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The Situation(s) with Gosia and Longin

2012-02-13T10:07:00.000-08:00

As the dust settles on the first BoxoHOUSE project, the impact of the week is sinking in. For Gosia Wlodarczak, drawing is an imperative, perhaps a way of feeling connected or alive. After a midnight arrival in Joshua Tree following a solo show and residency in Bellingham, WA, she and Longin Sarnecki were over at BoxoHOUSE bright and early and insistent on preparing the canvases and starting the work immediately. The arc of the project was to create a dozen or more "situations" during which a canvas would be drawn on for exactly one hour, as well as to undertake the FROST DRAWING FOR JOSHUA TREE performance over 3 four hour-long sessions.

When I proposed a cup of coffee to energize us and to undertake some planning for the week ahead, this became the first situation and Gosia got straight into drawing.

Situation #1, BoxoHOUSE, 2012
pigment marker on canvas; 12” x 12”
Image by Longin Sarnecki

Once the planning was done and the glass for the drawing performance surveyed, it was time to get out and about. First stop Ricochet Cafe where Situation #2 was drawn over lunch and Situation #3 begun over coffee and something sweet. Interactions with curious onlookers cafe were fun and carried the energy out into the world. After a quick test cleaning of the glass at BoxoHOUSE, it was down to the Palm Springs Museum where Situation #3 was completed and the marvelous Swimming Pool exhibition taken in.

Situation #2, Ricochet, 2012
pigment marker on canvas; 12” x 12”
Images by Longin Sarnecki

Situation #3, Ricochet & Palm Springs Museum, 2012
pigment marker on canvas; 12” x 12”
Image by Longin Sarnecki

Then on for a late night beverage (hot toddies without the brandy) at Birba and yes, that was Situation #4. Then back up the hill and home - phew, a big first day.

Situation #4, Birba, 2012
pigment marker on canvas; 12” x 12”
Images by Longin Sarnecki

Friday Feb 3 dawned bright (is it the desert after all) and it was time to prep for the performances. Gosia and Longin strolled over from Rattler Ranch with, yup, a drawing in hand - Situation #5 Diane's Mustang Cabin. Prep aka cleaning the glass proceeded, al fresco lunch consumed and refreshments laid out before the performance began at 1pm. Over the next four hours, Gosia began to record non-stop the images that came into her line of vision. Never drawing from imagination or memory, never interpreting, just drawing line after line, a glimpse of an object or a person or the landscape or a critter. Some curious folks came by, admired the work, questioned Gosia, and entered into the drawing. At 5pm, the remaining audience sat down around the table with Gosia and we chatted on for a while.

FROST DRAWING FOR JOSHUA TREE, 2012
pigment marker on glass;
Images by Bernard Leibov and Longin Sarnecki

FROST DRAWING FOR JOSHUA TREE, 2012
pigment marker on glass;
Image by Longin Sarnecki

Situation #5, Diane's Mustang Cabin, 2012
pigment marker on canvas; 12” x 12”
Image by Longin Sarnecki

As tiring as the day had been, Gosia was straight into the next situation over a meal at Crossroads Cafe. I dropped them off after the meal, realizing that Longin's work of documenting the day and mailing key images to a select list internationally, was only just beginning.

Situation #6, Crossroads Cafe, 2012
pigment marker on canvas; 12” x 12”
Image by Longin Sarnecki

Day 2 of the performances started with a surprise - Gosia had taken an early morning walk and made a canvas using a rock as her easel. This work is akin to a dust cover and really captured it's natural inspirations. nevertheless, Gosia was keen for yet another situation, so back to Ricochet where the coffee was judged by both Gosia and Longin to be excellent. No room inside? Gosia rolled with the situation and we sat on the back patio - a lively canvas emerged from this session.

Situation #7, Dust Cover Rock, 2012
pigment marker on canvas; 12” x 12”
Images by Gosia Wlodarczak

Situation #8, Ricochet Back Porch, 2012
pigment marker on canvas; 12” x 12”
Images by Longin Sarnecki

The second day of the performances brought the community out in force. Writers, musicians, artists, local business folk, the curious all came through. Even a friend from NYC on his way to a workshop at the Joshua Tree Retreat Center. And Gosia drew on and on, taking in the changing shapes both from within and through the glass. She got into conversations, sipped on hot water and just kept on drawing. At this point, I noticed that the drawing had moved onto new frontiers of glass and not those I had originally planned on using.

Gosia was responding to the situation, both the broad sweep of landscape and the energy of the audience which grew and was very focused in the main living room area. I tussled with this encroachment on the view for a while, and still am, and realized that this was very much an outcome of the project - the situation was such that I had invited an artist to make an artwork in a private space and invited the public to witness and participate. Attempting to assert control was not the right response - this was what I had signed on for, not an exercising in decorating my rooms.

FROST DRAWING FOR JOSHUA TREE, 2012
pigment marker on glass;
Image by Bernard Leibov

FROST DRAWING FOR JOSHUA TREE, 2012
pigment marker on glass;
Image by Longin Sarnecki

After what was becoming the customary post-performance drink and chat, we headed off for another situation - a meal at Yokozuna. Exhausted as she was, Gosia kept drawing and had a conversation with the waitress on the subject. Once again, I dropped off Gosia and Longin - them to complete the work and me to sleep.

Situation #9, Yokozuna, 2012
pigment marker on canvas; 12” x 12”
Images by Longin Sarnecki

Sunday February 5, the third day of the performance, was another sunny beaut. Off for the morning ritual - coffee situation at Ricochet. This time we were back inside and got to chat with more interested folks. We were now in Situation #10, with two drawing performances behind us, and I really got to appreciate Gosia's commitment and focused process. I found my mind wandering during the session, and made some calls and texts to keep spreading the word about the final day of the Frost Drawing. I checked email. The table fell quiet and I felt odd - what was my role here? Would this effect the outcome? Was I lessening any form of support for Gosia? By tuning out, I removed myself from the situation and was in a different space. I simply was not present and felt it. Yet, Gosia just kept drawing.

After the hour, a jaunt onto the mesa to see a new museum of local art being opened by Regina and Dimitri Kirolov. Gosia and Longin were fascinated.

Situation #10, Ricochet, 2012
pigment marker on canvas; 12” x 12”
Image by Longin Sarnecki

Visit to Joshua Tree Museum
Image by Longin Sarnecki

Then from 1pm - 5pm, the final leg of the performance. A steady stream of folks came by, right up to the close. Some appreciative collectors from Ohio also stopped by and were "drawn in" to the work. Gosia continued to draw in the same steady mode and made a switch to a large glass door in the bedroom. The audience followed naturally and some stood out on the patio as the final stretch came to a close.

Images by Bernard Leibov

Frost Drawing complete, it was time to celebrate in local fashion. Up to Pappy and Harriets with Diane Best and Christopher for live music, barbecue, a drop of wine and yes, more drawing.

Situation #11, Pappy & Harriets, 2012
pigment marker on canvas; 12” x 12”
Images by Longin Sarnecki

The last full day of the project was largely devoted to exploring the Joshua Tree National Park, the payoff for Longin who has a passion for travel and nature photography. Fist off, the final coffee situation at Ma Cafe Rouge where the latte was judged good enough for seconds.

Situation #12, Ma Cafe Rouge, 2012
pigment marker on canvas; 12” x 12”
Images by Longin Sarnecki

Properly fueled, we rocketed into the park with many stops for Longin for take it all in. Then a picnic in Hidden Valley, followed by a nature walk which included yet another situation - a dust cover for a Joshua Tree!

Situation #13, Dust Cover Joshua Tree, 2012
pigment marker on canvas; 12” x 12”
Images by Longin Sarnecki

Gosia and Longin in Joshua Tree National Park
Images by Bernard Leibov

On the way back from the Park, we stopped at Harrison House for a tour with Eva Soltes. This remarkable structure was built by Lou Harrison and is now owned by Eva who welcomes artists and musicians for residencies. Eva's documentary on Lou Harrison premieres in San Francisco on March 6.

After a stop at BoxoHOUSE for final documentation of the FROST DRAWING, it was time for the final drawing session. Down to the Joshua Tree Saloon for a taste of local flavor and an excellent last supper in the company of these dedicated artists. That was the situation.

Situation #14, Joshua Tree Saloon, 2012
pigment marker on canvas; 12” x 12”
Image by Longin Sarnecki

FROST DRAWING FOR JOSHUA TREE and the Situation canvases are on view at BoxoHOUSE through Spring 2012. The canvases will also be exhibited at BoxoOFFICE in New York in the Fall.

Frost Drawing for Joshua Tree

2012-02-07T12:23:00.000-08:00

BoxoHOUSE was wonderfully inaugurated with the three day Frost Drawing for Joshua Tree performance by Gosia Wlodarczak. Under clear skies, Gosia drew for four hours each day for three days as the local community came by to witness the work and so be literally drawn in to the structure. Musicians, writers, artists, gallerists, the art interested and even some out of town collectors, all stopped by and enjoyed being part of the process.

Gosia Wlodarzcak, Frost Drawing for Joshua Tree, 2012. Image: Longin Sarnecki

Gosia Wlodarzcak, Frost Drawing for Joshua Tree, 2012. Images: Longin Sarnecki

Gosia Wlodarzcak, Frost Drawing for Joshua Tree, 2012. Image: Longin Sarnecki

Each day, Gosia also drew at spontaneous performances all around the area over meals and visits to the National Park. Fourteen "Situations" were produced and are being exhibited at BoxoHOUSE along with the Frost Drawing.

Gosia Wlodarzcak, Situation 11 Pappy & Harrietts, 2012. Image: Longin Sarnecki

Much gratitude to Gosia, her collaborator Longin Sarnecki, and everyone who came by to be part of the performance and now remain as part of the house.

Art + Environment Conference

2011-10-06T11:31:00.001-07:00

Following a wonderful opening and follow up evening of conversations at BoxoFFICE, Megan Evans and I headed out to Reno for the Art + Environment Conference at the Nevada Museum of Art.

The conference is a gathering of artists, curators, educators and more, all bound by their interest in art that relates to natural, built or virtual environments. The conference was literally mind blowing. Presenters, ranging from Jorge Pardo to Leo Villareal to the the Harrisons and Patricia Johanson, shared their work and inspirations in a powerful and intimate manner.

One presentation by photographer Chris Jordan captured my sensibilities as he called for change within each individual such that we can imagine change in the broader direction of society and its effect on the environment. Edward Burtynsky's remarkable images captured the imagination and he spoke of the privileged position he has gained that allows him access to the sites he documents for us. Pardo shared a wonderful overview of his work and his unique perspective on how design, architecture and art blend in his outlook. A marvelous contingent from Australia, including painter Mandy Martin, reminded me how far we are sometimes from working with the land and the original inhabitants of the land when seeking to communicate something essential and meaningful about place or the environment.

Bruce Sterling gave a riotous and oddly poignant summation reassuring us that the rising generation will be taking over in ways we don't relate to and that our structures, which have brought the state of the world and the environment to its current position, will be swept aside and the new will create the next future.

There was much to be learned and discussed amongst he participants themselves who were a dynamic group from across the country with a healthy does of Australians and other international types. Artists with projects as diverse as rebuilding Eden in Southern Iraq to remaining the Amazon, creating residencies in urban San Francisco or on a private land trust near Philadelphia.

Several exhibitions were mounted including the wonderful Altered Landscapes survey of photography dealing with our interaction with the environment.

Huge kudos to David Walker, Anne Wolf, Bill Fox, Colin Robertson and their team for creating a dynamic, professional, contemporary and inspiring home for furthering our efforts.

UPDATE: After attending the conference, I was in LA for the tail part of Art Platform when I got a call about a property in Joshua Tree. Riding the inspiration of the conference and the community it creates, I hightailed it out to the desert and went into action. BoxoHOUSE is now up and running and has hosted the first residency project - see details here: Gosia Wlodarczak: Frost Drawing for Joshua Tree

Humanbeeing - a conversation

2011-10-06T11:04:00.000-07:00

On Tuesday September 27, BoxoFFICE hosted a dynamic dialogue between Megan Evans and Ron Breland, beekeeper/philosopher. A diverse audience of collectors, artists, cultural programmers and environmentalists joined us for the evening.

Ron installed one of his decahedron hives and gave a compelling talk involving bees, art and new physics that posited how bees allow us to see beyond our usual preconceptions and glimpse the unity of the super organism of which we are all part.

Megan put her practice and the exhibition into this context of accessing our interconnectedness and encouraged us to see generosity and giving as an access point to understanding our place in the universe and achieving reconciliation with each other and the greater environment that surrounds us.

A lively Q followed. The talk was broadcast by Skype to Boston and a video can be seen here.

Megan Evans 'TO bee' opens

2011-09-25T15:48:00.000-07:00

A wonderful crowd of Australians, artists, art appreciators, beekeepers, philosophers and bon vivants joined Megan Evans for the launch of her solo exhibition TO bee.

The weather held and an amazing sunset peeked out below the cloud line as the crowd took in the wonderful works.

The exhibition features large-scale drawings, photography, video and sculpture. TO bee will be on view until November 24th 2011.

Look for related programming and events at BoxoFFICE, kicking off with Tuesdays conversation with Ron Breland (details here).

Burning Man 2011: Rites of Passage

2011-09-19T07:24:00.000-07:00

Another Burning Man has flashed by and I am back at City life enriched, enlarged and a bit befuddled. How did it all unfold and then fold back up, slipping neatly into a packed case of the everyday. Or did it?

As with my experience two years ago, Black Rock City outstripped the Venice Biennale in terms of providing a compelling experience with the power to alter perceptions. The experience promised by the Venice title "Illuminations" was dark in comparison with the bright lights that shone on the Playa in Nevada.

Courtesy of Lady Bee

This year, I camped with a larger group, Camp Free Puppies. A diverse bunch from NYC, LA, Minneapolis, Boulder and San Francisco, we achieved that rare and wonderful state of drama free supportive cooperation. I was spoiled vis a vis earlier years - kitchen in a truck, shaded tent, shower structure, open hangout area and a wonderful domed hangout covered by a custom made skin of cartoon sheets and other bright prints. And community.

My week went by on a somewhat familiar schedule which leads me to think I will shake it up next year. One constant that I have no desire to give up is dancing at Pink Mammoth. A huge gift to the playa, Pink is the place to go for a cool afternoon dancing into sunset. Friendly folks, great beats and a spectacular setting. What more could one ask for? 52 weeks of it!

Courtesy of Lady Bee

Monday - build camp and wander out with the group for an evening foray on the playa. Amazing how much is accomplished even this early on the week.

Courtesy of Lady Bee

Tuesday - a new experience that lead to some learning. I volunteered with a crew from Hushville to work at Arctica, the ice outlet. The shift was 12-3pm and we got there in good time. Owing to a bureaucratic snafoo too boring to go into, I wasn't able to cashier as intended. I had a moment of attitude before the shift manager suggested calmly that I just hang out. Minutes later he had rigged a chain and loop setup to the metal dome struts and had me up in the loops twisting and attempting to do my best Cirque du Soleil number. In a clown outfit complete with dayglo green and pink panels and fluffy white balls all down the center (thanks Lady Bee). Customers were not really impressed though staff found it a hoot.

Then bureaucracy struck again - a Borg representative told me to get down as they didn't have liability insurance. This is the first time in 5 events that I have been asked not to do something at Burning Man.

