DAN ASHER, STILL FROM: ‘SALARY MAN’, 1997. 1 min VHS-to-digital
THE VIDEOS of DAN ASHER – ANTHOLOGY FILM ARCHIVES
32 SECOND AVE, NYC / LOWER EAST SIDE
TUES APRIL 3, 2018 / 7:30 PM
TOTAL RUNNING TIME: ca. 75 min.
read more: DAN ASHER SCREENING – ANTHOLOGY FILM ARCHIVE
This program of videos is presented on the occasion of a solo show of large paintings, smaller drawings & small table-top clay sculptures . . .
‘DAN ASHER – AN ANTHROPOLOGIST ON MARS’ . . now up at MARTOS GALLERY, 41 Elizabeth St, Chinatown . . thru APRIL 22.
DAN ASHER, ‘Untitled (self-portrait)’, color photo print, 11 x 14 in.
signed & dated on the back: 1998 / Dan was always in search of . . shamans. literally.
Collection: NANCY SMITH
I was Dan’s studio assistant when he was printing up a series of photos, mostly based on his travels to Antarctica.
I got paid in cash (and well !!), sushi . . & art work !!
Dan was rolling in cash then, mid-1990s. he had just inherited something like $200,000, or was it $400,000 . . when his mom died. needless to say, it was all gone by the end of the decade.
Simon (Cerigo) actually put $100,000 of it into Apple stock in 1996, but Dan quickly converted it into penny stocks and lost it all.
Dan would have been . . a millionaire, many many times over, if he had just left it alone, but no matter how much both of us screamed at him, trying to get through his stubborn, obstinate ways . . . he would just respond: ‘It’s my money, I’ll do what I want.’
end story; he was desperately broke, and became very sick at the end.
DAN ASHER, b. 1947, Cleveland, Ohio. d. 2010 New York City.
but, I’d rather leave this following story of his stubbornness, as part of his colorful legacy.
Dan left high school, in what must have been the late 1960s, to follow & photograph . . . Bob Marley.
much against his parents wishes, of course.
the box of black & white photos, which he brought with him to New York, got lost at a party early into the 1980s. flash forward more than 25 years later, sometime in early 2000, he was at another party – when a girl he used to know, comes up to him and says . . “I just found your Bob Marley photos in my closet.”
he promptly sold the bunch to the Marley estate for $100,000 on the spot.
that was Dan.
a little bit of magic and a lot of stubborn / sometimes it set fires, and sometimes it . . flamed out.
DAN ASHER, ‘Iceberg’ color photo print.
16 x 20 in. // signed & dated 2000 on the back.
Collection: NANCY SMITH
~THE VIDEOS of DAN ASHER . . ANTHOLOGY FILM ARCHIVES / TUES APRIL 3 / 7:30 PM |
Posted in The Bomb | By Nancy Smith | April 2nd, 2018, 4:02pm
HALEY JOSEPHS . . ‘WHEN MEN ARE FAIRY TALES in BOOKS WRITTEN BY RABBITS”
OPENS FRI MARCH 30, 2018 / 7 – 10 PM
the show runs thru MAY 6, 2018
DELI GALLERY, 10-16 46th Avenue
Long Island City, Queens 11101
HRS: SAT & SUN / 12 – 5 PM
or by appointment
HALEY JOSEPHS (b. 1987, Seattle, Washington) is a Brooklyn-based painter.
This is her second solo show with Deli Gallery.
“When I was alive, I believed – as you do – that time was at least as real and solid as myself, and probably more so. I said ‘one o’clock’ as though I could see it, and ‘Monday’ as though I could find it on the map; and I let myself be hurried along from minute to minute, day to day, year to year, as thoguhI were actually moving from one place to another. Like everyone else, I lived in a house bricked up with seconds and minutes, weekends and New Year’s Days, and I never went outside until I died, because there was no other door.
Now I know that I could have walked through the walls.
You can strike your own time, and start the count anywhere.When you understand that – then any time at all will be the right time for you.”
