening – I had to re-work the math !!
and what I came up with . . was really old knowledge: the yin and the yang.
CINDERS’ heat . . is about the earth, feelings and thoughts about the earth, and the way we live and where we are going . .
170 SUFFOLK’s heat . . was more hard-pressed, combustible, politics driven.
CINDERS’s heat . . was like skating, the skate’s blade racing along the far-most rim – or edge of the sun’s orb, while 170 SUFFOLK, was like the harder edge, let’s say of a knife – or a metal rim. colder. more precise.
CINDERS is more dreamy, and 170 SUFFOLK is more hardcore.
2 sides of the coin. yin / yang
with the rim of coin itself . . being the cutting-edge.
though seriously, it’s NOT just about content – it’s about style, it’s about: SENSORY SENSATION.
both shows lean heavily to the pictorial, narrative, and far-out.
as opposed to the personal, or even sexual. there was not one naked, sexxxually charged image in either show.
both shows were cutting edge – that is, coming down on . . right now. both shows had the talent, and the excitement – that is sorely missing in the art world’s mainstream and more established streets.
so, let’s get on with the PIX – and I’m betting 170 SUFFOLK will still be relevant, even after the CINDERS pix finish, it’s just like one big circle, the fox chasing his tail.
the mind chasing it’s dreams.
opened SAT MAY 31, 2014 and ran thru JUNE 5, 2014.
170 SUFFOLK ST, CURATED by SEAN VEGEZZI, ABELINE COHEN & ANDREW KASS.
170 SUFFOLK was presented in a formal setting, well – as formal as Indie gets !!
the ‘borrowed’ venue was a real estate deal that left open 2 weeks to put on a show, before the space changed hands.
it was in the heart of the enemy, the Lower East Side, and it was gorgeous – with high ceilings, exposed beams, even a skylight. rust, decay, entropy, and even history were taken for granted, de-constructed elegance was the name of the game, there were only 13 artists – and everybody had plenty of space to to make their statements. from ‘found’, bold and graphic, to hyper-realism, SPENCER TULLIS had an ‘Egyptian’ in a kind of time travel capsule . . to the supremely sublime: the out-of-town ‘trash’, does that fall under – ‘realism’ ? of TOMMY MALEKOFF to the poetic ramblings of CODY RANALDO and his ‘construction next door – from the large, the balance beam of KEEFE BUTLER, to the mini-mini flags of JACK SHANNON, to the empty, yet threatening, designated fenced-in space of SEAN VEGEZZI.
it was a very hard-core take-away.
“just kids” – ha, those famous last words reigned supreme, and came back like a glass-sharp frisbee to haunt the neighborhood naysayers !!
CINDERS . . also popped up in the heart of enemy turf, the enemy in this case being the ‘tourist’. but you know what – art wins when the tourist comes in and buys a piece of work by BRIAN CHIPPENDALE, or anybody else in the CINDERS SHOW, I would even put it in the same sentence as that Central Park caper that Banksy pulled off, selling his work (for $60 each) to unsuspecting strollers.
CINDERS, DECADE OF DECADUNCE, oh oh, look out !!
. . . had more – well, humor !!
it was more about works on paper, drawing, and it was more like a taste, a ‘sampling’, than a full plate of serious statement – !! as per 170 SUFFOLK, but you know – all good.
both venues made the most of what – they had to work with.
CINDERS has close to 100 artists on display, and the work was selling like hotcakes the night of the opening.
I heard that sales were prevalent at 170 SUFFOLK, too.
in a nutshell, it’s not about commercialism, it’s about talent.
rebel, rebel. against the status quo & the big $$ galleries/Artforum ho’s.
when the cutting edge talent can get the gigs/venues, and make dough/$$ outside the mainstream – it’s a win , win.
a bonafide: ‘scene’.
an underground scene – going nautical – as in topside. New York City style – as in, free style.
now that’s what I call: grit. so, whether you like your eggs . .
sunny-side up as in CINDERS, or hardcore-boiled as in 170 SUFFOLK – they’re coming with a big side . . . of g-r-i-t-s.
