on the topic of hearty, evil & tres contrarian artistic turbulence . . .

“Philly-based, synth-pop song writer, musical explorer and mischievous singer KATE FERENCZ will be LIVE in the studio for . . Playing Hooky!”
CLOCKTOWER RADIO / clocktower.org/listen . . today: Wed April 15, 2015 – at 1 PM.

check out: CLOCKTOWER RADIO / art online

KATE FERENCZ was the Halloween witch who penned our Halloween greeting – last October.


a page from EVIL SWORD – a black and white lo-fi zine out of PHILLY, produced by BEN FURGAL and KATE FERENCZ – words by KATE FERENCZ.

profoundly prophetic, or what.
didn’t know – it would come to fruition several months down the road, in the great critic ‘take-down’ . . of SPRING 2015.

~JERRY SALTZ vs ROBERT STORR . . the class clown wins !!

talking about ‘throw-downs’ !!
did I call it right, or what ?
they are gonna be calling him . . “FLAY-EM ALIVE” BOBBY – for sure !!
100 bucks easy, the January Jones’ kid – is his !!

but . . back to art:
what the hell is wrong with being . . the class clown ?

JERRY SALTZ wins – hands-down !!

who knew the art critics’ inner circle was so full of full-blown, knife-stabbing . . fighting, er, passion ?
in-house conflict, and blood feuds !!
I mean, I didn’t know . . just how I influential, I was !!
speaking about non-stop . . blood feuds.

I’ve been zeroing in after . . ROBERTA SMITH, like a heat missile – for-ever.
as long as I can remember, back when . . if you didn’t get written up in the New York Times, your whole show was a complete waste of time, and – then, if you didn’t get written up by the #1 in-house fascist arbit-traitor of mundane taste, i.e. Roberta – your work wouldn’t sell. no way. no chance.
where shall I start ?
putting up on the ‘must-have’ list, that stuck-up poster child for wannabes . . RACHEL HARRISON, as if !!
was the final straw for me.
taking down SHEPARD FAIREY and absolutely trashing CATTELAN’S fantastic, circular wonder of a hanging retrospective at the Guggenheim, going so far as to say it . . “was career-breaking” – !!
was the final straw that broke her iron grip – for many others.
meanwhile, I bet that that Cattelan show got the best attendance numbers any museum has scored, esp for a contemporary artist – in this city, for many many a decade. I bet it even beat the recent KOONS retrospective – for attendance.
of course, she still has penned many exceptional reviews, most notably on historic shows, but the lock-jaw power she once wielded on ‘calling’ the new art – has greatly diminished, and all for the better.

on a more personal bloodbath cause: she completely let JOSH HARRIS and the ‘QUIET: WE LIVE IN PUBLIC’ crew – the biggest pop-up art party, let alone brilliant social networking forward vision / seed – ever to happen in NYC, fly right over her head. even when the documentary on the downtown 100% hardcore artist caper – won Sundance 9 years later. not one line. not one comma of ink.

she wrote up that puny lightweight at FEATURE, HUDSON sorry RIP – and, not a peep about SIMON ? SIMON CERIGO – who she knew very well . . in passing, their paths crossing many times, over many years – as both trawled the gallery opening circuit. I guess bonafide c-h-a-r-a-c-t-e-r-s, just don’t count.

meanwhile, even though JERRY, who isn’t always the sharpest knife in the drawer, he didn’t get JOE BRADLEY at first, and he definitely missed the ‘skills’ memo (!!) – he sometimes lands right on the mark, just because he does take those fearless leaps, only a true fool can. ok, so he doesn’t have the greatest ‘eye’. he thinks . . with his gut, and that’s alright by me.
somebody he stood up for, who I pooh-poohed ? CARROLL DUNHAM !! and Jerry was so so so right.

I would even venture to say, Jerry’s seriously blade-flashing, ja ja joshing take-down of MICHELLE GRABNER, last year . . YALE’S biggest and greatest white hope to date, Saltz kicked her around like a soccer ball, remember ?!! was what really pissed – Storr off, and set his blood to boiling.

you know, of course Jerry was right, what a lame artist if I ever did see one, let alone a cutting edge curator, and don’t even get me started in on that . . . the WHITNEY: lovely new building, same old same old curators. MARY HEILMANN painting wooden deck chairs ?!!
damn, almost as tantalizing as MADONNA DEEP-KISSING DRAKE . . !! !!

yep, while ROBERT STORR might stand for a few things, he is definitely the tipping point in the great critics’ war, the great ‘take-down’ . . of 2015 !! (apologies . . throw-down Bobby Flay )
trust me, Storr would not be opening his mouth, not uttering a peep, not disturbing a fly, if he thought it would come back and bite him, i.e. adversely affect the fate of the hordes of art students, he sends out each year into the raging fires – of the NYC art scene. which pretty much eats them alive, but that’s another story. and in this respect his candor is all the more refreshing, and remarkable.

yep, for sure, the sharks – smell the blood in the water.

see: Yale Art Dean Robert Storr on How Today’s Art Critics Suck, Especially Jerry Saltz . . THE OBSERVER. April 10, 2015

JERRY SALTZ, senior art critic at New York magazine . . . does his thing. NYC, Sept 15, 2007.

and, if you don’t believe me about MICHELLE GRABNER, being the w-o-r-s-t
check out: her website, MICHELLE GRABNER . . for yourself – !!

according to her current professional listings, and ROBERT STORR by implication – she was imbedded into YALE like a dirty sponge – in the role of visiting Professor / CORE CRITIC (!!) from 2011-2014.
well, I guess that gig is over, apparently.
the soccer ball mom got bounced.

wanna bet $100 . . nobody much better – took her place ?


