spaceship Heart of Gold

This was at a Zozobra day bash

2007-09-11T11:38:00.000-07:00

I shot some VHS video that day as well, I told everyone i was doing some test shoots for a video short and that that the story outline involved zombies ;-) Everyone was down for it, really what is someone going to say to that - NO???

Becky Stark Lavender Diamond at the Echo July 2007

2007-09-11T11:25:00.000-07:00

This photograph was taken from the stage using Raven's Konica 3200 ISO Ilford, supposedly its technically 1600 ISO what ever, but that is as far as the dial on the camera goes so I can't say how it would turn out otherwise (the debate continues - what!!@??). I politely waited till they where inbetween songs; another photographer got up after me and obnoxiously stayed on stage, well he was press from some film festival so i guess that pass around his neck gave him that leeway - i'm still waiting to develop the other shots that i took with my Cannon, which has flash which i kinda hate, i have like ten rolls yet to develop $17 each - I didn't label any of them!!!

Random shot because of the auto focus on my Cannon Rebel...I love Raven's old Konica its so simple to dial-in the F-STOP all the buttons on these newer cameras suck - i do want to get a Leica digital though ;-)

The fire is burning the radio is on...

2007-07-09T14:08:00.000-07:00

Tree of Knowledge

2007-07-09T14:07:00.001-07:00

Denial is the Plague of Humanity

2007-06-25T15:16:00.001-07:00

READ THE BLOG

Denial is the Plague of Humanity

Our Schopenhauer (Denial is the Plague of Humanity)

2007-06-25T14:44:00.000-07:00

READ THE BLOG

Denial is the Plague of Humanity

GREAT!!!

Love your bitch.

2007-06-25T13:51:00.000-07:00

ELVIS: (Marie's the Name of) His Latest Flame

2007-06-08T14:38:00.000-07:00

I came across this song listening to the Smiths, and i had only ever heard it played at Johnnie's in Silverlake. The Smiths use the first two verses as an intro to Rusholme Ruffians, you will know what i mean if your a Smiths fan, you'll recognize the beat... "Marr acknowledges his musical debt to a Pomus & Shuman song by adapting it for this two-song medley, with Marie's The Name breaking into a demanding version of Rusholme Ruffians."

A very old friend came by today
'Cause he was telling everyone in town
Of the love that he just found
And Marie's the name of his latest flame

He talked and talked and I heard him say
That she had the longest blackest hair
The prettiest green eyes anywhere
And Marie's the name of his latest flame

Though I smiled the tears inside were a-burnin
I wished him luck and then he said goodbye
He was gone but still his words kept returnin
What else was there for me to do but cry

Would you believe that yesterday
This girl was in my arms and swore to me
She'd be mine eternally
And Marie's the name of his latest flame

Though I smiled the tears inside were a-burnin
I wished him luck and then he said goodbye
He was gone but still his words kept returnin
What else was there for me to do but cry

Would you believe that yesterday
This girl was in my arms and swore to me
She'd be mine eternally
And Marie's the name of his latest flame
Yeah Marie's the name of his latest flame
Oh Marie's the name of his latest flame.

W.

The Smiths "Rusholme Ruffians" i couldn't find the one with the Marie's the Name medly - its on their RANK album ;-)

CAMERON CROWE champion of conventional assumptions and politicall corectness at the 2006 Venice Film Festival

2007-04-21T20:18:00.000-07:00

Apparently it's anti-American to oppose imperialism...well at least in Cameron Crowe's view (?)...

At the press conference for receivng the award "The Lion for innovation in the language of cinema" Jean-Marie Straub and Daniele Huillet sent an actor in their place to read three messages written by Straub.

1. "It's come too soon for our death-too late for our life" This after all had been their first award after many years which was recounted in the second message...

2. NO AWARDS SINCE 1953: begining with a short film Machorka-Muff, AND THEN 1962,1966 ... ETC. In 1965 Godard paid for the projection...ETC.

3. THE THIRD MESSAGE...

Besides I wouldn't be able to be festive in a festival where there are so many public and private police looking for a terrorist — I am the terrorist, and I tell you, paraphrasing Franco Fortini: so long as there's American imperialistic capitalism, there'll never be enough terrorists in the world.

Marco Müller then closed the press conference without any of the actors getting a chance to say a word.

Straub's messages caused a furor at the Festival and in the Italian press — but have been virtually unreported outside of Italy. Was an award still in order? The jury met again. At least one jury member, American Cameron Crowe, objected it was not opportune, on the eve of the anniversary of 9/11, but consented on an understanding that the Festival would "distance" itself from Straub's "anti-American" message. (Apparently it's anti-American to oppose imperialism.)

Three Messages

for more film links visit:

King of Slang

MORE STRAUB/HUILLET IN MY NEXT POST:Based on my notes from:Political formations in the cinema of Jean-Marie Straub
by Martin Walsh

"THE RADICALL WORK OF ART MUST OPPOSE THE ILLUSIONIST-MODE AT EVERY LEVELL. THE MEANS OF EXPRESSION ARE ITSELF CALLED INTO QUESTION; BECAUSE THE "MEANS OF EXPRESSION" ARE IDEOLOGICALLY DETERMINED..."

You could say ILLUSIONIST = narative film, the narrative Hollywood editing style - the 180 degree rule and reverse cutting...

by Martin Walsh
from Jump Cut, no. 4, 1974, pp. 12-18
copyright Jump Cut: A Review of Contemporary Media, 1974, 2004

W.

Straub-Huillet Chronik der Anna Magdalena Bach

2007-04-21T18:27:00.000-07:00

Christiane Lang playing Tempo di Gavotta from Johann Sebastian Bach on the harsichord.

Extract from the movie chronik der Anna Magdalena Bach

Inspired to find out more about the films of Jean-Marie Straub and Daniele Huillet after reading Jennifer Krasinski's article in the April editon of Modern Painters.

en rachâchant can also be found on YOUTUBE see next post...

W.

Hedwig and the Angry Inch & A-K-W-A-R-D

2007-04-02T10:07:00.000-07:00

I'm in Santa Fe now...wow...
Yes WOW, Raven and I saw a stage production of Hedwig and the Angry Inch the other night this was her idea, she spotted it scanning the local weekly, she apparently had seen the movie whith her father when she was 12 or 14...

This was a College of Santa Fe production, Sam Quinn played Hedwig, he did an excellent job, I like his performance over the actual "Hedwig" movie, my apologies to John Cameron Mitchell, but the wig that Sam was wearing and his "lolito" looks and daft delivery...well I wish had a video of this...the band was very good too..

Afterward there was a talk on gender issues, Raven and I spoke briefly about what "gender issues" are, Raven quickly surmised with one of her spot-on analysis that issues like this arise from A-K-W-A-R-D > N-E-S-S...

Your Huge Head: "Thirst" Experimental Dance at ADM Project

2007-03-08T11:29:00.002-08:00

Your Huge Head: Thirst
ADM Project, Hollywood
17 March 2007

“Thirst,” is the first installment of a choreographic collective. There are five participants in this round. Drawing numbers out of a hat to determine their order, each choreographer directs one rehearsal, adding to or manipulating the material created in the previous rehearsal. The process is choreographic “telephone.”

The purpose is to erase authorship in art and create dance that makes your head swell.

Saturday. March 17th (St. Patrick’s Day) at 8:00 p.m.
General Admission $20
Students and Seniors $15
People Dressed in Head-to-toe Green $10
Atelier Deluxe Musique 6015 Santa Monica Boulevard Hollywood, CA 90038 www.admproject.com

yourHUGEhead invites you to the centrifuge of great dance in LA
To arrange PRESS TICKETS please email Lbitkoff@gmail.com
or call 310.923.2766

LILIAN BARBEITO founded yourHUGEhead and is the co-director of Body Traffic, Los Angeles’s unrivaled contemporary dance company. She is originally from Santa Fe, New Mexico, where she worked with Santa Fe Opera, Southwest Ballet and Santa Fe Chamber Music Festival. She graduated from The Juilliard School, where she studied on a four year, full tuition scholarship awarded by Tomorrow’s Leaders of America for her essay about dance and disability. In New York, Lillian worked with Indrani, The Metropolitan Opera, New York City Opera, Zvi Gotheiner, Terrain and The Agnes deMille Project. Since moving to Los Angeles, she has performed with American Repertory Dance Company, Collage Dance Theater, Helios Dance Theater, Onidance, John Malashock and Raiford Rogers . Lillian has taught progressive ballet and modern technique internationally, including Aspen/Santa Fe Ballet, Halifax Dance Theater, Lyon Opera Ballet, Long Beach Ballet, Southland Ballet, UCLA’s Department of World Arts and Cultures and Westside Academy of Dance. She was nominated for outstanding female performance in the 2004 Lester Horton Awards for her work with PTERO Dance Theater. Lillian recently toured with Strange & Elegant Productions for Dom Perignon, Aston Martin, W Hotel New Orleans and the 2006 & 2007 Grammy Awards. Lillian enjoys judging for Celebrity Dance Competitions and is an accomplished free-lance choreographer. Her latest commissions include the awarding winning children’s video “Wheels on the Bus,” two pieces for Festival Ballet Theatre’s concert at the Barclay Theater and solos for the American Grand Prix. Her contemporary work “Wink,” Best Choreography Award at the 2005 Czar Dance Competition and her piece “Precipice,” won 1st Place at the 2007 KAR Competition.

TINA FINKELMAN founded yourHUGEhead and is the co-director of BODY TRAFFIC. She grew up in New York City and attended Barnard College, Columbia University where she performed the works of Martha Graham, Jose Limon, and Paul Taylor and was a featured soloist in the works of Lila York, Ted Thomas, and Aszure Barton. Tina also performed with dance companies including The Notario Dance Company during their season at the Duke Theater and ASH Contemporary at The Jazz Dance World Congress. Upon graduation, Tina joined the ASzURe & Artists Dance Company as a soloist and has performed throughout the United States, including at the renowned Jacob's Pillow and Spoleto Festivals. In Los Angeles, she has danced with Winifred Harris Between Lines Dance Company and the Evolution Dance Company. Tina most recently danced with Mikhail Baryshnikov and his new contemporary dance company, Hell's Kitchen Dance.

