Culture: August 2006 Archives


Everyone in the arts world is going to be out and about beginning next week as the galleries reinvent themselves for another season. Even Barry and I are uncharacteristically formally committed to more visibility than usual in the next two months.

We're curating a gallery show at Dam, Stuhltrager in Williamsburg, including separate openings (four weeks apart) for a one-woman show in the sculpture garden and a small group show inside. In addition we've been invited to be guest speakers as part of "Muse Fuse", NURTUREart's informal monthly salon, also in Brooklyn. Later in September we will be travelling to Providence where we will be visiting the studios of visual arts undergraduates at Brown University with an artist friend of ours as guests of the curator of the List Art Center.

It's all enough to spoil a couple of humble bloggers, except that I think we both already feel pretty spoiled: We're already doing what we want to do most - the way we most want to do it.

The Dam, Stuhltrager sculpture garden show is an installation by Susan C. Dessel, one of the Brooklyn College MFA degree students whose work was censored and destroyed this past spring [their legal case is continuing). Her opening is Friday, September 8, the same night the gallery's front rooms open with "Echo", a show of five Madrid artists.

"Muse Fuse" was created by Karen Marston of NURTUREart, a valuable community non-profit registry and gallery, as a forum for its artists, curators and guests to exchange ideas and information. This month's gathering will be held on Wednesday, Sept 13 at 7 pm. Details are on the NURTUREart site.

My relationship to Brown goes back decades, beginning even before my graduate school ambitions introduced me to the wonders of Rhode Island. At that time this sober old Yankee institution expected the fine arts to be left to technical schools - if they could imagine they should be taught at all. Fortunately for my spiritual health RISD was just down the hill, where no one was surprised when The Velvet Underground* was invited to play class dance [ordinary schools had "proms"] the year I arrived in Providence.

Anyway, Brown now has an Arts Faculty, and as I'm writing this our good friend Sharon Louden is up there busy installing a large sculpture outside its home on the hill, the List Arts Center. She has persuaded the curator at the Center's David Winton Bell gallery, Vesela Sretenovic, to invite us to join her when Sharon tours the studios of new and returning students on the September 21, and later in the afternoon she and her New York gallerist, Oliver Kamm, will join Sretenovic for a lecture/demonstration at the school. Barry and I will be in the audience, by that time I imagine sitting with some new friends.

from a piece by Robert Greenfield which originally ran in Rolling Stone on February 18, 1971:

The Velvets suffered from all kinds of strange troubles. They spent three years on the road away from New York City, their home, playing Houston, Boston, small towns in Pennsylvania, anywhere that would pay them scale.

"We needed someone like Andy", John [Cale] says. "He was a genius for getting publicity. Once we were in Providence to play at the Rhode Island School of Design and they sent a TV newsman to talk to us. Andy did the interview lying on the ground with his head propped up on one arm. There were some studded balls with lights shining on them and when the interviewer asked him why he was on the ground, Andy said, "So I can see the stars better." The interview ended with the TV guy lying flat on his back saying, "Yeah, I see what you mean."

We still love Andy, and we still love RISD - to which we owe so much of Rhode Island's cool.

[the Rolling Stone excerpt from howdoesitfeel; image from Bloggy]

Darmstadt, newly popular avant

I definitely don't post enough here about arts other than the visual. Serious or non-commercial music is extraordinarily important in our lives, and while I suppose a lot of people can make that statement Barry and I are fortunate to be able to live with an enormous collection of recordings, including an accumulation of more DVD's of underknown or underappreciated operas than we can keep up with.

One of the reasons for our inevitable neglect of the music recordings, at least in warmer months, is the enjoyment we get from the complex songs of birds in the garden, but in the evening, when we are more likely to sit down at home in front of a screen not attached to a laptop, the competition is even keener. We actually spend as many evenings (and a few afternoons) away from the apartment watching live performances as we do days visiting galleries or museums.

Our enjoyment of music, dance, theatre, or their combination are rarely recorded in my blog. I suppose the reason is partly the difficulty or impossibility of capturing a visual image of my own (and the inadequacy or even the unavailability of promotion images), even when there is visual content, and partly the fact that most of the obscure experimental works which attract us are scheduled for only one or two performances.

Once in a while, and unfortunaely more often than you would know from looking at this site, a performance is just too wonderful to let me keep my silence.