~The skull from ‘The Last Unicorn’, written by Peter S. Beagle.
~HALEY JOSEPHS . . ‘WHEN MEN ARE FAIRY TALES ..’ / DELI / OPENS FRI MARCH 30 / 7 – 10 PM |
Posted in The Bomb | By Nancy Smith | March 29th, 2018, 2:54pm
ahhh, moving into . . . AIRES !!!!!
cosmos – on FIRE !!!!!
guess who’s an . . AIRES on steroids ?!!!
‘How to Build a Fire: Sow/Reap’ – FRI MARCH 30, 2018 / 8 PM
OPEN SOURCE, 306 17th St., South Slope, Brooklyn
If you look into a fire, you’ll never see the same flame twice. Fire Flickers. It dances. it sways. It moves. It is constantly changing and going with the flow. Our 2 dynamic co-hosts ALENA SINGLETON & EMILY RAY REESE, are here to guide us through evenings of stories from a diverse array of voices, including old favorites & newcomers alike.
~OPEN SOURCE
WITH STORYTELLERS:
WAQIA ABDUL-KAREEM
BRIDGET KENNEDY
DEANNA L. MARTIN
CRYSTAL VELASQUES
what ?????
FIRE . . as a working / definition of: INFINITY ?????
I guess so !!!!!
~’HOW TO BUILD A FIRE: Sow/Reap’ . . OPEN SOURCE / FRI MARCH 30 / 8 PM |
Posted in The Bomb | By Nancy Smith | March 29th, 2018, 10:50am
SELDON YUAN – ‘NO PHOTOS’
OPENS SAT MARCH 31, 2018 / 7 – 10 PM
show runs thru APRIL 29, 2018
SELENA GALLERY, 37 TROUTMAN ST., #3, BUSHWICK, BROOKLYN
SELDON YUAN, ’20 HUF in my pocket, 5300 HUF short (Budapest Strip club), 50 x 38 in., 2008.
IMAGE VIA SELENA GALLERY
SELENA is pleased to present ‘NO PHOTOS’, a solo exhibition of drawings by New York based artist Sheldon Yuan. Yuan’s multi-faceted practice explores poetry, memory, and the width of language.
~press release
~SELDON YUAN . . ‘NO PHOTOS’ / SELENA GALLERY / OPENS SAT MARCH 31 |
Posted in The Bomb | By Nancy Smith | March 29th, 2018, 9:57am
I got to visit OLIVIA SWIDER at the 2 person show, just before it came down.
‘THE TEXTURE OF WANT’ – OLIVIA SWIDER & DALIA AMARA
FEB 24 – MARCH 17, 2018
MOUNTAIN, 284 SEIGEL ST, 1B. BUSHWICK, BROOKLYN 11206
the show’s postcard
Image: Olivia Swider, 2018
OLIVIA SWIDER, Mountain Gallery . . Sat, March 3, 2018
Ms. Swider also co-founded, & now solely runs SELENA, also a Living Room / apt gallery . . . in Bushwick, Brooklyn.
left: DALIA AMARA, ‘Touching a Cactus’, 2014.
Archival pigment print. 14 x 21.5 in.
right: OLIVIA SWIDER, ‘Muy Picante’, 2018
Lace, felt, rosary, wire, spray. 5.5 x 17 in.
while both artist’s works are ‘wanting’ to express desire, need, & need-to-understand (!!), self-identity and, ultimately, longing . . . their approach could not be more different. Dalia is about the ‘narrative’ of longing, and is on an . . inner search. contemplation. observation. thought. process. all done with a well-tempered ‘coolness’, even distance. Olivia on the other hand, is all about screaming out, tearing to shreds, and intense, hands-on expressionism.
Dalia’s work centers around her ‘self’ / through many self-portraits, as well as the formal distance of recording .. of herself, & inanimate objects / in very patient, realistic ways & settings.