PIX OF THE CINDERS OPENING – WILL BE POSTING SHORTLY, hopefully tomorrow.
archival photo – a young DG.
FACEBOOK via New York Post
yeah, for sure – the week leading into JULY 4th, 2014 – was hot. heavy. humid – intense, loaded. or is fraught with tension, the best way to say it. at least I was just ‘spinning’ out . . in my head.
DG aka JASON WULF, 42 – not so lucky.
I didn’t cross paths with him, but I’m sure I have many photos of his ‘DG’ street tag in my street art photography archives, going way back to 1985. they were writ large, in large letters all over the place. I always wondered what DG stood for. and I still don’t know. DG = DOG / WULF = WOLF ?
most taggers had more letters that they worked with than just 2. according to the news report – he was the founder of NWC – New Wave Crew.
so at least that clears up: NWC.
code is code is code.
at any rate, sadly, he was electrocuted by the third rail in the 25th St. subway station in Sunset Park, Brooklyn – this past WED, JULY 2, 2014.Brooklyn, in the midst of that week of intense heat that commemorates the War of Independence, and now apparently – that other big attack on NYC.
as DG is being hailed as an ‘underground legend’ – and, therefore a ‘warrior’ / a revolutionary of sorts – I think it would fitting to take a moment to reflect that there is underground, as in underground art scene, and there is underground, as in art done way down below the city’s constant hustle, in the underground tunnels and subways.
SEAN VEGEZZI of the 15 WARREN & 170 SUFFOLK enterprises – can attest to that, as in: been there, done that.
read: Graffiti legend dies in subway – NEW YORK POST / JULY 5, 2014
WATCH: DG in ‘EPISODE 19: RIDGEWOOD’ – produced by MOTIONGRAFF/YouTube
this clip is gorgeous, by all ways & meanings – and is probably the best way to commemorate DG & share his art and the huge contribution ‘underground’ NYC tagging has made to the ‘above-ground’ culture at large – esp re graphic design & font ‘play’. it’s to the Post’s credit that they included the clip link – in their article.
when we say, an artist speaks with an ‘authentic’ voice – this is what me mean.
when we say an artist works out of his own ‘time’ – this is what we mean.
when we say a graffiti tagger / writer – is an ARTIST . . this is what we mean. and so, yeah – please skip the quotation marks around ‘artist’, already. s’il vous plait.
it’s bad enough these guys get demonized instead of recognized, you don’t have to question their role as genuine artists, i.e. talent – constantly in the mainstream press.
anyway, besides the beautiful grace of the draftsmanship, the visual ‘rhythms’ of these free-form ‘running’ fonts – how they were colored in, and even how in turn the color fields, became just as broken up – and also ‘morphed’ – into say: ‘drips’ – it’s clear in this brief clip – how the ‘art’ form that sprung up from the streets – local kids, with no formal art training – only the city that inspired them – developed. you can watch this – as the clip progresses, and the ‘line’ gets increasingly more complex, and ‘colored-in’ – it’s laid-out simply – like a pure visual narrative, right before your eyes.
you can also ‘key’ into the actual visual influence of those subway trains themselves . . racing rapidly by – by the way in which the MOTIONGRAFF filmmakers have integrated actual footage of the subway cars racing by . . so we get, why these guys were so fascinated with the subways – the morph, the flow, the speed – and how, and why their tags – race by too, in a whooosh, but always maintaining that ‘subway’ silhouette, that slight jiggedy-jag, that twists and turns. that comes to a full stop, and then .. takes back off.