MARCH 3-8, 2015
the Old Post Office at 31st St & 8th Ave
see: SPRING/BREAK 2015



independent curator MARINA T. SCHINDLER showed a vintage WALTER ROBINSON, ‘THE DECEIVERS’, 1989.
acrylic on canvas, 24 x 24 in. ($24,000).

speaking of the Lower East Side back in the day, 80s – videographer TOM JARMUSCH, brother of JIM, was filming, though he would not say for who. the more things change, the more they stay the same.
Tom used to hand around with DAN ASHER, RIP – a lot. I bet he has a ton of solid video gold – piled up in his bedroom closet.

artist NICHOLAS STEINDORF, and musician DARREN WILL . . collaborated on a stunning, brief/jolt series / digital projection, that jumped the gun, from poetic ‘narrative’ . .

NICHOLAS STEINDORF & DARREN WILL. . . frame from ‘Model’.

to ‘intense’ beam. another reviewer referred to their work as a . . “sensual” light show.
come to think of it, it does look like a light bulb going off – in my head.


if NICHOLAS and DARREN, had the edge on the digital projections, BHQFU had the edge on the ‘flux’.
note: JOHNNY MISHEFF, of FOR THE RECORD, at the right.

JOE KAY of BHQFU . . .

Joe had the best ‘business’ card.

JIM KREWSON . . was the best exhibit ‘crasher’, bye way of JOHNNY MISHEEF – with his psycho=chaotic line drawing, on the back of the JOHNNY MISHEFF one page beating heart / live wire lo-fi – newsprint screed.

JOHNNY ‘BAD BOY’ also had . . a great no-holds barred take-down of that super commercial mass-hypnosis ‘poser’ convention called: ‘NADA’ on his front page.
(although I was later to learn it was faux !! – it STILL suits my purposes.)

it began:
National Amateur Dodgeball Association / Non Accurate Diaper Assault . . . and, just went right on giving.

newsprint Johnny vs money bags Nadine ?
MISHEFF wins – of course !! !!

also caught BILL BRADY, in the flux, in the random nano m-o-m-e-n-t-o . . .
BILL BRADY, founder of the used-to-be ATM GALLERY, when 27th Street was actually up and running.
now he has two galleries, under his own name, this time around. one in KANSAS CITY, and the newest in MIAMI.
what can I say, our loss – their gain.

just because I k-n-o-w what lazy bastards, y’all are . .
KARL NORIN . . . showing at BILL BRADY, MIAMI right now.

DEAN LEVIN . . . showing at BILL BRADY, KANSAS CITY, right now.

also strolling into the BHQFU mix, DUSTIN YELLIN, in his ‘TREE-TECH’ haz mat suit.

‘TREE-TECH’ crew member: FEMALE.
in the inner ‘TREE-TECH’ showroom & offices – run by BAZAAR TEENS, and curated by DUSTIN YELLIN.
if BHQFU was an apparently fully functional & operational ‘replica’ of their usual m.o. – BAZAAR TEENS was the bleating, beating freakin’ heart of ‘future’ scary . . fiction / reality ?
they had some of the best art, and the most distressed ‘install’. soil soil, everywhere.
shout out to DANIEL KENT for his crazy epileptic blind, and JOHN GORDON GAULD for Mr. Bunny and Ms.Frozen dead paradise lost.

JOHN GORDON GAULD with . . . his version of: “FROZEN”.

JOHN GORDON GAULD, the hyper-realist ‘TREE-TECH’ Frozen princess.

another view of the BAZAAR TEEN ‘TREE-TECH’ install.
the cheesy faux wood paneling, stained fiberboard ceiling, messed-up floor, dangling old wires, were already there, . . making it a whole lot easier to pull off that shabby industrial ‘distressed’ look.

way easier than it’s ever going to be, for at least maybe 5 years, at the brand new Whitney ‘playhouse’.
re-claimed old wood floors, exterior anchor hoists and all.
I mean . . just how down and dirty are they going to be willing . . to get ?
new building, but same old curators ?
sounds like the same old same old to me. but I’m hoping not.
SEAN VEGEZZI . . over MARY HEILMANN, is it too much to ask ?


totally love the in-house stuff, EDWARD HOPPER etc, but come on, your biennials suck, and your idea of cutting edge is just too short of hard edge, for anybody I know.
hopefully the forward vision of the adjacent high line – will have some impact.
because so far, and at least for the past 10 years (!!) all this great underground art, and energy has just been flying – right over your heads.
question: what are you going to do about any unauthorized, unsolicited pop-ups, or other cutting edge ‘culture’ interventions on your new property, and those exterior walls just begging for some creative juice ?
you know, along the line’s of this week’s great . . ‘EDWARD SNOWDEN’ pop-up.
seriously ? MARY HEILMANN painted deck chairs ?!!
where’s the ‘wow’ factor – in that ?

‘TREE TECH’ crew member: MALE.
NIMROD BARSHAD, web engineer.

indie curator ARIELLE de SAINT PHALLE, brought her private collection of ‘HARA KIRI’ magazines 1968-1986, HARI KIRI . . gave rise to CHARLIE HEBDO.


brought ERIK DEN BREEJEN’S salute to tragic ROBIN WILLIAMS, RIP.

indie curators ELLIE CLARK and LEIGH SILVER brought urban . . flux.

with a small scale ‘headquarters’ by JENNIFER & KEVIN McCOY . .

and a larger dystopian hood scene, by TIM PORTLOCK, detail.

a bonafide pop-up . . moment, in a run-down for real playhouse.
AMBRE KELLY and ANDREW GORI presented ‘A Stranger Comes to Town’, 2007 – animated video clip by JACQUELINE GOSS.

I mean how much would that distressed look cost to re-create, at the Whitney ?
no, it’s not that everything needs to be distressed.
and it’s not that I’m not capable of making the leap to the new, just, friggin’ . . keep it real.
shake it up. in real time.

JACQUELINE GOSS, ‘A Stranger Comes to Town’.

and, JACQUELINE GOSS asks: are you a Muslim ?