Olivia’s work is self-portraiture . . through created, and often explosive ‘fictional’ narratives. both artists express . . ‘I want’ / not only as ‘desire’, or a ‘longing’ for self-knowledge, but also, as a verb . . as in a ‘demand’. an ambition, as in: I want . . ‘to be heard’, ‘to be understood’, ‘to be felt’ !!
OLIVIA SWIDER, ‘Muy Picante’, 2018
lace, felt, rosary, wire spray. 5.5 x 17 in.
talk about . . ‘I Want’.
as in ‘I demand’ !! to be heard, and understood / my fave piece in the show.
it looked more like a snake’s giant ‘fang’, than an embroidery sentiment. more of a demand, than a . . ‘wish’. it also spoke to Olivia’s cultural mash-up of a DNA background / Polish (the stern cross), and Mexican (the vibrant red lace, the seashell chain) / composed on a very contemporary, ‘shaped’ ‘platform’, 3D.
it was like an arrow, though being in the rough shape of a hot pepper, probably a better metaphor might be – a kind of ‘stake’ . . to the heart of the matter of things.
‘things’ . . being ‘things – in motion. creative, & emotional momentum !!
nothing is standing still, here.
detail, ‘Muy Picante’.
Olivia told me the rosary had been her grandmother’s.
I liked how it referenced the ‘texture’ in the title. plush carpet, silvery, thin metallic snaking chain, more solid souvenir trophy, & the abrupt, plastic pink, of the shiny, retro, vinyl rosary ‘envelope’.
OLIVIA SWIDER, ‘My Rosary’, 2018. another fave.
Rosary, vinyl, plastic, spray on rug. 11 x 17 in.
this one was more subdued, more sentimental. more story-telling.
more . . I was a young femme teenager once, filled with . . longing / the very definition of: want.
I liked how it referenced the ‘texture’ in the title. plush carpet, silvery, thin metallic snaking chain, more solid miniature souvenir trophy, & the abrupt, plastic pink, of the shiny, retro vinyl rosary ‘envelope’.
it had a longing, and a delicacy – that could not be denied.
two gallerist/curator/artists: OLIVIA SWIDER and MICHAEL FLEMING.
throwing some luck-of-the-Irish, in . . with the big drama of the Polish and Mexican !!
Michael Flemming runs his gallery space in his Bushwick, ground floor apartment living room. so it’s quite deliberate, both casual and intense / aspiring, and intimate.
yes. real people live here. art ultimately belongs in homes.
though this might be the last show for Mountain, in this space – word is . . Mountain and Selena are combining forces, and looking for a bigger . . living room !!
those are DALIA AMARA’s works on the wall.
top: ‘Rose with hair extension’, 2017.
archival pigment print. 14 x 2.5 in.
lower: ‘Simulation’, 2017.
Full HD Video.
DALIA AMARA, ‘Simulation’, 2017.
video focused on her ‘self’ . . in physical space / and, stance.
there’s a sense of curiosity, and poise.
running in a ‘window box format’, these ‘projections’ . . were inward-focused.
Olivia, meanwhile is never . . in the box !!
quite the contrast.
case in point:
OLIVIA SWIDER, ‘Party Frog’, 2018.
ceramic, el yucateco hot sauce, ceramic plate. 5 in. tall.
it’s like one is a ‘science’, (Dalia), and the other is a ‘science experiment’ (Olivia).
or: the full range of: want !!
DALIA AMARA, ‘Posing’, 2017.
Full HD Video.
the title says it all / looking into the mirror.
realism & questioning. finding, and . . wanting to understand, more ?
DALIA AMARA, ‘Posing’, black & white.
DALIA AMARA, ‘Posing’ . . black leotard, glass, and mirrors. steel.
& meaning – their textures, not just their colors. but, their surfaces. almost non-textures. hard, pristine, definitely narrative, realist shiny, reflective surfaces.
OLIVIA SWIDER, ‘Hello Liar’, 2017.
Bleach, tajin, sand, acrylic on hand towel. 16 x 26 in.
hello: YIN, yang !!
