Saturday, February 26, 2011
Angels and Animals, 2010, 27 x 18 x 18 inches, porcelain
Barry Bartlett has been exhibited throughout the U.S., most recently in solo shows at the Gary Tatintsian Gallery in NYC; Anna Kustera Gallery, NY and a series of group show -Maryland Art Place, MD, Baltimore Clayworks, MD. Islip Art Museum, NY and the Neuberger Museum, Rotunda Gallery Brooklyn, NY. He is a recipient of two National Endowment for the Arts Fellowships in the Visual Arts. The work has been reviewed in the American Ceramic and Ceramic Monthly magazines. He is currently a Faculty member at Bennington College, Bennington VT and has taught there since 1987.
"A visit to Bartlett's Hudson valley studio reveals shelves stacked floor-to-ceiling and three deep with used ceramic hobby moulds. Reading their labels, one encounters a kind of found poem: Monk head/ White horse/ Dreams of long ago/ Jesus/ Robert E Lee/ Standing clown/ Eagle/ Elephant cookie jar/ Lighthouse/ Elf. This is just a small fraction of the thousands of moulds Bartlett collected from a craft supplier who was going out of business a few years ago. One might wonder how a serious artist like Bartlett is able to turn such banal, kitschy imagery into meaningful works of art.
Yet Bartlett has been using these hobby moulds as the primary building blocks in his work for the past three years, with surprising effects. "The moulds are like a curse," Bartlett jokes. Beer steins, forest creatures, holiday themes, and religious iconography are the visual vocabulary out of which Bartlett constructs his ceramic sculptures' visual poetry.
Bartlett's work reveals the mutability of images, their susceptibility to reinterpretation, their ubiquity and mystery. It also dares to embrace the most banal forms of the ceramic craft multiple in order to re-appropriate and transform them into unique artworks. The sculptures are so appealing, in part, because they appear to be simultaneously effortless and highly self-conscious. As he navigates the challenges of both medium and content, Barry Bartlett makes ceramic art about politics, while at the same time confronting the politics of ceramic art."
Excerpts from an upcoming review by K E Gover, in Ceramics: Art and Perception
Winter gallery hours are Thursday through Monday, 11:00 till 5:00 p.m. For further information about the gallery, the artists and upcoming exhibition, visit
or contact John Davis directly at 518.828.5907 or via e-mail: firstname.lastname@example.org.
ANNANDALE-ON-HUDSON, N.Y.—The programs of anthropology, art history, Asian studies, history, photography, and religion at Bard College host the exhibition Visions of Patrimony: Photographs from the Court of Nepal (1908–1965) from March 4 to 18 in Woods Studio at Bard College. The show’s reception will be held on March 10 at 5:00 p.m. in Woods Studio. Laura Kunreuther, assistant professor of anthropology, will introduce the historical and cultural context of the photographs. Cristeena Chitrakar will speak briefly about how the photographs are currently used by her family today. Both the reception and the exhibition are free and open to the public.
Visions of Patrimony exhibits photographs from the collection of Dirgha Man Chitrakar (1877–1951) and his son Ganesh Man Chitrakar (1906–1985), who served as official court photographers for the Shah King of Nepal and the ruling family oligarchy of Rana Prime Ministers (r.1846–1951). The exhibition explores the dual patrimonies of two lineages of Nepalis brought together in these photographic images—the extravagantly visible ruling elite and their invisible photographers. Spanning from the early 20th century to 1965, shifts in the photographs over time correlate with the changing logic and interests of the Nepali state, as they move from portraits and political ritual to aerial photographs of the land and quaint portraits of Nepali farmers. During the Rana oligarchy, photography worked doubly to secure their rule: its very use symbolized their privileged status, and the images themselves were a means of visualizing their patrimony by documenting extended families, political and religious rituals, the consumption of foreign commodities (i.e. clothing, technology), and recreational activities (such as hunting).
