BYO: pillow, bottle, snacks and etc.
Cheers!
-Annette
Monday, December 31, 2007
Dark side of the Wizard at Copy for the New Year
Tricia Avey and I have decided to host a chill screening of The Wizard of Oz with the Dark Side of the Moon at Copy (319 N. 11th St. 3rd flr) this evening. If you are a friend and are in the area please stop by. The flick will start at around 10 so we can be back in Kansas by midnight. If the vibe is good we might stay at the space, if not we will move on to other parties.
BYO: pillow, bottle, snacks and etc.
Cheers!
-Annette
BYO: pillow, bottle, snacks and etc.
Cheers!
-Annette
Friday, December 21, 2007
TONIGHT: FREE DRINKS AND ELECTRICITY AT VOX
FRIDAY, DECEMBER 21 FROM 7PM TO 9PM:
MAXIMILLIAN LAWRENCE OFFERS HIS EXHIBITION/WORK-IN-PROGRESS, THE DARLINGTON PAIR, FOR PUBLIC EXPERIMENTATION.
(IF YOU CAN'T MAKE IT ON THE 21ST, STOP BY THE GALLERY DURING REGULAR HOURS AND CHANCE THAT YOU WILL CATCH HIM BUILDING, REPAIRING AND RECORDING HIS EXPERIMENTATIONS)
"The Darlington Pair Maximillian Lawrence will be creating a device he refers to as a “relationship amplifier”, based on the electronic principle of a Darlington Pair. (A Darlington pair is a set of two transistors that amplify weak signals into stronger and sharper signals for both audio and microprocessing) In the best case, the gallery space will amplify the relationships between the people interacting with the musical instruments, culminating into a spectacularly blinding light and resonant bowel moving sound show, ending with a profound spiritual experience. In its worst case, it will flash LED’s and make fart noises."
At Vox
MAXIMILLIAN LAWRENCE OFFERS HIS EXHIBITION/WORK-IN-PROGRESS, THE DARLINGTON PAIR, FOR PUBLIC EXPERIMENTATION.
(IF YOU CAN'T MAKE IT ON THE 21ST, STOP BY THE GALLERY DURING REGULAR HOURS AND CHANCE THAT YOU WILL CATCH HIM BUILDING, REPAIRING AND RECORDING HIS EXPERIMENTATIONS)
"The Darlington Pair Maximillian Lawrence will be creating a device he refers to as a “relationship amplifier”, based on the electronic principle of a Darlington Pair. (A Darlington pair is a set of two transistors that amplify weak signals into stronger and sharper signals for both audio and microprocessing) In the best case, the gallery space will amplify the relationships between the people interacting with the musical instruments, culminating into a spectacularly blinding light and resonant bowel moving sound show, ending with a profound spiritual experience. In its worst case, it will flash LED’s and make fart noises."
At Vox
Sunday, December 16, 2007
nuts and berries: objects and not
Little Berlin 1801 N. Howard St., Philadelphia.
Friday, December 14th- ?
A wall of found and manipulated objects, priced from low to "priceless"
nuts and berries: objects and not bills itself as a "visual agreement between daniel petraitis and martha savery" and each would-be capital letter was printed lower case as it is reproduced here. I can only assume the use of lower case implies that the artists (or the space) are extremely modest about their craft and its place in society. I think an adept parallel would be when a band chooses to play on the floor, becoming a part of the audience, rather then performing on an elevated stage. If anyone has ever produced or come across an in-depth study of the use of lower cases in text, especially when the capital "I" is replaced with the lower case "i" I would be happy to hear a discussion of it.
One of the objects on display at Little Berlin.
The "visual agreement" between the two artists in question is in actuality a nice way of saying a two-person show with a few collaborative pieces. However, I think the use of the term is especially apt in nuts and berries as the works of Daniel and Martha compliment each other in a seamless way. It would be possible to imagine the exhibition as a one-person show. As the title of the exhibition implies, the artists have gathered objects natural to their urban environment. The phrase "nuts and berries" becomes a metaphor for discarded objects; telephone books, pieces of pallets, old furniture, plastic trash and anything else that one might find abandoned to the sidewalks of the city. After gathering the "fruits" of the metropolis each artist transforms the trash into an arresting visual object or installation. In one collaborative work, the transformation is as simple as hanging the objects on a wall, numbering them, and giving them each a sale price.
A man sits on a piece of telephone pole beside Martha Savery's stack of yellow pages.
Daniel Petraitis' stack of pallets.