To begin describing what we saw and heard last night, I have to admit that a certain credit has to be given to the venue, the Spiegeltent. I had heard about this temporary, very downtown performance space all summer, but I think it was July's weather that had discouraged me from investigating it earlier.

The tent is an almost unbelieveably perfect relic of the European cabaret and music salons of the 1920's and 30's, but last night we spent hours of pure delight inside carried away into the twenty-first century. No, "Absinthe", wasn't on the program last night, although the authority of good friends whose judgment we respect tells us that it's great fun.

Instead we were a part of a wonderful audience for a performance of the Brooklyn collective Darmstadt, Classics of the Avant Garde [I like the reference to Darmstadt, but I love the phrase in the second part of the name!] in collaboration with ICE (International Contemporary Ensemble) and pianist Emily Manzo. The works we heard/saw performed in this colorfully-spotlighted, smoky (artificial) mirrored and brocaded tent were by both contemporary composers and the those of the classical avant garde who still inspire adventurous musicians and audiences with works which haven't gathered a speck of dust in the years which followed their composition.

Cage, Ligeti, Xenakis and Andriessen works were interspersed with newer pieces by Rodney Sharman, Aaron Siegel and Du Yun. Maybe it was partly the buildup of enthusiasm, since they were the last wo works on the program, but I was totally crazy about the performances and the music of Xenakis's "Dmaathen" (Claire Chase on electric flute and David Schoztko percussion) and Andriessen's "Workers Union" (David Reminick on saxophone, Gareth Flowers on trumpet, Daniel Lippel on electic guitar, Randall Zigler on bass, Cory Smythe on piano and David Schotzko and Adam Sliwinski percussion).

This kind of stuff totally wipes out the boundaries of "classical Music" which have been assigned to its acolytes over the last century. The enthusiastic, standing-room-only audience was composed of much more than the older, sober and often slumberous faces found uptown in our heavily-funded music museums.

There are three more nights of ICE performances at the Spiegeltent: September 11, 18 and 25.

John Moran, as if at rest

Everything I said in the last paragraph can be said in spades for the performance which followed Darmstadt, John Moran's "Zenith 5! (Vrs. 2.0)", programmed by Performance Space 122. Moran is something of a legend among downtown music and performance entusiasts. I had first heard about him, I believe, soon after I moved to New York two decades ago, maybe in a tribute from Kyle Gann. I searched everywhere for a recording and kept my eyes open for any notice of a performance, but for years I found nothing.

This was In the early and late 80's, when I often often visited small to medium-sized rooms where the "downtown" or "new music" audiences numbers often barely exceeded those of the performers, and this was for groups I was already virtually worshipping. These were musicians who had already produced a number of records, and I knew I had most of them at home - or would have them in my hands by the next day. There was one hot evening in the late 80's when I stood in Manny Maris's CD store on Bleecker Street, called "Lunch for your Ears", crowded together with maybe seven other people (including Manny) to hear John Zorn do a solo horn gig. There was no AC and the door was closed to protect us from the neighbors' wrath. I was physically miserable, but I couldn't believe my privilege!

But back to Moran. I finally tracked down a CD. It was "The Manson Family: An Opera". And it was only a few years ago that I finally heard about a live performance of his ahead of time and of course I went. I was delighted, and I snatched up every CD he offered for sale after the music and the wonderful madness stopped. I resolved never to miss another opportunity to see what he's up to. It still happens once in a while, but only because this brilliant artist apparently doesn't keep a mailing list.

Unfortunately the piece performed last night was a one-off, at least for now. He's sure to be back, and what may be just as sure is the fact that the work will not look the same when we find him again.

For all of its innovation, even within the context of his own exotic body of work, "Zenith" was probably more typically Moran than anything I had seen before - precisely because it was a new direction as well as being so truly bizarre. "Zenith Five" was annoying and disturbing but totally unforgettable. We may not all be ready for it yet, but its beauties were real. The music was concrete and sampled and homemade; the movement was the same. I once wondered where "minimalism" could go once it had become part of our canon of styles; Moran seems to have found an outlet in the direction assumed by this exquisite piece. He's calling this work a ballet, at least tentatively; if he sticks with both the form and the appelation the virtually dead-ended world of "the ballet" can only be enriched by what started in the Spiegeltent last night.

ADDENDUM: I just realized that as respects the Darmstadt program the two pieces I had singled out for mention, of the eleven included in the program, were both written by recognized giants of the late twentieth century. Even though one of them is very much alive, my notes may look like a deliberate slight of Andriessen's younger colleagues and that was certainly not my intention.