MARK SAMSONOVITCH, ‘LOVE IS TELEPATHIC’ a ‘massive’ banner in acrylic house paint, curated by AMBRE KELLY and ANDREW GORI.
sometimes, throw it up, and see if it sticks ?!! – is the best way to go.
note: this was an ‘install’ based on a smaller image – dimensions variable.

this was the nano, micro, micro-chip, mini-me version . . stuck on the side of a utility box – !!
nice. sweet. the future belongs to . . all things, small.
and, singular.

dimensions variable, same deal . . generated from a smaller image.

PHOTOS: NANCY SMITH, unless otherwise noted.


file under: SEEING & NON-SEEING . .

1. NON-SEEING aka . . ‘BLIND’.

DANIEL KENT, ‘Articulating Blind Movement #1’, 2014.
venetian blinds, stepper motor, arduino, dimensions variable.

note: “ARDUINO . . is an open source hardware and software company, project, and user community that designs and manufactures kits for building digital devices and interactive objects – that can sense and control the physical world . .”


ps: did you note that grinning ‘face’ on the wall column. priceless.
also the faux ‘wood’ plywood siding, that covers the walls. also: priceless. the Bazaar Teens of ‘TREE-TECH’, and the other Spring Break exhibitors didn’t have to install it, that was the real USP / Postal Services office ‘decor’. if that cheezy rendition of wood paneling doesn’t speak to the ‘Tree-Tech’ mission – I don’t know what . . does.

DANIEL KENT’s articulating venetian ‘blind’, on the way back wall . . . BAZAAR TEENS – ‘TREE-TECH’ showrooms, SPRING BREAK 2015.

‘articulating’ . . meaning it had a hidden ‘stepper’ motor, which caused the blinds to violently shake from side to side, causing a most huge, angry and very annoying, abrupt and continuous clankety sound – as it swung fiercely from the side to side, obscuring the window view, as if in a great autistic rage, a temper tantrum – against its . . ‘restraints’.

if a ‘blind’ could have a epileptic fit – this was it.

interestingly, it was not a replica, or a small scale reproduction, it was the real deal – albeit infused with mad angry mechanical expression. which is good, because I am so over the micro nano trend, ever since I heard a radio commercial for ‘tiny’ marshmallows for your ‘tiny’ tots who want to make YouTube ready ‘tiny’ / ‘miniature’ food creations . . . omg enough with the tiny scale !! trend, already.
now that it’s been hit up by Walmart copywriters, big time.

but oh, way more than a Walmart commercial . . these blinds were annoying, another friggin beating bleating heartbeat gone wrong . . at ‘TREE-TECH’.

loved them. this is the gift you want to give to your worst enemy.
at the top of my worst art wannabe poser list – this year ?
GUEST OF A GUEST. more specifically . . RACHELLE HRUSKA, the clueless bimbette socialite, with the picture perfect boutique hotelier husband, 2 boys, and “homes in Manhattan and Montauk” who runs it. the worst ‘art’ – lifestyle ? news site ever, that goes without saying . . but, I’d like to wrap up one of these ‘articulating’ blinds and personally deliver it to her, in her no doubt color co-ordinated office . . with a little paper gift tag:
keep your thieving hands off my . . photos, and content – you dumb-ass, queen of aggregate – bitch.

continuing, I thought – wow, this shaking, rattling, headache-inducing DANIEL KENT ‘blind’, would make a great art trophy for “WORST” – in a broader category, seeing how dismal the art scene ‘proper’ is these days. we could even call it the . . ‘blind-ie’ , for worst ‘eye’, worse administration, worst call, and, not just outright copyright theft, etc. etc.
and we could give it out every year.

and quelle funnie, although they didn’t know it, the mainstream media, big and small – has already called this year’s winner – !!
yes, KLAUS BIESENBACH, chief curator-at-large of MoMA, apparently by popular demand . . you get the first . . . ‘BLIND-IE’ – !!

see: ‘An Unlikable Crowd-Pleaser’, WALL STREET JOURNAL. MARCH 31, 2015

2. SEEING . . and then, of course – deleting !!


of course, the opposite of the ‘BLIND-IE’ award, would have to be the ‘TREE-TECH’ trophy for . . vision – or: VISIONARY!!
and, the first one goes to EDWARD SNOWDEN, and the NYC guys, a-r-t-i-s-t-e-s !! who put – this up !!
hoo-ray for our home-grown rebel prankster “guerilla” / street intervention . . artists !!
the underground posse – still has heart, and, GUTS !! they just never grow-up, do they.

still popping up, no matter how hard the city fights back – to shut them down. rebel, rebel.
it’s an amazing ‘theoretical’ war zone, to observe. pick your battle, modern-day anarchists.
though you’ll note the key is to have a ‘light’ touch. nothing city-scarring. as early graff was.
and, as benefits the turn of the screw, of a new century, it’s a much more literally pop-up 3D event, these days, as opposed to the flat lined, but hard-to-erase ‘scripted’ . . graffiti of yore.

and, yeah, for the record, that replica is awesome and so is the ‘EDWARD SNOWDEN’ lettering detail. great font, great spacing. great site-specific . . placing.

you’ll note again, at least the Parks and Recreation guys didn’t have to, and did not . . destroy and sledgehammer it off. and, on their end of the game, at least these remover guys covered it nicely, with a tarp, before they hopefully, and carefully – carted it away.
the best artifact to come out of the city in long time.

you’ll also note that art doesn’t need more than a day to make a splash !!
a testament to the power of meaningful, as opposed to ‘vapid’ art, i.e. vision, empowered and dispersed by the new platforms of digital communication / media – and voila: pop-up culture !! in nano-time – !!

you’ll also note the head is actually 4 foot tall, which doesn’t make it ‘micro – but it is a . . hand-made replica format / bust !!
fashioned from . . low-fi sculpting ‘plaster’. then painted to look bronze, and nice job.



