June 30, 2004


First go check out tom moody's notes and pictures on the Michelle Handelman performance I was in yesterday, i think it went off ok. It was really intense to be "blind" in public for so long, people could see me but I could not see anything... I totally got lost in my own head which is a fun and scary space.

Anyway, does anyone out there in the york area of cyber space have a mini LCD monitor that I could borrow for a month or so? I need it for a fun art project so it is for a really good cause. Come on, I know there must be a sugar daddy/mommy out there somewhere.

Posted by thickeye at 05:36 PM | TrackBack

June 29, 2004



I am in this fun performance today (tue., 6/29) in bryant
park. Tell your boss you have a gyn-o appt. and come check
me out. There is a fun preview picture of me in this week's
Time Out.

A public intervention in Bryant Park

June 29, 2004 1-4 pm FREE
Bryant Park, NYC

Producer: Michelle Handelman
Assistant producer: Quin Charity
Sound Design: Vincent Baker
Performers: Jessye Macdowell, Benjamin Godsill, LoMa
Familar, Ann Chiaverini, Aaron Kreiswirth, Chase Granoff,
Paulina Guerrero, Danielle DiGiacomo, Tori Sparks, Ashley
Production Assistance: Zhenya Plechkina

Performance by Michelle Handelman.

Passerby is a 1-day performance in Bryant Park by
Brooklyn-based media artist Michelle Handelman. Utilizing
the public as material for this site-specific piece,
Handelman has spent a week clandestinely documenting
visitors to Bryant Park, recording their conversations,
photographing them, and taking note of their location/time
in the park. This afternoon performance will infiltrate the
usual Bryant Park lunchers with 10 performers covered in
white from head to toe, assuming poses based on
Handelman’s previous observations and emitting pre-
recorded conversations from i-pods hidden in their
costumes. Visitors to the Wi-Fi park can also access a page
on her website that day www.michellehandelman.com with
images and texts of her surveillance research, a veritable
treasure map to her glamorous ghosted figures that will be
occupy the park. Passerby is both a monument to the
everyday people who inhabit the park, and a reminder that
here is no such thing as private space in the public arena.

(more info on public.ext after the cut)

Passerby is part of the exhibition public.exe: Public
From June 12 – July 31, 2004, Exit Art will present
public.exe: Public Execution, an exhibition exploring how
artists are rearticulating the definition, distribution, and
reception of public art. public.exe: Public Execution is
organized by Michele Thursz and Anne Ellegood with
participating curator Defne Ayas.

Proposing new possibilities for the genre of public art
inspired by accessibility to and proficiency with
technological tools and their impact on cultural production
and social systems, the works in this exhibition will exist
predominantly outside the conventional white cube gallery
space. Works “on view” will be integrated into the façade of
the Exit Art building; off-site in outdoor spaces and various
arts institutions and retail stores; on the Internet; and
through a series of interventions, performances, video
programs, and panel discussions addressing a range of
topics proposed through the exhibition.

For more information, the public may call 212-966-7745
or visit www.exitart.org.

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June 27, 2004


Tyler Green reports that when MOMA re-opens in Manhattan the entrance fee will be $20.00. That’s a ten, a five, and five ones. Incredible. In keeping with Tyler's question as to what $20 will get you in your local entertainment market, here is my list for the good old 10002 (thats, ny, ny).

• 1 unlimited, single day metro card - $7.00
• the ability to go see new and exciting work in hundreds of gallerieslocated in Chelsea, Soho, Uptown, Williamsburg, Dumbo and Greenpoin, limited only by your visual and physical fortitude - Free
• 1, medium grade scotch with which to contemplate said art- $13.00
• Conversation to accompany said contemplation and Scotch - the cost of a friend's patience.

But really, MOMA is an important cultural institution that any and all should be able to access without too much financial burden. I wonder how many tourist visitors from out of town, who –for whatever reason- would never make the effort to check out galleries on their own will now bypass MOMA due to the cost? It is really quite sad.

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June 24, 2004



Found this with abe on a street lamp in Soho he was attaching his bike to, at first I thought it was a cute little piece of street art untill we saw the "pull-tab" things at the bottom of the poster (not visable in the cell phone pic abe snaped). Turns out, the poster is actually an ad for the premire of one of my least fav. shows (sex in the city) on bravo.

Still a witty way to advertise, if not a gross one.

thanks to "rubin net" for leaving your wireless network open and allowing me to post this from a park in tribeca as the sun sets...

Posted by thickeye at 08:13 PM | TrackBack

June 23, 2004


Building upon my (slap-dash) comments and pictures of the new Ghery building at MIT, City of Sound takes a closer look at the famed building the stata center replaces; building 20 .

