.
- Jerry Saltz has written something in response to my post a couple weeks ago. I guess he did get yelled at.
"Two weeks ago, a blogger noted that in my article ‘Has Money Ruined Art?’ (October 15), I was guilty of using many of the same ideas, lines, and quotes that I have used in previous articles. The blogger called this ‘very lazy’; actually, he/she also called me ‘an undead zombie.'"
What is up with the use of "he/she"? He knows darn well I'm a man. Did our studio visit mean nothing???
Felt a little bit bad about that thing he had to write... but then I remembered that he has no problem gratuitously dumping on Dumas (without ever actually reviewing her), the stupid thing he wrote about Moti Hasson, all the Columbia crap... so, whatever.
- Spoke with Hudson about the products on display at Feature. Hudson first noticed Gentle Wind products in the homes of friends across the country in the 90's , and then "got into it a little" himself.
The products on display are not for sale through the gallery. Hudson is the one who did the Q&A with the Gentle Wind founder.
"I think they're more interesting than a lot of art" - Hudson. Okay, Hudson, over and out.
- Geoff Edgers article on B. in the Boston Globe. The photo of B. in the slide show is handsomer than the other photos I've seen.
RELATED: message from the Attorney General of Maine.
Tuesday, October 23, 2007
Sunday, October 21, 2007
Salvatore Scarpitta
Salvatore Scarpitta -
"In the mid-1960s he created a series of racing cars, among them the 'Rajo Jack Special,' a reproduction of the car driven by one of the country’s first African-American racecar drivers, and 'Lynx,' a full-size, fully operational World War II armored car" - from his NYTimes obituary.
His cars were included in the 1972 Venice Biennale. Many photos on the ESSO Gallery site... check out Germano Celant!
"He raced them as part of a team at a dirt track near his second home in New Oxford, Pa., the name of his crew sponsor — the Leo Castelli Gallery — emblazoned on the side of his own car, No. 59" - from the NYTimes obituary.
"These works are extraordinary, carrying the sensibility of weight-of-the-world weariness coupled with red-eyed determination, both grim and joyous, of the working class movement." - James Harithas
Cocoa Dust, 1958
Ernie Triplett Special, 1965-69
untitled, 1958
Maybe this is Vitamin C?
Overpass, 1962
RELATED: Richard Prince at Frieze
Friday, October 19, 2007
Feature showing TOTAL CRAP! why???
.
Last week I made brief mention of a snooze at Feature -
"The Gentle Wind Project, at Feature - Paul LaFolley + Emery Blagdon.... without the magic, passion, or intensity ."
I knew it was a lame show, but... HOLY SHIT!... I did not realize what a bunch of complete crap it was. I've since received an e-mail about the group, and spent a little time yesterday researching them.
e-mail -
"We noticed your reference to Gentle Wind Project "healing instruments" which are, for some very strange reason, on display at a NY art gallery.
'The Gentle Wind Project, at Feature - Paul LaFolley + Emery Blagdon.... without the magic, passion, or intensity .'
We have no idea why these gallery owners, or anyone else, would want to call these snake-oil products art, but perhaps they have connections to GWP and are looking for ways to promote the group to others.
For more information, see Wind of Changes, which describes Gentle Wind as a cult and also follows their history of suing critics and former members.
Defense against Gentle Wind's lawsuits was assisted by Harvard Law School's Berkman Center for Internet and Society, and was eventually ended by the Maine Attorney General's lawsuit against the group for fraud, which put this rip-off group out of business in Maine.
For another commentary on this so-called "art exhibit" at Feature Gallery -- Disinterested Party.
Sincerely,
Judy Garvey
former member of gentle wind project"
Hudson would not remember it, but we've met and he's awesome, and I really like Feature and most of the artists they show... PLEASE EXPLAIN what this stuff is doing in the gallery. How did they get this show?? So aggravating. I hope no suckers bought that shit. Hudson, seriously... WHY?
Is this a rental? Are you, or were you, affliated with the "group"? What is the deal? All struggling artists, please puke together with me.
Related: 5/10/2007 Boston Globe article, Cult News from Rick Ross... so much more.
PS - Feature is not reviewing unsolicited artists' documents at this time. Please check back with this page in the spring of 2008. Thank you. Blech.
UPDATE: follow-up after talk with Hudson
Last week I made brief mention of a snooze at Feature -
"The Gentle Wind Project, at Feature - Paul LaFolley + Emery Blagdon.... without the magic, passion, or intensity ."
I knew it was a lame show, but... HOLY SHIT!... I did not realize what a bunch of complete crap it was. I've since received an e-mail about the group, and spent a little time yesterday researching them.
e-mail -
"We noticed your reference to Gentle Wind Project "healing instruments" which are, for some very strange reason, on display at a NY art gallery.
'The Gentle Wind Project, at Feature - Paul LaFolley + Emery Blagdon.... without the magic, passion, or intensity .'
We have no idea why these gallery owners, or anyone else, would want to call these snake-oil products art, but perhaps they have connections to GWP and are looking for ways to promote the group to others.
For more information, see Wind of Changes, which describes Gentle Wind as a cult and also follows their history of suing critics and former members.
Defense against Gentle Wind's lawsuits was assisted by Harvard Law School's Berkman Center for Internet and Society, and was eventually ended by the Maine Attorney General's lawsuit against the group for fraud, which put this rip-off group out of business in Maine.
For another commentary on this so-called "art exhibit" at Feature Gallery -- Disinterested Party.
Sincerely,
Judy Garvey
former member of gentle wind project"
Hudson would not remember it, but we've met and he's awesome, and I really like Feature and most of the artists they show... PLEASE EXPLAIN what this stuff is doing in the gallery. How did they get this show?? So aggravating. I hope no suckers bought that shit. Hudson, seriously... WHY?
Is this a rental? Are you, or were you, affliated with the "group"? What is the deal? All struggling artists, please puke together with me.
Related: 5/10/2007 Boston Globe article, Cult News from Rick Ross... so much more.
PS - Feature is not reviewing unsolicited artists' documents at this time. Please check back with this page in the spring of 2008. Thank you. Blech.
UPDATE: follow-up after talk with Hudson
Wednesday, October 17, 2007
Arlene Shechet
Arlene Shechet, at Elizabeth Harris.
Although I'm having trouble posting my newest photos, I do still have some recent exhibition photos that have not yet been posted. The very good Arlene Shechet show at Elizabeth Harris has closed... but here are some photos, along with Roberta Smith's review.
These photos are better than usual because this day I had borrowed Meridith's camera. Thanks, Meridith!
