Man Burning w/
Keegan McHargue
September 11–24, 2010

Saturday, September 11: Glasser
Friday, September 17: Houston
Friday, September 24: Yemenwed

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Glasser
A cappella at 8pm

W/———
141 Division Street
New York NY 10002

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Afterparty at B.East
10:30pm–late
DJ sets by Jon Santos

Broadway East
171 E. Broadway
New York NY

Sponsored by Fader

hello@withnyc.org
withnyc.org

My friend Anna Sew Hoy and I are working on a new artists book — contribute to the project if you can.

“A DESIRE TO LEARN ESPERANTO:
HAVING A THING to do with Esperanto, Ballantine Beer, both or neither”

Nancy Lupo for works sited

August 30 - September 30, 2010

“Imagine that you are on a train car sitting next to a Russian gentleman with whom you wish to speak. You have brought with you a key to Esperanto in Russian. On the back of the key is written (in Russian), “Everything written in Esperanto can be translated by the help of this vocabulary.” You give the gentleman a sentence written in Esperanto, and he will be able to make out your sentence in a very short time by using the key. As an example Dr. Zamenhof gives the following sentence: Mi ne sci’as kie mi las’is la baston’o'n: Cxu vi gxi’n ne vid’is?”

Cannon Hudson, New Painting and Sculpture
Alex Klein, Person to Person
Vishal Jugdeo, Violent Broadcast

May 1-29, 2010

Opening Reception
Saturday, May 1, 7-10 pm

Las Cienegas Projects
2045 S. La Cienega Blvd.
Los Angeles, CA 90034

More info

Not Equal, 2009, Plywood, wood glue and enamel paint, 13.1 x 17.75 inches

Shannon Ebner
Invisible Language Workshop
30 October — 19 December 2009
Opening Reception: Friday 30 October, 6-8pm
Wallspace

Exhibition poster design by Sandy Yang

Resort, A Station for Display
Arthur Ou and Alice Könitz
November 21, 2009 — January 16, 2010
Reception: Saturday, November 21, 2009, 7-9pm

LAXART
2640 S La Cienega Blvd
Los Angeles CA 90034

The Studio Museum in Harlem will open the fall/winter season with a major exhibition entitled 30 Seconds off an Inch. This survey will bring together contemporary artworks by a group of artists who, having absorbed the lessons of U.S.-based Conceptual art and identity politics, imbue their respective practices with a critical sense of play and irreverence adopted from Fluxus, Arte Povera, Gutai and Neoconcretism, among other international movements. 30 Seconds takes the singular practices and conceptual methods of black artists active on the West Coast in the late 1960s and early 1970s as a starting point–work that inspired a bodily engagement in conceptual practice.

Presenting approximately one hundred works by dozens of artists, the exhibition will provide an overview of a generation of artists who use a variety of media, including photography, video, large-scale sculpture, figurative painting and site-specific installations. 30 Seconds aims to show how this group of artists engages with the body and race in clever, subtle and astute ways.

Phil Chang, Untitled (C496)

Renwick Gallery is pleased to announce the group show Beyond Process. The exhibition features Lucas Ajemian, Patterson Beckwith, Phil Chang, Samara Golden, Alexander Hoda, George Kontos, Jason Kraus, Megan Marrin, and Lisa Williamson.

Documentation: Danielle Levitt

Second Floor is a private exhibition space started by curator Sarvia Jasso and artist Kathryn Garcia. In part fueled by the economic crisis, Second-Floor was developed as a way to challenge the “white cube” mentality of the market driven NY art-world by providing artists a platform outside of the normal exhibiting structure.

“LOST&FOUND is the first in a series of displays which explore themes relating to the library and its collections and practices. Turning to a particularly inconspicuous collection - the library’s lost and found, artist Joshua Callaghan has created an archive of objects made entirely of wood and wire and based on pure conjecture. When denied access to the actual lost & found the artist embraced the speculative, generating a playful anthropological display of banal technological contrivances and personal effects. What’s lost, then, is not only “found” by the artist but recreated as pure object, neutral stand-ins for what may or may not exist. By rendering these items in wood they are given new substance and materiality but are stripped of their original use value — the cord does not generate electricity, the pen no longer writes, the iPod will never play. In lieu of functionality these pieces remain static and on display. They present gestures. Shapes and outlines are vague, details are added selectively and objects appear as generic suggestions rather than precise representations. This formal ambiguity places the viewer at the center of a unique process of identification - a kind of visual “lost and found,” activated by the object’s abstraction.”

by Helen Pidd

A man with three ears will appear at Edinburgh Napier University today to talk about his “extra” ear, which has been surgically implanted on to his forearm.

Australian performance artist Stelios Arcadiou, known as Stelarc, had the third ear created from cells in a lab in 2006. At the Edinburgh Science International Festival today, Stelarc will discuss his plans to install transmitters in his new ear, so people listen to what it is hearing online. He also hopes to grow a soft earlobe using his own stem cells.