Dalia and Olivia.
polar opposites of expression, steel vs thick textile.
in both concept & literal texture / precise observation vs sandy, screaming !!
grace . . vs ripping to shreds, lol.
differences of texture – make the world go round.
yet, it’s still: always . . endless wanting, between the both of them.
I want you to look = at this. see me in my projection – Dalia.
see me in my acting out . . Olivia.
crusty. fried. angry. sad.
you were NOT, what I wanted !! LIAR !!
Lena Dunham: this towel has your name on it.
my heart is out there / and, I’m so . . over you.
‘The Texture of Want’ / is the Theory of Want . . . in 360 degrees.
from the precise, optical autobiography of the unblinking camera lens / to the shredded, crying, ripped-up towel of . . dude, it’s ‘over’.
PHOTOS: NANCY SMITH
~OLIVIA SWIDER & DALIA AMARA . . ‘THE TEXTURE OF WANT’ / MOUNTAIN GALLERY / PHOTOS |
Posted in The Bomb | By Nancy Smith | March 27th, 2018, 9:19am
NICK POE / SOPHIE STONE
OPENED FRI MARCH 23, 2018
the show runs thru . . APRIL 22, 2018
SAFE GALLERY, 1004 METROPOLITAN AVE, BUSHWICK, BROOKLYN 11211
HRS: SAT & SUN / 12 – 6 PM
read more: SOPHIE STONE & NICK POE – SAFE GALLERY
SO . . .
I came for the ‘tapestries’, and left . . with a pencil-toned drawing of flowers in a vase, embroidered on my heart.
SOPHIE STONE . . .
I had admired her re-purposed, orange-toned, hand-worked ‘rug’, done so painterly . . it was a ‘tapestry’ !!
when I first caught sight of it, at the Safe Gallery booth at this year’s recent NADA.
Sophie Stone received her BFA from RISD / Rhode Island School of Design in 2009.
She lives & works in New York.
detail, SOPHIE STONE, ‘Piano Rug’.
SOPHIE STONE, ‘Piano Rug’, 2018.
Cotton, plastic, sisal, paint. 48 x 48 in.
re-storing / re-claiming . . old & worn-out household objects – that was a big topic at the ESSEX FLOWERS collective, last month.
that’s definitely the way to go. honoring both old & new skills / sustaining resources. bringing the depth of diverse cultural life, and a sense history home. and most importantly, giving a wonderful old, yet newly functional object . . another 100 years of joyfully spinning . . on the dance floor !!
all the while admiring . . the new vision, creative repairs & art-worthy embellishments – that brought new life.
and spirit.
SOPHIE STONE, ‘Untitled (Two Hammocks)’, 2017.
Cotton, sisal, wire, house paint, 78 x 120 in.
textile repair . . is so fascinating, beyond just the sustainable / renewed / skills / innovation aspect . . and, of course renewed . . function.
as someone who hand-stitches old quilts back to life, myself, I know . . part of the attraction, is just getting to understand, in a real hands-on way – how things were made. and thus, understanding how lives were lived.
. . through the materials, whether they be woven or patchwork, whole cloth, or industrial dye-jobs, and as well, the level of craftsmanship that went into each piece.
conceptually, as you work on these projects, you get a real sense of what. . random, and infinite mean.
random, in the random, worn-out & very varied ‘pieces’ . . that come your way / as if by fate.
infinite, with regard . . to the infinite creative possibilities / ceaseless innovation that goes onto making each one – first strong, according to it’s needs, and then . . lively . . according to your mood !!
the only given is this: it is worn-out / fix it.
detail, ‘Two Hammocks’ . . .
setting to work on a lowly, worn textile . . for a craftsman / artisan / artist . . is a total delight / a never-ending potential, for self-expression.
