Gigantic ArtSpace [GAS] ends with “[silence]” in Tribeca

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Douglas Henderson Untitled 2006 loudspeakers, wood, water, low frequency sound wave (CD, CD player, amplifier) 60″ x 18″ x 36″ [detail of installation]

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Christoph Dahlhausen and Michael Graeve Dialog 1.2.2 2007 mirror, contact microphone, record player, amplifier, loudspeaker, cables, dimensions variable [large detail of installation, the mirror reflecting details of works by Matthew Burtner and Stephen Vitiello]

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Douglas Irving Repetto puff bang reverb 2005 site specific installation: wood, string, motoers, wire, electronics, dimensions variable [large detail of installation]

Tribeca’s Gigantic ArtSpace [GAS] is shutting down after three very interesting years. Whether just coincidental or with some deliberate, sad irony, the concept and title of the last show in this adventurous, not-so-gigantic gallery is “[Silence]“. Anyone more than casually interested in the more radical but subtle visual and aural forms music can assume should make the pilgrimage to Franklin Street before February 24.
From the press release:

Gigantic ArtSpace [GAS] and free103point9 present [silence], an exhibition focused on artists’ uses of and responses to silence – as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, < strong> Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Noah Lyon at home

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Noah Lyon’s art (Retard Riot) has always been surprising, and that’s no easy feat after more than a hundred years of modernism doing cartwheels and somersaults for our attention. Lyon has always worked differently from anyone else around, and the results were never predictable even within his own process. His art has also always been very much of the artist’s own world, that is, very much alive and screaming inside the larger, dry and dysfunctional authoritarian husk which encloses all of our worlds; it remains what people who maintain they can compartmentalize their experience call “political”, or “too political”.
Lyon’s latest work retains all of this good stuff, but two interesting new elements have been added: First, although he has begun to execute some very handsome prints after years of producing drawings and paintings, much of the recent, non-editioned work seems impatient with its confinement to only two dimensions (even examples from his continuing and almost ubiquitous button series are now often combined by Lyon as sculptures). Secondly, the art looks more beautiful than ever, even independent of the impact of what seems to be a keener interest in color and a more sophisticated treatment of it. Happily these development have only increased the volume of the raw intensity found in earlier work.
Barry and I paid a visit to Lyon’s studio very recently and the images uploaded here suggest only a small section of two inside walls of his “workshop”. They also fail to include anything from the box inside the box, a sort of magical, very densely-hung, animated “bear cave” the artist had constructed on an inside corner of his loft. I have no idea why I passed up the chance to record images of that space, but fortunately Slava did not.
For more information, and more images, go to “artists” on the site of Lyon’s Stockholm gallery, Brändström & Stene.

Leah Tinari at Mixed Greens

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Leah Tinari Enjoying the Hose Down 2006 acrylic on canvas 48″ x 68″

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Leah Tinari Chug-a-Lug 2006 acrylic on canvas 40″ x 40″

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Leah Tinari Disappearing Act 2006 acrylic on canvas 48″ x 68″ [detail]

That’s just hot.
Leah Tinari’s show at Mixed Greens, “We Could Definitely Run for the Presidency“, closes on Saturday, and that’s a shame, because West 26th Street just won’t be the same when it’s gone. “Enjoying the Hose Down” is currently the hottest piece of art on the block, and it’s visible outside the gallery or even from across the street. In fact the fresh crisp lines and shapes of Tinari’s cartoon-like paintings, their backgrounds variously washed in white or black light, read as well from fifty feet as from fifty inches.
The most common subject of what I have to describe as her increasingly-mature work is the artist’s own family and friends, gathered together mostly in lusty parties. Captured originally in snapshots, their merriment is transformed by an unlikely combination of paint strokes both lush and neat into hugely-seductive acrylic cartoons more colorful and alive than the work of either a camera or any ordinary brush.
This old dude is thinking he wants to be in there with the rest of the party, even if he’s actually looking into the hysterical eye of a bridal shower or the beery scrum of a group of maturing frat-boys. Or maybe because.

blogger journalist Josh Wolf still in prison!

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once the man in the street

I was wrong, or at least not updated. Josh Wolf is still in prison, and were it not for the remarkable fact that today he becomes the longest-incarcerated journalist in modern American history we might not know it. I certainly didn’t until today, when I learned in the morning paper that Wolf had been sent back by a judge three weeks after being freed on bail briefly last September. And there he remains.
Sent back to prison for what? Wolf’s refusal to hand over his news tapes is simply a heroic defense of our right to the enjoyment of a free press and the absolute necessity of a free press for a free society; interestingly, most of the press hasn’t been telling the story, and we should be asking why.
The story is a little complex, but a grand jury to which Wolf was summoned to provide evidence related to a July, 2005, San Francisco anti-war and anti-globalization protest rally which had turned chaotic demanded that the blogger journalist turn over certain video tapes he had made of the demonstrators that day. Wolf refused to do so. The court has declined to accept Wolf’s several offers to show to the Judge and to the US Attorney video the footage which the grand jury had asked for, ostensibly to shed light on the matter of a police car allegedly set on fire (the damage was later determined to be limited to a broken taillight) and an incident during the same protest which involved serious injury to a policeman. Neither Wolf nor his camera were witness to either event, and the San Francisco district attorney has dismissed the lone remaining criminal case involving the protest.
It’s clear that what the federal prosecutors actually want is Wolf’s help in identifying demonstrators who are not in fact accused of criminal acts*, a serious enough assault on what we used to think of [or not think about at all] as rights protected by the Constitution, but Washington’s real assignment is surely to use someone they thought of as a little guy associated with an unpopular movement as the means to extend the dark umbrella of the so-called Patriot Act and to establish a major legal precedent for the elimination of the individual states’ protections for freedom of the press.
Writing in Bay Area Indymedia Howard Vicini explains how the states’ rights issue plays out here:

