David Humphrey at Morsel

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turkey cone

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turkey face

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turkey scene

David Humphrey unveiled the delightful products of his latest trip into the fantastic on Friday evening. His “Oven Stuffer Roaster” installation is now, well, stuffed into the courtyard of the Morsel gallery in (rather) far eastern Williamsburg. The sculptures are essentially reconfigured giant (but still much smaller than Macy’s) Thanksgiving turkey balloons here lit from within.
Barry has more.

political police thuggery in New York

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Chief Bruce Smolka as seen by the New York Press

I’d give almost anything for a jpeg of the news photo in the NYTimes this morning illustrating a story on the latest battle between New York police and folks who want to ride their bikes.
UPDATE: The photo has been found; see May 4 follow-up post.
The thug shown roughing-up a young woman in Union Square last night looks like a Black or Brown Shirt from early in the last century or, better, one of the least sympathetic targets of the social caricatures of Georg Grosz. But looks aren’t destiny and perhaps we shouldn’t read too much into his physique, so here are the facts alone, described by Kareem Fahim and Jim Dwyer this morning:

In one of the first arrests of the evening, a young woman who was straddling her bike and walking it out of the south end of Union Square Park was seized and personally arrested by Assistant Police Chief Bruce H. Smolka Jr.
“You’re riding your bicycle on the sidewalk,” Chief Smolka said. “You’re under arrest.”
The woman protested that she had done nothing wrong. The chief insisted that she get off her bicycle immediately, and then he tried to pull her off. The woman argued, and then other police officers, some of them wearing plainclothes, joined the chief and forcibly removed the woman from the bike.
Ride participants tried to retrieve the woman’s bike and scuffled with police officers, who then arrested a second woman.
The sight of a senior chief in the Police Department struggling in a crowded public place with the woman roused the gathering of people.
Cries of “Let her go, let her go,” and “fascist state” filled the air, as Chief Smolka and other officers led the woman into a van. A line of 10 motorcycles then sealed the edge of the sidewalk at the intersection of 14th Street and Union Square East. The arrested woman began to give her name in response to a question from a reporter, but only uttered one word – “Lisa” – before she was pushed into the van and the reporter was forced away from her.
Chief Smolka is the police official in charge of southern Manhattan, and oversaw many of the mass arrests made in August before and during the Republican National Convention, including more than 100 arrests of bicyclists at a Critical Mass ride that swelled to include 5,000 riders.

I did a Google search on Smolka and found that he has a very impressive rap sheet. The New York Press sums it up in their current issue, where the Chief is included among their annual list of the “50 MOST LOATHSOME NEW YORKERS”:

February 1999: Officers in Smolka’s NYPD’s Street Crime Unit pump 41 bullets into Amadou Diallo. February 2003: Smolka illegally orders horseback-mounted police to charge a group of peaceful antiwar demonstrators. April 2003: Smolka confronts a group of about 100 demonstrators in front of the Carlyle Group’s headquarters with 300 officers outfitted in full riot gear. August 2004: Responsible for securing midtown during the RNC, the smoldering chief could be found standing on “his” perimeter, head clean-shaven, blue eyes piercing, chin jutting, arms folded across his chest like an urban Patton. He personally oversaw the illegal arrest and detention of hundreds during the convention. Then, humiliated by August’s 5000-strong Critical Mass ride, he deployed the NYPD’s full force in an effort to control the monthly gathering. Until December, that is, when federal judge William Pauley ruled against Smolka’s request for an injunction to stop the ride. The only upside of being arrested by this thug is that you have an excellent chance of getting off when your case finally comes before a judge.

To help put this outrageous vindictive campaign into perspective, let me try to get this straight. The police will regularly pull out all stops to keep groups of bicycles off the streets with the formal excuse that they interrupt motor vehicle traffic.

[point of information: the internal-combustion engine is a fairly recent historical development in an increasingly intense and deadly competition with pedestrians and bicycles for the use of the finite area of our streets, and it is the only element responsible for the life-threatening levels of pollution which we grown to accept as routine]

In the meantime, I can’t safely walk down a New York sidewalk without expecting to be surprised or assaulted by bicycles swooshing past me from any direction at speeds which threaten all pedestrians, particularly the frail.
The police have no interest in these offences unless it serves their political skullduggery; I know this from having watched them ignore even the most outrageous instances, and also from trying to engage an officer’s attention to such offences on several occasions. In any event, riding (not walking) a bicycle on the sidewalk is punishable by a fine (recently increased by the City Council in response to complaints), and NOT by political assault and arrest.
Thugs should not be in the business of carrying out public policy at any time or anywhere, but in New York some of “The Finest” thugs also make public policy – with total impunity, and the courts be damned.
[image from New York Press]