Now amused, I got down to the ground and sought out another assignment. This one was really good. The shift manager gave me a large chunk of ice and suggested I go out to the long line standing in the heat of the day with an offer of an "icing" - the next two hours were spent painting numerous hot bods with trails of ice that provided a minute or two of playa style air conditioning. Hugs, thanks, smiles - what a great time. And a wonderful lesson from the shift manager on letting go of expectations and finding other ways to give. Thanks man.

Then on to Pink Mammoth, reception at the Mansonian Institute, dinner at camp and an early night.....

Wednesday - shave, wash hair and off to the WNBR. Fun as always. Then on to Pink Mammoth, dinner at camp and out with the boys from San Fran. Zzzzzzz

Thursday - art tour and walkabout with Lady Bee, early return to camp to cook dinner, out with Dwell for the regional burn - 24 projects sourced from regional Burning Man groups went up simultaneously. Gorgeous works and spectacular choreography. A quick stop at Charon - a large-scale zoetrope depicting skeletons rowing across Styx to Hades. Wow. Then a dance at my new next favorite - Disorient (thanks Leo and crew). Zzzzzzzzz

Friday - how did it go so fasssst. Up at 6am to catch sunrise on the playa and photograph the art in great light. Flawed strategy only in that I totally missed documenting fire pieces that burn brightly at night. (All night images courtesy of the wonderous Lady Bee). The morning was spectacular although cold! Got to the task with a shiver and a quick morning dance at Disorient which was still going at 7am.

A long stop at the Temple to take in its magic once again. Many people around catching the sunrise, listening to the gongs and even an early morning wedding. Powerful.

Then the playa provided - I ran into the Dust City Diner out near the perimeter. A performance piece that moves all over the playa, the diner is a fully functioning apparition that provides humor, coffee and pancakes in the morning - humor, coffee and grilled cheese at night. True joy.

On to center camp for my coffee shift - four hard and fast hours of greeting, meeting and providing a jolt to hundreds of lagging Burners. My barristas were a bit of a humorless lot and the week was getting to my lower back. Nevertheless, I generated it out and had a wonderful time interacting with so many faces. Pups Emily and Courtney came to visit and then Derek Mangot magically appeared.

From there to Pink Mammoth, a joyful farewell with Derek, Kirk, Rick, Chris, Pup Sara G et al.

Last evening - another foray out with the Pups - checked out the scene around the Trojan Horse which was being prepped for it's burn after having been pulled onto the playa by 600 toga clad volunteers. Decided to skip the midnight burn and walked back toward camp only to stumble into the best firework display I've ever encountered celebrating the Flaming Lotus Girls stunning project Tympani Lambada.

Courtesy of Lady Bee

Saturday dawned bright and early. I packed, got my stuff over to NYC Container Camp and hit the road. Farewell BRC - next year beckons.

Illuminating - Venice Biennale 2011 - To the Arsenale

2011-06-19T10:13:00.000-07:00

Two and a half days in the Giardini - the minimum necessary to take in the dense offerings as well as negotiate the long lines - and then to the Arsenale. The massive darkness of the first long hall is a welcome respite from the sun, heat and frenetic crowds that typify Venice at this time of year.

First up for me was the marvelous para-pavilion by Song Dong. A maze of antique doors, door frames, closet doors and small building facades was a playful invitation to cross thresholds and change perspectives. Entering through a closet door (Narnia-like), I came upon a plinth on which Ryan Gander had depicted himself falling out of his wheelchair. A strange moment for me as I had recently met Ryan and came away with the sense that the wheelchair was the last and least thing one noticed about him.

Onward through the wide long space filled with offerings until I came upon the massive dragon made of inner tubes by Nicholas Hlobo. The giant creature hung from the ceiling seemed like a challenge to one's safety, aesthetic and otherwise, and reminded me of publicity for horror movies. My South African friends similarly decried it's merit - no matter as it has been purchased by Puma for display in corporate quarters back in the homeland. A couple of stitched works flanking the beast redeemed the effort for me.

A sucker for installation, my searching eyes were drawn to the mass of neon, metal tubing and silver tarp by Navid Nuur. The unfinished quality of the work, with the fabric drawn back and the neon brightly revealed in the middle, put in the mindset of planning for Burning Man - one never knows where inspiration for this year's shelter will come from.

Of the video works, I was drawn into Dani Gal's Night and Fog dealing with the scattering of Eichman's ashes. The video is a psychological portrait of the security forces carrying out an "act of honor". While I was taken with the stylized stuttering quality of the work, I was later told that this might have been a technological glitch. I clearly need to see it again.

The apse of the Arsenale was occupied by several large Urs Fisher works. They are giant candles, one a full scale recreation of The Rape of the Sabine Women, slowly melting away. Having not quite recovered from the Urs Fischer extravaganza at The New Museum, I moved on.

Next I came across a happy discovery - the complex yet lyrical work of Corinne Wasmuht. A large, multi-layered painting created a wonderful moment of fictional space. Someone for me to look out for.

Couches came next - First an installation by Rosemarie Trockel featuring the familiar draped couch and some unfamiliar wall works. Then the luxury of alarge screening room featuring Christian Marclay's The Clock. This was my third viewing, one at Paula Cooper in NYC and one two evenings before near the Biennale HQ. I had a restful and meditative half hour from 2.45pm to 3.15pm as the plasticity of time was so wonderfully deconstructed. A couple of afternoons previous, I had joined friends for a lecture by Jaques Ranciere on the interwoven elements of time and power, and the redistribution of time within the capitalist model. Strands of that idea greatly informed my viewing of Marclay's piece.

Now a left turn and down the short end. First up, a couple of people debating whether or not they were looking at art - namely the faithful reconstructions of garbage cans from the around the world. I'm sure a spare tissue or two got discarded into them.

Several national "pavilions" presented themselves next of which India was the most interesting to me. A mix of work ranging from traditional to high-tech, seemed to capture the cultural temperature as I imagine it to be. Most fun was a ride in an elevator - press the button, enter the cab and watch as floors go whizzing by simulated by giant video projection.

Croatia featured people behaving badly and Turkey provided a large set of piping that was another purification plant for local water. Did they text with Israel before coming to Venice?

South Africa was back in town after a 16 year absence and I was keen to be there at the official opening of the pavilion that afternoon. Down to the waterside to catch the shuttle which crosses all of about 100 feet of water (why no bridge?!). The shuttle could only take 12 people at a time (12 Angry Men?) and the line advanced little in my 15 minute wait. Luckily, entrepreneurialism is alive and well in Venice and an enterprising taxi driver was ferrying folks for a mere 5 euro. Cheaper than a vaporetto ride.

I strolled the length of the quayside in the heat until I reached the tower, guarding the inlet entrance, which housed the South Africans. Inside I found a thoroughly modern restored environment and an impressive array of large scale work by Siemon Allen, Mary Sibande and Lyndi Sales. While i did enjoy the works, it struck me that South Africa was putting forward its best foot in the context of "western" contemporary art and shying away from anything that smacked of post-colonial practice. Too bad - the country has been such an agent of change in other arenas, it would be wonderful to see work that challenged conventions in Venice.

Back across the water, I entered the Italian pavilion. This year, the work has been selected by 200 intellectual as a nod to 150 years of unification. Additionally, there is a second level installed which is a maze-like museum of the cosa nostra. Be it the mafia of the intelligentsia or the mafia of the Sopranos, the results were largely unintelligible and a real conversation stopper when brought up with citizens of the host country. I did like the simple poetry of a national flag made up of old t-shirts - it smacked of good, honest community art.

Next door, China was a contrast in simplicity. Clouds of mist rose from vats inside the space while in the garden beyond a large cloud sculpture was enveloped in yet more mist. Meanwhile, someone walked backwards with a clocks strapped to them that was - yes, you got it - going backwards. The mists of time were going backwards.

Moving in a forward direction, I walked through the gardens behind the Arsenale, took in the big pink Franz West protuberance from a distance and then happened on the most surprising display. Entitled Some Like it Hot, the installation/performance/event involved an audience sitting drinking wine. The wine bottles were whisked away when empty and thrown into a barrel in which they were mashed with a large pole. Glass shards were fed into a large furnace in the middle of the clearing and molten glass was removed from time to time and poured onto a growing mound. A live soundtrack was provided by a Brooklyn-based band called Japanther. The furnace was fed fuel from a woodpile stacked to one side. In front of the pile was a bench with some folks seated, including a very thin naked guy. At one point graffiti was written onto his back. He then went behind the pile, and emerged with a large axe. He approached a wood stump on which some older folks were seated and asked to clear it for chopping purposes. One woman, noting his scrawny body, offered him a sandwich which he ate with gusto. He then proceeded with the wood chopping. This was definitely different.

Enlivened by Gelatin's offering, I made my way to a cocktail party for the launch of a brochure by an Italian writer. In the garden of an old nursery near the Arsenale, the evening was a perfect way to segue out of Biennale mode.

Illuminating - Venice Biennale 2011 - Giardini Days

2011-06-10T08:16:00.000-07:00

This edition of the Venice Biennale got off to a hot and sweaty start. Not only were the crowds overwhelming and the weather blazing, the political content and performance-based presentations heat up the scene.

The Danish pavilion stood out for its support of freedom of speech, literally providing a platform for a group of protesters involved in the current Italian referendum on nuclear energy. A large platform/tree house was built aside the pavilion and festooned with banners and an outsize megaphone. Inside, the most personally striking work was by Robert Crumb and Taryn Simon, two artists working at opposite ends of the spectrum to help us gain perspective on our lives in the US.

Just across the gravel, the US pavilion had a political message of its own. Represented by the pair of Allora and Calzadilla, the US featured an oddly self-critical set of works including a US athlete running on a treadmill on top of an upturned tank, a giant pipe organ that played loudly as cash was taken from an ATM and US gymnasts exerting themselves on wooden replicas of first class seats. The last of these aptly brought to mind the exertions of staying on top of the corporate pile such that your seat upfront remained assured. There was something almost creepy about a State Department sponsored exhibit that was so in your face critical about US culture. Only one video work showed this pair working at a more subtle level of insight that is more familiarly theirs.

The lines outside the UK pavilion are legend. After an attempt to jump the line went awry, I waited my turn (almost) and took the opportunity met some great folks from the host country, John Plowman and Nicola Streeten. They operate a non-profit promoting art installations in non-traditional spaces under the banner Beacon Art. Once inside, I enjoyed the maze of spaces by Mike Nelson recreating rooms in an Istanbul quarter. Although I felt that the transportation of the piece from Istanbul to Venice, compromised the quality of just having missed the inhabitants of the rooms, I was struck by experience of doubting memory and following instinct.

France and Germany flank the UK in a wonderful late 19th century display of political design. France featured Christian Boltanski's whirring display on the vagaries of chance. Germany convincingly recreated a cathedral of art featuring a funereal take on Beuys, Fluxus and the artist himself, Christoph Schlingensief, who had died at an early age. RIP the lot of you.

Down the road, the Swiss pavilion provided a wonderful contrast to its 2009 incarnation - from the quiet certitude of Silvia Bächli to the all encompassing denouement of Thomas Hirschhorn. The space had been completely transformed into a paper and tape simulacrum of hell complete with dangerous edges and stifling heat.

From the dangers of contemporary society's quest for dominance to the Polish Pavilion's fascinating take on the "the Jewish problem". Three films. Part 1 - a cry for the Jews to return to Poland and restore prewar glory. Part 2 - a twist whereby Polish youth build a kibbutz for returning Jews only to finish the structure with oddly familiar barbed wire festooned camp walls. Part 3 - the context, in which the youth leader is slain while viewing art and a series of speeches made at his funeral open questions regarding Polish culpability, Jewish identity, the State of Israel and "the Palestinian problem". Put on your thinking caps for this one.

The Biennale pavilion was festooned with Cattelan pigeons - so many that one writer pondered the lack of pigeons in San Marco. Personal highlights were the David Goldblatt images asserting their quiet power within the walls of a riotously wallpapered para-pavilion. The electro machinations of the Haroon Mirza installation in the same area provided another wonderful contrast against which to view. Pipolitti Rist provided three small works that blended her signature video candy with painted portraits of the Venice urbanscape. Not as transporting as her immersive works, I still marveled at their technical prowess. Llyn Foulkes provided another group of comments on the American dream with slyly altered icons such as George Washington and Superman and Ryan Gander's coin took a while to find - stuck on the floor in the middle of a gallery. As with any dense art experience, I eventually end up in the cafe and I was glad to see that the Tobias Rehberger design from 2009 had survived to fragment another caffeine experience.

There were lines too for Israel's pavilion presenting Sigalit Landau. The space had been reconstituted into a large installation featuring various takes on water, salt and territoriality. A mass of pipes snaked their way across the bottom level and climbed the walls to turn meters above. Videos depicted salted boots eating through ice and the game of territorial marking on a beach pointed to the larger stakes played out in Gaza and the West Bank. While the individual works were of interest, the collective didn't quite gel into a cohesive experience for me.

That said, the cocktail reception for the installation, held at the Scuola Rocca, was that special combination of social event and great art viewing. The upstairs hall was a treasure trove of Tintoretto. While admittedly not well schooled in classic painting, I was moved by the experience of being enveloped in dark tones of oils. I spent several hours talking with friends and enjoying a classic Venetian venue far from the madding crowds...

And friendship was an important part of my Biennale. Admittedly, it was fun to don the dark suit and cross the water to Pinault's already feted party on the island of San Giorgio Maggiore. Better though was returning to join friends form South Africa at a dinner for David Goldblatt. Other group dinners, and lunches, provided warmth, respite and insight amidst the Biennale behemoth.

Before leaving the Giardini, I enjoyed some time at the Austrian pavilion which features Markus Schinwald. The pavilion had been transformed into a poetic maze in which walls reach down from the ceiling yet do not meet the floor. Interspersed throughout are sinuous sculptures wrapping around corner and into the heights. Repurposed paintings show old portraits modified by the artist to append prosthetic devices - to the chins, noses and other parts of the sitters. Finally, a duo of films depicting various forms of suspension in time and space are projected in two large rooms at the ends of the pavilion. While sitting on the floor to view these, the legs of other viewers walking the exhibition can be seen crisscrossing behind. The whole created a lyrical space in which the hand of the artist has intervened in the ordinary.

What are you thinking all day?

2011-05-01T17:41:00.001-07:00

Spring - April 30 saw the US debut for Eliza Kentridge with her solo exhibition What are you thinking all day? A warm and multinational crowd attended and the suite of vibrant applique drawings and embroidered texts were well received. The exhibition continues until June 30.

Between the LInes

2011-04-03T15:51:00.000-07:00

BoxoFFICE hosted a very a special viewing of Eric Rhein: Transmutation and Between The Lines, readings by Bill Kushner and Dan Fishback on Saturday April 2. The program was produced by Visual AIDS. A wonderful group of fellow artists, poets and admirers gathered for a magical afternoon of moving poetry and soulful song.

Bill Kushner is the author of 7 books of poetry, most recently IN SUNSETLAND WITH YOU published by Straw Gate Books. A new volume entitled, WALKING AFTER MIDNIGHT will be published in spring 2011. Kushner is a 1999 and 2005 Fellow of the New York Foundation of the Arts. He lives and works in NYC.