The ear is made of human cartilage. Stelarc, who is visiting professor at Brunel University School of Arts, took 10 years to find a surgeon willing to perform the operation. He uses medical instruments, prosthetics, robotics, virtual reality and the internet in his work.

via As-Found

Fullerene, buckyballs, nanotubes…

suddenly: where we live now
24 January — 12 April 2009
Opening Reception: Saturday, 24 January, 5-7 pm

image links to Lined & Unlined

EVERYTHING, NOTHING, SOMETHING, ALWAYS (WALLA!)

Emily Mast
MFA Thesis Exhibition
Thursday, 5 March 2009, 7-10 pm
One night only!

Performance from 7-10 pm
with Mckinley Belcher III, Ren Bell, Hana van der Kolk, Shannon Haff & Justin Streichman

The Longest Train I Ever Saw, 14 February — 22 March 2009
Becket Bowes, Barb Choit, Sam Moyer, Kaveri Nair, Lesley Vance, Amy Yao

I sometimes listen to music by Smog and in the song, (In the Pines) The Longest Train I Ever Saw, Bill Callahan sings “The Longest train I ever saw went down that Georgia Line. The engine went by at six o’ clock and the cab went by at nine. In the pines, in the pines, where the sun never shines and we shiver when the north wind blows. Well I asked the captain for the time of day he said he threw his watch away.” and the lyrics are filled with the stuff of loneliness, sex, and death. As it turns out, the lyrics of (In the Pines) The Longest Train I Ever Saw, resonate on a universal level: it’s a traditional folk tune rooted in the late 19th century with themes durable enough for multiple generations of covers and reconstructions by artists as disparate as Lead Belly, Nirvana, Dolly Parton, Bob Dylan, and R.Crumb, to name a few.

As an exhibition, The Longest Train I Ever Saw, is a way to give a collective (if diverse) vision to some of the ideas within the song by bringing together several artists whose work, whether through concept, imagery, or materials, is related to isolation and loneliness. It is meant to be a moody show, a show for February, and coincidentally, a show opening on Valentine’s Day.

Furthermore, and probably most importantly, the exhibition is an opportunity to fill this new, still-forming gallery space with the energy and surprise that a group show of several exciting artists can bring. In its first year the gallery is comprised mostly of solo shows and with this group show, I want to relinquish a certain amount of control and context and bring together a diverse group of voices to see what kind of new noise they might produce.

Illicit Haul: Colombian soldiers guard a semi-submersible captured last month with 1.6 tons of cocaine

by Chris Kraul

Reporting from Tumaco, Colombia — Squat, bull-necked and sullen-looking, Enrique Portocarrero hardly seems a dashing character out of a Jules Verne science fiction novel.

But law enforcement officers here have dubbed him “Captain Nemo,” after the dark genius of “20,000 Leagues Under the Sea.” They say the 45-year-old has designed and built as many as 20 fiberglass submarines, strange vessels with the look of sea creatures, for drug traffickers to haul cocaine from this area of southern Colombia to Central America and Mexico.

Capping a three-year investigation that involved U.S. and British counter-narcotics agents, Colombia’s FBI equivalent, the Department of Administrative Security, arrested Portocarrero last month in the violent port city of Buenaventura, where he allegedly led a double life as a shrimp fisherman. (continued)

Thank Michael Jonathan · 12/14/08

Simon Boudvin, Concave 03

FormContent is a curatorial project space, initiated in 2007 by Francesco Pedraglio, Caterina Riva and Pieternel Vermoortel in London’s East End. Its mission is to create a space in which to experiment with ideas and exhibition formats, to foster an active collaboration between artists and curators while challenging their roles.

This Blog is out of control.

by Rafael Rozendaal and Nikola Tosic

You can pick up items and put them in the pot and cook up two types of messages: a dreamburger or a big-eats-small animation — and you can send these to three of your friends. They can also reply to you with these bizarre messages.

Andrew Rogers, Untitled, 2006

The group exhibition Sack of Bones comes from a viewing of Paul Rachman’s 2006 film, American Hardcore, in which Mark Flood appears as an interviewee on the topic of 1980s punk rock. The tone of the film is reverent, to be sure, but more than an ode, the voices in the film present conflicting parts pride, humor, fraternity, anger, bitterness, nostalgia, and what are often doleful mechanisms for dealing with the here-and-now. That Flood was both part of Hardcore as it existed musically (in 1980 his band, Culturcide, put out their first 7-inch: Another Miracle/Consider Museums as Concentration Camps) and has been practicing visual art for over 30 years poses an interesting question: how, if at all, can art be hardcore? By embodying adolescent punk obsession? By miraculous use of irony? By a simple withdrawal from popular territory?

Jonathan Horowitz
Obama ‘08
21 October — 15 November 2008
Gavin Brown’s enterprise

Anna Sew Hoy
look-see
14 November — 20 December 2008
Opening date: Friday, 14 November 6-8pm, Renwick Gallery

Anna Sew Hoy
Wrist Cast, 2008
Fiberglass, cotton
218 × 76 × 40 cm

Renwick Gallery @ Zoo Art Fair
Booth C22
Featuring works by Anna Sew Hoy

17–19 October 12–8pm
20 October 12–5pm