compare and contrast

.
This show is a lot like this show.

- happy face balloons... yes and yes.
- clothes on racks... yes and yes.
- flannel shirts, check yes and yes.
- scattered junk and leaning hunks.
- found stand-in man, hunky and dory.
- floormats!
everyone must go = closing down sale

I made the mistake of making a (negative) comment on the Philly artblog... gallery director William Pym responded with the brilliant deduction that I would probably accept if offered a show at Fleisher-Ollman. Wow, what a Sherlock. He really got me.

Randall Sellers thankfully contributed some well-thought and smartly couched/cautious advice (comment #15).
Jerry Saltz review of Wet Pain... with some good comments.

Mildred Greenberg

Mildred Elfman Greenberg posters for ..."ice age to the space age", a 1984 work-in-progress exhibition held at Marian Locks Gallery (now called Locks Gallery), Philadelphia.

Mildred died in 2003, at 91, and her daughter, with the help and support of friends, has documented most of the work - more than three hundred items - left in storage. All of the stuff pictured below was made roughly 1980's and very early 90's. Please scroll down through these previous posts to learn more about Mildred and her work.


Space Goddess with Spaceship... looks like it includes a collaged photographic image, some glittery-type stuff, and maybe a toy spaceship. Mildred often included small three-dimensional elements to her drawings. Click on the photo to see it much better.

Here's a good example, from the collection of the Philadelphia Museum of Art.


This flag structure belongs with this base.... here is a picture of the finished piece, Quagmire, 1990-91, flags, fan, toy armaments, soldiers and animals, artificial flowers (found objects sprayed with enamel paint) on wood coated with black ensemble paint.

Quagmire was made in response to the Gulf War... it's hard to see, because everything is an oily black, but she's placed army men and animals in a floral jungle.


Darth Vavadar, White Knight... not sure if that's the correct title or what may be missing here. The storage locker contains a number of sculptural assemblages... we need to consult some period photos to make sure everything is together. This one includes an electrical cord, so something must light up or move.... another (awesome) one includes a blacklight.

Paris aka Holy Joseph

Got an e-mail from someone who came across one of my Paris posts! FINALLY!!!!!! Thank YOU.

"It’s really nice to see some other work by Paris. He and I became very close when I was in Philadelphia.

It is really hard to know what part Paris’ stories were true and what was imagination, I chose to believe that the stories and imagination were one in the same.

He had mentioned that he was a chef on the Queen Mary. He always ate at fancy buffets and take out places, often not finishing his food, a sign of a sophisticated taste (I have a drawing of the Queen Mary that he did, it is gorgeous). One other reason that I choose to believe him is the evidence of great depth in his imagery. He must have been to Europe at some point. It is more than some Jungian connection to shapes and symbols in our collective DNA.

I have many pieces by him. Maybe 10 or so. One piece was done in the back room of - the gallery I worked at - , where paintings were kept, on a cold winter night when I was closing up. He was cold so I allowed him to come in and made him a cup of tea. It was partially a plan to see him work. He sat down for an hour or so and made me a drawing. He used some gold from a chocolate wrapper and pinned it on with fancy art hanging nails that I gave him. The nails seemed like a strange connection to the established art world, it might have been the closest he’d ever be to getting his work in a gallery. (I know that he was part of a show at Moore college of Art. He created a little stir and was asked to leave.)

One day in Spring (eighty something), he told me that he was leaving town. He said that he was going South. I admire Paris for his courage and dedication. He is a hero of mine."

Not sure if this person wants his name on-line or not... forgot to ask. He seems to have known Paris before I had moved to Philadelphia in 1986, the Paris I knew was never quite so lucid. I wonder if Paris actually went South somewhere for a while? He was definitely around 1986 through 1993/1994.

Hopefully this person will get back in touch with some more memories and/or photographs of Paris' work.

mildred!

Mildred Elfman Greenberg has been doubly posted on Fallon and Rosof's artblog... two days in a row. GOOD!!! Here is the first one, here is the second one.