Dan Fishback has been writing and performing in New York City since 2003. His most recent play, You Will Experience Silence (Stephen Brackett, dir.) debuted to critical acclaim in April 2009 at Dixon Place, where Fishback was an Artist-in-Residence. He has performed at Performance Space 122, Joe's Pub, Galapagos Art Space and various of other venues in New York and abroad. He is currently developing two new theater pieces: The Material World, a pop musical about socialist Jews in the 1920s, and thirtynothing, a solo performance about growing up in the shadow of the AIDS epidemic. Fishback will perform thirtynothing at Brooklyn Arts Exchange on April 8-10, 2011.

Eric Rhein: Transmutation

2011-02-13T10:25:00.000-08:00

A large and lively crowd turned out for the opening of Eric Rhein: Transmutation at BoxoFFICE. Friends of the artist mingled with the BoxoFFICE community and a few masked marauders. Thanks to Seth on portfolio, Samantha at the bar and Chris on the door. A special thanks to Eric for the wondrous works. The exhbition continues Saturdays 1-6pm and by appointment.

perhaps we meet opens

2010-12-12T09:17:00.000-08:00

A friendly crowd braved the holiday schedule for a wonderful opening reception at BoxoFFICE. The exhibition, titled perhaps we meet, features works by artists with strong connections to Joshua Tree, CA and Marfa TX - an exploration of what non-urban centers of creativity inspire.

Artists Randy Polumbo and David Goodman turned out and Diane Best, Tina Bluefield and John Luckett were here in spirit. Diane Best held a simultaneous opening for a group exhibition, Sparse, at The Joshua Tree Art Gallery.

A baby, a puppy and some hip young things rounded out the crowd (you know who you are). The exhibition continues until February 5th 2011.

Opening for Crafting Concept: Oppositions, Connections and the Nature of Form

2010-10-04T18:19:00.000-07:00

Saturday October 2, 2010 saw a lively crowd at BoxoFFICE gathered for the opening of China Adams and Almond Zigmunds' joint exhibition. Two site-specific installations, one by each artist, have transformed the space at BoxoFFICE and the guests were intrigued by these as well as by the accompanying paintings and drawings.

Photo courtesy of Michele Ticknor

One of the works, California Suntan, was available for ingestion and collection and guests did. Thanks to all for being here, expecially China for traveling in from LA. The exhibition is open until November 20.

Live from Joshua Tree

2010-07-14T19:13:00.001-07:00

Image by Thomas Ando

On July 10, BoxoFFICE was delighted to host 'Live from Joshua Tree', a spoken word event. Cheryl Montelle, a writer, and organizer of the Desert Stories events out West, brought the show on the road. She was joined by Maddy Lederman, Christopher Lawrence, Kate McCabe and Diane Best, who's exhibition continues at BoxoFFICE.

Image by Thomas Ando

Image by Thomas Ando

A lively crowd enjoyed several stories and a poem. Cheryl and Diane also produced a wonderful limited edition art book for the event. Many thanks to all for a moving and artful evening.

Image by Thomas Ando

Image by Thomas Ando

LOVESHACK

2010-07-02T18:50:00.000-07:00

On June 27, BoxoFFICE held a lively Pride celebration in conjunction with Diane Best: SHACK.

Opening for Diane Best: SHACK

2010-05-24T04:35:00.000-07:00

An opening reception was held for Diane Best: SHACK, a solo exhibition of large-scale black and white photography, on Saturday May 22, 2010. A group of friends, family and fellow artists came to meet Diane, in from Joshua Tree, and to get a first viewing of these haunting images of abandon cabins being reclaimed by the desert. The exhibition runs until July 10 when there will be an event featuring California writers reading their 'Desert Stories'.

Heart of Fire

2010-03-28T17:11:00.000-07:00

Saturday March 27 saw the opening of Tina Bluefield's solo show at BoxoFFICE entitled Heart of Fire. A warm crowd turned out on a cold day to see and celebrate Tina's recent works, as well as to celebrate the first anniversary of BoxoFFICE.

Harold Witherspoon, Tina's high school art teacher was there along with another artist and schoolmate of Tina, Jeffrey Terreson. Mr. Witherspoon rated the show as "very special".

Alan Emtage Repetition and Recollection

2010-02-06T15:29:00.000-08:00

Thursday February 4 was the opening of Alan Emtage's first solo exhibition, Repetition and Recollection.

A large group of friends and fans turned out to toast the show and take in its intriguing images.

The works consider how we construct a reality based on a synthesis of analytical thought and sensory perception, and invites us to consider how our model of being effects the world around us.

Satellite of Love goes into Orbit

2009-12-21T04:39:00.000-08:00

Saturday December 19 saw the closing of Randy Polumbo: Satellite of Love at BoxoFFICE. A lively reception and Holiday party was attended by a distinguished and brave group who came out in the face of a major snow storm. Provocative art and holiday cheer proved a heady mix and much lively discussion and good humor ensued.

Read All About It

2009-12-13T06:23:00.000-08:00

BoxoFFICE in the NY Times: link

Review of Randy Polumbo: Satellite of Love: link

BoxoFFICE Opens Randy Polumbo: Satellite of Love

2009-10-31T14:34:00.000-07:00

BoxoFFICE was proud to open a solo exhibition for Randy Polumbo on Wednesday October 28.

Satellite of Love takes Polumbo's work to new heights, introducing exquisite crystal and blown glass in a range of translucent colors into his signature provocative works. The gallery was literally glowing and a very full turn out on a rainy day created a buzz and great warmth.

Fellow artists, collectors, family members, colleagues, friends, and even a couple of reporters, all rubbed shoulders. Polumbo also introduced the latest member of his family, Barky the puppy, to the crowd. Satellite of Love is up until 19 December 2009.

Making Worlds at Burning Man 2009: Evolution

2009-09-11T19:45:00.000-07:00

This year's theme at Burning Man was Evolution, and evolved it has. 2009 was widely felt to have been the best Burning Man in a very long time. Perhaps it was the better than average weather. Perhaps the stunning design of the Man, with a base to rival the Temple. Perhaps it was the joyous installations such as The Rocket, The Slide and The Nest. Or perhaps it was that, in a year marked with recession, war, healthcare bickering and other pestilence, 40,000 people came to find refuge in a place they call Home and devoted themselves joyously to a week of radical self reliance, open self expression and generous community.

Before getting into the story of my week, here's an insight to share. The theme of this year's Venice Biennale is 'Making Worlds'. Much has been written about the exhibition and the various meanings of the curatorial stance, especially that of featuring artists whose works evoke an entire world by literally filling space and/or taking on an internal logic, a language of significants that transports one to a new plane of relating. Although Burning Man's official theme this year was 'Evolution', it can be said that 'Making Worlds' is an underlying current of every Burning Man and of most of the works there. What else does tens of thousands of people coming to the desert to build a community for a week mean? How skillfully captured in 'The Nest', an installation in which folks climbed a tree to lie in the secure comfort of luxurious pillows and warm conversation. How magnificently stated in The Temple which brought together symbols of the worlds religions to show the undeniable unity of a true spiritual outlook. How playfully interpreted by Randy Polumbo's Grotto and Garden of Manifest Destiny where glowing colored dildos and glinting solar panels fused into new hybrid species of flowers, Buttercups and Blossoms, that lured one into the glowing confines of a mysterious cave. If there was one work missing at both the Bienale and Burning Man, it was a set of Kippenberger portals which could transport one effortlessly between the two cities and enrich each with
an understanding of the other.

I came to BRC with Martin, a new friend who had jumped at the opportunity to come to Burning Man and then energetically threw himself into the entire experience. We were well shopped and well organized by the time we hit the dirt road, with just a small dust storm and a sprinkle of rain to greet/challenge us as we set up our tents on Monday evening. We camped in Hushville, as per last year, and met some wonderful folks pitched around us. The Hushville community is a welcome mixture of fun and respect that creates a great base from which to explore all that BRC has to offer.

On a brilliant Tuesday morning, we set to building our shade structure. As the sun took to the sky, it was time to join Lady Bee, the former long-time curator of Burning Man, for a tour of the art. Art tours are conducted daily, hosted on large art cars that carry a crowd around the playa pointing out the major pieces and meeting artists along the way. Our tour took place on the Omnibus to Nowhere and I was introduced by Lady Bee to the first of many South Africans that I would meet along the way. We were ably acquainted to many of the key art pieces, and also reintroduced to the joys of sitting in a dust storm. This year, there were a series of
small storms as opposed to the ragers we had last year and the year before.

The rest of Tuesday was spent organizing, organizing, organizing. A neat camp is a place of joy. That evening. Martin and I ventured out onto the Playa to take in the magnificence that is BRC by night. Grooviks Cube, a giant internally illuminated rubiks cube played by three people at the same time, caught a lot of our attention. Then Martin went out and I succumbed to sleep.

Wednesday dawned bright and early. A big play day ahead. First, a couple of hours as a greeter at the gates. I was invited to join the New York greeters by Debra Keneally, a former colleague at frog design. We were greeting arrivals to BRC, giving them info and directions, as well as initiating virgins to the joys of playa dust. As it was 8 in the morning, and another team of greeters was there too, we far outnumbered arrivals. This led to a very fun game of luring approaching vehicles into our respective gates. One team got extra competitive and went tearing out and attaching themselves to vehicles with running boards. After losing several large rv's to them, I decided to up the ante as I saw a large bus arriving. At a steady clip, I dashed out to the bus and banged on the door. Once inside, I was able to persuade the driver to ignore the competition heckling at his window and head over to my gate. The prize was a luscious group of Russian virgins that made lovely snow angels in the playa dust.

From there to year 2 of the WNBR. Somehow, riding naked through BRC with several hundred fellow burners is the most fun to be had. I met a great group of guys, avoided burning the bits and enjoyed watching my fellow riders throw themselves down a massive slip and slide at one of the stops. I met two more South Africans on the ride, and, amazingly, we had all attended the same elementary school in Johannesburg. It's a small naked world. That afternoon, I went dancing with one of my new buds. The Deep End, a special day dance place that closed last year, was sorely missed. I did enjoy the music at Pink Mammoth yet never found the bliss of years past. We'll see what 2010 brings. That evening, I was content to cook up some dinner, shared with several neighbors, and fall into a thankful sleep.

Thursday saw the arrival of our third camp mate, Johnny, an artist from San Francisco that I had met the year before. Johnny brought a lovely additional shade structure, some great easy meals and his even-handed and handsome disposition to our camp. While he set up, I joined an all male march in the buff that is a retort to the annual Critical Tits bike ride. While we didn't seem to take up the political angle as well as our fearless leaders might have liked, it was a great opportunity to hang (!) and I caught up with Jordi, a Spaniard I had met the year before. Then our camp decided it wad time for a thorough cleanup - of ourselves, not the area.

We headed over to the Human Carcass Wash, a real gift to the community where hundreds of folks wash each other in a display of good clean fun. Afterwards, a little ride around, taking in the late afternoon ambiance at the Slide and The Nest before hanging in camp over a long meal and catch up conversation. I crashed that evening without hitting the Playa.

Friday was another action filled adventure. I awoke at 5am and headed out for my annual early a.m. photoshoot. I glided across the Playa, taking in the energy that had been transformed from late night vigor into dawn's sweet tones. From Center camp to the Man to the perimeter fence and back. Shooting, smiling, dancing from time to time. At The Nest, I listened in on an amazing conversation that mirrored my essay on Radical Independence and connected with the speaker, Betsy, now a new friend in Utah. As I biked back into town, collecting ice along the way, I had the sense that I had never been more alive - I was totally present.

After coffee and a costume change back at base, a life drawing session at Comfort and Joy, a wonderful homo haunt. That was followed by a massage workshop that had many in a true state of bliss. An afternoon of biking around, checking in with Jenny, Dani and the folks at Camp Ubertubers, and then an early-ish dinner before hitting the Playa. Friday was a big night with The Rocket due to blast off and Shiva turning its stage into a giant pyramid to be burned, a last hurrah for this three year long project. The Rocket "launch" was delayed due to winds and we just missed te actual burn at Shiva. Nonetheless, we spent a good while dancing to the great music off several art cars as the flames leapt into the night sky. Then off to the Grooviks Cube again, only to see the Rocket launch from a distance - a massive display of colored flames and fireworks. After visiting several other pieces, and crawling into the "booty" at the back of Buddha Bunny, we hit the Ashram Galactica.

AG was rumored to be a hot ticket in town. A 5 star hotel setup with lobby bar, restaurant and 4 rooms. The rooms were raffled off at 9pm each evening and 4 lucky guests got to enjoy a 9 course meal before retiring for some serious pampering. The bar area was filled with interesting folks, an air of undeniable elegance in the air. The music was wonderful and a pro dancer, in glittering pants and a top hat, wended his way through the bopping crowd. I closed my eyes to take in a lyrical vocal number and found myself enfolded in the wings of a mystical woman who was cocooning people in the wings of her long dress. Magical. Soon thereafter, pixie dust worked its magic and we returned to camp to hit the mats.

The weekend air at Burning Man take a distinct turn as thousands more arrive to take in the spectacle of the burn itself and to party hardy. For me, it was a time to start mellowing. Some yoga at Nectar Village, with Jenny and Dani. A restful turn at Center Camp watching the passing parade, some more biking around and a relaxing bop at Pink Mammoth. An early dinner too as I was spending the evening manning Randy Polumbo's gift to BRC, The Garden and Grotto of Manifest Destiny.

True to tradition, a strong dust storm blew in, delaying the burn. I trudged out to the Grotto at 8pm as scheduled, only to find it dark and the Playa missing in a total whiteout. After an hour spent looking for switches and eating dust, I decided to hike over to AEZ to find Adam, Randy's assistant, to see what was up. I made it, in true Amundssen style, and as we chatted for a few minutes, the storm cleared and a cold, clear evening emerged. Back to the Grotto, lights on and then a speactacular burn as fireworks filled the sky and the wooden base flamed toward the heavens. We spent a while cleaning dust off the pieces as folks streamed back and stopped in to ooh, ahh and ask questions. As 1 a.m. rolled round, sleep again took over and I dragged myself home, as many were only just setting out for the bacchanal.

Sunday was a more wistful day. Johnny packed to go and I was determined to get a massage at Center Camp as the week on an unfamiliar bike took its toll. I waited a couple of hours for a wonderful skillful session and came back mellowed to bid Johnny farewell. I rode around for several hours, looking for a dance spot and was saddened to find everything being dismantled. Back to camp, a giant cookout of all the remaining meats (block ice kept things fresh all the way through), and another sharing meal with all the neighbors. Then Martin and I headed to the Temple and arrived just in time to see the burn commence. A fiery silhouette against the sky that resembled a B&W photograph from time to time. Not as quiet and meditative as two years ago, this burn still reminded me of the emptiness that follows the dissolution of community. On the way home, we encountered a young guy who's birthday it was. He invited us to sign his body with a greeting anywhere we liked, so we did. Contact Martin for the full details, he owns this story.

Monday's clarity allowed for a relatively quick pack and departure. Tacos cooked by the local community served as a roadside lunch and before long we were dining in style back in Reno. Arrivederci BRC, the lessons learned will be lived for the year to come and I long to see you all again next year. Happy New Year everybody!