Hey, in looking at the Elizabeth Harris site I've noticed the absence of one of my EH favorites, Melissa Meyer. She is at Lennon, Weinberg now.
can't send pictures
I'm frustrated because I've taken (cell-phone) pictures of some interesting stuff, but can't send them.
Monday, October 15, 2007
anaba reviews
It has been about three years. Can you match the anaba reviews with the reviewers? Some commenters are quoted more than once.
(there are more good ones, but so much of it is anonymous)
James Westcott
Libby Rosof
David Reed
Carla Knopp
Bill Gusky
Fairy Butler
Lee Rosenbaum
Steve Kaplan
Harry Roseman
Carson Fox
Zach Feuer
Don Joint
Walter Robinson
Bruce Wilhelm
Nicole Eisenman
Alison Fox
D. Dominick Lombardi
Paddy Johnson
Big Red & Shiny
Oliver Kamm
Kriston Capps
Zipthwung
Paul Laster
Sarah Peters
Tyler Green
Zoe Strauss
Carol Es
Richard Polsky
Mountain Man
Edna aka Anonymous Female Artist aka Militant Art Bitch
1. Been meaning to contact you about your great post -- you know your stuff.
2. Why don't you take a little advice Martin. Some people will never be good painters. So why don't you go pound some rock salt up your ass.
3. hahahahalarious. - Nicole Eisenman (as Corny)
4. Your dim readership (as applies) should be ashamed of themselves. - Kriston Capps
5. Martin you are a lovely soul. Thanks for "keeping it real."
6. I think about the sandy canvases and odd color combinations and why would any one want to make things like this and finally I decide that they must be good paintings because they force me to retreat into my head which reinforces my decision to never leave my house again. - Bruce
7. I saw your paintings online, they aren’t bad, you should be able to “make it”, but you’ve got to get a reality check about how to “make it”.
8. Just wanted to drop you a note saying I think your Blog is swell. - Nicole E.
9. I really liked the pictures of your paintings outside of the Basel art fair. Really good.
10. Is there any way to take down the discussion about me?
11. It is a two part tender love story that shows the enduring bond that art brings into an artist’s life. Read it with a tissue in your hand people.
12. He's been nothing but supportive of my efforts, and was one of the first to plug my blog to others.
13. This comment thread is precisely why I can't read Martin Bromirski's blog. He kicks off the post with an egregious ad hominem spur, and the discussion quickly descends to a point below sea level. - Kriston
14. Tell your readers for me that I think you're a moron. - Walter Robinson
15. The thread over there is stupidly insane and the original post was idiotic.
16. Seriously, I laughed out loud about just thinking about this post today when I was by myself in the car. - Zoe
17. this is GREAT! one of your best blog entries yet!
18. I'm really not interested in corresponding with a site that allows some unknown person to refer to me as an "asshole." If you're going to dispense information, have the courage to list the person's name who's making lowbrow remarks. If you and your readers won't stand behind their convictions, then your site and its postings are irrelevant and meaningless. Think about it.
19. If it wasn't for you there would be no me. - Mountain Man
20. Martin's work for the most part leaves me confused.
21. As you have previously included me on your blog and seem a decent human being...
22. I like your paintings Martin. I would like to be included as one of your brothers.
23. Incredibly fasciniating martin, thanks for posting. Your paintings look good too.
24. You're certainly doing something different...really challenging the standards of taste - Carla
25. Martin, this is EXCEPTIONALLY good. I couldn't love it more.
26. Great to read about and see images from your visit.
27. Nice picture with Jo Baer
28. I liked you blog very much and will visit again.
29. thanks for the tip, and for starting this conversation
30. i'll take two for $2. please provide further instructions
31. I think what you are doing is great. Keep on keepin' on!
32. The judge's ecstatic art review is quoted on Martin Bromirski's Anaba blog, which is the next best thing to having been in the courtroom.
33. You have a real talent for writing, and your blog is a delight to read, as you are well informed, insightful, and have a good sense of humor.
34. Please understand I have no bitter feelings towards you, whatever your decision.
35. Martin Bromirski takes a good long look at what is going on. Based out of Richmond, VA, he is a smart guy with great ideas.
36. He's a complicated guy; you get the sense of layers of complexity beneath the surface
37. Martin Bromirski has to be one of the great ones--warm and generous and funny. What else matters?
38. This is jealous provincialism defined.
39. The Bromirsky retrospective opens, appropriately enough, with the famous Bubbles and Stuff of 2006, a painting too beautiful, to use an old fashioned word, to regard merely as a historical moment in the march forward of the modernists, and too compelling, as beauty always is, to see only as a work that influenced some important artists to begin staining canvas.
HINT: some of the matches not what you would expect, probably.
(there are more good ones, but so much of it is anonymous)
James Westcott
Libby Rosof
David Reed
Carla Knopp
Bill Gusky
Fairy Butler
Lee Rosenbaum
Steve Kaplan
Harry Roseman
Carson Fox
Zach Feuer
Don Joint
Walter Robinson
Bruce Wilhelm
Nicole Eisenman
Alison Fox
D. Dominick Lombardi
Paddy Johnson
Big Red & Shiny
Oliver Kamm
Kriston Capps
Zipthwung
Paul Laster
Sarah Peters
Tyler Green
Zoe Strauss
Carol Es
Richard Polsky
Mountain Man
Edna aka Anonymous Female Artist aka Militant Art Bitch
1. Been meaning to contact you about your great post -- you know your stuff.
2. Why don't you take a little advice Martin. Some people will never be good painters. So why don't you go pound some rock salt up your ass.
3. hahahahalarious. - Nicole Eisenman (as Corny)
4. Your dim readership (as applies) should be ashamed of themselves. - Kriston Capps
5. Martin you are a lovely soul. Thanks for "keeping it real."
6. I think about the sandy canvases and odd color combinations and why would any one want to make things like this and finally I decide that they must be good paintings because they force me to retreat into my head which reinforces my decision to never leave my house again. - Bruce
7. I saw your paintings online, they aren’t bad, you should be able to “make it”, but you’ve got to get a reality check about how to “make it”.
8. Just wanted to drop you a note saying I think your Blog is swell. - Nicole E.
9. I really liked the pictures of your paintings outside of the Basel art fair. Really good.
10. Is there any way to take down the discussion about me?
11. It is a two part tender love story that shows the enduring bond that art brings into an artist’s life. Read it with a tissue in your hand people.
12. He's been nothing but supportive of my efforts, and was one of the first to plug my blog to others.
13. This comment thread is precisely why I can't read Martin Bromirski's blog. He kicks off the post with an egregious ad hominem spur, and the discussion quickly descends to a point below sea level. - Kriston
14. Tell your readers for me that I think you're a moron. - Walter Robinson
15. The thread over there is stupidly insane and the original post was idiotic.
16. Seriously, I laughed out loud about just thinking about this post today when I was by myself in the car. - Zoe
17. this is GREAT! one of your best blog entries yet!
