Friday, November 20, 2015


It’s not what you look at that matters, it’s what you see.
Henry David Thoreau

Thursday, November 19, 2015

read on National about Andrew WYETH

Andrew Wyeth

Attention All Docents,

If you are looking for a juicy read I recommend you select Richard Meryman’s “Andrew Wyeth – A Secret Life”.
Richard Merryman has interviewed many luminaries including Marilyn Monroe two days before her death.
He worked on this book for 30 years, which is amazing because Andrew Wyeth was so private!  Merryman portrays all the Wyeths and their interesting artistic talents.  You become acquainted with the interesting Wyeth family tree.  He begins with NC Wyeth who was a loving and controlling father who had an impact on all the four children.
Andrew led a secret life that included his emotional, physical, and artistic arenas.  He was a talented youngster who was trained by his father, which led early success in his twenties.
The book depicts his successful artwork, his intricate marriage and his private models, whose identies were secret over many years.
He had a turbulent career, but the public always loved his artwork even when modern artists and critics became disdainful of Wyeth’s work in the 60’s and 70’s.  The book explains how Wyeth’s work related to the abstract expressionists.
In Andrew Wyeth’s own words:
I am an illustrator of my own life.
The painting is a living object… and I live within the picture.
Imagination feasts on the hidden.
There are many hidden treats in this book.  You will never look at painting again in the same way.  Happy Reading!
Linda Albert
Docent at the Denver Art Museum.

Tuesday, November 3, 2015

Dis-moi dix mots

Proposé par Dis-moi dix mots le 02/11/2015
Concours de définitions Dis-moi dix mots 2015-2016
Concours de définitions 2015-2016, © MCC / Atelier Pentagon


Connaissez-vous le jeu du dictionnaire ?
Pour cette 7e édition nous vous proposons de ré-inventer les dix mots de l'édition 2015-2016 : Chafouin, Champagné, Dépanneur, Dracher, Fada, Lumerotte, Poudrerie, Ristrette, Tap-tap, Vigousse.

Friday, October 9, 2015



And to see the works ...on view @ the Whitney FLOOR 7

Thursday, October 1, 2015


How much does it cost to attend Archtober programs and exhibitions?
Entrance to the Center for Architecture’s Archtober Lounge, South Street Seaport’s Archtober Hall and exhibitions are free and open to the public. Other program and exhibition entrance costs vary. Check the websites of participating organizations for ticket information. All events are listed in our Calendar tab as well as at the AIANY website.


september 26 is the day...

Tuesday, September 1, 2015

Go Behind the Scenes at the Neuberger Museum of Art

Go Behind the Scenes at the Neuberger Museum of Art
Be a Part of the Process of Creating Liza Lou's Color Field!
Liza Lou and the Neuberger Museum invite all Purchase College faculty, staff, and students, and the members of the local community to participate as volunteers in assembling the artist's monumental sculpture Color Field before it opens to the public on November 7, 2015. It's a rare opportunity to experience the installation process as well as work with a leading contemporary artist. At approximately 1800 square feet, Color Field will cover nearly the entire floor of the Neuberger Museum of Art's largest gallery. Because it is comprised of thousands of beaded wires, it will take many hands to assemble it. This beaded sculpture was meticulously prepared by a team of artisans in Durban, South Africa, and will be carefully sited at the Neuberger with your help and our own group of volunteers trained by and working directly with the artist.
Liza Lou has engaged with diverse communities from around the world to create her art. Here at the Neuberger, she is interested in having people on campus and from the local community take part in the process so that the work itself becomes a communal experience. Working on this installation requires physical dexterity and patience; adults 16 and over are welcome to participate. As described by the artist, it can be very Zen/meditative.
Volunteer work sessions are scheduled to take place from October 19 through October 28, during which Liza Lou will be working with volunteers from Monday, October 19 through Friday, October 23 (she will not be on site Monday, October 26 through Wednesday, October 28). Sign up by clicking this link for a morning or afternoon work session. Thank you and we look forward to your participation!