MAY 31 – JUNE 5, 2014
170 SUFFOLK STREET, NEW YORK
a smallish, stylish & absolutely cutting edge awesome pop-up group show – brought to you by the same three indie curators & friends: SEAN VEGEZZI, ANDREW KASS, and ABELINE COHEN . . who brought you – the ground-breaking, and shaking . . 15 WARREN ST, the notorious indie group show that opened this new year, 2014.
with . . a huge bang. bang, bang, outlaw indie no-budget nailed it.
unlike 15 WARREN – I couldn’t make this opening, which I heard was a way wild party bye the way, which I do not doubt for a moment – but I definitely made it my priority to see the show.
just as stunning, 170 SUFFOLK – was completely different in many ways – and yet remained . . a soul sister. no, these guys are not going to repeat themselves, or go formula-istic on you.
yes, they are gonna shake things . . up.
and, yes. they are going to invade, stake a claim, and visually ‘break’ into their ‘found’ site – and, yes, they are going to break-down . . with some really happening, cutting edge art.
coming off our recent artlovers posts . . on alternative/artist efforts . . such as ELSEWHERE, CINDERS, and even, artistswhodothings – including some grassroots JULY 4 patriotism !! – will hopefully lend a little more understanding, a little more context & depth to just what makes these 3 young artist/curators of 15 WARREN ST & now 170 SUFFOLK ST – so uniquely NYC, and that is, in a word: . . . gritty.
hardcore, art gritty.
with a real voice, and not – just an ‘aesthetic’ voice . . of their own.
trying to put it simply, it’s 10 years on now, from when the raw pictorial energy, and ‘new age’ life-force of CINDERS hit the Brooklyn scene, and blew up.
it’s a whole new ‘visual’ voice . . that speaks forth from – 15 WARREN and 170 SUFFOLK.
try this road map . . .
it’s as if the very open and free-form creative energy, future speak narrative of CINDERS went through the mid-decade shock transformation ‘new psychology’ and, graphic elements of PHILIPPE MAYAUX, and came back – in-your-face, NYC free style. and, s-e-r-i-o-u-s.
playful, but serious. not so much in your head, in your dreams, in your personal trip; as in . . your world, the place you have to wake up to everyday. eat breakfast, and go forward.
I think one part of the story is that 15 WARREN ST, and it’s soul sister 170 SUFFOLK – are produced by, and showcase work by local New York City kids, who grew up in NYC schools and streets. and one big part of their specific story – is that their formative years were impacted by 9-ll, which happened right before their very, 10-year old eyes.
another part of the equation is that from day one, in the their strollers and then as they walk the streets, on their on – – they inhabit and breathe in, a very very art-centric city. perhaps the mean streets make you grow up savvy, but irregardless, for sure all New York City kids dwell in a fantastically rich visual world. a mecca of cutting edge media & design, the streets of NYC – are suffused, if not saturated with, in a word: talent. from street tags, to corporate logos. Andre the Giant to COCA-COLA.
street artists and graphic designers, the masters of the universe – for sure.
they get to see a lot of ‘art’ proper too, in this city of multi museums with all their fluttering art-infused banners, and hi-def ads everywhere. kids in New York City know more about art, just from the vantage point of their strollers, and school trips, than you might imagine. just ask any transplanted young artist who comes here, from let’s say Santa Fe, following his art dreams. it’s the first thing they will tell you. how jealous they are of how art savvy the local kids are. even the ones that don’t consider themselves artists, that hang at the few bodegas that haven’t been gentrified, have an amazing eye. you know – they call it street style, and it bubbles up, big.
as for 9-11.
I don’t think anybody has done the definitive study yet, or even really really comprehended its impact, but New York City . . took a big hit with 9-11, and this generation, this group of artists, who were at the most, 10 or 11 at the time, that is . . just beginning to formulate / process the world around them – seem to have been impacted to a degree to which nobody has really addressed, or computed yet.
contrast this to CINDERS, whose 2 co-founders were transplanted New Yorkers, I know Kelie grew up in FLORIDA, I forget exactly where STO hails from – and who both no longer reside here, bye the way. They both came here more or less in their early twenties – and further, most of the Cinders artist roster come from beyond New York City as well. not that that’s a bad thing, the CINDERS culture and mind-set was a huge contribution to the city’s art scene – just saying by way of trying to bring the voices of the new decade – into sharper focus.