The acoustics of the tent were not kind to the solo piano that was Emily Manzo's instrument during the first part of the evening, and it was in this portion of the program that Siegel and Sharman's compositions were heard. After the pause the ICE musicians moved in with their multiple instrument groupings and it was during this segment that we were treated to Du Yun's "Vicissitudes No. 1" (David Reminick on saxophone, Daniel Lippel on guitar, Kivie Cahn-Lipman on cello, Cory Smythe on piano, Randall ZIgler on bass and David Schotzko percussion).

The piece was totally new to me and I was equally unfamiliar with the composer, but I loved what I heard and I would really like to hear it again - elsewhere. Even with these larger forces the tent took its toll: I'm guessing that it was because of a lack of familiarity with the quirks of the space that the easy asssertiveness of the electric guitar and the natural power of the larger percussion instruments ended up bringing their players' contributions distractingly too forward of those of the ensemble. I think of the work itself - and its interpreters - as otherwise truly powerful and "electric" - in the very best way.

[unattributed Darmstadt image from Darmstadt; John Moran image by Chang W. Lee from NYTimes]

Paul Piers design

Paul Piers design

The window read "CHANEL" but almost obscuring the merchandise inside was Duke Riley's large drawing of a burning Greenpoint shoreline crowned with a huge cloud of smoke. Inside White Box the night of August 17 Riley was introducing his own line of upscale, burnt-look fashion under the brand "Paul Piers".

The crowd was wonderful, and wonderfully appreciative, I think, of both their own hip and the show's smooth rips.

Juan Puntes, the show's co-curator and with Judith Souriau the director of the non-profit space which hosted it, seems to agree with Riley that Chelsea has waited far too long for the arrival of the boutique phase in the timeline of the gallery district phenomenon. Now, with the dramatic and suspicious disappearance of its own most interesting and historic commercial building stock (including warehouses storing tons of old clothes) the Greenpoint neighborhood may have missed it altogether - and hastened the arrival of the successor stage, "luxury highrise condominiums".

Riley's art is built on the East River and the historical relics of New York real estate.

history (and fashion) up in smoke

the charred warehouse remains

gathering around the cinders

crowd scene

crowd seeing

the artist checking his own tag

(the drawing)

(the silkscreen envelope)

(the zine, swimsuit edition)

(pages from the swimsuit edition)

I spotted the neat little drawing shown at the top of this post somewhere in the backroom exhibition space or "store" of the Williamsburg gallery Cinders a while back. I snatched it up and immediately looked around for more of this guy's stuff. I still know little about Logan MacDonald other than the fact that he lives and works in Montreal and is one of the three artists of "Glorious Holes".

I just found out, as I suspected, that I'm clearly not alone in my enthusiam for either the artist or the gallery.

The silkscreened envelope and the zine each set me back less than the price of a movie ticket, and I suspect most people would be able to cover the cost of the drawing with the cash they carried in their pockets. Art is dear, but everyone can afford to live with it and no one should be able to afford to live without it.

David Schillinglaw Box Fresh, Get up your antenna and Hell Bent, all 2006, all mixed media on paper and all 17" x 11" [installation view]

Graham Gillmore Cattle Bruisers and Ships paint on paper, 36" x 24" and See if I Care ink on paper 36" x 24" [installation view]

Robin Footitt Boston MA 2006 acrylic collage on paper 11.5" x 7.5" [installation view]

John Wells Untitled

Support your Local!

Now that I may have gotten the attention of some Brits I have to explain that my exhortation is not about patronizing your neighborhood tavern (and definitely not about sheriffs) I'm talking about encouraging local galleries, wherever they may be located, and wherever an art public may actually be located. The continuing pressures of the real estate market on an island city are forcing many of our smaller, more adventureous gallerists to move further and further from the heart of Manhattan, and now even away from the more central areas of Brooklyn. Of course those same pressures had already forced the artists themselves, and many of the curators who love their work, into boroughs which up to now have seen very little traffic from the art-curious, wherever these folk may live and work.

Over the last few years, The Bronx, and specifically the neighborhood located just across the Harlem River (and easily accessed) from Manhattan has become the site of one of these emerging, increasingly significant arts communities. Right now there are a handfull of galleries in the area around Bruckner Boulevard and a line running roughly in a trajectory above 2nd Avenue. They are definitely worth a visit, and there's even a comfortable tavern to reward your initiative.

