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<h2>roberta fallon and <br>libby rosof's
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<p class="menutext">art reviews, deep thoughts, and gossip from Philadelphia and beyond<br> <br>
<strong>named one of the top art blogs by
<a href="http://www.fallonandrosof.com/frontpageaia.pdf">Art in America
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<strong>roberta and libby get InLiquid's weekly e-newsletter of visual arts happenings. You can, too:
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<strong>NEW! our blog</strong> <br>
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<strong>"So True" online art project:
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<a href="http://www.fallonandrosof.com"target="_blank">- roberta and libby's webpage
</a><br>
<a href="#off-the-blog">- we also write off the blog
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<div class="menuheader">newest posts
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<p class="menutext">
<a href="#113001283809175435">Who we know and what they saw
</a><br>
<a href="#112983486859489602">Looking for love with Phil Collins
</a><br>
<a href="#112985318837432170">Bloody great apes
</a><br>
<a href="#112989815494673451">Burns sketch giveaway
</a><br>
<a href="#112983047909300548">We run out of continent
</a><br>
<a href="#112972631149678596">The work of DUMBO
</a><br>
<a href="#112971897457733082">Weekly Update - Watercolor, Some Animals and Apes
</a><br>
<a href="#112932451287589918">Chelsea Quick Hits
</a><br>
<a href="#112958165507814896">Power, sex & sun
</a><br>
<a href="#112958277359591506">War stories
</a><br>
<a href="#112949721877757172">Slap shot
</a><br>
<a href="#112946863861822053">A trip to the Barnes
</a><br>
<a href="#112937719901606352">Rirkrit in Philadelphelphia
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<div class="menuheader">hot topics
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<a href="http://www.fallonandrosof.com/archives/archive.html">USE ARCHIVES FOR OLD POSTS
</a><br> <br>
<strong>noteworthy:
</strong><br>
<a href="http://www.fallonandrosof.com/2006/01/liberta-awards.html"target="_blank">liberta awards for 2005
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/big-invisible-changes-afoot-at-inky.html"target="_blank">art changes at inky
</a><br>
 <br>
<strong>noteworthy in new york:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/12/harlem-wrapped-in-fabric-and-clothes_12.html"target="_blank">frequency in harlem
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/van-gogh-open-fields-marks.html"target="_blank">van gogh by roberta
</a><br>
<a href="http://www.fallonandrosof.com/2005/10/comet-of-genius.html"target="_blank">van gogh by libby
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/murray-hatred-and-murray-love.html"target="_blank">elizabeth murray part 1
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/elizabeth-murray-part-2.html"target="_blank">elizabeth murray part 2
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/affordable-fair.html"target="_blank">affordable art fair
</a><br> <br>
<strong>women talking
</strong><br>
<a href="http://www.fallonandrosof.com/2005/11/mirror-of-decay-part-1.html"target="_blank">shamim momin on ellen harvey<br> part 1
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/mirror-of-decay-part-2.html"target="_blank">part 2
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/she-speaks-aphorisms.html"target="_blank">roberta on holzer
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/shapes-for-words.html"target="_blank">libby on holzer
</a><br> <br>
<strong>at the institute of contemporary art (philadelphia):
</strong><br>
<a href="http://www.fallonandrosof.com/2005/10/oh-canada-laugh-but-not-too-loud.html"target="_blank">rodney graham's big laughs
</a><br> <br>
<strong>at the philadelphia art museum:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/11/delaney-in-paris-and-philadelphia.html"target="_blank">beauford delaney
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/weekly-update-mavericks-murals-and-mei.html"target="_blank">roberta on mavericks of color
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/mavericks-of-color.html"target="_blank">libby on mavericks of color
</a><br> <br>
<strong>at the pennsylvania academy of the fine arts:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/12/no-pose.html"target="_blank">nan goldin
</a><br> <br>
<strong>at the fabric workshop and museum:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/12/swarm-from-art-world-ether.html"target="_blank">libby on swarm
</a><br>
<a href="http://www.fallonandrosof.com/2005/12/weekly-update-swarm-and-da-corte.html"target="_blank">roberta on swarm
</a><br> <br>
<strong>artist interviews:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/11/black-light-fentons-fatima.html"target="_blank">susan fenton
</a><br>
<a href="http://www.fallonandrosof.com/2005/11/ouch.html"target="_blank">edward epstein
</a><br>
<a href="http://www.fallonandrosof.com/2005/10/vision-in-word-and-deeds.html"target="_blank">kip deeds
</a><br>
<a href="http://www.fallonandrosof.com/2005/09/escape-and-embrace_21.html"target="_blank">lisa kereszi
</a><br>
<a href="http://www.fallonandrosof.com/2005/09/lunching-and-quilting-with-lee.html"target="_blank">lee tusman
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/san-francisco-chronicles-part-1.html"target="_blank">anna conti
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/cloud-41-35-plus-6.html"target="_blank"> mei-ling hom
</a><br><br>
<a href="http://www.fallonandrosof.com/2005/05/woodsman-as-blogger.html"target="_blank">j.t. kirkland and roberta, part 1
</a><br>
<a href="http://www.fallonandrosof.com/2005/05/woodsman-part-two.html"target="_blank">part 2
</a><br>
<a href="http://www.fallonandrosof.com/2005/05/thinking-about-wood.html"target="_blank">part 3
</a><br><br>
<a href="http://www.fallonandrosof.com/2005/06/behind-curtain-with-linn-meyers-part-1.html"target="_blank">linn meyers and douglas witmer, part 1
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/piecing-things-together-linn-meyers.html"target="_blank">part 2
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/drawing-wind-interview-with-linn.html"target="_blank">part 3
</a><br> <br>
<strong>brent burket covers new york:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/10/heading-to-mirror-with-jenny-d.html"target="_blank">the faces of jenny dubnau
</a><br>
<a href="http://www.fallonandrosof.com/2005/09/amazing-new-york-fall-roundup.html"target="_blank">new york fall roundup
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/joy-found-in-williamsburg.html"target="_blank">joymore in williamsburg
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/coney-island-just-swim.html"target="_blank">dreamland at coney island
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/i-heart-heart-as-arena.html"target="_blank">introducing heart as arena
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/life-found-on-57th-street.html"target="_blank">life on 57th st.
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/chelsea-triple-header.html"target="_blank">chelsea in june
</a><br> <br>
<strong>artblog on the road:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/08/city-of-neighborhoods-san-francisco.html"target="_blank">san francisco galleries-conti at newmark
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/sf-gallery-out-takes.html"target="_blank">sf galleries2-will yackulic at gregory lind
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/san-francisco-gallery-going.html"target="_blank">sf galleries3-social insecurity at catharine clark
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/half-man-half-beast-all-us.html"target="_blank">beastie-men at mass moca
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/san-francisco-chronicles-part-1.html"target="_blank">san francisco, anna conti
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/whirlygig-farm.html"target="_blank">matthews snaps whirligigs
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/california-thrifting.html"target="_blank">california thrifting
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/nepenthe-big-sur.html"target="_blank">nepenthe and big sur
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/la-tar-and-all.html"target="_blank">getty
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/beyond-wall.html"target="_blank">leipzig crowd at mass moca
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/search-for-nature.html"target="_blank">search for nature
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/nature-found.html"target="_blank">nature found
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/explosive-fear-and-beauty.html"target="_blank">cai guo-chang at mass moca
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/couch-potatoes-and-fans.html"target="_blank"> tony oursler at the met
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/elephants-r-us-photo-op-2.html"target="_blank"> chinatsu ban in central park
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/midwest-sneak-peek.html"target="_blank">calatrava
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/up-on-roof-photo-op-1.html"target="_blank"> lewitt at the met
</a><br> <br>
<strong>barnes mess:
</strong>
<a href="http://www.fallonandrosof.com/2005/03/new-barnes-board-member.html"target="_blank">03/02/05
</a>,
<a href="http://www.fallonandrosof.com/2005/01/barnes-musings-around-internet.html"target="_blank">01/24/05
</a>,
<a href="http://www.fallonandrosof.com/2004/12/barnes-alert.html"target="_blank">12/02/04
</a>, 06/17/04, 05/22/04, 05/17/04, 05/03/04, 04/29/04,
<a href="http://www.fallonandrosof.com/2004/04/united-nations-of-barnes.html"target="_blank"> 04/21/04
</a>,
<a href="http://www.fallonandrosof.com/2004/04/not-quite-facts.html"target="_blank"> 04/20/04
</a>,
<a href="http://www.fallonandrosof.com/2004/04/barnes-go-round.html"target="_blank"> 04/19/04
</a>,
<a href="http://www.fallonandrosof.com/archives/2004_03_28_archive.html#108087327030670642"target="_blank"> 04/02/04
</a>,
<a href="http://www.fallonandrosof.com/archives/2003_12_21_archive.html#107227891223067640"target="_blank"> 12/24/03
</a>,
<a href="http://www.fallonandrosof.com/archives/2003_07_27_archive.html#105956729901223467"target="_blank"> 07/30/03
</a><br> <br>
<strong>click
<a href="#old-hot-topics">here
</a> for old hot topics
</strong>
<div class="menuheader">our contributors
</div>
<p class="menutext">
<a href="http://www.abingtonartcenter.org/"target="_blank">amy lipton
</a><br>
<a href="http://faculty.philau.edu/NorthrupA/index.htm"target="_blank">ann northrup
</a><br>
<a href="http://www.bigcrow.com/anna/journal/home.html"target="_blank">anna conti
</a><br>
<a href="http://www.aucocisco.com/artists/anne_minich/images1.html"target="_blank">anne minich
</a><br>
<a href="http://anneseidmanart.com/anne/anne seidman"target="_blank">anne seidman
</a><br>
<a href="http://www.galleryjoe.com/artists/abowlby.html"target="_blank">astrid bowlby
</a><br>
<a href="http://serendip.brynmawr.edu/exhibitions/Ava/Ava.html"target="_blank">ava blitz
</a><br>
<a href="http://heartasarena.blogspot.com/"target="_blank">brent burket
</a><br>
<a href="http://www.thegalleriesatmoore.org/staff.shtml"target="_blank">brian wallace
</a><br>
<a href="http://photo.tisch.nyu.edu/object/FallonC.html"target="_blank">cate fallon
</a><br>
<a href="http://www.influxhouse.com/weblog"target="_blank">cinque hicks
</a><br>
<a href="http://www.hankinstudio.com/edu.html"target="_blank">charles hankin
</a><br>
<a href="http://www.inliquid.com/art/otherportals/copeland.shtml"target="_blank">colette copeland
</a><br>
<a href="http://www.danschimmel.org/"target="_blank">dan schimmel
</a><br>
<a href="http://www.danielheyman.com/"target="_blank">daniel heyman
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/second-friday-look-at-first-friday.html"target="_blank">ditta baron hoeber
</a><br>
<a href="www.fallonandrosof.com/2005/08/sink-eames.html"target="_blank">donna sink
</a><br>
<a href="http://www.douglaswitmer.com/"target="_blank">douglas t. witmer
</a><br>
<a href="http://www.emilybrown.net/"target="_blank">emily brown
</a><br>
<a href="http://www.ericmcdade.com/index.html"target="_blank">eric mcdade
</a><br>
<a href="http://www.artblog.net/"target="_blank">franklin einspruch
</a><br>
gerard brown<br>
<a href="http://www.inliquid.com/art/paint/rosenthal/rosenthal.shtml"target="_blank">james rosenthal
</a><br>
<a href="http://www.jasonurban.com/"target="_blank">jason urban
</a><br>
<a href="http://pw1.netcom.com/~joevango/joenaujokas.htm"target="_blank">joe naujokas
</a><br>
<a href="http://www.claireoliver.com/artists.html?artist_no=13"target="_blank">judith schaechter
</a><br>
<a href="http://www.markbarryportfolio.com/"target="_blank">mark barry
</a><br>
<a href="http://www.ratio3.org/shetabi_1.htm"target="_blank">mark shetabi
</a><br>
<a href="http://www.anaba.blogspot.com/"target="_blank">martin bromirski
</a><br>
<a href="http://gargoyle.arcadia.edu/gallery/contactus.html"target="_blank">richard torchia
</a><br>
<a href="http://www.galleryjoe.com/artists/rmatthews.html"target="_blank">rob matthews
</a><br>
<a href="http://www.inliquid.com/art/photo/asman/asman.php"target="_blank">robert asman
</a><br>
<a href="http://www.netreach.net/~lapelle/"target="_blank">rodger lapelle
</a><br>
<a href="http://www.samanthasimpson.com/"target="_blank">samantha simpson
</a><br>