18. I'm really not interested in corresponding with a site that allows some unknown person to refer to me as an "asshole." If you're going to dispense information, have the courage to list the person's name who's making lowbrow remarks. If you and your readers won't stand behind their convictions, then your site and its postings are irrelevant and meaningless. Think about it.
19. If it wasn't for you there would be no me. - Mountain Man
20. Martin's work for the most part leaves me confused.
21. As you have previously included me on your blog and seem a decent human being...
22. I like your paintings Martin. I would like to be included as one of your brothers.
23. Incredibly fasciniating martin, thanks for posting. Your paintings look good too.
24. You're certainly doing something different...really challenging the standards of taste - Carla
25. Martin, this is EXCEPTIONALLY good. I couldn't love it more.
26. Great to read about and see images from your visit.
27. Nice picture with Jo Baer
28. I liked you blog very much and will visit again.
29. thanks for the tip, and for starting this conversation
30. i'll take two for $2. please provide further instructions
31. I think what you are doing is great. Keep on keepin' on!
32. The judge's ecstatic art review is quoted on Martin Bromirski's Anaba blog, which is the next best thing to having been in the courtroom.
33. You have a real talent for writing, and your blog is a delight to read, as you are well informed, insightful, and have a good sense of humor.
34. Please understand I have no bitter feelings towards you, whatever your decision.
35. Martin Bromirski takes a good long look at what is going on. Based out of Richmond, VA, he is a smart guy with great ideas.
36. He's a complicated guy; you get the sense of layers of complexity beneath the surface
37. Martin Bromirski has to be one of the great ones--warm and generous and funny. What else matters?
38. This is jealous provincialism defined.
39. The Bromirsky retrospective opens, appropriately enough, with the famous Bubbles and Stuff of 2006, a painting too beautiful, to use an old fashioned word, to regard merely as a historical moment in the march forward of the modernists, and too compelling, as beauty always is, to see only as a work that influenced some important artists to begin staining canvas.
HINT: some of the matches not what you would expect, probably.
Friday, October 12, 2007
Bryan Zanisnik
Bryan Zanisnik is showing a bizarro video at Priska Juschka; this was maybe the most entertaining, and subversively thought-provoking, piece in Chelsea.... one of my favorite shows. I'm trying to think who else (solo shows)... I guess Patrick Hill and Jack Whitten I'm still thinking about... what else? It was kind of thin.
The videos (and some framed stills) are edited from footage Bryan shot as a teenager, fourteen and fifteen years ago, mostly using his eighty-year-old grandmother as the *star*. I don't know that he was thinking "art" when he filmed these scenes at fourteen, probably more play than art, but Bryan the artist is the person who dug them out of the closet years later and edited the eight hours of footage into the maybe twenty minutes shown here.
It's a weird war time loop thing happening, everything is topsy-turvy. These videos were made at the end of the first Gulf War, recreating (very loosely) scenes from WWII and the Vietnam War, edited and exhibited post-9/11, concurrent with the Iraq war... when are we, what war are we in? Does it matter? Why is this old lady fighting these wars with props at home, and why is it all so funny?
The first short piece has the old lady squatting below an American flag, wearing a plastic helmet and firing a plastic machine gun... it's absurd and futile. She is shaken awake from her nightmare on the sofa, "Alice, Alice, you're having one of your flashbacks from Vietnam, wake up!"
The next video opens with the lady sitting (indoors) under a yellow tarp, being rained on, wearing combat fatigues and scanning the terrain with her binoculars, when suddenly she is fired upon by the tell-tale rat-a-tat of a plastic toy machine gun! That is her cue to put down the binoculars and stare at the camera, before remembering to gingerly search for the military space laser gun at her side, locate the trigger, and strafe the enemy!
She has been trapped in the trench for thirty days, outnumbered by Nazis thirty to one, and now the terrible storm has begun! There is only one way to make it out alive... "one Nazi down, two Nazis down, three Nazis down.... what, I'm a national hero? For takin' out thirty Nazis?". Salute!
There is more... a really good one about a psycho immigrant who hates Americans. There aren't many shows to recommend in Chelsea right now, this is one of the few.
PS - I met Bryan in 2003 through a waaay-back mutual friend - Kim Connerton! - and didn't see him again until last week at the party of another mutual friend, the day after seeing this show. So crazy.
The videos (and some framed stills) are edited from footage Bryan shot as a teenager, fourteen and fifteen years ago, mostly using his eighty-year-old grandmother as the *star*. I don't know that he was thinking "art" when he filmed these scenes at fourteen, probably more play than art, but Bryan the artist is the person who dug them out of the closet years later and edited the eight hours of footage into the maybe twenty minutes shown here.
It's a weird war time loop thing happening, everything is topsy-turvy. These videos were made at the end of the first Gulf War, recreating (very loosely) scenes from WWII and the Vietnam War, edited and exhibited post-9/11, concurrent with the Iraq war... when are we, what war are we in? Does it matter? Why is this old lady fighting these wars with props at home, and why is it all so funny?
The first short piece has the old lady squatting below an American flag, wearing a plastic helmet and firing a plastic machine gun... it's absurd and futile. She is shaken awake from her nightmare on the sofa, "Alice, Alice, you're having one of your flashbacks from Vietnam, wake up!"
The next video opens with the lady sitting (indoors) under a yellow tarp, being rained on, wearing combat fatigues and scanning the terrain with her binoculars, when suddenly she is fired upon by the tell-tale rat-a-tat of a plastic toy machine gun! That is her cue to put down the binoculars and stare at the camera, before remembering to gingerly search for the military space laser gun at her side, locate the trigger, and strafe the enemy!
She has been trapped in the trench for thirty days, outnumbered by Nazis thirty to one, and now the terrible storm has begun! There is only one way to make it out alive... "one Nazi down, two Nazis down, three Nazis down.... what, I'm a national hero? For takin' out thirty Nazis?". Salute!
There is more... a really good one about a psycho immigrant who hates Americans. There aren't many shows to recommend in Chelsea right now, this is one of the few.
PS - I met Bryan in 2003 through a waaay-back mutual friend - Kim Connerton! - and didn't see him again until last week at the party of another mutual friend, the day after seeing this show. So crazy.
Wednesday, October 10, 2007
Friday, October 05, 2007
Wide Open, at McCaig-Wells
Nick Kuszyk has curated a huge show at McCaig-Wells. Lots of friends of Nick's, Richmond-connections, and collaborations between Nick and the artists. Last Day is October 7th!