Regional Powerhouses

2009-08-27T05:50:00.000-07:00

Last month, I spent an eye-opening couple of days in the corner of the US where NY, MA and VT come together. I was lucky enough to be hosted by Kathleen Forde, Curator, Time-Based Arts for a tour of EMPAC in Troy New York. I then met up with David Persky, ED of Zvi Dance and we attended a performance at Jacob's Pillow. We spent the following day at MassMOCA before returning to NYC in the evening. I came back amazed at the richness of the offerings, and the breadth of resources, to be found in regional cultural centers.

EMPAC is a new space for the research, creation and exhibition/performance of contemporary works with an emphasis on experimental media. The building is a spectacular 220,000 gem housing a concert hall, theater and studios besides research and other facilities. The Center is closely affiliated with Rensselaer Polytechnic Institute, enjoying funding, technical and other support. Kathleen gave me an extensive tour and introduced me to Hélène Lesterlin, Curator, Dance. EMPAC has an exciting season ahead and much more in the works. I'm looking forward to my return.

At Jacobs Pillow, we attended a performance by the slyly named Groupe Emile Dubois. Picnic dinner on the grounds was delicious in several ways. then into the theater. The work being premiered was Des Gens Qui Dansent, choreographed by the company's founder Jean-Claude Gallotta. Gallotta's mode is that of dance theater and he has been compared to the late Pina Bausch. I experienced the work as simultaneously deeply moving and deeply intelligent, although not as wry as the Bausch as I treasure.

Next up, MassMOCA. I felt truly spoiled by the offering at this massive institution tucked in the Berkshires. The new "Temple of Lewitt" - 105 of his works installed for 25 years - revealed a variety of technique, form and color that I had not experienced before in relation to the artist. A wide selection of videos by Guy El-Ner was suffused by humor, familial warmth and inventiveness. Having been introduced to his happy family, it was sad to learn through the newest work commissioned by MassMOCA) that he is now divorced. Also commissioned for a large space comparable to the Turbine Hall at the Tate Modern, we viewed an interesting sculptural installation by Simon Starling. Last up for the day, was a performance on digital violin by a principal from Bang on a Can, given in a roo filled with three new Anselm Kiefer works. Kiefer is one of my most inspirational figures and the experience was truly transporting. Oh, and the food at the redtaurant was excellent too.

David and I whizzed back to Manhattan exhausted and satiated. It's a wonder what the luxury of space and supportive funding can do for cultural institutions.

Radical Independence is not about Removal

2009-08-11T14:45:00.000-07:00

Having just opened the latest show at BoxoFFICE, called 'A Radical State of Independence', I think it appropriate to make one clarification. In the statement related to the exhibition, I call for us to recognize the fallibility of large institutions, systems and ideologies and their incapacity to provide fully for every individual. I point to the need for the assumption of personal responsibility for one's situation, a radical state of independence. The artists in the related exhibition demonstrate the principle in both their works and the way they go about their individual practices.

What I mean by radical is not the act of disassociating from established frameworks. What is radical is taking full responsibility for oneself while at the same time participating in the bigger picture (politics, markets, institutions). We need to continue to support those ideas and structures that create the framework within which we can achieve what we strive to. A totalitarian state without freedom of speech squashes the artistic impetus. A completely non-functioning art market will not provide a return on artists' efforts. We need to participate in politics, to support institutions, to operate in markets - always ensuring that we stay true to ourselves and our communities.

What is radical also, is giving up blame and unreal expectation. The larger systems we create are just reflections of ourselves and benefit from the same level of understanding and tolerance we seek. And a sense of humor helps too.

Relative Values

2009-07-22T16:32:00.000-07:00

I've been meaning to write about the remarkable similarity between the art market and the stock market for some time now. I'm glad I didn't get to it earlier because recent developments in the financial sphere have made my observations even richer. The original observation was how the emerging structure of the art market was mimicking that of the investment banking oligarchy. The MFA as the new MBA. Newly minted artists being snatched up by galleries in the same way young graduates of the business schools were pulled into investment banking. Galleries in cahoots with curators to place pieces in high profile shows and museums. Sounds awfully like investment banks placing their favorite newly issued stocks with asset managers, propping up values and allowing them to then be sold to high net worth collectors/individuals. Remember the days when there were blue chip stocks that kept their heads above sinking markets? Seen the auction prices for blue chip art these days? I'm just saying.

The recent implosion in financial markets highlights the similarity from the other side of the mirror. Many of us are now faced with the realization that the stock market does not follow solid principles that ensure correct valuations at all or most times. Stocks are in fact worth what people are willing to pay for them. And the banking oligarchy has been able to talk up, and talk down, values at an alarming rate. Research analysts talk up a stock, place it with a large asset management company and then get their private bankers to sell it to the wealthy. For a while, we were even convinced that we were entering a new reality in which value could be created out of thin air. We've now seen this not to be true. And getting a handle on just what any one stock is worth is suddenly a difficult challenge. We do not have the information, or the ability to see into the future, that would help us come to this understanding. We either believe someone else's subjective take or we take a risk and hope for the best. The stock market is yet another manifestation of our collective imagination's and just as relative as the very reality we create moment by moment.

Neither the art market nor the stock market can provide us with the safety we seek. We are on our existential ownsome and need to take responsibility for our individual ways forward. This can be a crushing realization or an empowering moment. Let's choose the latter and get on with it. It's time for radical independence - taking responsibility for ourselves and our communities. Making what we want to make and getting the value for it that we believe we deserve. Yes we can.

Day 3 (Venice at large)

2009-06-16T09:37:00.000-07:00

Day 3 was a chance to get beyond the official Biennale sites and visit some remote pavilions, as well as other cultural institutions in the City.

First off was the Portuguese Pavilion with an exhibition beguiling entitled Experiments and Observations on Different Types of Air. The exhibition is aptly described in documentation as "poetry as a possible means of capturing an only partially discernible world". Walking in from the bright sunlight, one was immediately disoriented by the pitch darkness. Several inter-leading rooms featured 16 films running on mechanical projectors. Each film featured a slowly unfolding phenomenon involving one of water, air, earth or fire. The stillness, the clacking of the projector, the quality of the film stock and the subtlety of the observations were transporting.

From here, Boxo headed to the Palazzo Grassi - one of two homes Fancois Pinault has created for his mega-collection. The Punta della Dogana, which opened ceremoniously a couple of days beforehand, is the other. They were advertising a show titled 'Mapping the Studio' in a nod to Bruce Nauman. After following the strict directional signage, and viewing a mix of luxuriously hung luxury items, quite what was meant by the title was entirely lost. No curatorial statement or guidance whatsoever. Rather, a marketing tagline to give these institutions a place in the current proceedings. A visit to the Dogana later in the day confirmed this thought. More of the same and a guard who proclaimed that photos were for those with authorization and not for "normal people". Both buildings have been beautifully renovated to the purpose by Tadao Ando, and the coffee at the cafe was kick ass. Go Francois!

Next on to the two sites of the collateral exhibitions of Nauman's work being shown university facilities. These are where the pieces Nauman made for the Biennale are housed. The first stop at the Universita Ca' Foscari, featured the sound piece titled Giorni. The piece featured a long hall of flat panel speakers from which the days of the week read in Italian by a several different voices were emitted at irregular intervals. One could walk the length between the speakers and experience a wave of rhythmic perception or sit on a tall stool and hear a pair of readers converge and part, converge and part.

Nearby, was a site specific piece, Untitled. This is a video work in which two women lithely swing their way around in a circular motion, over a grid taped on the floor. The grid is still physically in place, with the video projected on top of it. Several other older pieces were also installed, including Double Steel Cage Piece, one steel cage housed within another. A young woman had slid into the narrow space between the cages, a space calculated to discourage most folks from making an attempt.

A short walk away, at Tolentini, lunch beckoned before the second Nauman installation was explored. This installation was composed mostly of sound pieces, including an English version of the new sound work, entitled Days.

Now there was only one major item left on the checklist: Peter Greenaway's work on the island of San Giorgio. On the way to catch the long vaporetto from Roma to San Marco, Boxo glimpsed the new Calatrava bridge, another graceful triumph of engineering.

Greenaway's work, The Wedding at Canna, is part of a series of works titled Nine Classic Paintings. In this series, Greenaway is reinterpreting classic works using pioneering technologies. The Wedding at Canna, a huge painting depicting Christ turning water into wine, was painted by Veronese in 1562/1563. It was later cut up into pieces and sent to Paris as part of a war reparation agreement. Recently, a digital recreation of the piece was painstakingly created and hung back in the place of the original. Greenaway brings the piece to life in a wonderful display of sound, light and video. This was an uplifting way to end a long, and sometimes daunting, art adventure.

That evening, Boxo was hosted by new friends Roman Sadnik, an opera singer, and his partner Gille Gubelmann, a visual artist and scenic designer for opera. They now occupy a large Venetian palazzo-style apartment which Gille has renovated most artfully. Some of the rooms are available on a b&b basis and Boxo highly recommends this stylish base for Biennales, Carnivales and all other Venetian exploits.

The review of this year's Biennale are mostly negative, filled with accusations of mediocrity and banality as well as historicism. To a first time participant, the luxury of this much work and the generosity of the countless government and cultural institutions in creating the pavilions and collateral exhibitions, is exciting and praiseworthy. While stimulating pieces and concepts were few and far between, they afforded a sense of discovery and delight. Boxo is thankful to the Secretariat of the Biennale for inviting BoxoFFICE to the previews and looks forward to future participation, including the 2019 repair of the clay pot with Yoko Ono.

Boxo at the Biennale (Arsenale)

2009-06-13T10:52:00.000-07:00

Day 2 (Arsenale)

Boxo got to the Arsenale right at opening time and was able to enjoy being ahead of the crowds for most of the morning. The luxurious length of high, barreled brickwork stretched on for what appeared to be miles. The dimness and cool humidity felt good after the growing heat of the Venetian Day. The Arsenale was a rich and dense offering - the following are merely some highlights.

The first piece, an installation by Anya Zholud, was a wonderful web of criss-crossing brass or gold strands that created an ephemeral presence lit dimly in the height of the darkness. Lygia Pape. In stark contrast of tone, the next room featured several works by Pistoletto, large framed mirrors smashed in a performative act that left a fragmented reflection for the viewer. Bright and literally in your face. In another turn of contrast, were the paintings by Simone Berti. Delicate and slightly mysterious constructions combining organic and engineered influences.

Then through a portal and into an installation that appealed to all the senses. A reconstruction of the idea of a Cameroon village by Pascal Martine Thayou. The entire ecosystem of an African village presented in wooden structures, video projections, clever sculptures and even smell. Invigorating. Further on, a personal favorite Paul Chan. Or in this case, naughty Paul Chan. The familiar haunting shadow projections, this time depicting man's fall from grace in the guise of Sade. Lots of buggery, fellatio and the like. This made for some fun theater watching spectators glancing at each other.

Next up, a fellow country man Moshekwa Langa. The work is a large installation of yarn, empty wine bottles, toy vehicles and balls of various sizes and textures. A mapping of connections and disconnections. Placement and displacement. Boxo found the work intriguing and interestingly devoid of any reference to its South African origins (no cape wine bottles). Nearby, an installation by a recent discovery and new favorite of Boxo - Cildo Meireles. A passage of several rooms, each saturated in a single color. The borders between the rooms yielded dynamic contract and sharp edges and the experience was a true learning in the effects of color on sight.

Next, a new discovery - Gonkar Gyatso, a contemporary artist from Tibet. Traditional Tibetan painting forms that reveal canny references to contemporary culture. Enlightening ;) A huge projection of a bonsai tree (!!), marked the end of the first section, and signalled a turn straight into the world of Joan Jonas. A dual screen video installation depicting Jonas' personal take on Dante's Divine Comedy. Boxo enjoyed a divine respite on a well designed bench, although the question of contemporary context reared it's insistent head yet again.

Noon again and time for that food and caffeine break. Another well designed cafe, another great cappucino - viva Italia. Now it was time for a chat with Paul Chan in the misnamed Teatro Piccolo. Boxo joined a large queue, surprised at the turn out. Ends up the line was for Yoko On, Paul having explained his naughty bits the day before.

And so, into the fray. And what a fray it was. Sean and Kyoko playing chess upstage as Yoko writhed and moaned her way around the stage, and then smashed a chair to bits with a sledgehammer. Lights down for a tedious film about Yoko's origins during which she sat on stage murmuring bits of commentary. Fade to video about Yoko's Light Tower project and lots of angles on her project to have everyone signal their love to everyone else in Morse code with flashlights. I love you. Then an interview of sorts with a curator which ended with the two of them in a large fabric bag flailing around. Boxo finally fond some interest in the closing segment which featured the smashing of a clay pot, the collection of pieces by the audience and a promise to be back in the Teatro in 10 years to reconstruct the pot. Boxo already has his reservations.

Following lunch, Boxo hit the Chinese Pavilion which housed a commentary on the commercialism and homogenization of art. Vending machines and found frame over color saturated canvases. Oddly uninteresting given the proliferation of strong political and performance art coming out of China these days. Next, a large section of more Italian art that lacked any real impact or entry point. Lots of well finished work that could have benefited from a little less spit and polish. A lush painting depicting James Dean as a religious figure did catch Boxo's eye (painter undocumented with apologies).

From here, outdoors for a series of installations set along a meandering path. Some Dietch inspired naughtiness by Miranda July, a giant web of dominoes and a bog by Lara Favoretto. Tucked behind these was one of the jewels of the Biennale - William Forsythe's The Fact of Matter/Choreographic Object. Two hundred gymnastic rings hung at varying heights through in a small space. Passage through the room meant swinging and clacking the rings and some folks took to walking their way through by inserting their feet in the rings. Forsythe's light touch and choreography of an unknown troupe (the public) was a joy to behold.

Next door, a more cynical offering from Dominique Gonzalez-Foerster. A gate entrance to an unkempt area with the descriptive tag crossed out line by line. The catalogue describes this as Gonzalez-Foerster's fifth attempt to be included in the Biennale. Pity she took herself out yet again. She always makes Boxo long for the work of Felix Gonzalex-Torres...

Another long line beckoned for the short shuttle to the Arsenale Novissimo. Boxo had heard a lot about the Jean Fabre exhibition and giant signs beckoned. Giant signs for giant work. A giant flayed skull, a giant pile of human bones made of glass, a giant pile of gravestones with an erect artist on top. A giant budget, a giant? Admittedly flagging, Boxo popped out the back for a respite in a quiet garden only to find another hidden gem. A wooden maze of crafted slats by Marco Bagnoli, with soft chants luring one in to reveal a tree growing in the center. Ahhhh.

A long stroll down a back dock and through a window into another large exhibition entitled Unconditional Love. Boxo didn't feel the love, especially in another large budget production. Slick video in the round by AES&F that claimed to update the Feat of Trymalchio. Yawn - time for a nap.

While resting for a few minutes back in the hotel room, Boxo was startled by a series of loud sirens. Fire? Conflict? Cocktail hour? No - on emerging to take a vaporetto to a performance in the Campo Santa Margherita, Boxo found San Marco square entirely underwater and several connecting streets starting to fill up to. A full moon and some strong winds reminded one that Venice is indeed sinking. The sight of art world folks clutching expensive shoes and hem lines as they attempted to negotiate paths to private parties was amusing to behold.

Boxo was off to see The Dance of the Bees, a mysterious performance taking place in the distant Campo. Alas, dinner ran over the appointed hour and the performance was, as described by the person in charge, "over in a flash". A hive of live bees, strange music and a crew of bystanders was all that was left. So off for a cone of gelato, a soggy walk to the vaporetto and another fine day was done.

