Virgil Marti

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Virgil Marti Landscape Wallpaper with Star Border and Shrooms and Flame Dado (2001) screenprinted flourescent ink and rayon flock on paper, dimensions variable, detail of room installation

Dunno what to say. Virgil Marti just keeps exploding in magnificent excess, and always in excellently outrageous taste.
I suppose this will surprise anyone who has seen the environments with which I’ve always surrounded myself, but I really wish I had the means to live somewhere in the midst of the wonderful stuff of his current show at Elizabeth Dee.
[Unfortunately the gallery website hasn’t been updated since the spring.]

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Virgil Marti Sconce (Electric Blue Apogee) (2004) vacuform plastic, urethane foam, Plexiglas mirror, chrome automotive paint, Luminore, Swarski crystals, epoxy resin, electrical wiring, 1/2 chrome 25-watt bulbs 46″ x 45″ x 15″ installation view, with related sculptures visible to the right

Type A

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Type A AA <-> AB / 200 (NL) (C) 9.30.04 [yes, that is the title] (2004) crayon on paper 60″ x 140″

They’re back. Type A, the collaborative team of Adam Ames and Andrew Bordwin, has returned to Sara Meltzer Gallery with “Push.” Known for video and still imagery exploring how contemporary American males relate to each other almost exclusively through aggression or competition, the team introduces drawing into their work for the first time in this show.
Barry and I were the first to collect their work, a number of years back, and we were thrilled to be able to do so. The excitement hasn’t diminished.
I’m happy to report that the intelligence and humor which has marked everything they have done survives in this grand and gorgeous, three-part installation.
There are large drawings in the first room, video in the gallery’s “neck” and photographic diptychs in the third space.

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Type A AA <-> AB / 3-1 [again, yes that is the title] (2004) digital c-prints, diptych, each panel 20″ x 24″

[diptych image from Sara Meltzer Gallery]

Julianne Swartz

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Julianne Swartz Excavation (2004) plexiglas, fiber optic cable, LED, wire, prism 25′ x 14′ x 8′ very small detail

Julianne Swartz‘s show at Josee Bienvenu Gallery closed on Saturday, so for now all that’s left is the recorded evidence, including the image shown above of part of a room-size piece and the gallery’s description of it: “Excavation is a spindly tube system (a fiber optic ‘telephone’ line) that winds through the entire gallery in order to transmit a miniscule miracle.” The press release describes Swartz as “known for her sculptural installations that subvert traditional social conceptions of space.” The “miniscule miracle” was a secret rainbow barely visible inside a hole in the wallboard at the end of the line.
Very cool.

Bozidar Brazda

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Bozidar Brazda Re-constituted Prison Wall (2004) plywood, bread, rug, spray paint, carpet, stereo and CD 192″ x 48″ x 53″ (variable)

In an auspicious debut inside a new gallery in Chelsea, the work by Bozidar Brazda at Haswellediger & Co. on 23rd Street includes some gorgeous works on paper. There is an overall concept to the installation, called “The Journalist,” which includes a number of individual sculptures. The parts and the whole were both just about equally baffling, but in a good way. I mean that I don’t really know what he’s doing here, but I wouldn’t want to miss anything he does in the future.

Eugene Von Bruenchenhein

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Eugene Von Bruenchenhein untitled oil paint on board 22″ x 28″ large detail

When we walked into the show at Feigen Contgemporary on Saturday afternoon the fantastic art of a brilliant outsider, Eugene Von Bruenchenhein, was totally new to us, but not to many others, as we quickly discovered.
The exhibition closed that day, but for anyone seduced by the image above, beyond what is available on the gallery website there are many more in a number of media (and a fascinating story) easily Googled.
His wife was the model in his photograpy, and his muse for decades, but she wasn’t the only one who was hot:
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Von Bruenchenhein

[black and white image from gmtPlus9]

American Fine Arts must not die

American Fine Arts [no website] opened a smashing new show, “Election,” last night, but the legendary gallery founded by Colin de Land (and currently located in the last home of the equally fabulous gallery created by Pat Hearn) will close when this show is taken down November 18.
This is a very big loss, but I can’t imagine a gallery scene without Daniel McDonald around and I don’t expect we’re going to lose sight of him.
Apart from that, Mrs. Lincoln really enjoyed the show in the space Daniel has been managing full-time at least since Colin’s tragic death last year (just three years after we had grieved for his wife, Pat) is fully worthy of its history. She adds that it’s a must-see, and preferably before the momentous [civil?] war-time election going down just eleven days hence.
The show was organized by James Meyer. There’s no gallery checklist yet, so the images I can show below have only a skeletal description.

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Hans Haacke Star Gazing

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Carl Andre and Melissa Kretschmer Welcome to Bushworld detail

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Claire Pentecost Molecular Invasion detail of installation

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John Waters Have Sex in a Voting Booth

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Paul Chan Baghdad in No Particular Order still from video

Democracy is Fun?

This evening we stopped in at the opening reception for White Box‘s new group show, “Democracy is Fun?,” the latest in a series of intense installations they’ve been mounting as a response to our republic’s desperate cries for help. We stayed longer than we had originally intended, and here are some of the reasons why. I should point out that, as is usual on these pages, the images which appear in the post are those the camera seemed to like. They are definitely not the only interesting works in the show, which was curated by Michele Thursz and Defne Ayas.
The gallery will be open election night with screenings and performances, and I’m sure there will be cable for the actual returns. Many of us will be more comfortable with the crowd which is going to be drawn to 26th Street than we would almost anywhere else. [As we get closer to November 2, I may post a list of the spaces which will be welcoming people who would not really be comfortable in either candidate’s headquarters.]