Wednesday, June 17, 2015

Secret est un mot transparent,,or "COGNATE"

trouve dans l'article du NYTimes
A well-kept secret, full of surprises

Mieko Shiomi

Mieko Shiomi. Event for the Midday (In the Sunlight). 1963. Event Score. Ink on paper, 4 9/16 x 7″ (11.5 x 17.8 cm)
Mieko Shiomi. Event for the Midday (In the Sunlight). 1963. Event Score. Ink on paper, 4 9/16 x 7″ (11.5 x 17.8 cm)

Complementing Ono’s Grapefruit are a number of small event cards by Mieko Shiomi that elicit the spectator to perform mundane tasks of the mind and body. Asking participants to open and shut their eyes seven times at varying intervals over the course of seven minutes and then to look at their hands, Event for the Midday (In the Sunlight) is emblematic of the mundane nature of these events. Shiomi’s scores resonate with George Brecht’s concept of the Event Score, which he originated during John Cage’s proto-Fluxus experimental composition course at New York’s New School for Social Research in the late 1950s. Although Cage too performed at Sogetsu, Shiomi developed her concept for the Event Score outside of his tutelage and unaware of Brecht’s concurrent activities. It would be Maciunas’s intervention that would cause these two parallel practices to intersect in Fluxus compilations like the anthologies and Fluxkits

Shigeko Kubota. Letter to George Maciunas. 1964. Ink and collaged photograph on rice paper, 37 7/16 x 10 5/8″ (95 x 27 cm)
In the rightmost corner of the display hangs a conspicuous correspondence from Shigeko Kubota to Maciunas informing him of her decision to accept his invitation to join the Fluxus collective in New York in 1964. At first glance, this letter appears out of place in the context of the rest of the Fluxus scores, but as Kubota notes in her prose, this letter is staging what she considered the biggest performance of her life—leaving Tokyo to begin a new life in a foreign city. As this correspondence suggests, the dynamic programming at Sogetsu piqued Maciunas’s fascination with experimental Japanese artists and built bridges that conceptually and physically linked Fluxus artists across continents.
These Fluxus scores, among others, are on display in Tokyo: 1955–1970: A New Avant-Garde, now through February 25, 2013.

Wednesday, June 10, 2015

new bilingual statement pour ma brochure,..LMCOLLAGE

Laurence Neron-Bancel is interested in how memory works as a (re)constructive process that reproduces, filters, changes, and interprets the past and the present. As such, her collages are built through a process of exploring the notions of collection, recollection, juxtaposition and adaptation.She derives her inspiration from a deep desire to retain a sense of fantasy, youth and freedom within her life. She also loves to use materials which might otherwise easily be ignored or discarded.
Born in France, Laurence has lived in the New York Area since 1996.Voluntary work as a docent at the Whitney Museum of American Art since 2008,  as well as at the Neuberger Museum of Art since 1999 has given her an extensive knowledge of art history that reinforces her own artistic choices.
In addition to this academic training, Laurence’s professional experience organizing trips to museums, galleries, international art fairs and artists’ studios, keeps her in tune with the latest trends in New York’s vibrant art scene.

Laurence Neron-Bancel a trouvé sa voie en recyclant les nombreux journaux, magazines et toutes sortes d’objets que tout autre jetterait mais qui finissent par trouver leur place dans ses collages.. En les juxtaposant et en jouant sur la nouvelle signification que désormais ces images ou mots acquièrent, l artiste livre un commentaire sur la société, notre manière de vivre dans un monde contemporain de plus en plus global et le rôle de la mémoire.
Née et éduquée en France et vivant aux Usa depuis 1996, Laurence Neron-Bancel n’est plus vraiment typiquement française mais pas pour autant  vraiment américaine. Son travail de guide  au Whitney Museum of American Art et dans les foires internationales d art contemporain, sert de toile de fond lui permettant d’exprimer sa vision avec originalité et humour.