when you start to contrast the groups, it seems fairly obvious that while the creative rebels of CINDERS speak up against mass society & global degeneration as a whole, the pop-up shows of SEAN VEGEZZI, ANDREW KASS, and ABELINE COHEN . . are definitely more specifically NYC-centric, and still grappling with the 9-11 attack, and the consequent backlash.
in a word, their shows, 15 WARREN & 170 SUFFOLK are deeply reflective of the aggression and chaos of war – that tore up the very turf of their childhood – i.e. the ‘ashes’ of 9-11. encapsulated in a word, their art is more POLITICAL, often hyper-real, and leaning to the side of more ‘graphic’ – vs/as opposed to the alternative shamanistic & organic mind-set dream ‘visions’ that flowered around the ashes of the ‘old order’ – that CINDERS & crew stomped on . . so gloriously.
further, most of us were NOT 10 or 11 when the Twin Towers went down, we had other milestones that crafted our lives & cultural understandings, be it Woodstock or ANDY WARHOL. so we’re not quite on the same page. it’s a little jarring, and sad – to see where these kids are coming from, and how intense they are about things as basic as – urban security.
but, if like me – you are catching any of the JULY 4 history narratives on TV, specifically HISTORY CHANNEL – and it’s still not even noon – it’s amazing, it’s absolutely stunning . . to hear how the history books are being revised, with a harsh nod to 9-11.
hello, 15 WARREN & 170 SUFFOLK !!
summing up the American War of Independence . . this line is tossed about more frequently than you might imagine, and I don’t recall it being so overtly stressed – before.
to wit: “this 1770′s British naval invasion on New York City was the greatest attack to ever happen on American soil, and on the port of New York City . . . until 9-11.” !!
so put that into your red, white and blue . . crepe paper bunting, while you think back on when you went to school, and 9-11 was not in the picture, or the textbooks, let alone the national dialog . . on July 4th.
in the midst of the cookie cutter galleries that over-populate the Lower East Side and actually, deliberately ‘aspire’ to commercial white boxy-ness, a dirty little interloper, with true finesse – and very chic – in the real meaning of the word . . popped up like a 2 week blooming flower in a city yard full of year-long weeds.
170 SUFFOLK took a raw space and made art, like a master chef takes raw fish and makes .. sushi.
the decades-old letters on the street entrance said, ‘NO’ !!
all the better to say: YES !!
unlike 15 WARREN, this show was smaller, more formal, and more contained, in that things though still site-specific were more orderly, and almost grid-like in how the room was divided among the 13 artists.
though if anybody could make heads or tails of the artist accreditation ‘map’ print-out – all the power to them, because I sure couldn’t. but at least unlike 15 WARREN, 170 SUFFOLK did attempt to give names – to the artists behind the works.
it was a match-up made in heaven, the high ceilings and the exposed beams, the found ‘patina’, the deep rectangular viewing space. the works took on an awesome presence, that honed . . their inherent ‘presence of mind’.
translate as: content. in a magical space. win, win.
and, yes that is . . natural light streaming from a skylight in the back.
and, yes that is a tiny American flag, embedded into a small rock, detail installation – by JACK SHANNON.
Happy July 4th !!
MORE PIX TO FOLLOW.
PHOTOS: NANCY SMITH
from JERSEY CITY HEIGHTS. NEW JERSEY.
on the other side, of MANHATTAN. the HUDSON RIVER.
vs BROOKLYN. the EAST RIVER.
where ole school grass roots ‘creatives’, still . . get the LAST word !!
they took some ‘bunting’, and matched it up to their evergreen tree, and, voila a JULY 4th clown !!
American ingenuity never fails.
PHOTOS: NANCY SMITH
WARNING: GRAPHIC CONTENT !!
switching gears, some great graphics, & content / thought / code . . from FRANCE.
from a website called: artistswhodothings
a beautiful, and emotive, informational graphics book by PHILIPPE MAYAUX.
this is the image that first caught my attention.