HOO-RAY: to BUCKY TURCO and his crew at ANIMAL NEW YORK, for breaking the story !!

haha, leave it to the real artists – to be so contrarian !!

BUCKY’S headline screams . . . “MASSIVE illicit bust of . . . ”
as of this week, I’m so over micro, I’m just so ready . . to read that. massive, oh my lord !!
the backlash wave – has struck !!
but it’s still . . . artisanal, hand-crafted — AND, HAPPENING IN . . BROOKLYN !!

and it’s still . . . all about: SCALE / SIZE !! MASSIVE. too, much.
EDWARD SNOWDEN, what a bitch of a . . story.

but I can’t help pointing out, art trend micro-managing forecaster that I am, that if you read that Animal post, and it is very entertaining !! all the way down towards the end, in the, shall we say . . . small print area, and probably talking future art product !! down the road, no doubt . . .

are the words: “The artists are fully aware of the bust’s inevitable destruction and have left themselves a few options, including one that deploys an army of mini-Snowden heads.” – !!

“We have a full size mold that can be poured again and it’s been 3D rendered, so we have the ability to print smaller ones at scale.”

no doubt.

well, to conclude in a nutshell . . aka blogger-nano time.

the irony of the NYC art world at this momento-in-time is . . .

as if we didn’t already know it, the art institutions, and the people who run them – are being told to take their “vapid” empty art, and run for the hills. 6 months long exhibition runs, years in the planning, celebs, big budgets, and all.

while the scrappy fly-bye-night indie street artists, low-fi indie curators, pop-ups, and self-representers . . . and, the on-the-run indie bloggers who love them, have the city – in a love-that-art / head-lock.


I also can’t help but ask, whether the desert rats on the other side of the world might have something to do with how ‘gently’ the NYPD has removed this “illicit” SNOWDEN bust, apart from the fact that the artists who put it up, made it so easy to – take down.
I mean, that would be be such a bad photo op. too too much, too much bad pr for the city . . . if the NYPD, or Parks and Recreation (?!!) were to be seen taking sledgehammers to art . . specifically, sculptural heads, too. just like the desert rats are doing, this very same week ?
I mean the world really feels, connected !! – now.
as connected as . . a snowball.

PHOTOS: NANCY SMITH, except for the Wall Street and Animal New York press photos, of course !!


it’s a . . bunny, not a . . piggy !!!!
imagine a bunny and a piggy having . . sex.
yuk. or, is that yuck. so much for art criticism, NYC 101.

o.k. – not ready for that ?
take two:
follow me . . down the mighty distressed garden path by which we discover MR. PIGGY – is really MR. BUNNY – !!

just as YELLIN screams ART BOSS of RED HOOK, and perhaps even the decade, GAULD spells . . G-o-l-d.
doesn’t matter – how you cut it, or . . cast it.
solid gold. plaster, wax, or paint.
whether set on fire, bathed in neon blue light, or hang on a wall.
piggy, bunny, or naked damsel in . . distress.

this BAZAAR TEENS money machine, atm ? tucked away in a small janitor closet behind their entryway, had caught my notice, at the last minute – at the Spring Break opening.
well, it was . . a bonafide nano-moment, of half attention, on my part.
when I returned 2 d days later, it was at the top of my list – to look at again.
just what was that – that had sneaked by me, like a thief in the night.

loved the ‘piggy’ banks, I assumed, lined up on the shelf above the money machine.
that ‘pink’ shading of the light – also spoke ‘piggy’ to me.

my impulse was: I wanted to grab one, and run.
just how some people want to grab the money, (fortune and fame), and run, too.
p.s., in the tiny closet – nano-exhibit, dot dot … dot.
in the ‘closet’ – in general, dot. dot – dot.

art thou, art product – piggy banks ?
or, put forth art critic-wise . . ‘art product’ that I liked way better than all that pasted and shredded . . . (great p.r.) m-o-n-e-y.

the neon blue lit entryway to the ‘TREE-TECH’ operation, was even more fab than I had remembered.
how many times does that . . happen.
so, things were looking good.

yep, it was a total full-on FAB NANO-MOMENT – !!
I was thinking piggies, and here was MIA BERG, the BAZAAR TEENS ‘TREE-TECH’ crew member of the random moment, and she was thinking . . piggies, too.

in fact, she was drawing one, that she had just placed on the ‘showroom’ . . info desk.

this was her drawing, and so I came to see – that it wasn’t a piggy after all, all money assumptions be gone out the window, just like all the rest of the money assumptions in my life.

yep, Mr. Piggy was a Mr. Bunny !! it was a . . BUNNY on top of the cash machine, all along.
now how about that, for a distressed, transformational . . garden fable.
in fact, the drawing seemed to be a love letter, to MR. BUNNY, from . . BUNNY (femme) !!
so, back to the fable: it’s gone from a piggy bank to a rabbit. a magic rabbit, dig the hat. the story has taken a wild turn, from . . saving dough, it’s jumped to saving the species, i.e. in more coarse terminology . . ‘breeding’.
so, there’s hope in the garden ?
a little bio-magic, some spring-time romance ? even in the (mighty) distressed garden of the dirty plastic ‘TREE-TECH’ future ?

this JOHN GORDON GAULD bunny, also played into the current artisan-all-the-rage ceramics – wave crashing over us – like a monster tsunami . . out of Brooklyn.
it was low-fi version, plaster. but still !! and . . no matter.
and, even better, it was . . signed on the bottom by the artist !!
it could have had a slit at the top for coins, and a hole at the bottom, for coin retrieval, then I guess it would have been a . . bunny-bank ?
maybe, next time.
for now, it was more about saving the human race, i.e. the world, than saving . . money.
and, for ‘TREE-TECH’ it was not a moment too soon.
all seemed to be well, if not a roaring-ly fantastic utopia, with the teen bio future, living as they do, in an increasingly . . bio-hazard challenged world.