This work near the entrance went straight to the core of America’s funny democracy:
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Hug and Magnan Escape (2004) duraflex printed mounted on aluminum, installation view

These political footballs were the kinetic sculptures we found rolling underfoot throughout the gallery space; they would occasionally meet a smartly placed toe which launched the scary Bush heads across the floor:
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Kendell Geers Kicking Against the Pricks (2004) 11 political latex masks, footballs, detail of installation view

Michael Anderson had eight collages made up of reconstructed “posters” along the west wall:
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Michael Anderson Empire Strikes Back (2004) street posters from NYC 32″ x 24″ detail

Hug and Magnan again – just because it says it so well and looks so good doing it:
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Hug and Magnan God Bless America flashe on found object, installation view

M26: justice has a conniption fit

Innocent until proven guilty? Not anymore. One of the most basic principals of our law has been trashed regularly and systematically by our courts since September 11th. While what is happening to four peace activists here in New York at this moment may not be the most egregious examples of a justice system turned upside down and striking out at people all around the world, it’s no small thing for the victims themselves and for the broad and fundamental evil of the judicial precedent it establishes.
Sixteen people were arrested in Manhatan on March 26, 2003, for (intentionally) tying up rush hour Midtown traffic in a protest against the murder of American peace activist Rachel Corrie by an Israeli soldier in the Gaza Strip, as well as the U.S. attack on Iraq. They were all convicted on March 22 this year on the outrageous, Orwellian charge, “obstructing governmental administration.”
Twelve of the codefendents have been sentenced to community service and fines. Four have not been sentenced yet, because the Manhattan District Attorney had a judge unseal their older records. The D.A. then cited their previous demonstration arrests, most of which resulted in all charges being dismissed, as a reason for the judge to sentence them to an (unspecified) jail term (under the law the judge can sentence each of the four to anything from 0 to 365 days in jail). The twelve codefendants who were earlier given sentences far less severe did not have their records unsealed.
The four remaining now face posssible jail time for alleged acts in the past which were never proven in a court of law.
Every citizen, whether active in political demonstrations or just unfortunate to be arrested for any offense, however minor, and including misdemeaners, must be made to understand that there is no longer any assumption of innocence in the American courts. If you have appeared before a judge at any time in the past, not been tried but rather had your case dismissed and its record “sealed,” the fact that you had been in that court may be used against you years later in order to determine your sentencing for a conviction totally unrelated to the previous offense.
The D.A. and the judge merely have to be really mad at you, and they don’t have to tell anyone why.
The corollary to this incredible development has to be that from now on no one will be able to afford to accept a “dismissal” of his or her offences, regardless of the practical attractions of such a resolution, but must instead pursue every charge all the way through the courts. Of course neither the individual nor the judiciary is actually going to be able to live with that burden; something will have to give – or explode.
Like so much else that falls under the rubric, “everything has changed since 9/11,” the politicization of our courts is swiftly contributing to the destruction of the society we think we are defending.
The four M26 defendents (the name refers to March 26, the date of the action for which they were arrested) who still await their fate have already gone through two appeals, and both have been rejected. The outcome of a third appeal will not be known prior to November 18, the scheduled date of their sentencing.
The range of possible outcomes runs from the best-case scenario – fines and community service, despite their “records” of dismissed charges – to the worst case scenario – taken directly from the courtroom to Rikers Island Penitentiary.
They’ve put out an appeal for people to be with them in the courtroom on the morning of the sentencing, since it’s vitally important to show the judge that they have community support. And of course some of the media will be there.
The people who await the disposition of their cases have one more request to make of their supporters, and it’s characteristically thoughtful and generous. This is Steve Quester:

AP4 will see many cases that day, not just ours. Please come at 9 am so you can get a seat in the courtroom before it fills up. And please keep in mind that there will be many defendants and their families and friends present. Unlike the four of us, few if any of those defendants will be White. Unlike the four of us, none of those defendants will benefit from an outpouring of community support. If you are able to stay for some of the cases that follow ours, please do. I cringe at the thought of an exodus of hundreds of mostly White people from the courtroom as soon as we’re sentenced.

THE LOGISTICS: Go to 100 Centre Street, which you can locate here. They will be on the 4th floor, in Arraignment Part (AP) 4. The nearest subways are the J, M, N, Q, R, W, Z, and 6 trains to Canal Street. You can also take the 4 or 5 to Brooklyn Bridge-City Hall, or the B or D to Grand Street. The closest stop on the A, C, and E trains is Canal Street; Franklin Street on the 1 train, and Chambers Street on the 2 or 3.
Check www.m26.org in the days leading up to the sentencing, to learn about any (unlikely) possibility of a further delay in sentencing.

the House and Peter Hort

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Benjamin Henry Latrobe Design Proposed for the Hall of Representatives, U.S., Section from North to South (1815) ink and watercolor on paper

For weeks now Barry and I have both been dismayed by the strange candidacy which Peter Hort has mounted for Representative of our local Congressional district.
I believe what is happening only shows that even supposedly sophisticated New Yorkers are naive when it comes to politics, or that money can persuade otherwise good people to act quite badly. Both explanations are pretty disturbing, but each is still better than some of the other possibilities.
For his reading of the subject, including both background and foreground, see Barry’s post of last night which links to his previous entries, to Hort’s own site and a number of other relevant sources.

[image of the old House chamber from Library of Congress]