NEW PSYCHOLOGY, hurray !!
up in the clouds, hurray, hurray, and more hurray.
PHILIPPE MAYAUX . . nails it.
the book is called: ‘Le 4e Clou’ – or, ‘The Fourth Nail’.
metaphors abound, 4th dimension . . does spring to mind.
the 3rd wheel ?!! NOT !!
is this not – gorgeous, or what ?
that ‘nail’ is as slick, and cold as ice, while that orange border – is so warm and, well: ‘bio’ !!
hot and cold sensations – run through the mind . . . a race between thought ‘processing’, and pure visual – delight.
the reflective silver, always changing ‘tone’ . . the hand of the artist. ultra, and forever . . ‘creative’. thinking. measuring. building.
the opaque orange. constant. dense. the wheel of the world, the logic of the ‘organism’.
the ‘earth’/ the ‘ground’.
the ground rules / the code of ‘life’, in a visual . . nutshell.
PHILIPPE MAYAUX, ‘Le 4e Clou’, 2008.
publisher: editions Dilecta.
limited edition of 150, each signed and numbered by the artist.
there’s only ONE left, so – be my guest !!
for more info, see: PHILIPPE MAYAUX, ‘Le 4e Clou’
artistswhodothings . . . was created in NOV 2013 by LUCAS HEES and STEPHANIE BRIVOIS.
LUCAS is a writer, an art critic and director of Editions Enigmatiques (a publishing house dedicated to artist’s books).
STEPHANIE BRIVOIS is director of DERNIER AVERTISSEMENT (last warning) – an association of support for the artistic creation – and curator of the cycle of exhibits: ‘in bed with my artist’. (!!)
LAST WARNING ?
I like that, too.
STO and KELIE . .
INVITE YOU TO CELEBRATE the 10 YEAR ANNIVERSARY of CINDERS, the once BROOKLYN-based exhibition space & book/zine store, and now nomadic, online-based whirly-ghirly of an alternative art ‘space’ . . they call CINDERS, with a huge huge group show.
CINDERS GALLERY PRESENTS – ‘DECADE of DECADUNCE’
THE OPENING RECEPTION WILL TAKE PLACE: THURSDAY JULY 10, 2014 / 7-10 PM
& WILL BE OPEN EVERYDAY 12-7 PM / WITH “LOTS OF EVENTS” HAPPENING THROUGHOUT THE MONTH.
DOISSER OUTPOST, SOUTH STREET SEAPORT
FULTON ST btwn FRONT & SOUTH ST, LOWER MANHATTAN
talking bout . . DOSSIER OUTPOST,
can’t believe I missed that INDIGO DYEING WORKSHOP !!
but back to CINDERS:
for the artist line-up so far, see: CINDERS CELEBRATES 10 YEARS
also check out: CINDERS GALLERY
ok, if I had a knife pressed up against my throat and had to pick 2 artists, whose work I would really want to see, that would be: BRIAN CHIPPENDALE and JUNGIL HONG.
ok, make that 4. add ALLYSON MELLBERG . . & JEREMY TAYLOR.
Look for RON REGE JR to be in the show as well. and KEVIN HOOYMAN.
the list is really . . unstoppable.
SOME PIX from the ARTLOVERS ARCHIVE . . .
‘EARLY WORM GETS THE BIRD’, with BRIAN CHIPPENDALE, JUNGIL HONG & KEVIN HOOYMAN
the show ran NOV 16 – DEC 30, 2007.
CINDERS, when it was at . . 103 HAVEMEYER ST – in WILLIAMSBURG, BROOKLYN.
BRIAN CHIPPENDALE, collage painting.
BRIAN CHIPPENDALE, with his work behind him – at the opening.
JUNGIL HONG, painting.
KELIE BOWMAN, left, with JUNGIL HONG at the opening.
KEVIN HOOYMAN, detail, drawing.
KEVIN HOOYMAN at the opening.
‘AN UNEARTHLY CHILD’ – new works by ALLYSON MELLBERG.
SEPT 10 – OCT 10, 2010.