Wednesday, June 3, 2015

NEW SAINT HILAIRE is launching this summer ART MAIL

Thinking of all my fans..who are not travelling to France,,and even if you go to France,,Saint Hilaire might be not on your "route" let's get creative..and do our own artmail project.
think about a word or a sentence,..that is exactly written the same way in french and in English ,,and means the same,,,if you can't find about it around you and you will find quite quickly someone who is going to help you,...and last resort you can go online..;postID=1687985803079845669;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=1;src=postname
and you will fingd a list of what is called "COGNATES" ..
(what an uggly name!)..
Send a letter with this word or sentence or locution written,.. drawn ..painted,....embroidery.... you can add..the story behind: why this word, how you found it..decorate it ..draw..spit..whatever..NO

THIRD STEP you have to SEND IT BY MAIL WITH A STAMP  to the following address:
Eglise du vieux Saint Hilaire
87800 Saint Hilaire les places

and I will exhibit it *, take a picture of it and post the photograph on this  Facebook page with your name if you signed it.
*Of course..I have to receive it before August 2nd 2015!...
Let's start....

Monday, June 1, 2015

BOS 2015 >>?= Bushwick OPEN STUDIO 2015 JUNE 5-7 2015....

Bushwick Open Studios (BOS) is a three-day arts and culture festival, hosted annually by the volunteer organization Arts in Bushwick (AiB). Now in its ninth year, this celebration of our neighborhood’s vibrant community and local art scene is free and open to the public. The festival will take place from June 5-7, 2015. Open studios hours vary per artist, so check the directory for precise times. Most studios are open 12pm – 7pm on Saturday and Sunday.
BOS is New York’s largest open studios event, encouraging hundreds of artists to open their doors and share their work. Additionally, visitors can enjoy a series of events, performances, and panels, coordinated by AiB. Participating artists, spaces, and events are listed in the official BOS directory online, on our iPhone app, and in our printed map book. The free printed map will be available to pick up at official BOS 2015 Hub spaces during the festival.


Qui dit Limousin..pense a...

autre chose que la Porcelaine...?
en vue @ the frick collection? Léonard Limousin....
on view..: 
this one is not on view but I could not resist...
Pierre Reymond (Workshop of)  (1513 - after 1584)
The Agony in the Garden, mid to late 16th century
Painted enamel on copper, partly gilded
Plaque: 8 x 6 1/4 in. (20.3 x 15.9 cm)
Roundels: diam. 2 1/16 in. (5.2 cm)
Gift of Dr. and Mrs. Henry Clay Frick, II, 2005
Accession number: 2005.4.01

eh oui.......... les EMAUX....

et a ce propos ,,Emaux artistiques:

  Durant les mois de Juillet et Août, je vous propose des ateliers d'initiation d'une durée d'environ 2h durant lesquels chaque participant réalisera l'émaillage de son médaillon de cuivre. 
Vous choisirez un décor parmi ceux proposés ou selon votre propre idée et vous pourrez ensuite l'émailler avec la dizaine de couleurs mise à disposition. Vous assisterez à la cuisson et repartirez avec votre oeuvre terminée.

Ces ateliers se déroulent à SAINT YRIEIX LA PERCHE,
Ouvert à tout public à partir de 7 ans.
Horaires : en matinée ou en après midi, à votre convenance.
Tarif par personne : 25€.
Formatrice détentrice du  CAP d'Emailleur d'Art sur Métaux et du Brevet d'Aptitudes aux Fonctions d'Animateur.

Pour vous inscrire prenez contact.

Pour cette année 2015, les stages auront lieu 
à la Maison du Patrimoine à ST YRIEIX LA PERCHE
les 09 et 18 juillet et les 04 et 20 Août (matin ou après midi). 
Si ces dates ne vous conviennent pas il est possible de vous en proposer d'autres. Dans tous les cas merci de vous inscrire.

D'autres Ateliers d'émail  plus poussés peuvent aussi vous être proposés à SAINT YRIEIX LA PERCHE consistant à réaliser 
l'émaillage d'un décor sur une petite plaque de cuivre. Renseignez vous!

Tuesday, May 26, 2015

LMCollage aime ..un autre collage..


Saturday, May 23, 2015

Zoë Gray about art trends: tired of participating?