SOPHIE STONE, ‘Pee Stains’. 2018.
cotton, acrylic, plastic, sisal, ink. 131 x 77 in.
trying to hide a hole, or a stain – gives new meaning to the term: turn a lemon into . . lemonade !!
it’s such a creative . . jumping-off-point.
detail, ‘Pee Stains’.
it’s like a game / of real skill, and . . courage.
how to . . hide the damage, esp the bio-stains, lol.
detail, border, ‘Pee Stains’.
and, then once the piece is shored up, strengthened, and made . . presentable !!
it’s time for the real games – to begin.
the joy is – self-evident.
and very much – a part of the contemporary art / cutting edge – canon.
NICK POE, with his framed pencil drawings.
a native New Yorker, born & breed on Great Jones St., in Lower Manhattan.
“his work captures the subtlety of architectural elements and magnifies these details to compose new experiential occasions.” ~gallery
NICK POE, ‘Pool Table (with Flowers)’, 2018.
Gandy 8 foot pool table, custom printed billiard felt, pool balls, pool cues, and hanging lamp.
58.5 x 105 x 31 in.
pairing Sophie Stone’s colorfully jubilant work with Nick Poe’s tapped-down, grey-toned minimalism, was such an interesting contrast / concept.
each artist’s work was in effect, brought to ‘greater’ life . . by the contrast.
NICK POE . . was all about new things, new infrastructures, new functional / house-hold objects; most of which he designed & built himself, the bookshelf, the bar / he designed the custom felt on the pool table.
EXCEPT, for one very important non-variable: the classical / truly retro, catalog illustration of a still-life, the vase & flowers scene, which inspired and anchored his new house-hold ‘objects’.
though, here again, there was that still that sense of a random . . jumping-off-point / something seen, an illustration . . in an old publication . . made new, again.
just flipping . . pages, and zooming in.
an old illustration, and a very low-contrast one at that, in terms of tonality & subject matter . . . gets a second dance !!
and, a whole new . . lifetime of enchanting a new gen of viewers.
the work is also obviously about . . skills / craftsmanship.
and, vision.
detail, NICK POE, ‘Bookshelf (with Flowers)’, 2018.
latex on wood, painted frame with flatbed print on dibond, bouquet wrapping paper, white oak, wax.
70 x 96 x 12.5 in.
detail, NICK POE, ‘Bookshelf (with Flowers)’.
NICK POE, ‘Bar (with Bar Back)’, 2018.
latex on wood with tempered glass and mirror, Duralex drinking glasses,
41 x 39 x 24 in (bar) / 48 x 96 x 11 in. (bar back)
NICK POE, ‘Drawing (with Flowers)’, 1,2,3, 2018.
Painted frame, with pencil on paper, uv plexi, bouquet wrapping paper, white oak, wax.
21 x 24 x 1.25 in.
PHOTOS: NANCY SMITH
~NICK POE & SOPHIE STONE . . SAFE GALLERY / OPENING PIX !! |
Posted in The Bomb | By Nancy Smith | March 24th, 2018, 10:20am
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
up thru APRIL 22, 2018
MARTOS GALLERY
there are a few great books about DAN, available to browse though, when you enter the gallery, on the desk.
one, a hardback, is very rare . . so it’s a definite / stop & browse.
titled . . ‘DAN ASHER – GUESTARBEITER on the PLANET’
it was published by AUREL SCHEIBLER Gallery in Koln / Cologne, Germany . . sometime pre-1993.
Aurel showed & sold Dan’s work in Europe for a time, and quite well, enabling Dan to live in Germany for few years. it was there that he had access to a clay workshop.
*guestarbeiter . . translates as immigrant / guest worker . . I believe in this case it meant ‘outsider’.
it also has a number of archival photos of Dan.
the other is a wonderful book – to buy, $10 / limited edition of 1,000.
DAN ASHER – ‘CLASS NOTES’
pages from notebooks 1991-92
published by Shoot The Lobster (Martos Gallery) / RATSTAR
2018 ed. 1000
soft cover / staple-bound / 42 pages
a wonderfully produced ‘zine’ it reads like a school ‘notebook’, and is in fact a selection from Dan’s many, obsessive, notebooks – filled with scribbled thoughts, random words, lists, appointments & sketches.