The photographs displayed in Visions of Patrimony were printed in Nepal several years ago from the original glass negatives taken between 1900 and 1946 and acetate negatives taken between 1946 and 1975. These negatives make up the patrimony of the court photographers’ descendants, the Chitrakars. Chitrakar means “artist” or “painter” in Nepali. Prior to the advent of photography, Dirga Man produced paintings for the ruling elite, in accordance with his profession by birth. After learning the craft of photography, he was appointed to a permanent position as part of the “art department” of the ruling prime minister of the time, Chandra Shumsher Rana. Once the Rana oligarchy was overthrown in 1951, the photographers continued to work as visual documentarians for the state and institutions closely tied to the state. Ganesh Man, for example, took a job as official photographer during the early years of USAID, which worked closely with the government and has been one of the key financers for developing Nepal. His son, Kiran Man, now works as the director and chief cameraman for the state television, Nepal TV, the primary and most watched television channel, at least until 1990. We are fortunate to have these photographs to exhibit, thanks to Dirga Man’s great-granddaughter and Ganesh Man’s granddaughter, Cristeena Chitrakar, who is currently a student at Bard College.
PHOTO AVAILABLE FOR DOWNLOAD AT www.bard.edu/news/press
Friday, February 25, 2011
FUTUREFARMERS ARTIST COLLECTIVE TO CREATE NEW WORK FOR GUGGENHEIM MUSEUM'S INTERVALS CONTEMPORARY SERIES
FUTUREFARMERS ARTIST COLLECTIVE TO CREATE NEW WORK FOR GUGGENHEIM MUSEUM'S INTERVALS CONTEMPORARY SERIES
Public Invited to Participate in an “Urban Thinkery” through Artist-Led Programs at the Museum and Across the City of New York
Exhibition: Intervals: Futurefarmers
Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
Location: Rotunda and off-site in several locations across the city of New York
Dates: May 4–14, 2011
(NEW YORK, NY - February 24, 2011) – From May 4 to May 14, 2011, the Solomon R. Guggenheim Museum will present Intervals: Futurefarmers, the fourth installment of its contemporary art series designed to reflect the spirit of today’s innovative practices. For its Intervals project, the San Francisco–based art collective Futurefarmers is creating a site-specific installation on the Rotunda floor of the museum and organizing intimate participatory programs for the public in various spaces around the city of New York.
The exhibition is organized by David van der Leer, Assistant Curator, Architecture and Urban Studies.
The Leadership Committees for the Intervals series and Intervals: Futurefarmers are gratefully acknowledged.
Futurefarmers creates projects that are diverse both in terms of their production and their strategies of audience engagement. If anything typifies a Futurefarmers project, it is a balance of critical and optimistic thought with the use of inventive and pragmatic design elements. Recent works include antiwar computer games; an online registry of unused arable land sites in San Francisco that could be used for gardening and food production; and lunchboxes that incorporate hydrogen-producing algae. For the Guggenheim’s Intervals series, Futurefarmers is creating a ten-day “urban thinkery” centered around a shoemaker’s atelier consisting of a cobbler’s bench and shoe racks and installed in the Guggenheim Museum’s Rotunda. The atelier is an open interpretation of Simon the Shoemaker’s fifth-century Athens studio in which Socrates supposedly had extensive philosophical discussions with Simon and local youth.
The Futurefarmers shoemaker atelier is the anchor for a series of off-site actions and events taking place throughout the city. Three Sole/Soul Sermons, commissioned by Futurefarmers and written and delivered by contemporary writers, will be offered in the atelier. The collective will also host intimate public Dialogues with contemporary thinkers and participants in special interior and exterior spaces around the city, as well as conduct a series of Ink Gathering walks with special guests and small groups of enthusiastic visitors. During these walks, the groups collect sidewalk dirt, the main ingredient in a unique Futurefarmers ink that will be used to transcribe the Sole/Soul Sermons and the Dialogues for posterity in participatory urban actions called the Pedestrian Press. Three times during the project, passersby on the streets will be called upon to form the Pedestrian Press and help print the texts, using 36 specialized printing shoes, on long strips of paper that will be rolled out along New York sidewalks.