in fact there were even . . ‘home decor’ candle format Mr. Bunnies, for $100 a pop.
but no signature, and well, a disappearing act . . if put into action.
another ‘TRANSACTION’, a truly nano-to-dot moment – art product ?

so, where were you . . Mr. LARRY WARSH, man of the BROOKLYN MUSEUM hour/nano-moment, famed, and justifiably so / self-styled collector of artistic, translate: ‘BASQUIAT’ . . . ‘ephemera’ ?

does . . art ever move on, to the NEXT BIG MOMENT, as it . . happens ?

besides, what a difference a candle ‘camera’ angle makes, for some reason, I’m not sure of, I think it was important to note, that this was a male Mr. Bunny, and not a ‘femme’.
as in . . PULL THE MAGIC RABBIT out of the HAT ?
and even further, as opposed to . . follow that, more organic ? Mr. Rabbit . . down the rabbit hole ?

Mr. BUNNY, on fire – !!
really dig that ‘shabby chic’ industrial setting – !!
crate and barrel, not. though it’s getting there.
‘TREE-TECH’, yes.

bye the way, the chalky bunny ‘bank’ opaque plaster surface, as well as the soft waxy surface of the bunny candle, and its warm glow when lit . . went well with the shiny industrial BAZAAR TEENS theme – in general.

so, I thought that was the end of the garden path story, and asked Ms. Berg to kindly stand up and show me her ‘TREE-TECH’ decal . . all the better, to see you, my dear.

BAZAAR TEENS, blue light and all, great graphics, props, set and design, concept and message – in a nutshell.

JOHN GORDON GAULT, ‘Blue Ghost’, 2013. oil on linen, 42 x 60 in.

and then, my lucky day, or what. JOHN GORDON GAULD himself . . entered the picture.
and told me, that it was he – who had in fact painted that show-stopping hyper-realist ‘nude’ in one of sub-text ‘TREE-TECH’ . . ‘satellite’ exhibit rooms.

all radar, no money. like I said.
that’s myself I’m talking about, guess you really can’t have it all.

yes, it was . . a Damsel in Distress.
her hands were going cold white and powdery – with death.

and, just like that, THE TALE OF BENJAMIN BUNNY, and the happy ending that went with it, went up in – smoke.
just like a candle.
the survival garden fable – got all twisted up, right at the very end.
like a final parting shot . . Tarot card, ‘To Mr. Bunny, with love . . from Ms. Bunny’, got shut down. the whole thing ended, on a most ominous note . . . PARADISE LOST.

if the shabby chic industrial futuristic distress scenario, that was the ‘TREE-TECH’ office installation, with its glossy, pitch perfect gibberish-full color brochure, and its muddy stale day-old bread, and day old, more like weeks old coffee-spewing DIY fountain, including a generous piling on of out-of-place dirt lining the bare walls, everywhere, at every nook and cranny of their uber-fabricated ‘TREE-TECH’ offices – didn’t nail the future for ya, the crew of BAZAAR TEENS socked it to ya, with Mr. GAULD’S endgame painting.

‘BAZAAR’ becoming less a metaphor for ‘cash’ transaction – and, more a case for . . genetic mutation, i.e. that’s, ‘BIZARRE’ . . in case you can’t make the deconstructionist . . leap.

yep, leave it to the hyper-realist painting, to set you straight.



file under: PERFECT ‘PITCH’.

at . . . SPRING BREAK 2015,
although there were many combinations of exhibit presentations, from group to solo, cutting edge to soft contemporary, art historic, and archival as in the BASQUIAT rooms, and even some soft porn illustrations, as in the MARINA T. SCHINDLER presentation . . and, a few bonafide albeit ‘faux’, and sometimes, as in the case of BHQFU . . actually, real replica working offices – it struck me as strange – that there weren’t any working, or even fictional, as in prop ‘workshops’ per se ?
esp strange for such a devoted DIY generation.

BAZAAR TEENS – came the closest, . . their fictional but working ‘set’ installation – seemed like the work space of the not-so-fast-forward . . bio-hazard future !!

BAZAAR TEENS gave BHQFU a run for their money . . . with their install, a ‘work’ space, in action – with their ‘TREE-TECH’ showroom, office, and warren of ‘offices’ – which were really satellite exhibition spaces.

one of their their closest moments to presenting an actual workshop-in-motion – was if you caught a crew member nailing bread (dough ? money ? get it ?) to any entryway wall. the bread, esp as it rotted . . was a nice visual, sensual contrast to the ‘forever’ stable concrete blocks – in the picture frame, above.

note the ‘little’ nano – detail, the ‘TREE-TECH’ logo at the bottom of the concrete block image.

the ‘TREE TECH” organization’s . . inner sanctum – slightly rowdy, and chaotic, though actually a very deliberately placed, and curated chaos, was the epitome of futuristic – industrial, archival chic.

Blade Runner – watch out.

shabby chic, on a pedestal – or what ?!!
you can see the off-shoot exhibition ‘cubicles’ in the background. TEEN BAZAAR was a very complex installation, lots of depth, lots of intrigue.

just like the ‘working’ BHQFU office, BAZAAR TEENS had moved in tons of miscellaneous gear, which made their ‘TREE-TECH’ ‘office’ . . all the more convincing.
it breaks down to detail, detail, detail . . with the smallest unit – adding up, with the whole becoming greater than the parts. a classic idea when you think about it.

a ‘TREE-TECH’ worker – folds the company brochures and disperses the super well-designed, company . . logo / decals.
working (fictional) office – check.

this was the room, in the ‘TREE-TECH’ complex – that had generated a lot of pre-SPRING BREAK buzz, supposedly $10,000 worth of USA money / cash bills – cut up into tiny strips – and stuck, glued to canvas, in the form of conventional ‘painting / collage’. a brilliant stroke of showmanship, but as an ‘art piece – it kind of left me . . cold.

money, money.