<a href="http://tibordenagy.com/artists/mceneaney.html"target="_blank">sarah mceneaney
</a><br>
<a href="http://www.spectorspector.com/"target="_blank">shelley spector
</a><br>
<a href="http://www.uarts.edu/events/rwg/mission.cfm"target="_blank">sid sachs
</a><br>
<a href="http://www.mayerartconsultants.com/artist_mcfarlane.html"target="_blank">tim mcfarlane
</a><br>
<a href="http://www.zoestrauss.com"target="_blank">zoe strauss
</a><br>
</p>
<div class="menuheader">
<a name="off-the-blog">off the blog
</a>
</div>
<p class="menutext">
<strong>other writing by libby and roberta:
</strong><br>
- <a href="http://www.philadelphiaweekly.com"target="_blank">art reviews
</a> by roberta this week at the philadelphia weekly<br>
- <a href="http://www.upenn.edu/gazette/0705/0705arts01.html"target="_blank">pennsylvania gazette
</a> article on Chuck Close at Penn by libby<br>
- <a href="http://www.upenn.edu/gazette/0904/0904arts01.html"target="_blank">pennsylvania gazette
</a> article on 40 years at the ICA by libby<br>
- <a href="http://www.upenn.edu/gazette/0104/0104arts03.html"target="_blank">pennsylvania gazette
</a> article on huichol art by libby<br>
- <a href="http://www.artnet.com/magazine/features/fallon/fallon4-28-05.asp"target="_blank">april 2005 chuck close story at artnet
</a> by roberta<br>
- <a href="http://www.artnet.com/magazine/reviews/fallon/fallon3-28-05.asp"target="_blank">march 2005 philadelphia story at artnet
</a> by roberta<br>
- <a href="http://www.artnet.com/Magazine/features/fallon/fallon10-6-04.asp"target="_blank">october 2004 interview with laura hoptman at artnet
</a> by roberta<br>
- <a href="http://www.artnet.com/Magazine/reviews/fallon/fallon3-8-04.asp"target="_blank">march 2004 philadelphia story at artnet
</a> by roberta<br>
- <a href="http://www.artnet.com/magazine/features/fallon/fallon4-2-04.asp"target="_blank">april 2004 interview with adam cvijanovic at artnet
</a> by roberta<br>
- <a href="http://www.aft.org/pubs-reports/american_educator/spring2004/wonderland.html"target="_blank">education in wonderland
</a> article by roberta for american educator magazine<br>
</p>
<div class="menuheader">
<a name="old-hot-topics">some old hot topics
</a>
</div>
<p class="menutext">
<strong>allan mccollum at uarts:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/07/copyist.html"target="_blank">allan mccollum's talk, part 1
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/copyist-part-2-collaborator.html"target="_blank">allan mccollum, part 2
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/copyist-part-3-production-gone-wild.html part 3"target="_blank">allan mccollum, part 3
</a><br> <br>
<strong>emerging artists shows:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/07/weekly-update-phila-cheek.html"target="_blank">roberta on philly cheek
</a> <br>
<a href="http://www.fallonandrosof.com/2005/06/philadelphia-cheek.html"target="_blank">philly cheek by libby
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/weekly-update-voxennial-new-tyler-dean.html"target="_blank">voxennial by roberta
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/art-camp.html"target="_blank">voxennial by libby
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/tyler-skates-at-ice-box.html"target="_blank">tyler mfa show by roberta
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/synergy-all-over-place.html"target="_blank">5 into 1 by roberta
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/art-by-any-other-name.html"target="_blank">5 into 1 by libby
</a><br>
<a href="http://www.fallonandrosof.com/2005/05/cfeva-kids-at-office.html"target="_blank">cfeva by roberta
</a><br> <br>
<strong>robert smithson's "floating island":
</strong><br>
<a href="http://www.fallonandrosof.com/2005/09/smithson-journey.html"target="_blank">libby's post
</a><br>
<a href="http://www.fallonandrosof.com/2005/09/sweetness-of-smithson.html"target="_blank">cate's post
</a><br>  <br>
<strong>"the gates" by christo and jeanne-claude:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/02/eight-points.html"target="_blank">libby's quick take
</a><br>
<a href="http://www.fallonandrosof.com/2005/02/gift-and-community.html"target="_blank">roberta's review
</a><br> <br>
<strong>dali at the philadelphia art museum:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/02/dalis-book-and-yufits-films.html"target="_blank">dali: the book
</a><br>
<a href="http://www.fallonandrosof.com/2005/02/poet-of-titles.html"target="_blank">dali: the poem
</a><br>
<a href="http://www.fallonandrosof.com/2005/02/dali-rides-again.html"target="_blank">dali rides again
</a><br>
<a href="http://www.fallonandrosof.com/2005/02/hello-dali.html"target="_blank">dali: first take
</a><br>
<a href="http://www.fallonandrosof.com/2005/01/friday-comes-on-saturday-this-month.html"target="_blank">dali: the advertising
</a><br> <br>
<strong>LINC thread:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/09/more-art-spaces-coming.html"target="_blank">artspace news from ed bronstein
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/sterling-reply.html"target="_blank">zoe strauss sets record straight
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/sterling-experience.html"target="_blank">sterling gallery
</a><br>
<a href="http://www.fallonandrosof.com/2005/08/special-effects-vs-canvas.html"target="_blank">from kevin finklea
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/linc-fallout.html"target="_blank">from tim mcfarlane
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/more-linc-info-coming.html"target="_blank">post seminar update
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/whos-got-power-linc-2.html"target="_blank">roberta's report
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/more-linc-ink.html"target="_blank">libby's report
</a><br> <br>
<strong>lost meeting thread:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/08/lost-meaning.html"target="_blank">libby loses the meaning
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/lost-again.html"target="_blank">abigail doan gets lost
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/lost-meeting-lost-shmeeting.html"target="_blank">zoe strauss weighs in
</a><br>
<a href="http://www.fallonandrosof.com/2005/07/plain-sects-and-quaker-oats.html"target="_blank">charles hankin on mediation
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/quaker-thoughts.html"target="_blank">charles hankin on quakerism
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/mediating-meeting.html"target="_blank">paolo bertolli/roberta email chat
</a><br>
<a href="http://www.fallonandrosof.com/2005/06/lost-in-meeting-house-abington-2.html"target="_blank">roberta gets lost
</a><br> <br>
<strong>axis of evil thread:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/04/arresting-art-government-going-wild.html"target="_blank">government gone wild in philly, too
</a><br>
<a href="http://www.fallonandrosof.com/2005/04/more-axis-of-evil-coverage.html"target="_blank">more links
</a><br>
<a href="http://www.fallonandrosof.com/2005/04/secret-service-loses-sense-of-humor.html"target="_blank">secret service loses sense of humor
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/in-mailbag-postal-extravaganza.html"target="_blank">stamps and postcards
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/laziness-and-other-evils-at-nexus.html"target="_blank">laziness and stamps
</a><br> <br>
<strong>moma retakes manhattan:
</strong><br>
<a href="http://www.fallonandrosof.com/2004/11/bloomies-of-art.html"target="_blank">bloomies of art
</a> <br>
<a href="http://www.fallonandrosof.com/2004/11/moma-people.html"target="_blank">moma people
</a> <br>
<a href="http://www.fallonandrosof.com/2004/11/moma-sees-light-we-see-little-art.html"target="_blank">the light, the art, the money
</a> <br> <br>
<strong>2004-5 carnegie international:
</strong><br>
<a href="http://www.fallonandrosof.com/2004/10/deep-thoughts-deep-show.html"target="_blank">deep thoughts...
</a><br>
<a href="http://www.fallonandrosof.com/2004/10/evil-eye.html"target="_blank">evil eye
</a><br>
<a href="http://www.fallonandrosof.com/2004/10/carnegie-people.html"target="_blank">people
</a><br>
<a href="http://www.fallonandrosof.com/2004/10/carnegie-objects.html"target="_blank">objects
</a><br> <br>
<strong>scope/new york 2005:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/03/scope-finals.html"target="_blank">libby's favorites
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/scope-over-shoulder.html"target="_blank">roberta's favorites
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/nitsch-connections.html"target="_blank">libby on scope and nitsch
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/bed-bath-and-beyond-at-scopenewyork.html"target="_blank">libby and roberta's roundup
</a><br> <br>
<strong>hermann nitsch thread:
</strong><br>
<a href="http://www.fallonandrosof.com/2005/03/business-of-nitsch.html"target="_blank">naujokas on nitsch and business
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/nitsch-teacher.html"target="_blank">thacker on nitsch as a teacher
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/nitsch-connections.html"target="_blank">libby on nitsch at scope
</a><br>
<a href="http://www.fallonandrosof.com/2005/03/fear-factor-and-big-chill.html"target="_blank">libby on nitsch and yufit
</a><br>
<a href="http://www.fallonandrosof.com/2005/02/blood-and-guts-and-art.html"target="_blank">colette on nitsch's blood and guts
</a><br> <br>
<strong>2004 wrap-up:
</strong> <br>
<a href="http://www.fallonandrosof.com/2004/12/2004-trends-of-season.html"target="_blank">trends
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/wish-list-from-artblog.html"target="_blank">wish list
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/best-of-2004-and-some-disappointments.html"target="_blank">best of
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/artblog-makes-resolutions.html"target="_blank">resolutions
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/gallery-trends-2004.html"target="_blank">gallery trends
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/in-memorium-2004.html"target="_blank">in memorium
</a><br><br>
<strong>2004 whitney biennial
</strong> <br>
<a href="http://www.fallonandrosof.com/2004/03/rosof-and-fallons-biennial-listing.html"target="_blank">our list of faves
</a><br>
<a href="http://www.fallonandrosof.com/2004/03/lists-fallon-and-rosof-go-to-whitney.html"target="_blank">what we saw
</a><br>
<a href="http://www.fallonandrosof.com/2004/03/advertising-specialties.html"target="_blank">whitney in a box
</a><br><br>
<strong>critic bashing:
</strong> <br>
<a href="http://www.fallonandrosof.com/2005/01/work-of-art-work-of-curating.html"target="_blank">rosenthal 01/04/05
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/deadwood-press.html"target="_blank">sachs 12/14/04
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/critics-follow-dollar-signs.html"target="_blank">finklea 12/10/04
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/piping-up-on-art-critics-those-bums.html"target="_blank">rosof 12/07/04
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/enough-criticism-to-go-around.html"target="_blank">schimmel 12/05/04
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/critics-take-lashing.html"target="_blank">rosenthal 12/05/04
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/newspapers-and-criticism.html"target="_blank">barry 12/05/04
</a><br>
<a href="http://www.fallonandrosof.com/2004/12/critics-choice.html"target="_blank">fallon 12/04/04
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<a href="http://www.fallonandrosof.com/2004/12/critic-purpose-positive-review.html"target="_blank">mosher 12/04/04
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<a href="http://www.fallonandrosof.com/2004/12/hail-hale_03.html"target="_blank">fallon raises hackles 12/04/04
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<h3>Saturday, October 22, 2005
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<h3>Who we know and what they saw</h3>
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<strong>Posted by libby</strong><br><br>