ALEXA KERSHNER began her classical dance training under Cynthia Young and Charles and Philip Fuller in
Pasadena,CA. She went on to study other other forms of movement at Purchase College with Neil Greenberg,
Larry Clark, and her classmates of 2002. While at Purchase she had the great opportunity to work with
Shen Wei, becoming a founding member of Shen Wei Dance Arts in 2001. She moved to Los Angeles in 2005 to give
birth to her son, Augustine.

HOLLY ROTHCHILD has a multi-disciplinary background in dance, choreography, music and theater. Her work has been presented at the Athenaeum Theater, the Electric Lodge, the Kennedy Center for the Performing Arts, Taliesin North and West, Hammerstein Ballroom, the Blue Rider, Links Hall, Northeastern Illinois University, Cal State University, Northwestern University, University of Anchorage, University of Fairbanks and at many other venues throughout the US. Her work has received critical acclaim for its' startling imagery and movement from such publications as Performing Arts Journal and the Chicago Reader. She has taught many residencies and performance workshops throughout the US to a variety of individuals including those with disabilities. She has worked with senior citizens for a San Francisco performance at the Theater Artaud, at Chicago's Second City - teaching movement for actors, and at a correctional facility in Alaska. She has also worked with teachers on integrating movement and art into their curriculums. She wrote and taught a credited course at the University of Anchorage entitled "Integrating Intellectual and Physical Creativity Across the Curriculum."
ALESIA YOUNG received her earliest dance training at The Performing Arts Center in New Jersey and additional instruction in the studios of New York and throughout Europe, with a brief stay at Amsterdam’s School for New Dance Development. Young has had the privilege of performing in such venues as Lincoln Center Out-of-Doors in New York City; The Kennedy Center in Washington, D.C., and the Dorothy Chandler Pavilion in Los Angeles; working with such artists as Dana Tai Soon Burgess, Katie Duck, Liz Lerman, Joseph Mills, David Rousseve, and Maida Withers. She has been awarded several service and arts honors and was most recently nominated for a Lester Horton Dance Award. She has a B. A. in Dance and American Studies from The George Washington University and her M.F.A. in Dance from UCLA’s Department of World Arts and Cultures. Alesia is Dance Faculty and Diversity Coordinator at the Windward School in West LA and previously in UCLA’s dance program. She has performed with OniDance and Holly Rothschild’s Strange and Elegant Productions, as well as longstanding companies like Collage Dance Theatre (LA), Trip Dance Theatre(LA), Sakoba Dance Theatre (London/LA) and most recently, Contra-Tiempo, an activist performance ensemble utilizing salsa as its core movement. Her most recent choreography, "Streams of Emergence," created for the Skirball’s Siteworks Series in conjunction with the LA River Reborn photo exhibit taking her into areas she is most passionate about: site specific, multimedia, and community focused. She will continue to dance with the artists that inspire her and pass on her knowledge to aspiring artists through dance education, but her pursuits as Choreographer have reemerged at the forefront with an emphasis on site specific and dance on film work.

About A.D.M. Project

Opened in July 2005 by William Cardoza, ADM PROJECT is on the second floor of a 1930’s former garment factory, across from the Hollywood Forever Cemetery. Exhibiting the works of emerging and mid-career artist, challenging the conventions of dance, performance, music, video, literary and visual arts.

An important role of A.D.M. Project is to generate conversation through exhibitions and relate them to current world events and issues. The gallery often takes an interdisciplinary approach to exploring diverse issues such as gender, interpersonal relationships and topics of macro proportions, such as the environment and economics. Exhibitions will be featured and explored on the sister website, http://www.deluxemusique.com.

Through publishing efforts: literary, music, graphic novels and video documentaries the gallery intends to help better one’s understanding of human nature and art itself.

To arrange PRESS TICKETS please email Lbitkoff@gmail.com
or call 310.923.2766

Fore information as well as photographic images, please contact Wiilliam Cardoza at ADM Project at 323.467.7967, or william@admproject.com

###

artcritical.com review of Andrew Krasnow

2007-03-04T18:16:00.000-08:00

By Tobey Crockett

Andrew Krasnow’s retrospective exhibition, “Of The Flesh: Skin Works 1990-2005” at ADM Project in Hollywood is an extraordinary exhibition, by almost any standard. While the show also includes part of an older film depicting the crucifixion, a keepsake box of slides depicting older performances and installations, and some handsome prints, the lion’s share of the work are objects which Krasnow has fashioned from leather he has made from human skin. Some of the leather is brightly colored and much of it is rendered into a soft cocoa or taupe sort of neutral, a palette not out of place in the pseudo-Zen of today’s contemporary fashion scene. Legally acquired, and also including some of his own skin as is documented in some slides on the side, Krasnow’s use of our oldest material, ourselves, has understandably been a source of consternation over the years. But taken at face value, there is almost nothing in the materiality of the objects which suggest their unsettling origin, until one begins to look more closely. It is not a lurid undertaking. In fact, it is a rather beautiful, painstakingly crafted and well-installed exhibition with an attention to detail and respect for the material that is quite nearly heartbreaking, the show undeniably packing a visceral and emotional punch.

The gallery is divided into an inner room and an outer perimeter by a set of four columns and open panels which enclose the inner sanctum. While the exterior walls and the perimeter spaces are the typical antiseptic white of a well-lit gallery space, the inner sanctum is moodier, with the nearly neutral colors of the undyed human leather works nearly merging into the natural grain of plywood walls stained a soft walnut-ty brown. Within this confessional space, Krasnow blends motifs drawn from the Judaic, Buddhist, Christian and Muslim traditions with various everyday objects. Known for his mechanical objects, Krasnow has here limited himself to just one: a wooden platform dominated by a noisy and Kafka-esque reading machine entitled “Bookmark” (1999).

“Angel” (2000), the piece which most perfectly encapsulates the ambitions and successes of the show, both transcends and embodies the all too human materiality with which the visitor is inevitably confronted. What to make of this human flesh, literally tanned, pieced and sewn into an aspirational representation of a transubstantiation into lighter-than-air spirit? Modeled on an osprey wing from Audubon, and set into a rectangular ground as if torn from a book, one can not help but admire the subtlety with which the alternating feathers are signaled, the varying palette of taupe and cocoa brown, the rough and smooth sides of the leather creating a play of light that allows for an unsettling realism, as if it were a detailed fossil found in the living rock. Trailing strands of excess material break the frame on the lower right and allow for a messy spillover into the viewer’s space. Like indigenous and pioneer hunters and trappers of yore, these dangling ends alert us to the artist’s apparent loathing to waste any of this precious material. Indeed, many of the objects in the show are made from tiny scraps left over from the larger projects. In its many aspects, “Angel” is a heady confrontation of material and symbol, craft and technique – a text which viscerally enters our consciousness before we are able to fully process it.

Other neutrally colored, tanned but not dyed leather pieces which evoke simple, everyday objects include a baseball cap, a pair of strange cowboy boots, a flag, a wallet, a tie. Mixed in among these is Hamburger” (2000), a small object reminiscent of Rona Pondick’s pink, toothy “Head” (1991) sculptures. Krasnow’s labial stack is punctuated by the eerie presence of actual human teeth nestled amongst the folds which represent meat and bread, an evocation of vagina dentate that embodies menace, horror and suffering. As a statement for vegetarianism, few objects could hope to succeed more artfully.

Evoking the Holocaust, but not dwelling upon the tragedy to the exclusion of other acts of genocide taking place either in the past or present, Krasnow’s political and religious critiques are inescapable. The perimeter of the space is filled on one side with two rows of objects, faced off in confrontation with one another like partners at a square dance. On the one hand, “Parade Flags: Apollo Series” (1992) presents stiffly mounted American flags jutting out from the interior wall, an imperial display of patriotic rigor mortis, the shiny metal backs which support the flags reflecting one another in a regressive salute to the moonwalks of another era. Opposite, the “Lamp Shade Series” (1992) describes the infamous lampshades of the Holocaust by their absence, presenting only kerosene lamp bases without shades, the only alteration being a brightly colored band of red human leather which echoes the colorful flags en face.

With dozens of carefully constructed objects, the show is extensive, offering serious discourse tucked away in a beautiful and brave gallery across from the “Hollywood Forever” cemetery. Far from being sensationalist, it is a tender, spiritual show which confronts the viewer with deeply meditated philosophical and aesthetic issues. The transgression of materials is almost but not quite surpassed by the craftsmanship of its creation, by the artist’s abilities to shape this ever-present and overlooked material into richly challenging ideas and to remind the viewer of the power of art to transform our world.

artcritical.com

Final closing party for Andrew Krasnow exhibit Oct. 27th 2006 - Mar. 3rd 2007

2007-03-04T17:11:00.000-08:00

Yes, finally (just kidding!) the Andrew Krasnow: Of the Flesh exhibit closed last night... October 27th - March 3rd!!!
Lillian Bitkoff Barbeito and Hisao Shinagawa both did a performance...Lillian writhed along the floor and Hisao played some folk counter-culture tunes ; -) A sign of things to come - more experimental dance/performance and music music music...

But also "still more to come" from Andrew Krasnow. We will be holding a series of panel discussions starting at USC this Spring our "NON-SALONS." This is part of the "UGLY FLAG" effort.

Oh and CURRENT TV is coming this Wednesday to interview Andrew and film the exhibit.

CURRENT TV

W.

