Apr 6

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THE REAL ESTATE SHOW
WAS THEN: 1980
April 4 – 27, 2014 at JAMES FUENTES

Additional Sites:
Cuchifritos at Essex Market, 120 Essex Street, April 19 – May 18, 2014
ABC NO RIO, 156 Rivington Street. April 9 – May 8, 2014

My friend Becky Howland was one of the main instigators of The Real Estate Show in 1980 which started as a protest act and then took on a life of its own and became a historic show and the seed that became ABC No Rio. Huge congrats Becky! I saw Becky give a super casual and very cool presentation about the exhibit at the Rauschenberg residency last year. Nice to see it’s come to life again.

Please enjoy the time and space.

              

Apr 4

cameron_postcard2Our friend Cameron has a show! Congrats Cameron!

Please enjoy the time and space.

              

Apr 3

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Wish I could go! Have fun! Congrats Mary.

Please enjoy time and space.

              

Mar 31

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Love this piece by Sigurdur Gudmundsson Project for the Wind – Drawing/Sculpture, 1971.

I think it was part of the ehibit land art exhibit Ends of the Earth: Land Art to 1974.

Via Dylan.

Please enjoy the time and space.

              

Mar 28

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Galerie Fons Welters

Exhibition 1
“Film: Hardcore”
Walter De Maria

Exhibition 2
“Sometimes something happens”
Charbel-joseph H. Boutros, Rodrigo Hernandez, Thomas I’Anson, Dong Young Lee, Vincent Verhoef

Ex.1

I’ve seen all the pictures. I’ve studied them forever. I want to make a movie. Let’s star in it together. You name the drama and I’ll play the part.

Ex. 2

Because the desert is quiet as a line. At every corner of the street a parrot might sing a song with no human feeling and no human meaning.
The surface is like a shiny citizen.
The guns shoot through the inframince.
The picture is like a chair in front of an empty map.
Because divide or lack of divide.
Three hundred and sixty degrees circles are better than condescending smiles.
The tiny narrow space one occupies is so minutely small. In this atom, in this mathematical point the blood circulates and wants something. Because Julian the great emperor is dead.
Because the rectangle contains all the right information about the universe. The triangle is always perfect and always hiding. Because the morning is made for sleeping. The curly Macks, the clever Jacks. The dance round terrace tables shuts in the shock of the marble shudder new sober. Please don’t get me wrong. Girls shouldn’t play in the heat.
The sun is one’s only alley.
Because the standards of living they are rising daily.

Curated by A+L Productions. Photography by Gert Jan van Rooij.

Congrats to our friend Rodrigo Hernandez. Wish I could see this IRL.

Please enjoy the time and space.

              

Mar 24

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TONY LEWIS / NATE YOUNG at ROOM EAST

16 MARCH – 13 APRIL

A two-person exhibition of work by Tony Lewis and Nate Young, which will mine the language of installation-based drawing, will open at 41 Orchard Street on Sunday 16 March from 6-8pm.