Posted by thickeye at 04:58 PM | TrackBack

June 22, 2004


Bruce LaBruce's photographs, dirty memes which (for me) exist in that wonderfully temporary and shifting space of desire/revulsion, are probably my favorite in that medium. I am completely pissed that I missed the New York premier of his latest work The Rasberry Reich at New Fest earlier this month, I was totally asleep at the wheel.


On the positive side B.la.B has a blog up on his (redesigned) site, while he seems not to like writing in it very much, it has some funny, agreeable stuff up. Hopefully it will continue. I was particularly infatuated with this post, an excerpt; "Ever since Madonna, who is counter-revolutionary, uttered the immortal sound bite, "Alternative? Isn't that another word for unpopular?", anyone who professes not to want to become uber-famous, not to desire to become an A-lister basking in the adoration of great swathes of unwashed proles, is merely a failed celebrity, a has-not-become, a mediocrity who can't cut it in the fame game. How sad-making. Kind of makes you want to find a Spider Hole somewhere and crawl in." I both agree with him and plead guilty to the charge of sometimes possessing the attitude he vilifies.

Posted by thickeye at 01:26 AM | TrackBack

June 18, 2004


The New York Times 'home & garden' section has an article on the "cheap" LES loft conversion/decoration by and for a Ms. Christine Y. Kim who they describe as "an up and coming cultural 'it' girl", she is also an assistant curator at The Studio Museum;based on the article I can't decide if I want to make fun of this lady or date her.

Ms. Kim, we learn from the times "stood out among the whitewashed walls and brown paper floor covering in her oversize hoop earrings and an orange T-shirt printed with 'Homies East L.A.,' a rapper riff on the Hermčs Paris logo". Her style is described by Paula Cooper director Steven Henry as having "...a freshness and confidence in her living style" (which sound suspiciously like a generic phrase from just about any gallery press release for an underwhelming show). Still she sounds adorable and the pictures of her place are stunning, def. a good place to catch breakfast in bed.

"So where's my beef," you ask? Mostly in the whole premise that the apartment and the furnishings there-in are some how price effective, the article is accompanied by a side bar titled "A Curator's Eye for Bargains," which we should all know is oxymoronic in its very conception. One listed piece- a $3K Mies van der Rohe day bed, perhaps a deal but considering that it is priced higher than my net-worth....

Bonus:A discussion of how, as a curator at The Studio Museum Ms. Kim is not allowed to accept gifts of artwork, lest the ability to raise the value of a particular artist with, I don't know, a solo show perhaps prove too tempting a possibility. To be honest, that just seems silly as fuck to me. I know the art world is shady and people do things for personal gain all the time (much like the rest of the world) so why cover it up under a BS cloak of ethical rules? Furthermore I personally would rather curators who are personally invested in art, who like things so much they must support the artists... That’s just me.

And to The Times, a note:
"[Ms. Kim,] Always the carefully studied rebel, wore the skirt with a ripped 'I Love New York' T-shirt."

Posted by thickeye at 12:56 PM | TrackBack

June 16, 2004


Apologies for the belated/lack of blogging. Water decided to invade my computer in the middle of the night and cause the most expensive thing I had ever purchased to stop working. I went away for the weekend, drank heavily and now that I return, it works. lesson:Fuck you water.

In celebration, I will provide pictures of an institution that while I profess political/personal/theoretical disgust with made me tear up like a lil' baby.

Hence obstructed views from an super-preppy, new-england style country wedding.


kate's hands

the tent was really big. look at the stake.

his property now. gross, but tearful

it sure does take a lot of 'juice' to get bequeathed these days. Of course I was on a lot of 'juice' myself...

Tune in tomorrow for my birthday plans. Wow, this usually kind of dry/cold (but still crass) blog got all personal like today. Neat-O

Posted by thickeye at 05:34 PM | TrackBack

June 10, 2004


It looks like 'the art terrorist' has struck again this time at yale.

Curators up and down the east coast are shivering in fear, extra guards have been deployed and many institutions are considering closing down for the summer in order to avoid the possability that un-authorized art may be brought in durring those, ususally busy, months.

Remember if the art is not old and curated, the terrorists have won!

Posted by thickeye at 05:46 PM | TrackBack

presumptuous.aspirations - unauthorized art found in met and gug

Well it is all art all the time this week and as such I can't believe I slept on The Times report that some "guerrilla artist" has been leaving small paintings made with acrylic gel and semen in museums up and down the east coast. [update: WNBC has the details on princeton ] In the past I have tried to use gel medium and elmers glue mixtures to approximate semen, but honestly I did not do this.

The Met received a painting, titled "fear and consumption" and described as a museum spokesman as "a cartoonish, Warholish-influenced [wtf!] image of President Bush in front of a field of American currency".

In addition to the Met, paintings have been found hung illicitly at Princeton U, the Guggenheim and reportedly at museums in Washington and Philly.

