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A Search for Comity in the Intellectual Property Wars: symposium at The New York Institute for the Humanities at NYU, April 28-30, 2006 [slides, audio, transcripts]
Will Fair Use Survive? Free Expression in the Age of Copyright Control, by Marjorie Heins and Tricia Beckles.
download the report [PDF]
Newsgrist pal "Giant Pander" is DJing this friday at the bi-weekly DJ night at Club Deity : come and enjoy some lovely dance music at a charming former Synagogue in Brooklyn:
Friday June, 27 2008
SUSPIRIA
@
Deity Cellar
368 Atlantic Ave (between Hoyt & Bond), Brooklyn, New York 11217
Cost : FREEwith Carrie Whitenoise, Dennis, Giant Pander, Ladycreme, Mike McGill // A-C-G to Hoyt - Schermerhorn // F to Bergen // 2-3 to Hoyt // 4-5 to Borough Hall // B M Q R to Dekalb
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Herb and Dorothy Vogel at the National Gallery. They amassed a valuable collection of contemporary art over the years on a modest income. (Fine Line Media)
via C-Monster's Digest :
Arts Beat
'Herb and Dorothy': You Can't Spell Heart Without Art
By Rachel Beckman
Washington Post Staff Writer
Thursday, June 19, 2008; Page C05Herbert and Dorothy Vogel like the most unlikable art. They own a few inches of frayed rope with a nail through it. A curved lead pipe. A black cardboard square with the definition of the word "nothing" printed on it in white.
The works, by Richard Tuttle, Carl Andre and Joseph Kosuth, respectively, are part of the more than 4,000 works that Dorothy, a 73-year-old retired librarian, and her husband Herb, an 85-year-old retired postal clerk, have collected. They started buying minimal and conceptual art in New York in the early 1960s, living on Dorothy's salary and spending Herb's on art.
A documentary about their love affair with art, "Herb and Dorothy," screens tomorrow and Saturday at the Silverdocs film festival.
Filmmaker Megumi Sasaki met the Vogels in September 2004 at an event honoring the artists Christo and Jeanne-Claude. The idea of a modest-income couple with thousands of artworks stashed in their one-bedroom, rent-controlled apartment intrigued her.
But about six months into filming "Herb and Dorothy," her first documentary, she hit a wall with her subjects.
"They didn't articulate why they like this particular artwork, why did they collect a certain artist," Sasaki says. "The only thing they said was, 'It's beautiful. I like it.' How can I make a film about art collectors who don't talk about art?"
Sasaki had resigned herself to making a 20-minute short film until an interview with Italian artist Lucio Pozzi convinced her that part of the beauty of the Vogels is that they aren't so academic about what they like. They act on intuition.
As Tuttle puts it in the film: "Something goes from the eye to the soul, without going through the brain."
From then on, Sasaki instructed her camera operators to get close-ups of Herbert Vogel's eyes whenever he looked at art. His eyes intensify and light up when he likes something. This happens in a scene filmed in James Siena's studio. Siena, a Washington native, shows the Vogels his new paintings.
"They're very enthusiastic," Siena says. "It's pretty obvious in some way. Sometimes they say things like, 'James, I think this is a very important drawing. Very, very important and I'd like to add it to the collection.' "
Siena says the Vogels have the eyes of artists or curators, rather than collectors. They don't chase trophy pieces, partly because they can't afford them. They buy small works that will fit in a taxi and then in their apartment.
They stay loyal to the artists they adore and collect their work aggressively for decades. Most notably, they're not interested in turning a profit. Despite their priceless collection, they live simply; Herbert wears the same green sports jacket in footage from the '70s and 2007.
The 5 p.m. screening of Herb and Dorothy tomorrow is sold out; tickets are available for the 4:30 p.m. show on Saturday. $10. AFI Silver Theatre, 8633 Colesville Rd., Silver Spring. For tickets, visit http:/
Dorothy and Herbert Vogel look at a drawing by Richard Tuttle from their collection in the Print Study Room, National Gallery of Art, 1992. Photo by Lorene Emerson, National Gallery of Art, Washington, D.C., Gallery Archives.
More about the Vogels:
National Gallery of Art Press Office:Release Date: April 11, 2008
The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, A National Gift Program of Contemporary Art, Is Announced by the National Gallery Of Art, the National Endowment for the Arts, and the Institute of Museum and Library ServicesNYTimes: Inside Art
2 Plucky Collectors, 50 Lucky Museums
By CAROL VOGEL
Published: April 11, 2008
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via ArtFagCity, 6/24/08:
Nobody can accuse artist Nayland Blake of poor titling. The Guys We Would Fuck, the attention grabbing headline of his current curatorial efforts at Monya Rowe not only caught my eye, but does exactly what it claims; ask participants to chose the men they'd fuck. Constructed by way of a meme, the exhibition will continue to grow throughout the duration of the show as those initially chosen by Blake invite others to participate.
Tall, bearish and adorned with tattoos, Nayland Blake is a well known and active figure within both the kink and fine art community. He also has a reputation for blurring such distinctions; over the past twenty years the artist has drawn from his experiences as a gay mixed African American as a means of investigating that complex identity. I sat down with the artist recently to discuss his latest show, S&M and other related themes in his work, and his opinions on gay marriage. The Interview after the jump. MORE »
Exhibition press release here.