Peter Sutherland - this is the guy that did the VBS.TV Richard Prince episodes... I went to his (old) website and am liking his work, definitely seeing the affinity for Prince.
His pictures make me pine for Travis Conner... (ps - Travis, if you are reading this, I know I still owe you money, sorry. I owe everybody money). Travis is probably not reading this of course, he is probably sitting in a boxcar somewhere...
Kai Vierstra (MY HOST!) + Nick Kuszyk - it's one of the show's many collaborations.
Kai's earthquakes and tornadoes are made by stressing and bending; the flat wooden boards get clamped and screwed to fit the curved metal parts, cracking and splintering as he tightens them. Go to his website to see the videos... nice popping and cracking sounds.
Kai's palette is usally raw - concrete, wood, metal, cactus - but for this one the board was first given to Nick to be painted orange and colonized, before being returned to Kai.
Peter Corrie
Tunde Adebimpe - i can't find a link to more of Tunde's art, but you have definitely heard his music.
Chip7
Also in this show are Drew Liverman, Bruce Wilhelm, Sto, Langdon Graves, Bonnie Collura, Pat Berran... TOO MANY to name them all, there are 115 pieces in the show!
Peter Sutherland - this is the guy that did the VBS.TV Richard Prince episodes... I went to his (old) website and am liking his work, definitely seeing the affinity for Prince.
His pictures make me pine for Travis Conner... (ps - Travis, if you are reading this, I know I still owe you money, sorry. I owe everybody money). Travis is probably not reading this of course, he is probably sitting in a boxcar somewhere...
Kai Vierstra (MY HOST!) + Nick Kuszyk - it's one of the show's many collaborations.
Kai's earthquakes and tornadoes are made by stressing and bending; the flat wooden boards get clamped and screwed to fit the curved metal parts, cracking and splintering as he tightens them. Go to his website to see the videos... nice popping and cracking sounds.
Kai's palette is usally raw - concrete, wood, metal, cactus - but for this one the board was first given to Nick to be painted orange and colonized, before being returned to Kai.
Peter Corrie
Tunde Adebimpe - i can't find a link to more of Tunde's art, but you have definitely heard his music.
Chip7
Also in this show are Drew Liverman, Bruce Wilhelm, Sto, Langdon Graves, Bonnie Collura, Pat Berran... TOO MANY to name them all, there are 115 pieces in the show!
Thursday, October 04, 2007
Richard Prince at Second House, on VBS.TV
.
The third and fourth installments of VBS.TV's Richard Prince visit have been posted...
VBS.TV, Richard Prince, part 3 of 4 - in the studio... joke paintings, clay car, books.
VBS.TV, Richard Prince, part 4 of 4 - a winter visit to Second House.
My photos posted here were taken this summer, after the house was hit by lightning.
Sid Vicious was here.
Untitled Living Room.
RELATED: Links to the first and second Prince/VBS episodes are at the bottom of this Richard Prince at the Guggenheim post. Thanks, Peter Sutherland.
The third and fourth installments of VBS.TV's Richard Prince visit have been posted...
VBS.TV, Richard Prince, part 3 of 4 - in the studio... joke paintings, clay car, books.
VBS.TV, Richard Prince, part 4 of 4 - a winter visit to Second House.
My photos posted here were taken this summer, after the house was hit by lightning.
Sid Vicious was here.
Untitled Living Room.
RELATED: Links to the first and second Prince/VBS episodes are at the bottom of this Richard Prince at the Guggenheim post. Thanks, Peter Sutherland.
Daniel Rozin, Jean-Pierre Roy - closing Saturday
Two shows both closing soon - Saturday 10/6 - worth a look if you are in the (Chelsea) neighborhood -
Daniel Rozin, at bitforms - these things are amazing. Mirrors that aren't mirrors, digital art of quivering wooden pegs and laminated c-rings. Go to the website or look him up on youtube...
Jean-Pierre Roy, at RARE - four large, impressive paintings and a small triptych... disasters in saturated blues, purples and greens. A meteor shower pounding the earth, cities in ruins. Definitely a (fellow) fan of John Martin.
Daniel Rozin, at bitforms - these things are amazing. Mirrors that aren't mirrors, digital art of quivering wooden pegs and laminated c-rings. Go to the website or look him up on youtube...
Jean-Pierre Roy, at RARE - four large, impressive paintings and a small triptych... disasters in saturated blues, purples and greens. A meteor shower pounding the earth, cities in ruins. Definitely a (fellow) fan of John Martin.
Tuesday, October 02, 2007
Exhibition Prince
Saw Richard Prince's Spiritual America at the Guggenheim...
I'm a fan, the pilgrimmage groupie appropriating scavenging kind, but instead of repeating all of the history and good things you can read elsewhere, I'm just gonna list some of the stuff that stuck out -
The big revelation for me at this show is the use of the exhibition print. Every other piece on the ramp is a photograph, and probably two thirds of those are exhibition prints... meaning that as soon as this show is over they will be removed from their frames and slashed with a razor.
(UPDATE -not slashed...)
All of those photographs that are labeled something like "title, date, edition of two, exhibition print" means that what you are looking at is a third print made specifically for the exhibition. The two originals are somewhere in the world - in a museum, a collection, a storage facility - and it is easier and cheaper to just make a new print for the show than to try to arrange for loans and shipping. I guess for a Richard Prince show this is perfect.
other things that stood out -
Woodstock photo - one of the photos in the show is a photo taken at Woodstock, supposedly by a young Richard Prince. The label includes text written by Prince sharing that he went to Woodstock with only one exposure left on his roll of film, so he decided to just randomly snap a photo rather than try to get some great shot. Is any of that true? Who knows...
related - an entirely fictional "1967" interview with J.G. Ballard.
Giant white (cast) truck tire planter, on white base - didn't get. Something you walk by without looking at on the way to the ramp, and look down on later and think "why?". Might be the lamest Matthew Barney fan art not yet on Cremaster Fanatic.
Untitled (publicity), 2003, Five publicity photographs and text, framed, The Frank Cohen Collection - Each of the five star photos includes text with his/her name printed beneath it, with Gina Gershon misspelled as "Girshon". It really stuck out, not like something deliberate, but, I guess it doesn't matter (?) -
"All successful artists produce two classes of object: their ambitious, serious efforts, generally snapped up by museums or You Know Who, and "edition"-type pieces that are really souvenirs of the major ones. When Cohen buys serious artists, these are the works he buys: little pieces that don't matter..."
De Kooning paintings - poorstarvingartdealer was right... he's a natural... really liked these. Watch the VBS.TV link below to see how he makes them.