The Times reports that the pussy Guggenheim was scared of the note that was left behind with the painting and called the FBI while the ueber masculine dead white Met "needed only one detective to deal with its unauthorized painting. Mr. Holzer [Met spokesbot] said the museum's guards opened the note before calling the police. "They're perfectly capable of handling any situation," he said. In the understatement of the day department the Met dood went on to say of the guerrilla exhibition ""We have an acquisitions process that involves the curators of each department, the acquisitions committee of the board of trustees. To be very straightforward about it, this is outside the process."

Unfortunately, as of yet, I have not been able to track down any images of the art that was left behind. I am going to join with Jon Hendricks in saying that this is good shit, go leave your shit in museums, why not. The met, of course disagrees n a city so crowded with art galleries, not to mention lampposts," he said, "artistic expression can be conveyed in hundreds of places without aspiring presumptuously to the Metropolitan Museum of Art."

I am going to continue to "aspire presumptuously", thank you very much.

update:There is a lot more press coverage than I suspected out there and this Met spokesman [Harold Holzer] keeps making more and more of an ass out of himself. He def. gets the schmuck of the day award; "The Metropolitan is a repository for the greatest works of human creativity over the last 5,000 years," Holzer said. "It is not a bulletin board. For us it is clearly an unwelcome demonstration of self-aggrandizement." What a borish punk.

Posted by thickeye at 02:03 PM | TrackBack


Here is the final edit of the project I am going to submit for infinite fill. All the frames were made using a mac paint emulator, either from scratch or by importing jpegs into it. The only way I could export from mac paint was by taking screen shots with grabber which actually made for intresting weird effects, esp. when I blew the screen shot TIFF's up a few hundred percent. The audio was all captured on a cannon powershot S50 as mpeg's that were then stripped of video elements. I cut the whole thing in iMovie, which showed me its megar limits. Back to FCP for me... as soon as some one gifts me a copy.

It was fun to play around in mac paint, my first computer was a Mac Plus (beige ver. thank you very much) and I used to spend hours in my room fucking with mac paint back in the day and it was fun to use it, I think i may try and do some more abstract stuff with it soon.

click on above image for qt movie, 00:01:04, loop w sound. 8.4 mb

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June 08, 2004


Since there has been little update in last week's chelsea/art gossip hubris, lets turn our attention to other (un)important matters.

Curbed attempts to figure out the fate of Dia:Chelsea now that the beacon space has taken over... More overpriced condos, less art?.

Posted by thickeye at 05:24 PM | TrackBack

June 07, 2004


I will be out of town this weekend but this sounds like a pretty cool event for those that are on the art/politics tip. Not my usual cup-o-tea but this august is going to be pretty hectic, might as well throw some art down...

from http://www.experimentalparty.org/

Call-To-Action: "10,000 Acts of Artistic Mediation"
Saturday, June 12, 7pm
Active Duty: Armed Artists of America
Studio 84, 84 South First Street
Williamsburg, Brooklyn

Secretary Randall M. Packer of the US Department of Art & Technology will deliver a call-to-action for artists and citizens to carry out "10,000 Acts of Artistic Mediation" during the Republican National Convention. Secretary Packer will be recruiting artist-delegates to participate in US DAT's 2004 Experimental Party National (Un)Convention & (Dis)Information Center at the LUXE Gallery in NYC, August 20 - September 4. The Secretary's address will take place in conjunction with Active Duty: Armed Artists of America, a show "armed with ideas and the tools to create a rapid response agenda to stop the global progression towards World War III." In response, the Secretary will call on coalition artists to inspire other artists into action by undergoing aesthetic operation as a form of magic designed as a mediation between our strange hostile world and the human spirit.

Posted by thickeye at 09:56 PM | TrackBack


• be sure to check out tom moody's comments on the state of copyright law and art .

• though i wrote about my low opinion of online petitions a few days ago, i still went and signed this one to support CAE member steve kurtz, they now have a CAE defense fund website up.

• refuse to (overly) mourn the passing of our 40th president by reading theIran-Contra/Walsh report.

• check out american dynamics, a politics and media blog that I am going to continue to contribute to.

Posted by thickeye at 04:31 PM | TrackBack

June 06, 2004


click for full image

My first roommate after college whom I shared a flat with in silverlake / los angeles was a junior, junior model builder at Frank O. Gehry & Associates. I remember that the first project that worked on, worked 50+ hours a week on, was building endlessly changing scale models for a new building at MIT. I remember seeing pictures of the models he would show me and thinking, ehhh, it's aiiiight, but a bit over the top for my taste (which tends to run towards buildings with clean, clinical lines of light awash over spare landscapes of organic materials).