Boxo Goes to the Biennale (Giardini)

2009-06-11T11:34:00.000-07:00

Day 0 - Around the Giardini
A banner moment for BoxoFFICE as we received an invitation to the previews at the Venice Biennale. In a flash, Boxo found himself at the Oranizing Secratariat's window in the Giardini to pick up his accreditation.

The weather was beautiful, and remained so throughout the four days of the trip. There was a lot of action on the water, alongside the entrance to the Giardini. First, the official entry of the Comores Islands - a traditional fishing boat with an upended cargo container inside of it, bobbing in the lagoon. Some men in national garb doing a performance with sticks. Free beer. A poetic clash of first and third world priorities.

Suddenly, Boxo's eye was drawn to a strange flotilla that came sailing into view. Three boats made of trash, er recycled items. These were part of a project devised by Swoon of Deitch fame. They had been transported from the US to Slovenia and then made their own way across the Adriatic to appear at the Biennale. Boxo met Swoon and some of the crew, who let him know that they could not get a permit to sail up the Grand Canal. Boxo admired the Burning Man aesthetic, the daring of the artists and the contrast of the flotilla against the superyachts anchored yards up the quay. He also wondered at the lack of sanitary, sleeping or cooking facilities.

That evening, Boxo met with a couple of friends who had already had the lay of the land to get some hints. And they were really helpful - mainly the tip to be at the Great Britain pavilion right at opening to get a time slot for viewing the work by Steve McQueen. Boxo also learned that starting off at a party (Canada) in the Giardini, and then meeting folks at Accademia for a chat can lead to an evening without dinner. Luckily, a snack of yogurt and apples was on hand to save the day (night).

Day 1 - Giardini
The first day got off to an interesting start. Boxo was approached at the entrance by an Albanian art student who asked if he could be taken in on the pass which admitted two people. Boxo was impressed at the chutzpah and complied. Then straight to Great Britain for a 3.30pm sticker. Phew - task one accomplished.

Next was the US pavilion. Historic works by Bruce Nauman, the great conceptualist. The pavilion was well curated, the works beautifully installed. Disembodied heads rotating, others serving as fountains. Severed arms reaching for the ceiling. And poetic neon covering the facade. While it was great to see Nauman recognized at this level, the question remained as to how this contributed to the notion of biennale which really stands for "an international manifestation of contemporary art". Two contemporary works created specifically for the Biennale were housed in remote locations - more on these later.

Next up was the host pavilion, Italy. Newly expanded, the pavilion felt somewhat like the last Documenta. There were several groupings of works by artists known and lesser known, contemporary and historic. Many were not Italian. The works were installed such that you came across each artist several times, in different locations around the giant pavillion, and thus came to recognize the work and era. Again, given the multitude of nationalities of the artists and the varied chronology, it was not clear how the pavilion supported the idea of highlighting contemporary developments in a nation's artistic practice.

Some highlights included the amazing spiders web/model of the Universe by Tomas Saraceno, the beautiful film sculpture by Simon Starling, the animations and installation by Nathalie Djurberg and the beyond psychedelic cafe design by Tobias Rehberger.

Noon chimed, jetlag nagged and it was time for delicious pannino and cappuccino at the outdoor cafe. Good people watching too.

Speaking of people, there were long lines at several pavilions, and it was time to line up for the show at the Danish and Nordic Pavilions. Titled The Collectors, the exhibition was a fine example of Scandinavian tongue in cheek. A real estate agent provided a tour of the Danish Pavilion on the premise that it was for sale. A strange assortment of artworks were hung, imitation Stella's with names like Arbeit Macht Freiheit for instance. Apparently, the owners had "left in a hurry". The adjacent Nordic Pavilion contained an assortment of homoerotic art as well as two hot looking guys said to be hustlers. Upon enquiring, Boxo was told that they were in fact actors although a real hustler had been on site at the opening. Tant pis.

Onward to the next line at the Dutch Pavilion. A quick meet and greet with a friend from NYC while waiting and then in to see the video works by Fiona Tam. A gallery of what looked to be black and white photos turned out to be video portraits. Beautiful if not groundbreaking. A multi-screen projection dealing with memory and aging was captivating. The title piece, Disorient was somewhat too national Geographic for Boxo.

With time ticking toward the appointed hour for Steve McQueen, Boxo headed to the pavilions clustered near Great Britain. The Czech Pavilion had been recommended. A beautiful marble arch. A short forecourt and then inside. Or was it? The path continued straight through with mature foliage matching that of the Giardini around. And then outside.

Somewhat confused, Boxo headed to the next doorway down the path only to find that was in fact the Autsralian Pavilion. Nice one. And so, inside to witness more video work, this time by Shaun Gladwell. Mad Max goes to the outback - picture a leathers clad motorcyclist carrying kangaroo roadkill across a highway, shot at an extremely oblique angle. Yowza.

3.30pm. Let the show begin. The Steve McQueen film was another split screen affair. Titled Giardini, it was a revealing look at what goes on in the Gardens when the Biennale is not in session - dogs scrounging, elderly residents on a stroll, men cruising, rainfall dripping. A wonderful meditation on facades, cycles and decay.

Back into the fray, namely the German Pavilion next door. Liam Gillick's much derided lengths of unfinished kitchen cabinetry appealed to Boxo. Hints of Judd and Zittel, modernism and the promise of social betterment. The stuffed cat on top of one cabinet, as well as the thick pamphlet being distributed to explain the work, were both ignored. Boxo's allergic to cats anyway.

Across the way, La France. A mysterious production of barred corridors, waving black flags, large, noisy fans and gilded walls. Apparently recalling the night before the Revolution and the height of the monarchy's decadence, this one should have had bars at the doorway.

To round out the neighborhood, it was time for Korea - a wonderfully realized construction of louvered blinds. Quite how this connected to the title, Condensation, just wasn't clear. Next door, Japan - humongous images of large breasted, threatening women housed in heavy, heavy black frames were more than somewhat predictable. Then to Switzerland, simple drawings that were not quite as exciting as the lovely modernist chairs scattered around the sleek pavillion.

Lastly, Russia, promising Victory over the Future. A large, warm pavilion filled with several interesting works. Notably, a large blacklight mural of football spectators that disappeared when the floodlights went on. Adjacent, a noisy set of dated machinery hissing and clanking as it pumped viscous liquids through icons encased in plexi. A quasi-religious take on capitalism perhaps?

5.30pm and time for a second pannino and cappucino. This art viewing is hard work! Spain beckoned across the way from the outdoor cafe. Luscious paintings and ceramics by Miguel Barcelo. Abstracts and gorillas in thick paint, muted pallette. Very exciting and a welcome discovery.

Suddenly, a huge storm broke loose and Boxo ducked back into the Italian Pavilion to buy an official umbrella. Then across the canal to some of the outlying pavilions. And another wonderful surprise. The Polish Pavilion featured gentle and absorbing projections by Krzysztof Wodiczko. Titled Guests, the piece dealt with the status of guest workers - seen as a series of shapes washing windows, climbing ladders, clearing leaves. The figures, faceless in a soft haze, were reminiscent of Bill Viola's characters, yet abstracted to the point of melancholy.

The adjacent Greek Pavilion was somewhat bling and the line for Roumania was one Boxo was advised not to brave. Venice featured some beautiful glass works, including that pirate Dale Chihuly. Egypt housed some striking paintings by Adel El Siwi.

As the day faded, it was time to return across the bridge to snap the marvelous neon words by Nauman, magically praising and criticizing his home country simultaneously. A quick peek into the Israeli Pavilion revealed works by Raffi Lavie that were reminiscent of BoxoFFICE's very own John Luckett. Idiosyncratic, accomplished, colorful.

You might have thought this would be a good time for a break - yet no, Boxo had some life in him yet. Off to the Teatro Goldoni for "an abtract opera'" titled No night No day by Cerith Wyn Evans and Florian Hecker. Arriving just before the curtain, Boxo wondered if he could snag a ticket. Luckily, a thoughtfdul woman returned a seat her friend was not going to use. Inside, it became clear that the word was out - the house was empty. The work was much like one Boxo recently experienced in Chelsea and described as a near death experience - soporific music and bright lights. Yike!

The silver lining on the evening was meeting a curator in the neighboring seat, who introduced Boxo to another curator friend. Off we went for an evening of dissection, discussion and seafood. A great day by any standards.

BoxoFFICE presents Tina Bluefield Solo Show

2009-06-01T15:08:00.001-07:00

Tina Bluefield

Hard on the heels of the successful John Luckett show, BoxoFFICE is proud to be featuring Tina Bluefield Urban Promise. The exhibition is a NY debut for this accomplished painter, previously known for her evocative landscapes. The thirteen works in Urban Promise highlight Tina's explorations in abstraction. The works, and more information on the artist, can be seen here.

Studio view

The opening reception on May 16 was another exciting event for BoxoFFICE, well attended by other artists, writers, collectors from near and far, and an interested public. Much gratitude to Tina for traveling to New York for the installation and opening. The exhibition continues until June 28th - come by and share the promise of contemporary art from the new American frontier.

BoxoFFICE launches with John Luckett

2009-03-23T10:41:00.000-07:00

BoxoFFICE, an art space dedicated to contemporary art from the new American frontier, launched this past weekend with a show for John Luckett. The exhibition is entitled Handful of Sky and is comprised of 11 compelling mixed media works. For a full description, with images and John's bio, go to the BoxoFFICE site.

Two receptions were held - on Saturday and Sunday afternoon (March 21 and 22). With the first blushes of Spring apparent, the turnout was great, the atmosphere was warm and the wine was chilled. Friend, family, curators, dealers, collectors and the curious were all present. A toddler came to her first exhibition and a septuagenarian was on hand to lend a critical eye.

After Saturday's opening reception, we had a small dinner for the artist and his friends who had come in from Maine. Sushi Zen boxes all round before the happy exhaustion hit.

Many, many thanks to John Luckett for his work and for traveling from Joshua Tree for installation and the opening. The show is up until May 2 - come by for a refreshing burst of energy from the West.

Boxo

Monk Moments

2009-02-03T08:33:00.000-08:00

Another great NYC moment - in an inspired anti-Superbowl move, The Whitney programmed a live Meredith Monk marathon for Sunday afternoon. Accompanied by my good friend Alan Emtage, I first viewed the Calder show featuring early wire works from Paris. We marveled at the dexterity of the fluid lines as well as some of the anatomical detailing.

Then followed a magical couple of hours listening to Monk and her collaborators. There was choral work, a piece for string quartet, something more akin to poetry and then a finale composed of operatic songs from the Atlas cycle.

The event carried a strong European sense for me. The music played out all around the room, moving in a circular direction from piece to piece, across a sea of black clad people seated on black folding chairs. There were mikes and stands and wires running everywhere - beautifully disorganized. The walls were bare and I found myself focusing on the ceiling, which is a honeycomb of concrete that embodies the heavy aesthetic of brutalism. As the beauty of the music bounced at me from the ugliness above, I was reminded of other such sublime moments at ugly yet serviceable venues for culture such as the South Bank Center, the Pompidou Center and the cinemas of Les Halles. Charming really.

A Walk in Chelsea

2009-01-28T12:10:00.000-08:00

Yesterday, I found myself reinvigorated around the NY art scene in a way I have not been for a while. I was getting concerned that I could only find the thrill in Joshua Tree these days.....

The afternoon started with a visit to Jack Pierson's studio. Jack is my original connection to the desert, he has a house in Twentynine Palms, as he has been for several other people who have become habitues. We had a good chat about the connections and divisions between NYC and JT, and he made me aware of several artists working in the desert whom I had not met. Future look.

I then set out on a gallery walk which yielded several surprising and inspiring experiences. The most surreal moment was encountering a woman standing inside a piano playing the Fourth Movement of Beethoven’s Ninth Symphony. From her orientation, she had to play backwards and upside down and she managed this perfectly. Only the notes that corresponded to the strings she as standing in place of were missing. This courtesy of the Gladstone Gallery.

Then there was a sublimely subtle show featuring just two works in the entire Andrea Rosen Gallery space. A faux window by Robert Gober and a pair of mirrors by Felix Gonzalez-Torres faced each other across the expanse of the floor. The effect was one of quiet contemplation, a rare moment for me in the Chelsea buzz.

At the other extreme, I navigated a most comprehensive retrospective of the work of Piero Manzoni which was installed at Gagosian 24th St. I learned a lot about this scion of modern art and marveled at the scale and scholarliness of the exhibition. This was a museum-scale effort and I felt privileged to be able to have this type of experience gratis in NYC.

The nugget in this stop was a sign indicating that there was a show of Hiroshi Sugimoto photography at the Gagosian space on 21st St. I made my way down there to find an astonishing exhibition of contrasts. At first, I saw six large images of the horizon at sea, par for the course at a Sugimoto show. Then the guard actually spoke, a rare enough occurence on the gallery scene, and directed me into a dark room I hadn't noticed. Here there were six more images, extremely dark, in a dark room with the walls painted black. The images floated in a wonderful band of dim dim light and I was transported. Walking back into the white room was an almost blinding experience. This show has rightly been held over for several months.

A block away there was another wonderful contrast in light and color. Robert Irwin's Red Drawing White Drawing Black Painting is an instalation worthy of the Dia heritage that haunts the Pace space on 22nd St. In a typically human moment, I was looking for the blue drawing for a few minutes before I reread the title and saw that this was not another symphony of red, white and blue a la inauguration. The space, light and design of the room combined to another wonderfully transporting effect.

Last on my list of memorably good shows, is one entitled Masculine: Interpretations of Manhood at the Charles Cowle Gallery. Much to ponder about our definitions and roles as well as much to just enjoy ;)

Overall, a very rewarding trip through the galleries and a real appreciation for the gift of art experiences that would not be so easily accessible in another place, where galleries and museums are more distinct. Even in the face of the art market crash in motion, NY's institutions of art commerce continue to provide and provoke even as they continue to promote.

What's It All About?

2009-01-15T11:08:00.000-08:00

I'm working to get together some cogent thoughts on what is attracting me to the art, and artists, in the Joshua Tree area. I am strongly drawn to the physicality of the region - dramatic mountains, warm sun, exotic vegetation, sparseness, dry air. And I am also drawn to the sense of possibility and responsibility that I see in the community there.

Many of the people I have met are in the area to take control of their lives. They have left the structures that define and run big cities and sleepy suburbs. They take responsibility for themselves and their surroundings. Everyone has a project and they are working on it. I have become concerned at how far we have strayed from the sense of making anything, and I am overcome by the sense of empowerment I feel when I do make. And, I have much admiration for what people in the desert make - their homes, their gardens, their art and their contributions to the community.

There is a utopian sense in the air. Not of perfection a la Arcadia. A utopia that is achieved when one exercises free will. The relative remoteness of the area, the relatively low cost of living and the fine weather, all combine to give a sense of freedom not felt elsewhere. A freedom to determine one's own path and to act decisively. In fact, the aesthetic imperfections from the landscape to the architecture to the art, reverberate with utopian energy - freed from the strictures of post-colonial and post-modern ideals.

Speed is another aspect of the experience. Post-modern life has become so deeply entwined with speed, particularly through technology, that we have become uncomfortable with quiet and moments of reflection. With the limited internet connections and a general lack of frenetic energy, the desert community provides a space for moving at one's own speed. This is not to be confused with slowing down. The result is more the possibility again of choice - choosing the speed at which you want to move/do/act. An entire spectrum available for your personal preference.