DAN ASHER / ANTHROPOLOGIST . .
Notes on being a . . man
DAN ASHER / ANTHROPOLOGIST
Notes on being a . . woman
DAN ASHER / ANTHROPOLOGIST
Notes on . . navigating society
DAN ASHER . . ANTHROPOLOGIST
Notes on . . observation !!
DAN ASHER . . ARTIST
how to find a way – through this ?
DAN ASHER . . PERSONAL DIARIST
Dan could be easily insulted, just the day-to-day hypocrisy of life insulted.
if you wanted to spend a day with him, without hassle . . better be sure to be armed with any number of random small jokes and . . soothing comments.
let’s just say . . I was eating lunch with him on a number of occasions, in any one of his favorite haunts / depending on how much dough ($$$) / he (or I ) had in pocket, from 4 star sushi bars, to Borscht with Challah slingers for $2 / when he sent a dinner plate flying like a frisbee !!
oh no – busted again / 86ed from another joint !!
it was mostly the vegan places that provoked him most, go figure – something about that healthy clientale.
DAN ASHER . . SHAMAN
PHOTOS: NANCY SMITH
~DAN ASHER . . a couple of books |
Posted in The Bomb | By Nancy Smith | March 22nd, 2018, 1:15pm
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
OPENED MARCH 16, 2018
the show is up thru . . APRIL 22, 2018
MARTOS GALLERY, 41 ELIZABETH ST, CHINATOWN, NYC
‘After reading ‘An Anthropologist on Mars’, (1995) by Oliver Sacks, DAN ASHER remarked to a friend, “that’s me!”. The story he was referring to is one of seven in this collection of paradoxical tales of neurological disorders and creativity. The titled tale is about Temple Grandin. Grandin said she could understand ‘simple, strong universal’ emotions but couldn’t comprehend … the emotional games people play. She spoke of heightened sensations to an almost excruciating level and had difficulty following usual codes of human interactions. “Much of the time”, she said, “I feel like an anthropologist on Mars.”
‘Before passing away in 2010, Dan Asher (b.1947, Cleveland, Ohio) exhibited internationally for almost four decades. A capricious (!!) character who worked like an anthropologist; observing and documenting human behavior, and admired the fine balance between both the inspiration and malaise of city life. Known for his photography, video, drawing, painting and sculpture, Asher always tried to push beyond what we know and are comfortable with, and what we fear. AS a result, his works reflect his infatuation with the human element and our poetic relations with one another.’
~gallery press release
having known Dan since 1981, I would add to that, that he was also a visionary (the iceberg & extreme wrestling photographs). a dramatic, tormented, and obsessive ‘scribbler’ . . parsing in ink, or pencil, his ‘codes’ to the universe. in a word, a shaman: both in his art works & as seen through his videos / one who could reach out and grab the heart of the matter, by the throat !! and then swish it out on paper – in few intense gestures, but who had difficulty ordering a bowl of soup, without getting thrown out / for making a rude comment. often erring on the funny, as opposed to the mean side of ‘civilization’ . . as we know it, inclined as we are as a group – to hypocritically accept life with all its quirks, and nonsense – something he could never understand.
note: on the occasion of ‘An Anthropologist on Mars’, there will be a short program of Dan’s ‘documentary’ films at Anthology Film Archives, April 3rd, 2018 at 7:30 PM.
see: SPECIAL SCREENINGS, ‘THE VIDEOS OF DAN ASHER’, APRIL 3, 2018 / ANTHOLOGY FILM ARCHIVES
PIX FROM THE OPENING:
DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’, MARTOS GALLERY, MARCH 16, 2018.
JOSE MARTOS, with . . BEN BERLOW, executor of the Dan Asher Estate.