LABELS - I need to start making labels for artists that I make more than a couple posts on.... here is a label for Mildred.

Dear Pastel Artist, pastel me

Tompac suggests to Barnaby he put me in a picture, and Barnaby in the comments says he has an idea... YES PLEASE DO IT!!! I'm ready for my closeup!!!

I haven't been painted or drawn in almost twenty years. I think these are from 1988, or at least that is when I modeled for them, both by Renee Foulks. The drawing above was a study for a large multi-figure painting.


Renee Foulks, Martin, 1988(?) - I'm sad, because I still wish that I had Jesse's girl.

This image is from a scanned-in badly stored slide. The colors are different, the image is sharper. Renee is - or was - an ultra-methodical artist, this painting is layer upon layer, with a number of sittings, and she took slides and photographs of the whole process.

Renee Foulks is a Philadelphia artist.... studied at Moore, taught me at University of the Arts, and I think is now at PAFA.

Paris

Going through my old papers I found this clipping from what is probably the Philadelphia City Paper, I think 1993.

"He may wear Jiffy Pop packaging as a headdress and mutter incomprehensible sermons. But the colored chalk creations of street personality Paris are the real deal, aesthetically impressive and rich in biblical allegory. Paris knows he's good, too - he'll charge a pretty penny if you want to buy a piece of his work. The Sun Ra of Philly art. - J.G."

Good, another piece of Paris documentation! Go to this 8/11/05 post, if you need to get the background on Paris.

Who is J.G.? Maybe J.G. has some photos of Paris, or of his work? I've been into this occasional trackdown of Paris for about eight years, and have found only one photo... and no other extant examples of his work, although I remember seeing pieces in people's apartments long ago... and was told that John Ollman had bought some.

Roberta discovered this other piece of documentation, after I wrote to her and Libby early in 2004, hoping they would post something on their Philadelphia artblog, a listing for a 1991 show that Paris was included in at the Moore College of Art -

"Found Ground - Paintings and drawings on readymade surfaces by sixteen Philadelphia artists including Alfred Bendiner, Rachel Bliss, Salvador Casco, Charles Crumb, Linh Dinh, Rafael Ferrer, Thomas Gartside, Todd Gilens, Anthony—Petr Gorny, Kate Javens, Virgil Marti, Beth McHenry, Quentin Morris, Gerald Nichols, and Paris/Holy Joseph. January 11–February 16, 1991"

Maybe I can write to Moore, or the curator of the show, and ask if they have any photo documentation?

Last time I posted on Paris I hadn't yet figured out how to post more than one image to the blog. It's nice to be able to post these images now. This is a selection of some of my Paris pieces -


Two peacocks and flowers. LArGeR.


Jesus walking on water, and maybe praying in the boat at the same time. The bottom reads "God Bless America".

The back has a similar drawing.


Sweet piece. Very hard - impossible - to see in this image, but there is a second tiny saint sitting atop his staff.


This one is too good, and it is the BACK of that first peacock piece above. They are on a thick-ish kind of cardboard... when I win the mega-millions they will be separated and framed.

Is this a picture of a dreadlocked Jesus in peace talks with Mohammed, moderated by Mary?


This is the only known photo of Paris, at least, known to me and the guy that gave it to me. I put an ad in a Philadelphia newspaper in 1999(?) asking for any info or remembrances of Paris, from which I received a single response. That person remembered Paris, and told me of a shelter that Paris sometimes visited.

A couple years after that I was able to get to Philadelphia and visit the shelter, meeting a staffperson who remembered Paris very well, with great fondness... and who even had a photo of Paris near his desk.

I like that in this photo you can see some crayons or drawing tools on top of that shelf, next to what is, I BET, a ring of foil headgear. It also appears that he is covering himself with one of his drawings, which is what he did on the streets. He slept on and under them.

Read the old post to fill in any gaps to this Paris story, and LOOK here to see my full Paris set.

