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Playing the Background.























the End of a Season


Come celebrate spring and the end of winter with us this saturday night at One Hundred B.
Saturday April 10th. 6-10pm. 100B Forsyth. byob and no rsvp as usual.

Eric Mack in the UWS Recess Gallery




Alana's new work in the back.

Dj Bilal Ali replacing the Tiger in Eric's piece








Drum Kit












Good Bye Winter

and up for auction...












Heritage & Heart for Haiti

Cultures come together as il Casale hosts a celebration of the art and music of Haiti. Celebrate the vibrancy and history of the Haitian culture and learn more about the long term needs of the country while contributing to relief efforts for the victims of the devastating earthquake. Experience the joy and beauty of Haitian culture through its most pure form: music and art.
Celebrated Jazz Vocalist Pauline Jean will perform classic Haitian music and speak about her parent’s native home. Haitian art will be on display and available for purchase from a variety of artists. Chef Dante de Magistris will attempt to set aside his Italian recipes and create authentic Caribbean fare for the special evening.

Monday, March 15th, 2010 @ 6pm

7pm-8:45pm: Haitian Jazz singer, Pauline Jean

@

il Casale
50 Leonard Street
Belmont, MA
(617) 209-4942

works contributed by 624713
40" x 53". mixed media on canvas.
40" x 53". mixed media on canvas.

If your in the Lower East Side stop by 100B Forsyth.

We recently did a window installation for the Hundred B storefront.

Be sure to go inside and check out the Lower East Side Originators exhibit.

You can see work from Spar, JamesTop, Archer, Bomb1, Ero, Sniper, Savage, LA2, and Basquiat.

Much love to everyone who came through. The exhibit will be up until April.

YouTube.com/624713art















@ Cooper Union's new academic building.

Installation by Jenevieve for Rites of Passage.

Installation by Jenevieve for Rites of Passage.

Opening Reception: Thursday, January 21, 2010, 6-9 pm
Exhibition on view: January 21 - February 11, 2010

Rites of Passage is a group exhibition, organized by guest curator Thomas Micchelli, that considers the multiple paths taken by new forms of expression at the turn of the 21st Century, specifically those found in the work of alumni of The Cooper Union who graduated between the years 1995 and 2009 from The School of Art, The Irwin S. Chanin School of Architecture, and The Albert Nerken School of Engineering. Their explorations range from the intangibility of light and sound to the poetry of infrastructure, autobiographical reflection to political outrage, naked terror to absurdist humor. Rites of Passage takes its title from a poem by Audre Lorde that speaks of the transition between generations, of young people as agents of change as well as witnesses to the passing of obsolete ideas.

The works in this exhibition, most of which were made especially for the show, denote some kind of journey that signaled a turning point in the participants' lives or worldviews. Whether the passages are interior or external, they are accomplished through an openness and honesty of expression, a blurring of the lines between disciplines, and a willingness to try anything that might break apart an old paradigm and engender something new.




ASBRA X STHLM

"Asbra is the Swedish word we relate to all the good things on daily basis. We find life, quality in art, sunny paradises, fresh powder, winter land, music, happy faces, literature, action, colors, sunsets, travels, eco friendly products, everyday moments, starry sky in northern Scandinavia, first time experiences, friends, savex, Japanese game shows, big cities, boys..."

"The outcome of this can only be good things... ASBRA develops asbra things-
Being achromatic and a follower won't take you to paradise."


Keep up with the Swedish front. http://asbraxsthlm.daportfolio.com/






Destination Art Space

Show & Sell: The Art Market
12/02/2009-01/31/2010
Opening Reception: 12/02 6-8pm

SHOW & SELL: The Art Market is a uniquely huge group show featuring dozens of emerging and professional artists.

Pick your favorites off our walls and bring them home to grace your own!
With your returning favorites and new artists, there'll be more unique pieces none higher than $500. Everyone can find something they'll want to own and cherish.

destination is making art accessible to the public at incredible prices, offering great artists a public forum.