Many modern schools of thought aimed at alleviating the general sense of malaise in society, point to understanding the automated patterns of thought and behavior we have developed. With an awareness of our thoughts and actions, we can create a modicum of space in which to choose instead of merely reacting. We can begin to see how we make our own reality. And then we become empowered in the knowledge that we are free agents.

It is this sense of possibility and empowerment that I find for myself in the desert. And it is this optimistic note that I seek to share, so that more people may experience a moment of freedom and begin to exercise their choice toward creating a renewed culture around us.

The very act of going into the desert is an art action. There is a sense open-ness and possibility. As one ventures into this space, there is room to create. A choice is made - one creates something new, literally become someone new, or one recreates oneself as in the past. The beauty of entering into this adventure is the opportunity to see yourself act as you do, to see yourself as you are, to have the nothingness mirror yourself back to you.

Entering the desert is also a lesson in environmental impact. It's not possible to go to the desert and not contemplate the impact man is having. Why do we build? Why do we pave? Why do we clear fragile ecologies? How to get power? How to get water? What to do with the garbage? Where to drive and the impact your tracks are having? All of this is laid bare. Again, the open-ness as a mirror back to the consequences of one's actions.

The primary means of discourse I'm seeking to enter into is through the art of the region. There are many artists who have chosen to work in the area whom I respect and would like to share with a wider audience. This is the founding impetus behind BoxoFFICE.

Andrea Zittel is well known and well represented in NY/LA and beyond. Her work, and the experiential piece titled "High Desert Test Sites", is what originally drew me to the area. Andrea is concerned with other/better(?)/more efficient/more efficacious ways of living. Her work reminds me strongly of the modernists, particularly the Bauhaus and architects working to improve everyday life for everyone. Her work allows us to consider how we live, the choices we make and how we might change things up a bit. A core insight Andrea propogates is that there is freedom in structure - we need some in order to exercise our free will. At the extremes, freedom can be paralyzing and structure can be suffocating. So choosing one's own structure seems, to me, a good way of approaching this koan.
Andrea's open attitude and decisive energy inspired me to explore the region and she has continually encouraged me to buy some land there.

John Luckett: Living and working near Joshua Tree, CA, John is a self-taught artist who began painting in 1997. Before that, he spent many years as a graphic designer and art director in the design and advertising business. John has become a good friend and I respect his work greatly. His media include painting, assemblage, "readymade" art, and photography and he has concentrated on three main bodies of work: expressionistic faces, nature forms and minimalistic compositions.

John is the inaugural artist for my art space called BoxoFFICE.

Randy Polumbo: a true original and a good friend. This video tells you everything you need to know.

Tina Bluefield: I saw a show of Tina's at the Creative Center in 29 Palms and was fascinated by her skill. Tina is equally adept at fascinating and evocative desertscapes as she is with animated abstracts. She moved to the High Desert from Colorado and represents a strength and pioneering spirit I'm drawn to.

Gretchen Grunt: Gretchen was the first member of the creative community that I met when I arrived in the High Desert. And she has remained a touchstone for me. Gretchen runs the Creative Center, a gallery and resource center for art and artists. She is also a highly skilled print artist and painter. I have taken lessons on the print press with Gretchen and have learned a lot about monotypes, reductive linocuts, color, life, love and the Universe from her.

Shari Elf: Shari is a singer, artist, gallerist, seamstress, comedienne, art therapist, teacher and so much more. Her work with found objects is generally modest in scale yet big on insight through humor. Shari raises questions of value and legitimacy by involving herself with objects, people, actions that my be typically overlooked or discarded. Her pointers on approaching the making of art and involvement in the art community have been invaluable to me. So have her friendship and company on the dance floor.

Chantale Doyle: Chantale is a Canadian artist who made her way around the USA in a biodiesel vehicle, paying her way by catering art and other events. She is a skilled cook and expert at various frying techniques including delicious fried green tomatoes. Chantake then used the oil from her catering venture as the fuel that moved her from place to place. I find this simple cycle very poetic and inspiring. Also inspiring is Chantale's conservationist stance and her blog on the subject. Chantale has since settled in Pioneertown, and has opened a refreshing gallery/store called The Mount Fuji general Store in Joshua Tree. Go visit.

Boxo 3/1/09

Beginning the Year as I mean to Continue It

2009-01-04T19:09:00.000-08:00

Start as you mean to continue. So, after a warm family Christmas outing to the Flickers of Fairfield, I spent the week over New Years out West.

First, an overnight outing to see Candice (and Poppy) in Laguna Beach. Long life chats, nice walks and tasty sushi. Ahh, the joys of Laguna.

Then my favorite drive in the area - state highway 74 all the way from Dana Point to Palm Desert via Lake Elsinore, Perris, Hemmet, and Mountain View (atop Mt. Jacinto). Having rented a smart car (!!), I was a little concerned about road conditions following the recent significant snowfalls in the High Desert area. A call to the friendly CHP informed me that all was clear to I toodled off and had a lovely country drive. The scenery is varied, the roads in good condition and the vibe very chilled.

I popped in to Carl in Rancho Mirage and we grabbed a quick dinner at the nearby shopping center. What recesssion? 35 minutes waits at several of the the mega restaurants. Glad to see it too.

My stay at Jamal H's Joshua Tree property in the Spring had been so great that I rented another of the studios for the week. It's a sexy number with an all concrete bathroom completely open to the rest of the space. Nice to look at, yet cold!!! Several logs in the stove later, and an open air vent closed, I warmed to the place.

The next day started with a leisurely breakfast followed by a coffee rendezvous with John Luckett over at Ricochet. Natch this also involved an impromptu meet up with Randy Polumbo whose New Year's eve housewarming party was shaping up as the place to be.

From Ricochet, John and I headed over to the Historical Society in Landers for the Out and About Christmas lunch and secret santa. I'd found a wonderfully apt wooden rainbow set at a local thrift store and was keen to see what I might get in the deal. The answer, to save you the cliffhanger, was a DIY teddy bear santa kit with stuffing included.

The Historical Society is housed on a property that belonged to the daughter of the founding family in Landers. It now serves as a local research library for the area and has rooms preserved as they were when it was occupied. The garden has an accomplished bottle garden, said to have been created to mark the edge of the runway at a time when access was by light plane. The grounds also house the first post office which was moved here when a larger replacement was built as well as several strange structures in which bobcats were raised. Yes.

The lunch was a delicious event attended by about 60 locals. I met several new people including Phillip and Scott, an accomplished pair of ceramic artists who have moved to Landers from Upstate New York. I managed to see their latest show, in Palm Springs, the very next day and look forward to visiting their storied property next time I'm in the area.

That evening I popped into Pappy and Harriets for the usual Sunday evening music happiness. My regular dance partners were absent yet I managed to relax into the music and have a good bop.

Monday started with a long walk around the Joshua Tree Highlands neighborhood followed by a jaunt down to Palm Springs. Amongst other things, I saw Phillip and Scott's show at Maloney Fine Arts temporary space where I also met Michael Maloney. The day ended with a delicious dinner kindly hosted by Al Loup in his Yucca Valley house with with a view. We were joined by John L as well as Regina and Dimitri, two friends I hadn't seen since the Spring. A delicious time was had by all.

Tuesday dawned and I was off for another day of printing with Gretchen at the Creative Center in 29 Palms. Monoprint, collage and etching were the order of the day and Gretchen was amused at my new found canvasses made of recycled shopping bags. We had a leisurely lunch at the Inn and a good long, productive day over all.

New Years eve was spent over a fun dinner with John L at my place followed by Randy P's house warming. Tout Joshua Tree was there and it was good to reconnect with a range of folks. The house is a work of art in and of itself. Congratulations Randy! As my head hit the pillow at almost precisely midnight, I felt that I was off to a good start for the year.

New Years Day started with another long hike all over the Monument Manor neighborhood with another local buddy who is renovating a house high on the slopes of the Park. After a quick lunch it was over to new friends Cheryl and Brian's for a generous open house. There was a bounty of food, drink and guests. I made some more reconnections and marveled at how many people had had a great 2008 and were looking forward to 2009. It was nice to be out of the dark story of the recession and falling 401k's and into the celebration of flying a new plane to Big Bear, completing some beautiful house renovations and opening a new gallery in Joshua Tree.

My final stop was back at John L's to plan a show of his work for NYC. We picked through some pieces, did some planning and I left filled with optimism and inspiration for the year ahead.

Having scoured Virgin America for flights to extend my stay, I ended up leaving as planned to travel back to NYC and spend the weekend recouping before the work week commenced. Just as in the Spring, I felt that the trip was not long enough and decided this was the best reason to leave promptly so that I could return soon.

Thanksgiving in London?

2009-01-04T12:59:00.000-08:00

Thanksgiving in London is not so obvious. Until you remember that it was Thanksgiving Day 1990 when Thatcher finally gave up and resigned. And until you consider that in 2008 it coincided with Emma Kentridge's 6th birthday. So off I went, bearing pirate paraphernalia and no chocolate as per household instructions.

It was a great few days including:

1. Birthday shenanigans with swashbuckling Emma and Lex

2. Catching up with Sally and Paul at Imagination's HQ

3. A 2 hour, 2 course lunch at Pied a Terre. The City banker next to me was not amused at the pace. I loved the theater of it all.

4. Francis Bacon at the Tate, with my good friend Ana Sanchez. Some surprises in the show and from her.

5. Lunch at the Tate Modern with Marcus, Satomi and friends followed by the eye-opening Cildo Meireles show. Walking through talcum powder a foot deep in the dark was sublime. The Unilever Series installation by Dominique Gonzalez-Foerster was mystifying although the huge Bourgeois and Calder replicas were impressive.

6. Emma's Peter Pan and Pirates party extravaganza - great cappucino and mini burgers to my surprise

7. Dinner and a catch up the the OXO Tower with Simon Yates

8. Lovely meals and chats with Janet and Matthew

Lots to give thanks for indeed.

Return to the Test Site

2008-12-07T06:06:00.000-08:00

High Desert Test Sites was the original impetus for me to go to the High Desert around Joshua tree and remains a touchstone for me. This year's program as planned for November, rather than the Spring, to coincide with the California Biennial and the opening of the Wonder Valley Institute for Contemporary Art.

I jetted out to Palm Springs, via DFW, and had an amusing moment of literally bumping into an acquaintance while getting to my connecting flight. The small world factor should never be underestimated. On arrival, I drove up the big hill from Morongo to Yucca Valley for a coffee rendezvous with my good friend John Luckett. It felt great to be back.

Test Sites was challenging as always in that it covered installations and events from the far reaches of Wonder Valley to the rocks of Pioneertown. By now an experienced attendee, I realized that it just couldn't all be done and choices would have to be made. Add to that my desire to catch up with friends I had met during my recent sojourn, and the challenge was pleasantly before me.

I had rented a house in North Joshua Tree that is also for sale to get a good feel for it, a happy opportunity. And I was joined by another good friend, Eduardo Braniff, who jetted in by car from his abode in LA. A happy reunion.

The first night, Friday, presented the opening of the Wonder Valley Institute of Contemporary Art. WVICA is a new effort, headed by Chris Veit, aimed at bringing an new form of venue for supporting artists in the area and beyond. Eduardo, John and I regrouped for dinner by the pool at the 29 Palms Inn, an experience that is always oddly sophisticated and laid back at the same time. A duo entertained with keyboards and vocals and the food was delicious.

Housed in Chris Veit's former cabin, WVICA was still somewhat under construction - proving itself to be a good art project in of itself. The evening was a wonderful mix of art installation, music played on an outdoor stage and mingling with faces new and old under a chilly starry sky. This was the community feeling I treasure touching when I come to the region. And then the jetlag hit.

Saturday morning was an opportunity for Eduardo and I to catch up over coffee in the CA sunshine that poured over the house at Windy Gap. We then met John L over at the Test Sites HQ for a bit of mingling and to get hold of the official catalog. Designed by David Dodge, the catalog is a collectible as we as an indispensable guide to the sometimes esoteric clues that Test Sites provides.

Having determined that we would take in a performance late in the afternoon, we had time for sampling the delicious fare at a new bakery in Joshua Tree opened by my friends Clea and John. Delicious. We demolished a pumpkin loaf while lolling in the courtyard behind the True World Gallery, where we caught with the gallerists amongst others. Lunch followed (!!), an impromptu affair on the sidewalk outside of Ricochet, the local gourmet venue.

Then off to the Mojave Sands, an arty motel that is another project dwelling in the tradition of long-term completion. We were there for the Art Swap Meet, a sort of fair affair that afforded glimpses of a variety of work by young artists from the area and from LA. Our trio had a lot of fun breezing through and critiquing away.

We made a quick trip the Joshua Tree Inn, immortalized on the cover of the U2 album, to see a piece by Ann Magnusson. It was a recreation of the scene at the room in which Graham Parsons committed suicide. With the afternoon sun streaming in, and music on the old fashioned radio, it was remarkably cheery.

From the Inn, we continued on to the dry bed of Coyote Lake for a mysterious performance. Mysterious in that one was asked to drive out on the lake bed "until you see a cluster of cars". And mysterious in the way a man named Ry spent 20 minutes or so vacuuming dirt that he threw from a large lame bag onto a carpet while dressed in a purple dress and sported a lions mask. Yes, that sort of mysterious.

The on the the Palms. Ahh, The Palms. Many have tried to describe it (myself included), none has succeeded. Hundreds of people. Grilled chicken, tofu and salad being served directly from the kitchen. And, on stage, the Spirit Sisters. Ahh, the Spirit Sisters. Singing, playing, performing etc. And the great surprise was a rendezvous with Sandy and Anja, two good friends from my sojourn, recently returned from Europe and dreaming of living in Aruba.

The night was still middle aged when we left the Palms, heading back to the True World gallery for a fun, late opening.And then, a quick after party at a wonderfully strange new house. Entirely black and open to the elements, this was a wonderful design project that left one wondering just how it might feel to actually overnight there. Brrrrrr.

Sunday morning dawned bright again. I had a quick jaunt with Eduardo to see a house for sale. The property was a disaster but we did come upon the spectacle of a futuristic house built for an artist named Bev Doolittle. The house is straight out of a Bond flick and is rumored to have been used for a recent Star Trek scene. Wow.

We then made track for Andrea Zittel's property where there were a few works installed on the adjacent land. We strolled up, deep in conversation, to find the first piece an odd mix of carnival and sustainable design. The artist was sitting outside at a table with a fake torso strewn in front of him on a table. He continually pumped "blood" through a wound in the "flesh". Near him was the entrance to a simple structure within which there was mirrored box containing lights that created the illusion of a long tunnel running deep into the desert floor. Yet more mystery.

Even more mysterious was the other work, a piece on surveillance, that we simply couldn't locate. Perhaps it didn't exist...I had met the artist the evening before at The Palms. She had agreed that the desert was a wonderful place as well as a good place to be when biological warfare broke out as the pathogens couldn't survive long in a dry environment. She apparently had lots of booze back at her hotel in case a party broke out. Better safe than sorry.

Noon rolled round and it was time for a performance at the Joshua Tree Community Center. I mistakenly drove us over to the Joshua Tree Playhouse where some hilarity ensued in trying to find the performance and then extricate ourselves from the space once we had engaged with some local community theater group. Onward arty soldiers. We made it to the community center in time for a performance directed by someone I had met two Test Sites ago. Nice to have become a regular.