Over the weekend I had reason to travel up to boston to visit family and I made sure to drop in and see how MIT's Stata Center turned out. After seeing it in its final built form, while I am doubtlessly 'wowed' I think my final analysis remains the same as my initial reaction- 'turn down the volume'.

click for larger image

Obviously the building is a picture slut, lusting for attention, licking it's lips as it stares into the camera. Beyond that... Well it does burst out at you, at least toward the back side here, frozen energy, excitement and ideas barely able to contain themselves within the walls, idea's bursting forth... If that seems a bit transparent, well... yea. It is. What you cannot see from these pictures I took are the buildings innards which mean to provide lots of 'common working area' for the exchange of thoughts and ideas across departments and disciplines. It's all a bit 1998.

click for larger image

It is interesting to note that the building is built where MIT's famed Building 20 used to stand. That building, an ad hoc, 'temporary' building which stood from 1943-1998 was only supposed to be around until the second world war ended. I wonder if the new center produces even a fraction of the scientific creativity that the first one did, creativity that many occupants felt stemmed from the building's temporary, un-sacred, and breakable nature.

update:I forgot to mention my fav. part: open access wireless network was all around the building, and yes I am a dork for dragging my powerbook there to check...

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June 03, 2004


Eyebeam R&D's new Forward Track is up and running, for now in support of Tom Mauser's mission to ensure the re-up of the Assault Weapons ban.

In their own words forward track is "a system that makes it possible to see exactly how an email forward diffuses, providing real time feedback to every on-line participant. To use ForwardTrack, participants send the email to their friends AND back to our server. This makes it possible to track the email forward as it spreads through networks of friends. We also send people a link to a custom page where they can add themselves to a map charting the email as it spreads across the country."

Eyebeam's R&D, working alone or with artists in residence have done some _amazing_ projects in the past, the most well known / trendy is, of course, fundrace.org. That being said, I am not a fan of Forward Track for a few operational and one (large) ideological reason.

1.) You can not BCC. When sending out large emails one of the largest and most annoying things that people do (other than send me jokes) is to _not_ place my email address, and those of the other recipients into a bcc (blind carbon copy) field. Without this step the email looks really ugly (hundreds of email address' and names to wade through before you actually get to the message) and people I may not want to have my email address are exposed to it. I def. have friends who would yell at me if I were to forward them a message without using BCC (it's sort of akin to hitting 'reply all' over an email list and sending out some inane comment, intended for only one recipiant, to the whole list.

2.) You need to make sure that you place the send back email addy in the 'cc' field in order for the message to make it back to the main site so that it can be tracked. This would be hard to work around and part of me likes it because it is using a type of 'switch' which allows me to decide if I want to be part of the tracking of an email chain (ie 'opt in' as opposed to 'opt out'). I think this is important as any tool like this, which is made to service the goals of positive social change, could also be used in a negative manner.

3.) My main ideological problem is the fact that I think that email petitions do not work, nor do I see that changing. Passing along an email seems to be a way to do the absolute minimum work required while still feeling that one is part of the solution to perceived social/policy ills. I believe that the people that such petitions are aimed at (politicians and the press) know this, and they take the results with the resiqiute grain of salt.

That carping aside, I do believe that FT is interesting in that it is a beginning, a start of the thread that may encourage/allow us to begin to explore the complex and beautiful ways in which information is spread (increasingly across multiple mediums) in viral and weird/unexpected manners.

Posted by thickeye at 04:36 PM | Comments (2157) | TrackBack


I will admit to being manhattan centric in my gallery stompin'. This is probably silly as a young(er) artist as those are the spaces which as of late seem to show some of the better emerging (christ I fucking hate that term) artists, however one of the big-boys from the BK has seen fit to move over here to chelsea.

Bellwether has a show opening this evening (running through July 24th) at their new space on tenth ave. Hello Chelsea is intended to introduce their artist roster to manhattan (though, my guess is that little introduction is neccesary.

I walked past the space last night and took a snap of their snazzy neon signage;


Posted by thickeye at 03:06 PM | Comments (6847) | TrackBack


It may be a bit light over here today, despite all the fun art world nasties in the summer air, as I will be pitching in with some guest bloggan' over at abe's politics site American Dynamics while he is off hunting snipes. AD acutally has like readers and advertisers and stuff, so here is hoping I dont say too much stupid/break things too egergiously.

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June 02, 2004


I am working with video/performance artist Michelle Handelman on a piece she will be doing in Bryant Park later this summer. We went out with my fav. classmate and took some test shots in dumbo on saturday and they turned out smashadellic.




There will be about 12 people like that spread out in bryant part on a weekday, with each 'character' having speakers which will playback audio recordings made previously in the park and edited.

UPDATE: here is offical discription from Exit Art who is sponsoring this performance as part of public.exe: Public Execution:
Michelle Handelman will spend one day in Bryant Park clandestinely documenting visitors to the park, recording their conversations, photographing them, and taking note of their location/time in the park. During a single performance, entitled Passerby, she will work with performers to recreate five of the situations she observed in the exact locations at the same time they originally occurred. Handelman's project addresses the possibility for or lack of privacy in public space as well as the prevalence of and high tolerance for surveillance and will take place on Tuesday, June 29th, from 1-4PM in Bryant Park, 6th Avenue between 40th/42nd Streets. Rain date is Thursday, July 1st.