I found the inner ‘office’ much more interesting. compelling, in fact. amazing, in truth.
kind of JEFF KOONS, fast forward if Koons was cool, and hip – again.
but I guess they needed a big-game art ‘product’ to sell, money, money, thus . . the money paintings.
they also were not that well conceived, the money paintings, done with just a little more imagination / guts – they might have rivaled DAN COLEN’S ‘Bubble Gum’ paintings – ?!!
if he were cool, and hip – again, too.

I actually found their free give-away, no money exchanged !! way eerie ‘TREE-TECH’ decal/logo – a much more fascinating, and better conceived – product / art object – in all-ways, as in . . . concept, metaphor, pure design and info graphics – and of course, as in . . ‘TRANSACTION’ – READY – AVAILABILITY.

it was all of 1-1/2 x 3-1/2 inches – in a right-on perfect shade of olive green that went beautifully ‘ombre’ in the middle, just like a tree . . casts its shade.
the decal shape was a gorgeous, perfectly balanced ‘oblong oval’.
the ‘ombre’ shading, and the tree shade lined up nicely, too.

in fact, metaphorically – it was very much a ‘nano’ – symbol of the entire BAZAAR TEEN install . . . casting ‘shade’ or ‘diss’ on the prospects of a healthy human-bio-future on the planet, that we love, but have . . ruined.

Pitch – Perfect . . . !!!

the give-away ‘TREE-TECH’ brochure – was right-on, too.
seamless informational graphics . . brilliantly replicated the every day commercial brochures that are shoved under our doors, or slipped into our mail – all the time, NYC 2015. brilliantly conceived and produced – these ‘mini-me’ commercial adverts – were full of double-talk gobbedly-gob !!

this is an actual commercial brochure that landed in my mail box – yesterday !!
so, dot dot dot !!

back to BAZAAR TEEN, ‘TREE-TECH’ . . read their mission statement – for yourself.

the back of the brochure with the . . ‘TREE TECH GUARANTEE !!

“A supportive, transportive family program”, and, “A commitment to ongoing nonspecificity” .

more on the BAZAAR TEEN artworks in their satellite rooms, beyond the ‘money. money’ pieces . . posts next.
there were a few very contrarian statements, maybe NO surprise ?!!
with a brief introductory shout out, n-o-w – . . to DANIEL KENT, and JOHN GORDON GAULD.
that I liked, very, very – much.


~BAZAAR TEENS . . intro to ‘TREE-TECH’


if NICHOLAS STEINDORF & DARREN WILL . . were the live wire digital artists of SPRING BREAK 2015, and BHQFU were the dead-pan live wire office act, then BAZAAR TEENS . . were the live wire traditional painters – gone wild !!

and we’re still on a nano, micro / scale . . . break-down !!

talking about which, nano / micro, mini, mini-me . . . aka the small vs the large,
I ordered Chinese take-out last night, and this was my fortune cookie fortune:
‘No snowflake in an avalanche ever feels responsible’ . . ?!!
dot dot, dot !!

well for one thing, BAZAAR TEENS was all about . . showmanship !!
(among other things . . )
this radical, light-beamed gateway, industrial chic . . was about the only real ‘lit up’ space entry – ?!!
I guess this gift for the far-out. a form of self-promotion, that transcends all expectation to become an art form unto itself, comes from their older, wiser, even crazier juiced-up . . leader – DUSTIN YELLIN.
apparently it’s just not in this twenty-something generation’s . . bones.

walking around this ole post office . . turned alternative exhibition/convention hall – I couldn’t help but sadly remark on the lack of imagination and ingenuity in getting people to come into one’s booth, and then socking – it to them, and . . posting the prices !! ‘transaction’ – dudes !!
I could not believe how tapped-down most of this young generation was. and they probably think I’m a live wire – light bulb, best toned down 4 shades of grey ?
good luck with that. purple, purple. purple.

I told NICHOLAS STEINDORF and DARREN WILL, of the flashing emitter / evolving bio impulse – videos, one is actually titled “PURPLE” – though ?!! that they should set up a card table in front of their room, and/or a bunch of lawn chairs, something anything, a banner that ran 2 ft high: proclaiming ‘video animations $1 per 1 MB’ – but they were having none of that, they were not budging.

so this neon sharp citric purple light was – great . . . a little drama, a little fun, super electric daisy . . doorway.
magic . . beckons.

give him credit, he pr – amped up the fair, for everybody.
his curatorial project, Bazaar Teen – was like the deconstructed heart beat, the friggin’ heart, cut live from the body .. and still beating, beating, bleating, and b-l-o-o-d-y.

the ‘TREE-TECH’ . . showroom.

loved how everybody, including the boss, was wearing disposable haz-mat suits.
you can just make out, their . . BIG TEEN ‘NANO’ MOMENT, the tiny green ‘TREE-TECH’ logo, on their chests.

it reminded me of ‘QUIET – WE LIVE IN PUBLIC’, except the ringmaster was JOSH HARRIS, not Dustin, it was downtown NYC, not Red Hook, and it was wild !! all over. a million dollar Millennium party to beat all. it was 90+ uniformed live-in artists, not 6. whatever.
I hit the wall, when I realize that was 15 years ago, and most of these Spring Break kids are barely 27 if that, so how old were they then, 12 ?
well you can always catch up and see the movie of that wild 24-7 party / tech start-up that won Sundance 2009 – ‘WE LIVE IN PUBLIC’, it’s all there, in it’s deconstructed . . 24/7 surveillance- wired glory !!

omg, the future looks sludge-y !!
a DIY fountain, spouting day-old coffee – starting to get the picture ?!!

lonesome and forlorn, the ‘pot’ of liquid gold – under that rainbow . . ‘arch’, awgh.
yuck-y !!
the water has gone . . . all yuck-y !! surprise, surprise, NOT.

it would get much worse, as the days passed. just like our own earth. damn.
realism, quelle vie.
they just needed a few random . . shooters, desert rats come to take over the leaking, broken ship.

the plants in the window – would go south too, all things come to an end.
entropy, hubris, the compost – of it all !!

more on BAZAAR TEENS go wild – tomorrow, got to run.



