ARTEZINE

-- A Cyberspace Review Of The Arts

Volume 21.3
August 1, 2014


IN BRIEF

Vivian Maier Documentary


See the Vivian Maier Newsletter for the story about the new documentary. Our review of Vivian Maier's work is here.


Our Publisher Becomes A Conceptual Artist

(1)

Almost five years ago, a notice in Nonsense New York pointed me to a 'Self-Destroying Art Show' at Flux Factory in Long Island City, reviewed, of course, by Artezine.

In July of this year, I received an invitation from Flux Factory inviting those who were interested to submit a work of art to celebrate 20 years of Flux Factory's existence. (The show is ongoing as of the time of writing.)

Eager to participate, and wishing to be au courant, I determined that the work would have to be Conceptual, and what better past event to commemorate than the Self-Destroying Art Show which introduced me to Flux Factory?

It occurred to me immediately that a plate of oatmeal cookies would certainly destroy themselves by attracting those who would eat them, and by providing some in the form of a work of art, I could make a contribution to the celebration. I decided to make an enormous Great Cookie, which would carry a number of smaller, more normal-sized cookies.

Nothing could be more Conceptual than a work of art which causes itself to disappear, leaving only its Concept behind.

The Work was constructed on the evening of Thursday, July 30, and of course has been documented photographically, as follows:

(1)
(1)
1. The Great Cookie has been baked in a 12" pizza pan and is cooling.


(2)
(2)
2. Now the Small Cookies have been baked as well.


(3)
(3)
3. Through clever flipping, the Great Cookie has been placed right side up on the Support Structure (a square piece of white cardboard and a round piece of freezer paper), ready for Assembly.


(4)
(4)
4. The Work has been Assembled and covered with the Plastic Wrap.


(title)
(title)
5. Inspection.


(title)
(title)
6. The Assemblage has passed Inspection.


(title)
(title)
7. The Assemblage has been placed in the Box.


(title)
(title)
8. The Box has been closed and Inscribed with a Descriptive Legend. A further Explication has been inserted into an Envelope and affixed to the Box.


(title)
(title)
9. The Work is in the Car, ready to be taken to Flux Factory.


(title)
(title)
10. The Work has been received at Flux Factory and installed by the Director of the Exhibition, Mr. Jean Barberis. The Descriptive Placard has been affixed to the wall at the left of the Work. This concludes the Artist's direct involvement with the Work, which we trust will meet its appointed Fate.


The P L A C A R D.


Construction and performance: John Roach. Photograph: Gordon Fitch



This is a work of self-destroying art, in commemoration of Flux Factory's Self-Destroying Art Show of November, 2009. It consists of about 60 oatmeal cookies on a plate consisting of a single large oatmeal cookie. The entire construction is edible and will destroy itself by attracting those who will eat it. There is some supporting material, like this description, which will attract destruction by being thrown away or blowing away in the wind, but probably should not be eaten.


You are what you eat, so the destroyed object will continue to exist in the existences of those who eat the cookies, their descendants, and any predators who may eat them at some time in the future. So the work will both be destroyed and continue to exist indefinitely. As such it is a representation of everything else, which is also destroyed and continues to exist.



Gordon Fitch

www.starrygordon.com




E A R L I E R     A R T I C L E S



Kara Walker: Subtlety (detail)
Kara Walker: Subtlety (detail)

[permanent link to this article]





(title)

The Draughtsman's Congress

[permanent link to this article]





Announcement and Preview
by Susan Roecker

Read the PDF here....

Exhibition opening
Sunday, November 17th, 2013 from 1:00 to 4:00 pm
at
368 East 8th Street, NYC (between C & D)
or see
www.kellyglassstudio.net





Sara Schneckloth

Sara Schneckloth, 2013 (detail)
Sara Schneckloth, 2013 (detail)

at Soho20 and the
Fowler Arts Collective

In late June and early July of this year, Sara Schneckloth, an artist currently working in South Carolina who should be known better here (and in the world) visited the Fowler Art Collective in Greenpoint to do several days of intense work (ten hours a day, according to the artist) on her characteristic drawing. A few months previously (in March) she had a brief show at Soho20 in Chelsea, sharing the space with some other artists.