FIZZ: Motomichi: Japones Hasta La Madre

2007-02-25T00:29:00.000-08:00

FIZZ originally concevied as a January exhibit now June 2nd (stay posted)...
LOG ONTO OUR MAIN GALLERY SITE ADM PROJECT
OR as it gets developed ....deluxemusique

W.

FIZZ: MODERN PAINTERS winter 06/07

2007-02-25T00:08:00.000-08:00

Here's an interesting factoid...FIZZ...was origianlly suppose to open JANUARY 6TH 2007, we even had a full page ad in the winter edition of MODERN PAINTERS (magazine) notice the European dates ironically (well almost) its turning out to be true in the sense that its been postponed from January 6th to June 2nd... ha-ha-ha ...what!

...we have extened Andrew Krasnow's exhibit OF THE FLESH twice or thrice (it was originally suppose to close December 15th or something) its now February and its suppose to close March 3rd but something is telling me it might be stretched to the last possible date of March 15th (don't ask me, no aswers here)????

FIZZ needed more time (we always need more time) and things are working out just dandy ; -)

We are dedicating one of our gallery sites to FIZZ, well at least most of it, in general the site will cover our music and experimental film happenings...

deluxemusique

W.

FIZZ: Kangaroo Alliance + Of Montreal. Wraith Pinned to the Mist.

2007-02-24T23:47:00.000-08:00

Wow FIZZ OPENS June 2nd people, and its what February still! The best planned exhibit for ADM, this is kind of like an inside joke that i'm reveealing, ha-ha-ha... We've (or rather Raven) been working on Fizz since November...

The original inspiration for "FIZZ" "exhibit" came about on a late night drive (3:30am or if its early it was allways 11:11PM on the 10 ...what!) on my summer comute between Hollywood and Malibu (alas the commute was tiresome, the beach made me lazy, and my room rental got hard to pay - probably because I was less productive in one sense (lounging around enjoying the ocean breeze, instead of at my "desk") but on the other hand it made for a very relaxed and creative time....So back to the story, i guess it was actually early November (last week or so before I moved out) and i figured wow (!) lets follow up Andrew's exhibit with a month long MUSIC RELATED EXHIBIT (Andrew Krasnow: of the flesh survey 1990-2005,kind of "heavy" in a sense so something light and colorfull seemed in order POP music videos!!! Well Motomichi is kind of HEAVY)

Of Montreal: Kangaroo Alliance: Wraith Pinned to the Mist

BLUE VALIANT (I LOVE Santa Monica Blvd.)

2007-01-26T15:14:00.000-08:00

I was feeling a little blue lately but i'm getting over it now...
When I was driving to the pool today i felt an intenese feeling of happyness and satisfaction about life...

more later...

Here

2007-01-19T19:33:00.000-08:00

Here

We all have a dream
of a place we belong
The fire is burning
and the radio's on
Somebody smiles
and it means 'I love you'
but sometimes we don't notice
when the dream has come true

You've got a home here
Call it what you want
You've got a home here
to return to when you can't
face the world and you need
some support to succeed
You've got a home

We all make a mess
of our lives from time to time
It's part of the process
that you stumble as you climb
And if you ever feel
the pain is far too big a deal
I say with pride
I'll be on your side

You've got a home here
Call it what you want
You've got a home here
You're gonna want it when you can't
face the world and you need
some support to succeed
You've got a home

PET SHOP BOYS

E-Mail

2007-01-19T19:22:00.000-08:00

E-Mail Lyrics

Communication's never been
as easy as today
and it would make me happy
when you've gone so far away
if you'd send me an e-mail
that says 'I love you'
Send me an e-mail
that says 'I love you'

Now time and distance
melt away
No digital delay
And some things
can be written down
that we're too shy to say
Send me an e-mail
that says 'I love you'
Send me an e-mail
that says 'I love you'

There may be other
temptations in your life
Don't want to add more
complications to your life
but I'm sending this e-mail
to say 'I love you'

Now there's a ghost
within this house
You're haunting me tonight
I'm looking at some photographs
and thinking that I might
jump on a plane
and surprise you where
you are
but do you want me there?
I'm so insecure
but one thing would make me sure
if you'd
send me an e-mail
that says 'I love you'
Send me an e-mail
that says 'I love You'

Pet Shop Boys

Pet Shop Boys - So Hard Lyrics

I double-cross you

And you get mysterious mail

I've tried hard not to shock you

It's hard not to with the things I could say

Tell me why don't we try

Not to break our hearts and make it so hard for ourselves?

Why don't we try

Not to break our hearts and make it so hard for ourselves?

You lock your letters in a box

And you've hidden the key

I go one better - I'm indebted

To a contact magazine

Tell me why don't we try

Not to break our hearts and make it so hard for ourselves?

Why don't we try

Not to break our hearts and make it so hard for us?

Everybody's got to live together

Just to find a little peace of mind there

If you give up your affairs forever

I will give up mine

But it's hard

So hard

I'm always hoping you'll be faithful

But you're not, I suppose

We've both given up smoking 'cause it's fatal

So whose matches are those?

Tell me why don't we try

Not to break our hearts and make it so hard for ourselves?

We make it so hard

(It's so hard)

Tell me why don't we try

Not to break our hearts and make it so hard

Tell me why don't we try

Not to break our hearts and make it so hard for ourselves?

Not to break our hearts and make it so hard for ourselves?

We make it so hard for ourselves

We make it so hard

So hard

We make it so hard

ALL ABOUT YOU

2007-01-19T19:13:00.000-08:00

ALL ABOUT YOU

Well if you call this a life
Why must I spend it with you?
If the show must go on
Let it go on without you
So sick and tired hanging around with jerks like you

Who'll tell me those lies
And let me think they're true?
What am I to do
You want it, I got it too

Though the lies might be true
That's just cause the joke's about you
I'm so sick and tired hanging around with dogs like you
You're the first to get blamed, always the last bitch to get paid

Oh, tell me those lies
Let me think they're true
I heard one or two
They weren't about me, they weren't about her
They were all about you

I may miss you
But missing me just isn't you
I'm so sick and tired hanging around with dogs like you

Tell me those lies
Let me think they're true
I heard one or two, and they weren't about me, they weren't about her
They're all about you
I'm so sick and tired
What should I do
You want it, you get it...
So how come I'm still in love with you?

M. Jagger/K. Richards)

Emotional Rescue

2007-01-19T19:04:00.000-08:00

EMOTIONAL RESCUE

Is there nothing I can say
Nothing I can do
To change your mind
Im so in love with you
Youre too deep in
You cant get out
Youre just a poor girl in a rich mans house
Yeah, baby, Im crying over you

Dont you know promises were never made to keep?
Just like the night, dissolve in sleep
Ill be your savior, steadfast and true
Ill come to your emotional rescue
Ill come to your emotional rescue

Yeah, the other night, crying
Crying baby, yeah Im crying
Yeah Im like a child baby
Im like a child baby
Child yeah, Im like a child, like a child
Like a child

You think youre one of a special breed
You think that youre his pet pekinese
Ill be your savior, steadfast and true
Ill come to your emotional rescue
Ill come to your emotional rescue

I was dreaming last night
Last night I was dreaming
How youd be mine, but I was crying
Like a child, yeah, I was crying
Crying like a child
You will be mine, mine, mine, mine, mine, all mine
You could be mine, could be mine
Be mine, all mine

I come to you, so silent in the night
So stealthy, so animal quiet
Ill be your savior, steadfast and true
Ill come to your emotional rescue
Ill come to your emotional rescue

Yeah, you should be mine, mine, whew
Yes, you could be mine
Tonight and every night
I will be your knight in shining armour
Coming to your emotional rescue
You will be mine, you will be mine, all mine
You will be mine, you will be mine, all mine
I will be your knight in shining armour
Riding across the desert with a fine arab charger

SCREAMERS at Mann Chinese Theater: System of a Down Armenian genocide

2006-12-18T20:21:00.001-08:00

Last night Raven and I went to see Screamers at Mann Chinese Theater. She didn't want to see it at first and then she realized that BORAT was playing next door, so she tried to change my mind, she doesn't like System of a Down and then the movie began (documentary style - boring right? - someone being interviewed!), three people got up and left (!) they probably went to see Borat next door!!! Like Raven they probably had preconceived prejudice of a movie made by System of a Down??? The movie's poster looked pretty interesting - would it have made a difference if it said A MOVIE ABOUT THE ARMENIAN GENOCIDE???

This is what Raven wrote:

Its funny because i didnt want to see Screamers at first. i dont like System of a Down because i hate hearing all that screaming. its shallow. its all shallow. i tried to convince william to go see Borat (and reflecting i feel stupid at my impatience). The first 15 minutes of Screamers is decieving, much like most of life. You first think its a movie about System of a Down and their 'profound' lyrics and the Armenian Genocide and it is about that and much more. Its about Genocide and Cruelty in general. but why? its so strange to think that these things are capable of happening, hunh? I told william not only America but the entire World (humanity/civilization) is one big Messy house with a bunch of people living in it and you cant even begin to start to know what or when or how to clean it up. you know why...Peace? Sanity?
Its funny because Andrew talked about Rumsfeld and how his final speech could have ended with a sort of apology and an 'i was wrong'. 5 minutes later we moved on to talk about william and how the gallery was disorganized. the gallery needs this and that and this and that should have happened and it was all really bad. william then became short and irritable and had a hard time admitting all this and wanted to just move on to another conversation.
The Truth hurts. its difficult to admit when youre wrong for some odd reason. you boast when youre right and you dont admit when youre wrong. this is extreme i know, but in essense it seems to be the norm. Pride is the only thing i can come up with. Proud to be an American. Im Proud to be an Artist. Im proud to be White. Im proud to be Fat. Im Proud to listen to Jazz or Hip Indie Music. Im Proud to be a Social Radical and wanting to make a Difference in this world.
In this world of Hell we need Pride. Its a sort of Heaven where everybody knows and loves you. "You did good!".
"WOW! Thanks!" or "Yep, I know."
a world of rejection. i guess we need Pride. but what should we be proud of? Existence really. we're not proud to exist. Having pride for existence would cancel out low self esteem issues since you would realize you can do anything you put your mind to in this life. it would cancel out hate because you would then realize we're all living in this weird world together and we really are connected. william and rumsfeld now have something obvious in common. they became connected that very moment i pointed out he (william) was part of that (rumsfeld) very mentality. and this all sounds very harsh and it is. but then william admitted his mistake. Acceptence.
We're living in a world of Denial. we have to Fight to Accept. Denial is already apparent. we should be at WAR for Peace. no, i dont like hurting people. no i dont want to hurt people.
i feel like i hurt tim. or maybe hes indifferent. im okay now. (a week later). but i still havent talked to him. he hurt me so i retaliated. typical, hunh? i need more time.
TIME. WTF. i dont need time. i already have it. and its not need its want.
i love admitting when im wrong. i feel anxiety when i dont. i feel like a monster and i feel like im lying to someone (me or you). its liberating. Enlightening.
Andrew loves The Beatles. his walrus piece symbolizes the death of the beatles. his entire show is a warning he says. a warning that we need to stop killing each other cuz this is what will happen if we continue on. skin and bones everywhere.
we do need to stop killing (deny) each other. its taught tho. we're taught to kill. and im not sure where/when it begins.
Sometimes i enjoy when people misunderstand me. other times it becomes intolerable. depends on who it is. if i dont really respect the persons intellect or being, i enjoy it. if i do respect and admire them, i get sad. i now love System of a Down tho. they're all Armenians. i had no idea or cared before. but its interesting now because the gallery is located 3 blocks away from Little Armenia. (side note: i love the gallerys location because we're right in the middle of the Salvadorian district, Little Armenia, Thai Town and HOLLYWOOD!). Theres a bunch of Armenians buried in the cemetary across the street and now i get that now seemingly crude joke 'Theres more Armenians here in Los Angeles then there is in Armenia!'
Genocide is no joke.
Acceptence=LOVE
Denial= HATE

Screamers
Documentary feature examining why genocides keep occurring -- from the Armenian genocide in 1915, to the Holocaust, Bosnia, Rwanda and now Darfur -- through the eyes and music of the Grammy award-winning rock band “System of a Down,” based in Los Angeles, whose members are all grandchildren of genocide survivors.

paper magazine korean restaraunts on melrose and hyperion and the room

2006-11-14T21:33:00.001-08:00

By the time we left the Paper Magazine party I was THROCKED (from drinking Sparks and vodka-redbulls) but in-a-good-way!!!! My only regret is that i wore that stupid ping-pong-champion-of-the-world-white-jacket and not my KILT!!!!!!!!!!!!!
Raven, Denial is the Plague of Humanity, does a better job of documenting the evening....

W.

Great. i hate when people are right about L.A.

2006-11-05T12:07:00.001-08:00

Oh... I just had to copy this:

Sunday, November 05, 2006
Great. i hate when people are right about L.A.
no, thats mean. but im so disappointed. still in the bay area right now. in monterey with william and haning out with his family. friday i wanted to run away from it all and become homeless in san francisco. i planned it all out in my head and had wonderful fantasies of recreating a past lifestyle. andy, william and i spent thursday evening on famous haight street and it just wasnt all that i hoped. the truth is i just didnt make it all it could be. andy seemed to be having fun and i felt self concious cuz i was being a drag and tired. the only thing that wowed me for the evening was the 'i banana andy' t-shirt that i desperatly want now. anyhow, william and i ended up in SF friday and hung out downtown. thats where i wish we would have gone thursday night. i have so many mixed emotions about the art world now. went to a couple galleries and was disappointed. but it wasnt till we went to carmel yesterday that i realized i have no idea whats going on in the art world or what it means. i always had artistic inclinations my whole life but i never took classes or joined art club. my friends were in it. so my first exposure to the art world was basically working at la luz de jesus gallery when i first moved to LA. it was baiscally a sort of boot camp art 101. i had my co-workers trying to show me the ropes and then the fact that i had all these books on art (all forms but especially surreal/dada/lowbrow) and then there was the gallery in the back. celebrities galore! so going to these galleries in carmel and the couple in san francisco broke my heart. i had no idea that most galleries are seen as stores. its basically like walking into target and depending on the art its like target/walmart. so here we are, the cutting edge gallery, and this is the fucking thanks we get (i just read this today):

The Article

"Halloweekend
By DANI KATZ
Wednesday, November 1, 2006 - 3:00 pm
Wednesday I got a desperate phone call from my friend Michael, who had no idea what to wear for Halloween. He didn..t give me much to work with .. just the beard on his face and a hot, young girlfriend.

..Charles Manson and Sharon Tate?.. I offered.

..Kristen has no idea who they are,.. he barked, referring to his 20-something, live-in love with the enviable shoulders and the ..80s infancy.

..Kris Kristofferson and Barbra Streisand from A Star Is Born?.. I countered.

..She doesn..t get your obscure vintage-pop references, Dani,.. he scolded.

After a dozen more bearded man/hot chick suggestions, he decided he liked my Richie and Margot Tenenbaum suggestion .. at least The Royal Tenenbaums came out this decade.

The next day I found myself accompanying Michael downtown, to a Santee-adjacent wholesale suit store. A coolly uttered code word allowed us escorted entrée into a basement filled with ..new on-rack vintage.. suits and jackets, where we hoped to find a size 44 extra-long camelhair, à la Luke Wilson..s Richie Tenenbaum character.

I pulled a shrunken camel-colored corduroy sports coat off the rack and held it up for Michael to try.

..What size is it?.. he asked, squinting, doubting.

..Forty-four,.. I said, passing it to him.

..Do you think by saying it..s a 44, you..re going to manifest it larger?..

..Yes...

..Sorry, hippie,.. he said, maneuvering out of the tiny coat. ..It doesn..t work like that...

Luckily, Reese, the basement manager with bright eyes, gray beard and an infinite arsenal of animal calls, found the perfect Richie Tenenbaum suit for just $75. Moments later, Michael was being fitted for next-day adjustments by the mustached tailor next door.

But Halloweekend..s festivities really kicked in for me Friday night when my boyfriend (Dead Schoolboy) and I (Girl Scout) scoped the opening of Andrew Krasnow..s ..Of the Flesh: Skin Works.. at ADM Project gallery in Hollywood. The show comprised a 10-year span of installations .. mostly politically charged protest pieces, all carefully sewn together with swaths of human skin, ..legally acquired,.. according to the gallery. Krasnow..s skin art included several American flags, a map of the United States, a Bible, a human heart, a surprisingly lovable walrus and a hamburger .. topped with human teeth in addition to skin lettuce and skin tomato. While I admired Krasnow..s seam work, I was largely repulsed by the flesh-as-fabric medium, bored by the reactive antiwar/anti-Bush message and put off by the Jewish-artist-as-skin-tailor theme.

..Too meta,.. I commented while leafing through a short stack of slides that recorded the surgical removal of Krasnow..s skin from his very own torso.

..I know,.. affirmed Dead Schoolboy, who made the obvious comparison to last year..s equally horrifying ..Body Works.. spectacle: ..He..s just the next guy on line to make a sucky art thing about the body with the suffix ..works.....

We fled skin city to check out a friend..s party at a Rudolpho..s in Silver Lake, where an overwhelming collection of creative costumes almost made up for the crummy DJ. We saw a deep-sea-dredged Natalie Wood, a Karma Chameleonic Boy George, a bookish zombie and an uptown bunny, the most dapper of the lot, not to mention a stunningly realistic John C. Reilly costume that everyone tried their best not to stare at. Unfortunately, the music outweighed the eye candy (who plays ..80s music at parties anymore?) and we hightailed it to Torung to scarf down cheap chile shrimp and veggie dumplings before conking out for the night.

Saturday crept in, and I decided to sprinkle some dead on my Girl Scout outfit with a quickly crafted back story (mauled by a rabid raccoon) and a few well-placed flesh wounds, thanks to a deft application of ..fresh scab.. ($4.95 at Robinson Beautilities on Venice). We headed out at dusk to tour the altars at the Hollywood Forever Cemetery, raised annually in honor of its Dia de los Muertos celebration. Apparently the better part of Los Angeles had the same idea, and we wandered blood-caked elbow to blood-caked elbow with thousands of costumed altar gawkers, alter kockers and concession hawkers through the cemetery. Some of the altars were truly inspired, making creative use of sand and food and flowers and skulls of all shapes and sizes, while paying homage to loved ones passed. We nibbled Thin Mints while listening to an unlikely grouping of accordion, standup bass, bongos and clackers serenading a formidable audience Latin style on the well-groomed grass near the cemetery pond.

Next we headed west to see the Poetics (with guest MCs Leggo and Buddha Black of the daKAH Hip Hop Orchestra) rock a jaw-dropping backyard set at a tiny Venice house party. Gilligan, Don King and the Humpty Hump bumped up against Rainbow Brite and a busty St. Pauli girl. We were all smiles, dancing in wigged and masked splendor under the stars on a balmy pre-Hallow..s eve, greedily sucking down daylight saving..s extra hour until the cops (real cops that is, neither slutty, Keystone, nor dead) stopped by to say hey, grab a beer and ask ever so sweetly if we might turn that music down, lest we receive a loud-party citation ($300 to $1,800).