Descriptions of the rest of the pieces/performances in the show follow the cut...

public.exe: Public Execution

public.exe: Public Execution
investigates cultural production in relation to the public

June 12 - July 31, 2004
with performances by Tobias Bernstrup, Köken Ergun, and Will Kwan

New York, NY - From June 12 - July 31, 2004, Exit Art will present public.exe: Public Execution, an exhibition exploring how artists are rearticulating the definition, distribution, and reception of public art. public.exe: Public Execution is organized by Michele Thursz and Anne Ellegood with participating curator Defne Ayas.

Proposing new possibilities for the genre of public art inspired by accessibility to and proficiency with technological tools and their impact on cultural production and social systems, the works in this exhibition will exist predominantly outside the conventional white cube gallery space. Works "on view" will be integrated into the façade of the Exit Art building; off-site in outdoor spaces and various arts institutions and retail stores; on the Internet; and through a series of interventions, performances, video programs, and panel discussions addressing a range of topics proposed through the exhibition.

Installed in the four large windows of Exit Art's facade along 36th Street, Turkish artist Serkan Özkaya's what an art gallery should actually look like (large glass) includes up to 20,000 slides of artworks donated-through an open-call sent out via the Internet-by artists, galleries, and museums for this site-specific installation. By viewing his work as a co-production with the people of the cities in which it is exhibited, Özkaya explores the relationship of the artist to art institutions and to the public.

A new poster project created by New York-based artist Kelley Walker for public.exe: Public Execution is produced as a large edition of CDs, available for $10 to visitors to Exit Art and other locales throughout the city. By offering his poster pieces to the public to download, manipulate, print, and display, Walker directly engages with such current cultural practices as collaboration, circulation, signification, and sampling.

The collective known as Paper Rad (Jacob Ciocci, Jessica Ciocci, and Ben Jones) presents Tux Dog 2004, a free magazine containing art solicited from several of Paper Rad's collaborators, largely from the Boston/Providence comics and art scene, all centered around "Tux Dog," a character developed by the artists that can be used and modified by anyone, as long as the output is also made public and offered for free. Relating the open source computing culture of information sharing/transformation to popular cartoon/fan art culture, the zine will be available at Exit Art as well as numerous venues throughout the city. Collaborators include Matt Brinkman (ex-Forcefield member/Paper Rodeo/Highwater Books); Leif Goldberg (ex-Forcefield/Paper Rodeo/National Waste); Eric Mast (www.jyrk.com); Cory Arcangel (BEIGE Records); Christopher Forgues (Raper Radio); Erin Rosenthal (Paper Rodeo); David Wightman (Extreme Animals); Jim Drain (ex-Forcefield, Paper Rodeo); and Sarah Dunbar (peace-zone.com).

Displayed in the window at Exit Art, Siebren Veersteeg's Dynamic Ribbon Device employs a networked computer program that receives a live news feed from the Associated Press. Veersteeg takes this AP news text and scrolls it across the screen in the form of the Coca-Cola logo, commenting upon the corporation-ridden global economy and the relationship between news agencies and commerce.

The re/definition of the public domain through an active engagement with artistic tools is one of the main concerns for artist collective xurban.net (collaborators for this project include haci, imam, pagan, pope, tabi). For the exhibition, xurban.net re-contextualizes their project Siegecraft (currently on view at ZKM) for the city of New York by observing the membranes of the transitional zones within the urban setting. The project consists of a website with videos, photographs, and documents from both NY and Istanbul.

Beth Coleman + Howard Goldkrand will present their sticker project Site Expansion, which will work as an intervention and architectural refraction in the public urban space. The sticker will have a reflective surface, like a mirror, and is a popularization and extension/quote of Robert Smithson's non-site mirror displacement pieces. Available for free at the gallery, the sticker intends to create a alternate surface that can expand and create continuity or further disorganize one's perspective of the space and time complexities of the stratified experience we call the city. The public's act of taking and placing the stickers is a necessary action of the project.

Elena Bajo and Warren Neidich's contribution Silent relates to their site-specific public sculpture recently installed on the Paseo de la Castellana in Madrid. This large-scale piece takes the basic form of the now-ubiquitous road-side structure of the noise barrier, placing it within the thriving pedestrian section of the city. Commenting upon the growth of urban planning related directly to our over-stimulated society, Silent created a quiet space for the public to interact. Moreover, the work can be evaluated in relationship to the perceptual and phenomenological preoccupations of Richard Serra's Tilted Arc and deliberately responds to the specific history of Serra's public art. Silent will be presented through a new video work screened during one of the exhibition's video programs and a website.

