October 28, 2004


"The genetically vicious nature of presidential campaigns in America is too obvious to argue with, but some people call it fun, and I am one of them. Election Day -- especially a presidential election -- is always a wild and terrifying time for politics junkies, and I am one of those, too. We look forward to major election days like sex addicts look forward to orgies. We are slaves to it."
Just when you think he has totally lost it and been reduced to eating pills and howling at the moon in aspen, HST rallies back for one more lucid (as can be for him) rant. They should always be noted.
"That was the year I first met him, at a riot on that elegant little street in front of the White House. He was yelling into a bullhorn and I was trying to throw a dead, bleeding rat over a black-spike fence and onto the president's lawn.

We were angry and righteous in those days, and there were millions of us. We kicked two chief executives out of the White House because they were stupid warmongers. We conquered Lyndon Johnson and we stomped on Richard Nixon -- which wise people said was impossible, but so what? It was fun. We were warriors then, and our tribe was strong like a river.

That river is still running. All we have to do is get out and vote, while it's still legal, and we will wash those crooked warmongers out of the White House."

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October 25, 2004


The back of Sunday’s Times Magazine had one of their sexy "apartments you will never be able to afford" super-advertising spectaculars which always makes me lusty for the i-banking lifestyle. Of particular note, hidden in the advertorial write-ups of new buildings, was the Cielo (no, not the eurotrash club), built by JD Carlisle (Morton Square) - a 27 story luxury condo building on 83rd street on the east side.

Aside from all the usual luxury condo amenities this building is being touted (by its developers at least) for its "innovative and exclusive art program for residents". Innovative and exclusive you say? Does that mean lower than market level rentals for working artists long since priced out of the manhattan market? Perhaps a rotating instillation of emerging artists in the lobby, curated by young curators? Perhaps a ground level commercial gallery space? Er.... not so much. In the developers words this innovative and "one-of-a-kind [sic]" program will include:

"On-site children's art programs with guest artists and curators, while the Cielo art concierge will impart up-to-date [sic] information on museum and gallery exhibitions, city art events and children's art activities" (um, so you mean they will read the Village Voice? each week? "Additionally, buyers will receive free memberships to the prestigious Whitney Museum..."

While i guess it is sort of interesting I am not sure if it is really innovative, and as for exclusive... um i think anyone who plunks down $100 can be a whit°whit member... and the voice is free....
The advertisement goes on:

"...Cielo's lobby will feature a specially commissioned painting by Betsy Eby. 'It is our belief that art enriches our daily experience' said [some developer schmuck] we are taking this concept to a new level, adding the pleasure of art to exclusive amenities and services'"

Prices run from $545,000 (for a studio) up to $5 million.

Now, I have nothing wrong with using art to market high-end luxury goods/services-- fuck eventually some of that cash must 'trickle-down' as they say, but at least they could try a little harder to actually implement the marketing device. Ohhhh a custom mural by a second rate painter (no offense Betsy), and our concierge will know where Chelsea is. To me it seems just a bit craven (although I will probably end up applying for the concierge job when it opens we all need to eat).

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October 21, 2004



“To know nothing, to teach nothing, to will nothing, to feel nothing, to sleep and still to sleep, this is my only wish. A base and loathsome wish, but sincere.”
-Baudelaire, Flowers of Evil

This saturday if you possess any sense, love of creepy art, and/or love of me you will be at Jack the Pelican Presents to see Michelle Handelman's new show This Delicate Monster a multi-media pop fable inspired by Charles Baudelaire’s Flowers of Evil.

The show incorporates live performance, projected video, video monitors and photography. Playing with modern and historical concepts of the female body, the fairy tale, sleep, depression and (T)he (S)elf - this instillation is a truly elegant spread of delectable aesthetic morsels, tastefully arranged (if i may say so myself...) to both amuse and delight you.

Hyperbole aside, I think this is a really silly/serious show at an interesting time in Michelle's artistic career, bridging and bringing together a lot of disparate ideas that she has worked with in the past, moving towards a new unified whole that is a total sensory experience.

You can find more info about the show and artist here or after the cut.


“This Delicate Monster” is a multi-media pop fable by Michelle Handelman, the noted video artist, performer and photographer, and the director of the critically acclaimed feature documentary BloodSisters (1999 Bravo Award). It is inspired by Charles Baudelaire’s Flowers of Evil. —a book of poems as succulent and darkly suave as 19th-century Paris and Baudelaire himself.