Midnight found us grooving at Warszawa on Lincoln with throngs of local Westside gals donning various versions of ..Slutty ___.. (Snow White, milkmaid, FBI agent, et al.). The DJ spun incongruous hip-hop gems slammed against party-killing nostalgic Top 40. (Who plays ..80s music at parties anymore?) We headed to the Aero Theatre to ponder the 2 a.m.-ish screening of Pumpkinhead, but chose instead to head home and engage in a little necromancy before washing off the fake blood and calling it a Halloween."

this was in the LA Weekly for the 'Whats Happening in LA' section. i didnt want to cut out the article and just point out her 'review' for our gallery because the rest of her story is important. its important to see who it is we're dealing with. Dani Katz. whats awful is this isnt even really a review. i've read her other stuff and she basically runs around LA dictating what/where everyone should be doing/going. it makes me sick that her boyfriend ignorantly says that andrew is just another guy 'waiting in line with a sucky art thing blah blah blah'. the whole thing is so superficial and whats wrong with LA but quite specifically whats wrong with out culture. i hate her seemingly brilliant repartee. if she was so goddamn brilliant she'd realize her shallow reaction is his [Andrew Krasnow] whole point for doing the show. people who are desensatized. people who are detached. people who just dont care. yes of course the skin is repulsive. yes of course andrew [Krasnow] getting the skin removed from himself is repulsive. gee does anyone ever stop to think what this all means? ask questions? find a greater purpose? i suppose not. i suppose it serves the greater LA good to have some ridiculously self imposed opinion like "who plays 80s at parties anymore?". plenty of people and plenty pf people have fun and exactly what kind of 80s are we talking about? hairbands? new wave? industrial? goth industrial? Pop like Tiffany and tht Eddie Murphy song? Gay 80s like erasure and pet shop boys? her stupidity is encrypted in all of her proud rhetoric. and yes i'll say it again. i hate it when people are right about LA.

but theres my turmoil once again. does no one appreciate art? i realized this is the case. they are either clueless or highly superficial and mostly very ignorant. but thats ok and i need to get over it cuz im ignorant too and im sick of talking about this.

Andrew Krasnow exhibit

2006-10-27T14:32:00.000-07:00

A perfectly articulated American flag made from human skin. On the surface so ordinary acting as a signpost.. Some impressions for those reluctant to go in and step past the threshold.

Stepping under a large red, white & blue flag the ten commandments appear. One layer obscuring the other only to be revealed by the ducking of one's head and then, once inside the closeted space, the words "thou shalt" slowly make themselves known and though the text itself is indecipherable, somehow the hand of god slowly works into the mind's eye, holding the last commandment as if it were a lightning bolt, its wrist arched as if it were being thrown down. Approaching a jury, (or is it a witness box?) we see a skullcap and a prayer mat, (is it a kufti?) situated before us as a bible slowly casts a shadow -- suggesting the sun were rising and setting over the course of a day. Are we to kneel and pray? Or is this a vision of someone else's spiritual moment, a time of contemplation for them, a moment to dread for us? Or is this a place for us to meditate and examine what it means to be an American, hidden deep within our skin. Is this a warning, that we must examine our past and acknowledge it, or is it the logical, seemingly inevitable culmination of our history? If it is a serial killer's lair whose is it? His? Theirs? Ours? Mine? All this skin, what does it all mean? Inside out, outside in? To quote our president "this isn't easy work."

Peace and Freedom,

William Cardoza, ADM PROJECT.

PAN SONIC WORLD TOUR oh-la-la

2006-09-18T20:58:00.000-07:00

Yeah very-cool at the gallery Saturday night - if you missed they will be at Chery Martin gallery in CULVER CITY thursday night...

W.

Raven's Drawing (Video Podcast)

2006-07-26T19:40:00.000-07:00

This is a screen shot (detial) of one of Raven's drawings ...
She's in FLORIDA, I miss her, going to art openings will be unbearably boring with out her.

Video Podcast featuring Raven's drawing!!!!

Video Podcast

THE SHINDIG MYSPACE SITE

www.myspace.com/theshindigatadm

Now (I guess) i'll print her party manifesto....

neat! i'm glad you like what im talking about! i need
support : )
hows flroida? i'm with you: who has the pool? other
then that i've got some Shindigs cooking here too. All
electronic (theres no 60s revival/reinvention scene
here). got some good DJ friends here and its gonna be
Alice in Wonderland Meets Hunter S Thompson meets John
Waters themed. must wear Glitter, must create a
fantasy creature (human/non-human) and create the
costume yourself. glow in the dark bugs, giant
laughing mouths every. Mania! it'll be called 'Freak
Out/Laugh In'. i posted a new picture under my
Broccoli Club photo album. its of me and my friend
ally who seems to be the one with the people skills. i
love people but am shy and nervous and weird. so
she'll secure the venue (hopefully a place called
Peacock Room. multicolored bar/club) and i'll secure
the set-up/music. ELECTROCLASH and 80s
Goth/Alternative!! yay!
More updates, The Shakes are in to play for free
September. and VERY IMPORTANT:
Magic Beach Party. All Girls must wear Bathing suit
and have paint on them. we can do that at the gallery
so its not all weird. and we'll get Kids Paint so it
doesnt damage anything. Whos up for getting a couple
Kiddie Tubs?? Dont Worry! There will be towels! and
the men in their hottest bathing suit gear. we'll
paste/tape Black Hearts on their chests. dont ask why.

Collective members highly encouraged to participate
(but no pressure, and im sure you guys know that
anyways : ) )

> hey!
> i think that sounds good and totallly sounds like a
> great direction to morph shindig into.
> so hows florida treating you ?
> in honor of you im wearing a dress with big loud
> flowers on it and some plastic jewelry. i might even
> play golf.
> actually i'll do that tomorrow. today is too fricken
> hot for clothes.
> who has a pool?
>
>
>
> wrote:
>
> >i wasnt mad! i'm nutty! its allllll good
> > girl.
> >
> > so yes. Rules, who likes 'em? i know i sure dont!
> > Donations accepted. DIY.
> > Spoke with Nicole of The Love Me Nots (check them
> >

The Love Me Nots

out: http://www.myspace.com/
> > luvmenots). she wants to play The Shindig and i
> told
> > her i'm switching it up. i've noticed
> > that some people are having fun and some just
> arent.
> > you cant make everyone happy but
> > theres no harm in a compromise. i told her i cant
> > pay her but she can treat it like a band
> > practice and make jokes and do whatever. it's all
> > about having a good time. Exposure.
> > Shindig in September will kick off this new way
> i'm
> > wanting to go about it. Karaoke, Pajama
> > Parties, Glitter, Bubble Wrap, Potlucks, B.Y.O.B
> (i
> > think theres a safe way to regulate this),
> > Live Music, Costumes, Themes.
> >

THE SHAKES are
> > playing with my friend band

Dan Electros who runs Club Au Go Go: in
> September
> > at some
> > point when i return. oh ya, i left.
> > anyhow...
> > Shindig will now be a Party only at the Gallery. i
> > think people feel too intimidated when
> > they hear theyre going to a show. hardcore show
> > goers have no problem but theres all
> > sorts of social restrictions that seem to go along
> > with going to a club or seeing a live
> > band. So themed costume Parties with Live Music,
> > activites, cameras, Weirdos...people can
> > let their gaurd down. creative energy will flow
> and
> > something will happen. objective also is
> > attracting the artsy crowd and exposing them to
> good
> > music (well, music that i think is
> > good) and good art. another great thing is theres
> > not as much pressure. if 5 people show
> > up or 100, the ones who showed up had fun and the
> > bands already know what to expect. i
> > never really liked advertising for The Shindig.
> > oh thats right, Nicole. she loves the idea. spoke
> > with william (HI WILLIAM!!! MISS YOU!!) and
> > he digs it too. i know this doesnt pay the rent
> (or
> > me or anyone) but its that whole
> > 'building community' thing.
> > yay! no more bar! no more paying for a stupid bar!
> > fuck em if they cant deal with it.
> >
> > also, if you havent added Shindig as your friend
> on
> > Myspace: http://www.myspace.com/
> > theshindigatadm or if you havent added me:
> > http://www.myspace.com/idigtheoolala
> >
> > anyhow, i'm spacing out more then usual so its my
> > cue. THIS IS GONNA BE SO MUCH FUN!
> >
> >
> > -raven

Part Time Punks at the ECHO

2006-05-20T18:29:00.000-07:00

PART TIME PUNKS www.parttimepunks.com

Sunday May 21 10PM/18+ FREE at THE ECHO 1822 Sunset blvd.
Hope to make this show!!! I've missed the first two SMITHS NITES...
I met michael at Staples last summer making flyers for the first SMITHS show and I found out about this one by bumping into him again-at-STAPLES making copies for the 3rd Smiths nite!!!

with SMITHS covers by
HOLY SHIT
JEREMY JAY
LAVENDER DIAMOND
THE MOON UPSTAIRS

OH-la-la!!!!

Capacity - by Theo Ellsworth

2006-05-15T22:55:00.000-07:00

"Capacity" written and drawn by: Theo Ellsworth
POST COMMING SOON

"See How Fast You Go" a Rebel World Funzine

2006-05-15T20:14:00.000-07:00

POST COMMING SOON...

A REBEL WORLD FUNZINE Los Angeles Spring 2005
By Forest Clough
image credit: "Now Thats Smokin," 1955

Daniel Ortega for President of Nicaragua! An "Angel" in disguise woke me up this morning...

2006-03-22T10:38:00.000-08:00

Max Ernst "Fireside Angel" 1937 Oil on canvas; 44 7/8 x 57 1/2 in. (114 x 146 cm)

I woke-up watching a Spanish language reporter interviewing Daniel Ortega who is now waging “a legal” campaign for the Presidency of Nicaragua. The reporter (Jorge Ramos) asked him if he hated the United States. Ortega replied and made the point that he didn’t hate the people, or America per se, but rather the political leadership. Fair enough, that’s a valid comment. But what made me cringe was when Mr. Ramos asked the pointed question of how he could afford to fly around in helicopters. Ortega smirked and replied that the helicopter was funded by his friend Hugo Chavez (President of Venezuela); and then went on to ad that he’s finding inspiration and support from a tight coterie made up of Fidel Castro, Omar Kadafi, Evo Morales and Schafik Handal [fantastic].