SPRING BREAK 2015 . . in the old post office building, was itself – a warren of small spaces, you never knew what you would find once you stepped into a room. mostly it was art exhibits, group, singular, projections, installations, and even a few . . faux offices !!

painter JIMBO BLACHLY . . in his ‘deadpan’ office at SPRING BREAK 2015.
curated by EVE SUSSMAN.
I guess that would be . . category: fictional replica !!

BHQF / BRUCE HIGH QUALITY FOUNDATION . . . seemed to have transported their entire BHQFU headquarters over to SPRING BREAK, and it was . . . business as usual.

and, yes . . that is JOHNNY MISHEFF, of FOR THE RECORD . . that I just happened to catch – on the right !!
Johnny . . be good !!


see: BHQFU – with a super great homepage illustration

JOE KAY – BHQFU events director.

BHQFU / BRUCE HIGH QUALITY FOUNDATION UNIVERSITY – was an installation that was always in flux or, business as usual . . !!

at the moment a one-sheet ‘broadside’ called . . FOR THE RECORD – was the object of interest. this is the back page, an illustration/line drawing . . by JIM KREWSON.

like a random connect-the-dot, dot dot dot . . that sticks: FTR / FOR THE RECORD caught not just the moment, but the greater ‘formalism’ and ‘ethos’, alternate reality . . of BHQF in general. a very low-fi, on the move, constant start-up, in-your-face, art world weary, contrary, stubborn, even if slightly convoluted, no diss – as in COMPLEX . . . raging indie spirit held in check by . . played-down, pared-down – ‘visuals’.

the focus on ‘learning’ is accentuated, in fact – by a most minimal visual style, a kind of grey on grey, with special attention paid to . . text, type, as in type-face / fonts, text-related graphics. this was a room, a simulated office, probably even an exact ‘mini-me’ replica ? . . . with a lot of stuff, but ironically presenting . . with a very minimal look. you can skip ‘pictorial’ saturation, and even, color. industrial hardcore . . does come to mind.
steely, a bit cold. not so much at play, as . . in play.

detail, JIM KREWSON, ‘Group Therapy’, 2015.
Sharpie and pencil on paper.

the most ‘arresting’ visual in the BHQF room, and most suitably for a place in flux . . variable upon the light !!
this summed up the BHQF aesthetic – in a snap-shot. very subtle, very minimal, fluid, stark, idea-centered, text-driven, and, curiously ‘organic’ for such . . grey-on-grey.

this was their best . . ‘nano’ – moment – their biz card.

the graphics were superb, even on the reverse.
FU. take it or leave – it.

meantime, a closer look at FOR THE RECORD, revealed some choice, pared-down, but more expressionistic !! and, outright MOODY . . ‘nano- moments’.

like a tiny magician’s trick, or those stacking, I guess that’s ‘nesting’ Russian dolls – that keep on giving, while getting smaller and smaller . . in size.

kind of like a one-man ‘snow’ globe of thought, FOR THE RECORD is put out by editor/founder JOHNNY MISHEFF.
this is ISSUE NO. 2 **** FREE **** – & – ‘distributed early in 2015’.

the illustration on the front page – is by BRIAN MONTUORI.

the . . FOR THE RECORD mission statement:
“I wrote a dorky Facebook post recently about the importance of ppl letting each other know when they like something another person did. If you like this newspaper, I’d love to know. Haters can go and suck a donkey dick. Email me. Johnny Misheff, at 4therecord411@gmail.com”

right there on the front page, for all to see: is a apt, and well-deserved poke at that annoying, elitist, poser organization known as NADA, and sad to say based in NYC.
as if.

with one last communication, to send you on your MFing way, category: intellectual ‘transaction’.
‘One last quote for ya: “Our heads are round so that our thoughts can fly in any direction.” – FRANCIS PICABIA’



then, there were the artists who used ‘smaller’ elements – to build up a . . . whole.
and yes, the whole was . . . greater than the parts !!

the show also swung from the serious . . to the novel, from political rage to sad sentiments, touched on folk art, and hit the cutting edge – sometimes soft, sometimes hard – and, back again – many times over.

ERIK DEN BREEJEN, ‘JONI MITCHELL (California)’, 2014 and NEIL YOUNG / ‘Albuquerque on the Beach (Alone at the Microphone)’, 2011.
both acrylic on linen, 28 x 22 in.

detail, ERIK DEN BREEJEN, ‘NEIL YOUNG’. the word ‘blocks’ are . . lyrics from the songs.

acrylic on linen, 72 x 68 in.

detail, ‘Robin Williams’.

detail, ‘Robin Williams’ – the words are from his early stand-up routine.

VINCE CONTARINO, who with KRIS CHATTERSON, of PROGRESS REPORT – curated the ERIK DEN BREEJEN paintings. yes, I consider Erik den Breejen’s work . . to be hitting the cutting edge, and HARD. color field painting, for our . . times !!
they are also very ‘quilt-like’, if you extend the . . formula.
meaning-wise: souvenirs of a time past.
formal construction: block lettering, connected patterns, etc. etc.

curator YULIA TOPCHIY of CoWorker with an ambitious ‘in the mail’ project – by RIITTA IKONEN.