Tobias Bernstrup presents his exciting cabaret-style one-man performance at the opening of public.exe: Public Execution. His performances include animated videos and interactive computer games, featuring his self-produced music, and are closely connected with the world of computer games, hinted at in his song titles, such as "Jpeg-boy," "Polygon Lover," "Videodrome," and "Re-Animator."

Using a security system and a professional security staff, Köken Ergun constructs the type of security system that is now commonly found in crowded public spaces for the opening night of public.exe: Public Execution. In Homeland Security, Ergun questions the level of surveillance and security necessary in relationship to public spaces.

Will Kwan is involved in an ongoing collaboration with a coalition of housing activists, the Hell's Kitchen Hudson Yards Alliance, to raise awareness about the concern of the residents over the city's plans to build a new Westside football stadium. For his project On dispossession (Hell's Kitchen Hudson Yards Alliance v. the Bloomberg and Pataki administrations), Kwan has developed a plan for public protest involving a tailgate party/flash mob to highlight the noise and traffic pollution that would result from this development. A soundtrack of roaring crowd noises from a football game mixed with the grinding traffic sounds will be produced by Kwan for "transmission" over car audio systems. With Kwan's tools, the flash mob participants can converge at a predetermined site with their vehicles, find a parking spot, open up their windows and trunks, and then play the soundtrack at a disruptive volume. Kwan's interactions with the Alliance will be presented using a weblog (blog), reflecting the ongoing and contingent nature of the project. Additionally, as Kwan's project intends to create a physical, experimental, public protest space and tools, he will present a "demonstration" of the flash mob at the opening of the exhibition.
In creating Privately-Owned Public Spaces Walking Tours, Brendan and Patrick FitzGerald were inspired by their research into the development laws in New York City and discovery of the complex relationship between what is considered to be public and private space. The FitzGeralds' will lead walking tours of the Exit Art neighborhood in which they will discuss New York City zoning laws intended to provide public space within privately owned developments and how/why the building owners often ignore them entirely. Walking tours will be held: June 19, 2PM; June 26, 2PM; July 10, 2PM; July 24, 2PM; participants should meet in front of Starbucks at 325 W 49th Street, between 8th/9th Avenues.

Michelle Handelman will spend one day in Bryant Park clandestinely documenting visitors to the park, recording their conversations, photographing them, and taking note of their location/time in the park. During a single performance, entitled Passerby, she will work with performers to recreate five of the situations she observed in the exact locations at the same time they originally occurred. Handelman's project addresses the possibility for or lack of privacy in public space as well as the prevalence of and high tolerance for surveillance and will take place on Tuesday, June 29th, from 1-4PM in Bryant Park, 6th Avenue between 40th/42nd Streets. Rain date is Thursday, July 1st.

Ricardo Miranda Zuńiga will do a series of performances using a shopping cart outfitted with a dynamic microphone, a mixer, an amplifier, six speakers, a mini-FM transmitter, and a laptop with a wireless card. The Public Broadcast Cart is designed to enable any pedestrian to become an active producer of a radio broadcast. The cart reverses the usual role of the public from audience to producer of a radio broadcast and online content. Zuńiga will take his shopping cart into the public sphere on the following dates: Wednesday, June 16, 11am-2pm; Saturday, June 26, noon-3pm; and Wednesday, July 14, 11am-2pm. The Public Broadcast Cart will travel West along 36th Street from 10th Avenue to 6th Avenue, Avenue of the Americas where it will turn North to Bryant Park, where it will be temporarily stationed at Tesla Corner, inside Bryant Park, Avenue of the Americas and 40th Street.

The on-line component of public.exe: Public Execution looks at different ways the net is used to engage with the public. The chosen projects play upon the utopian origins of the net as a media that can embrace democracy and serve the populace. Internet-based works in public.exe engage with the language and protocol of the net and evaluate its effect upon society, and moreover, argue for the pivotal position of the art maker in this cultural evolution. As a platform, the net carries particular attributes of a successful mass-media-its ability to use and distribute various data and information, its ability to host other forms of media, its embrace of personal engagement, and its role as an extension of existing social structures.

The projects expose the characteristics of an executable file and act as software or medium to be reused and reformulated, creating various possibilities for the public to engage with the information as an action, documentation, artwork, or commercial product for individual use.

public.exe: Public Execution.com will include the curated exhibition, the archive, and downloadable media that act as tools to engage, distribute, and document. Projects include: maccsi.org by Yucef Merhi, The Contagious Media Project by Jonah Peretti, On dispossession (Hell's Kitchen Hudson Yards Alliance v. the Bloomberg and Pataki administrations) photo blog by Will Kwan, Netomat by Maciej Wisniewski, and The Zapatista FloodNet by The Electronic Disturbance Theater. Other projects included in the exhibition will have website components; all internet based works can be accessed through the Exit Art website at www.exitart.org/public.exe or the Post-Media Network, at www.michelethursz.com.

location: Exit Art back gallery
All programs are free and open to the public.