<div style="clear:both;"></div><img src="http://www.fallonandrosof.com/images2/esherselfandhoffmanherself.jpg" hspace="5" vspace="5" align="right">Last weekends adventures in art land included more than just getting slapped around (see posts <a href="http://www.fallonandrosof.com/2005/10/looking-for-love-with-phil-collins.html"target="_blank">here</a> and <a href="http://www.fallonandrosof.com/2005/10/slap-shot.html"target="_blank">here</a>).<br /><br />We took a terrific trolley tour of some of the POST galleries in the morning (I will report on this later), and better yet we caught up with a couple of young women whom we had met in the blogosphere, <span style="font-weight:bold;">Carol Es</span> (here's a link to her <a href="http://esart.com/blog/comments.php?id=206_0_1_0_C"target="_blank">blog</a> and her <a href="<br />http://esart.com/"target="_blank">web page</a>) and <span style="font-weight:bold;">Elizabeth Hoffman</span> (here's a link to her <a href="http://glovedolls.com/"target="_blank">web page</a>). The whole conversation with them began with a note from Carol, who had been reading us, then a tour of her amazing web page, and before you know it, she was coming here, visiting her friend Elizabeth, who lives in the burbs--and us <span style="font-style:italic;">(top image, that's Es barely visible on the left, and Hoffman on the right, with Roberta and her camera in the back middle).</span><br /><br />Anyway, although Es's blog post on the philadelphia trip is misleading about just how many beers Roberta and I downed while she and Elizabeth snarfed up a magic combo of pizza and fries, she's more trustworthy on other subjects, among them a super-enthusiastic review of the <span style="font-weight:bold;">Teresita Fernandez</span> piece at the <a href="http://www.fabricworkshopmuseum.org/"target="_blank">Fabric Workshop and Museum</a> plus an enthusiastic review of the work at <a href="http://www.pentimenti.com/exhibit_current.html"target="_blank">Pentimenti</a> and <a href="http://www.artnet.com/lbecker.html"target="_blank">Larry Becker Gallery</a>. <br /><br /><img src="http://www.fallonandrosof.com/images2/esandhoffmanhands.jpg" hspace="5" vspace="5" align="right">It's always great to read how terrific things look from an outside-Philly point of view. Can it be that I, a native of Brooklyn, have caught the low-confidence Philadelphia shrug?<br /><br />We trolled around Pentimenti with them as well as <a href="http://www.nexusphiladelphia.org/"target="_blank">Nexus</a> and they were great to look with, dashing from piece to piece, their hands all over the Nexus art work (some of the work there begged for hands). I plan to report on some of this stuff later, but for a quick, earlier view, you can check out what Es has to say <a href="http://esart.com/blog/comments.php?id=206_0_1_0_C"target="_blank">here</a> <span style="font-style:italic;">(Es' and Hoffman's hands all over a felt sculpture by <span style="font-weight:bold;">Jennifer Butler-Kaler</span> at Nexus).</span><na id="10/22/05" style="visibility:hidden;location:absolute">es, carol</na><na id="10/22/05" style="visibility:hidden;location:absolute">hoffman, elizabeth</na><na id="10/22/05" style="visibility:hidden;location:absolute">butler-kaler, jennifer</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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<a href="/archives/2005_10_16_archive.html#113001283809175435">4:41 PM
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<h3>Friday, October 21, 2005
</h3>
<h3>Looking for love with Phil Collins</h3>
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<strong>Posted by roberta</strong><br><br>
<div style="clear:both;"></div>How do you like, much less love, someone who hits you? That's the question that's been troubling me ever since I willingly went to the <span style="font-style: italic;">slapfest</span> convened by <span style="font-weight: bold;">Phil Collins</span> at <a href="http://www.temple.edu/tyler/exhib_current.html"target="_blank">Temple Gallery</a> and got the shock of my life, a real live slap that hurt like hell and that I didn't see coming in spite of all the warnings. And yet the guy who hit me is likeable, yea, loveable. I like him. See Libby's <a href="http://www.fallonandrosof.com/2005/10/slap-shot.html"target="_blank">post</a> for her report.<br /><img src="http://www.fallonandrosof.com/images2/collinstheyshootsmrf.jpg" align="right" hspace="5" vspace="5" /><br /><br />For starters, let's just say I had what amounted to a willing disbelief that there would actually be a physical slap involved. The invitation I received was for arts administrators -- officials in the world of art -- to participate in a photo shoot called "You'll never work in this town again" in conjunction with Collins' exhibit in the gallery. The note said you would be slapped. Well what does that mean nowadays, an emotional browbeating or a real slap? I guess I'm just too postmodern for my own good. A slap means a slap. Hard, hurts, shocking.<br /><br /><span style="font-style: italic;">(image is Collins' "They Shoot Horses" video piece, from the Temple exhibit.)<br /></span><br /><br />But I was still in denial when we arrived, Libby and I, for our photo appointments, hers at 12:45 and mine at 1:15. We had just been on the POST trolley tour of some studios in Fishtown and Northern Liberties and I was in a cheerful <span style="font-style: italic;">this is going to be interesting and fun</span> mood. But quickly it became apparent that there was physical slapping going on behind the partition wall in the ad hoc photo studio as one after another art world insider returned from the photo shoot with a broad red bloom across the left side of their face and neck, the skin aflame with blood after having been walloped.<br /><br /><img src="http://www.fallonandrosof.com/images2/collinsworkingsm.jpg" align="left" hspace="5" vspace="5" /><br /><br />I began to sweat. One slapee said she had a history of corporal punishment in her household growing up and that she had been very apprehensive. Collins was handing out wine and encouraging people to drink it, and she did. On my empty and very nervous stomach I didn't want any. <span style="font-style: italic;">(image is Collins talking with Libby before her photo shoot -- see pink arrow, she's behind the person in the foreground.)</span><br /><br />Two appointments later -- I felt like I was in a doctor's waiting room -- I was really worried. Collins peeks around the wall and asks if I'm ready. Well, maybe. I drag myself in there, reject the wine idea. I know I'm really going to be slapped and I'm not happy but want to go through with it...why, why, I now wonder.<br /><br />He ushers me in like he's some kind of mother hen with a sick chick to take care of. Did I want wine? Would I like him to hold my glasses? No thanks, yes please. I sit and he gets very close, looks down and explains what he's going to do and then he does it. It's a ritual which includes one sentence, the counting to three and the slap: He says: "This is going to hurt me more than it hurts you. One. two. three." Silence, slap.<br /><br />Now in all of this up to the slap there is an aspect of play acting that seemed quite child-like. Collins, who looks like a shaggy puppy, is hugely appealing and child-like. He's also somewhat conspiratorial and so it feels a little like being one of two naughtly precocious children rehearsing a play that you'd later subject your parents to. But as soon as the slap occurs, we're out of the realm of child's play and into another zone entirely -- one of conflict, passion, power, hurt, guilt and lots more.<br /><br /><img src="http://www.fallonandrosof.com/images2/philcollinswall.jpg" align="right" hspace="5" vspace="5" /><br /><br />What I hadn't anticipated was the moment of physical shock to the body from a serious slap. I'm used to seeing Hollywood slapdowns and people always look like it's no big deal. Well it's not. A slap sounds like a gunshot and the physical sensation it causes at the moment of impact when skin touches skin is something like being hit unawares by an ocean wave and knocked underwater. You're kind of knocked senseless. You are no longer in control of yourself. Your body is in control.<br /><br /><span style="font-style: italic;">(image is Collins out of the studio for a minute before going back in)</span><br /><br />During that time of shock is when the photos are snapped: it's the common denominator moment of this project -- the moment when each slapee is like all the others -- a lump of cells and a beating heart with no individual personality showing because the body has taken over and is digesting the sting, the pain, the ringing in the ears. That shock moment is the one Collins is after.<br /><br />In this documentary photo project Collins is creating his own world of conflict and cataloging it. And he's showing how all humans, no matter where they sit in the greater hierarchy of things are basically alike -- and are like every other sensate being on the planet. Stripped of our labels, props and defenses we're all like children slapped in the face. Hierarchies fall away and only the camera (and its wielder) are in power.<br /><br /><img src="http://www.fallonandrosof.com/images2/collinssuffering.jpg" align="left" hspace="5" vspace="5" /><br /><br />It took me a weekend to stop obsessing about what the whole thing actually meant. I felt guilty and ridiculous and complicit and, as if I myself had done something violent and wrong. Of course that's the Catholic in me. I feel guilty all the time. I felt a strong tie to the sweet person who thought up this project, one involving what is after all physical abuse, and wondered how he could do this. I felt bad for him. There's a syndrome named for that state of identification with the abuser. But it wasn't abuse was it? It was play acting and it was art.<br /><br />But no matter how conceptual the project -- and it is, of course, a cool, complicated conceptual art piece -- there's an emotional core as hot as molten lava.<br /><br />One slapee I talked to afterwards compared the whole experience to a one night stand. You fall in love or at least enough in love to have your physical moment, and then it's over.<br /><br /><img src="http://www.fallonandrosof.com/images2/philcollinsposingsm.jpg" align="right" hspace="5" vspace="5" /><br /><br />Collins, who's got the Irish gift of the gab, would wander out of the studio in between photo sessions to chat about this and that, and at one point he began cradling his right hand which clearly hurt. Who's hurting whom? <span style="font-style: italic;">(image above is one Libby took when he was regrouping between shots. Next picture is one I took a moment later when he started clowning around and hiding from the cameras pointed at him.)</span><br /><br />This is an artist whose camera mostly does not focus on the art world. As someone engaged by politics and by injustice in the world, Collins is obsessed with people and places in war-torn parts of the globe. He's done projects in Kosovo, with Palestinians, in Bagdad before the Iraq War. But, as he explained in a highly poetic talk and slide lecture Monday night, what he most wants is to fall in love and to have you fall in love with him. And in project after project, the artist, like Don Juan with a camera, leaves a trail of people marked by the experience of being with him, an experience which has, in turn, marked the artist.<br /><br />I'm putting aside all thoughts about this project now. I believe it's one that, like all Collins' projects, involves his voracious appetite for feeling, touching, loving and connecting with people. That's good enough for me.<br /><br />Collins is on a quest. He's about community and he's actually created a big community -- call it the Phil Collins fan club. It's people touched by him and his projects. His relentless pursuit of truth, love and connection is poignant. There's beauty in his works and great empathy for the human condition. And while I'm happy I participated in the project and I'm very happy to have met this dear man, I want to say that I never want to see that picture of me -- exhibit #237, critic, shocked out of her mind for the sake of art and for the sake of love.<br /><span style="font-weight:bold;"><br />PS</span><br />The irony of Phil Collins' search for love and the search by others to find him in the age of the internet is that the artist is all but invisible. Search on Google and you won't find him easily. He's hidden under the pages and pages of information about Phil Collins the singer. About 10 pages in to my search I found a couple links. Here's the best one, it's to his gallery, <a href="http://www.kerlin.ie/artists/philcollins.html"target="_blank">Kerlin Gallery</a>, in Dublin. The page has lots of images from his various projects. <na id="10/21/05" style="visibility: hidden;">collins, phil</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>roberta
<a href="/archives/2005_10_16_archive.html#112983486859489602">4:19 PM
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<h3>Bloody great apes</h3>
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<strong>Posted by libby</strong><br><br>