In addition, the Sackler Center for Arts Education at the Guggenheim Museum, in collaboration with Futurefarmers, will offer exhibition-related programs for people of various ages, ranging from hands-on workshops entitled Making Our Own Rules (in which each participant is asked to create a system of measurement—a ruler—based on the length of his/her foot) to screenings of the film Examined Life (2008) by Astra Taylor. The full schedule of programming offered in conjunction with Intervals: Futurefarmers is listed below. All programs are free with museum admission or, if held outside held outside the museum, free. Further details will be posted on guggenheim.org/futurefarmers and will later be announced via Twitter feeds @Guggenheim and #Futurefarmers.
Thursday, February 24, 2011
Dear Design Friends:
This is the first in a series of seven announcements leading up to the GRAVITY FREE Multidisciplinary Design Conference in May – a celebration of the best in multidisciplinary design excellence and innovation – starring amazing design wizards who are changing the way we see the world. Prepare to levitate.
White Slab Palace
77 Delancey Street
New York, NY 1000
Art folks, before getting wrapped up in glamorous art parties and the business of collecting during New York’s Armory Week, the pulse of emerging new media arts is happening right here on the gritty grounds of White Slab Palace. Opening the 2011 Armory Week is “Sonic Architextures”, an evening of performances remixing strands of analog and digital improvisations – a balance of post-punk impulses, subliminal electronics, vinyls and harp with arty experimental films, including Rey Parla's “Rumba Abstracta” and Peter Gregorio’s “Holographic Principal Generator”. Framing the night’s performances are Maximus Clarke’s Anaglyph 3-D spectacles dubbed FREEDOM FILTERS. Audiences are encouraged to participate and have their portraits taken on the green screen for future retrospection. Thomas Watkiss opens the night with hypnotic drones meticulously composed to set the ambiance. Using dense layers of symphonic chords, composer Zach Layton performs an improvised set with special guest. Renowned as the avant-garde ensemble – MERCE is the musical vision of Maria Chavez and Shelley Burgon – creating a sonic atmosphere Chavez’s turntables culls from her “pencils of sound” while Burgon’s harp melodies unifies the whole experience. Tonight, Merce collaborates with visual artist Rey Parla, whose rigorous and experimental multimedia work is a dance of stimulating visual music.
co-presented by ARTCARDS.CC
Expert Reveals Historic Accuracy of Oscar™ Hopeful’s Representation of Women in the Old West
Nancy Williams loved the new film adaptation for True Grit, and even though the depiction of its defiantly strong teenage girl Mattie Ross wasn’t completely true to history, she felt it was true enough.
Williams, an expert on women’s issues in the Old West, said her only problem with the character of 14-year-old Ross, as played by Oscar hopeful Hailee Steinfeld, was that she did not represent the typical young woman of the Old West.
“At first glance I would say True Grit was not very true to history,” said Williams, also a veteran staffer of women’s crisis centers and author of Hawkmoon (www.nlwbooks.com). “Frontier women typically didn’t carry a gun, straddle a horse, or talk back with such brazenness. They either kept the house, cooked and tended the children, or they were school teachers or prostitutes. The stereotypes we see in the typical western novel or movie are not without basis in reality.”
The character of Mattie Ross did, however, match up with legends of some of the few women who stood out from the crowd as strong women who straddled their horses as they rode them against the grain.
“Despite the fact Mattie was not typical of the young girl of that era, there are enough women in the history of the Old West that broke the mold to make the story of True Grit believable,” Williams added. “Calamity Jane, Annie Oakley and a particularly feisty woman by the name of Sally Skull are a few that come to mind. These women, like Mattie Ross, were tough, capable, and sometimes deadly, rivaling any man in the ability to shoot, ride, play cards and talk trash.”
While not completely true to history, the character resonates with modern audiences because of the changing role of women in America, according to Williams.
