Sam Van Aken appears courtesy Ronald Feldman Fine Arts, New York.
5 Reasons Artists & Models Is Back With A Vengeance
feat. John Fleiscer and Arjan Zazueta
7-10pm @ 561 Forest Avenue
Beth Pedersen, Susan Copley
op TONIGHT @ Indigo, 6-9pm (June 6)
Artists' talk Sat, May 22, 6-9pm
Matthew John Pasquarella
op TONIGHT @ College Street Gallery, 5-10pm (May 30)
Lecture and exhibition tour of “Under Each Other's Spell": The Gutai and New York by Exhibition Curator Dr. Ming Tiampo, Associate Professor of Art History at Carleton University, Ottawa
Thurs, May 13, 7pm @ UB Anderson Gallery
"Dr. Ming Tiampo, Associate Professor of Art History at Carleton University, Ottawa, Canada will provide a lecture and tour of the exhibition “Under Each Other’s Spell”: The Gutai and New York, on view at UB Anderson Gallery through August 22. The lecture and tour examines the fruitful relationship that developed between the avant-garde Gutai Art Group, which was founded in Osaka, Japan, in 1954 and New York artists in the 1950s and 1960s. Martha Jackson, mother of David Anderson and famous gallerist in New York City, introduced the Gutai to American audiences in the important 1958 group exhibition at the Martha Jackson Gallery. "The exhibition draws on material in the Pollock-Krasner House collection, archival material in the Martha Jackson Archives of UB Anderson Gallery, David Anderson’s Collection and a group of paintings in the collection of Paul Jenkins, who was an artist in residence at the Gutai Pinacotheca in Osaka in 1964. The Gutai paintings were given to Jenkins in exchange for his own works as an act of friendship. As he recalled the time he and the Gutai artists spent together, Jenkins said that they were "under each other's spell." In addition to paintings by several Gutai members, including Jirō Yoshihara, Atsuko Tanaka, Shōzō Shimamoto, Sadamasa Motonaga, Kazuo Shiraga and Akira Kanayama, the exhibition features examples of the Gutai journal, rare videos of Gutai exhibitions and performances in Japan, and photographs of American artists, including Jenkins, Robert Rauschenberg, Jasper Johns and John Cage during a visit to the Gutai group in 1964."
"DON’T blame it all on Arizona. The Grand Canyon State simply happened to be in the right place at the right time to tilt over to the dark side. Its hysteria is but another symptom of a political virus that can’t be quarantined and whose cure is as yet unknown."
“This thing is replaying visually in the person’s head, and we really have no idea what is going on. But the idea, conceptually, of taking that moment and recontextualizing and placing it in the civilian world, is based on a therapeutic model.”
“My life is probably more interesting and dangerous than some of the movies I’ve done.”
"Mr. Furlong considers the magazine a work of art itself: a monumental audio sculpture. Though it has never received much attention in the United States, it has long had an art-world cult following in Europe, and in 2004 its archive, thousands of hours of tape, was acquired by the Tate Britain, which describes it as the most comprehensive collection of artists’ voices in the world."
"After lukewarm reviews and initial box office results in Europe, Paramount Pictures, the American partner brought in toward the end of the shoot, took control of the film and made drastic excisions, arguing that Lang’s cut was too complicated and unwieldy for American audiences to understand."
"Mr. Peña is among the growing ranks of artists who have gone natural, who are scavenging the world’s vivarium and rummaging through the life sciences in search of materials, ideas, cosmic verities, tragicomic homilies, personal agency, a personal agent, a way to stand out in the crowd."
“This story was murky at the time, and it’s just as murky looking back. There’s no way we can find the truth. Was this a rape? Was it him? Was it consensual? Or an affair? To this day it still divides people along racial lines. Everyone has a different agenda and their own version of the facts.”
"Count Panza’s budding enthusiasm for art found a big target when he visited the United States for the first time in 1954. Smitten, he began buying the work of abstract expressionists and then, over the years, moved on to Pop, Minimalism, environmental art and Conceptualism, always buying in depth and from an artist’s most fertile early period."
"At various times Mr. Sear was a professional tuba player; a designer, importer and dealer of specialty tubas; a composer of film soundtracks; and an electronic music enthusiast who advised Robert Moog on the design of his Moog synthesizer, the instrument that revolutionized popular music beginning in the 1960s."
Let us so live that when we come to die, even the undertaker will be sorry.
— Mark Twain