1. Three people leap to conclusions that logic cannot reach.
2. Have rational judgments.
3. Watch irrational judgments at least once a year.
4. Remember formal art is essentially other people’s birthdays.
5. Over tip irrational thoughts.
6. If the artist changes his handshake he compromises the result and repeats past results.
7. The artist’s will is secondary to the process of looking people in the eye.
8. Say “painting and sculpture” a lot.
9. Say “The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept” a lot.
10. Ideas can be works of art; they are in a chain of development that may eventually learn to play a musical instrument.
11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily sing in the shower before the next one is formed.
12. Use the good silver for each work of art that becomes physical.
13. Learn to make great chili. But it may never reach the viewer, or it may never leave the artist’s mind.
14. Plant the words of one artist to another every spring, if they share the same concept.
15. Own a great stereo system, since no form is intrinsically superior to another.
16. If words are used, be the first to say, “numbers are not mathematics.”
17. Live beneath your means if they are concerned with art and fall within the conventions of art.
18. One usually understands the art of the past by applying the convention of the present, thus own the best house you can afford.
19. The conventions of art are altered by great books, even if you never read them.
20. Be forgiving to yourself and others. Successful art changes our understanding of the conventions by altering our perceptions.
21. Perception of ideas leads to clean jokes.
22. The artist cannot imagine his shoes, and cannot perceive them until they are polished.
23. Mis-perceive (understand it differently from the artist) a work of art, but still floss your teeth.
24. Drink champagne for no reason at all. Perception is subjective.
25.  Ask for a raise when you feel you’ve earned it. His perception is neither better nor worse than that of others.
26. In a fight, an artist may perceive the art of others better than his own and hit hard.
27. The concept of a work of art may involve all things you borrow.
28. Teach side effects the artist cannot imagine. These may be used as ideas for some kind of class.
29. The process is in some kind of class and should not be tampered with. It should be a mechanical student and run its course.
30. There are many elements involved in a fireplace. The most important and most obvious is never buy a house without a work of art.
31. If an artist uses the same form in a group of works, and changes the material, one would assume the artist’s concept involved buying whatever kids are selling on card tables in their front yards.
32. Banal ideas cannot be rescued by a convertible.
33. It is difficult to treat everyone you meet like you want to be treated.
34. When an artist learns his craft too well, he learns to identify the music of Chopin, Mozart, and Beethoven as slick art.
35. These sentences comment on art, but are not planting a tree on your birthday.

For downloadable checklist, click here. Tennis ball drawing here.

Huge congrats to Nate! Totally love this. The manifesto is “true” :) Hope I can see it IRL.

Please enjoy the time and space.

              

Mar 20

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Thomas Jeppe

Spring Revue
Utopian Slumps
Melbourne Australia 2014

“Vista Verticals hometown re-hash; Minor bookshelf publication survey uponIdiot’s Promenade; Eponymous advertised portrait reconstruction – marketed aesthetics of cultural diplomacy, (just) served (post) cold (war).”

Really loving all this work.  Great book here (the sculptural plant stand illustrations!)

and THIS!

Upcoming Thomas Jeppe: ABSTRACT JOURNALISM - 032c Workshop - Berlin 4/4/14

Please enjoy.

              

Mar 19

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HOPE TO SEE THIS! Psyched. Persistent focus indeed. Long overdue. Congrats Mary!

Jackie Klempay is pleased to present Mary Manning’s exhibition titled If the Stadium Were Empty I Would Be Able to See More Clearly. The title is derived from an interview with San Francisco experimental filmmaker Nathaniel Dorsky. Opening on March 22nd from 7-10pm, this is Manning’s first solo exhibition in New York and features analog photography and projected slides.
 
Manning’s photography emanates from rich observations of her daily life. Persistent focus conveys her vivid and intimate perspective of the world. The boundaries of a stage, of a body, of shadow, mystery, design sequence, dance, crushes, poetry, mercy, longing, loneliness, stoicism, strength, and energy all inform Manning’s portraits and landscapes. For this exhibition, Manning uses analog cameras such as a Yashica from the early 1990’s, which leaves a digital time stamp on the prints, and a Canon that was handed down from her father. The physicality of this body of analog work contrasts with the primarily digital format of her much-celebrated website, Unchanging Window. Since 2006 Manning has posted the documentation of her life alongside relevant music, film, and literary source material.
 
In conjunction with this exhibition, Manning has curated an evening of film, titled Dancing Dreams, featuring rare footage by Jonas Mekas, Henry Hills, Charles Atlas & Merce Cunningham, Nick Collins, and Gillian Wearing. Consistent with her experimentation of various film formats, the screening includes 16mm, Blue Ray, and DVD. The event takes place at Anthology Film Archives on Thursday, April 3 from 8-9:30pm.
 
Mary Manning (b. 1972 Alton, IL), photographer and cinephile, currently lives and works in New York City. She has exhibited at Space 15 Twenty in LA and was a panelist for Finding Photography at the New Museum. More of her work can be found at www.unchangingwindow.com.

So much gratitude for Mary’s work which reminds me, almost daily, to see.

Please enjoy the time and space.

