LMNY's BLOG

SHOUTS & MURMURS  E -MAIL AUTO-RESPONSE  by  Martin Marks OCTOBER 25, 2010 Dear Friend, Family Member, Loved One, and/or Business Associate: Thank you for your e-mail, which, if it is under three (3) sentences long, I have read. Owing to the large volume of e-mails I’m receiving at this time, please note that it will sometimes take up to fourteen (14) calendar days, though sometimes longer (and sometimes much longer), to respond to your e-mail; in the interim, please rest assured that I am attempting to address, resolve, or think about the matter you have described, unless, of course, I’m avoiding the matter entirely. Some possible reasons for this include: — Thinking about the matter gives me a headache. —Thinking about the matter takes longer than forty-five (45) seconds. —Thinking about the matter is simple enough, and takes less than forty-five (45) seconds, but, when combined with all the other e-mails in my in-box, it creates a synergy of matterdom, exacerbating the heada

  Lectures, Panels, and Dialogues ARTIST TALK | 6:30 pm   Dana Schutz and Jeremy Sigler       Artist Dana Schutz speaks with poet, sculptor, and critic Jeremy Sigler as they bring together their unique perspectives to consider Schutz's work of the last ten years found in the exhibition  Dana Schutz: If the Face Had Wheels .   Sigler is Associate Editor of  Parkett  and has published five books of poetry, most recently,  Crackpot Poet  (Black Square Editions/Brooklyn Rail 2010). In his  2007 Brooklyn Rail  review of her work, he compared the simultaneous brutality and resolve of many of Schutz's canvases to an array of his own emphatic art and pop culture references.   Dana Schutz received a BFA from the Cleveland Institute of Art in 2000 and an MFA from Columbia University in 2002. She has had solo exhibitions at the Rose Art Museum, Brandeis University; the Museum of Contemporary Art, Cleveland; and Site Santa Fe; and has been included in group exhibitions at the Whitney M

A ce jour, nous n'avons pas encore atteint le quorum  (nombre présents avec ou sans pouvoir pour l'AG du jeudi 27), il est urgent de nous confirmer votre venue seul ou acoompagn é   à   bureau@accueilnewyork.org . Merci. ASSEMBLEE GENERALE ANNUELLE  Jeudi 27 octobre 2011 à 17h30 précises au Consulat Général de France, 934 Fifth Avenue (75 th  Street)  Chers tous, Merci de bien vouloir nous  confirmer votre venue seul(e) ou accompagn é (e)  à:   bureau@accueilnewyork.org . Nous vous rappelons que nous devons remettre la liste des personnes assistant à l'AG au plus tard mercredi 26. Si vous ne  pouvez pas assister à l’Assemblée Générale  merci de nous faire parvenir votre pouvoir. Nous nous réjouissons de vous voir tous à cette réunion importante qui doit ratifier le nouveau Bureau. LE BUREAU D’ACCUEIL NEW YORK

Of Beauty.... this Is Life, this is Art As summer fades and fall rises the ongoing magic of creative beauty continues at October's Art Salon. Returning to our stage is the alluring sensuality of musician Sophia Urista, the coolness of acoustic jazz guitarist Mike Krenner and the wonderment of newcomer Mark Safan. We will also celebrate the work of our host artists, Gilles Larrain, and Louda, whose majesty will be exhibited at the Steven Kasher Gallery on November 2nd. As always Gilles' special sangria will carry forth on its trajectory as will an assortment of succulent "eats and treats." Join us for yet another "grand" evening at 95 Grand Street! Doors open at 6:30pm on Thursday, October 27th.

1 = FIRST SATURDAY @ the Neuberger Museum of Art Family event,...free entrance,..guided tour..and this time I will be there also to welcome you en francais... Visit www.neuberger.org Read the review in the NY TIMES... 2 CRAFTS on STAGE @ the Performing Arts Center...AMERICAN CRAFTS.17th year... check out ..Sat and Sunday...

Je serai au Whitney ce vendredi  28 Octobre 2011 a 13H30 au cinquieme etage pour vous accueillir en francais et serai disponible pour vous faire une breve visite guidee avant mon tour officiel en anglais ouvert au public qui a lieu a 14h30.