Handelman, in her first solo exhibition at Jack the Pelican, floods the gallery with video and still images, fusing fashion and allegory to present a fragmented narrative both haunting and hallucinatory. She has collaborated with couture costume designer Garo Sparo on masks and costumes for this performance spectacle, and through the use of digital video manipulation and live performance, her characters Age, Youth and Death animate such lines of Baudelaire as, “Condemned to an eternal laugh because I know not how to smile.”

Handelman and her performers will be featured live in the gallery each Saturday between 2 and 4pm. The performance installation To Sleep and Still Sleep, This is my Only Desire features Age and Youth primping and preening on chairs near the rafters. The dress they share—also made in collaboration with designer Garo Sparo—flows down to consume the front gallery. They speak nonsense, toying with the audience, and lift open their dress with pulleys to reveal a large mirrored box upon a museum display case. A light flicks on inside, the cube turns suddenly transparent and there she is—This Delicate Monster —the artist herself, in a persistent and macabre performance of endurance.

Michelle Handelman (M.F.A. Bard College, B.F.A. SF Art Institute) directed BloodSisters (1996), a documentary about the San Fransisco’s leather dyke community. Now living in New York, her feline-like reinvention of herself brings a new body of work in photography, video and performance that explodes pop imagery through a post-feminist lens. She has collaborated with Monte Cazazza, pioneer of the Industrial music scene, and performed in projects by seminal media artist Lynn Hershman-Leeson. She has a rich and varied history in the pop culture scene; also having collaborated with Eric Werner, co-founder of the destructive metal machine performance entity Survival Research Laboratories on a series of sculptures, creating sound effects for Jon Moritsugu's ITVS production, Terminal USA and contributing to the seminal anthology Apocalypse Culture (Feral House Press) and Inappropriate Behaviour (Serpents Tail).

Her video’s have shown at the Palm Beach Institute of Contemporary Art; Georges Pompidou Centre, Paris; Institute of Contemporary Art, London; American Film Institute, LA, SF MOMA and her spectacles of post-feminist toughness at Cristinerose Gallery, NY; The Aldrich Museum of Contemporary Art, CT and Bellevue Museum of Art, WA. Recent shows include Passerby for the show public.exe: Public Execution curated by Anne Ellegood and Michele Thursz for Exit Art, NYC and collaborations with the Paul Miller AKA DJ Spooky That Subliminal Kid on the animation “DJ Spooky vs. WebSpinstress M”, which is currently touring Europe in the inflatable media dome The Big M. She is the recipient of a 2004 NYSCA Individual Artists Grant and teaches in the Media Studies department of the New School University.

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October 20, 2004


Really, I swear there will be some notes on the "under the bridge" (or whatever the hell they call it) DUMBO arts fair soon. The short of it is- go see the Smack Mellon Artist in Residence Show - the only thing worth while but oh so yummy (david ellis say what?).

Speaking of the hinterland (brooklyn) mark your calenders now, Michelle Handelman rocks out Jack the Pelican Presents this comming saturday night with an amazing show. It is video/performance/photography (some would call that multi-media I suppose), and I have spent the last day installing it and it (so far) looks "to-die-for"- Those in the know will most def. pop on in for the opening performance (_so_ _creepy_) it will be an artistic/fun highlite of the fall. Look in this space for a full preview later in the week.

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October 17, 2004


alternate post titles: beat.w.down - body.rock.politic. - fone.bank.phr3ak
AKA me being unusually earnest

After a totally underwhelming day at the dumbo arts fest (review post later I suppose, though it was really tedious to attend and thus I can't imagine that the drive to write about it will be high, i/o/w don't hold your breath) I read the really scary Times magazine article on GWB and really began to piss my pants about the possibility of GWB 'winning' again and all that would entail. Instead of just getting drunk, which is often what I do at the precipice of such scary future propositions I decided to get all "action oriented".

Here are some things I have done to elect john kerry (or beat W, if you prefer). They are easy, sort of fun, and will keep you from feeling like shit on Nov. 3rd if you did not do them and W wins. The 'action items' are listed from least time needed (like 5 min) to the most (a whole day).

1. vote swap - 5-10 min
If you live in a non-swing state (like, I dunno... New York or Cali) sign up to 'trade' votes with a Nader voter in a swing state at Vote Pair. Vote pair is a an extension of a program run in the 2000 elections to pair progressive voters who like what ralph nader stands for (green, third parties, etc) but hate having George W. win. Of course it did not work very well last time but still. You sign on, say where you live, who you are planning on voting for but who you would be willing to trade a vote to. The system then sends you the email of someone to exchange votes with and the two of you work it out amongst yourself. It is basically a peer-to-peer trust based system. It is not foolproof, but it is worth a shot.