The images above these paragraphs are from a group show of works on paper at Hagan Saint Philip. The complete list of the artists represented are Gene deBartolo, Robin Footitt, Graham Gillmore, Tim McDonnell, Sophia Nilsson, Wanda Ortiz, Joe Ovelman, Max Razdow, David Shillinglaw, John Wells.

Before Barry and I ended up at Bruckner's last Saturday we visited Haven Arts, where we are definitely looking forward to this show. We also got a preview of the show at Ironworks while it was still being hung for an opening that night. The images below are a hint of what you can expect from "Comics and Sequentials." Some of the other artists in the show are Juan Doe, Emily Blair, Wanda Ortiz, and Nathan Schreiber, but I don't have a complete list.

Some of these spaces either do not yet have a web site or else what there is may be little more than a domain. One of the things about this South Bronx phenomenon is the relatively casual or bootstrap nature of the operation of these galleries, but this is no gauge of their earnestness or their worth. In spite of the problems a small budget may create for gallerists, curators and artists, the fact that their structures are sometimes fairly skeletal just makes me more interested in getting up there more often, since the work can be very good - and I'll probably see much of it there first.

Anspaugh Nate
Nate Anspaugh [view of detail of installation]

Kevin Golden Solo [installation view]



two views of an installation by Robert Moore



a detail and a larger detail of an installation by Pedro Velez



a detail and a large detail of a work by Mariana Saldana

Because this terrific show closes tomorrow, Saturday, at 5 and because I still have to put a meal together tonight, I thought it was more important to get a few images up on the site than to write anything more than an encouragement to go see the current Lower Manhattan Cultural Council Swing Space at 15 Nassau, just above Wall Street.

Randall Garrett is the curator and the show, "manic and wasted (fragile flower underfoot)," includes work by Eric Doeringer, Mariana Saldana/Kunstfascion, Robert Moore, Teresa O'Connor, Paul Slocum, Donna Huanca/Rua Minx, Pedro Velez and Jason Villegas.

I may be able to elaborate a bit on my enthusiasm tomorrow.

Dennis Kardon Nature Boy 1999 oil on canvas 57" x 48" [installation view]

Yes, it's another summer show, but "Summer View" at Feigen is actually pretty summery. This wonderfully yucky piece by Dennis Kardon may be just about the most representational of the whole lot (possibly excepting Doug Hall's large-scale shot of Yellowstone's "Old Faithful" and and a bunch of acolytes), but the warmth and the sun shows through everywhere - until you get to the back room, where something closer to a zany angst takes over with David Kramer's group of self-referential works, including two videos, one sculpture and a couple of drawings.

For a look at one of the videos, "Ode to the artist," see YouTube.

David Kramer [installation view, including large detail of "Gallery Bench" and still from video, "The Horses Mouth"]

Craig Kalpakjian Abberation 0189øc 2006 Inkjet transparency in light box 26.5" x 25.5" x 5.25" [large detail of installation]

Fia Backström [large detail of an installation from the artist's continuing project, "Blonde Revolution"]

Elizabeth Dee will be hosting the East Coast chapter [see QED for the West] of Drew Heitzler's provocative and very cool organization of artist materials in a very smart show-and-tell, "Bring the War Home," for just another few days. Nah, of course it ain't political; it's just the air we breathe now.

Holland Cotter writes in the NYTimes today:

It’s called “Bring the War Home” and it’s at Elizabeth Dee Gallery. It is one of the best of the many group exhibitions that have crowded the neighborhood this summer.

Almost all of them were neater, spiffier and more “visual” than this one. But none generated more energy or offered as many options for where new art could go. We could really use those options at a time when the art industry is bankroll-happy, and a lot of new work is enervatingly timid. I like to think of “Bring the War Home,” which closes on Friday, not as the end of an old season but as the start of a new one.

Gosh, I hope he's right.

Speaking of the new, I'm very excited by what seems to be a significant movement everywhere of artists coming together, either in collaboratives or loose communities. Regardless of the reasons for this development, and I think they are very much related to disgust with branding in artistic fashions, shameless excesses of greed and the cynical industry of endless terror, I believe it may save our soul and even help to preserve a role for the exploding numbers of artists should the much-predicted collapse of the art market ever materialize.