              

Mar 18

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Martine Syms !!! Insights Design Lecture - Walker Art Center Tonight / Tuesday (3/18)

I’m totally loving everything she’s been up to lately. Really interested in the blurry lines between a lecture and a performance… can’t wait for this. It’ll be on the Walker tubes if you’re not in Minneapolis. Here’s an interview she did with poet Kevin Long that relates to tonight’s talk.

Please enjoy the time and space.

              

Mar 17

Screen Shot 2014-03-15 at 6.11.11 PMThe first 7 issues of the Exhibitionist are available as PDFs in the sites archive. Have always loved both the publication and the design.

I’m pretty sure I have all except #5… and #7 1/2, which was in Palais #18. I gotta grab that somewhere too.

Please enjoy the time and space.

              

Mar 14

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LOVE this work by Arcangelo Sassolino. The whole show looks great.

Galerie Rolando Anselmi presents the first chapter of an on-going project: About Sculpture.  The project will evolve throughout the year, with four group exhibitions exploring contemporary sculpture. The artistic relevance of this medium will be examined through the work of 24 international artists, six at a time, born between the 60s and the 80s.

In this first occasion works by Arcangelo Sassolino, Morgane Tschiember, Wilfredo Prieto, Cajsa von Zeipel, Tony Matelli, Davina Semo. The show aims to build a narrative in space, investigating the relationship between space and material in an effort to exhibit a heterogeneous spectrum of possibilities.

More here via Mousse.

Please enjoy the time and space.

              

Mar 14

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BLESS mad some awesome pieces for our friends at Table of Contents in Portland. My favorite is the hair helmet but, they are all fantastic!

For Spring/Summer 2014 Table of Contents is examining the notion of “Getting Around.” To play with this theme we’ve collaborated with Berlin-based label BLESS to create a limited-edition set of bicycle accessories as part of the BLESS N°46 Contemporary Remediation collection. Products include a small selection of bicycle locks, bicycle bags and helmets designed and produced in France by the BLESS team.

More here.

Please enjoy the time and space.

              

Mar 13

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“Working Papers: Donald Judd Drawings, 1963–93″

Curated by Peter Ballantine at Sprüth Magers Berlin

“To see Judd’s “hand” at work and his graphic illustration that’s otherwise deliberately absent from his objects…”

via 032c for our friend Lulu :)

Please enjoy the time space and touch.

              

Mar 13

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“The Minus Objects 1965 – 1966″ - Michelangelo Pistoletto

December 18, 2013 – May 11, 2014 at Luhring Augustine, Brooklyn

Pistoletto is one of my absolute faves. Really wish I could see this.

We remade Quadro da ponzo (Oggetti in meno) Lunch painting (Minus objects) during our residency at the Walker Art Center. It became the most popular field gallery for people to pose and take pictures. Sometimes there was a line.

via Contemporary Art Daily

Please enjoy the time and space.

              

Mar 10

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Above: Untitled (Afterlight), Epson Ultrachrome K3 ink on photo paper, 93.5×60, 2014

Below: Earthrise/earthset, two channel video, 45:00, dimensions variable, 2014

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Scott Nedrelow – Afterlight
February 22 – April 5, 2014

Completely love the Scott Nedrelow exhibit Afterlight that’s at David Petersen Gallery. It consists of six large paintings and a video installation and is truly one of the best shows I’ve seen in a while.

The paintings are made from a “post-photographic” process in which Epson printer ink is applied to photo paper with an airbrush. The photo paper is is rolled into a a double tube-like shape and sprayed. When it’s unrolled, two very subtle dustings of color are present. But barely… barely present and barely registering as color. It’s hard to tell them apart, even when you’re standing in front of them as, by the time you’ve turned to look at an opposing wall, you’ve forgotten any characteristic that might make each unique.

The video installation, Earthrise/earthset, is comprised of two large flat panel monitors leaning slightly against a wall in a back room. On one screen, ocean waves are quietly breaking onto a sandy shore, the other is the same scene, but much darker and the horizon line at a completely different position on the monitor. As you continue watching, one horizon line over water slowly goes up while the scene gets darker, the other slowly goes down while the scene gets brighter. Each monitor trading, back and forth. Scott created these videos by mounting a camera on a device that astronomers use to compensate for the earths rotation.