2. Phone Bank From Home for KE_04 - an hour
You can sign up as an at-home phone banker for the kerry edwards campaign here. I just got done doing it and it was, well kind of cool. It entails logging into the KE system where-in they give you the names of supporters in swing states. You then call to remind them to vote, but most importantly to ask if they would be willing to do some door-to-door GOTV (get-out-the-vote) activities for the campaign in their area. Everyone I called was receptive and in the 30 calls I made in less than an hour I got about 6 people to sign up to go out next weekend in west palm beach. The devious part of me is wondering if the BC04 folks have a similar system. If so it would be fun to subvert it. just checked, looks like they don't. still the bush website could be down for some interesting textual analysis if I had the stomach for it.

3. Meat-space phone bank - 3 hours
If you are in NYC you can sign up through the 'kerry village' people to do some old school phone banking. It is on monday and wednesday eve's from 6-9. The info is here. I have not done this yet, but it is a good way to go make some calls on someone else’s dime.

4. Travel to a swing state - a day
A few weeks ago I went down to harrisburg pennsylvania to register voters and push them to vote for John Kerry. It was really early, I was really cold, it cost $25 and it was 100% worth it. It was even, dare I say it, a blast. That same Kerry Village organization is running them and all the info is right here. It is a commitment but it is also a pretty low-cost way to get out and make yourself feel worthwhile.

Okay- that was all very earnest. I promise not to let it happen again.

Posted by thickeye at 08:41 PM | TrackBack

October 15, 2004


"You're as big a dick as you are on any show" - Jon Stewart to Tucker Carlson
I have been basiclly unable to function like a normal human being for the past few days due to the combination of baseball and politics overrunning my life. Between my hapless hometown 'idiots' shitting on the last shreads of civic pride for my homeland, and the constant undulations (and granted weird mechinations) of the 24/7 news cycle I have been unable to really deal with any accademic or art intrests. Terminal.5 still down? Fucked if I care, Curt Schilling is down.

The politics maw of this two headed beast basiclly begain to eat itself raw at 4:30pm (EST) when John Stewart showed up on Crosfire and proceeded to take Tucker Carlson, strip off his pants and bend him over his knee for a bare bottomed spanking. It was Stuart being funny and 100% serious at the same time, the only parallel really Lenny Bruce in his prime. You can see what the crazy dKos lefties thought of it (with some prime quotes) here.

Also props to TV Newser for jumping right on my email and posting it here (note my use of loquacious, unlike this entry I spell-checked and everything).

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October 08, 2004


If you take televison _very_ seriously (as I do) you should check out University of Texas at Austin's new online forum/journal FLOW..

Flow is an online journal of television and media studies launched in October 2004. Flow’s mission is to provide a space where researchers, teachers, students, and the public can read about and discuss the changing landscape of contemporary media at the speed that media moves.

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October 07, 2004


Tom Moody puts everything I have written about the terminal.5 hyjinks to absolute shame...

His post on the matter ends thusly:

"Once admitted to this vast playground from their usual physically constraining warrens in Chelsea and Williamsburg, and perhaps because the art was so familiar as not to hold anyone's attention, the artists went berserk at an opening night party and trashed the terminal."

from Early 21st Century Art(New York: Kramer Publishing 2035)

Effing brilliant and clearly the last word on the subject.

Posted by thickeye at 03:58 PM | TrackBack


So madam Carol Vogel does all the real reporting on the terminal five mess for The Times.

The Port Authority seems to have its manties ull up in a bunch over some cigrette smoke, vodka drinking and supposed vandalism. Christ have any of these fuckers ever seen the restroom in one of the active terminals they run over at JFK? Or the Port Authority bus terminal for that matter (mmmmm homeless men washing their balls in the sink, yummy!).

I was there the night in question, it was a little wild, but I highly doubt that the terminal was damaged in any way- I did not see any grafitti and the smoking was minimal. Furthermore the acusation that they were "selling alcohol" is patently false.

The article seems to make it clear that both the PA and JetBlue had had enough of the curator (Rachel K. Ward). The JetBlue spokesman did not have her back at all saying; "We've been working for months to make this a special event for New Yorkers which has now been spoiled because of a curator's poor management ". I guess it's not only the art world that is catty...