“I think the modern woman is more able to identify with strong female characters like Mattie Ross,” she added. “No longer can we relate to the frontier wife who works at home and cooks, cleans and feeds the chickens. Showcasing women who can ride with the boys is another way that will keep westerns contemporary. Hollywood does it all the time: homosexual cowboys in Brokeback Mountain, repentant killers in Unforgiven and Mattie Ross, with her undeniable grit.”
About Nancy Williams
Nancy Williams is a graduate of Allegheny College in Meadville, PA. She worked as the grant writer for Women’s Services, Inc, a domestic/sexual violence center. Nancy grew up on a farm in Meadville. She is the winner of the Paul Gillette Award in the 2009 Pikes Peak Writers’ competition for her novel Grace. Hawkmoon is her first published novel and was a finalist for the Colorado Humanities 2010 Book
Animazing Gallery, SoHo, will present a new collection of works by renowned artist, Tom Everhart. In 1989, he embarked on an artistic journey to create a body of paintings inspired by his close personal relationship with his friend and mentor, PEANUTS™ creator Charles Schulz.
This sale and exhibition of 95 paintings, entitled Crashing the Party: The Arty-Fact Paintings, will be the biggest show in the history of Everhart's artistic career. Everhart will be the guest of honor at a champagne reception on the evening of Saturday, May 21st from 6-9PM. RSVP required to email@example.com. The exhibition is free and open to the public from May 22nd-June 26th, 2011. The gallery is located at 54 Greene Street, on the SE corner of Broome & Greene. For more information call 212-226-7374.
Monday, February 21, 2011
It was a beautiful February afternoon/ 60 degrees plus. We chatted for an hour and will get the videos out ASAP. Jackie was and is still the best.
All photo Images © Steve Zaluski
Thursday, February 10, 2011
THE FIRST ANNUAL ATHENA FILM FESTIVAL
A CELEBRATION OF WOMEN AND LEADERSHIP
February 10-13, New York, NY
The First Annual Athena Film Festival (www.athenafilmfestival.com) will take place February 10th through February 13th at Barnard College. In its inaugural season, the Athena Film Festival will examine the values women leaders share—vision, courage, resilience—and explore leadership across race, class, and culture.
Tuesday, February 8, 2011
Please join us as we welcome Russian artists, Michael & Inessa Garmash, for an exhibition at Galeria del Mar.
Cutter & Cutter Fine Art
|At the Marina _24x12_|
The RePop Shop,Thursday, February 10th from 5 to 9 pm at Benrimon Contemporary, located at 514 West 24th
You are cordially invited to the pop-up “store” accompanying the opening reception of Trey Speegle's exhibition It's Not About You featuring sold-out items from Speegle’s recent collaborations with Fred Perry and Anthropologie Home such as polo shirts, soap sets, wooden puzzles, pillows, plates and wallpaper. The opening will take place this Thursday, February 10th from 5 to 9 pm at Benrimon Contemporary, located at 514 West 24th Street on the second floor.
10% of the sales from The RePop Shop goes to The Trevor Project - A national 24-hour, toll free confidential suicide hotline for gay and questioning youth.
514 W 24th St, 2nd Fl, NY, NY 10011
telephone: 212 924 2400
facsimile: 212 659 0054
Mon - Sat 10am - 8pm, Sun 12am - 6pm
We proudly present the speaker line-up for
GRAVITY FREE 2011: Wonders of Magical Thinkers.
The Great Multidisciplinary Design Conference.
GRAVITY FREE is a celebration of multidisciplinary design innovation starring 22 of the world's most remarkable design visionaries who are changing the way we see the world, from a diverse mix of design disciplines.
Come curious. Leave inspired.
Wishing you all the best inspiration for the new year.
GRAVITY FREE Multidisciplinary Design Conference
|GRAVITY FREE: 2011 |
Wonders of Magical Thinkers May 24-26, 2011, San Francisco
"Using words to describe magic is like
using a screwdriver to cut roast beef."
- Tom Robbins