The Civilians in a benefit covering all

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the really, really fabulous Wau Wau Sisters [pronounced “vow vow”] fully staged an incredible cover of the Civilians favorite, “Gone Missing”

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Geoff Sobelle and Trey Lyford of the Downtown hit “All Wear Bowlers” [Trey is a Civilian in another life and if it were up to me Geoff would be too] did their own thing

We had a great time – shared. The visiting artists’ performances at the benefit for The Civilians Thursday night were even more wonderful than we had anticipated, but since there will be no second chance for these numbers as covered last night, the best I can do now is show you what it looked like.
Actually, thanks to the company and everyone who helped make the benefit a success, there really will be a second chance (and a third, and a fourth, and so on) every time and everywhere these people put on another show.

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Michael Friedman, the group’s brilliant composer and lyricist, “covered” his own brand-new song, “How to Can Peaches,” written for a show still in the works; Andy Boroson was at the piano

Jesse Bercowetz and Matt Bua at LMCC/Workspace

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I apologize, but I have no precise details on these images, although I know that the large piece at the top reflects Jesse Bercowetz and Matt Bua‘s continued fascination with Roosevelt Island. I believe the figure in the center of the second photograph represents an underwater diver, and the “drawing” at the bottom is a reference to the first successful American oil well.
I hardly know what to write about this magic duo. Beginning several years ago, I stumbled across the work first of one, then the other and eventually the projects they had done together. Very soon I was pursuing more than stumbling, but everything they do is still almost as baffling as when I first found it – only more masterful, and more seductive.
This past weekend we visited their temporary studio in 120 Broadway, part of a program of the Lower Manhattan Cultural Council (LMCC). They had obviously cleaned up a lot for the official reception, but even what they had toyed around with and left pinned to the walls or lying on the windowsills (pre-studies?) could have kept me there most of the evening.
The press release for last weekend’s event can barely begin to describe what you see above:

Bercowetz/Bua’s work crosses disciplines and actively engages the community. Recently, it has been an investigation into the acts of youth deviance, social escapism, dissidence, utopian architecture and mobility. Often blurring the lines between work, play, manhood and boyhood. The process is elastic–crossing genres, mixing materials, and collaborating with others. The projects are often interactive with an exterior and interior. The subject matter is vast, experiential and vaguely didactic. Reality and fantasy collide–realistic situations are pushed to a fantasy level and that fantasy is treated as serious as real life.

Momenta Art Benefit 2005

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Kiki Smith edition in the 2004 raffle (we were very lucky last year)

I don’t get around to plugging very much of anything, even when I have the best will to do so, but the Momenta Art benefit this Saturday is just too good a thing for everyone – impecunious patrons, emerging artists and the excellent and worthy non-profit gallery alike – to let pass this time.
We’ve just heard that the tickets haven’t yet sold out. Don’t let us buy more than our share; please help this excellent art get into more homes.
It’s also a really good party.
Barry has already posted just about everything you need to know about it.

sigh.

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We met in a crowd of friends fourteen years ago today.
It took another full year to coax him into the apartment, but Barry very quickly became my life.

[image from Wigstock 2004 by me]

roses arrive in Chechnya

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after unpacking a suitcase in Grozny

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an installation on Friendship of Peoples Square

“Give them bread, but give them roses too” [traditional socialist cry]

I hate loose ends, so I’m following up on a post I did two months ago with another link to the site of the Emergency Biennale in Chechnya and a story which appeared in the Guardian. The project was formally launched the day after I first wrote about it, but in the nature of this extraordinary outreach it has taken weeks to even begin to record its success. From Dan Hancox writing for the Guardian on April 13:

The 62 contributing artists were asked to submit two copies of their work, and duplicates are displayed in the Palais du Tokyo contemporary art gallery in Paris, along with a series of films and talks about Chechen life. These suitcases of art travelled from Paris across Europe to Grozny. The Chechen Biennale has now been established, with the art on display in Grozny’s National Library. It will move on to four other cities, in the care of its Chechen supporters, who cannot be named for safety reasons.
This “arts sans frontières” approach makes the Emergency Biennale more than just another art festival – responding with speed and dedication, they are, like Médecins sans Frontières, working “on an emergency footing”. Jouanno and Castro are clearly subscribing to the old socialist idea, “Give them bread, but give them roses too.” A cultural life is a human right denied to most Chechens: the Russian authorities consented only a fortnight ago to rebuild the museums.

See the Biennale’s site, clicking onto “news” and “artists” for more images.

[images, which I believe must remain anonymous although they are posted by “evelyne,” are from emergencybiennale]