Paul Santoleri

Paul Santoleri is showing at The Arts Center of the Capital Region (Troy, NY)...

This trojan horse is only a part of a larger installation, but this was my favorite wall... the way he incorporated the recessed area and worked around the fire extinguisher.

The darker corner at top left is drawn on paper and pinned to the wall... most of the rest of the installation is a mix of working on various supports and working directly on the wall, all making one big, fantastically busy landscape.

Mildred Greenberg

This is my Mildred Greenberg piece, the one discussed here. Can you see all the birds in the center? This piece is so good... Mildred was an awesome artist.

I've found a couple of Sam's letters to me. Here are the first two pages of a letter in which he lists all of the artists included, along with Mildred, in the Ann Percy curated When Reason Dreams, at the PMA -


page 1 - CLiCK HeRE to see it BIGGER.


page 2 - Mildred is #40.

HERE is the piece that was in the show.

P.S. - FINALLY ... I put some of my stuff on that Artist's Space site, the one I first recommended 11/28/04, and then again on 4/13/2005.

Here is the page of VA artists.

some shows in windows

Gallery Axiom! 1991. Who in Philadelphia remembers this place???

This was a very short-lived gallery on Walnut Street, maybe between 13th and Broad. My paintings (Humbertos!) are the ones in the first floor windows. Huston Ripley has a big piece in the second floor window.

I will always remember the guy who ran the space, John Sparacio ( i think that is the spelling), because he was my only sale. He bought one of the smaller pieces I had inside (can't see here), for a hundred dollars, and had it framed. It was the first thing of mine anyone had ever bought and paid to have framed.

I guess he still has it, wherever he is.


I can see that the piece on the right is painted over a world map... something taken from Wojnarowicz. All of the Humbertos are works-on-paper with grounds of collaged ruled legal pad paper... PRE-Ellen Gallagher!


That painting of the knight I still have in Hoosick Storage, but I'm not sure about these other three. They may also be rolled up in that storage, or I might have painted over them later on... which was sometimes the case.


Fulton Street Gallery, Troy NY.

Had a solo show here, summer 2004. Nice space, and really nice people.... unfortunately, not much traffic AT ALL.


Art of This Century at Haigh Jamgochian's Markel Building, 2006. If you have not seen my photographs of this fantastic building yet, CLICK HERE!

DC on RVA, plus..

Tyler Green has been posting images of the Bonnards that were given to VMFA by the estate of Paul Mellon. He also started to talk about the John Ravenal curated Artificial Light last week, but didn't finish.

Finish!

The Grammar Police also announced they were coming to see that show.. but he hasn't said anything about it since. Did he come? I'm curious about what he thought, what else he might have seen...

Oh.. another DC guy is coming down soon. JT Kirkland has the next show at the new Red Door Gallery. Philadelphian Douglas Witmer will be showing concurrently.

RELATED: my first post on Artificial Light, my second post on Artificial Light, Paul Laster's interview with John Ravenal, for Artkrush.

PLUS: I was going through some old clippings and art stuff and found an old pamphlet for a 1993 Philadelphia show I was in... John Ravenal was on the Art Advisory Council! He was working at the Philadelphia Museum of Art at that time.


Weird to see the old things. Sarah McEneaney (one of my favorite artists) was in that show, Virgil Marti, Stuart Netsky, Shelley Spector. Ed Rendell and Anne D'Harnoncourt were at the very fancy reception, I guess John must have been also. I visited again with Mildred and my mom later on.

Richard Torchia was also on that council.. I always liked him. He worked at Moore College of Art at that time. They had some very good shows... first time to see David Wojnarowicz, Marlene Dumas, Adolf Wolfli.

Millie Greenberg

Yesterday I posted a bunch of photos of the work of Mildred Elfman Greenberg (1912-2003).