<div style="clear:both;"></div><span style="font-weight:bold;">Post by Kevin David Reay</span><br /><br /><span style="font-style:italic;">[Editor's note: We feel constrained to mention that Kevin Reay donned a monkey suit and took part in the opening ceremonies for the show he is reviewing here. He is not reviewing his own performance. Roberta's take on this show is <a href="http://www.fallonandrosof.com/2005/10/weekly-update-watercolor-some-animals.html"target="_blank">here</a>.]</span><br /><br /><img src="http://www.fallonandrosof.com/images2/hazelmotesinstallview1.jpg" hspace="5" vspace="5" align="left">In “Wise Blood” <span style="font-weight:bold;">Flannery O’Connor</span> describes an America where you can buy a potato peeler or salvation and nobody gives a damn if you live or die. The book pokes a stick into the flabby underbelly of the nightmare that is the American dream and delves into the nihilistic void at the center of Western capitalist culture searching for truth in the illusion of freedom. Here we meet Hazel Motes a mock preacher who spreads the word of his own fake church, “the church of truth Without Christ Crucified” and shuffles through life with a curious conviction and purpose. <br /><br />“The Church of Hazel Motes Without Hazel Motes” running Sept. 30 to Nov. 11 at <a href="http://www.inliquid.com/gallery/pageant/pageant.html"target="_blank">Pageant Gallery</a> uses O’Connor’s novel as both a subtext and a guide <span style="font-style:italic;">(left top, installation shot).</span><br /><br />The exhibition features the work of a group known as the “<span style="font-weight:bold;">Wasted Apes</span>” which includes <span style="font-weight:bold;">Mikey Wild, Christopher George, Alphonse Calatrava-Ruisenor</span> and <span style="font-weight:bold;">Sarah Gamble,</span> who between them produce art that is visionary and trained, wild and restrained, arcane and contemporary.<br /><br />Putting the manic in shamanic, Mikey Wild’s canvas board paintings show off his signature drawing style to its best effect. The surfaces ripple with an untamed menacing energy and are all wide-eyed and sharp pointy teeth. Wild holds a unique place in the art scene in Philly and is a regular visitor to local coffee shops hawking his marker pen drawings of Poe, Vincent Price and Jesus for a few dollars each. Wild (who was a punk before you was a punk, punk) takes that three-minute immediacy of old and injects an untutored raw honesty into all that he touches. <br /><br /><img src="http://www.fallonandrosof.com/images2/hazelmotesinstall3.jpg" hspace="5" vspace="5" align="right">In a similar vein Sarah Gamble’s work has a disarming innocence that draws you in to her interior world of weird landscapes and opaque coloured shapes. Gamble, who is off to a residency at <a href="http://www.bemiscenter.org/"target="_blank">Bemis</a> soon, was showing drawings and paintings until last week as part of the Fleisher Challenge 1 at the nearby Fleisher Art Memorial. Some of her works on paper are on show here alongside a wall painting that explores similar imagery and a sculpture that hangs like a dark furry cloud and casts a shadow over the proceedings like a spectre <span style="font-style:italic;">(you can see Gamble's dark cloud, wall painting and works on paper in left image). </span><br /><br />While the wall painting lacks some of the intensity of the works on paper the sculpture adds a degree of drama to the act of viewing the work that fits with the mood of uncertainty created by O’Connor’s book.<br /><br />The centerpiece of the show, "The Ghost of Hazel Motes" by Calatrava-Ruisenor is a life-size paper cast of a Pontiac Safari illuminated from within like a ghostly apparition. Dominating the space despite it’s makeshift nature, the cast is like that of a snakeskin husk that leaves a fragile reminder of a host that has passed on to somewhere new <span style="font-style:italic;">(the front end of the Safari is in the top image)</span>. <br /><br /><img src="http://www.fallonandrosof.com/images2/hazelmotesacrmakara.jpg" hspace="5" vspace="5" align="left">Nearby two skateboard decks inscribed with line work looks like the result of an ancient Mayan hopped up on cocoa leaves who got hold some metallic marker pens and transformed the objects from modern mundane to that of a totemic fetish <span style="font-style:italic;">(left, one of Calatrava-Ruisenor's skateboards).</span><br /><br /><img src="http://www.fallonandrosof.com/images2/hazelmotesgeorgecloudsplitter.jpg" hspace="5" vspace="5" align="right">Christopher George adds to the air of spiritualism with two mixed media pieces, "Cloudsplitter" and "Gonga Savant" and a 5-sided obelisk entitled "Marker." George’s pieces merge religious iconography with automatic drawing, creating a fusion of organic paganism and high ecclesiasticism <span style="font-style:italic;">(right, George's "Cloudsplitter"). </span> <br /><br />This transcendent alchemy, a thirst for truth and a crippling need for spirituality, not only underpins all the work in the show but also O’Connor’s book and it is these ingredients that makes this show a compelling visual and intellectual prospect.<br /><br /><span style="font-weight:bold;">--Artist <a href="http://www.inliquid.com/thought/review/0603jamesreay.shtml"target="_blank">Keven Reay</a> is leaving Philadelphia to seek his fortune in Brooklyn</span><na id="10/21/05" style="visibility:hidden;location:absolute">reay, kevin</na><na id="10/21/05" style="visibility:hidden;location:absolute">gamble, sarah</na><na id="10/21/05" style="visibility:hidden;location:absolute">wild, mikey</na><na id="10/21/05" style="visibility:hidden;location:absolute">george, christopher</na><na id="10/21/05" style="visibility:hidden;location:absolute">calatrava-ruisenor, alphonse</na><na id="10/20/05" style="visibility:hidden;location:absolute">wasted apes, the</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>libby
<a href="/archives/2005_10_16_archive.html#112985318837432170">3:04 PM
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<h3>Burns sketch giveaway</h3>
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<strong>Posted by roberta</strong><br><br>
<div style="clear:both;"></div><img src="http://www.fallonandrosof.com/images2/burnssketchrobm.jpg " hspace="5" vspace="5" align="left"><br /><br /><span style="font-weight:bold;">Rob Matthews</span> emailed us about last night's comix event at the Free Library where practitioners <span style="font-weight:bold;">Chris Ware and Charles Burns</span> along with writer <span style="font-weight:bold;">Chip Kidd</span> held forth. (See posts <a href="http://www.fallonandrosof.com/2005/10/archie-veronika-and-acne.html"target="_blank">here</a>, <a href="<br />http://www.fallonandrosof.com/2005/10/comic-comix-and-comicology.html"target="_blank">here</a> and <a href="<br />http://www.fallonandrosof.com/2005/10/three-takes-on-comicology.html"target="_blank">here</a> for more on Burns) The event was a celebration of Burns' new book <span style="font-weight:bold;"><a href="http://www.randomhouse.com/pantheon/catalog/display.pperl?isbn=9780375423802"target="_blank">Black Hole</a></span> and there was a book signing afterwards. Said Matthews about the book signing:<br /><br /><img src="http://www.fallonandrosof.com/images2/burnsiseeyou.jpg " hspace="5" vspace="5" align="right"><br /><br /><blockquote>Charles amazingly gave away a free pencil sketch from his Black Hole work with each purchase of a book! How crazy and generous is that? Coffee's on me next time I see him wandering around the neighborhood. Of course that will probably freak him out since we've only met once and he doesn't remember it.</blockquote><br /><br /><span style="font-style:italic;">(top image is a Burns sketch Matthews got with his book purchase. Next image is an example of a page from Burns' Black Hole)</span><br /><br />Rob Matthews, a regular <span style="font-style:italic;">artblog</span> contributor, shows his drawings at <a href="http://www.galleryjoe.com"target="_blank">Gallery Joe</a>. Look for his new drawings in the upcoming "O" show curated by <a href="<br />http://www.match-art.com/"target="_blank">MatCH-art</a> at the <a href="http://www.sica.org/"target="_blank">Shore Institute</a> in New Jersey Nov. 30-Jan. 8.<br /><na id="10/21/05" style="visibility:hidden;location:absolute">burns, charles</na><br /><a href="http://www.com"target="_blank"></a><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>roberta
<a href="/archives/2005_10_16_archive.html#112989815494673451">9:16 AM
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<h3>Thursday, October 20, 2005
</h3>
<h3>We run out of continent</h3>
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<strong>Posted by libby</strong><br><br>
<div style="clear:both;"></div><img src="http://www.fallonandrosof.com/images2/resnikoffweruninstall.jpg" hspace="5" vspace="5" align="left">The pure products of Americana go crazy in <span style="font-weight:bold;">Isaac Resnikoff's</span> one-man show "We Run Out of Continent," at <a href="http://www.fleisher-ollmangallery.com/"target="_blank">Fleisher/Ollman</a> gallery. Resnikoff's work is familiar both from a previous showing in the Junto group show at F/O (see <a href="http://www.fallonandrosof.com/2004/12/junto.html"target="_blank">post</a>) and from shows at Vox Populi (see posts <a href="http://www.fallonandrosof.com/2004/10/plato-and-politics-at-vox-populi.html"target="_blank">here</a> and <a href="http://www.fallonandrosof.com/2004/02/first-saturday-symbols-and-paper.html"target="_blank">here</a>.) He has outdone himself, here, filling the large space at F/O with a coherent body of wonderful work <span style="font-style:italic;">(left, installation shot of "We Run Out of Continent").<br /></span><br />The show, all of carved wood, like much of Resnikoff's previous work, draws on the mythology of the American good-life, as understood by the common man. It's a land of eagles and geodes, of hand made and rough hewn, of banjos and flipflops, buffalos and indian-head pennies, Founding Fathers and federalism, three-legged stools and Yankee thrift, church-goers and idealistic soldiers. <br /><br />It's cornpone and Manifest Destiny rolled into one big value system of patriotic fervor. This is my country.<br /><br />The title of the show, which refers to California, originated with poet <span style="font-weight:bold;">Charles Olson</span> and was then borrowed by <span style="font-weight:bold;">Joan Didio</span>n, who wrote in "Slouching Towards Bethlehem, "The mind is troubled by some buried but ineradicable suspicion that things had better work here, because here, beneath that immense bleached sky, is where we run out of continent." <br /><br />Underneath all that wood carving, I hear Resnikoff suggesting that we also run out of wood. There's a suggestion of poison in the cornpone, of diminishing resources, diminishing space, diminishing values. There's also the suggestion that because these are not the real objects but reproductions of them, that they capture the falseness of the objects--the myths the objects represent.<br /> <br /><img src="http://www.fallonandrosof.com/images2/resnikofffederalist.jpg" hspace="5" vspace="5" align="right">Resnikoff is a guy who likes maps, and he's got three of them in this show. "The Federalist" is a large, interactive map of the U. S. mainland that is a Brobdingnagian wooden jigsaw puzzle. A Shaker peg and spacer system allows for multiple interpretations of how to assemble the states <span style="font-style:italic;">(right, "The Federalist"). </span><br /><br /><img src="http://www.fallonandrosof.com/images2/resnikoffcaliforniabenchandgeodes.jpg" hspace="5" vspace="5" align="left"><br />He also has a bench shaped on top like the map of California, on which rest "geodes" and other "rocks" made of wood, evoking the gold-rush values of old and new California as well as the sense of permanent frontier and mountain trails <span style="font-style:italic;">(left, "California Bench" and "Geodes")</span>. <br /><br /><img src="http://www.fallonandrosof.com/images2/resnikoffoldpatriotghost.jpg" hspace="5" vspace="5" align="right"><br />Resnikoff also created a fabric map of a scrim-like material draped around and trailing an 18th Century soldier, "Old Patriot Ghost," a reminder of how our past haunts our present-day politics. It's life-size stature and its breadth still take up an inordinate amount of space in our national consciousness. <span style="font-style:italic;">(right, "Old Patriot Ghost")</span>.<br /><br /><br /><img src="http://www.fallonandrosof.com/images2/resnikoffcongregation.jpg" hspace="5" vspace="5" align="left">Several rows of benches, on which sit Resnikoff's wooden carvings of Americana, is called "The Congregation," an especially appropriate name given the religious fervor of Americans about their country and about their religion. Its placement next to the Shaker-pegged "The Federalist" map and the plainness of the benches seemed especially appropos. The Americana on the benches include a carved smiley face mug with a carved spoon inside. Hilarious. So are the wooden flipflops and the bottle of hooch. Many of the items are more serious--the Indian head, the machinists square, the bar clamp. There's even a wooden nut and bolt. These small items sold like hotcakes, by the way <span style="font-style:italic;">(left, "The Congregation")</span>.<br /><br />All of the things in "Congregation" have been ground through the processor of American values and cooked up in mythologized form into perfect American hamburgers-- tasting the way Americans prefer to imagine all things American taste.<br /><br /><img src="http://www.fallonandrosof.com/images2/resnikoffwerunoutofcontinent.jpg" hspace="5" vspace="5" align="right">In the land of Indian head nickles, there are also buffalo heads, and Resnikoff's buffalo head is a beauty, laying large on rolled up red and blue rugs that suggest the American flag, landscape and a sacrificial altar. The interior of this head is hollow, and its method of construction--layered slats of wood then carved on the outside--speaks of the values that Resnikoff is questioning <span style="font-style:italic;">(right,"We Run Out of Continent"). </span><br /><br /><img src="http://www.fallonandrosof.com/images2/resnikofffranklin.jpg" hspace="5" vspace="5" align="left"><br />Also in the heads category are three carved heads from relatively shallow planks of wood--Thomas Jefferson, Ben Franklin <span style="font-style:italic;">(left)</span> and George Washington. The shallowness again speaks of what Resnikoff has on his mind about the way we mythologize our cultural icons. Their methodology, but not their content, bring to mind Alex Queral's phone book portraits.<br /><br /><img src="http://www.fallonandrosof.com/images2/resnikoffgeodeandthatoughttoholdem.jpg" hspace="5" vspace="5" align="right"><br />I also love the way Resnikoff names things, placing the objects in some context. For example, a series of nine wood-block prints of fences is called "That Oughta Hold 'em." The buffalo head is named "We Run Out of Continent," just like the exhibit. It's another reminder of diminishing and wasted resources, not to mention suburban sprawl <span style="font-style:italic;">(right, "Geode" and "That Ought to Hold 'em").</span><br /><br />The thing about Resnikoff's work is the charm of his blunt reproductions. There's a lovableness and a straighforwardness that knocks me out every time I see a show of his. Fleisher/Ollman, a gallery that specializes in outsider art, has found a young insider artist here whose work seems like a perfect fit.<br /><br />Also showing at Fleisher/Ollman is a small show by <span style="font-weight:bold;">Takatomo Tomita</span> of castings, silkscreen prints, and other works on paper.<na id="10/20/05" style="visibility:hidden;location:absolute">resnikoff, isaac</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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<h3>Wednesday, October 19, 2005