RIITTA IKONEN – small, strange objects were addressed, with no envelope or other packing . . and put in the mail, as is – by this Finnish artist. over 200 were sent out since 2001, and only 5 were lost.

the objects, all about 18 x 18 cms. in dimension – were arranged on top of small display towers, themselves made from small, mini ‘crates’.

RIITTA IKONEN, ‘mail art’. she will be having a solo show of these pieces in Nov 2015 at the Postal Museum in Helsinki, Finland. yes, she is from Finland.

the reverse of the paint brush piece (above).

some of the RIITTA IKONEN pieces were also displayed on the wall.

RIITTA IKONEN, ‘I’m Here’, mail art, 2004. postcard (thread) 18 x 18 cms. unique.
curated for SPRING BREAK 2015 – by Yulia Topchiy.

curators MICHAEL VALINSKY and ARIELLE de SAINT PHALLE . . presented a hand-sewn book project by Elektra Kb. the project, a hand-crafted ‘soft’ book . . which is bound by buttons and button holes, which jumps way past ‘artisan’ – to ‘artist’ !!
was separated, and hung on the wall – for SPRING BREAK 2015.

Electra Kb, ‘Untitled (Book of the Cathara Insurgent Women)’, 2013
pigment prints on canvas, fabric felt, thread. each square: 12 x 19-1/2 in.

Elektra Kb – note the buttonholes used to bind the cloth book, running down the left-hand side.

Elektra Kb . . note the button holes on the left.

I totally loved these . . . minimal graphics – in play. just for themselves, and against the more narrative, or pictorial . . blocks.
very cutting edge, quilt. very cutting edge, graphics.

Elektra Kb – mission statement:
nice, hand s-t-i-t-c-h-i-n-g.

Elektra Kb, girls on swings, and girls in k-i-l-l-e-r masks ????

Elektra Kb …”where we live is liberated territory”.
I wish.
I really don’t know what to make of that statement, but the stitching, and the background – are amazing.
well, art is liberating. craft, skills – are liberating. freedom to create and create political expression – is/are liberating.
I think humans get hung up on the ‘territory’ part. one tribe does not want to share with another, basic bio code. even in human relations, the ‘nano’ . . reigns.
and divides.

see: Elektra Kb
she is an artist, born in Soviet-era Odessa, and currently studying for her MFA at Hunter College, here in New York.

on a less solemn note . . . but perhaps just as . . militant ?
it’s subversive to cut up . . US currency.
detail, MARK WAGNER . . a political statement, as well ?
women’s work ?
clean up – the economy ? I don’t know whether to laugh, or cry.

MARK WAGNER, ‘Very Expensive Push broom’, 2008 – curated for SPRING BREAK by TESS SOL SCHWAB.
mixed media assemblage, 61 x 61 x 6 in.
edition of 6 out of 9.
($10,000) (he wasn’t joking).

curator TESS SOL SCHWAB . . at SPRING BREAK 2015.

another, true replica . . miniature !!
a mini-me !!
JASON CLAY LEWIS, ‘d-CON Plagueship’, 2009.
d-CON boxes, wood, string.
curated by GUY NELSON, of AQUARIUM for SPRING BREAK 2015.

talking about . . ceramics !!
though these seem full scale, even life size . . . they are still, in a series, and thus: parts equal the whole !!
DAVID PACKER, ‘Short Circuit’, cast ceramic, 2011.
curated by GUY NELSON, of AQUARIUM for SPRING BREAK 2015.


last, but not least on the nano parts equal the greater . . whole.
small, tiny clay sculptures by ANNE NOWAK – lined up on the floor, outside the door.
they scared me, they . . s-p-o-o-k-e-d me.
anybody else know the late DAN ASHER’S tiny white clay figurines . . exacto !!
then I find out the exhibit is called: ‘The Dead People’s Dead Flowers’ – !!
the dead n-e-v-e-r die, get it straight – already.
Dan Asher died on Earth Day, coming up this very month, and apparently he’s STILL roaming this earth.

ANNE NOWAK, mini-me . . RIP Dan Asher !!

ANNE NOWAK, mini-me death . . parade, becomes . . you.

artist ANNE NOWAK . . . at SPRING BREAK, 2015.

CASSANDRA M. JOHNSON . . curated ANNE NOWAK, ‘The Dead People’s Dead Flowers’ – for SPRING BREAK, 2015.




curators ELLIE CLARK and LEIGH SILVER . . titled their group exhibit: URBAN FLUX, interestingly it also included a small imaginary perhaps .. . futuristic, city headquarters as a ‘replica miniature’, and presented a larger scale photo-based work, a downtrodden urban city portrait – that was characterized by its attention to ‘minute’ . . detail.

JENNIFER & KEVIN McCOY, ‘Old Headquarters’, 2012. mixed media sculpture, LED screen, media player, electronics, coming it at a small, even for a miniature !! scale of: 12 x 12 x 10 in.

an imaginary ‘replica’ . . now that’s a interesting thought.
a mini-me, not !!

yes, the little screen – was animated.

a city road map of traffic patterns ?
on a sharp pink background !!

graffiti and language ‘code’ on the base . . . urban scrawl !!

TIM PORTLOCK, ‘Farm’, 2011. archival pigment print and visual effects software. 72 x 54 in.

Farm, ha.
maybe devolving back into farmland – in a 100 years ?

even though the piece itself was in the ‘larger’ size format, re: dimensions (72 x 54 in.) . .
it was still a ‘mini’ slice of urban abandoned reality / decay. and it depended on attention to ‘minute’ details – to get its point across.

the ubiquitous white van . .

the rusty billboard . .

the abandoned warehouse . .
watch out, the artists are going to move in, and bring the hood – back to life !!

the ‘little’ houses . .

the trash and litter – on the dirty snowy streets, tell me about it !!

is that a paint can ?
have the artists already begun to trickle in ?

urban habitat gone to weed, and blight. gone to the . . dogs.
gentrification, just around the corner – no doubt.