I first met Mildred in 1991 or 1992 (in Philadelphia) when she asked me to come to her apartment and help arrange her books. I thought she must have some huge library or something, but it was a pretty normal amount of books. She was too old though to do much lifting and bending and wanted everything to be organized somehow. Mildred was cranky and bossy, but I liked her and we had a shared interest in art; that book job became mostly hanging out with Mildred. Wish I could remember more details or had some photos - I remember she came over for dinner, and that we visited my show at City Hall together. I left Philly for Albuquerque in maybe 1994, then moved a few more times, and pretty much forgot about Mildred.

In 2000 I visited Philadelphia - i think for a wedding? - and at the PMA saw an excellent show, curated by Ann Percy, called When Reason Dreams. There was a big Jess at the entrance, and a ton of other good stuff. I'm slowly enjoying the show, piece by piece, and went from a Goya or Blake to an exciting blue piece by someone and when I looked at the label to see the name it reads Mildred Elfman Greenberg!! I was so surprised! Mildred in the museum next to Blake! She would love that! So I left the museum right away and started walking to her old apartment building wondering if she was even still alive and when I got there the front desk person told me that she and Sam were still there and that she was very sick.

Sam answered the door in his pajamas, and I could see right away that things were not good. I'd never seen Sam in his pajamas before but here it was late afternoon and Sam was answering the door in dirty pajamas. I was afraid at first that he would have forgotten me from six years before, but he soon remembered. All of their cool furniture was gone and all they had in the apartment was a table and a few chairs (and beds in the two bedrooms), with things lying round in open boxes. Mildred was completely gone... completely non-communicative. Poor Sam had sold everything and was taking care of her by himself. He said he hadn't left the apartment in more than a year because he couldn't leave Mildred. It was really sad, but Sam was excited to have company. HE DID NOT KNOW ABOUT THE MUSEUM SHOW!!! Nobody had told him. I was the first to tell him. We could not believe that nobody attempted to notify Mildred and Sam about that, but Sam was so proud. He had a bunch of Mildred's work piled on and behind the bed that he said he had been trying to sell cheap to the museum to get money to take care of Mildred, but no takers.

Sam was stressed and worried about both Mildred and what would happen with Mildred's work, the stuff he had and all of the other stuff he said he had lost control of. My intention had been to visit the museum that afternoon and take the bus to Albany that evening, but Sam said I could crash at their place. I had to sleep on the living room floor because Sam slept in one bed and Mildred the other.... all night long Mildred called "Sam.... Sam....". She was always dozing, 24 hours a day, and so if she woke up and Sam was not there she would call out for him. Sam spent all night sleeping in fits and starts with Mildred, waking up every hour or so to calm her down.

I expressed interest in a framed work-on-paper, thinking it would be fairly cheap and that I would get a deal anyway - Sam said $1,500. Much more than I had thought it would be, but... I bought it on a shortish installment plan. I was visiting from Japan and he also gave me the binder scrapbook that Mildred had made while Sam was stationed in Japan immediately following WWII, full of his photos and her drawings and some stamps and clippings and things like that. He also gave me a copy of the catalogue of Mildred's 1996 Art Alliance retrospective, from which these photographs of her work have been scanned.

Sam and I exchanged a few letters while I was paying for my piece, but that exchange was brief and the next time I visited Philadelphia in 2oo2 - expecting to find Sam a widower - I learned that Sam had died and Mildred was in a home. I went to the home and Mildred was much better, extremely frail, but lucid. She died not long after.

Mildred is on Artnet! - no images though. i think the electricity one is the one i almost bought instead of the one i got. electricity is in the catalogue, i should scan it.

Mildred Elfman Greenberg

s(O)(L)arc(E)(L)I Energy, 1986


Pertaining to the Universe II, 1990-91, metal chair, leather, feathers, toy birds....


The Wedding Party, 1990-91, Hub cap and plastic fruit (coated with aluminum paint), toy animals, mica, set on wooden base (aluminum paint), placed on ceramic tile; thirteen plastic glasses containing miscellaneous objects submerged in ultra-flo.