After a quick sandwich at the local Vons, Eduardo and I headed over to John Luckett's to see an installation of his from the recent Morongo valley open studios. We were treated to an intriguing work which explored the possible histories of a pair of twins living, loving and drinking in LA in the 50s and 60s. Period furniture, scrapbooks of photos, scrawled notes and threatening correspondence from an insurance company all added up to a strong sense of nostalgia and wistfulness. Thanks John.

Eduardo then departed for LA while John and I went on to my finals stop - a visit to Garth's place. Publicized as an opportunity to get advice on any topic from a sage, this was he highlight of the weekend for me. Garth has lived on his 60 acres of beautiful land outside of Pioneertown for over 25 years. I had heard of him before yet nothing prepared me for the creativity and productiveness of his effort. The man himself lives in a concrete tepee and I found him installed there telling stories from his life in this lace. Apparently the tepee was originally of hide but the constant movement of rats across the floor, and a desire for a bit more shelter, led him to create the current iteration. While space was tight, the tepee was warmed by a stove and seemed very homey.

Surrounding Garth's tepee was an amazing array of living arrangements. An outdoor living room, kitchen and dining area were all spacious and would feel luxurious in warmer weather. The grounds had stunning touches of landscaping and sculpture, including a koi pond, a bridge, a dipping pool ; there is also a functional sweat lodge. Garth lives here, tending horses, drumming and entertaining whomever drops by. I'm looking forward to visiting again.

I wrapped up the weekend at Pappy and Harriets, a Sunday evening tradition of food and dancing that I had gotten into during my stay in the Spring. More friedns to see, great ribs to eat and a wonderful feeling of being integrated into a place and community.

Thanks again to the organizers and volunteers who make Test Sites possible.

And The Man Burned

2008-09-06T07:58:00.000-07:00

It's been a while since I got to these pages...been ensconced in NY life and my new role as MD of the NY studio for JDK. That said, I'm lucky enough to have been able to get away for another full week at Burning Man in Black Rock City, NV.

This year, I went with three virgins (Alan aka Bajan, Michael aka Dusty and Rick aka Mr. Happy as they were known on the Playa). We had done a lot of pre-planning, shipped stuff ahead in the container, traveled out to Reno early to get acclimated and completed the shopping on the Sunday. However, nothing can prepare you for The Man and the desert environment he lives in. No sooner had we hit the entrance turnoff, right on plan at 2pm on Monday, than a massive dust storm hit. The gates were closed and we were left to hang on the dirt road with thousands of fellow burners for 5 hours until dusk brought some relief from nature's trickery. Of course, people were generally good natured, we met some new neighbors and greeters came out to reassure us with maps and programs for the week ahead.

We hit camp at 7pm, too late for a full build yet in time to pitch tents and fire up our first dinner of burgers on the camp grill. We camped in Hushville this year - an area designated to be generator and amplified sound free. I was intent on this approach after last year's site near Opulent Temple left me sleepless and zoned out for most of the week. We pulled into the area, anxious to find a prime piece of land within the camp, and I was immediately greeted by the sight of a "Roman centurion" striding toward me to challenge my Hushvillian credentials. I hopped out of the SUV, ready to make some demands, when he broke into a grin of recognition and gave me a big hug. It was Critter, partner of an artist from Sacramento with whom I had shared my print teacher in Twenty Nine Palms. Life was smiling yet again.

Tuesday morning we built the camp in glorious sunshine and low wind. Kitchen shower and lounge were all designated and staked out with rebar. After lunch, Alan and I got clean at the Human Carcass Wash and we all went for some coffee at Center camp.

That evening we went out for our first real walk on the Playa. It's amazing to see how much is built this early in the week. Most of the art pieces were complete, art cars were zipping about and the Esplanade was full of lively activity from the Roller Rink to the Whiskey Bar. Of course, people were resplendent in their costumes and glowery. I watched my friends' wonderment which is the virgin experience of a first night out at Burning Man. We sent several hours at an art piece called Shiva Vista. Spectacular enough with its ring of flamethrowers and stage of fire dancers, that evening was elevated further as a kickass art car came by attempting to take the musical program hostage. Blissful music and roaring licks of fire ensued until the two efforts found a point of collaboration and everyone danced to the beauty that arose.

Wednesday morning dawned as beautiful as the day before. Rick had organized an art tour for us and we gathered at The Artery. An art car, The Kazbus, picked us up and we sailed forth with a wonderfully dotty docent to preview the art and get the lay of the land. The tour is a great way to orient oneself and mark sites for a return visit.

Later in the afternoon, I introduced my mates to The Deep End. This was one my highlights of last year which only surpassed itself this time round. The Deep End is an amazing dance area that gets going from 1-8pm. The music is wonderful, the crowd friendly and the experience verges on religious. The sad news was that this was the last year of Deep End - one of those famous retirements that I can only hope will prove to be as wrong as the others usually are. The sheer energy and generosity of spirit that Deep End provided is something everyone should experience and participate in.

The evening we cycled out on the Playa to see two projects: Mutopia and Babylon. The first was another amazing organo/techno/flame affair. The second, a ten storey tower, built in days, featuring night time projections of burner mashups. While waiting to have my photo taken for the said visual mashup, I overheard the following conversation: Woman to man on line dressed in fur costume and dreadlocks: "Are you a tiger?" Man: "Yes". Woman: "Have you eaten today?". Man: "Yes". Woman: "Delicious". One can only imagine what might have ensued had he been hungry.

The one challenge this year was the sand. With no real snow runoff and little summer rain, the Playa was not its usual hard, cracked self. A whorl of small dunes were waiting at every turn to trap bicycle wheels and turn a sprint into a portage. Another one of Nature's jokes this year.

Thursday featured the WNBR. Pretty much a full day cycling from camp to camp with hundreds of fellow burners. In the buff. Much sunscreen was used and a lot of banter shared. The day ended at...The Deep End. Then another evening on the Playa.

Friday morning, I volunteered at the Center Camp coffee bar. This was another of my highlight experiences. Meeting hundreds of burners, dolling out advice and abuse (which are both free as a side order) and receiving lovely gifts and even a share of the tips. Giving back at Burning Man is a total buzz. The afternoon was back at Deep End and the night a trip to the Playa.

Each night I managed to get a decent amount of sleep. Hushville helped. As did the new layout which had things spread further apart than in past years. Yes, waking refreshed for a day of fun at Burning Man is possible.

Saturday morning, I woke at 5.15, dug myself out of my sleeping bag and headed out for the dawn photo opp I had promised myself. Taking photos at Burning Man is a challenge both in terms of being sensitive to others' privacy as well as coming up against choosing to be inside or outside the experience. Most of the time, I chose to be in it. This was my one chance to step outside and snap a record. The pics are here. The experience was wonderful - I started at Center camp, took in some of the highlight art pieces and caught sunrise at the Temple. I ended up at Opulent Temple, obeyed the beckon of a lovely fellow burner and ended my jaunt with an hour of early morning dancing.

During breakfast back at our camp, the wind started to pick up. We 'rebar'ed the tents, packed away loose items and then let the massive dust storm just engulf us. What does one do during such a storm? Deep End of course! The afternoon was magical. Thousands of folks dancing in goggles and masks, recognizing that this was the last set ever. Perhaps. I was joined by Randy and Shari, my good friends from Joshua Tree who had come with their art project, The Grotto of Manifest Destiny. Despite Randy's sprained ankle and Shari's dislike of techno music, we found a shared rhythm and had toms of fun. They took off, I found Rick and Alan, and we continued to enjoy this party complete with fresh hot dogs (mustard and ketchup supplied) handed to us by a man in a sausage hat.

That evening was the Burn itself, something I feel is a bit akin to New Years in Times Square. We watched the man explode in a ball of fire from the safety of Randy and Shari's grotto and then I headed back to camp for some sleep. Sunday, we cleaned up what we could after the dust had gotten everywhere. I volunteered at the coffee bar again. That evening we went out for the Temple burn - a contemplative counterpoint to Saturday's bacchanal. We got there early, froze in a sudden cold wind and watched the Temple burn ever so slowly. It was a really rather well made thing. The timespan allowed us to witness each stage of fiery destruction from red to blue flame, charred glow to disintegration. A fitting metaphor.

As we turned to head back to camp, another howling dust storm ensued and the whole group who had gathered walked slowly back across the Playa in a mass of muted confusion. This is the disintegration of community. Later, some rain began to fall and rumors that we would be stuck in the mud for days began to circulate. The curtain was coming down fast.

Monday dawned bright and frigid. We packed up, headed out relatively effortlessly and were ensconced in our hotel by 4pm. A tasty seafood dinner. Early to bed. Two flights. Home. Until next year.

NY Pride

2008-06-28T09:42:00.000-07:00

Pride Week 2008 has been a wonderful time for some new experiences for me. On Tuesday, I attended my first invitation to Mayor Bloomberg's Pride Reception at Gracie Mansion. Jason, my perennially sunny friend, had arranged the invites and the weather cooperated spectacularly. There was a large tent set up on the lawn and beyond, bars and barbecue beckoned along the rivers edge. The crowd was a wonderful mix of men and women who work for the City, work for LGBT and related non-profits or just know someone.

I met up with Jason, Suzanne, Jamie and John; bumped into some other folks I knew; listened to the Mayor, the Speaker and Isaac Mizrahi (!) speak; chatted with some non-profit folks; met the NYPD liaison for LGBT Youth; ate some barbecue and generally enjoyed the spirit of pride and community. Then it was off to the Hispanic Institute for a dose of Dia art - but that's another story.

On Thursday, I attended the GLLC Annual Fundraiser at the behest of Andy Tobias, Treasurer of the DNC. At the Waldorf, I found a couple of hundred people I didn't recognize at all. So much for not having been a contributor before. Gradually some friendly faces emerged and the it was time to sit down. The speaker roster was superb - Michelle Patterson (First Lady of NY), Michelle Obama (the next First Lady of the US), Howard Dean (Chair of the Democratic Party), Linda Ketner (Congressional Candidate for South Carolina), another guy called Barack who is the Head of Community Outreach for the DNC and, of course, Andy Tobias.

The issues discussed were a little narrow for my taste, tailored mostly to the audience. A little political pandering goes a long way. I do wonder how we'll be able to get beyond "politics as usual" as long as we keep playing politics as usual. Then again, look who our candidates are this year - change takes time. Here's a link with some good pictures of Michelle Obama speaking - notice the studded leather belt.

I came away fired for the election season ahead, clinging strongly to my wish for real change and the message that will send across the country and into the world. I also came away again proud of my community and grateful for my place in it.

NYC Tales

2008-06-22T07:34:00.000-07:00

So here I am, back in NYC, taking the lessons I've learned so far and putting them into the projects that lie ahead. The four weeks since my return have been hectic, starting with the final preparations for Four-Handed Lift.

Four-Handed Lift is a benefit exhibition and silent auction which I conceived as a fundraiser for the HIV Law Project where I am a Board member. We kicked off last year with a show of 54 artists at the Moti Hasson Gallery in Chelsea. This year, we featured 60 artists at the same gallery, sold 31 works and had a powerful evening for all. The evening showed the progress that comes from experience and having a great team featuring a new Development Director at the Project and three great co-curators, Almond Zigmund, KJ Baysa and Jess Frost. It also demonstrated to me the support of my community of friends who turned out to support the vent with grace, charm and a dash of style.

Since then, I have moved back into my apartment and have been finalizing interviews and negotiations for my next career move. News to follow shortly.

This last week was particularly rich in experience and community. I attended another powerful event, the annual Stonewall Community Foundation dinner held at the UN Delegates Dining Room. I was a guest of Bob Beleson who has generously sponsored the the Law Project exhibition in the past and has become a friend. The crowd of 400 was highly energized and I was surprised at how many faces I knew and the event was flawless with rich media content and two very moving awards. The skies even produced a rainbow for the event. I was proud to belong to this community and inspired to participate with the Foundation's efforts. I was also gratified to find an exhibition of Body Maps in the UN Lobby - my first exhibition was one where I introduced Body Maps from South Africa into the US.

On Friday evening I joined 10's of thousands of my fellow New Yorkers for a picnic in Prospect Park and a concert by the Metropolitan Opera. Only in NYC can this many folks gather in a small place and have the whole experience transcend its limitations.

Yesterday, I went to PS1 to see 1/2 of the Eliason exhibition which was the expected mix of surprising stimulants for the senses and insightful lenses on perception. The unexpected moment was my viewing of PF1, the summer installation that is created each year by the Young Architects Award process. The urban farm complete with plants, waterfall and pool, live and virtual animals and solar recharging station for cellphones. I can't wait to frolic on this set during an outing to Warm Up.

I finished the afternoon with a visit to Crane Street Studios, across from PS1, for their annual open studios. I visited with Marshall Harmon whom I met recently at a show of his work held in a private apartment. Marshall was a blast and the rest of my stops included the usual mix of high and not so high works and yet overall the characters were inspiring.

Next week is shaping up to be another doozy and I look forward to sharing more with you.

Many Mansions

2008-06-01T05:40:00.000-07:00

Memorial Day Weekend signaled the end of my first desert foray. It also signaled my first exhibition - a group show at the Art Queen organized by Shari Elf and Randy Polumbo. The show had a loose theme of spirituality and the title referred to the many guises in which spirituality is embodied. I had a print – Free Tibet – that I could have submitted yet I decided to produce something fresh. My collages had been progressing into various forms of authored work – the prints, drawing, watercolors – and I had been yearning for a larger canvas to work on than the 8 ½ x 11 sheets I was using as backgrounds.

As I looked around the cabin, I noticed a reserve of brown shopping bags. I decided to cut them open, form a canvas and then sew them together. The first one of these I had made was quite large and the submission request had included a request to keep things manageable. So, I made a smaller canvas from a Trader Joes bag John Luckett had used to wrap a gift. The shopping bags made a good canvas, particularly owing to the handles which allowed for easy hanging. I drew, collaged, watercolored and sewed onto the canvas. I then located a deep frame at a thrift store, scraped off the alpine decal that it sported, framed the work and oiled the frame. It was as good as…well, you get the idea. Just as I finished up, I noticed that a hair had become trapped under the glass. I tried to shake it free to no avail. I just couldn’t face opening the whole thing up again and went with the flow. So much so that I ended up calling the piece ‘Untitled: Hairy Problem”.

On the Friday before the opening, I dropped into the Art Queen to see if I could help. Shari has already hung more than half the show in one gallery and I helped her get most of the second gallery done. Not only was this fun, it helped me score rime real estate for my piece, right next Randy’s brilliant corner of many spiritual and other delights. Saturday dawned, I had a delightful coffee date at Regina and Dimitri’s. Then it was time for the main event. The Art Queen was wonderfully decked out with seating in the courtyard, fires in braziers and the outdoor fireplace, a bar and great catering by Chantale. A new stage had been built and there were several musical acts, some twirling and chanting accompanied by a harmonium.