CINDERS – 103 HAVEMEYER, WILLIAMSBURG, BROOKLYN.
ALLYSON uses home-made pigments, made from walnuts and such.
ALLYSON MELLBERG, detail, ‘Compulsive Consumption’.
ALLYSON MELLBERG, and STO – at the opening.
ALL PHOTOS: NANCY SMITH, except for the ‘DECADE of DECADUNCE’ card at the top.
RON REGE JR via CINDERS
thought it might restore some fun, and order . . in the universe, to put RON REGE on the art media map in the same breath as the big JEFF KOONS WHITNEY RETROSPECTIVE.
scroll down that page to see images from the exhibit.
just btw, I did see the original exhibit . . . of the early suspended basketballs, at one-time k-e-y hot spot: INTERNATIONAL WITH MONUMENT, which has apparently been resurrected on facebook. the place was a very big deal in its time. it totally switched up the ‘gears’ on the East Village art scene of the mid 80s. I clearly remember being . . stunned.
and quelle mystified.
JEFF KOONS, ‘Made in Heaven’, 1989. lithograph on paper on canvas.
125 x 272 in. Rudolf & Ute Scharpff Collection. copyright Jeff Koons via WHITNEY
and, I did see the original ‘Made in Heaven’ show at Sonnabend, cusp of the 1990s. it was one of the most glorious, shocking, vulnerable, and in-your-face ‘things’ I had ever encountered. although no explicit image from the show is on the family-friendly Whitney website, I’m thinking from the the press statements, there are parental warnings, that there might be some in this retrospective, which makes it a must-see.
KOONS sort of fell from grace after that show. the only reason being that the usual suspect New York City art critics always miss – the top 1%.
by 2002, when I started working at artnet (2002-2004), he was sort of a dead fish in a stagnant pond, but I managed to contribute to his re-boot, by being his biggest fan on . . artnet.
then when things got super hot for him, again, par for the course, I lost interest.
to my way of thinking, things had gotten mundane. played-out. and that was 30 years ago already !!
cutting edge, NOT.
JEFF KOONS with legendary art dealer ILEANA SONNABEND, at one of his many openings at her gallery, this being the gallery in Chelsea, NYC. NOV 9, 2002
PHOTO & COPYRIGHT: NANCY SMITH
JEFF KOONS opens ‘POPEYE’ at SONNABEND, NYC. NOV 8, 2003.
PHOTO & COPYRIGHT: NANCY SMITH
and, so in true contrarian underground style, I bring you: RON REGE JR.
check out: CINDERS INTERVIEWS RON REGE JR, JUNE 2014 !!
RON REGE JR, ‘THE CARTOON UTOPIA’, via CINDERS
P.S. did somebody take some go west !! . . shrooms, peyote, or what ?
maybe it was just a . . hike in the mountains at sunset ?
I mean, compare this archival photo of RON from 2009 (below) – to the full-on psychedelic RON REGE JR, today !! – on that Cinders interview link !!
omg lordy !!
RON REGE JR in 2009, at the very first BROOKLYN COMICS & GRAPHICS FESTIVAL, NYC DEC 5, 2009.
PHOTO & COPYRIGHT: NANCY SMITH
yep, check out: the original RON REGE JR 2009 post !!
damn, if it’s not . . PARALLEL UNIVERSES.
RON REGE . . morphs from ‘straight man’ – to ‘magician’ uber-man !!
while JEFF KOONS . . morphed from ‘porn star’ to family man with a gazillion kids.
RON REGE JR, “MAGIC IS NEITHER WHITE NOR BLACK, FOR NATURE HAS NO MASTER”.
image via artlovers NOV 2009
*magic = science.
*and further, life on this worldly plane = ghosts.
yeah. go back and hit that: link
CLOSER TO HOME . . our friends
from CINDERS will be at the . .
2nd ANNUAL BUSHWICK ART BOOK & ZINE FAIR
this weekend, JUNE 20 – 22, 2014
with BBQ by MILES AWAY
BEER provided by PBR/PABST BLUE RIBBON
for: more info !!