Quartet: Ice to Space Age, III, 1990-91


Quagmire, 1990-91 - flags, toy armaments, soldiers and animals, artificial flowers....


Mars the Red Planet, 1988


Pegasus, 1987

work of Mildred Elfman Greenberg (1912 - 2003), Philadelphia . more info later, maybe tonight.

Zoe Strauss

This is one of Roberta Fallon's photographs of Zoe Strauss' one-day installation beneath I-95, in Philadelphia. Every pillar has a photo affixed to each side; they are all numbered on maps Zoe and her helpers distribute, and the numbers are written in chalk on the ground. Zoe has copies of the photos available for five bucks each - you just find the photo you like and go back to her stand and tell her the number. At the end of the day people can just peel the photos off the pillars if they want. Some of the pillars in this photo don't have photos attached yet because Roberta took this shot early in the morning while Zoe was still setting up.

This is Zoe's third (or fourth?) year doing this. Zoe is not currently represented by any gallery, she does it all herself. I am so inspired by Zoe and getting excited about next year's Stuffy's Biennial. YAY, Zoe!!!!!!!!!!!!!

More Photos: dragonballyee's flickr set, mofo's flickr set, roberta's flickr set

More Info: Libby's 2004 post, Libby's 2005 post, Roberta's 2006 post, Brent's 2006 post

Stefan Abrams

Saw this show of photographs in Philadelphia last month, but haven't posted on it for so long because I forgot the photographer's name - his name is Stefan Abrams!

We took a walk over to the Fabric Workshop/Vox Populi /Asian Arts Initative building after visiting the PAFA galleries. Vox had, I think, three different shows up - but this was my favorite. All of the photos are of people sitting in cars and just... intently thinking. What are they thinking about? So serious. Then you realize that it is all the same car and start to understand the reflected lights and realize that these photos were taken at an auto show or inside a car dealership. The exhibition was called Auto Show; I'm glad that I don't usually read anything about a show before first looking, it's better to get it yourself.


These are my cell-phone pictures of the artist's pictures, go to this vox pop page and hit his images to see them better. Much blacker, sharper, and more starry.


They are in a very public place, sitting inside a glass-enclosed something everybody is staring at, but most look so contemplative.


Maybe he is even thinking about something else, something other than the car. Something he's hoping for, or regrets.


Curve of wheel, curve of brim, curve of fur-lined hood. Black, brown, and gold. Glass, fur, cloth, plastic, sparkly ring. Diagonals of brim, telephone antenna, and finger.


She is remembering something. The car at the auto-show is a magic thinking machine. If I were an alien observing a car show, that's what I would conclude.


Lost in thought.

Gertrude Abercrombie, again maybe, plus

Yesterday I included a bunch of stuff after those Gertrude Abercrombie paintings, but then it all got lost somehow. I will try again.

Those two paintings posted below were not included in the excellent show of Chicago artists (Ivan Albright, Roger Brown, Jim Nutt, Ray Yoshida) I saw at PAFA last week, I found those two pictures after looking her up. Abercrombie was represented by Self-Portrait of My Sister, 1941 and Girl Searching, 1945.

I also took crummy illicit cell-phone shots of the Suellen Rocca and Barbara Rossi paintings. Mike Martin, you would have liked that Barbara Rossi; it's acrylic under plexiglass, with many many little dots and dot-lines painted on top of the plexiglass. There is space between the plexiglass and the painting, so all the tiny dots cast tiny shadows. Kind of Jonathan Lasker, kind of Jovi Schnell, in braille.

It is nice to return to a city you haven't lived in for many years and run into people everywhere. Chuck More was sitting on the steps of the PAFA Museum, waiting for a friend. His gallery has closed, I think he is now dealing privately or something. It was SUPER to see my old figure drawing teacher from PCA, Al Gury, inside the museum. I hadn't even noticed him, he was walking by and recognized me. Al was an EXCELLENT teacher, so encouraging and supportive. A favorite. Al is now the head of the painting department at PAFA! Wow!! Al said that another one of my favorite teachers from that time is also teaching at PAFA - Renee Foulks. The title is not quite correct (unless she changed it) on her gallery's website, but that's me in one of those drawings! That's weird to see.