Even, as recently as 1998, Daniel Ortega was charged with sexual abuse of his stepdaughter who with the support of the Nicaraguan based Women's Network Against Domestic Violence claimed that she had been physically, sexually and psychologically abused by the FSLN leader since age 11.

SEE: Babalublog

This alone should be enough to blacklist any candidate - dam what’s the matter people really? I won’t get into weighing the complexities of the various political arguments or economic realities and we shouldn’t make-up for our apathy with generalizations and rhetoric, which BTW frustrates me more then anything. I simply want to sound a wake up call! We need more choices we need better candidates here in the United States and abroad. How as a society can we begin to turn the tide? Maybe through the POWER OF ART: Artist could lead the way…

I’ve been looking for an excuse to post an image of Max Ernst’s Fire Side Angel [which is part of his “bird series,” I just discovered - that seems fascinating on its own!]; the fact that I’m associating it with Daniel Ortega, interesting enough does makes sense when you find out that a lot of Ernst’s early work reflects the angst associated with war and the sociopathic evil tendencies of man; megalomania and the hammer of fascism. “Fireside Angel,” painted in 1937 (during the Spanish Civil War) is a commentary on the hidden danger that lies underneath the veneer of Fascism. [Also, I think the stomping and this beast trying to escape from itself manifested as this grabbing monster coming out of its leg, might also perhaps be some kind of manifestation of a deep rooted guilt of Ernst’s; I just read that he abandoned, “rejected,” his first wife and child when he left Germany in 1922 (interesting).]

“Ernst’s works took on a darker tone as he saw the signs of approaching world war. Forest imagery became more prominent in his work — forests, in Ernst’s words, “take over the sun.” Fascism was a plague spreading through Europe, and Ernst channeled his fear of this specter into 1937’s “Fireside Angel,” which depicts a raging, violent monster destructively plodding across an abstracted landscape. Ironically naming this frightening beast an “angel,” Ernst evokes the danger of the seemingly innocuous, referencing the surface appeal of fascism but underscoring the evil he perceived in its proliferation.” Review of "Max Ernst: A Retrospective" by Ryder Kessler

Harvard Advocate

So an angel in disguise woke me this morning; I applaud the spirit of contrarianism any day and I will be the first to admit that a very strong argument can be made for fascism begat by US policies at home and abroad but at least we have a system of checks and balances and as ineffective as we might think our political system can be at times, simply being less apathetic and getting out to vote can make a huge difference. We should not be arrogant and take things for granted this is far better then having to cower to clandestine death squads or not having religious freedoms or having to act the sycophant to a tyrant. So I hope the people of Nicaragua become energized in a positive way; that there are enough candidates - that the people vote.

Nicaragua and Venezuela are merely a three-hour flight from Miami. The last time I flew out of Caracas (2001) I shared a cab ride to the airport and got to witness an interesting debate (which I might ad I instigated) between the taxi driver who was pro Chavez and the other fellow flying out who was anti-Chavez. Also by the way there is a shantytown on the outskirts of Caracas that envelops the valley on both sides on the way to the airport this was the backdrop to the discussion in the taxi. They both had strong arguments pro and against and they where taken aback, as was I, by this environment of hopelessness which reflected so well and was used as an example in both their commentaries. They both agreed pointing out this nether-gray-world of a shanty town that we were driving through has been and would be the best barometer to gauge the state of affairs of their country. My only wish is that those poor children with those shoegaze stares not be forgotten, and that they have the chance to educate themselves and rise up. Perhaps even “Art” could affect a change in their lives or perhaps simply the next Fireside Angel might come from all this.

William

Victor's New York Photos During Armory show, Scope, Pulse...

2006-03-15T16:28:00.000-08:00

L-R: Romina, Camille Rose Garcia, Victor, Irma Lezhava

Here's some photos of Romina Djelosevic, and I on our trip to New York for the Armory show, Scope, Pulse and the Whitney Biennial. We also went to the Rauschenberg exhibit at the Metropolitan and to Heid Hatry's exhbit and panel discussion at the Goethe Institute. I'll be sending more photos along with captions and maybe some video. The video interview at the GOETHE INSTITUTE (right across from the Metropolitan) between HEINZ NORBERT JOCKS (art writer and critic from Paris and Dusseldorf) and HEIDE HATRY was one of the most insightful and beautiful interviews I've ever seen. The night before , Norbert, Romina and I, had a drink at a live Jazz club on St. Mark's street in the east village. He had told us about his belief that there was a break in Heide's memory in regards to her use of skin as an art medium. At the interview, right before our eyes and our video camera, Norbert found the blindspot in her memory. That was one of the most moving moments I have ever experienced in my life. I am very excited about producing the video for that interview and presenting the developing coverage of Heide's career available on this blog and our upcoming e-zine and other publications. (Continued below...)

Victor Sheely Morales, Gallery Director, ADM PROJECT

Victor's Commentary & Photos continued...

2006-03-15T11:08:00.000-08:00

Victor, Romina + Friends at the MET during Robert Rauschenberg Exhibit

This trip made me very happy and proud to be a curator. At this juncture in history we are in the most dire need of cultural and intellectual exchange and a fostering of a focus upon the humanities as opposed to the world of force and profit. These experiences should be available to more than just the elite of the art buying world and set in contexts that make it clear that these avenues of expression are available to anyone who is willing to take the time to think, educate and express themselves. The art world needs to be explored by more people of more varied backgrounds. I noticed that the majority of people at this fair were white people and fairly well off at that. There needs to be more out reach to more diverse communities and further development of new viewing, new discussion, new criticism and new art from people outside of the traditional art world. The Armory and the other fairs are supposed to be public showcases for new art. I saw no street/graffiti artists represented except for Shepard Fairey, no street dancers, no street musicians or DJs and basically a format which showcased mostly retail oriented art at high dollar ranges for the affluent. One juried section at Scope yielded some interesting stuff including a few performance pieces, but the ticket prices to the fair were prohibitive to many and I'm sure there were no outreach programs to the less monied areas of New York.

Despite my social criticisms of the events I still had a great time and was often overwhelmed with beauty. For some reason, while stopping through the Cyprus room on my way to the Rauschenberg exhibit, I was moved to tears. Something about the shifting of appearing and disappearing cultures, the wars both historical and recent, especially in the region of the world in which the work existed, having witnessed the changes between, Greek, Islamic and Christian cultures made me see that all of these attempts at political control over each other are somehow useless and feeble in the face of a good piece of art or literature, or just seeing the look on someone's face as they take in a timeless work. The experience becomes a kind of timeless consciousness machine. (continued below...)

--Victor Sheely Morales, Gallery Director, ADM PROJECT

Victor's Commentary & Photos continued...

2006-03-15T09:38:00.000-08:00

I had a very nice visit to IRMA LEZHAVA'S studio, a painter originally from Tbilisi, Georgia, now based in Manhattan. That's her sitting next to her latest work in progress which is a reinterpretation of the Last Supper with seated apes and Judas as the central red ape. The perfectly realized and subtly anthropomorphic and zoologically exact primate cousins are seated in a cave made of nearly fluorescent pink brain matter. The details are incredible. (continues below)

Victor's Commentary & Photos continued...

2006-03-14T08:14:00.000-08:00

The handsome chap next to his computer screen at his apartment on 70th and Broadway is the photographer, RUVAN. His last name is Wijesooriya, but he goes by just RUVAN. RUVAN shoots alot of music scene stuff including Danger Mouse, The Streets, Beastie Boys, LCD Sound System as well as fashion stuff for Diane von Furstenburg, Oliver Heldon and #9 from Japan and others. RUVAN also has had his personal work in UOVO magazine, which we saw at the Art Basel Miami. UOVO is also going to publish RUVAN'S work in book form and ADM PROJECT/ATELIER DELUXE MUSIQUE will be doing an opening with him soon! (continued below...)

For Francesca Woodman #12

2006-03-13T19:01:00.000-08:00

Courtesey: mark lamoureux

For Francesca Woodman #12
[New York 1979-1980]

Are a melted fable

taffeta of organs

tricksters their eyes
fall like peppermints

I is for Everyone

F is

Lethe the O

Crystalline egg

the river that licks
the cerebellum clean

are sugar or salt
dirt or dusk

the cells of my blood
are pennies

For Francesca Woodman #11
[Providence, RI, 1975-1978]

DAM MEM
NAT ORI
IO AE

Please visit: http://haloscan.com/tb/marklamoureux/113976601563363967 for the source of these POEMS!!!
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E Puppets courtesey Richard Edson

2006-03-13T17:39:00.000-08:00

RICHARD EDSON: E PUPPET #1 /LA

RICHARD EDSON: E PUPPET #3/LA

How I discovered the work of Francesca Woodman: There’s a Brian Seacrest connection, what!

2006-03-13T16:23:00.001-08:00

Recently a friend of mine, Erica, was visiting from New York and I think staying at the Grafton where she happened upon a Brian Seacrest interview; she inadvertently became an extra when the producer allowed her to stay for the shoot; Seacrest even mentioned, as they where about to get started, that that girl might need a drink, (supposedly he can just turn-it-on , according to Erica "THE CHEESE FACTOR!!!" well at least he knows it!) I mentioned to Erica that a friend of mine, Stacy, had a Brian Seacrest story posted on her blog, "Pudgy Pigeon Enterprises," I went to find it and noticed that she is a big fan of puppets. Later that day I was look through JPEGS of Richard Edson's work and found these "puppet pictures” and imediately thought of her knowing that she would appreciate them.

The image above can be found at this URL: http://www.photoarts.com/journal/romano/woodman/

Thanks William,

These are really interesting. They feel derivative of Francesca Woodman's work. She is one of my favorite photographers and was a revolutionary in feminist photography. In the early 80s she committed suicide. It's really rather tragic.