Wolf claimed exemption from their subpoena under a CA shield law which was designed to protect journalists, their sources, and raw materials, such as interview transcripts and unedited audio or video tape, Sixteen other States and the District of Columbia also afford journalists protections under similar laws.
But, in the upside-down world ruled by George W. Bush since 9/11, where State’s rights and legal precedent have given way to extraordinary power-grabs by the federal executive branch in the name of Homeland Security, the simple fact that the SFPD accepted some funding from the Department of Homeland Security gave the government the right to move the case from State to Federal Court where federal protections afforded journalists were already diminished under the Patriot Act and Executive Orders issued by the President
since 9/11.

*
[from the January 23 press release of the Free Josh Support Group]

Wolf has repeatedly stated and signed a declaration under oath that there is nothing in his footage, which relates to the police investigation. Attorneys for Wolf have offered to show the footage to the Judge and to the US Attorney in order to prove that there is nothing on the tapes which relates to the investigation. Both offers have been refused, raising concerns that the Government is seeking to have the journalist testify (as was specified in the original subpoena).

[uncredited image of April 30, 2004, SF antiwar demonstration from basetree]

time to leave: the emperor has been made a god

Reuters headline story:

Senate votes not to debate Iraq proposal
WASHINGTON (Reuters) – A bipartisan resolution repudiating
President George W. Bush’s decision to send 21,500 more troops to
Iraq failed to advance in the U.S. Senate on Monday, dealing a serious setback to critics of the war.
The resolution needed 60 votes before the 100-member Senate could begin debate, but it got 49, with 47 voting against. Although it would not have been binding on the president, the measure was the first serious effort in Congress to confront Bush over the unpopular Iraq war.
The proposal, sponsored by Virginia Republican John Warner (news, bio, voting record) and Michigan Democrat Carl Levin (news, bio, voting record), fell victim to partisan wrangling over the limits and terms of the Iraq war debate. The measure could still be revived, but the way ahead was unclear.
Opponents said the resolution was a thinly disguised political slap at Bush that would dishearten U.S. troops and signal American disunity.
It does not force Bush to abandon his plan and the president has said he will not be swayed by a nonbinding resolution.
Supporters say the measure would be a first step, a warning to Bush that he must revamp his strategy to start moving toward a withdrawal of the 138,000 U.S. troops currently in Iraq.

An appointed incompetent, treasonous and disastrous president has seized personal rule in the republic and the members of the senate, who are virtually assured of their seats until death, even after the equivalent of a national referendum calling on them to put an end to an illegal foreign war, cannot even agree to consider whether to consider a wimpy resolution which would not have the authority to do anything to change anything anyway.
I really am an incurable optimist if I can still be shocked by the cowardice, greed and perfidy of the American politician.

Andrew Piedilato at Black and White Chelsea

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Andrew Piedilato Untitled 2006 oil on canvas 83″ x 78″ [installation view]

Sometimes in a group show there will be one piece that just jumps out at you. This is sometimes a totally subjective experience of a balanced show; on a return visit the work and the installation might look very different, but with 300+ galleries in Chelsea alone these days, the likeihood of a return may be only fantasy.
“The Sheltering Sky”, the current show in Black and White‘s large 28th Street space, houses Andrew Piedilato‘s stunning, untitled 45-square-foot canvas. This very physical, semi-abstract painting is as beautiful as it is enigmatic. The semblance of an Escher-like brick wall/road suggests that while Piedilato might never let you into the space toward which it seems to be moving, he’s also not going to leave you standing where you started out.
The work is part of a show of emerging artists whose title was borrowed from the novel by Paul Bowles.

Ruben Lorch-Miller at Schroeder Romero

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Ruben Lorch-Miller Watch Out 2006 satin and thread 30″ x 30″ [installation view]

As usual I’m way too far behind on posting everything I want to. I’m not about to stop seeing new stuff, so although it will still be only a futile gesture toward addressing the logjam I may for a while just blog images, accompanying them with very few words.
Schroeder Romero has a multi-media installation of work by Ruben Lorch-Miller, “Just the Other Side of Nowhere”. The title may be the easiest part of this disturbing show, which should be apprehended as a whole (the artist’s notes speak of basic themes of power, language and representation), but some of the individual images are stunning.

Louise Fishman

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Barry and I stopped by Cheim & Read recently with some firends, specifically in order to show them some of the latest work by our friend and neighbor Louise Fishman. We were joined there by the artist herself, and I had such a good time that I neglected to take notes on this painting. I can’t provide the title or its measurements. While not the size of her largest canvases, I would say it’s “life size” in every dimension.