For me, the "tour de force" of the show was in a slightly separated room housing a mountain of artfully stacked telephone books (by Martha Savery) and pieces of old pallets (by Daniel Petraitis). The pallet ends had been painted bright colors by Mr. Petraitis in a move that immediately called to mind Jessica Stockholder, branded onto the ends of each wooden slat, however, were the initials "dp". The branding mirrors the industrial process, pulling this stack of wood into a highly Duchampian context, while turning each piece in the stack into a highly individualized artwork produced in multiple.
nuts and berries: objects and not , was a treat to visit, it's simple modesty and use of recycled materials was a breath of fresh air in today's decadent climate.
Also posted to artblog
Friday, December 14th- ?
A wall of found and manipulated objects, priced from low to "priceless"
nuts and berries: objects and not bills itself as a "visual agreement between daniel petraitis and martha savery" and each would-be capital letter was printed lower case as it is reproduced here. I can only assume the use of lower case implies that the artists (or the space) are extremely modest about their craft and its place in society. I think an adept parallel would be when a band chooses to play on the floor, becoming a part of the audience, rather then performing on an elevated stage. If anyone has ever produced or come across an in-depth study of the use of lower cases in text, especially when the capital "I" is replaced with the lower case "i" I would be happy to hear a discussion of it.
One of the objects on display at Little Berlin.
The "visual agreement" between the two artists in question is in actuality a nice way of saying a two-person show with a few collaborative pieces. However, I think the use of the term is especially apt in nuts and berries as the works of Daniel and Martha compliment each other in a seamless way. It would be possible to imagine the exhibition as a one-person show. As the title of the exhibition implies, the artists have gathered objects natural to their urban environment. The phrase "nuts and berries" becomes a metaphor for discarded objects; telephone books, pieces of pallets, old furniture, plastic trash and anything else that one might find abandoned to the sidewalks of the city. After gathering the "fruits" of the metropolis each artist transforms the trash into an arresting visual object or installation. In one collaborative work, the transformation is as simple as hanging the objects on a wall, numbering them, and giving them each a sale price.
A man sits on a piece of telephone pole beside Martha Savery's stack of yellow pages.
Daniel Petraitis' stack of pallets.
For me, the "tour de force" of the show was in a slightly separated room housing a mountain of artfully stacked telephone books (by Martha Savery) and pieces of old pallets (by Daniel Petraitis). The pallet ends had been painted bright colors by Mr. Petraitis in a move that immediately called to mind Jessica Stockholder, branded onto the ends of each wooden slat, however, were the initials "dp". The branding mirrors the industrial process, pulling this stack of wood into a highly Duchampian context, while turning each piece in the stack into a highly individualized artwork produced in multiple.
nuts and berries: objects and not , was a treat to visit, it's simple modesty and use of recycled materials was a breath of fresh air in today's decadent climate.
Also posted to artblog
Scenes from the Flux Space and a studio visit with Joe DiGuiseppe
Joe DiGuiseppe's back. As I take more pictures I get increasingly shy of asking people to let me take their picture. Therefore, expect many images like this in the future.
I visited Joe at the Flux Space on Wednesday, December 12th, three days before their major Oliver Herring opening (which I could not attend due to a very important poker tournament), to gain some further knowledge of his own work and ask him to be a part of a show I'm curating for the Esther M. Klein Gallery in March of next year.
The show is going to be about open source technology, and how it or it's concept can be applied towards the creation of art, and will be titled Given Enough Eyeballs in reference to Eric S. Raymond's essay The Cathedral and the Bazaar (abbreviated CatB). The full quote it's taken from being "Given enough eyeballs, all bugs are shallow"--my simple summary of the concept being that if all of us have the access to information and the ability to process it then we'll be able to work out any problem we come across. In defense of this thesis I'm going to point to Wikipedia.
Joe and I shared some internet site favorites, including his own website:
Put things in my pussy! by Joe
Joe's site
many ones dot com a site by Kenneth Tin-Kin Hung that is truly a work of art.
You be the Man Now Dog. A site of strings of animated gifs and manipulated jpegs.
Also I enjoyed a video night and the Flux Space's scenery:
The Flux fridge
One of Joe's plans for a future art installation.
A very old dictionary that still believes computers are people who compute.
A scene from Joe's studio.
A scene from the FluxSpace.
Also in the open source exhibition so far are Yoshi Sodeoka (New York), and Ramsey Arnaoot (The Philadelphia Institute for Advanced Study). If you have any thoughts on open source/systems or how an exhibition about them should be run or, if you have a computer you could donate to the cause please leave your information.
