read about Buchanan's archive here
Friday, May 20, 2011
Wednesday, May 18, 2011
1k projectspace goes to Chicago. Next Art Fair 2011
Chris Baaten, Tatyana Gubash, Kevin Jerome Everson, Heidi Britt Anderson and Linda Herrit.
Friday, July 9, 2010
Evan Ellsworth Jourden, Frosted Intentions, July 2nd, 2010
reception for Evan Ellsworth Jourden, Frosted Intentions, July 2nd, 2010
link to EE Jourden at White Columns Artist Regsitry
Linda Herritt, TEXT BOX at 1K Project space
Linda Herritt's TEXT BOX , May/June 2010
wall drawing created using black fringe and chain
link to Linda Herritt's www
http://www.1kprojectspace.com
Monday, May 17, 2010
Kunstvlaai Art Pie 2010
1K Projectspace in the Zuiveringshal with work by Chris Baaten, Kevin Jerome Everson, Pamela Fraser, Alison Moffett, Eva Pel and Tatyana Gubash. Thru Sunday May 23rd.
Kunstvlaai
Sunday, April 11, 2010
Saturday, March 6, 2010
NYC-march 2010- art fairs etc
Paintings by Betty Parsons at Spanierman Modern at the Armory. A legendary art dealer, less known for her own work. These were incredibly fresh. Made me think of Dana Frankfort a bit.
I am a long time fan of Phillip Allen's paintings. These two wee canvases were the smallest I've seen, and I thought at this scale the schmutz worked really well- differently, proportion-wise. From Kerlin Gallery at the Armory.
A nice surprise encountering these juicy paintings by GL Brierley at Madder 139 from London at Volta.
Brody Condon at Virgil de Voldere Gallery, NY, at Pulse
Jered Sprecher at Steven Zevitas Gallery, Boston, at Volta NY
Of all the fairs I'd have to say Volta was the most exciting. Emerging galleries with each booth a solo show, representing artists largely unknown, some coming a very long ways away. a sense of hopefulness -eggs i the basket feeling over all , with many good surprises. Very happy to come across a painting and really dig it, and then know the artist, as in Jered Sprecher. my camera battery died by the time I got to the armory, so my pics are limited.
Thursday, February 25, 2010
Eva Pel at 1k opening reception
Eva Pel's Observations of a Celebration.
February 20th- March 28th, 2010
330 snapshot size photographs documenting several of the events Ms Pel visited in New York during the 2009 NY400 celebrations. Some are included in the book she published earlier this year with the same title.
I love seeing this LED sign when I'm waiting for a red light!
link to Eva Pel's website
February 20th- March 28th, 2010
330 snapshot size photographs documenting several of the events Ms Pel visited in New York during the 2009 NY400 celebrations. Some are included in the book she published earlier this year with the same title.
I love seeing this LED sign when I'm waiting for a red light!
link to Eva Pel's website
Monday, February 15, 2010
de Appel new site
On the occasion of the inauguration of the new exhibition venue ‘de Appel Boys’ School’ on the Eerste Jacob van Campenstraat 59 in Amsterdam, de Appel presents “For the blind man in the dark room looking for the black cat that isn’t there”.
This group exhibition celebrates the experience of curiosity and speculation as a form of knowledge. In that spirit, the contributing artists each pursue a better understanding of the world, but also insist that an artwork isn't an explanation and that art is not a code that has to be unlocked. In this exhibition, viewers stop being passive receivers of information and become active participants in a playful spirit of inquiry.
Curator Huberman speaking about this expo you tube link Just as when I was first residing in Amsterdam, attending exhibitions, I had the sense that everything was in code, and I was on the outside of some (obvious) pre-requisite knowledge needed to understand the work I was seeing. Thus I was excited about this intro for the show travelling to de Appel. Just as I was excited when reading Roberta Smith expressing I started to feel as if it were all part of a big-box chain featuring only one brand. Me too!! This NYtimes article was shared a great deal on the face book by many an artist.
I thought more about the show at De Appel in the next couple of days after I saw it. However immediately after viewing this show, it all felt a bit flat. I realized there was no painting. This premise- this not knowing- is essentially what many painters do- enter into completely unknown territory. I have a hard time believing in a lack of calculatedness whereas some of the artists in this particular show are concerned. Perhaps more of a painting envy?
btw- very much a PS1 vibe here at this former boys school. .
as a maker of rocks myself, my attention is of course peeked when other artists are making rock like objects. The thing that struck me the most with this Rachel Harrison installation was how now the fotos are orbiting around the sculptural object rather than sitting on it's surface. I realize in my mind, when I see Harrison's work, I always get a visual flash of an early work of her's.. acting as some kind of barometer of how I see all her (future) work. It was a structure of precariously leaning drywall, and an inserted video of termites or an ant-farm or something of that nature.
I liked Matt Mullican's room with lot's of stuff.
be nice to have a big (wall) space to drag out the archive and have a look at it.
The not knowing is easy, so sings stuart A. staples.
This group exhibition celebrates the experience of curiosity and speculation as a form of knowledge. In that spirit, the contributing artists each pursue a better understanding of the world, but also insist that an artwork isn't an explanation and that art is not a code that has to be unlocked. In this exhibition, viewers stop being passive receivers of information and become active participants in a playful spirit of inquiry.
Curator Huberman speaking about this expo you tube link Just as when I was first residing in Amsterdam, attending exhibitions, I had the sense that everything was in code, and I was on the outside of some (obvious) pre-requisite knowledge needed to understand the work I was seeing. Thus I was excited about this intro for the show travelling to de Appel. Just as I was excited when reading Roberta Smith expressing I started to feel as if it were all part of a big-box chain featuring only one brand. Me too!! This NYtimes article was shared a great deal on the face book by many an artist.
I thought more about the show at De Appel in the next couple of days after I saw it. However immediately after viewing this show, it all felt a bit flat. I realized there was no painting. This premise- this not knowing- is essentially what many painters do- enter into completely unknown territory. I have a hard time believing in a lack of calculatedness whereas some of the artists in this particular show are concerned. Perhaps more of a painting envy?
btw- very much a PS1 vibe here at this former boys school. .
as a maker of rocks myself, my attention is of course peeked when other artists are making rock like objects. The thing that struck me the most with this Rachel Harrison installation was how now the fotos are orbiting around the sculptural object rather than sitting on it's surface. I realize in my mind, when I see Harrison's work, I always get a visual flash of an early work of her's.. acting as some kind of barometer of how I see all her (future) work. It was a structure of precariously leaning drywall, and an inserted video of termites or an ant-farm or something of that nature.
I liked Matt Mullican's room with lot's of stuff.
be nice to have a big (wall) space to drag out the archive and have a look at it.
The not knowing is easy, so sings stuart A. staples.
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