Featuring Artists:
624713, Mieko Anekawa, Erik Attia, Ana Benaroya, Edwin Bolta, Woojin Choi, Eric Collins, Abby Denson, Destroy & Rebuild, Rodney Dickson, Jarvis Earnshaw, Voodo Fe, Laura Galbraith, Chris Georgalas, Kady Grant, Felipe Guevara, Devin Haqq, Mariko Hasegawa, Christopher Hayden, Sheena Hisiro, Diana Ho, Eric Hosford, Maki Kaoru, Ha Rhin Kim, John C. Kuchera, Janos Lanyi, Felix Morelo, Vernita N'Cognita, Shiori Nishi, Marco Royal Nicodemo, Suzy Q, Bonnie Skiver, Jess Ruliffson, Jung Eun Park, Patricia Peticolas, Enrico Miguel Thomas, Helena V. de Vengoechea

For further information, please contact Hide Tachibana or Hisa Yamamoto at 212.727.2031/destination_ny@hpgrp.com





MaximilianoFerro.com

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Coney Island







Enjoy Banking


available here at the Huffington Post.






Meat Packing District
This past week while checking out the updates on Luna Park and Becki Fuller's RWK Street Post, I noticed that D*Face has done an installation on the wall we hang our paintings on to sell. Initially, I was flattered that this London based street artist came to America and installed on this wall; supplying us with a colorful backdrop or some active space for when there is not much art to sell. After hanging the day's exhibition this morning I thought it was a bit overwhelming with the abundance of color and activity but it's the street and change is good. The energy was great out there, paintings were selling, some clients stopped by to view the new work and people asked about the new 'graffiti mural' behind the display and I let them know it was D*Face and that his art is currently on view at the Jonathan Levine Gallery. Sometime in the afternoon while I'm away from the job, a man comes by interrogating Cris as to what was going on with our Art display; claiming that we are defacing the D*Face mural, we are wrong and that we have no right to do so. The truth is that Dick Face did his mural without consent from the building owners. Cris has actually received the approval of the building owners to display our Art leaning against the building or temporarily attached to the building.

This is when the day gets ugly. Dick Face lovers begin to arrive in small droves giving us nasty comments and disapproval without asking us questions and based on a pretense I do not know the origins of or the terms of. One couple, with an English accent, told me I was wrong for destroying his mural because he came all the way from London to do it. I explained that this mural just arrived earlier this week, we have been displaying here for the past 2 months and that the exhibition comes down before sunset. They were not satisfied. They believed that D*Face owned the right of displaying his composite stencil mural.

Authority and ownership are dangerous. I immediately found a reason to now dislike D*Face. Not only because of the response of his aficionados but because I believe he or someone representative of he sent these people to harass us. Their statements were not logic. The logic of the situation is that D*Face did graffiti on a wall that had graffiti on it already. So he has disrespected other graffiti writers. The rule in graffiti is that these writers now have the authority to go over D*Face's graffiti. Those are the rules from the 1970s until today. So where are the aficionados of the artist that came before D*Face? This all sounds silly and childish but it is what it is. The graffiti movement that began in NYC and spread over the world is based on that rule; so whether you agree or not you have to respect it or deal with the repercussions of not respecting it by those who still uphold the foundation of an element of their culture (let us not forget that graffiti is an element of hip hop which is the identifying culture of the black hispanic american). New York City is our community. We might be asked to stop setting up our art display because we seemingly inspired a large scale piece of vandalism. That wall has been in the same condition for at least 3 months, then 2 months after we are displaying there, a huge graffiti mural is applied. In New York City graffiti is a Felony and it is not taken lightly by the Police or by the Vandal Squad(a special task force which focuses on prosecuting graffiti artists). We call it art, they call it a crime. Cris, 624713, and other NYC artists who have displayed on that corner with us are bringing a live art community to the area yet we do not condone vandalism. We must now explain to the building owners that we did not inspire this graffiti on your wall and when people ask about the mural I no longer know who that artist is or where you can see more of his work.