Last week I came across a John Berger quote from “Ways of Seeing” that seemed to perfectly point at this work: “The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.”

The pairing of these paintings and this video work is perfect.  Both present poetic qualities of imperceptible change. Looking at two things that you know are at once both the same and different.  The slow looking required forces a sort of empty focus that feels gentle and meditative.

If you have the chance, be sure to see this work.

Please enjoy the time and space.

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Mar 6

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ROLU 2012 SAMMIE WARREN SHOOTING NATURE NURTURE (after Otto Herbert Hajek)

If you’re at the Independent Fair this week, stop by and say hi to Flash Art. They’re using RO/LU in their booth.

The Primarily/Primary chairs, with felted wool seat pieces by our friend Ashley Helvey, the Primarily/Primary table and the Nature/Nurture (after Otto Herbert Hajek) shelves.

The Flash Art interview we did with Daniele Balice is still one of our fave moments :)

Good vibes.

Please enjoy the time and space.

              

Mar 6

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A few weeks ago I found a PDF version of “Teaching and Learning As Performing Arts” a long out of print book by Robert Filliou. I’d known of it for a while but, as with many Filliou related things, it was elusive.

So, first I shared it with fellow Filliou fan Stopping Off Place and then immediately used it as the basis  of a workshop I was invited to make for a group of students at the Walker. There are some great interviews and ramblings that are perfectly Filliou. Cage, Kaprow, Diether Roth… and Dorothy Iannone keeps coming up everywhere and here she is too!

Anyway, was psyched to see that Occasional Papers is releasing a facsimile of the book soon. I would order it if I were you.

Please enjoy the time and space.

              

Mar 5

Copy of Global Tools Bulletin no.1 (cover)

There’s a Globals Tools exhibit at SALT Beyoğlu in Istanbul March 11 – March 23, 2014.

A bunch of great related programming too… a symposiumworkshopsDrop City, etc.

Some years back, Nic the Intern wrote this great post about the original Global Tools.

Wish I could go.

Please enjoy the time and space.

              

Mar 4

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The Giant – James Lee Byars

Letter-writing is an essential part of James Lee Byars’ work. It is an expression of the artist as a drifter and of the work of art as a fleeting occurrence. This golden giant too is portrayed in Byars’ mysterious handwriting, where the corners of each character are embellished with small stars. His letters comprise a whole arsenal of materials ranging from very exclusive types of Japanese and Chinese paper to ordinary sheets of hotel writing paper, tissues and toilet paper. The unusual shapes, such as we see in this very minimalist giant, sometimes assume gigantic proportions or, indeed, minutely small shapes so that we are confronted with a creativity that is visually stimulating and rich. The colour of The Giant has a striking intensity. Byars regards gold as the most abstract manifestation of the sublime. ‘Gold’, Byars once wrote, ‘has such a degree of abstraction that when you use it artistically you already find it is at a sublime level’. Furthermore, it is the reflection of the sun and of the ultimate light. Shortly after creating this work in 1976, Byars introduced this form into Antwerp on a colossal scale. A 245-metre colossus in black tulle, and since known as The Antwerp Giant, was rolled out on the Meir as part of his exhibition in the International Cultural Centre.

via M HKA Ensembles

Please enjoy the time and space.

              

Mar 3

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“How Not To Be Seen. A Fucking Didactic Educational .Mov File” –  Hito Steyerl  (2013)

One of my favorite works encountered last year. Fascinating and funny.

So, Hey London, at the ICA 5 Mar 2014 – 27 Apr 2014

Thx for the Unrest MM.

Please enjoy the time and space.

              

Feb 28

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“Fröbel Fröbeled” by Aurélien Froment

I LOVE this work.  Touches so many things I’m interested in…

Aurélien Froment has put together for us two parallel situations. In the white gallery (“the play platform”), he has created an installation that highlights an object while encouraging visitors to both handle it and offer their own comments. On a cross-ruled platform that visitors can sit around, he has placed a box containing his specially arranged version of ten of the twenty “gifts” devised by Friedrich Fröbel (the German teacher and educationalist who founded the first kindergarten in 1837 and designed one of the first systems of educational games).