(more....)





Minerva, Model (Elizabeth Hellman), and Artist Demonstrate in Petrosino Square Plaza
Minerva, Model (Elizabeth Hellman), and Artist Demonstrate in Petrosino Square Plaza

The Battle of Petrosino Square

A war of sorts has broken out between two improbable belligerent parties around a little-known pocket park in Lower Manhattan, Petrosino Square. On the one side are some of the immediately local residents of the rather unusual neighborhood that surrounds the park; on the other, the Greenwashing Department of Citibank. The central issue is the Citibike installation in the park's plaza, which has preempted a space intended and used for large public works of art.

(more....)





JUDITH SCHAECHTER IN NYC

Battle of Carnival and Lent (detail)
Battle of Carnival and Lent (detail)

Judith Schaechter: Battle of Carnival and Lent At Claire Oliver Gallery, NYC

This is not a review, but a pointer to the announcement of Judith Schaechter's upcoming show at the Claire Oliver Gallery in New York, where you can see the works we reviewed while they were still at the Eastern State Penitentiary site in Philadelphia. The show will be there from May 23d until June 29, and there is a reception with the artist on May 23d from 6 to 8 p.m. The Claire Oliver Gallery is at 513 West 26th St. in New York.

For more information, see the announcement, http://judithschaechterglass.blogspot.com/2013/05/esp-work-on-exhibit-opening-may-23.html; see the Artezine article for an idea of what to expect.

(permalink)




S H E L L    G A M E

Molly Crabapple: Great American Bubble Machine (detail)
Molly Crabapple: Shell Game / Great American Bubble Machine (detail)

'Shell Game': Molly Crabapple At Smart Clothes Gallery

This is not a review, just a pointer to this show and artist, whose most recent works have been noticed in Wired, The New York Times, HuffPo, The Village Voice, and so forth. The public show opening is at 7 p.m. April 14th (this evening as I'm writing this) and is to be an Event. It will be up for only a short time. I strongly recommend it; the artist's combination of a sensuous, indeed luscious graphic style, sharp wit, surrealism, humor, and political consciousness are not to be missed.

See the artist's web site for further information.

The gallery is at 154 Stanton Street (corner of Suffolk Street in the Lower East Side) and the opening is at 7 p.m. April 14.

(permalink)





Thomas Lanigan-Schmidt at MoMA/PS1

Thomas Lanigan-Schmidt: Tender Love Among The Junk (installation)

Entering this exhibition, which occupies one of the larger spaces at MoMA/PS1, was overwhelming. I don't think I've ever seen anything quite like it. The entire space is filled with numerous, mostly shiny artifacts, made of the most diverse materials, mostly things one might obtain from a 99-cent store or a trash pile. Several themes and concerns come together: formal pictorial and plastic values; religious sensibility and aesthetics; Gay and general sexuality; class politics; diverse cultures; the conflicts and cross-pollination between these elements.

(CONTINUED....)

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Judith Schaechter

Judith Schaechter: Andromeda
Judith Schaechter: Andromeda

at Eastern State Penitentiary

   by Gordon Fitch

On a chilly day late in November, as the sun was already declining towards the horizon, I found myself within the heavy, gray stone walls of a prison, or rather the ruin of a prison....
Read about it here!





Susan Roecker's Cat(s)

Susan Roecker
Susan Roecker

at Avenue C Gallery

-- read about them here --





Vivian Maier: detail of book cover self-portrait

Like a figure in a dream, Vivian Maier begins to disappear even as we catch sight of her. With one ambiguous gesture she points out our world and shows us things that were always there, but which we had never seen; with another, she declines our questions and steps back into the darkness. We want to call out to her to wait, but the dream silences us, and then she is gone forever. We turn and, scattered all around us, see the objects of her work, an enormous treasure we will spend years, even lifetimes, trying to order and decode. About Maier herself, we can mostly only guess. ... -- more --





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ETAOIN
August 1, 2014