The crowd was diverse, the conversation fun and the action energizing. I bartended a bit, talked a lot, ate a lot, twirled and chanted and generally had a ball. Toward the end of the evening, Shari performed accompanied by Randy and the evening drew toward a close with a performance by Anne Magnuson. Lovely. The show will be up for several months – drop by if you’re in the area ;)

All's Fair That's Art Fair

2008-05-21T15:45:00.000-07:00

Last weekend I participated in my first art fair. It was the inaugural Village Market, a monthly fair arranged by the Morongo Basin Cultural Arts Council. I had just returned from a trip to the coast to see my incredible nephew and my wonderful friends Candice and Marc (and Poppy the schnauzer too). Instead of driving back on the freeways, I took a state highway, Route 74, that is a single road from San Juan Capistrano to Palm Desert. It passes through the Cleveland National Forest, Lake Elsinore and eventually becomes the gorgeous Pines to Palms Highway that climbs high on the St. Jacinto range, passes an alpine town called Idylwild and then plunges into the desert.

However, I digress. The fair was held at Roadside Attraction, a local gallery that shares frontage with an insurance brokerage. Yes, the sign says "Art and Insurance". It was held in conjunction with a postcard benefit and silent auction for the MBCAC, into which I donated a set of four postcards. The fair was small, the weather was hot and the crowd was eclectic. I set up with flowers, mandarins, yogurt pretzels, gummy bears and, oh yes, art. My works were the prints I had created at the 29 Palms Creative Center and I displayed them in bags I had purchased at an art supply store in Laguna Beach. People stopped by to grab a munchie and I received one great compliment - on the flowers. However, I had one fan who kept eying a large collage and monoprint entitled 'Crazy World'. By the end of the evening, and with a little gentle persuasion by my friend John Luckett, the deal was sealed. The identity of my first collector is being withheld at her request. I am very grateful for her patronage.

I ended the day at a benefit evening for Sky's the Limit, the new observatory being built in 29 Palms. Music, friends, food, star-gazing - no, not LA-style - desert style through a huge telescope.

Signs of the Times

2008-05-07T22:49:00.000-07:00

After all that hard fun, it was good to be invited to a potluck afternoon around the pool at Benjamin (and his Mom Betty) Bottoms' place in 29 Palms. Little did I realize the treat I was in for. The property is a former motel and Benjamin has brought tens of large signs onto the grounds. He has also landscaped away without earthmoving equipment and placed his personal artworks throughout the main house and 'gardens'. It's a rich and inspiring environment to experience.

We were treated to a tour followed by a dip in the pool followed by delicious dinner and conversation. The whole affair was rounded off by Janet, a local sculptor, treating us all to lemon custard, shaped to look like soft boiled egg, served in ceramic eggs of her own making. And biscotti ;)

My Blue Period

2008-05-07T22:25:00.000-07:00

Rick's visit was followed sharply by my next print class with Gretchen at the Creative Center. I made my first locally inspired work - an attempt to capture the beauty of the overlapping mountain ranges that take on a variety of blue tones in the late afternoon light. Some happy printing ending in what else? A collage.

One collage led to another - the second intended as my entry into the MBCAC postcard benefit. I liked it too much to cut it up so we ended the day printing another monotype plate onto a set of pre-torn postcard sized papers. They are winging their way to the MBCAC as we speak. Thanks again Gretchen!

The Day Rick Came To Visit

2008-05-07T22:01:00.000-07:00

This past weekend was action packed as Rick Guzman, my good buddy from NYC, came to visit. As my first guest out here, he was subjected to a very thorough run around aided by the fact that there was a lot on. We dined in on Thursday evening after Rick's arrival. Friday morning featured a brisk long walk up into the mountain and then all around the houses in the Joshua Highlands. After lunch, we drove into the Park proper and went for a leisurely hour walk around Barker Dam. Then a trip to the cactus garden before dinner at the 29 Palms Inn. The evening was rounded out by an opening of Tina Bluefield's work at the 29 Palms Creative Center. Gretchen always throws a great event and this one was no different - complete with Belly dancers.

Saturday featured the farmers market, late breakfast at Crossroads Cafe, the Yucca Valley swap meet and then a hike at Black Rock Canyon. Not content with the long vertical ascent and a view of San Giorgiono, we went off trail, scrambled a few hundred feet higher and were rewarded with the twin peak of San Jacinto. A breather was followed by a huge dinner and music at Pappy and Harriets.

Sunday. Leisurely morning into lunch at the cabin. Then a trip to the 29 Palms Gallery for an opening of the tribute exhibition for Noah Purifoy. Lots of familiar folks there, many introductions and then an excursion to the Purifoy Foundation to see the work that inspired it all. We were accompanied there by my local buddy John Luckett, who had a great piece in the show.

A late afternoon drive to Palm Springs and Rick was off home again. I think he was surprised by the variety and depth he saw here and I was happy for his energy and good spirit after all of that activity. Au revoir Rick .

A Bar, an AA Meeting and Beatniks

2008-04-30T22:52:00.000-07:00

So what do these all have in common? Creativity.

First off, the bar. Pappy and Harriets Palace is a local institution located in Pioneertown. So much in one sentence. The palace is part bar, part restaurant, part OK corral and one stonking music venue. Pioneertown is a former Wild West movie set now inhabited by pioneers of a different sort.

I went up there on Sunday evening to hear the thriftstore allstars play - a regular Sunday evening gig. I leaned against a wall and bopped to the music until someone taped me on the shoulder. It was Randy Palumbo accompanied by Shari Elf, both of the venerable Art Queen art complex in Joshua Tree. They hit the floor swinging and I soon warmed up to bopping the night away.

Now all I drank that evening was grapefruit juice and seltzer, my new regular tipple. Nevertheless, I felt called to my first AA meeting today. Arts Anonymous that is, a national association for artists that supports and furthers creativity using the 12 step process. The session was held at the Art Queen and led by Shari. A wonderful hour of affirmations, sharing and committing to the week ahead. Thanks Shari.

Lastly, Beatnik, as in Beatnik Cafe. Wednesdays see a popular open mike at Beatnik where locals of all varieties display their musical talents. I went this evening for the first time and watched a wonderful array of singers, young and old. There was also some comedy from a self-termed cowdyke, political heckling whenever the subject of the nearby marine base was mentioned and a surprising recontextualization of a romantic song by a young marine. These are the wonderful contradictions of life in the California desert.

Forward Momentum

2008-04-25T12:41:00.000-07:00

Last week sped by as I left Joshua Tree for the majority of the period. I spent a couple of days in Palm Springs exploring a consulting practice opportunity as well as participating in a long call to discuss the work that will be on offer at the next HIV Law Exhibition on June 2. I then went on to LA to swap out my car, visit with my good friend and gracious host Eduardo Braniff, catch up with my old friend Robert Dennis and spend the first night of Passover with family. This time was very warm and connected and I returned to the desert looking forward to the next phase. Part of me had been concerned about spending a week away from my work in JT and then I realized that this was an essential lesson - how to integrate the art and non-art parts of my life and not set tight boundaries between them.

This realization has followed on one I had before I left. I had been concerned about what I was making - not seeing development and not feeling that the pieces were hitting a mark. I was aware of the fact that I tidied everything away at night, keeping things neat. This was causing me to push for completion each time I worked, rushing to finish a work in order to close up shop. One afternoon I decided to leave everything out on the table. I started to see each bit as part of a bigger work or process. I started to experiment more and see how one thing led to another. Or not. This has created a new freedom for me, less pressure to complete and less tendency to judge.

On my return to JT, Gretchen from the Creative Center reached out regarding a print class. I had one day previously on the press by myself and had been disappointed by my untutored results although in retrospect I had valued them more when seen as part of the bigger process picture. I have also been adding watercolor to the drypoint etchings I brought back from that day, providing a counterpoint to regular monotypes.

Here was the opportunity to learn more technique and, perhaps, get some feedback. We had a long day interrupted only by a leisurely lunch at the 29 Palms Inn and a benefit committee teleconference for the upcoming exhibition. I learned about color use and mixing (some of you know how challenged I am in this area), stencil use and production, composition, press pressure, layering - making several runs on the same image, collage, inking a drypoint plate, and just how precise the printing process is. I also met some folks who dropped into the gallery, listened to good music and exchanged views on a lot of subjects with Gretchen. When I hit the road at around 6.15 pm with three prints in hand, it hit me just how exhausted I was. I crawled into bed that evening with that good weariness that comes at the end of a hard day's work.

We have another class scheduled for early May and I am now preparing my ideas, collages, stencils and stamina for that. I will be submitting work for the first time at Shari and Randy's wonderful Art Queen gallery for a show that will take place on Memorial Day Weekend. Stay tuned.

Where Does All The Stuff Go?

2008-04-14T14:39:00.000-07:00

When my friend Shari Elf (leftmost in this great image from Friday's Perry Hoffman opening at Gretchen's Creative Center - that's Gretchen in the middle and Ana on the right) told me about the Yucca Valley Swap Meet, I didn't know quite what to expect. On Saturday, after the farmer's market, I headed over there around noon. The swap meet is a giant flea market staged on the grounds of a former drive-in. There are some interesting solid structures, generally built in a wild, wild west aesthetic, as well as dozens of vendors at tables selling pretty much anything you might consider. From animals skulls to buddhas to outdoor teak furniture to electronic bits to an old Vespa to kitchenware, crockery, silverware and clothing. And much much more. For much, much less. You can comfortably outfit a desert hideaway from the supplies at this place.

I got there at noon, thinking the meet went until 2.30pm. It sort of does although the hardcore shoppers are there from 7am to get the hot deals. Quite why they bother I don't know, as one gent was giving a lot of things away since the crowd had disappeared and he didn't want to haul it all out. I wandered around, scored a CHIPs mug and old tin for storing coffee. The few vendors still there were super amiable, even providing real estate tips. I crowned the outing off with a grilled sandwich at the characterful Sky Cafe which ended up serving coffee for free to empty the pot.

As I ate lunch, I contemplated the Pinocchio / Tin Man assemblage mounted near the table. How do we separate out and value one effort from another? I had a breakout end to the week with my work. I entered into a new process of leaving many pieces out on the table and reworking or adding to them as appropriate. Just letting them be there and letting them mature. Tidying everything neatly away at the end of each day had been leaving me judging the works as individual final products - now I could see them as part of a larger development that was blooming on. No need to judge yet, or at all.

Retreat.Refresh.Create.

2008-04-11T13:03:00.000-07:00

One of my senses of the High Desert is that it would be a great place to bring people together to share the atmosphere of potentiality and be inspired in various creative endeavors.The landscape, the weather, the community all contribute to something unique that has struck me and many others.

Being a practical sort, I wondered if there were facilities for bringing people together and came across the Joshua Tree Retreat Center, also known as The Ding Le Mei Institute of Mental Physics. The Retreat was established in the 50's, when Edwin Dingle returned from years in China and Tibet to bring his learnings on yogic breathing and meditation back to the US. I visited a couple of days ago and was very happy to find an amazing collection of buildings in a 420 acre desert setting. The design of the main buildings were in fact a collaboration between Lloyd Wright and his father, Frank Lloyd Wright. The structures have been well preserved and are now undergoing a light renovation. They include great facilities for dialog and workshops as well as plentiful accommodations. Add to this a desert amphitheater complete with large fire pit and a swimming pool. In sum, a wonderful setting for learning, sharing and making.

I then whisked myself over to Flamingo Heights, for a studio visit and lunch with John Luckett, an artist who has indeed come to the desert to retreat, refresh and create. The drive over was beautiful, the dialog was enriching and lunch was delicious. Yes.

When In Doubt, Go For A Walk

2008-04-07T19:40:00.000-07:00

Yesterday, I attended a celebration at the Forest Meditation Center in Landers (see earlier post). The event was twofold: first, the consecration of a new granite statute of Buddha which had arrived only a couple of days before, and second, an early celebration of Thai New Year. We were invited to bring potluck lunch and I had visions of a dozen or so health food options on a table. Little did I realize that the center has quite a following and many people had traveled from LA. There were full on Thai treats all over the shaded ceremony area which made my couscous look rather paltry.

The ceremonies, starting with alms for the monks, were relatively brief and the lunch break was relatively long - just the way I like it. There were some wonderful touches like receiving a blessing for the new year by pouring scented water into the hands of the monks. A pot of flowers was situated below each monk so that none of the water was wasted. That was before people began to soak each other, and me, in the Thai tradition as New Year is at the hottest time of the year in Asia.

I met a trio of new faces at the Center - a painter, a Russian photographer and a Dutch print artist reluctant to call herself an artist. This led to a discussion of definitions of art and artist that got to the heart of some of the considerations I'm facing out here. These questions have been arising for me and challenging my sense of getting settled and making work.

They say coming down is harder than going up. This is true for mountain walking, drug use and the high I get from travel and novelty. The challenge of just what I'm looking to accomplishing here has taken the rosy edge off my vision and thankfully so. I'm starting to bite into things, sensing my vulnerabilities and using my life training to move forward.

So, I'm learning to just go for a walk. Out the door, onto the mountain, up and over into the wilderness. Imagine my surprise when yesterday's walk led me to crest a new peak and gaze down on the strange sight of old railway cars and a mini gauge railroad complete with station. Ends up the Joshua Tree and Southern Railroad Museum is just round the mountain from me. This was enough to put a smile on my face and remind me of the endless variety of human endeavor.

Cranking Up Production

2008-04-05T18:11:00.000-07:00

With much of the settling in process behind me, I had a strong urge to get some works into production. Tuesday and Wednesday were cutting and placing days and Thursday was a sticking, sewing and tracing day. I was preparing myself for Friday when I had the good fortune to be minding the Gallery for Gretchen. This weekend is the Joshua Tree National Park Art Show and Gretchen was setting up shop for the long weekend there. The payback on spending the day at the Gallery is use of the printing press and related materials. That and meeting the lovely folks that drop in.

The collages are very modernist, being derived from images in Dwell Magazine. I had found some wonderful old maps, sheet music and a workbook from the Lockheed Space and Missile Company in a local thrift shop. I thought the contrast of the sharp imagery with the various old publications would tell an interesting story. I'm exploring the notion that there is no need for me to be creating new imagery from scratch. There is plenty of rich material available in the world and I can repurpose both images and substrate to make something new. Recycyling materials for a new point of view.

With collages and tracings in hand, I headed to the Gallery on Friday morning. First up was washing a bunch of brayers, paintbrushes and plexi plates that had been used for a class with high school kids. Following a cup of coffee, I was ready. Or so I thought. Gretchen had told me to go easy on the ink and easy on the pressure. These are not intuitive to a total beginner and I guess I made all the typical mistakes. I had fun using tracings made from the collages to drypoint etch onto a plexi plate. I then merrily rolled ink over the plate and printed. A lovely black rectangle dripping dark ink was my first result.

The day went by with me variously consulting the web on technique and trying various tools and pressures out. The results were mixed at best and I have a much better appreciation for what it takes to make a good print. There's a reason there are master artists and printers involved. Luckily, visitors were rare since the locus of attention was up at the art show and the weekend was not yet in swing. I'm now heartily looking forward to my workshop with Gretchen on Monday

I ended the evening with dinner and some music over at The Palm s, an institution in Wonder Valley. The Palms really needs to be experienced. Where else will the lead singer of a great band called The Sibleys cook your meal, bring it to you at the bar and then strike up the music? Where else is seltzer such a stretch that it comes flat? The locals are so colorful it puts the Mac range to shame.

The Sibleys played a long and strong set and were followed by Dean Chamberlain,
the former lead guitarist for The Motels. The audience of about a dozen good citizens was enthusiastic and even formed a coyote choir, the sound of which accompanied me all the way home to Joshua Tree.