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reblogged via Visual AIDS >blog:
SIDE X SIDE / Visual AIDS exhibition
SIDE X SIDE
June 28, 2008 - August 3, 2008
Reception: Saturday, June 28, 6-9 pm
Scott Burton
Kate Huh
Nicholas Moufarrege
Martin WongCarrie Yamaoka
Curated by Dean Daderko for Visual AIDS
La MaMa La Galleria
6 E. 1st Street, New York City
between Bowery & 2nd Avenue
Gallery Hours: Wednesday - Sunday, 1-6 PM
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Sanford Biggers
Cheshire 2007
14 minutes
continuous loop
DVD projection, single channel, color, sound element
Into The Trees
The Fields Sculpture Park
Omi International Arts Center
Ghent, NYJune 21 – November 30th, 2008
Curated by Lilly Wei and Amy Lipton
The Fields Sculpture Park is pleased to present its 10th annual summer exhibition, Into the Trees. The exhibiting artists are Polly Apfelbaum, Sanford Biggers, caraballo–farman, Elizabeth Demaray, Stephen Dean, Katie Holten, Jason Middlebrook, Alan Michelson, Cordy Ryman, Shinique Smith,Chrysanne Stathacos and Saya Woolfak.
The exhibition title is borrowed from Ernest Hemingway's novel, Across the River and into the Trees and functions descriptively. A site-specific, open-ended project, it is as much -- if not more -- focused on the idea of a fixed point and the proliferation from that point as a metaphor for the creative process as it is on environmental issues. Into the Trees is interested in how each participating artist, given a tree as a common element and initial stimulus, will arrive at an innovative, utterly individual resolution.
For Into the Trees, eight artists have been invited to select a living tree from the 100-acre site of The Fields Sculpture Park at Omi International Art Center in Ghent, New York. The artists will work with their tree on a site-specific installation and must therefore take into consideration the temporality of their construction and materials as well as the natural surroundings and are asked not to harm the tree, the only restriction.
The exhibiting artists outdoors are:
Polly Apfelbaum, Elizabeth Demaray, Stephen Dean, Jason Middlebrook, Alan Michelson, Cordy Ryman, Shinique Smith, Chrysanne Stathacos and Saya Woolfak.Into the Trees will continue indoors as the debut exhibition in the newly completed 1500 sq. ft gallery space in the Charles Benenson Visitor Center. Three artists will make use of the gallery space as a continuation of the outdoor exhibition. Katie Holten, from Ireland, will recreate her sculpture, Excavated Tree: Missouri Native (Flowering Dogwood), a monumental tree sculpture produced and exhibited at the Contemporary Art Museum St. Louis in 2007. Holten represented Ireland in the 2005 Venice Biennale. Working in video, installation and photography, the artist team of Argentinian-born Abou Caraballo and Iranian-born Leonor Farman have been collaborating since 2001 and have recently exhibited at the Tate Modern in London. For Into the Trees, they will create a new work consisting of a live video feed transmitted from the roots of a sapling planted outdoors to a monitor in the gallery, a "performance of growth" that can be watched in real time. Sanford Biggers, a New York-based artist from Los Angeles, will exhibit Cheshire (2007), a video sequence where, in turn, a different black male dressed in his work uniform climbs--or tries to climb--a tree: a fencer in white knickers; a dentist in scrubs; a lawyer in a suit. Tree-climbing as a stand-in for social climbing, its darker reference is to strange fruit, depicting, according to the artist, "black men hanging out in trees, as opposed to being hung from them."
In conjunction with Into the Trees, The Fields Sculpture Park is pleased to present:
Twitchers and Cheaters, a one-person exhibition by New York artist, Nina Katchadourian.
Twitchers and Cheaters, a new work by Katchadourian will be installed outdoors at the Fields Sculpture Park at Art Omi. "Twitcher" is a slang term for a birdwatcher, and avid birdwatchers frequently keep a "life list" of the birds that they have personally observed. This list is the source of great pride for many birdwatchers, since they will often travel long distances to be able to observe new birds. Ultimately, however, every birdwatcher's "life list" relies on a kind of honor system since there is no easy way to prove bird sightings, which often happen in a fleeting manner and in very remote places while the birder is alone.
Twitchers and Cheaters consists of a multi-channel video project installed into tree branches. On the monitors in the trees, viewers will see images of birds appear and disappear rapidly and intermittently from monitor to monitor. Any bird in the northeast that could conceivably land in a tree at the Fields has been included in the footage, and also many others that would be much more rare and harder to spot in this location. The images flit from screen to screen, and as such prompts a viewing experience that resembles the quick and "twitchy" experience of birdwatching itself. However, by watching the video screens in the woods, a viewer can effectively assemble a "cheater's life list" of all the birds of the northeast in the space of only few minutes.
Katchadourian's work often plays with the human relationship to the natural world and asks us to consider what we go to nature to find. Twitchers and Cheaters pokes fun at our longstanding human tendency to collect and categorize, as well as the competitive strain that we bring to activities even as pastoral as birdwatching. It also asks us to reflect upon the impatient temperament of our culture by taking our thirst for time-saving strategies to such an extreme that it turns an activity such as birdwatching, which by definition requires patience and keen observation, into something comically oversimplified and absurdly efficient.
Nina Katchadourian, Twitchers and Cheaters
The Fields Sculpture Park
Omi International Arts Center
Ghent, NY
June 21 – November 30th, 2008
Curated by Kathleen Triem and Peter FranckFor further information please contact:
Amy Lipton, Director
The Fields Sculpture Park at Omi International Arts Center
518 392 4747 thefields @ artomi.org
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