(sorry, poorstarvingartdealer has hidden her blog from the world)
Virginia Prince check painting - one of the check/joke paintings seems oddly personal. It pairs two carefully isolated checks, apparently monthly payments for something and made out to Mrs. Virginia Prince, with one of the mother jokes with the "you fucking bitch you ruined my life" punchline.
Virginia Prince the transgender pioneer? That would explain A LOT haha. Virginia Prince fathered a son in the 1940's and "Prince's dates are not always clear and do not always make sense". It's too good to be true!!
SPECIAL BONUS!
NY Public Radio, Prince making conversation at Guggenheim opening - he says his parents had a magazine called Vague. That must have been after they got out of the CIA.
These are awesome! VBS.TV visits Prince at home and in the studio, in four parts, parts 3 and 4 are forthcoming -
VBS.TV, Richard Prince, part 1 0f 4 - pause it at the 40 second mark, compare it to this photo, and then tell me again that no hoods were in the Second House fire.
VBS.TV, Richard Prince, part 2 0f 4 - Prince talks about and shows how he made the de Kooning paintings... filmed last winter.
I'm a fan, the pilgrimmage groupie appropriating scavenging kind, but instead of repeating all of the history and good things you can read elsewhere, I'm just gonna list some of the stuff that stuck out -
The big revelation for me at this show is the use of the exhibition print. Every other piece on the ramp is a photograph, and probably two thirds of those are exhibition prints... meaning that as soon as this show is over they will be removed from their frames and slashed with a razor.
(UPDATE -not slashed...)
All of those photographs that are labeled something like "title, date, edition of two, exhibition print" means that what you are looking at is a third print made specifically for the exhibition. The two originals are somewhere in the world - in a museum, a collection, a storage facility - and it is easier and cheaper to just make a new print for the show than to try to arrange for loans and shipping. I guess for a Richard Prince show this is perfect.
other things that stood out -
Woodstock photo - one of the photos in the show is a photo taken at Woodstock, supposedly by a young Richard Prince. The label includes text written by Prince sharing that he went to Woodstock with only one exposure left on his roll of film, so he decided to just randomly snap a photo rather than try to get some great shot. Is any of that true? Who knows...
related - an entirely fictional "1967" interview with J.G. Ballard.
Giant white (cast) truck tire planter, on white base - didn't get. Something you walk by without looking at on the way to the ramp, and look down on later and think "why?". Might be the lamest Matthew Barney fan art not yet on Cremaster Fanatic.
Untitled (publicity), 2003, Five publicity photographs and text, framed, The Frank Cohen Collection - Each of the five star photos includes text with his/her name printed beneath it, with Gina Gershon misspelled as "Girshon". It really stuck out, not like something deliberate, but, I guess it doesn't matter (?) -
"All successful artists produce two classes of object: their ambitious, serious efforts, generally snapped up by museums or You Know Who, and "edition"-type pieces that are really souvenirs of the major ones. When Cohen buys serious artists, these are the works he buys: little pieces that don't matter..."
De Kooning paintings - poorstarvingartdealer was right... he's a natural... really liked these. Watch the VBS.TV link below to see how he makes them.
(sorry, poorstarvingartdealer has hidden her blog from the world)
Virginia Prince check painting - one of the check/joke paintings seems oddly personal. It pairs two carefully isolated checks, apparently monthly payments for something and made out to Mrs. Virginia Prince, with one of the mother jokes with the "you fucking bitch you ruined my life" punchline.
Virginia Prince the transgender pioneer? That would explain A LOT haha. Virginia Prince fathered a son in the 1940's and "Prince's dates are not always clear and do not always make sense". It's too good to be true!!
SPECIAL BONUS!
NY Public Radio, Prince making conversation at Guggenheim opening - he says his parents had a magazine called Vague. That must have been after they got out of the CIA.
These are awesome! VBS.TV visits Prince at home and in the studio, in four parts, parts 3 and 4 are forthcoming -
VBS.TV, Richard Prince, part 1 0f 4 - pause it at the 40 second mark, compare it to this photo, and then tell me again that no hoods were in the Second House fire.
VBS.TV, Richard Prince, part 2 0f 4 - Prince talks about and shows how he made the de Kooning paintings... filmed last winter.
Monday, October 01, 2007
i'm back
I'm Back. Saw a ton of stuff (in NYC)...
Kai made me sleep under his earthquake that could come crashing down at any moment. I think it was all videotaped just in case, for fun.
Everything on the wall, except for that last piece on the right, is stuff Meridith has made... or rather, drawings and studies for things Meridith is making or has made.
Later at Mike Nelson's installation I cracked Kai's head with a baseball hat and left him for dead. If you smell something funny in there it is probably Kai.
met/re-met - Meridith Pingree, Edie Fake, Eric Sall, Ky Anderson, Alison Ward, Kai Vierstra, Roberta Smith, Kelli Williams, David Herbert, Matt Wycoff, Bryan Zanisnik, Jared Lindsay Clark, Thordis Adalsteinsdottir, Vandana Jain, Tom Sanford, Rachel Hayes, Glen Einbinder, Kathryne Hall, Mike Estabrook, Scott Penkava, Charles Browning... (i am adding names as i remember them)
Kai made me sleep under his earthquake that could come crashing down at any moment. I think it was all videotaped just in case, for fun.
Everything on the wall, except for that last piece on the right, is stuff Meridith has made... or rather, drawings and studies for things Meridith is making or has made.
Later at Mike Nelson's installation I cracked Kai's head with a baseball hat and left him for dead. If you smell something funny in there it is probably Kai.
met/re-met - Meridith Pingree, Edie Fake, Eric Sall, Ky Anderson, Alison Ward, Kai Vierstra, Roberta Smith, Kelli Williams, David Herbert, Matt Wycoff, Bryan Zanisnik, Jared Lindsay Clark, Thordis Adalsteinsdottir, Vandana Jain, Tom Sanford, Rachel Hayes, Glen Einbinder, Kathryne Hall, Mike Estabrook, Scott Penkava, Charles Browning... (i am adding names as i remember them)
Friday, September 28, 2007
Richard Prince
I'm going to see the Richard Prince show at the Guggenheim today. Do you think I will meet any Richard Prince junkies that want to score a Second House baggie?
My painting is on Second House!!!
Wednesday, September 26, 2007
Roberta Smith Calls For The Destruction of Amerika
If an artist who conceived a work says that it is unfinished and should not be exhibited, it isn’t — and shouldn’t be. End of story. - Roberta Smith, on B.