This movement sometimes carries artists directly into the world where their work is seen and traded, where they may function as curators, as publishers, even as "distributors" of a new kind of aesthetic commodity no less precious for its easy accessibility and, well . . . real affordability.

The artist's presence in the growing market of creative images and ideas is itself a very creative one, and I expect it to enrich our relationship to both the art and the artist. It is likely to change "art" forever.

in formal mode

The brilliant downtown team of Kiki & Herb has taken a summer share on Broadway. I've been a huge fan for years (of these two, not Broadway), so although I haven't seen the show which opened last night, I have no doubts that the increasingly really silly "Great White Way" is embarassed this morning - embarassed about the fare being proffered to the tourists in most of its other theaters.

Justin Bond and Kenny Mellman are incredible artists, and still much, much more.

Choire Siccha has a terrific piece written before the show opened and Ben Brantley doesn't seem to have enough good things to say about what he saw from the aisle last night. NOTE: The NYTimes site also has an audio and slide show, but you really have to be there.

[image from the Paramount where it is uncredited and the web site down]

Jim Lambie Untitled 2006 shirt collar, spray paint, concrete, mirrored pedestal 49" x 13" x 13" [large detai of installation]

Wilhelm Sasnal DEKADY 2005 ink on paper 16.5" x 11.75" [installation view]

Sergej Jensen Kriftler 2002 velvet, paint on cotton 59" x 51.25" [detail]

Matt Mullican Live Under Hypnosis 2006 mixed media + DVD variable dimensions [large detail of installation]

For the rest of this week those who haven't over the years been visiting the shows mounted at Anton Kern, one of New York's least predictable and most idiosyncratic galleries, have a chance to see what they've missed. The show still installed in the gallery's rooms on West 20th Street ended officially July 28, but it will not be struck until next week.

"Implosion" is the Kern's tenth anniversary show, and while it might seem a cool and very modest tribute to the artists and to the gallery itself, coming as it does in the middle of the New York Summer doldrums, don't be fooled. The work is first-rate and, typically, it seems to owe almost nothing to the competition in the neighborhood.

Pierre Bismuth One Thing Made from Another; One Thing Used as Another 2006

Pierre Bismuth Collages for Men – Clare 2003 Inkjet print and collage 57.5" x 46" framed [installation view ]

It's not an easy collection, especially for August, but there are genuine rewards in the untitled small group show at Cohan and Leslie for intrepid enthusiasts who haven't left town for the summer. It's certainly a beautiful installation, featuring work by Pierre Bismuth, Ryan Gander, T. Kelly Mason and Karl Haendel.

I got Bismuth right away, (almost) without the help of the press release:

Pierre Bismuth (lives in Brussels, born 1963) is best known for videos and objects that subvert the products of contemporary culture. We will show three works from an ongoing series called “Collages For Men” in which Bismuth appropriates images from porn magazines, undermining their lascivious purpose with the addition of cut-out, collaged clothing. We will also show a new sculpture called “One thing made from another, One thing used as another”, consisting of an oversized reproduction of a MoMA poster illustrating Jasper Johns’ ‘Flag’ painting from 1954-55, folded origami-style to mimic a typical Donald Judd “Box” sculpture.






It was the artist at work - or play. But for the viewer/spectator standing above the floor of White Box tonight it was also, weirdly, a bit like watching a graceful caged animal taking its anger and frustration out on the terms of its asylum.

The gallery's press release for Ryan Humphrey's performance/installation explains:

For his play on the theme of Six Feet Under, Ryan Humphrey will use White Box as an indoor freestyle BMX facility where he will regress to his creative years before becoming a fine artist. He will assault the architecture with his bicycle, try new maneuvers, mark up the walls and leave skid marks on the floors thus signaling the demise of the clean white gallery space and the economic system that fuels it. Bring on the death of capital. Bring on Mad Max. Bring on the demise of western civilization and say goodbye to your precious art objects.
For more, including a slide show, see Bloggy.

Humphrey is represented by DCKT.

Right now I'd say that summer art is art that somehow can survive the distraction of high levels of heat and humidity. In my case that's a pretty tall order, so I'm impressed that even in my weather-compromised state I managed to register a number of worthies in a relatively-abreviated swing through Williamburg Sunday afternoon.

A peek at a sample of the shows:

Kim Schifino [installation view of a grouping of "Manny", "George", "Willy" and "Sam", silk-screened wood cut outs] This work, installed as shadowboxes, is part of a single-artist show at Cinders Gallery.