EBONY L. HAYNES, Martos Gallery director, who produced the show / and, who, without ever having meet the mightily brooding man himself, captured his intensity . . nonetheless.
you got the full sweep, and contrariness of emotion . . of Dan’s work immediately upon entering.
the generous platform of small, ‘anthropomorphic’, robed, and teasing clay forms – and then all around, the deliberate lay-out of the paintings and drawings, with again, a generosity of spacing / just enough open, empty quiet a space to let you ponder . . the full thought, painterly gesture, & raw emotion.
to take in, the ‘scream’ of the ultimate, solitary ‘outsider’ . . who could not understand why?, he didn’t just flow with the rest of the river, when he so understood the powers of art and music.
you walked among the works / as if in a garden of strange fruit, and even stranger . . trees.
the biggest is 12-1/2 x 8-1/2 x 8 in. / the smallest: 5.8 x 3.4 x 5 in.
white clay, fired but not glazed . . they date from 1994.
some were like shelters. some were little monks, some were like books. some were like beckoning, shy sirens.
Anthropology defined . . in a handful of clay.
DAN ASHER, ‘Untitled’, 1980s.
oil on canvas. 59 x 52-1/2 in.
DAN ASHER, R.I.P.
ghost army . . of one.
KUBI NNAMDIE . . of RESTAURANT PROJECTS.
the work on the wall:
DAN ASHER, ‘Untitled’, oil on canvas, 1980s.
MARTOS GALLERY, Chinatown, NYC. 2018.
DAN ASHER, ‘Untitled’, 1980s.
painting on canvas, 71 x 58-1/2 in.
DAN ASHER . . . Anthropologist
DAN ASHER . . . Shaman
on the left:
DAN ASHER, ‘Untitled’, 1985.
oil on canvas, 78 x 71 in.
om the right:
DAN ASHER, ‘Untitled’, 1980s
oil on canvas, 59 x 24-1/2 in.
PHOTOS: NANCY SMITH
~DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’ / MARTOS GALLERY / PIX FROM THE OPENING |
Posted in The Bomb | By Nancy Smith | March 20th, 2018, 12:02pm
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
up thru APRIL 22, 2018
MARTOS GALLERY
DAN ASHER, ‘Untitled’, 1980s
painting on canvas. 71 x 58-1/2 in.
($40,000)
IMAGE VIA MARTOS GALLERY
~DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’ / MARTOS GALLERY / LARGE PAINTING on CANVAS |
Posted in The Bomb | By Nancy Smith | March 19th, 2018, 10:14am
DAN ASHER – ‘AN ANTHROPOLOGIST ON MARS’
MARCH 16 – APRIL 22, 2018
MARTOS GALLERY, 41 ELIZABETH ST., CHINATOWN NYC
HRS: TUES-SUN / 10AM – 6PM
OMG, WHAT A GORGEOUS SHOW !!
I WAS SCREAMING, ON THE INSIDE: DAMN YOU, DAN !! DAMN YOU, SIMON – for not being around to see this !!
R.I.P.
DAN ASHER, ‘Untitled’, 1980s.
oil stick on paper, 25-7/8 x 18-7/8 in.
($10,000)
DAN ASHER, ‘Untitled’, 1982
oil stick on paper, 26 x 19 in.
($10,000)
DAN ASHER, various (fired) clay sculptures
ranging in height, from 2 to 7 in.
($2,000-$4,000)
ARCHIVAL PHOTO: SIMON CERIGO, DAN ASHER, and NANCY SMITH
TRIBECA, NYC. 1981.
COLLECTION: KATE & THEO CERIGO / 1981 PHOTO TAKEN BY A FRIEND.
FOUND ON ONE OF SIMON’S NEWSPAPER PIECES, with blue oil stick outline.
PHOTOS: NANCY SMITH – UNLESS OTHERWISE NOTED
~DAN ASHER . . ‘AN ANTHROPOLOGIST ON MARS’ / MARTOS GALLERY |
Posted in The Bomb | By Nancy Smith | March 17th, 2018, 1:24pm