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<h3>The work of DUMBO</h3>
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<strong>Posted by roberta</strong><br><br>
<div style="clear:both;"></div>We got a newsy note from <a href="http://www.space1026.com/" target="_blank">Space 1026</a>er <a href="http://www.space1026.com/index2.php?action=bio&id=6" target="_blank">Jesse Olanday</a> with links to some great pictures about the creation of the collective's installation in the <a href="http://www.dumboartscenter.org/festival/2005/" target="_blank">DUMBO Art Center</a>'s Festival last weekend. <br /><img src="http://www.fallonandrosof.com/images2/olandaydumbobeginningsm.jpg" align="left" hspace="5" vspace="5" /><br /><br /><span style="font-style: italic;">(image is early stage of building the installation)</span><br /><br />Olanday and <span style="font-weight: bold;">Max Lawrence</span> appear to have been the designated installers for the Space 1026 piece. And Olanday's photo spread at <a href="http://www.flickr.com/photos/60272373@N00/53807287/in/set-1166697/" target="_blank">his flickr site</a> documents the 5-day oddysey of setting up the piece -- mads possible with a lot of coffee and little sleep. <br /><br /><img src="http://www.fallonandrosof.com/images2/olandaydumbofinishedsm.jpg" align="right" hspace="5" vspace="5" /><br /><br />I highly recommend a stroll through the photos since they -- and Olanday's short descriptions -- are great documentation about the <span style="font-style: italic;">work</span> of art, something that's never visible once the finished art is up and lit and on the wall.<br /><br /><span style="font-style: italic;">(image is the finished installation, which looks like it's a combination picket fence arrangement or skateboard ramps stacked up or a profusion of skateboards -- all wheatpasted with those great Space 1026 images. I believe Olanday says somewhere that this installation is a working out of ideas for the group's upcoming <a href="http://www.ybca.org/b_ybca.html" target="_blank">Yerba Buena</a> installation. That YB group show is in February.)</span><br /><na id="10/19/05" style="visibility: hidden;">olanday, jesse</na><br /><na id="deleteartist" style="visibility: hidden;">[olanday, jesse]</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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<a href="/archives/2005_10_16_archive.html#112972631149678596">9:30 AM
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<h3>Weekly Update - Watercolor, Some Animals and Apes</h3>
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<strong>Posted by roberta</strong><br><br>
<div style="clear:both;"></div>This week's <a href="http://www.philadelphiaweekly.com"target="_blank">Weekly</a> includes my review of <a href="http://www.galleryjoe.com"target="_blank">Gallery Joe</a>'s watercolor show and a mini Q&A with <span style="font-weight:bold;">Jody Sweitzer</span>, whose audio-stuffed animal piece in Bird Park -- which I told you about <a href="http://www.fallonandrosof.com/2005/10/look-at-me.html"target="_blank">previously</a> -- made with <span style="font-weight:bold;">Chris Vecchio</span>, no longer exists, alas. Vandals torched it Saturday night. Also, in the listings, there's my editor's pick mini-review of "The Church of Hazel Motes without Hazel Motes" at Pageant. Here's the link to the <a href="http://www.philadelphiaweekly.com/view.php?id=10731"target="_blank">art page</a> and here's the link to the <a href="http://www.philadelphiaweekly.com/view.php?id=10726"target="_blank">editor's choice page</a>.<br /><span style="font-weight:bold;"><br />Not So Sketchy</span><br /><br /><img src="http://www.fallonandrosof.com/images2/kimaqauworldsm.jpg" hspace="5" vspace="5" align="left"> <br />Watercolor used to be disdained as little more than sketchbook paint--easily portable and good for spur-of-the-moment visual note-taking in the studio or on a trip, but not for "serious" art. Today, though, watercolor is no longer a second-class citizen. Artists now use it for "finish" work as well as sketching. As you can see in Gallery Joe's 12-artist survey show "Water Color: Current Views," the medium fits nicely into delicate cartoon works as well as monumental abstractions.<br /><br />If you've ever worked with watercolor you know it can be difficult and unforgiving. With oils or acrylics there's always a second chance--add more paint and work back into it. But watercolor requires a deft hand and confidence. Once the mark is on the paper, there's no covering it up. You either work with it or start over.<br /><br /><img src="http://www.fallonandrosof.com/images2/kimbluedetrf.jpg" hspace="5" vspace="5" align="right"><br /><br />There are no mistakes on the walls here. Instead, virtuosity dominates, and there's something for just about every taste. <span style="font-weight:bold;">Cheol yu Kim</span>'s two works stand out. The delicate depictions of what appear to be underwater or microcosmic fantasy creatures posing for their close-ups are cartoonlike, but cartoons of exquisite delicacy and sensuality. Made by using a variety of templates combined this way and that, Delta Quadrant 2 (1) and (2) are works that would lose their veiled mystery if they were translated into another medium. Their extreme delicacy of line works beautifully in watercolor, creating intimate biomorphic complexities--breastlike appendages and orifices that produce undulating streams of vapor--that are a little like soft-core bio-porn.<br /><br /><span style="font-style:italic;">(top two images are details of Kim's works. My photos do not do the works justice. You need a nose to nose encounter to absorb the detail and elegant shapes and lines)</span><br /><br />Photography has permeated the very fiber of the art world and seems to be in the driver's seat, even here in watercolor land. The photo aesthetic shows, whether the artists are working from photos or not. In all cases they're being aware of the photographed environment and translating it into paint.<br /><br /><img src="http://www.fallonandrosof.com/images2/carportrf.jpg" hspace="5" vspace="5" align="left"><br /><br /><span style="font-weight:bold;">Harrison Haynes</span>' funny mountaintop scenes--there's one with a pickup truck parked under a carport--seem fueled by the snapshot aesthetic. They're breezy compositions translated into labor-intensive painted works. <br /><span style="font-style:italic;"><br />(image is Haynes' piece with the carport housing what looks like the family truck)</span><br /><br /><img src="http://www.fallonandrosof.com/images2/ritchiecroprf.jpg" hspace="5" vspace="5" align="right"><br /><br /><span style="font-weight:bold;">Charles Ritchie</span>, who will have his first solo exhibit with Joe in February, produces believable works of photorealism. His Self Portrait With Night VIII is a darkling scene of the artist in his house, the whole picture reflected back through a mirror. It almost strains credulity that this virtuosic piece of realism was made from life and not from photographs.<br /><span style="font-style:italic;"><br />(image is detail of Ritchie's piece. Sorry about the glare in all these pictures.)</span><br /><br /><img src="http://www.fallonandrosof.com/images2/murphyselfporsmrf.jpg" hspace="5" vspace="5" align="left"><br /><br /><span style="font-weight:bold;">Brian Murphy</span>'s three lush and drippy self-portraits seem to quote from paintings and photos. They remind me of Jenny Saville's lush self-portraits in oils. The focus on vulnerable pink flesh and the sketchy way the works drift off the page seemingly unfinished reminds you of watercolor's days as sketches for a finished product.<br /><br /><img src="http://www.fallonandrosof.com/images2/murphyheadsmrf.jpg" hspace="5" vspace="5" align="right"> <br /><br /><span style="font-style:italic;">(these are two works from Murphy's self portrait series)</span><br /><br />That the works--tacked to the wall and unframed--can be seen as finished pieces and not sketches speaks volumes about how far the modern eye has come in accepting what is art. And rightly so, for a frame doesn't make the piece. The piece makes the piece.<br /><img src="http://www.fallonandrosof.com/images2/liubirdcroprf.jpg" hspace="5" vspace="5" align="left"><br /><br />Also fine in a solid show are <span style="font-weight:bold;">Amy Cartwright</span>'s illustrational minis and <span style="font-weight:bold;">Charlene Liu</span>'s delicate scenes of life, death and decay in the woods.<br /><br /><span style="font-style:italic;">(image is detail of one of Liu's delicate works, which have hidden unexpected objects in them)</span><br /><br />“Water Color: Current Views” Through Nov. 19. Gallery Joe, 302 Arch St. 215.592.7752. <br /><br /><span style="font-weight:bold;">sketches<br /><br />Popular Click</span><br /><br />Conversation with <span style="font-weight:bold;">Jody Sweitzer</span>, whose piece Now That We Have Your Attention, made collaboratively with <span style="font-weight:bold;">Chris Vecchio</span>, is in Bird Park at Third and Arch streets. Vandals torched the piece Saturday night, and police are investigating. Meanwhile the charred remains will be on view through October.<br /><br /><span style="font-weight:bold;">The stuffed animals in your outdoor installation will look pretty raggedy by the end of the month. Will you replace them with new ones or let them deteriorate?</span><br />"My initial idea had subconsciously come from constantly seeing these overwhelming public memorials created for those who've been lost. I wanted give these furry creatures a voice in a place that doesn't speak of death. Placing the animals outside and exposing them to the elements for a month allows me to observe how people react to seeing them transformed from cuddly and cute objects into decrepit shells of their former selves. Experiencing this reaction is what absolutely intrigues me."<br /><br /><img src="http://www.fallonandrosof.com/images2/sweitzervecchioburnedrf.jpg" hspace="5" vspace="5" align="right"><br /><br /><span style="font-weight:bold;">Your work sometimes uses a hidden camera to record people's reactions. Is there a candid camera here in the park?</span><br />"I don't have a camera installed here. Since the installation I've been periodically visiting the site to document the deterioration. I've gained more from my personal interactions with those passing by than I have from viewing any of my surveillance tapes."<br /><span style="font-style:italic;"><br />(image is photo I took of the piece Monday night when I was on my way to the Phil Collins lecture. I was alarmed when I took the shot and didn't have an explanation for the damage. Up the block I actually ran into Sweitzer who explained it all to me. 9 pm Saturday night someone set the fire. The pizza parlor people called the fire department which broke through the gate and put the fire out. Sweitzer, remembering my question about surveillance cameras said something about wishing she'd had one there after all.")</span><br /><br /><span style="font-weight:bold;">What's next?</span><br />"I'm working on a video installation for the Benjamin Franklin celebration that'll be installed at Nexus. This piece incorporates the 13 virtues that Franklin created for himself in an attempt to become a better human being." (R.F.)<br /><br /><span style="font-weight:bold;"><br />Editor's Choice<br />Wasted Apes: "The Church of Hazel Motes Without Hazel Motes"<br />Through Nov. 11. Pageant Gallery, 607 Bainbridge St. 215.925.1535</span><br /><br /><img src="http://www.fallonandrosof.com/images2/apescarsmrf.jpg" hspace="5" vspace="5" align="left"><br />"Motes" is an immersion exhibit by four artists--<span style="font-weight:bold;">Sarah Gamble, Christopher George, Mikey Wild and Alphonse Calatrava-Ruisenor</span>--collectively tagged "The Wasted Apes" (though Wild is an auxiliary member according to Pageant proprietor Daniel Dalseth). The ape motif and Hazel Motes refer to the show's literary source, <span style="font-weight:bold;">Flannery O'Connor</span>'s novel Wiseblood, which is a personal obsession of Dalseth's. Quick book synopsis: a small town, a learned man, an idiot savant, an unkind act by an interloper, an imagined or real act of violence, flight and redemption. <br /><br /><span style="font-style:italic;">(image above is detail of Ruisenor's paper car which includes a hideaway camping space inside of it and below is Gamble's hairy cloud in front of her wall painting of the sky.)</span><br /><br /><img src="http://www.fallonandrosof.com/images2/gamblecloudsmrf.jpg" hspace="5" vspace="5" align="right"><br /><br />I'm not sure you'd get all or any of that from the objects in the show, but the whole--with outsider paintings by Wild, paintings influenced by the outsider aesthetic by George, a full-scale car made of paper by Ruisenor and a black hairy cloud with teeth by Gamble--adds up to what feels like a stage set for a play about a traveling circus sideshow. The Apes played experimental rock noise music at the opening while artist <span style="font-weight:bold;">Kevin Reay</span> wore the ape suit and was confrontational, Dalseth says. The Apes play again this weekend, and it's highly recommended, with or without the music. <br /><na id="10/19/05" style="visibility:hidden;location:absolute">sweitzer, jody and chris vecchio</na><br /><na id="10/19/05" style="visibility:hidden;location:absolute">liu, charlene</na><br /><na id="10/19/05" style="visibility:hidden;location:absolute">gamble, sarah</na><br /><na id="10/19/05" style="visibility:hidden;location:absolute">ritchie, charles</na><br /><na id="10/19/05" style="visibility:hidden;location:absolute">haynes, harrison</na><br /><na id="10/19/05" style="visibility:hidden;location:absolute">kim, cheol yu</na><br /><na id="10/19/05" style="visibility:hidden;location:absolute">calatrava-ruisenor, alphonse</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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<a href="/archives/2005_10_16_archive.html#112971897457733082">8:38 AM