Franz Kafka published only a small selection of short stories during his lifetime, and never finished a novel. Prior to his death, he instructed, in writing, his friend (and executor) Max Brod to destroy all of his papers and manuscripts.
Amerika, The Castle, and The Trial are the three unfinished novels that were published after Kafka's death, against his will, along with most of the stories.
RELATED:
Roberta Smith on Tim Rollins and the Kids of Survival's Amerika.
Roberta Smith on Martin Kippenberger's The Happy End of Franz Kafka's 'Amerika'.
(has Roberta written anything yet on Keith Tyson's Large Field Array, at Pace... that comes from the Kippenberger... which comes from the Kafka?)
Roberta Smith references Kafka in reviewing Christoph Buchel, 12/21/2001. Ouch! TOO IRONIC.
Roberta Smith references Kafka in reviewing Luc Tuymans.
Roberta Smith references Kafka in reviewing Ann-Sofi Siden's QM I Think I Will Call Her QM. DAMN, I saw that - and loved it - at Mass Moca!!
Franz Kafka published only a small selection of short stories during his lifetime, and never finished a novel. Prior to his death, he instructed, in writing, his friend (and executor) Max Brod to destroy all of his papers and manuscripts.
Amerika, The Castle, and The Trial are the three unfinished novels that were published after Kafka's death, against his will, along with most of the stories.
RELATED:
Roberta Smith on Tim Rollins and the Kids of Survival's Amerika.
Roberta Smith on Martin Kippenberger's The Happy End of Franz Kafka's 'Amerika'.
(has Roberta written anything yet on Keith Tyson's Large Field Array, at Pace... that comes from the Kippenberger... which comes from the Kafka?)
Roberta Smith references Kafka in reviewing Christoph Buchel, 12/21/2001. Ouch! TOO IRONIC.
Roberta Smith references Kafka in reviewing Luc Tuymans.
Roberta Smith references Kafka in reviewing Ann-Sofi Siden's QM I Think I Will Call Her QM. DAMN, I saw that - and loved it - at Mass Moca!!
Tuesday, September 25, 2007
another NYTimes B. correction... plus UPDATES
Hey, the NYTimes has changed the misleading caption in the image from the slideshow I mentioned yesterday. That was the second correction/edit they have had to make to that piece.
(that maybe explains the unusual number of NYTimes hits on my statcounter yesterday?)
Plus -
B. has filed an appeal.
Any more updates on this matter I will make to THIS post. Getting tired of every post on B.
UPDATE - it's on Slate.
UPDATE - Mass Moca is removing the materials... and,
the museum announced today that in conjunction with The Clark Art Institute, it would co-host a symposium devoted to the issues raised by this case. The symposium will be held later this fall.
UPDATE - Geoff Edgers for Boston Globe.
UPDATE - Joe Thompson e-mail to Time.
(that maybe explains the unusual number of NYTimes hits on my statcounter yesterday?)
Plus -
B. has filed an appeal.
Any more updates on this matter I will make to THIS post. Getting tired of every post on B.
UPDATE - it's on Slate.
UPDATE - Mass Moca is removing the materials... and,
the museum announced today that in conjunction with The Clark Art Institute, it would co-host a symposium devoted to the issues raised by this case. The symposium will be held later this fall.
UPDATE - Geoff Edgers for Boston Globe.
UPDATE - Joe Thompson e-mail to Time.
Monday, September 24, 2007
...more. (sorry)
Roberta Smith - well, I had said Roberta's lame article criticizing Mass Moca was "disappointingly redundant", adding zero insight + zero new information, but I hadn't realized exactly how redundant. Did you see the correction printed by the NYTimes? Greg Roach says on his blog -
Cherry picking quotes from old articles and using them out of context is much harder to get away with in the modern age of the internets.
The 9/16 NYTimes (on-line) article was further misleading in including the old slideshow, undated but from an earlier (5/22) feature, with the new article. The third image of the slideshow includes in it's caption "the show will open on Saturday, without Mr. Büchel’s permission or cooperation." Anybody new to this, reading the 9/16 article and clicking through that slideshow, would be misinformed, with any negative impression from the article incorrectly reinforced.
Robert Storr's irrelevance - I'm sorry, Robert Storr. Your affidavit was useless.
Roberta Smith and Robert Storr were two of the three "artworlders", along with Ken Johnson, quoted by Mark Elliott to prove that "the artworld is up in arms". Mark, please take note - three people who live in New York City, none of them artists, two of whom work for the same newspaper, is NOT a representative slice of the artworld.
Yes, there are many artists sympathetic to Buchel, including very good artist Amy Wilson. Earlier I linked to Amy's drawing/paintings made after her visit to Mass Moca, and she has since posted a blog entry expressing her outrage at the decision and hoping for Jenny Holzer to cancel her upcoming show. I mention this because I like the defense made in the comments, and the conversation that follows.
Brent Burket has snapped. Brent works at Creative Time, as does Nato Thompson, the curator of the Buchel show (Nato Thompson left Mass Moca for Creative Time early in 2007). Brent's venom has me wondering how much he is hanging out with Nato, what Nato might be saying, and under what terms Nato left Mass Moca.
UPDATE - Brent volunteers at Creative Time, doesn't work for them, and has little contact with Nato. It is true that he's snapped.
(Weirdly, Nato's current Mike Nelson show for Creative Time sounds like it could be a Christoph Buchel show. Look at these... Mike Nelson 1996, Mike Nelson 2000).
I wonder what Buchel's disclaimer language will say, assuming he adds anything? Maybe Buchel could auction off something, kind of like he did with his Manifesta slot. Like, the disclaimer could say "This is an installation by ____", and he could auction off the space for a name. Maybe Maurizio Cattelan would bid on it, or he could trade a stuffed squirrel for it.
If I had Joe Thompson's ear I would suggest that the best course of action at this point would be to NOT remove the tarps, and to dispose of the materials. There are a lot of smart artists right now that are angry at the museum, in a knee-jerk way, and it would be unwise to further exacerbate any tensions, regardless of principle.
Buchel had abandoned the installation and it was five months past the opening date. The museum had no option but to go to court. Does anybody think that if they had simply called it a loss back in May and removed the materials to a dump Buchel would not have sued? They could not open the gallery, they could not get rid of the stuff... they were at an impasse in which it appeared Buchel would be keeping the installation closed throughout the entire run. They had no option but to go to court and seek a resolution.
UPDATE 9/24: Buchel is appealing.
Cherry picking quotes from old articles and using them out of context is much harder to get away with in the modern age of the internets.