All of Fröbel, as Froment sees it, is about projection: geometrical projection of a volume onto a flat surface, transformation of one thing into another, the role of speech and the place for interpretation. Our own reading of Fröbel is, according to Froment, 

 a projection of ourselves. In this gallery the artist encourages us to handle things and create our own projections. At the end of the experience, we are invited to return the elements to their box. It is this gesture that serves as a conclusion for the short experiment.

In the dark gallery (the “screening” gallery), the artist brings out and renders legible what the venue ought to have been, i.e., a cinema. “Le yoga par l’image” (Yoga in Images) is screened from the projection booth. We find ourselves looking at a film that presents different seated positions for the body, whether passive or active, on the floor the way a yogi would sit, or on chairs whose design is more or less adapted to the body.

These two pieces reflect Froment’s interest in language and transmission as well as his investigations into the distance that exists between an object and its description, and the ways an object can be presented and the ways an object can be presented and displayed.

The above text and a few of the pics are via le Crédac in Paris where this was on view in 2011. It’s currently at the CAG (Contemporary Art Gallery Vancouver) through March 16th.

Funny thing? A picture I came across in a Vancouver Sun article about this exhibit credited the objects to a “Martin Ogamper” which took me a second but… some of the objects were made by Martino Gamper.

Another funny thing? I got sorta obsessed with this image a couple years ago. I believe I even wrote to ask Joe G who it was? Anyway, here it is this project.  I wonder what I saw back then?

Via Happy Accident

Please enjoy the time and space.

              

Feb 28

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‘Game of the Conditional’ George Brecht and Robert Filliou

From “Games at the Cedilla, or the Cedilla Takes Off” a collection of writings, poems, plays, games, and correspondence culled from the notebooks of George Brecht and Robert Filliou, artists who, at the time of the book’s publication, lived in France, where they ran a storefront gallery and research space, La Cédille Qui Sourit (the Smiling Cedilla). Located in Villefranche-sur-Mer, near Nice, La Cédille Qui Sourit was a convivial collaborative space that the artists claimed handled “everything which does or does not have a cedilla in its name.” Operating on the principles of a gift economy, it presented the works and ideas of an international network of friends and collaborators and is a prime example of the collective, anti-commercial Fluxus activities of the 1960s.

Please enjoy the time and space.

              

Feb 27

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Typing Print by Michael Dumontier and Neil Farber

Through Paul + Wendy Projects, who have done so many great releases now!

Here’s a recent interview with Paul Van Kooy and Wendy Gomollon the occasion of an exhibit of some of the print works at Burnaby Art Gallery.

Please enjoy the time and space.

              

Feb 27

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POLYESTER 86% NYLON 14% - presenting a unisex, waterproof, reversible SERVING JACKET by Project No.8 for The Serving Library in *red wine* only (both sides)

The Serving LibraryDexter Sinister / Various Projects and others…

Sunday, March 2 3:30pm – 6:00pm
PS1 Dome at MoMA PS1
22-25 Jackson Avenue at 46th Avenue
Long Island City, New York 11101

Hard copies of BULLETINS OF THE SERVING LIBRARY #6 (The Fashion Issue) and live music by JOSEPHINE FOSTER & FRIENDS (Imago on cello, and Susan Alcorn on pedal steel.)

“An axis is a name for a continuum of possibilities between two extreme positions: so the axis between black and white is a scale of greys. I can illustrate this idea by applying it to the description of haircuts. Rather than only being able to say of someone’s haircut that it is, for example, masculine or feminine, we’re as likely to want to say that it’s quite masculine, or quite feminine, or unisexual–somewhere in the middle.” (Brian Eno)

All in a hemispherical room spun on its horizontal AXIS.

Above image is Chris Evans, Sketch for a serving jacket, 2013, airbrush on paper.

Sure wish I could go to this. If I could? I’d definitely wear a hemispherical skull cap.

Please enjoy the time and space.