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<h3>Tuesday, October 18, 2005
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<h3>Chelsea Quick Hits</h3>
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<strong>Posted by roberta</strong><br><br>
<div style="clear:both;"></div><span style="font-weight: bold;">Post from Amy Lipton</span><br /><span style="font-style: italic;"><br />[Ed. note: Abington Curator <span style="font-weight:bold;">Amy Lipton</span>, who used to operate a gallery in New York, went hot-footing around Chelsea recently and sent me an email with these thumbnail reviews which I thought were great. For more about goings on in Chelsea see our man <a href="http://www.fallonandrosof.com/2005/09/amazing-new-york-fall-roundup.html"target="_blank">Brent's previous post</a>.]</span><br /><br />I went to as many galleries as my feet would permit last week in Chelsea and have to say that what <span style="font-weight:bold;">Jerry Saltz</span> said in his "Battle of Babylon" essay (Sept. 16 Village Voice. Read <a href="http://www.villagevoice.com/art/0538,saltz,67953,13.html"target="_blank">here</a>.) does seem to be true. I started my day at 10:00 and walked from 18th to 29th by 5:00. The ever expanding Chelsea gallery scene is perfect for energetic 20-somethings and rich people with cars and drivers. I was determined to see as much as possible in one day. Visions of American culture at its wackiest are abounding and some of the standouts were:<br /><br /><img src="http://www.fallonandrosof.com/images2/sanditzasburypark2.jpg" align="" hspace="5" vspace="5" /><br /><br /><span style="font-weight:bold;">Lisa Sanditz</span> at <a href="http://www.crggallery.com/"target="_blank">CRG</a> - funky tripped out colorful paintings that combine elements of abstraction and representation are based on U.S. road trips- strip malls, big box stores, housing developments and rural America at its strangest.<br /><span style="font-style:italic;"><br />(image is Sanditz' "Asbury Park 2")</span><br /><span style="font-weight:bold;"><br />Adam Cvijanovic</span> at <a href="http://www.bellwethergallery.com/current_01.cfm"target="_blank">Bellwether</a>- fantastic, a full 3-wall and ceiling mural painting of suburban Los Angeles with swirling houses, cars, signs, household litter, food falling out of the fridge - insane! it is called Love Poem and is supposed to be 10 minutes after gravity fails. To me it was an epic about American modes of consumption and excess, but rendered so well that it looked very appealing.<br /><br /><img src="http://www.fallonandrosof.com/images2/hansonsonnenbergzambonitire.jpg" align="" hspace="5" vspace="5" /><br /><br />Next door was <span style="font-weight:bold;">Chris Hanson & Hendrika Sonnenberg</span> at <a href="http://www.cohanandleslie.com/"target="_blank">Cohan and Leslie</a> - more urban and domestic debris, but this time as elegant formal sculpture- a chain link fence, shopping cart, bike, etc.. in pale colored polystyrene (a real no-no on my material list but it served its purpose here).<br /><br /><span style="font-style:italic;">(image is Hanson and Sonnenberg's "Zamboni Tires")</span><br /><br /><span style="font-weight:bold;">Sam Durant</span> at <a href="http://www.artnet.com/gallery/264/paula-cooper-gallery.html"target="_blank">Paula Cooper</a> - "Proposal for White and Indian Dead Monument Transpositions" - his proposal to take actual massacre monuments and memorials (20 to dead white settlers and 5 to Native American dead) from around the country and install them around the National Mall in D.C. Installed in the gallery were replicas of the monuments as well as pencil drawings (I prefered the drawings). This was an elegant show of minimalist looking political work in the elegant and mininmalist Cooper Gallery. Commemorating the massacre of Native Americans seems like the perfect reality check- from our first colonialist massacre to the present one going on today.<br /><br /><span style="font-weight:bold;">Controlled Contained Configured</span> at <a href="http://www.tanyabonakdargallery.com/"target="_blank">Bonakder</a>- nature/culture clash, these ideas are always of interest to me and with artist <span style="font-weight:bold;">Olafur Eliasson</span>'s beautiful aerial view grid of a glacial river in Iceland (Icelanders are doing a great job of preserving the natural beauty of their country and using hybrid hydrogen vehicles as we embark upon destroying more of Alaska in our relentless need for oil.) Also included are the ubiquitous, <span style="font-weight:bold;">Mark Dion and Carla Klein, Uta Barth, Sandra Cinto and Mat Collishaw</span>.<br /><br /><br /><img src="http://www.fallonandrosof.com/images2/williamssprinforrnccrop.jpg" align="" hspace="5" vspace="5" /><br /><br /><span style="font-weight:bold;">Sue Williams</span> at <a href="http://www.303gallery.com/"target="_blank">303</a>- she seems to be getting back to her earlier semi/pornographic forms but in candy colors and highly stylized - better than the late DeKooning-esque abstract works she was doing for the past few seasons. Of course her best intense narrative work was what I was showing in the early nineties, but that was then...<br /><span style="font-style:italic;"><br />(image is detail of Williams' "Spring for the RNC")</span><br /><br /><span style="font-weight:bold;">Tom Burkhardt</span> at <a href="http://carengoldenfineart.com/index.asp"target="_blank">Caren Golden</a>- AMAZING. This guy re-created his entire studio out of cardboard. Red Grooms meets Raymond Pettibone, a must see!<br /><br /><span style="font-weight:bold;">Leopold Kessler</span> at <a href="http://www.lombard-freid.com/"target="_blank">Lombard-Freid Projects</a>- sabotage, here is something that we need a bit more of around here. Without permission Kessler creates "public interventions" in various European cities (I guess they don't have our ALERT system). Dressed in the right uniform and carrying a tool box he "readjusts" systems (utilities, etc...) in the public infrastructure without ever being detected.<br /><span style="font-weight:bold;"><br />Joel Sternfeld</span> at <a href="http://www.luhringaugustine.com"target="_blank">Luhring Augustine</a>- I LOVED these photos. "Sweet Earth: Experimental Utopias in America". The title says it all- 30 photographs from a book of the same name chronicling the history of social experimentation in America including communes and early experiments in sustainable communal farming. It's hard to imagine today but this show reaffirms that -yes, we do have a histhttp://www.blogger.com/img/gl.link.gifory of progressive elements in American society.<br /><br /><img src="http://www.fallonandrosof.com/images2/burtynskichinaoldfactories.jpg" align="" hspace="5" vspace="5" /><br /><br /><span style="font-weight:bold;">Ed Burtynsky</span> at <a href="http://www.cowlesgallery.com/"target="_blank">Cowles</a>- The downside of progress, this time all coming out of China. I had a piece by Ed in my show at AAC, " Trouble in Paradise" (a Canadian river turned orange from nickel tailing pollution). His new retrospective just opened at the Brooklyn Museum (I didn't get there), This new show of photographs at Cowles are beautiful, scary and a sober vision of the new world order in China that just might be about our future as well.<br /><span style="font-weight:bold;"><br />(image is one of Burtynsky's photographs of old Chinese factories)</span><br /><br /><span style="font-weight:bold;">Krsysztof Wodiczko</span> at <a href="http://www.artnet.com/gallery/652/galerie-lelong.html"target="_blank">Lelong</a>- "If You See Something" -haunting and beautiful projections based on street conversations about terrorism with a barely audible sound component, but that didn't matter, you get the picture - we are all being overheard.<br /><br /><span style="font-weight:bold;">--Amy Lipton is Curator at <a href="http://www.abingtonartcenter.org"target="_blank">Abington Art Center</a> where her new show "Passages" runs to November 23rd with Warren Angle, Michele Brody and Joan Bankemper.</span><br /><na id="10/18/05" style="visibility:hidden;location:absolute">williams, sue</na><br /><na id="10/18/05" style="visibility:hidden;location:absolute">sanditz, lisa</na> <br /><na id="10/18/05" style="visibility:hidden;location:absolute">hanson, chris and hendrika sonnenberg</na><br /><na id="10/18/05" style="visibility:hidden;location:absolute">burtynsky, edward</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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<a href="/archives/2005_10_16_archive.html#112932451287589918">8:30 AM
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<h3>Power, sex & sun</h3>
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<strong>Posted by libby</strong><br><br>
<div style="clear:both;"></div><span style="font-weight:bold;">Report from Tallahassee by Colette Copeland</span><br /><br /><img src="http://www.fallonandrosof.com/images2/greenfieldgirlculturefatcamp.jpg" hspace="5" vspace="5" align="left">ARTBLOG HAS MOVED. <a href="http://fallonandrosof.blogspot.com/2005/10/power-sex-sun.html">CLICK HERE</a> TO READ THIS POST ON OUR NEW SITE. <br>After two weeks of rain in Philly, I jumped at the chance to head south for some power, sex and sun. Power: Sex, Politics & the Pursuit of Global Domination was the theme of this year’s Southeast Society for Photographic Education’s conference held in Tallahassee, Fla., Oct. 14 to 16 <span style="font-style:italic;">(image from Lauren Greenfield's "Girl Culture--Fat Camp in the Catskills").</span><br />. <br /><br />Co-chairs <span style="font-weight:bold;">Daniel Kariko</span> and <span style="font-weight:bold;">Scott Groeniger</span>, both professors at Florida State University (the host site), chose big-name artists whose work explores power as manifested in the images, signs and symbols of contemporary culture.<br /><br />The presentations reminded me of the profound and daunting quote by <span style="font-weight:bold;">Primo Levi</span>, “An artist’s first responsibility is to bear witness.” The featured and invited artists while disparate in their subject matter, materials and intention, exhibit unified vision in their ability to bear witness through their work. <br /><br />Keynote speaker <span style="font-weight:bold;">Lauren Greenfield</span> bears witness to America’s youth culture. Showing documentary photographs from her books, “Girl Culture” and “Fast Forward”, Greenfield spoke about her interest in the rituals of youth. Themes of materialism, consumption, and body image recur in her images, demonstrating the power of money and the media culture to corrupt youth. Greenfield does not assume the voice of authority, but allows her subjects to tell their stories in their own words.<br /><br /><img src="http://www.fallonandrosof.com/images2/ferratoorgyselfportrait.jpg" hspace="5" vspace="5" align="right">Documentary photographer and activist <span style="font-weight:bold;">Donna Ferrato</span> bears witness to hidden aspects of society including domestic violence and the dark side of love—sex clubs, swingers and prostitution. A master storyteller, Ferrato captivated the audience with horrifying tales resulting from photographing victims of domestic violence for more than 25 years. Living in shelters for months at a time, Ferrato developed relationships with many women, who opened up their lives for her to record. Her “Love & Lust” work explores people’s desire to be loved, in a world where violence and sex are used to exert power and control. Ferrato uses her camera to reveal the indomitable spirit within us. She is currently working on a film about the children whose lives were affected by domestic violence <span style="font-style:italic;">(right, orgy self-portrait by Ferrato, 2002). </span><br /><br /><br /><img src="http://www.fallonandrosof.com/images2/deswaanthewargamestetinpoland.jpg" hspace="5" vspace="5" align="left"><span style="font-weight:bold;">Sylvia de Swann</span> bears witness to the Holocaust by retracing her experiences as a Hungarian refugee during World War II. Investigating issues of memory and displacement, de Swann travels by train over the landscape of her childhood, searching for remnants from the past. Using photography and text, de Swann reconstructs her history—her connections with family and place, devastated by war <span style="font-style:italic;">(left, "The War Game, Stetin, Poland," by de Swaan, 1994)</span>.