bloggy

Williamsburg Wedding @ Open Ground

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Christian Grosskopf

The wonderful collective Open Ground will be having its final exhibition in March, as the members move on to other projects, including “including developing an online arts magazine and innovative resources for art lovers.”

The last show is their half of an artists’ exchange with the Berlin gallery Galerie Scherer8. There is an opening/party on March 12.

[image from the Open Ground web site — Christian Grosskopf is a German artist from Berlin who creates work in figurative and landscape painting and works on paper inspired by early American animation.]

Collectors' Night presented by the City Reliquary

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If you’ve walked around Williamsburg, I’m sure you have noticed the City Reliquary, at the corner of Grand and Havermayer, a window display of NYC ephemera, with audio explanations.

On February 23 at 7:30 (doors open at 7) they are hosting an event described as Collectors’ Night at Union Pool, at the corner of Union and Meeker Streets under the BQE, Williamsburgh, Brooklyn. I’ll quote the press release.

The City Reliquary Museum presents: Collectors’ Night

An evening For, By, and About COLLECTING, COLLECTORS, and COLLECTIONS

Featuring the StoryCorps Project by David Isay’s Sound Portrait Productions

The World Premier of The Poo Syndicate’s film The Flea Market Project

Collecting experts, Richard Roth, and Leah Dilworth,

And displayed collections of all kinds.


On Wednesday night, the City Reliquary is honored to present Collectors’ Night, a celebration of unique, fanciful and eccentric collections, presented by the people who collect them. The program will feature audio from the Sound Portraits’ StoryCorps project, films about collecting and that serve ascollections, and a panel discussion moderated by Long Island University English Department Chair Leah Dilworth and Q&A on collecting and collectors. Collectors’ Night will also feature the personal collections of postcards, vintage bicycles, bottle caps, baseball cards, geological artifacts and anything else deemed collectable by those in attendance.

[photo from the City Reliquary web site]

Keeping out the poor Neo-Nazis

I was reading an article on a new luxury hotel to open March 1 in Berchtesgaden, site of Adolf Hitler’s Alpine retreat. I was struck by this part:

The decision to build a hotel on the site above the German Alp town of Berchtesgaden angered many Jewish groups.

Officials have tried to address their concerns with a documentation center opened in 1999 to detail the area’s Nazi past. In addition, the state of Bavaria kept ownership of the land and set the condition that the hotel be designed for affluent tourists — precautions designed to help keep out neo-Nazis.

Using wealth restrictions to keep out people with far-right beliefs? Wouldn’t work here!

Allison Smith's Public Address at Foxy Production

We expect to see this during one of the next three days. It sounds quite interesting.

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Allison Smith, 2004
Photo: Bob Braine

DARE # 2: PUBLIC ADDRESS BY ALLISON SMITH

February 15, 16, 17, 2005 – 7.00 pm

An excerpt from the description:

What ever happened to the tradition of the public address? These days, politicians blink and stutter in the face of internationally syndicated broadcasts, whereas in yesteryear elected officials and citizens alike passionately took to the podium to speak their minds, uninhibited by the flack of a televised audience. For Dare #2, artist Allison Smith revives this tradition by giving a public address at Foxy Production. Here, fashioned as a Civil War era recruiting officer, Smith will deliver a call to arms and a call to art – in one.


For the past ten years, Smith has conducted an investigation of the Civil War reenactment community, a group of living historians who re-stage the events of this period as a form of pedagogy and cultural practice. Smith has appropriated the vernacular of this community, using it as an aesthetic palette for sculptural installations that examine the role craft has played in the construction of national identity. Smith has taken a particular interest in the notion of “trench art”, or art made by soldiers from the materials of war. Her recent work proposes that since we are living in the context of war, contemporary art can be a form of “trench art”, and artists a volunteer militia.


Smith’s Public Address for the Dare Series will explore how the Blue and Red states of the last two presidential elections echo the Blue and Grey states of the American Civil War, which similarly divided the U.S. citizenry on geographic, moral and ideological lines. Furthermore, Smith will enlist the Union versus Secession conflict as a metaphor to illuminate tensions within contemporary GLBTQ communities, who find themselves split between mainstream and subcultural identification.

[photo from Foxy Production web site]

To the script kiddie at IP address 24.154.231.247

I am not amused by having 2GB of traffic from you this month while you were testing some java to read my RSS feed. I’m tempted to report you to your ISP.

… not that you can read this from that IP now that I have blocked it.

New acquisitions - Jennie Portnof

We bought two works on paper by Jennie Portnof (of mr. trinity fame) at the Regarding Clementine show.

Here is a detail of the wall installation to give you an idea of how it looked in the space:

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I trimmed the big version of the wall photo to bring you one of the works we bought:

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The text says:

A cowboy song of prairie virility

She has a stream of consciousness post on her web site about the work. Go read it.

[photos courtesy of Jennie]

Jerry Saltz on the East Village show

I’m just getting around to reading some older stuff I had saved. I was reading Jerry Saltz’s review of the East Village show at the New Museum, and I have a couple of favorite quotes to share:

For a time the East Village was the art world’s duodenum—no matter how it came out, almost everything passed through it.



As with so many others, the East Village was my last chance; probably it was my only chance. I badly wanted to be part of the Soho art world, but it was too codified for a nonperson to get any traction. That scene essentially had 18 artists, eight dealers, seven collectors, and six critics; and I, like almost everyone else in the EV, wasn’t one of them. The East Village was a place where just being around or staying up late seemed to confer status on those who couldn’t get arrested otherwise.

James and I feel a bit like Jerry in that second quote. Merely by hanging out and seeing lots of art, we have achieved a kind of “status” we couldn’t have imagined would come from being art fans.