Hope you are well,

Stacy Elaine
http://www.stacyelainedacheux.blogspot.com/

Marian Goodman Gallery had an exhibit back in 1999 and Victoria Miro Gallery in 2000

I'm trying to be lighthearted but I think its just a reaction to this sudden sense of loss that I feel, such melancholy...and for somone a person an artist- Francesca Woodman - who I never knew of until today and who is no longer with us.

Heide Hatry: SKIN at Goethe-Institut New York

2006-03-06T18:40:00.000-08:00

SKIN
Curated by the artist, Heide Hatry

Opening: March 8, 6:00 – 8:00pm
Exhibition: March 9 – April 1
Goethe-Institut New York

Heide Hatry’s exhibition and book display how
the choice of skin as an art medium invokes an
utterly different aesthetic, as it demands to create,
or at least to alter, human form. Hatry’s work
explores questions of identity and how they relate
to the functions and perceptions of skin.

PANEL: March 12, 5:00pm
Goethe-Institut, New York
Panel and Book Signing: Identity Crisis:
How contemporary artists craft perception of
themselves

Heide Hatry, Heinz-Norbert Jocks, Lisa Paul
Steinfeld, Michael J. Amy and Renee Vara
will discuss questions of artists’ identity in the
ever-changing socio-political climate. Heide
Hatry will also present her new catalogue SKIN.

Works by: Christine Bofinger, Emilia Burgos,
Paula Ebanista, Heide Hatry, Betty Hirst,
Hermine Roth and Lena Scherer.

Contributors: Michael J. Amy, Hans Gercke,
Heinz-Norbert Jocks, Cornelia Koch, Veronica
Mundi Susanna Partsch, Elsbeth Sachs, Renee
Vara and Christoph Zuschlag.

SKIN, edited by Heide Hatry, Kehrer Verlag,
2005. (English and German) Square quarto,
144 pp., illustrated paper-covered boards,
142 illustrations, ISBN 393663672-9. $38

Goethe-Institut New York
1014 Fifth Avenue
New York, NY 10028
212-439-8700

www.goethe.de/newyork
www.heidehatry.com

Homemade Soy Milk!!!!

2006-03-03T21:56:00.000-08:00

Well I finally ventured out of the house after being sick for a few days and had breakfast at this fairly new vegetarian café in Pacific Grove. Verrry 1980’s, northern California café vibe and decor (I don’t mean this in a condescending way, some of you might now what I mean) not to digress to much on the vibe/décor comment but I visited many such cafés in the 80’s trekking across Northern California every weekend competing in bike races; I know what I am talking about! After they gave my latte to someone else I found it an opportune time to try their, what turned out to be wonderfully chalky homemade soymilk!!! OH and I found enlightenment reading a book from their library!!! What I got out of it: Try to live (not think to much of the past or future) in the moment because everything else specifically TIME is a construct of our mind which is enslaved by the EGO, which is the cause of most of the problems in our life! I’ll have to find a similar café in Los Angeles uggh, I think I’ve seen one on Hollywood Blvd. uggh, it won’t have the same Nor Cal hippie quaintness, I’m sure of it, uggh…I’m sure it will have an odd hipster or two and maybe an actor – how cool (hey what’s up with all the hipster bashing??? I’m not going there.) I was oblivious BTW before opening a gallery in Hollywood last year I was oblivious of the whole scene, Silver Lake, Echo Park etc. Well I remember those names from when I was a kid in the late 70’s early 80’s living in LA and btw my godmother is buried at Forest Lawn right over the hill. Wow, I just remembered that’s another one of my sentimental reasons for opening a gallery in Hollywood. Goodnight. W.

Is it February 28th?

2006-02-27T16:08:00.000-08:00

I've been feeling catatonic lately err my usual self, well at least since c.1995? Not really getting much satisfaction lately…The highlights working backwards: Text messaging a friend in NYC this morning, supposedly five below and she’s reading a history book eating soup alone at Balduccis ha! It’s unlike her to be reading a history book at lunch so I jokingly recommended that she tuck an issue of IBD under her arm (I’ve recommended in the past that she read the daily Leaders and Success article - “A daily biography of a historical political/business/military/sport leader and how they changed the face of their industry…”) She would look so sophisticated and pretty reading on the subway. What else..I realized how fun and comforting cooking shows can be - fried Risotto balls! I slept all day yesterday with C-Span book TV playing in background...In and out of my delirium perfect way to watch C-Span, you simply fall asleep during boring parts! Finally I propped my self-up in the late afternoon to listen to Mr. Harry Belafonte talk - such a sweet sweet man, so comfortable in his own skin, speaking nostalgically of people, friends, books. (Please excuse spelling, grammar etc. written on my Treo). W.

Life Out of Context: Which Includes a Proposal for the Non-Violent Takeover of the House of Representatives
Walter Mosley
Description: The Nation Institute presents "Conversations with the Nation: An Evening with Walter Mosley and Harry Belafonte." Mr. Mosley was interviewed by Mr. Belafonte on his new book "Life Out of Context," in which he urges African Americans to break their ties with the Democratic party and form their own party. Walter Mosley and Harry Belafonte discuss ways to fight poverty, exploitation, injustice and racism.

Arthur Robins: How to look at Art.

2006-02-15T13:18:00.000-08:00

ARTHUR ROBINS: FIGURES & ANIMAL WITH RED SUNSET, 1991

William-this is how any thinking person should look at Art. First they
should ask:

1. Does this art SAY ANYTHING?
It the answer is 'no' then they should immediately stop looking at it
and look elsewhere. If the answer is 'yes' then they should ask,'
2. "What is it saying?
3. Is the statement TRUE or False? If the statement is False, it really
isn't worthy of being called art -since art should be true.
4. Is this 'truth' profound, or ordinary? Deep or trite?
5. How does the artist 'say' this truth? Do they say it in an
extraordinary way? OR is the artist not proficient enough in his or her
medium?

AR/06

Visit my Websites:
www.ArthurRobins.com
www.PoolPaintings.com
718-426-5254

I'll make sure to keep all of this in mind!

Skin Seen Press Release

2006-02-15T08:03:00.000-08:00

"SKIN and SEEN"
Richard Edson and Heide Hatry
FEBRUARY 17th – MARCH 18th 2006
OPENING RECEPTION FRIDAY, FEBRUARY 17TH, 7PM

FOR IMMEDIATE RELEASE

Los Angeles: ADM Project Gallery and Media Arts Collective is elated to announce "SKIN and SEEN", a two-person show introducing photographic and tactile works by Richard Edson and Heide Hatry. This two-person show is intended to welcome these nearly diametrically opposed artists and aesthetics to ADM Project and is a preview of their upcoming and larger one-person touring shows.

Richard Edson unveils a preview of large, lush, monumental photographs printed in huge museum format, selected from his upcoming book SEEN and UNSEEN, folio series. Edson’s images are classic narrative scenes scoped out with a dark and humorous eye, sometimes voyeuristic, sometimes compassionate and humanist and at times achieving a kind of impish wink at the mythic, all shot in beautiful black and white real film. At turns, the images are provocative and sensual and at others, invoking a subtle wit and sharp sense of momentary narrative, all seen with a graceful and mature charm, rare these days for its deceptive modesty and deftly handled humor. With an easy worldliness and classically composed visual sensibility, Edson seeks out the epic and transcendent moments in the everyday and hones in on the dreamy human mechanisms usually gone unseen behind the scenes of our theatrical illusions, gathering and working them into freeze frames from a sort of modern day black and white zen-noir movie.

Richard Edson continues to act and has starred in over sixty films including Jim Jarmusch's, Stranger Then Paradise, Spike Lee's, Do the Right Thing, and Wim Wender's, Land of Plenty. He is also a musician. He was the first drummer of Sonic Youth and a member of the seminal NYC afro-funk band, Konk. He continues to play a unique blend of underground jazz and afro-funk with his own group, Oil Can. A camera constantly at his side, Edson's body of photowork is enriched by a diverse life which fulfills the usually unfulfilled mantra of, "I wish I had a camera."

Finally garnering the attention he deserves as an artist, Richard Edson, will enter a canon of great photographers, with a truly classic and beautiful photography book, SEEN, which will be produced under the careful editorial eye of Brian Ray Turcotte’s imprint, “Kill Your Idols”. The book will also include writings by preeminent photography writer, Luc Sante and Pulitzer Prize winning photographer, Clarence Williams. Limited edition folio boxes, entitled Unseen, published by Atelier Deluxe Musíque, and the huge, museum sized, sumptuous, limited edition prints will be available for signing at the receptions or by appointment.

Richard Edson will be available for private tours and interviews by appointment or around both the opening preview reception, on Friday, February 17th, at 7 PM and at a special evening with the artist open to the public on Thursday March 16th at 7PM.

The second artist in this two-person preview show is Heide Hatry, a New York based artist from Berlin. Hatry's book SKIN features the work of seven different women artists, all-working on the theme of skin in a variety of mythical and literal vehicles. In particular, pigskin was chosen as a primary material because of its tactile and visual relation to human skin. With recent shows in museums and galleries in New York, Berlin and Heidelberg, Heide Hatry is building up to a one-woman show tour of installation, performance, tactilia and persona manifestations in her beautiful and deceptively shocking, yet sensitively complex book, Skin. Working in their own right and ontology, the different artists appearing in Skin have gained their own shows and separate mythologies in multiple international arenas.

Hatry's appearance in this two-person show is just a glimpse of the work in her upcoming one-person show, revealing the full scope and magnitude of a quickly rising career. Gaining the attention of Michael J. Amy (Art in America, NY Times) and working with a variety of noted authors including Hans Gercke and Ethnologist, Elsbeth Sachs, Hatry's work is in fine company and gaining a growing circle of literary and international curatorial attention. With over 15 years experience as a painter and instructor in the arts, and her toiling to bring this recent body of work out of an intense shift in her personal life, Hatry has more than paid her entry dues into the art world and in the last several years has built up to this beautiful, shocking and ingenious body of work which explores, gouges, sews, dries, sculpts, molds, paints and penetrates the physiological, social, psychological, material, semiological and mythic qualities of skin.