Thursday, October 27, 2011 - 6:00 pm Craft Activism—the book and the movement With Joan Tapper and Gale Zucker 6 to 7:30 pm Free for museum members $10 for non-members Includes refreshments Space is limited. Tickets can be purchased below. To reserve member tickets, contact Elizabeth Kingman at 212. 265. 1040, ext. 346. • • • • • • • • • • “We make to give. We make to share. We make to connect with others. Crafters all over the world are using their hands and hearts to make a statement, change the world, and build community.” Writer Joan Tapper and photographer Gale Zucker will discuss how the DIY movement has evolved beyond simply creating for pleasure to Craft Activism, or “craftivism,” in which craft of all types can be a much larger statement in a community. Following a book signing of  Craft Activism: Ideas and Projects Powered by the New Community of Handmade and How You Can Do It Yourself , we will be making woven recycled plastic bag purses inspired by Austin a

NEW YORK CITY - In the shadow of the Brooklyn Bridge, strains of old-fashioned music from an organ float over the river, mingling with the sound of children's laughter. It's coming from one of the happiest little spots in New York City: Jane's Carousel, a twinkling antique jewel that spins in a see-through pavilion on the banks of the East River. One afternoon in early autumn, just about everybody seemed enthralled by the rise and fall of the 48 hand-carved wooden horses as they rode in circles over and over in Brooklyn Bridge Park. It was mostly young children emerging from naptime with their mothers, but even some hipsters in skinny jeans and Ray-Ban Wayfarers decided to stop and take a ride, hanging their heads back and grinning as they went.  "I think the lights, the music, the horses, it just brings out joy in everybody," says Jane Walentas, the artist who spent years restoring the carousel to its original splendor. Jane's Carousel is the latest attrac

Private View 15th of November from 6-9 pm - Olivier COULANGE, SEX IN THE CITY - ART EXHIBITION@32nd floor LONDON Dear Friends, I'm pleased to announce the Opening of : Olivier COULANGE, SEX IN THE CITY, Art exhibition 32nd Floor - LONDON Sky Lounge at Nido Spitafields, 9 Frying Pan Alley - E1 7HS (Liverpool Street Station) From 16 Nov.2011 to 2 Jan.2012 PRIVATE VIEW Tuesday 15th of November from 6-9pm RSVP :  http://sexinthecityexhibition.eventbrite.com Exhibition's website :  http://www.sexinthecity.uk.com Looking forward to seeing you there, Best, Virginie Olivier COULANGE, SEX IN THE CITY - ART... sexinthecityexhibition-eslihdr.eventbrite.com  Exhibition’s website : http://www.sexinthecity.uk.com Art Exhibition : 16 Nov.2011 to 2 Jan.2012Private View  Tuesday 15th of November from 6-9pm SEX IN THE CITY – EROS PLASTIC features a selection of photographs by French...

Robert Morris's  Untitled (L Beams) , originally plywood, later versions made in fiberglass and stainless steel, 8 x 8 x 2 feet, 1965 Unfortunately, any photograph of Robert Morris’s  L Beams  is going to miss the point if we want to understand the object both in an artistic and material sense. Morris wanted to expose the conditions of perception and display and the fact that these conditions always affect the way we comprehend the art object—sculpture always exists somewhere in relationship to someone at sometime. This specificity, Morris felt, had not been investigated enough, even by the many avant-garde experiments that define Modernism. By placing two eight-foot fiberglass “L-Beams” in a gallery space (often, he showed three), Morris demonstrated that a division existed between our perception of the object and the actual object. While viewers perceived the beams as being different shapes and sizes, in actuality, they were the same shape and of equal size. In direct oppositi

About this artist SOURCE: OXFORD UNIVERSITY PRESS American sculptor and painter. He studied (1948–50) at the University of Kansas City and then at the Kansas City Art Institute. By 1951 he was in San Francisco and attended the California School of Fine Arts, but he interrupted his studies after a year to serve in the Army Corps of Engineers. During his tour of duty he visited Arizona and Korea. In 1953 he moved to Reed College in Oregon, where he spent two years. He returned to San Francisco in 1955 and spent the rest of the decade engaged in experimental dance and improvisational theatre. His first one-man exhibition took place there in 1957. From 1961 to 1963 Morris studied art history at Hunter College in New York, where he settled. Morris’s early sculpture tended to emphasize a banal repertoire of form and subject-matter, while attempting to investigate the role of language in artistic representation.  Metered Bulb  (1963; Jasper Johns priv. col., see 1971 exh. cat., p. 57), in wh

From Wikipedia Robert Morris  (born 9 February 1931,  Kansas City, Missouri ) is an American sculptor, conceptual artist and writer. He is regarded as one of the most prominent theorists of  Minimalism  along with  Donald Judd  but he has also made important contributions to the development of  performance art ,  land art , the  Process Art  movement and  installation art . Morris studied at the  University of Kansas ,  Kansas City Art Institute , and  Reed College   [1] . Initially a painter, Morris’ work of the 1950s was influenced by  Abstract Expressionism  and particularly  Jackson Pollock . While living in California, Morris also came into contact with the work of  La Monte Young  and  John Cage . The idea that art making was a record of a performance by the artist (drawn from  Hans Namuth ’s photos of Pollock at work) in the studio led to an interest in dance and choreography. Morris moved to New York in 1960 where he staged a performance based on the exploration of bodies