<br /><br /><img src="http://www.fallonandrosof.com/images2/fichtermedicalanalysis.jpg" hspace="5" vspace="5" align="right">The conference's Honored Educator <span style="font-weight:bold;">Robert Fichter</span> bears witness to environmental destruction and militarism through his fantastical invented characters, which dominate his mixed media work. Using drawing, painting, printmaking and photography, Fichter couches his politics with dark humor. The highlight of the presentation was his 1960s short film entitled, “Whatever Happened to Edward Weston?” This kooky and surreal black-and-white experimental film portrays renowned modernist photographer Weston as ‘Blacaman’, a Hindu animal hypnotist <span style="font-style:italic;">(right, Robert Fichter's "Medical Analysis," 1982, Cibachrome).</span><br /><br /><span style="font-weight:bold;">Samuel Yates</span> bears witness to the absurdity of bureaucratic social structures in government. In his performative sculptural works, Yates Yates explores how objects lose their normal meaning, transformed by the ludicrous jumble of permitting and contract laws. In one project, Yates shredded an MG car at a recycling center that divided the parts by material. Yates categorized each car part by weight, labeling, bagging and placing the parts in vertically stacked file cabinets. The resulting sculpture is listed in the Guinness Book of World Records as the tallest file cabinet. <br /><br /><img src="http://www.fallonandrosof.com/images2/yateshimselfinpaloalto.jpg" hspace="5" vspace="5" align="left">Currently, Yates is working on a public art commission entitled, <a href="http://www.thecolorofpaloalto.com"target="_blank">“The Color of Palo Alto,”</a> in which he digitally photographs every property in the city in alphabetical order, finding the average color of the city. To begin work on the project, Yates spent a couple of years with various city government board and councils to receive permission and permits for his project. Exploring the nature of the artist as public servant, Yates’ project is already in use by various city departments including zoning and planning boards <span style="font-style:italic;">(left, Samuel Yates on his bike in Palo Alto, 2005).</span><br /><br />For a regional conference, this exceeded all expectations. The presenters began the dialogue with their work and challenged us to question our roles as artists in this age of power, armed conflict, globalism and technology.<br /><br /><span style="font-weight:bold;">--Videographer <a href="http://www.inliquid.com/art/otherportals/copeland.shtml"target="_blank">Colette Copeland</a> teaches at University of the Arts and the University of Pennsylvania</span><na id="10/18/05" style="visibility:hidden;location:absolute">greenfield, lauren</na><na id="10/18/05" style="visibility:hidden;location:absolute">ferrato, donna</na><na id="10/18/05" style="visibility:hidden;location:absolute">de swann, sylvia</na><na id="10/18/05" style="visibility:hidden;location:absolute">fichter, robert</na><na id="10/18/05" style="visibility:hidden;location:absolute">yates, samuel</na><na id="10/18/05" style="visibility:hidden;location:absolute">copeland, colette</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>libby
<a href="/archives/2005_10_16_archive.html#112958165507814896">7:15 AM
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<h3>Monday, October 17, 2005
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<h3>War stories</h3>
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<strong>Posted by libby</strong><br><br>
<div style="clear:both;"></div><img src="http://www.fallonandrosof.com/images2/gellesfromphiladelphia.jpg" hspace="5" vspace="5" align="right">Locally made documentary "From Philadelphia to the Front" is about to travel to Warsaw next week.<br /><br />The film about the experiences of local Jewish veterans of World War II, made by two Philadelphians, artist <span style="font-weight:bold;">Judy Gelles</span> and <span style="font-weight:bold;">Marianne Bernstein</span>, is an official selection of the Warsaw Jewish Film Festival. <br /><br />The 38-minute video (brief description <a href="http://www.brandeis.edu/jewishfilm/Screenings/spec.htm"target="blank">here</a>) won recognition last month at the Palm Springs International Festival of Short Films. Gelles, who attended the Palm Springs event, said the audience laughed and cried at all the right places and then applauded at the end. The film was the second place winner of the best documentary and runner up for the audience favorite documentary. <br /><br />The film was also an official selection of the Rhode Island International Film Festival in August, and offical selection for several festivals coming up soon, including the Washington (D.C.) Jewish Film Festival in December, the New York Jewish Film Festival in January, and the Delray Beach Film Festival in March.<na id="10/17/05" style="visibility:hidden;location:absolute">gelles, judy</na><na id="10/17/05" style="visibility:hidden;location:absolute">bernstein, marianne</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>libby
<a href="/archives/2005_10_16_archive.html#112958277359591506">8:25 PM
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<h3>Slap shot</h3>
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<div style="clear:both;"></div><img src="http://www.fallonandrosof.com/images2/collinssuffering.jpg" hspace="5" vspace="5" align="left">With its themes of crossing borders and power--political and personal--photographer and videographer <span style="font-weight:bold;">Phil Collins'</span> star is ascendant in the art firmament right now. His show, "Assume Freedom," is up at <a href="http://www.inliquid.com/gallery/temple/temple.shtml"target="_blank">Temple Gallery</a> until Nov. 5.<br /><br />Roberta and I were hanging around the gallery, there to allow Collins to slap us and then take our pictures--part of a series with art critics and curators. I really don't know what possessed me to agree to get slapped. I don't like pain, humiliation, loss of control. But there I was, following Arcadia University's gallery director <span style="font-weight:bold;">Richard Torchia</span> and preceding CFEVA's <span style="font-weight:bold;">Michal Smith</span> and then Roberta. Conkelton said 14 or 15 had signed up.<br /><br />I suppose one reason I agreed to do this was the adventure. And then there was the chance to get behind the art. It turned out to be more like participating in a performance rather than getting a behind-the-scenes, get-the-skinny experience. Conkleton's letter of invitation to participate stated, "The portrait session offers a chance to collaborate with Phil, gain insight into his way of working, and perhaps be included in the published body of work." <br /><br />I bit. I got slapped. Hard. I never got slapped so hard in my life. It shook my brains, or what's left of them. It shocked my system. I burst out laughing. (In fact, it was only the second time in my life that I got slapped, the first time being as a teenager, by my mother; I must have done something very bad, but all I remember is the slap). <br /><br /><img src="http://www.fallonandrosof.com/images2/collinsronbowser.jpg" hspace="5" vspace="5" align="right">Laughter is great. What better way to shake off an experience that's hard to take in, and what better way to retain control in a situation I was not controlling? I thought I'd be angry. I wasn't. Merely stunned. <br /><br />In the process of warming his way up to the slap, Collins is solicitous, calming, reassuring--he'd be a great dentist. To numb the pain, Collins even offers a glass of wine (I said no, but Torchia and Conkleton went for it). Collins, born in England in 1970, has a mop of tousled red hair and a puppy-in-the-window sweetness, charm and humor that blend well with his street-urchin demeanor. <br /><br />Besides Collins' charm, the other thing that kept me from being too suspicious was the presence of another person in the room, Tyler photography major <span style="font-weight:bold;">Ron Bowser</span> <span style="font-style:italic;">(image above right)</span>.<br /><br />Collins said in a woeful tone just prior to the deed that the slap will hurt him more than it would hurt me. At first I thought this was silly, just Borscht Belt comedian schtick, but by time I left the gallery, I accepted it as true. I think Collins really likes people, and I think by time he gets around to the actual slap--are you ready, one two three--he's hitting someone with whom he has established some initial level of a relationship. So he's conflicted by time he delivers the blow.<br /><br />My brain raised the spector of <span style="font-weight:bold;">Marina Abramovic</span> for comparison and then rejected her. Unlike Abramovic, Collins is not after some transcendent state through self-flagellation. He's reaching out beyond his own being.<br /><br />But he's thinking about who's in charge. There's power in play. I'm reminded of <span style="font-weight:bold;">Diane Arbus</span> and the archival footage re-edited by post-colonial artists <span style="font-weight:bold;">Yervant Gianikian and Angela Ricci Lucchi</span> to reveal the racist eye behind the lens (see posts <a href="http://www.fallonandrosof.com/2004/12/documentary-video-meets-art-world.html">here</a> and <a href="http://www.fallonandrosof.com/2004/12/halls-walls-then-art.html">here</a>). <br /><br /><img src="http://www.fallonandrosof.com/images2/collinsbaghdad.jpg" hspace="5" vspace="5" align="left">Oh, the work is post-Colonial, heading out to the Earth's trouble-spots to establish relationships of his own. <br /><br />For all that, it's still colonial. The photographer is almost always colonial. And his subjects are his native specimens. The teddy-bear affect that Collins gives off, the quick, trusting relationship he establishes (oh, Arbus did this too, don't forget) can't quite overcome the fact that he's the man behind the lens. He's studying the inequality in the relationship, and his sympathy cannot totally trump his power. <br /><br />There's lingering colonialism in his going into places like Palestine, Serbia and Baghdad, and videotaping people in acts Collins describes as collaborative. In the 4-minute interminable Baghdad video portraits a la Warhol <span style="font-style:italic;">(image left above)</span>, the cultural difference makes the subjects seem like victims of a practical joke. By the way, I saw this work before I collaborated in getting slapped.<br /><br /><img src="http://www.fallonandrosof.com/images2/collinspalestinians.jpg" hspace="5" vspace="5" align="right">The dance marathon videos, featuring Palestinian youths who range from uncomfortable to graceful to exhausted, show them as Western and just like us at the same time that they seem to me to be vulnerable in a way that makes me squirm. Vulnerable is good if you're showing feared people. Vulnerable is bad if you're showing reviled people. Both these things are going on at once in this video. <br /><br />Part of how Collins operates is he sets up a seduction of easy friendship and then betrays his subject. It's not that different from politics and international relations.<br /><br />The show includes three slap portraits as well as the videos and other portraits. <br /><br />The work reflects the seduction and power of our culture, our news gathering and information disseminating systems, and ourselves. There's plenty to think about. <br /><br />Collins will speak tonight, 6 p.m., at the Arden Theater, 40 N. 2nd St.<na id="10/06/05" style="visibility:hidden;location:absolute">collins, phil</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>libby
<a href="/archives/2005_10_16_archive.html#112949721877757172">6:50 AM
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<h3>Sunday, October 16, 2005
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<h3>A trip to the Barnes</h3>