              

Feb 26

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THE BLACK GIANT OF ANTWERP, 1976 – JAMES LEE BYARS

Our friend Greg shared this piece recently in relation to this Byars post and The Giant Soluble Man, which is mentioned in the description here as being an early version of his “performative sculpture” works.  Sometimes the Google translation makes it difficult but the work apparently… “refers to a local legend about a giant named Lange Wapper. This holds in the vicinity of the water on, can change its body size and arbitrarily displaced people like in horror.”

Two Byars books will come from the “1/2 An Autobiography” show. Can’t wait.

More soon too. I stumbled onto a great digital collection.

Please enjoy the time and space.

              

Feb 25

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Robert Filliou
A New Way to Blow Out Matches
Malmö, Sweden: Bengt Adlers, 1980
7.2 x 10.7 x 4.8 cm cm
Edition of 30 signed and numbered copies

A wooden box containing a weighted spinning toy and a box of matches. The match affixes into the toy, becoming its handle.

via Artists’ Books and Mulitples

Please enjoy the time and space.

              

Feb 23

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Our friend Sarah Rara has a series of new 16mm films in the exhibit “The Possible.”

At BAM/PFA January 29, 2014 – May 25, 2014

The participating artists list looks almost unbelievably epic! Lots of faves.

Please enjoy the time and space.

              

Feb 20

BYARS PAPER

A follow-up to to both James Lee Byars posts from last week: Peter Eleey wrote and shared some info. He co-curated the Byars exhibit, “1/2 An Autobiography,” that’s currently at the new Jumex Museum in Mexico City and will eventually make it’s way to PS1.  And he was partly responsible for my love of Byars as I first seriously encountered his work in “The Quick and the Dead,” a show that Peter curated while he was at the Walker Art Center a few years ago.

The work in the first post, which I understood to be called “plural dress” is better known as as “four in a dress” or “dress for four.”

The work in the second post is called “The Giant Soluble Man” or “The Giant Man of Water Soluble Paper.”  Peter recalled that Byars had been obsessed with a company that developed a disappearing paper, seemingly for the CIA, and he’d hoped to make books from it and use it in other projects as well.  Then, after checking his notes he wrote back with an update:  ”The paper was Dissolvo, which was made by a company in the Philadelphia suburbs called Gilbreth, which made specialized packaging. The paper was originally just the form they found for a kind of soluble sizing they were selling, which were formed into sheets. They claim its CIA use was relatively small, given what they imagined, but it was used for a bunch of commercial and industrial applications (like labels on beer kegs). It seems the mob used it more than the intelligence agencies.”

Then, at almost the same moment Peter wrote, Greg Allen also weighed in with this Byars article from the November 2002 Sculpture magazine which not only confirmed everything Peter shared but was a good read too. He also pointed me towards another fascinating Byars work that feels related which I’ll blog soon.

Three things make me really happy about all of this.  First, I’ve always been really interested in “missing” information.  The way that something becomes something else over time and the poetic acceptance that I’ll never really know everything about anything.

Second, I’ve been bummed at how Instagram has slowed down all my favorite blogs. I love Instagram but, the things that transpired around this Byars post never happen there.  This experience has me psyched to get back to blogging.

Third, ”The Giant Soluble Man” happened on November 16th, 1967 which was the day I arrived on planet earth :)

Also, the image above seems to be from a practice run or proto-typing session. Peter noticed Byars’ baldness and wondered if that might explain his usually present hat.

Please enjoy the time and space.

              

Feb 20

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Scott Nedrelow – Afterlight
February 22 – April 5, 2014

OPENING RECEPTION – Feb. 22, 7-9pm

Our friend Scott Nedrelow has a great show opening at David Petersen Gallery in Minneapolis this Saturday.  Large paintings and a video piece.  I’m really excited about this new work. I’ve seen a few of the paintings at his studio and they’re amazing.  Later this year, the work will be shown at Churner & Churner so friends in NYC will get a chance to see this.

Congrats Scott!

Please enjoy the time and space.

              

Feb 19

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This will be great! We’ve been fans since the awesome Golden Age years in Chicago.

See you there!

Please enjoy the time and space.