Program I: Investigating Different Models for Public Art
Saturday, July 10, 2004 3PM
1) Silent by Warren Neidich and Elena Bajo
2) The Trial of Tilted Arc by Shu Lea Cheang
*additional programming TBA

Program II: Hackers, Crackers, and Graffiti
Saturday July 24, 2004 3PM
1) Low Level All-Stars by BEIGE and Radical Software Group (RSG)
3) The Hacktivists: Information War by Ian Walker
*additional programming TBA

location: Exit Art cafe
All panels are free and open to the public.

Tuesday June 15, 2004 6.30-8PM
Public.exe: Redefinition of Public in Relationship to Artistic Practice and the Institution
Moderated by Michele Thursz
Participants include:
… Serkan Özkaya, artist
… Yucef Merhi, artist
… Ricardo Dominguez, artist

Tuesday June 22, 2004 6.30-8PM
Radio Comeback: Broadcasting Art and Sound
Moderated by Anthony Huberman
Participants include:
… Kenny Goldsmith, WFMU
… Gregory Whitehead, sound artist
… Ricardo Miranda Zuniga, artist

Tuesday June 29, 2004 6.30-8PM
What is Public Art?: Looking at the Past, Present, and Future
Moderated by Anne Ellegood
Participants include:
… Elena Bajo and Warren Neidich, artists
… Anne Pasternak, Creative Time
… Tom Finkelpearl, Queens Museum of Art

All tours are free and open to the public. Dates and times can be re-confirmed on our website.

Opening night at Exit Art:
Tobias Bernstrup
Saturday, June 12 8.30-9.30pm

Köken Ergun
Homeland Security
Saturday, June 12 at 7pm

Will Kwan
On dispossession (Hell's Kitchen Hudson Yards Alliance v. the Bloomberg and
Pataki administrations)
tailgate/flash mob
Saturday, June 12 at 9.30pm

Brendan and Patrick FitzGerald
Privately-Owned Public Spaces
walking tours
Saturdays at 2pm
June 26, July 10, July 24
Meeting point: Starbucks at 325 West 49th Street, between 8th/9th Avenues

Michelle Handelman
Tuesday, June 29, 2004 1-4pm
Location: Bryant Park at 42nd Street between 5th and 6th Avenues, behind the NY Public Library
Rain date: Thursday, July 1, 2004 1-4pm

Ricardo Miranda Zuńiga
Public Broadcast Cart
walking urban performance
Wednesday, June 16, 2004 11am-2pm
Saturday, June 26, 2004 noon-3pm
Wednesday, July 14, 2004 11am-2pm
Course: travel West along 36th Street from 10th Avenue to 6th Avenue, Avenue of the Americas where it will turn North to Bryant Park, where it will be temporarily stationed at Tesla Corner, inside Bryant Park, Avenue of the Americas and 40th Street.

For More Information and a complete schedule of events please visit

public.exe: Public Execution is supported with a grant from the National Endowment for the Arts. Additional funding provided by Jerome Foundation, Greenwall Foundation, Starry Night Foundation, Rockefeller Brothers Fund, New York State Council on the Arts and our members.

About the curators
Michele Thursz
Michele Thursz is an independent curator and consultant for art-makers and distributors. Her current project is Post Media Network. Post Media is a term and action demonstrating the continuous evolution of media and it effect on artists' practice and culture-at-large. In 1999, she co-founded and directed Moving Image Gallery, NYC, one of the first galleries to show electronic and computer based mediums, exhibiting such artist as Golan Levin, Cory Arcangel, Yael Kanerek. Her recent curatorial projects include Copy it, Steal it, Share It at Borusan Gallery, in Istanbul and Nown at Wood Street Gallery, Pittsburgh. She has written about contemporary art for catalogue essays and has lectured on contemporary art and curatorial practice. Thursz's actions and exhibits have been reviewed and featured in the New York Times, Forbes Best of the Web, ArtByte, Wired News, Art Forum, and many international periodicals and web publications.

Anne Ellegood
Anne Ellegood is the New York-based curator for Peter Norton's collection. Prior to joining the Norton Family Office in April 2003, she was the associate curator at the New Museum of Contemporary Art where she organized such shows as Out of Site: Fictional Architectural Spaces; Superficial: The Surfaces of Architecture in a Digital Age; Candice Breitz: Babel Series; David Galbraith and Teresa Seemann: Waveform; Kristin Lucas and Joe McKay: The Electric Donut; Marco Brambilla: Halflife; Videodrome; and several others. Her independent curatorial projects have included Transparent Architecture at GAle GAtes et al. in Brooklyn; The Meaning of Style at Brooklyn Front Gallery; Crossings: Artistic and Curatorial Practice, a ten-part exhibition at a variety of venues in New York City in conjunction with the 2003 College Art Association conference co-organized with Rachel Gugelberger; and 4 und 4 at mullerdechiara gallery in Berlin. She has written about contemporary art and curatorial practice for various publications. Ellegood received her MA from the Center for Curatorial Studies at Bard College and now teaches curatorial practice at the School of the Visual Arts.