Zoë Gray
Senior Curator, WIELS, centre for contemporary art, Brussels
Photo: Manuel Versaen


Zoë Gray

As Duchamp famously said, it is the viewer who makes the work of art. Our role as viewer is therefore of equal importance to the role of the artist. All works of art are thus participative, whether they require physical interaction or mental engagement. We have never been simply viewers. Koki Tanaka’s approach to participation is both open and generous. We can divide his recent work into two main tendencies: setting a group of people a common task and filming their way of working together; or proposing an open-ended, shared activity in which Tanaka also participates. Walking with Dogs (Rennes, 2014) is one of these latter works and was aimed at dog-owners and their dogs, but was also open to those of us without canine companions. The artist told the gathered walkers and hounds where we were going, and then we set off. When we arrived at our end point, there was no concluding statement by the artist and for all the participants our impressions differed as to what had just happened. For some of us, it was an artwork, for others it was simply a pleasant walk. For the artist, what was important was the moment we had shared, where the usually individual act of walking one’s dog became a collective march through the city, where a solitary action became an act of solidarity.

Friday, May 22, 2015

Sebastian Preuss about art trends: tired of participating?

Sebastian Preuss
Deputy Editor in Chief Weltkunst, Berlin
© ZEIT Verlag/Vera Rammen

Sebastian Preuss

Always more, always something new—that’s not only the case in art, but is the essence of capitalism. And if today we’re experiencing a period of increasingly hectic, increasingly greedy hyper-capitalism, then of course the carousel of purported new sensations is turning faster and crazier in art too. There’s no doubt about that. But the interesting question is: Does art have a chance of countering this development with a new slowness, with more persistence, and with less “innovation”—which the works usually aren’t anyway. I remain pessimistic, as long as art is determined by a completely overheated and unequally distributed market. Artists who want to survive can’t get out of the turbo-spiral. And we viewers—in other words, consumers—are merely children of our age. Fortunately there are a few isolated examples, albeit few and far between, outside of the bonfire of the vanities. And they’re what I’m looking for.

Thursday, May 21, 2015

Mareike Dittmer about : art trends: tired of participating?

Mareike Dittmer
Editor Frieze d/e, Berlin

Mareike Dittmer

Asking people to participate in art calls to mind Bartleby’s mantra “I would prefer not to.” If exhibitions are events that incorporate viewers like festivals of emotions yet also demand complicity, social compatibility, and maximum attention—then distance is my preferred alternative. However, the principle of evanescence as performance interests me a lot, although it, too, relies on participation in a social context. Perhaps this is because, as opposed to ephemeral installations and situations, calculated participatory spectacles allow for coincidences and thus produce an ambiguity dedicated to the moment. Ultimately, though, the question of the pros and cons of participation—like so many other things—can only be assessed based on a concrete work and for that particular work.

Wednesday, May 20, 2015

A Juried Exhibition Open to All Women Artists


A Juried Exhibition Open to All Women Artists

A.I.R. Gallery is pleased to announce the open call for CURRENTS, a timely and innovative biennial exhibition series. CURRENTS addresses contemporary issues that warrant expanded critical attention in the art world.
A.I.R.’s fourth presentation in the CURRENTS exhibition series will be curated by Anthony Elms, writer, Associate Curator at the Institute of Contemporary Art in Philadelphia, and the Editor of WhiteWalls Inc.

Do you hear what I hear?

Curated by Anthony Elms

Do you hear what I hear? is a question posed by one person to another. Behind Do you hear what I hear? is a request—hope—for a connection between individuals responding to their environment. Work in all media will be accepted, or listened to, even as listening is directly alluded to in the title. How do you listen? It depends on who you are. Current affairs routinely offer tragic examples of the many-sided responses to actions and events in the world at large. Recent books such as Rebecca Solnit’s Men Explain Things to Me and Claudia Rankine’s Citizen: An American Lyric, directly speak to race and gender in the American social sphere, and elucidate how both race and gender too often render many citizens unheard, unseen, and unattended to.
Respecting the varied ways races, genders, sexualities and classes interpret the world around us, let’s learn to listen to the stories, histories, and traditions of many. This is an open appeal, to ask, “Do you hear what I hear?” to fight the dismissals and silences, because something is happening, even if you aren’t always sure what it is.
March 17 – April 17, 2016
March 17, 2016 from 6-8pm
Anthony Elms is Associate Curator at the Institute of Contemporary Art in Philadelphia, and the Editor of WhiteWalls Inc. In 2014 he was a co-curator of the Whitney Biennial. At the ICA, his organized exhibitions include “White Petals Surround Your Yellow Heart,” and the upcoming “Christopher Knowles: In a Word” (with Hilton Als). His writings have appeared in Afterall, Art Asia Pacific, Art Papers, May Revue, and New Art Examiner, among other periodicals. He has also written essays for many catalogs. He has independently curated many exhibitions, including: “Sun Ra, El Saturn & Chicago’s Afro-Futurist Underground, 1954-61″ (with John Corbett and Terri Kapsalis); “Interstellar Low Ways” (with Huey Copeland); “Can Bigfoot Get You a Beer?,” and “A Unicorn Basking in the Light of Three Glowing Suns” (both with Philip von Zweck). Recent publications with WhiteWalls include Karen Reimer: Endless, Helen Mirra: Edge Habitat Materials, and John Miller and Richard Hoeck: More Alive Than Those Who Made Them. Trained as an artist, Elms has shown at Gahlberg Gallery (Glen Ellyn), Hyde Park Art Center (Chicago), Mandrake (Los Angeles), Mess Hall (Chicago), Randolph Street Gallery (Chicago), and VONZWECK (Chicago).