Also ran into Lamont Steptoe on the street and learned that he was a 2005 American Book Award recipient! Lamont and I made the pilgrimmage to Ground Zero together in October 2001. Lamont has been at it for a long hard time. Congratulations to Lamont!!

RELATED: Roberta's post on the show here, curator Robert Cozzolino's response here.

PAFA visit, #1

Went to the PAFA Museum on Sunday, maybe the most gorgeous museum ever? I've visited many times, but this time I was visiting with an architect, and she pointed out all sorts of things I had never thought about or noticed; like the exposed red I-beams with their little white flower flourishes, the vestigial outlines of removed chair rails, the fact that some of the woodwork was not original and that the "wood-grain" we were looking at was in fact trompe l'oeil painted to match the original stuff nearby. She even (with permission) opened and closed the pocket doors.

Every architect with hopes or plans to ever design a museum should visit this building. Frank Furness was a STAR, and he created something over-the-top EXTRAORDINARY, but it is also a great place to see art (form follows function?). We couldn't help but think about the gazillion dollar VMFA expansion - and how they have completely maxed out their window/glass allowance, the triple-height atrium, and the destruction of Lawrence Halprin's fountain and sculpture garden. Someone please update me if it has somehow been saved, or if you have destruction photos you would like to anonymously send.


This painting is INCREDIBLE. Please understand how good it is by knowing that this photo was taken with the same shitty cell-phone camera used for most of my photos, and look at the clarity and light. It is a big painting.


It's like Richter, one hundred years before. I don't have my notes with the artist's name, I'll have to update later.

UPDATE: Daniel Ridgway Knight(1839-1924), Hailing the Ferry, 1888, Oil on canvas, 64 1/2 x 83 1/8 in.


Noah's Ark. Noah detail. Penguin. Everything is solid.

UPDATE: Charles Wilson Peale, Noah and His Ark (after Charles Catton), 1819. Click on that title to see a non-cellphone image.


See the bat? See the whale's spout?


Horace Pippin, Abe Lincoln, the Good Samaritan, 1943. Saw a great Horace Pippin show here years ago. I think that might be the show being reviewed in Sarah McEneaney's imagined portrait of Ed Sozanski, that is definitely a Pippin in the background.

Look at that Black Avenger in this Horace Pippin painting. That is so weird. I'd like to see that on Monument Avenue.


Edwin Dickinson, Andrée's Balloon, 1928. Click on the title and then click on that image to see it much better.

more later...

PLUS: Did you know that Frank Furness nominated himself for the Congressional Medal of Honor... and WON!

Edna Andrade

After Saturday morning's race I jumped on my bicycle to hurry home for a shower and catch a ride to Philadelphia. The Art Alliance was closed for the day but they were setting up for a wedding reception so I got to see that Carson Fox is included in a small group show there. Carson's show at 1708 Gallery opens April 7th. Also saw that Susan Jamison is featured on the cover of the Mid-Atlantic edition of the Gallery Guide! Congratulations, Susan!

After the Art Alliance I walked down the street to the Print Center and saw an exhibition of Edna Andrade prints. Edna was born in 1917 and is still painting. She's well-regarded in Philadelphia but NOT NEARLY as well-known elsewhere as she should be. Her next show at Locks Gallery opens April 21st.


Moon Clouds, 1970 - yes, my colors are not the greatest; can i get a blog sponsor to buy me a camera?


Silver Turn, 1971 - i think these prints are $1,600 apiece, from original editions of 35.

(i might have mixed the titles up)

YOU NEED TO CLICK ON THOSE IMAGES TO SEE THEM BETTER.

