shout-out in idiom mag

A nice little mention of my P.S.1 “Morris Mover” work in an online journal, Idiom Mag:

website update: P.S.1 contributions

I am on an archiving tear: I realize that if I don’t take the time to do it now, it will get all lost in the shuffle of things. SO, i just updated my website to now include the two works at P.S.1: “Temporal Aggregate/Social Configuration (Borrowed Beuys)” and the “Custom Transitional Utility Object (Morris Mover).” Lots of pictures! Lots of words! Check it out…

website update: COPYSTAND images!

Whew… just updated my website to include a project statement and image bank for the COPYSTAND project. More than you ever want to know, I’m sure

October updates! Frieze postface, two New York Times reviews, EFA show, and more

My, how time flies… I just posted to the SFMOMA Open Space blog (where I am a guest columnist from September 15 – January 15, 2010) a rather humorous semi-diaristic account of my time working on the COPYSTAND project at the Frieze Art Fair. See some photos and maybe have a giggle or two here!

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I just updated my Reviews section of my website and formally included several video interviews and articles related to the COPYSTAND at Frieze. Again, I just have to say how amazing the opportunity was to work with Frieze Projects and I am still sifting through all the coverage and culling articles… whew!

Again, some highlights were articles by Carol Vogel of the New York Times (here, too), Charlotte Higgins of The Guardian UK, and a great interview for Vernissage TV.

Above: screenshot of a slideshow from the New York Times website, showing my Beuysian contribution to the “1969″ show.

And on October 25 the exhibition “1969″ at P.S.1 Contemporary Art Center opened, which included two sculptural works revisiting iconic works by Joseph Beuys and Robert Morris. After coming off the heels of the Frieze Fair, this was another amazing thing to be a part of. I’m still in the process of archiving all the images from this show and will have them up on the website really soon. But for now, a review by Holland Cotter from the New York Times gives an interesting observation about the show in general. A kind of nice, if “neutral” view of the curatorial premise and what it says about institutions (namely, MOMA)… The show is up until April 2010, so do stop by if you’re in the area!

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Above: the Google SketchUp 3-D mockup of my work for the “One Every Day” show, “Color Theory Communication Transference (People’s Park, Berkeley, CA)”

Also, last Thursday an exhibition I am a part of, “One Every Day,” at The Elizabeth Foundation for the Arts Project Space in New York opened. I really wish I had had a chance to be out there for it! Alas, there was no time, although I was in New York for the week before. The lineup of folks are great and the Project Space director, Michelle Levy was really wonderful, as was independent curator Amze Emmons…

“One Every Day” press release:

Curator: Printeresting.org

EFA Project Space is pleased to present One Every Day, on view from November 5 through December 19, 2009. The exhibition foregrounds the relationship of printed ephemera to cultural and artistic production, and marks the curatorial debut for Printeresting.org.

Launched in 2008, the founders of Printeresting.org aptly coined it “The Thinking Person’s Favorite Online Resource for Interesting Printmaking Miscellany.” Recognizing it as exactly that, EFA invited Printeresting to organize an exhibition that would open during New York City Print Week 2009, expanding the discourse about print beyond its fine art boundaries into the “every day”.

From the detritus under the windshield and the debris in our pockets to gig posters mounted on telephone poles, One Every Day attests that all varieties of print ephemera share the following three characteristics: fleeting function, low-cost means of production, and the fact that somebody out there loves them.

Presenting work by twenty-five artists and designers, the curators proclaim: “The universe of ephemera is expansive, and so is the work in One Every Day. The viewer will be treated to books, pamphlets, zines, stickers, merchandise, and other artifacts, but also subtle minimalist explorations, conceptual activism, and post-punk rock promotion. Similarly, the goals of our contributors are diverse: highly personal and comedic explorations of youth culture rest easily alongside overt critiques of consumer waste.”

Some artists in the exhibition imitate and glean from existing printed matter, appropriating popular forms of communication to transform their meaning. Stephanie Syjuco’s Color Theory Communication Transference is a re-creation of a community board from People’s Park, Berkeley, CA. Using a process she calls “color averaging, ” the artist color codes the posts based on category, resulting in an isolated color coded object absent from the original content. Kate Bingaman-Burt’s foray into obsessive consumption involves drawing everything she buys, including the receipts and bills, all of which are then compiled in the format of artists books.