Defne Ayas
Defne Ayas was born in Germany, grew up in Turkey, received her B.A. in Foreign Affairs in Charlottesville, Virginia, and moved to New York City in 1999 to become a student of rich media at a design studio with political and commercial clients. Currently, she is the Education and Media Programs Coordinator at the New Museum of Contemporary Art, where she co-organizes Digital Culture Programs including artist presentations, performances, community outreach projects, and critical debates relating to contemporary art and new media. Her recent projects include www.oneblockradius.org, Transmission I: Determinale Verschweifungen, Lansing-Dreiden and Fresh New Media. Prior to joining the museum, Ayas received her Masters from Interactive Telecommunications Program at New York University, where she focused on computing in public spaces, interactive installations, and video.

About Exit Art
Since 1982, the non-profit, interdisciplinary organization Exit Art has grown into one of New York's most important venues for new work by young and emerging artists who need a platform to exercise and realize their art-making. Exit Art also serves as a venue for landmark historical exhibitions bringing under-recognized ideas and art practices to a larger public-both locally and globally. In its first decade, Exit Art's primary focus was on presenting the work of under-recognized and mid-career artists. They gave artists such as Martin Wong, Adrian Piper, David Hammons, Ursula von Rydingsvard, and Krzysztof Wodiczko their first critical exposure. In late 1992, Exit Art moved to a 14,000 sq. ft space located on Broadway in SoHo. Tripling its exhibition space, Exit Art expanded its mission, goals, and programs to explore all aspects of contemporary art-the visual arts, design, music, film/video, and performance/theater. Groundbreaking Exit Art exhibitions include Fever (1992), Let the Artist Live! (1994), Endurance (1996), LP Show (2001) and Reactions (2002). In its new Hell's Kitchen space, Exit Art presented Exit Biennial: The Reconstruction (2003), L Factor (2003-2004) and Terrorvision (2004).

General Information
Exit Art is located at 475 Tenth Avenue at 36th Street.
public.exe: Public Execution will be open each Tuesday - Thursday, 10 am - 6 pm; Friday, 10 am - 8 p m; Saturday, 12 noon - 8 pm and Sunday, 12 noon - 6 pm.
There is a suggested donation of $5.

For more information, the public may call 212-966-7745 or visit www.exitart.org.

Posted by thickeye at 04:00 PM | Comments (0) | TrackBack

June 01, 2004


Well perhaps that post title is a bit of an overstatement, but live from bagdad here is the first open, contemporary art gallery in that "liberated" city. The journo/blooger back-to-iraq writes it up, with an additional photo section he created here.


I will with hold my usual snark on the art itself due to the fact that, from my comfortable, a/c'ed, non-blowing-up studio/office armchair it would be really hard to crit. any artistic endevor that has been approached in bagdad over the last year or so. I am, pretty much, totally in awe of them.

Posted by thickeye at 03:20 PM | Comments (942) | TrackBack


update: I thought I was all over this shit like white on rice but Tyler Green wipes the court with the full tawdry story and quotes from the (inevitable) lawsuit which has resulted from the aftermentioned letter. As Tyler says alleged, alleged, alleged, alleged

update part deux: Jason Calacanis sure hires wimps. i guess i would pull a punch or two if I had any 'friends'

It's not often that the art world nasties make it onto page 6, however it looks like someone squealed about a lovers quarrel between New Museum curator Dan Cameron & 5B gallerina Oliver Kamm. It seems as though mr. kamm ( who shows... paintings, paintings and... um... more paintings) had some of his chelsea muscle boy friends forcibly remove his former lover, the good mr. cameron, from a gallery opening. Hot, sounds like the opening to a dirty bruce la bruce film about gay s/m elements in the art world.


It seems that Cameron sent out a letter to a bunch of art-world folks describing the incident and going on to say that the pair broke due in-part to "Mr. Kamm's declining emotional stability". Awww, it's so cute when Ex's care.

One of the real questions is which sarah lawrence/bard/vassar girl from Lisa Spelman's 303 gallery dropped a dime (and a copy of the letter) to the post? Or was it madam spelman herself? I hear that she is an absolute joy to work for so I can't imagine one of the fine young girls slaving away for next to no pay at 303 doing such a thing...

Also of note, is the "emotionally unstable" Oliver Kamm also the andrew sullivanesque blogger of the same name? The mind boggles at the possibilities.

Posted by thickeye at 10:10 AM