Phil Lubliner [installation view of a grouping of three works: "Hot Dogs, Corned Beef, Highland Park" craft paper and acrylic 84" x 28.5"; "Hot Dog (chicago Style)" clay, acrylic, pen and plywood 12" x 8" x 4"; and "Corned Beef (Jewish Delicatessen)" clay, acrylic, pen, plywood and plants 12" x 8" x 3.5"] This installation is part of a group show at McCraig-Welles

Max Schumann untitled (Fuck Me Hard and Slow Big Daddy McMac) 2005 acrylic on cardboard 34" x 68" [installation view] This piece is part of a group show at Klaus von Nichtssagend Gallery.

Rob Carter Four Extracts from Stills 2004-2005 DVD color/sound [still from video installation] The video is shown on a player mounted on a wall next to three of the artist's photo-based works, and is part of several group shows at Dam, Stuhltrager.

Brooke Williams A Wall of Hands 2006 172" x 72" [large detail of installation] This is a work mounted in the rear gallery at Outrageous Look, which is also showing art by Tom Burke and Sachar Mathias.

These two thumbnails of images by Tom Burke are from his Outrageous Look show of fifteen photographs taken with a simple plastic camera:



Steve Keister Vessel with Effigy Lid 2006 ceramic with glaze and acrylic 12" x 9" x 9" [installation view]

Josephine Meckseper Untitled (Dead or ALive) 2005 metal, mirror, wire, cardboard, jewelry and fur 35" x 16" x 13" [installation view, with works by Colin Thomson, Dike Blair and Curtis Mitchell, together with their arrow links, shown in the reflection]

Sheila Pepe Dagny Taggart's Tulle 2006 glass, tulle, painted cloth and hardware 33" x 11" x 6" [installation view, with works by Julia Featheringill and Doug Wada in the background]

It's all pretty chummy and the links or connections are sometimes a big surprise. While I'm not sure how big a thing we can make of the presence of the artists or the works which ended up in the Andrew Kreps gallery last month, I think it's always a good thing to listen to artists talking about other artists - even if they're only pointing - and most of these pieces are really stunning. The show continues through this Saturday.

From the press release:

Andrew Kreps Gallery is pleased to present Two Friends and So On, a curatorial project by Jonathan Horowitz and Rob Pruitt. The organization of this show is dictated by an unpredictable movement of invitations through a social network of artists.

The first Two Friends and So On took place in 2000 at Andrew Kreps Gallery's 516 West 20th Street location. For the sixth anniversary of this chain link group show, Jonathan Horowitz and Rob Pruitt invited Jennifer Bornstein to be the first link in a chain of 30, then Jenny asked Chivas Clem, Chivas asked Meg Webster to be the third, then Meg asked Curtis Mitchell who asked Sheila Pepe who asked Dike Blair who asked Steve Keister who asked Jill Levine who asked Lindsay Walt who asked Colin Thomson who asked Andy Spence who asked Susan Wanklyn who asked Jessica Weiss who asked John Newman who asked Hermine Ford who asked Joanne Greenbaum who asked Robert Goldman who asked Michael Smith who asked Joe Zane who asked Julia Featheringill who asked Carl Ostendarp who asked Doug Wada who asked Josephine Meckseper who asked Ania Siwanowicz who asked Alisa Baremboym who asked Liz Wendelbo who asked Tamar Halpern who asked Eileen Quinlan who asked Pascale Consigny who asked HervÈ Ingrand.

Heather Rowe Gates Mirror 2006 old window, one-way glass, wood and wallpaper 25" x 42" x 8.5" [installation view]

Heather Rowe Green Desert 2006 flound floorboards, glass, mirrors, sheet rock, found frames, and shag carpet 67" x 248" x 88" [large detail of installation]

[Green Desert detail]

Finally a blog about a show that can still be seen. In fact D'Amelio Terras's only opened their new space two weeks ago, and Heather Rowe's new sculptures occupy merely a part of it. In the larger room to the rear the gallery has installed an exhibition of emerging artists working with the readymade. It's called "Fountains", a reference to Duchamp's singularly-eponymous 1917 found urinal.

The artists represented are Sanford Biggers, Carol Bove, Anne Collier, Jonah Freeman, Daniel Lefcourt, Michael Phelan, Noah Sheldon, Gibb Slife and Michael Vahrenwald.

This page is an archive of entries in the Culture category from August 2006.

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