In any case, it is not the greatest injustice in the world, or even new york (see 'mass arrests at the RNC' for example). But it is a shame that over these minor allegations lots of people who put a lot of work into this show are out in the cold - not to mention the art going public (despite my qualms as to the quality of the show itself).

Christ, people need to start bombing things already.

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October 06, 2004


As they say, breaking: I just received word from someone who did (as gawker calls it) actual reporting that the terminal five show is now on lock down. Mr. Blaze says:

"word on the street, or actually directly from the Terminal Five organizer is that the whole Terminal Five show is shut down for now due to general debauchery on Friday night. Apparently the Department Homeland Security had to get involved... "

From what I hear a bunch of folks broke out of the terminal durring the party on friday night onto the tarmac... Those fucking art terrorists.

update:The web site now has confirmation...
update:damn, the blogs are all over this shit. It looks like the port authority had issues with all the alcohol, cig butts, puke (blaze...) and other trash left behind on friday. gawker, gothamist, verbose coma, and city mag all weigh in with the details. There are also patrick mullen party pics of moi and others out there...

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October 05, 2004



from the nytimes

I just love it when we bring the fucking democracy large, don't you? The caption of the picture on nytimes.com said. "An Iraqi working with a New York National Guard platoon interrogated a civilian in Samarra on Monday. He shouted and beat the man with a baton after a booklet with a picture of Osama bin Laden was found. Well I guess the iraqi is learning from the best, a large percentage of national guards men work in law enforcement when not spreading democracy

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October 04, 2004



Checked out the opening_party for Terminal Five (beware the flash/sound) out at JFK on friday, a show curated by Rachel K. Ward, which is taking place in theFormer TWA terminal designed by Eero Saarinen.

In the curvaceous aesthetic shadow of that remarkable modernist-money-shot of a building, it was hard for the art work to make much of an impression. The open bar of grey goose & champers did not really help.


It was a surreal scene of hipsters, who shuttled by train, monorail (really), and town car to the far reaches of brooklyn (or is it queens?) to flirt, drink, dance and run about in the cavernous space. And on this night, sponsored by V magazine, it was clearly the attendee's (and their dress) who took center stage. A feeling reinforced/created by the fake paparazzi and red carpet who greeted guests as they entered the terminal. I think these photographers and the carpet where part of an artist's installation but without a decent check-list or catalogue it was impossible to tell if it was indeed an Artwork (in the capitalized sense) and if so, whom it was by.


In fact, that seemed to be the problem with the entire show, so far as my vodka addled brain could tell (and I am a functioning alcoholic after all). While some of the pieces seemed nice, in such an open-ended show (in terms of space (Saarinen's terminal) and thesis (travel, movement), a curator should have had a much better manner of presentation/documentation. Pieces were far removed from their wall tags and I could not find any sort of checklist to guide me.

With that said, just in terms of the use of the building, the show is in some ways a success or at least an achievement and a mightily hat tip goes to Ms. Ward.


Of the pieces that I did manage to interact with and absorb, I enjoyed the Tom Sachs (pictured above) even though he usually leaves me cold. The foreign language of the sign, combined with the stripping of the golden arches color served to infuse the modern structure we were housed in with all sorts of post-modern levels of meaning as to globalism, consumerism, culture and boarders. I feel like this piece would have been flat in a gallery or museum setting but came to life here.

The other piece that I enjoyed was a site specific space and sound instillation, spectra, by the japanese musician/artist Ryoji Ikeda. He infused one end of the buildings trademark hallway (which in days past leed from the main terminal to the hub where the planes parked) with a massive array of lights which served to obscure a crazy Parabolic Long-Throw Sound Beam(see pic at the top of the post) which projected an "ultra-frequency" (the artists words). In my words it was a crazy assed seemingly moving high pitched drone.

The piece was the only one that interacted in a critically meaningful way with the modernist temple that Saarinen created. Ikeda's work here not only mirrored the sense of flight and travel in the original space but seemed to work with and against it, as you moved the sound shifted and at times disappeared- problamizing the ideals of instant travel and collapsed time/space boundaries held up in the late fifties building design.

Whatever the case, the whole thing is a trip and _must_ be peeped. It is open until the end of the year and is worth it if only for the sense of adventure on the way out.

Update: According to artnet the Vanessa Beecroft piece which was supposed to be in the show was nixed by JetBlue... bummer. It actually looks like a VB piece that I would not hate on. Shout outs to Tyler Green for leading my eyes this way (third item).

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