Hatry's exhibition coincides with a solo exhibition at the Goethe Institut in New York 8 March 2006. At ADM Hatry will also be doing an on-site construction of "FLAG", a tactile skin work, which appears on the attached visual promo material and in our full-page ad in the March issue of Modern Painters magazine. Also, a special evening with Heide Hatry is planned for Thursday March 23rd at 7:00pm the event is geared for press, curators, and collectors, but opened to the general public.
###

For press and curatorial information, contact Victor Sheely Morales at: www.admproject.com (323) 275-8725, victor@admproject.com

"Wear Me Out" opening Saturday Nov. 5th

2005-11-04T20:37:00.000-08:00

A friend of mine is part of this group show...

SATURDAY NOVEMBER 5
WEAR ME OUT: Queering Fashion, Art and Design - an exhibit honoring what we've fought to wear
Opening reception 7pm

November 5, 2005 to January 29, 2006
at the ONE National Gay and Lesbian Archives
909 West Adams Blvd. at the corner of Scarff between Hoover and Figueroa
www.oneinstitute.org
213-741-0094

with DJ Emancipation and members of the Black Artists Collective

"WEAR ME OUT: Honoring what we've fought to wear" puts textiles and clothing at the forefront of an exhibit on the subject of "reading fashion." Bringing together 30 queer visual artists and fashion designers, curator Tania Hammidi aims to "take the shame out of fashion and situate how aesthetics, gay/lesbian/trans memory, and utility have historically converged on our bodies."

"The ONE Archives is proud to premiere Wear Me Out, an amazing exhibit honoring our rich queer fashion history," said ONE National Gay & Lesbian Archives board member Rita Gonzales. "Tania has brought together an eclectic mix of visual artists and fashion designers to showcase our history and deep cultural expressionism."

The show busts seams in its exploration of aesthetics, narrative, and cultural memory wedded to olfactory perception and tactile exchange. Emily Roysdon explores gesture in her "Gay Power" jumpsuit installation while Heather Cox brings out gestural and patterned repetition in "Shirt Quilt." Privacy and monumentality meet in a dynamic series of bronze panties, "Porn Stars and Academics," by Elizabeth Stephens. And while "Visible Difference" by Lenore Chinn appears aesthetically balanced, its message is much bolder. New work from Emile Devereaux, "Wormhole #3," provides a sonic interactive piece on recognition while Mitzy Velez explores the artist's own emergence as a lipstick-donning gay woman confronting normative standards of beauty.

Worn by Le Tigre's JD Samson is "Totally Soft" a t-shirt articulating a vocabulary of sentiment, bravery, and comfort through physical we

ADM Project - Gallery Pictures

2005-10-19T19:16:00.000-07:00

August 20th - Atelier Deluxe Musique

smoke machine in full effect
"J'Adore Musique" Exhibition Closing - September 10th

DJ Shepard Ferry - OBEY-GIANT
'J'Aime Musique' Afterparty - September 20th
The Lovemakers performance
September 17th Opening - Ariadna Capasso
Colored Shadows performace - backroom, Space B

New York Artist Arthur Robins Featured in Movie This Revolution to be Shown at The Pioneer Theater

2005-06-17T18:52:00.000-07:00

I just missed it this past May, at the Santa Cruz film festival...

This Revolution

New York, N.Y. June 17th, 2005 Arthur Robins plays himself in, This Revolution, a film that is part fictional and part documentary. It should include some of Robins’ art, as well as some footage of a video he shot of 5 NYC detectives interrogating him, over a crime that he did not commit. There will also be footage inside his apartment; he scripted his own dialogue based on what had previously been reported in the New York Times. 6/12/04 ”In a Post-9/11 World, The Police Star in an Artist’s Reality Video The New York Times, Julie Salamon.

This Revolution had its world premiere at Sundance 2005. It was also an official selection of the True/False Festival where director Stephen Marshall won the True Vision Award. Conceived as a low-budget, hi-impact verite thriller for the political set, This Revolution, was developed, written, cast, shot (on 24P DV) and edited in 100 days, just in time for the Sundance deadline.

This Revolution will be shown in Manhattan at The Two Boots Pioneer Theater, from June 29th through July 5th, at 9:00 PM nightly. The Pioneer Theater is located at 155 East 3rd Street between Avenues A and B New York, New York 10009

The film also contains footage of the Republican and Democratic National Conventions. The director Stephen Marshall, as well as the lead actress Rosario Dawson were arrested while shooting near the Republican National Convention.

Stephen Marshall is an author and award-winning (Sundance, Chicago IFF) documentary filmmaker. As the co-founder of Guerrilla News Network (GNN.tv), he has directed controversial music videos for Beastie Boys, Eminem, and 50 Cent. His first narrative feature, This Revolution, was an official selection at Sundance 2005.

Arthur Robins, who has lived in New York for the last thirty years, has shown his work in as varied of places as the streets of New York to the John McEnroe Gallery in Soho. In 1993 Robins was one of the founding members of A.R.T.I.S.T., a group that successfully litigated a Federal landmark case extending the First Amendment right of free speech to artists and fine art (selling art on New York streets had been banned).

###

For press inquiries please contact William Cardoza (wcardoza@earthlink.net) Direct Line: 831.206.8975
This Revolution The making of an arresting film By Stephen Marshall http://www.aivf.org/independent/current/0504marshallhalf.html

Deluxe Musique temporary site

2005-05-31T23:34:00.000-07:00

Excuse my borring blog.
Please visit instead: ATELIER DELUXE MUSIQUE temporary site.

My Day (visiting writer)

2005-05-19T15:39:00.001-07:00

Hi, I am a normal 11 year old girl. I start my day by getting a boost at Jamba Juice. Then I go to school. At school I have many things to do. After summer I will be in sixth grade (I am really scared about that part). I have many friends. They are so cool, they always got my back. After school I go to gymnastics. My favorite thing to do is a round-off with two backhandsprings. At gymnastics I have many friends who cheer me on when I am so close to getting a new move. I have one sister who is a pain. She can be really annoying at some points but sometimes she can be really nice and helpfun, like when I don't really want to do something she does it for me and then I do something nice for her. I have four dogs, and when it is my turn to feed them, well that is where my sister comes in. And that is my daily life, ( well for the most part).

Blog I read "Musings of a VC in New York City"

2005-05-10T11:04:00.000-07:00

This past Sunday "A VC" and his family (see "Gotham Gal") treked to Woodside, Queens to check out a Thai restaurant Sripraphai - Woodside is were the artist I represent has his studio (Arthur Robins), well here is a link to A VC I reffer you to "A VC" since my blog, I'm afraid, is not quite up to snuff at this point, I don't even have pictures or podcasts, ha-ha.

We're running an ad for Robins this month in Modern Painters magazine and also The Art Newspaper. Tomorrow is the June deadline for THE ART NEWSPAPER, since we haven't a gallery show in NYC I think we'll advertise "Studio Tour ~ By Appointment ~ Woodside Queens Awesome Indian and Thai Restaurants Nearby!!!"

Closest subway station to Arthur's studio:
69th street on the #7....65th street on the RVG....Jackson
Heights/Roosevelt Ave on the EF. For more info visit : www.poolpaintings.com

W.

2005-04-21T20:27:00.000-07:00

Dorothea Tanning was Max Ernst wife...Please visit Max Ernst exhibit at the MET for me...
http://www.salon.com/people/feature/2002/02/11/tanning/index.html

Cassandra and i have the Max Ernst show on the top of our list of things
to do. Thanks for this interesting article. ar

Visit my Websites:
www.ArthurRobins.com
www.PoolPaintings.com
718-426-5254

Dorothea Tanning Max Ernst's Wife...Max Ernst Exhibit at the MET

2005-04-21T19:41:00.000-07:00

Art in America; 6/1/2000; Duncan, Michael

NEW YORK
Dorothea Tanning's new largescale flower paintings are her most serene works to date, offering a refined lyricism that seems the culmination of her 60 years of art-making. Painted between June 1997 and April 1998, these lush, delicately toned flowers are pure products of the artist's imagination-fanciful breeds whose names have been provided by poets such as Harry Mathews, W.S. Merwin and John Ashbery. In Tanning's recently published book Another Language of Flowers, reproductions of the paintings are accompanied by short poems spun off from the works. The artist writes that she had been thinking about the notion of "the language of flowers, so dear to poets," and she was happy to rely on her own poet friends to translate her paintings' subtle messages.
The poems appropriately provide a kind of complementary pipeline to the fantastic interior realms where Tanning has always operated. The light, misty core at the center of the sprawling, deep blue petals of Cloudstar (titled by J.D. McClatchy) appears lit by an extraterrestrial source. The dark luscious center and amoeboid curves of Dalliance (titled by Richard Howard) hint at sensual longing.
Focusing on individual blossoms, Tanning depicts the flowers in softly modulated greens, blues and violets that pulse with reflected light. Although the works evoke paintings by such artists as Arthur Dove, Georgia O'Keeffe and Agnes Pelton, Tanning's close-up concentration makes her flora more fanciful in tone. While emotionally charged, these canvases seem less paeans to nature than flights of the artist's imagination. The paintings are accompanied by preliminary drawings that reveal their roots in freewheeling expression. The Twombly-like scribblings in the sketch for Loveknot (titled by Stephen Yenser) are resolved into a beautifully articulated painting of a flower with soft, irregularly textured petals of a drooping, yearning length.
Tanning's early, crisply drawn Surrealist paintings crackle with a psychological urgency that still feels completely contemporary. Her startling soft sculptures from the 1970s presage a host of later works by Louise Bourgeois, the Chapman Brothers and Mike Kelley. Where is the full-scale museum retrospective Tanning so clearly deserves?
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