The 9/16 NYTimes (on-line) article was further misleading in including the old slideshow, undated but from an earlier (5/22) feature, with the new article. The third image of the slideshow includes in it's caption "the show will open on Saturday, without Mr. Büchel’s permission or cooperation." Anybody new to this, reading the 9/16 article and clicking through that slideshow, would be misinformed, with any negative impression from the article incorrectly reinforced.
Robert Storr's irrelevance - I'm sorry, Robert Storr. Your affidavit was useless.
Roberta Smith and Robert Storr were two of the three "artworlders", along with Ken Johnson, quoted by Mark Elliott to prove that "the artworld is up in arms". Mark, please take note - three people who live in New York City, none of them artists, two of whom work for the same newspaper, is NOT a representative slice of the artworld.
Yes, there are many artists sympathetic to Buchel, including very good artist Amy Wilson. Earlier I linked to Amy's drawing/paintings made after her visit to Mass Moca, and she has since posted a blog entry expressing her outrage at the decision and hoping for Jenny Holzer to cancel her upcoming show. I mention this because I like the defense made in the comments, and the conversation that follows.
Brent Burket has snapped. Brent works at Creative Time, as does Nato Thompson, the curator of the Buchel show (Nato Thompson left Mass Moca for Creative Time early in 2007). Brent's venom has me wondering how much he is hanging out with Nato, what Nato might be saying, and under what terms Nato left Mass Moca.
UPDATE - Brent volunteers at Creative Time, doesn't work for them, and has little contact with Nato. It is true that he's snapped.
(Weirdly, Nato's current Mike Nelson show for Creative Time sounds like it could be a Christoph Buchel show. Look at these... Mike Nelson 1996, Mike Nelson 2000).
I wonder what Buchel's disclaimer language will say, assuming he adds anything? Maybe Buchel could auction off something, kind of like he did with his Manifesta slot. Like, the disclaimer could say "This is an installation by ____", and he could auction off the space for a name. Maybe Maurizio Cattelan would bid on it, or he could trade a stuffed squirrel for it.
If I had Joe Thompson's ear I would suggest that the best course of action at this point would be to NOT remove the tarps, and to dispose of the materials. There are a lot of smart artists right now that are angry at the museum, in a knee-jerk way, and it would be unwise to further exacerbate any tensions, regardless of principle.
Buchel had abandoned the installation and it was five months past the opening date. The museum had no option but to go to court. Does anybody think that if they had simply called it a loss back in May and removed the materials to a dump Buchel would not have sued? They could not open the gallery, they could not get rid of the stuff... they were at an impasse in which it appeared Buchel would be keeping the installation closed throughout the entire run. They had no option but to go to court and seek a resolution.
UPDATE 9/24: Buchel is appealing.
Saturday, September 22, 2007
Christoph Buchel vs. Mass Moca... PART II
Continuing from yesterday with notes taken at the motion hearing (START HeRe for all the stuff before the break) -
After hearing arguments from Mark Elliott (for Buchel) and someone, maybe it was Kurt Wm. Hemr (for Mass Moca), Judge Ponsor called for a fifteen minute break.
40 Minutes Later -
Judge Ponsor returned and ruled that Mass Moca can show the materials, saying "nothing in VARA or in the copyright prohibits Mass Moca from exhibiting the materials assembled in Building 5", and that the museum must include with any exhibition a disclaimer, making no reference to Buchel, that the materials "constitute an unfinished project that does not carry out the installation's original intent."
Buchel has until 5pm Monday to add any language to the disclaimer, after which the museum is free to do what it wants with the materials in Building 5.
Judge Ponsor stated that he is "solidly convinced that VARA does not apply to this situation", and that "even if VARA did apply, that what Mass Moca wishes to do does not constitute a distortion to any work of art created by Mr. Buchel".
MORE from Judge Ponsor, in discussing his ruling -
- (it is a) "large complex installation", which "not only involved, but required, a large degree of lengthy and detailed collaboratation between Mr. Buchel and the museum" - this is "not a situation in which there is a co-authorship" - "an evolving organic construct that was the product of the intent, intelligence, vision, of persons other than Mr. Buchel" - "Mr. Buchel has abandoned the project. He has foresworn it" - "Mass Moca is willing to make it clear Training Ground For Democracy was never finished and should make that proviso explicit if it were to exhibit the materials" - "I doubt that this decision is going to have a great deal of precedential value" - "both parties exhibited a fair amount of naivete"... "very few businessmen that would get involved" in something of this nature without a contract - "I don't think what's going on here represents a distortion" - "after monday the museum will be free to exhibit the materials".
The judge then warned the museum "not to be over comforted by my declaratory relief... it will be scrutinized afresh" in the event of an appeal. Mark Elliott requested a stay, emphasizing possible harm to Buchel's reputation, but the stay was denied.
Judge Ponsor - "the harm to the museum is greater than the harm to the artist here"... "there is no risk to Mr. Buchel's reputation".
Marke Elliott - "we likely will appeal this".
After hearing arguments from Mark Elliott (for Buchel) and someone, maybe it was Kurt Wm. Hemr (for Mass Moca), Judge Ponsor called for a fifteen minute break.
40 Minutes Later -
Judge Ponsor returned and ruled that Mass Moca can show the materials, saying "nothing in VARA or in the copyright prohibits Mass Moca from exhibiting the materials assembled in Building 5", and that the museum must include with any exhibition a disclaimer, making no reference to Buchel, that the materials "constitute an unfinished project that does not carry out the installation's original intent."
Buchel has until 5pm Monday to add any language to the disclaimer, after which the museum is free to do what it wants with the materials in Building 5.
Judge Ponsor stated that he is "solidly convinced that VARA does not apply to this situation", and that "even if VARA did apply, that what Mass Moca wishes to do does not constitute a distortion to any work of art created by Mr. Buchel".
MORE from Judge Ponsor, in discussing his ruling -
- (it is a) "large complex installation", which "not only involved, but required, a large degree of lengthy and detailed collaboratation between Mr. Buchel and the museum" - this is "not a situation in which there is a co-authorship" - "an evolving organic construct that was the product of the intent, intelligence, vision, of persons other than Mr. Buchel" - "Mr. Buchel has abandoned the project. He has foresworn it" - "Mass Moca is willing to make it clear Training Ground For Democracy was never finished and should make that proviso explicit if it were to exhibit the materials" - "I doubt that this decision is going to have a great deal of precedential value" - "both parties exhibited a fair amount of naivete"... "very few businessmen that would get involved" in something of this nature without a contract - "I don't think what's going on here represents a distortion" - "after monday the museum will be free to exhibit the materials".
The judge then warned the museum "not to be over comforted by my declaratory relief... it will be scrutinized afresh" in the event of an appeal. Mark Elliott requested a stay, emphasizing possible harm to Buchel's reputation, but the stay was denied.