Warren Rohrer

A few weeks ago I was on the Skowhegan website checking to see who this summer's faculty will be and discovered that Phong Bui is a 1985 graduate of my alma mater, The University of the Arts. I've also learned, in the past few years, that both Joe Fyfe (class of 1976) and Christine Hiebert (class of 1983) are also alumni of The University of the Arts* - that means we must have all studied under the same person, the late Warren Rohrer, who taught in the painting department from 1974-1992. Recent posts on Lester Van Winkle and Richard Carlyon and responses from their former students have got me thinking about some of my old teachers.

I'm not sure to what extent these other artists interacted with Warren, or how much influence he may have had on them, but when I was there Warren was very much a leading figure in the department.


Warren Rohrer - more images from Artnet, reviewed on Artcritical, his biography and some images from Marian Locks Gallery, an Art in America article by Miriam Seidel.


Joe Fyfe - Yes, I chose this recent Joe Fyfe image for it's resemblance to the Warren Rohrer piece directly above it. From what I understand Fyfe was making photo-realistic paintings until about ten years ago, when he made a big switch to the very casual, rough, elegant paintings he is now known for - paintings which make me think very much of Warren's work.

Warren's paintings were often many layers of paint applied like stitches, you get a sense of the weave of the canvas underneath all the paint, or his marks added to the the canvas so you were aware of both the canvas and the paint marks, becoming one thing; or he would leave the canvas visible at the edges or someplace. The canvas was important, the painting wasn't just an image placed on top. The whole painting was one thing. I think he worked slowly and meditatively. Joe paints quickly and thinly, but his paintings have a similar physical presence and "zen" quality. I say zen because that's the word to use, but Warren was a Mennonite.

I'm really curious about Joe's photo-realist work and why he made such an about-face. He seems to have been doing okay before, he was a 1994 artist-in-residence at the University of Tenessee "as a painter of photographically derived imagery". It's weird to hear someone speak with so much conviction about art knowing that only recently they were doing - and probably thinking and saying? - something completely different.

(I've studied under both Warren and Joe, Warren from about 1988-1990 and Joe in 2004).


Christine Hiebert - Christine Hiebert on Artnet, Christine Hiebert in The Brooklyn Rail - that piece illustrated in The Brooklyn Rail article looks like the same one as the image above from Artnet, but with a much yellower background. Is it the same piece?


Phong Bui - This Artnet photo is from his 2005 installation at Sarah Bowen Gallery. Phong Bui also publishes The Brooklyn Rail.


me

Are there any artists reading this who studied under Warren? I am out of touch with the kids I graduated with, and the recidivism rate is very high, but it would be nice to see what people might be doing now.

*or Philadelphia College of Art, it underwent a name change. I entered The Philadelphia College of Art in 1986, then it became The Philadelphia Colleges of the Arts, and I graduated from The University of the Arts in 1990.

PS - Skowhegan looks really good this summer, they have Phong Bui, Nicole Eisenman, Lisa Sigal. I'm not applying, it costs too much for me right now, and I want to raft. Plus, maybe my Skowhegan moment has passed? I've applied so many times and am tired of it - but I recommend applying to my younger artist friends who might be reading this. I think if you can get accepted at the right time in your life it would be a wonderful experience.

i am the missing meatball

.

I can't believe Fleisher/Ollman Gallery is having a show called Meatball without me!!!

As stated in the Scope Miami post, I have long loved this gallery. I love it so much that I have sent slides to them for fifteen years, even though they have shown outsider and self-taught artists almost exclusively. Here are some of my rejections* from them -


from 1991


from 1994


from 1999


from 2004


date unknown

Aaack, the irony. Not only are they finally showing local "schooled" artists, but they are calling the show Meatball!!!

RELATED: Meatball participant P. Timothy Gierschick's blog, Libby's Meatball review, a photo of Libby (and Roberta) with the REAL meatballs, the REAL meatballs, Meatballs at Stuffy's explanation, announcement/coupon, and installation photos.

*These are not bad rejections, as far as rejections go; handwritten notes from the director are way better than photocopied form letters - thanks, John Ollman!