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February 4-March 6,
547 W. 27th St, 5th Floor (suite 500)
Hrs: 1-6 pm
NY, NY 10001
Opening Feb. 4 6-8 pm
What will you offer?
Participation Installation Project
“But, art as a practical precedent is forever young and physically here with us. Works of art, as theoretical constructs, hold their place in a field of knowledge. As historical artifacts, they speak of ancestry and parental origins. As practical precedents, works of art are orphans, ready to be adopted, nurtured and groomed to the needs to any astonishing new circumstances.”—Dave Hickey, “Orphans,” Art in America, January 2009
Orphans Offered Up is participation installation in a space that was formerly an art gallery that is now empty.
Orphans that I’m offering up are a series of conceptual oil paintings that are very small, 4” x 4”, and intimate. They are fragments that appear to be abstractions. They are offered up in several different ways.
Offer is defined as: act of worship or devotion: sacrifice; to present for acceptance or rejection; to propose or suggest; to try or begin to resist; to threaten; to make available; to present in performance or exhibition; to propose as payment; to make an attempt; to present itself; to make a proposal.
What will you offer me? Offers will be document accepted. Some will be accepted. Suggestions: Stocks, bonds, a house, another painting, a manuscript, or something else? Something that is much less tangible? What are you willing to sacrifice? If you insistent on money, then the price will be determined by random walk, and that price will be a number between one and five hundred, that will be generated randomly by RANDOM.ORG, Trinity College. They provide a “random number service that generates randomness via atmospheric noise.”
The inspirational sources for the paintings are the invisible engraving marks found in old postage stamps that belonged to my late father. These painting were first started in 2002. They are not studies. They are not miniatures. They are finished paintings. I have completed more than fifty.
Or simply suggest a name. Come by and post it during the exhibition. Names maybe also submitted by email. Peter Selz has already done just that.
I would like to thank the Pinetree Group for the offer of the space for this project.
Holly Crawford, NYC 2010
OCCCA, Orange County Center for Contemporary Art presents
The Inexpressible
Artists: Dalibor Polivka, Rob Mintz, Guillemette Buffault, Chau Thuy
April 3- May 1, 2010
Opening Reception: Saturday, April 3-2010, 5:00-11:00PM
at Orange County Center for Contemporary Art, 117 North Sycamore, Santa Ana, CA 92701
; 714.667.1517, www.occca.org
Inexpressible is an exhibition of works by the important French contemporary artist Guillemette Buffault, orchestrated in space brought to life by the graphic and installation interventions of Dalibor Polivka, with wall texts by Rob Mintz presented by master Vietnamese calligrapher Chau Thuy. In a spiritually-charged atmosphere, gallery-goers will discover the inexpressible within themselves. This exhibit seeks insight into the nature of a mysterious, shared universe described by mystics, philosophers and physicists. A creative alliance between artists from different countries, it will be a model of contemporary practice, a hybrid with exalted aims.
Dali Polivka
No form an artist might use is equal to the unbounded void where the phantoms of memory arise. To represent the absolute in a manner that does not instantly betray its transcendental meaning is the challenge that motivates Dalibor Polivka. The beauty and depth of the historic cultural traditions of his native Slovakia inform a restless pursuit of the underpinnings of perception, across contemporary disciplines, in painting, sculpture, installation, performance, digital imaging and graphic design.
Rob Mintz
Rob Mintz’s writings are influenced by the history of the avant-garde in all its manifestations. Evolving spontaneously and organically with a series of decisions that embellish or obliterate each line, they exude subjectivity, authenticity, anxiety, and the drift of autonomous introspection, the philosopher’s first step.
Guillemette Buffault
The “fold” (le pli) is the structure at the center of Guillemette Buffault’s research, taking form in paper, cloth, metal, sheets of lead, woven polyester, graphite, bronze, and glass, depicted in prints, or captured in photographs. The fold is both an object and a means of investigation. In her hands it becomes paradoxical, material and immaterial simultaneously. The fold is a connective discontinuity. When multiplied, its implications become metaphysical. Like apparitions, Buffault’s art oscillates between the opaque and the transparent.
Châu Thuy
Inspired by the Vietnamese calligraphic tradition, Châu Thuy’s popular and widely-exhibited work incorporates stylized figurative elements to symbolically express personal, historical and spiritual themes.
More details about Inexpressible at www.daliborpolivka.com/inexpressible
FOR IMMEDIATE RELEASE
West Harlem, NY … The West Harlem Art Fund and The City College of New York are pleased to announce the finalists for the “In Dialogue” exhibition. All of the proposals are being reviewed by the City of New York for final approval. The winners are:
Ø Scherezade Garcia – Unity Ribbon
Ø Brett Seamans – Home Ground
Ø Mary Sweeney – Respite
Ø Marcie Revens – Closer: In Conversation
The exhibition is being planned for early May, 2010 with City approval. Three finalists are graduate students in the Fine Arts program and one finalist is a graduate student in the Landscape Architecture program at the college.