Tuesday, December 11, 2007
VERY IMPORTANT.
1. ALEX DA CORTE TONIGHT IN NEW YORK at Stonefox Artspace.
2. A NEW MIX on Will Pym's site by Mr. Anthony Campuzano/tc/bubbles inc.
Spread the love,
Annette
P.S. I may have time for substance later on.
Tuesday, December 4, 2007
Drums Like Machine Guns
This was the last music show at Copy:
DRUMS LIKE MACHINE GUNS!!!!!!!!
On first friday (this friday) there is a new one with Akasha Blade, Psychedelic Horseshit, Tickley Feather, Pink Reason, Kurt Vile, and others. BE THERE!
DRUMS LIKE MACHINE GUNS!!!!!!!!
On first friday (this friday) there is a new one with Akasha Blade, Psychedelic Horseshit, Tickley Feather, Pink Reason, Kurt Vile, and others. BE THERE!
Hany Armanious Year of the Pig Sty
Man can will nothing unless he has first understood that he must count on no one but himself; that he is alone, abandoned on Earth in the midst of his infinite responsibilities, without help, with no other aim than the one he sets himself, with no other destiny than the one he forges for himself on this Earth.
-Jean Paul Sartre
Foxy Productions
Extended through Dec. 15th.
Hany Armanious, the egyptian artist who brings us Year of the Pig Sty(up through December 15th) has been making mysterious installation-thingies for sometime if I am to believe the two essays I picked up from the silent and comparatively sterile back room of Foxy Productions in Chelsea. I found that Sarte quote in my least favorite essay of the two, by Jason Markou, and it really helped me put Armanious's mess into perspective. You have to love writing, communication in general really, for speeding up what would no doubt be a long and arduous journey of becoming acquainted with Hany Armanious's oeuvre only to find that the real meat of the matter is that he's looking for an answer himself.
Looking hard from the look of it. The Year of the Pig Sty has brought so much mud into the gallery that you are able to imagine you are both inside and outside at once. The lighting is low (Literally. One light is actually hung only about a foot from the floor.), you get the immediate feeling you are witnessing a mess you should not witness. Perhaps you are in the lair of some super-demon, an artist who has gone completely mad, or a pig who has become obsessed with casting his own crocs, a shoe described admiringly by Mr Markou as "the lightweight one-piece foam shoe that replaced the Birkenstock as the last word in functional therapeutic footwear." The absence of any pig was felt more dearly then the absence of anything else. The mud had all dried out and I had to wonder if it was wet during the first week of the show.
I was in the mood to witness the display of Mr. Armanious's mess, so I won't blame you for turning up your nose and going on your own quest for more concrete answers. You won't find them in Year of the Pig Sty, but you will find chaos and confusion and someone who is searching, and you might find relief, as I did, that you are not the only one in the world leaving behind a mess of unanswerable questions.
Originally posted on artblog.
-Jean Paul Sartre
Foxy Productions
Extended through Dec. 15th.
Hany Armanious, the egyptian artist who brings us Year of the Pig Sty(up through December 15th) has been making mysterious installation-thingies for sometime if I am to believe the two essays I picked up from the silent and comparatively sterile back room of Foxy Productions in Chelsea. I found that Sarte quote in my least favorite essay of the two, by Jason Markou, and it really helped me put Armanious's mess into perspective. You have to love writing, communication in general really, for speeding up what would no doubt be a long and arduous journey of becoming acquainted with Hany Armanious's oeuvre only to find that the real meat of the matter is that he's looking for an answer himself.
Looking hard from the look of it. The Year of the Pig Sty has brought so much mud into the gallery that you are able to imagine you are both inside and outside at once. The lighting is low (Literally. One light is actually hung only about a foot from the floor.), you get the immediate feeling you are witnessing a mess you should not witness. Perhaps you are in the lair of some super-demon, an artist who has gone completely mad, or a pig who has become obsessed with casting his own crocs, a shoe described admiringly by Mr Markou as "the lightweight one-piece foam shoe that replaced the Birkenstock as the last word in functional therapeutic footwear." The absence of any pig was felt more dearly then the absence of anything else. The mud had all dried out and I had to wonder if it was wet during the first week of the show.
I was in the mood to witness the display of Mr. Armanious's mess, so I won't blame you for turning up your nose and going on your own quest for more concrete answers. You won't find them in Year of the Pig Sty, but you will find chaos and confusion and someone who is searching, and you might find relief, as I did, that you are not the only one in the world leaving behind a mess of unanswerable questions.
Originally posted on artblog.
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