SIGNAL – 260 JOHNSON AVE, BROOKLYN.
MELISSA VANDENBERG and PAUL HOWE stage a trial of ‘Sew to Speak’, Summer 2013, Elsewhere Storefront Theater.
image via ELSEWHERE P.R.
ELSEWHERE . . is an artist-run, non-profit contemporary art organization, set in a former thrift store in downtown Greensboro, NC / North Carolina.
Utilizing the massive 58-year inventory, Elsewhere’s environment of art and everyday objects invokes new models for creative response, living, doing, and exchanging in our downtown neighborhood and across the world.
SO, a team of curators from Elsewhere will be presenting at the ATLANTA CONTEMPORARY ART CENTER’S - 9/50 SOUTHEAST PRESENTERS SUMMIT – this weekend.
according to the press release:
This year’s 9/50 Summit was organized by the Atlanta Contemporary Art Center, Seed Space and Elsewhere.
… the organizers, the summit exists as an “attempt to bring Southeastern nonprofit and independent contemporary art presenters and publishers together under one roof to showcase rigor, excellence, ambition, and uniqueness in their local context.” Eighteen organizations from the nine represented southeastern states will be presenting, as well as keynote presenter BARRY BLINDERMAN from the Illinois State University College of Fine Arts.”
hello – BARRY !!
anybody who was on the Lower East Side / Downtown NYC art scene of the early 80s – knows Barry.
why am I not surprised to see his name – popping up here !!
SO, Elsewhere’s exhibit will present its Southern Constellations fellowship program. Now entering its second year, Southern Constellations is a National Endowment for the Arts funded initiative that builds an expanded network of experimental, interdisciplinary art practices to support collaboration across the region.
PRESENTATIONS . . at the ACAC are FREE and OPEN TO THE PUBLIC.
this event is happening this weekend:
SAT JUNE 21, 2014/11am-5pm and SUN JUNE 22, 2014/12pm-5pm
at the ATLANTA CONTEMPORARY ART CENTER in ATLANTA, GA / GEORGIA
ELSEWHERE . . will host performances by Atlanta musicians ERIC FONTAINE and MAJID ARIAM of graphic scores – created by Alabama based composer and musician ANDREW RAFFO DEWAR, who was a Southern Constellations Fellow in 2013.
for sure, check out: the tumblr roll !!
3 of my fave posts: then, and . . NOW !!
presentation by the . . . OHR-O’KEEFE MUSEUM OF ART
focusing on the incomparable ceramics .. of the wild & truly genius – ‘mad potter of Biloxi’, Mississippi – GEORGE OHR !!
hello, GREEN GATES !!
MORTADELLA, LAMBRUSCO . . & A FEW ‘CLASSIC’ BEAUTIES, i.e. PAINTINGS !! . . at LONGHOUSE PROJECTS, LOWER WEST SIDE, MANHATTAN.
LONGHOUSE PROJECTS INVITES YOU TO THE CLOSING RECEPTION for:
PAUL BRANCA . . ‘Commedia (Nut Delight)’
FRI, JUNE 20, 2014 / 6-8 PM
Meats from Di Palo’s will be sliced & served by . . FRANKO SOPRANO
PAUL BRANCA’S ‘Commedia (Nut Delight)’, TAKAO ONO’S ‘Summertime Fragment’, and paintings by KIMBER SMITH will be on view thru SAT JUNE 21, 2014.
LONGHOUSE PROJECTS – 285 SPRING ST. just west of HUDSON – WEST SIDE, NYC
PAUL BRANCA, LONGHOUSE PROJECTS
PAUL BRANCA, LONGHOUSE PROJECTS
TAKAO ONO, LONGHOUSE PROJECTS
TAKAO ONO, LONGHOUSE PROJECTS
TAKAO ONO, LONGHOUSE PROJECTS
KIMBER SMITH, LONGHOUSE PROJECTS
more: about the show & artists