According to Executive Director, Savona Bailey-McClain, “The collaboration that The West Harlem Art Fund and The City College of New York have formed is extremely important for both the West Harlem community and the City at large. Think tanks around the country have stressed the need for colleges to interact more in cities and spur entrepreneurship, production and new technologies. The partnership we have created shows that the “arts” is an important industry too that can affect tourism, land use and economic development.”
To listen to the panel discussion “A Conversation with Public Artists” that was apart of the student exhibition held in December; visit the website Art on Air. The link to that recording is below:
http://www.artonair.org/archives/j/content/view/2881/147/
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www.thebecafoundation.org www.curatethis.org
CURATE THIS! 2010 is going global!
…on the ground AND in cyberland.
A Global Exhibition of Emerging Contemporary Art + Design | An Experimental, Cross-Pollination of New Ideas for Progress + Possibility
January 1, 2010 – CURATE THIS! 2010, the second chapter in the evolution of the CURATE THIS! exhibition series created by BECA: Bridge for Emerging Contemporary Art, is evolving from a one city-wide event location into a global arts + cultural exchange event involving multiple venues located in multiple cities around the world. The global art + design exhibition will take place from July 1 – December 31, 2010.
Through the exhibition of works of art + design by emerging artists, designers, duos, groups and collectives around the world, The BECA Foundation aims to facilitate an experimental, cross-pollination of new ideas for creative innovation in diverse locations around the world. The title, ‘CURATE THIS!’ reflects a departure from the familiar large scale exhibition model, typically curated by a singular vision with one head curator, to an exhibition with components and related events ‘curated’ by the public and professional and independent participants residing in multiple cities around the world. The first ‘CURATE THIS!’ experiment took place in early 2008 and led artists and directors, Melissa Roberts and Kurt Schlough to begin brainstorming the expansion of the experiment to bring about greater benefits to a larger number of participants.
BECA is an acronym for Bridge for Emerging Contemporary Art and the core belief system at The BECA Foundation is that “New art + new design fuels the best of what’s yet to come on this planet.” To help mix that fuel and kick start new possibilities, the expansion of the CURATE THIS! exhibition project will facilitate a broader exposure of new art, new design and new ideas through both a physical and online network of participating venues in multiple cities around the world. The aim of building the network is to create international arts + cultural exchange opportunities, broaden arts education opportunities, build appreciation for emerging contemporary art + design, facilitate introductions and lay the foundation for future collaborations toward the realization of a progressive, meaningful and fulfilling future for everyone. Global online content delivery of exhibition events and related special projects will enable global participation by millions around the world. The BECA Foundation is pleased to welcome the participation of Helen Pheby, PhD, Curator of Yorkshire Sculpture Park, UK whose research and curatorial work spans the globe including the US and Iraq and Ellen Lupton, legendary design educator and Curator of Contemporary Design at the Smithsonian’s Cooper-Hewitt, National Design Museum. Each has a unique insight which will add further depth and diversity to new CURATE THIS! 2010 exhibition components.
Upcoming participating venues in Boston, New Orleans, Miami, Denver, Los Angeles, Santa Fe, New York and London have been the first locations to sign on. Venue participation proposals have also been submitted by exclusively online communities. Organizations, artists, designers, independent and established curators, gallery and art space directors as well as lease-holders and owners of other event and non-traditional exhibition spaces located anywhere in the world may email Melissa Roberts at mail@thebecafoundation.org for venue participation information. The BECA Foundation is building a global network to achieve a positive impact on the future of the residents of cities around the world. The formerly unimaginable, previously impossible and the creative ideas and proposals that may run counter to the current status quo are most welcome. Artists and designers may register to participate at: http://www.thebecafoundation.org/global/calls-to-artists.html
“Free your mind and the rest will follow.” – Thomas McElroy and Denzil Foster
www.thebecafoundation.org www.curatethis.org mail@thebecafoundation.org
CURATE THIS! 2010 is going global! …on the ground AND in cyberland.
December 14, 2009 – CURATE THIS! 2010, the second installment of the CURATE THIS! exhibition series created by BECA: Bridge for Emerging Contemporary Art, is evolving from a one city-wide event location into a global arts + cultural exchange event involving multiple venues located in multiple cities around the world. The global art + design exhibition will take place from July 1 – December 31, 2010.
Through the exhibition of works of art + design by emerging artists, designers, duos, groups and collectives around the world, The BECA Foundation aims to facilitate an experimental, cross-pollination of creative innovation and new ideas in diverse locations around the world. The title, ‘CURATE THIS!’ reflects a departure from the familiar large scale exhibition model, typically curated by a singular vision with one head curator, to an exhibition with components and related events ‘curated’ by the public and professional and independent participants residing in multiple cities around the world. The first ‘CURATE THIS!’ experiment took place in early 2008 and led artists and directors, Melissa Roberts and Kurt Schlough to begin brainstorming the expansion of the experiment to bring about greater benefits to a larger number of participants.