Judge Ponsor - "the harm to the museum is greater than the harm to the artist here"... "there is no risk to Mr. Buchel's reputation".
Marke Elliott - "we likely will appeal this".
Friday, September 21, 2007
Christoph Buchel vs. Mass Moca
Buchel lost...
(just got back. more later)
LATER... okay, it is now later. I blew the ending already (the losing of Buchel), but from here on out - after setting up the scene - I'll stick to the order in which things were said.
The Scene - Judge Ponsor... faced by three law-people on the Mass Moca side (from Skadden) and three law-people on the Buchel side (from Silberman). Seated in the spectator area were at minimum seven different reporters taking notes (including Martha Lufkin from The Art Newspaper), three people from Mass Moca (including Joe Thompson), and a handful of other people.
Judge Ponsor spoke first, about his visit to view the Mass Moca space on Tuesday, from 4:30-6:45pm -
Ponsor admitted that he "approached skeptically" and is "not a connoisseur" of contemporary art, but was "extremely moved by this piece of art...", "it is very powerful", "I have never been so powerfully ...(somethinged, maybe he said affected)... by a piece of contemporary art", and "had to take an hour just to settle down" and "woke up in the middle of the night" thinking about it.
Ponsor is "very disappointed that such a powerful piece finds itself embroiled in such legal controversies"... "this controversy doesn't belong here", it is "extremely illsuited to the courtroom". The court "urged counsel to come to an understanding".
Musings/Questions from the Judge, for the Defendant (Buchel) -
- "I ask myself whether VARA applies to an unfinished work" - "Is this situation one in which Buchel can be considered the sole author of this work of art?" - it "was highly collaborative, highly collaborative... the author was not here most of the time when the work was being completed... the museum made many decisions"
Judge Ponsor, in talking about the collaborative aspects of the aborted installation, made note of the motto emblazoned on the crashed police car in the space... Pride Partnership Professionalism - "lots of irony on that police car... did Mr. Buchel choose that? Did the museum choose that?"
- the installation is "more like a piece of architecture... tremendous amount of discussion going on... isn't Mass Moca a co-author?"
Team Silberman Speaks -
Mark Elliott did all the representing... I was surprised because I had expected it to be Donn Zaretsky. Zaretsky was one of the three law-people sitting at the Buchel table, but he never said anything. Okay, I'm just going to share here, because he never responded to my e-mail asking when the court date was, that Zaretsky was by far the scruffiest and worst dressed of anybody in the courtroom. This is just my opinion. He wasn't wearing a zoot suit exactly, but it was pinstriped and baggy, something that called to mind a zoot suit. Maybe he had a gig at a Springfield jazz club that he needed to hustle over to after the motion hearing.
Mark Elliott was okay... he argued forcefully and strenuously and super knows his shit... but, it seemed like a lot of spinning of the wheels. Lots of repetition and hyperbole, saying "the art community is up in arms!", while citing Robert Storr's irrelevant afudayvitt, Roberta Smith, Ken Johnson. I'm SURE that I'm the only one who noticed that no artist's opinions (either way) were presented.
I will interject here that while each of the two sides individually presented his case Judge Ponsor would interrupt with questions and/or comments. Such as -
- recalling his visit, marvelling at how impressive it was and the attention to detail, noting even "a snicker wrapper, which I assume was intentional"
- talking about e-mails between the museum and the artist, "Mr. Buchel at one point wants a better class of trash"
- "artists are okay, they're all right, some of my best friends are artists"
- "the artist stands in a glowing circle in the middle of this process... and... I have a bit of trouble with that"
- "showing this work will do nothing but enhance Mr. Buchel's reputation"
- "and I'm not so sure... at some point I stepped into the process and now I'm part of it.. and we're all here taking part"
- that Kafka had wanted all of his stuff destroyed and the judge is glad it wasn't. Plus a story about a long-ago composer who ordered his wife to burn his stuff, that if the judge had been there he would've taken away the match and said "I'd like to listen to that".
TEAM SKADDEN SPEAKS -
This was a bit worrisome at first. The judge was a great speaker, Elliott less so, and then the Skadden guy (name later. later, maybe Kurt Wm. Hemr) less so. His tone seemed conciliatory, and he was weirdly arguing something I'd thought the judge had already basically expressed an opinion in their favor on.
He was the least dynamic speaker, but I guess he was plodding along at his point, maybe covering a bunch of bases here (in case of appeal) and getting things on the record.
Posner asked "what is with the timidity on the part of the museum", and "why bring it to court?... you want me to go ahead of you with my robe on and say this is okay this is okay?"
Mark Elliott - this is "an absolute heresy in the artworld"
40 minute break...
BREAK HERE so I'll finish with a second post tomorrow. This is enough for now.
UPDATE 9/22/07 - Here is the second part.
Wednesday, September 19, 2007
motion hearing, plus... new blog # 2
The Buchel/MassMoca motion hearing (is that supposed to be capitalized? Sergio, are you there?) is scheduled for Friday the 21st, at 2pm -
U.S. District Court Judge Michael A. Ponsor, in response to the museum's request for a jury trial, ordered an "inspection and photographing of the exhibit site on Aug. 17" and stated that "the court will take a view of the pertinent premises at the facility" on Sept. 18. Lawyers for each party will have a chance to argue any motions on Sept. 21, at which time the judge hopes to rule from the bench on whether the exhibit will be seen or not — or if a jury will decide.
PLUS: Mass Moca has a new blog. Here is the post in which they address some of the Buchel questions. You can leave comments.
Sergio, you know you want to!!!
Um, there has been A LOT of stuff written about this lately. Roberta Smith's piece was disappointingly redundant... nothing new worth reading. Thomas Micchelli's Brooklyn Rail piece is better.
Best new thing I have seen are the drawings of Amy Wilson.
U.S. District Court Judge Michael A. Ponsor, in response to the museum's request for a jury trial, ordered an "inspection and photographing of the exhibit site on Aug. 17" and stated that "the court will take a view of the pertinent premises at the facility" on Sept. 18. Lawyers for each party will have a chance to argue any motions on Sept. 21, at which time the judge hopes to rule from the bench on whether the exhibit will be seen or not — or if a jury will decide.
PLUS: Mass Moca has a new blog. Here is the post in which they address some of the Buchel questions. You can leave comments.
Sergio, you know you want to!!!
Um, there has been A LOT of stuff written about this lately. Roberta Smith's piece was disappointingly redundant... nothing new worth reading. Thomas Micchelli's Brooklyn Rail piece is better.
Best new thing I have seen are the drawings of Amy Wilson.
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