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<div style="clear:both;"></div><img src="http://www.fallonandrosof.com/images2/barnesrosenandfallon.jpg" align="left" hspace="5" vspace="5" /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />A <a href="http://www.barnesfoundation.org/" target="_blank">Barnes Foundation</a> trip had some ups and downs for a group of senior citizens from the Stiffel Center in South Philadelphia. Many of them had never been to the Barnes, and at least one of them said it was her first trip to this part of the Philadelphia area, a suburb just across the city line.<br /><br />Most of the women who attended are a part of landscape painter <span style="font-weight: bold;">Barbara Rosin's</span> weekly art class at the Stiffel Center. My mother-in-law, Mary Dubin, is an art-class regular. Rosin also invited Roberta and I to tag along. We gladly accepted the invitation <span style="font-style: italic;">(top image, Roberta, left, and Rosin, right, at the top of the Barnes' front steps)</span>.<br /><br />Rosin is a great fan of the Barnes, one of those who would prefer that the collection stay in its historic home on what was Dr. Albert C. Barnes' estate. She said that she was working on an "international campaign to keep the Barnes where it is."<br /><br /><img src="http://www.fallonandrosof.com/images2/barneslockers.jpg" align="left" hspace="5" vspace="5" /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />The Stiffel Center ladies, some of whom walk with the aid of canes and my mother-in-law (in pink) who walks with the aid of a walker, had to get all the way from the parking lot to the museum entrance, up the rain-slick steps, and then had to take the elevator down to check their purses and bags. They struggled valiantly with the cranky little locker keys. Roberta and I had also struggled with them a little earlier, so now we knew the drill and helped a little.<br /><br />I have no pictures from within the museum since picture taking is forbidden. At first we considered a tour, but my mother-in-law was unable to hear the docent clearly, between all the ambient noise and the echoing space. We set out on our own.<br /><br />The paintings were a hit, and she, as well as the others from the group whom we met along our route, had no trouble asking the kinds of questions about content and composition that Barnes grads so value. Rosin has taught them a little something about structure, technique and content.<br /><br />My mother-in-law particularly enjoyed the <span style="font-weight: bold;">Renoirs</span> and the furniture in each room. She wondered about the choice of a particularly bawdy pose. "I never saw this pose before," she said. In front of a particularly corpulent model she said, "A nice solid lady."<br /><br />The numerous medieval, mostly anonymous, paintings of saints on parade and Flemish burghers were my own faves on this trip, besides the obvious choices of <span style="font-weight: bold;">Cezannes</span>, <span style="font-weight: bold;">Van Goghs</span> and <span style="font-weight: bold;">Rousseaus</span>. I also liked the reminder that Barnes collected <span style="font-weight: bold;">Pippin</span>, too.<br /><br />My mother-in-law, whose eyes don't work as well as they used to, was unable to discern some of the background detail in a number of paintings that interested her. Over and over, water was difficult for her to decode because she simply couldn't see well enough in the dim rooms.<br /><br />Ultimately, after navigating the first floor, she chose to sit, while Roberta and I dashed through the second floor.<br /><br /><img src="http://www.fallonandrosof.com/images2/barnesmatissebluestilllife.jpg" align="left" hspace="5" vspace="5" /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Then the class met with Rosin to look at Matisse's large, elaborate "Blue Still Life." Rosin, who said the painting was perfect, led the group through a discussion of the colors and what was going on in the painting. The students made astute observations about the tilted table top, the large shadow, the tablecloth and other choices the artist made in the painting. "Let's all paint it next time from memory," Rosin said.<br /><br /><img src="http://www.fallonandrosof.com/images2/barnesdebriefing.jpg" align="left" hspace="5" vspace="5" /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Then the women took the elevator back down to the lockers for their gear. One woman hit the jackpot when she discovered that lots of people forget to retrieve their quarters when they empty their lockers. She started opening the unlocked doors, picking quarters, until a guard chastised her, suggesting she might be meddling with others' property in those lockers. I suppose he was protecting his own daily bonus. After the gift shop, the group gathered at the top of the front steps. I asked some of them if they enjoyed the museum, and they all said they had.<br /><br /><img src="http://www.fallonandrosof.com/images2/barnescanes.jpg" align="left" hspace="5" vspace="5" /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />The weary group descended the wet stairs and set out for the parking lot around the back of the building and then some.<br /><img src="http://www.fallonandrosof.com/images2/barnesfarewell.jpg" align="left" hspace="5" vspace="5" /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Fortunately the paratransit van arrived and intercepted them, saving them a long walk. An irritated guard tried to get the van to move to the lot, but the crew was already halfway in, and the situation was beyond his control. Here's a shot of my mother-in-law waving goodby.<na id="10/16/05" style="visibility: hidden;">matisse, henri</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>libby
<a href="/archives/2005_10_16_archive.html#112946863861822053">4:32 PM
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<h3>Rirkrit in Philadelphelphia</h3>
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<strong>Posted by roberta</strong><br><br>
<div style="clear:both;"></div>This week's <a href="http://www.newyorker.com/main/magazine/" target="_blank">New Yorker</a> has a wonderful <span style="font-weight: bold;">Calvin Thompkins</span> story about Thai artist <span style="font-weight: bold;">Rirkrit Tiravanija</span>. Unfortunately you can't read the piece online but it's a great read full of background about the artist and juicy insider info like the fact that the artist was married for a short while to artist <span style="font-weight: bold;">Elizabeth Peyton</span>. They're not married anymore and are in fact married to other people but Peyton and Rirkrit remain friends according to Thompkins who quotes Peyton extensively in the article.<br /><br /><img src="http://www.fallonandrosof.com/images2/rirkrittemkinsm.jpg" align="right" hspace="5" vspace="5" /><br /><br />I mention all this because the artist has a few Philadelphia connections. And also because I did an interview with him back in April, 2002, when he was in Philadelphia as part of a <a href="http://www.fabricworkshop.org/" target="_blank">Fabric Workshop</a> group exhibit curated by <span style="font-weight: bold;"><a href="http://www.papress.com/thinkingwithtype/resources/contact_ellen.htm" target="_blank">Ellen Lupton</a></span>* of the Cooper-Hewitt Design Museum. The show was about shelter in the age of disaster and it was a marvelous design/art show.<br /><br />Rirkrit's piece was a pup tent that folded up into a jacket -- it was a prototype for an edition. The artist gave a lecture that I attended and beforehand I had a few minutes to interview him. He's an easy person to talk to, very forthcoming. I wrote up the piece as a Q&A for <a href="http://www.artnet.com/"target="_blank">artnet</a> where the piece ran in April, 2002. Here's the <a href="http://www.artnet.com/Magazine/features/fallon/fallon4-15-02.asp" target="_blank">link</a>. And below is an excerpted copy with a few extra pictures. <br /><br /><span style="font-weight: bold;">Spiritual Comfort<br /></span><img src="http://www.fallonandrosof.com/images2/rirkritfabcookingsm.jpg" align="left" hspace="5" vspace="5" /><br /><br />We caught up recently with Thai artist Rirkrit Tiravanija in Philadelphia before he gave a talk at the Fabric Workshop and Museum (FWM). Tiravanija, 41, an associate professor at Columbia University's School of the Arts, has new work in the FWM's "Comfort Zone" exhibition. The show, which is on view till Apr. 21, (2002), was organized by Ellen Lupton and includes fabric-based structures by ten artists.<br /><br />Tiravanija's piece, a pup tent attached to a jacket, is a kind of wearable, portable shelter and a prototype for an edition of multiples he may do as a project at the FWM. The tent conjures up thoughts of homelessness and nomadic existence. We asked Tiravanija, who divides his time between New York, Europe and Thailand, about his own peripatetic life. "I like to say that my home is where I am at the moment," he said, laughing. "I'm content where I am. It's Buddhist thinking." <span style="font-style: italic;">(image is Rirkrit talking at the FWM in 2002 about one of his cooking pieces.)</span><br /><br /><img src="http://www.fallonandrosof.com/images2/rirkrittentjacketsm.jpg" align="right" hspace="5" vspace="5" /><br /><br />"Buddhist thinking" explains a lot about Tiravanija's projects, which are a mix of cooking, travel, sleep, talk and housing -- all based on the idea of injecting life into art. Tiravanija, who went to art school in Toronto but thinks of himself as self-taught or "peer-taught," spoke easily about his life and his art. <span style="font-style: italic;"> (image is the pup tent/jacket)</span><br /><br />RF: You just came back from Thailand but before that you were in Germany. Where did you experience the events of September 11?<br /><br />RT: I was in Thailand and in fact I was just about to fly from Bangkok to Berlin. So I'm watching it happen (on television) and arriving at the airport. And CNN, to me, has become a kind of great distancing. But coming back to New York and sitting down with a friend and having a drink and listening to his experience of standing on his roof. . . it was very different. And I felt like I missed an experience, a communal situation. But being Thai or Buddhistic and coming from that culture, death and destruction and change are daily. They're going on all the time, and it's a part of your daily life. And so, you take it as "air," in a sense.<br /><br />RF: Have you been to Ground Zero?<br /><br /><img src="http://www.fallonandrosof.com/images2/century21sm.jpg" align="left" hspace="5" vspace="5" /><br /><br />RT: I haven't been to Ground Zero and I don't like to be a tourist. The World Trade Center was never my favorite building so I didn't have a relationship to it as a kind of place or space or object. But I had a great relationship to a department store called Century 21, which is next door. Now the store is back, and that's New York for me. They go right back in there and put the socks back on the shelves, and we'll all go there next week and buy socks. A friend was telling me about going to Century 21 and looking out the window and seeing Ground Zero. And I said, yeah, I think that would be my kind of experience of Ground Zero. Rather than to go to the platform and look out, you experience it as part of your daily routine, not like a kind of spectacle. That's always quite important for me. The world is experienced as part of daily life and not as a spectacle.<br /><br /><span style="font-style: italic;">(image is Century 21 facing Ground Zero in a shot taken in April, 2002)</span><br /><br /><img src="http://www.fallonandrosof.com/images2/rikrittrailerfabsm.jpg" align="right" hspace="5" vspace="5" /><br /><br />RF: Let's talk about your tent in "Comfort Zone."<br /><br />RT: The idea of comfort is always interesting. Comfort is not what we think -- a plush, cushy space. Comfort is a spiritual thing. You can have comfort with very little and I think that's something not everybody realizes. This tent is very minimal, very light, very unassuming. But it gives you a degree of both public and private. And it's like having a home but not having property. Being in New York in the 1980s, I lived next to Tompkins Square Park, which was a really vital ground where homelessness and anarchism and anarchistic structures were developing. And I was thinking about that a lot. This particular structure is made to be functional. Everything I make, even as a discrete object, is meant to be used. This is a prototype made in Thailand. <span style="font-style: italic;"> (image is Rirkrit with a slide of the airstream trailer that was part of his "On the Road" project from 1998 sponsored by the Philadelphia Museum of Art)</span><br /><br />RF: I read you were in a band and made music. Do you still do this?<br /><br />RT: Yes, but no particular aims or goals, more of an activity, again, with a lot of people. As for the kind of music I make? Generally. . . noise, and I would not qualify it as music. I listen to music -- everything. I have no expectations, I just like good content and good music. At the moment, I'm listening to Willy Nelson's Stardust.<br /><br />RF: You have said your art is a kind of critique of Western institutional practices. When you go to a museum, what do you find yourself looking at most?<br /><br />RT: Out the windows. I like 1950s Fluxus and '60s Conceptualism, but mainly I look out the windows.<br /><br /><br /><span style="font-style: italic;">(top image is the artist in Philadelphia, flanked by then-</span><a style="font-style: italic;" href="http://www.philamuseum.org/" target="_blank">PMA</a><span style="font-style: italic;"> curator </span><span style="font-weight: bold; font-style: italic;">Ann Temkin</span><span style="font-style: italic;"> on the left and an unidentified man. This was at the end of the PMA-sponsored project, "</span><a style="font-style: italic;" href="http://www.philamuseum.org/exhibitions/exhibits/ontheroad/" target="_blank">On the Road</a><span style="font-style: italic;">" in which the artist and three Thai students travelled the USA pulling an airstream trailer in which they lived. The 1998 project was an early </span><a style="font-style: italic;" href="http://www.philexin.org/" target="_blank">PEI</a><span style="font-style: italic;">-funded outside the box initiative.)</span><br /><br />*(<span style="font-weight: bold;">Lupton</span> and <span style="font-weight: bold;">Abbott Miller</span>, by the way, are guest-curating a new group show for the FWM. "<a href="http://www.fabricworkshop.org/exhibitions/events.php" target="_blank">Swarm</a>," opening Dec. 2 is about the concept of emergence.)<br /><na id="10/16/05" style="visibility: hidden;">tiravanija, rirkrit</na><div style="clear:both; padding-bottom: 0.25em;"></div><br>
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</a>roberta
<a href="/archives/2005_10_16_archive.html#112937719901606352">9:31 AM
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