BECA is an acronym for Bridge for Emerging Contemporary Art and the core belief system at The BECA Foundation is that “New art + new design fuels the best of what’s yet to come on this planet.” To help mix that fuel and kick start new possibilities, the expansion of the CURATE THIS! exhibition project will facilitate a broader exposure of new art, new design and new ideas through both a physical and online network of participating venues in multiple cities around the world. The aim of building the network is to create international arts + cultural exchange opportunities, broaden arts education opportunities and appreciation for emerging contemporary art + design, facilitate introductions and lay the foundation for future collaborations toward the realization of a progressive, meaningful and fulfilling future for everyone. Global online content delivery of exhibition events and related special projects will enable global participation by millions around the world. The BECA Foundation is pleased to welcome the participation of Helen Pheby, PhD, Curator of Yorkshire Sculpture Park, UK whose research and curatorial work spans the globe including the US and Iraq and Ellen Lupton, legendary design educator and Curator of Contemporary Design at the Smithsonian’s Cooper-Hewitt, National Design Museum. Each has a unique insight which will add further depth and diversity to new CURATE THIS! 2010 exhibition components.
Upcoming participating venues in Boston, New Orleans, Miami, Denver, Los Angeles, Santa Fe and London have been the first locations to sign on. Venue participation proposals have also been submitted by exclusively online communities. Artists, designers, independent and established curators, gallery and art space directors as well as lease-holders and owners of other event and non-traditional exhibition spaces may email Melissa Roberts at mail@thebecafoundation.org for venue participation information. The BECA Foundation is building a global network to achieve a positive impact on the future of the residents of cities around the world. The formerly unimaginable, previously impossible and the creative ideas and proposals that may run counter to the current status quo are most welcome.
“Free your mind and the rest will follow.” – Thomas McElroy And Denzil Foster
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For immediate release
New York, NY – Despite the recession and its severe economic toll, artists across the country are overwhelmingly upbeat. While most have a second job just to get by (and one in five has a third job), a significant majority of artists believe “it is an inspiring time to be an artist in America.”
Despite intensified hardship, relatively low income levels, rising debt and growing worries about health insurance, 75% of those surveyed believe this is an inspiring time to be an artist. In addition:
These are among the findings of the largest and most comprehensive survey of artists ever conducted in the U.S. The survey reached artists working in the visual, performing and literary arts and other fields. More than 5300 artists participated in Artists and the Economic Recession Survey, commissioned by Leveraging Investments in Creativity (LINC) in collaboration with Helicon Collaborative and Princeton Survey Research Associates International. The survey was conducted in the summer of 2009, and the sample closely approximates the demographic characteristics of the national population of artists, allowing generalizations about the findings by age, race/ethnicity, arts discipline, educational level and other characteristics.
The survey was undertaken to provide reliable information about this diverse population of creative individuals. Most prior analyses have been based on Census counts, which are quickly dated and overly broad in their categorization of artists’ sub-groups. The LINC survey sought to understand artists’ financial circumstances, their strategies for adapting to the current economy, and their outstanding concerns.
“Artists are known for their ability to innovate and improvise. They have made a risky career choice to begin with, and most have learned to cope with economic stress as a matter of course. Artists find ways to be creative, flexible and productive under duress, and some of their strategies may serve others in this climate” said Judilee Reed, Executive Director of Leveraging Investments in Creativity.
Artists typically have low incomes, most earning less than $40,000 from all sources, according to the survey.
Chief among the artists’ current worries are:
Health care is especially challenging for many artists, who do not have the prospect of most other professionals for long-term employment that comes with health care and other benefits. Even those artists who are covered are worried: 61% of artists report they have adequate insurance, but 50% are concerned about losing it.
LINC is working with the Actors Fund and other partners to address artists’ health insurance issues. The Actors Fund’s AHIRC provides information about health insurance options designed to meet the explicit needs of artists in all disciplines and in all states, and provides resources, tools and information about health care policy issues. LINC also works with diverse partners, including urban planners and municipalities, to increase live/work opportunities for artists. The survey confirmed that this is another priority issue for artists.
“Addressing the needs of artists is important because art, in its thousand daily manifestations, matters to the health of communities,” Ms Reed said. “We demand and value excellence in design, graphics, performance and other arts. If we value art, we also need to value the artist. How do we tell the dancer from the dance, the painter from the painting? That dancer, painter, poet, actor and other artist whose work products you value need health insurance, places to live, and opportunities to work as much as anyone,” she said. “We have more than 2.5 million artists in this country, most of them contributing dynamically to our creative economy without the benefits of regular employment or standard benefits. If we want access to the ideas, products and services of artists in the future, we need to address their needs today.”
About LINC
Leveraging Investments in Creativity (LINC) is a 10-year initiative to improve artists’ ability to make work, build social capital and contribute to democratic values.