Michael Jackson et Bubbles
de Jeff Koons
dans les grands appartements du château de Versailles
(Salon de Vénus)
photographié durant une visite de nuit
Porcelaine, 1988

www.jeffkoonsversailles.com/fr/
http://www.flickr.com/photos/dalbera/2973994306/

"...half the gents in Britain were masturbating under raincoats in theaters to Shirley Temple movies, infatuated by "the turn of her leg." What Mr. Jackson was doing was merely projecting back what was beamed on to him by mass culture and consumer society.

I’ve always been disturbed by the title of Jeff Koons’ series of works based on toys: "Celebration." Was there ever a body of work less celebratory and more inert? For Koons, childhood, as shown in his art, is a lifeless signifier of death, everything from his brilliant reflecting balloon dogs to dull paintings of blow-up toys and colored clay advertising that life itself is fundamentally irrelevant, it’s the product that endures. So now Michael Jackson is now just a product and that giant sucking sound you hear is all of us consuming it. In the eyes of the culture and in his own painful eyes, he never really lived."

-Charlie Finch

EnjoyBanking: An Interview With New York's $treet Artist$

available here at the Huffington Post.










the movement of the triangle

The whole triangle is moving slowly, almost invisibly forwards and upwards. Where the apex was today the second segment is tomorrow; what today can be understood only by the apex and to the rest of the triangle is an incomprehensible gibberish, forms tomorrow the true thought and feeling of the second segment.
At the apex of the top segment stands often one man, and only one. His joyful vision cloaks a vast sorrow. Even those who are nearest to him in sympathy do not understand him...How many years will it be before a greater segment of the triangle reaches the spot where he once stood alone?
In every segment of the triangle are artists. Each one of them who can see beyond the limits of his segment is a prophet to those about him, and helps the advance of the obstinate whole. But those who are blind, or those who retard the movement of the triangle for baser reasons, are fully understood by their fellows and acclaimed for their genius. The greater the segment so the greater the number who understand the words of the artist...












independence/upheaval

cinco de mayo is popular because it sounds better than dieciseis de septiembre, that looks more like french than spanish and americans are not all that fond of the french if you know what i'm talking about...












striving for perfection

Trans-avantgarde art could, or indeed should, quote from any period it liked. Furthermore, it need not now restrict itself to fine or 'high' art but could equally well adopt craft and other 'low' cultural techniques, materials and subject matter where appropriate. Newness could no longer be criterion of judgment because newness, it was realized, was unattainable, and consequently any claims to originality were downright fraudulent. Everything had already been done; all that remained was for us to take fragments of what was to hand and combine and recombine them in ways that were meaningful.












Newness

The ambition to reach perfection is confused with the idea of making a work independent of any particular time; but the desire to be new insists on making of it an event remarkable by its contrast to the present moment. The former admits of, and even demands, heredity, imitation or tradition, which are steps in its climb toward the absolute object it wishes to attain. The latter rejects them, and in doing so implies them still more strongly, for its essence is to be different.












Works in Progress


Introducing Claude Monet to Milton Glaser...










http://112greene.bigcartel.com/

for sale. sold

Manufacturing Happiness

...people mispredict how happy they will be, but they also misremember how happy they were. People's "prospections" looking forward in anticipation, and their "retrospections", looking backward in reflection, often match very well. It is just that neither of these match the experience that they have...human beings want to be happy, they attempt to find happiness; but when they cannot find it, they find a way to manufacture it...this observation is nothing new. We are enormously capable of changing our view of the world in order to make ourselves feel better...we find ways to rationalize, to think about events that will allow us to feel a little bit better about them...people are unaware of their own talents to change the way they see the world. Everyone of us is very good at this, but very few of us realize that we are doing it...it is as if we have an invisible talent, an invisible shield.