  • $35 for 3 images OR 1 video submission (additional images are $5 each, 6 image limit)
  • After May 21st, the submission fee will raise from $35 to $40.


  • All women artists, including self-identified women, may submit original works of art.
  • Painting, photography, prints, drawing, works on paper, new media, sculpture, mixed media, traditional or non-traditional materials are welcome.
  • There is no size limit on artwork.
  • Installations will ONLY be accepted if they are complete. NO PROPOSALS.


  • All accepted work must arrive at the gallery framed and/or ready to hang/install.
  • Work may be shipped ONLY via FedEx, UPS, or may be hand-delivered to A.I.R. Gallery.
  • Return postage MUST be provided for work.


  • Images
    • 72ppi, JPG, RGB files only.
    • Longest side of image must be 1000 pixels.
    • Each image may not exceed 1MB and 1000 pixels in any direction.
    • Images MUST be oriented properly (ex: top of the image is up).
    • File name MUST not include first or last name (remember this is a blind review).
  •  Videos
    • .MOV format only.
    • Videos may not exceed 3 minutes in length.
    • Videos may not contain title, text or the artist name.
    • File name MUST not include first or last name (remember this is a blind review).


  • You must fill in all fields and upload at least 3 images OR 1 video in order for your application to be complete.
  • Incomplete applications will not be reviewed.
  • Applications will be reviewed in SEPTEMBER 2015. Please DO NOT call the gallery about your application status.



Simon Njami about : art trends: tired of participating?

Simon Njami
Curator, Author and Art Critic, Paris
Photo: David Damoison

Simon Njami

We don’t have to participate. I don’t have to participate. Participating, for me, is a passive position. It means going with the crowd. It means being politically correct. The world is dying of this participation that leaves no room for controversy or discussion. When people say participate, they necessarily mean “doing something for the good cause.” Being part of the rightful. I don’t care. I want to be able to have my own opinion, even if it does not please the majority. I cherish the critical gaze that makes me different. What would be the world if everyone would be “participating”? All the totalitarian regimes were build on participation. When we read Orwell’s 1984 we see that those who don’t participate are immediately looked at as guilty, as troublemakers. I want to be a troublemaker. I want to have an opinion of my own. Instead of participating, I want to be acting.




new saint hilaire ?..communique de Presse NEW SAINT HILAIRE

Laurence Néron Bancel vous invite du 11 Juillet au 2 Aout 2015, à découvrir NEW SAINT HILAIRE, dans l'église du vieux Saint Hilaire,  lieu rebaptisé pour la durée de l'exposition.

Habitant New York la plus grande partie de l'année et revenant dans son pays d’ origine plusieurs fois par an, l'artiste était venue découvrir en visiteuse les expositions les années précédentes. Séduite par l’ambiance et l’accueil, elle relève le challenge d 'y exposer à son tour. A chaque nouvelle exposition, Laurence adapte son travail selon le lieu et les relations humaines. Avec New Saint Hilaire, l'idée est de faire se rencontrer les deux  mondes dans lesquels elle évolue, inspirée par New York et attirée par la région du Limousin.
Le lieu géographique, les habitants, le langage  ont nourri sa réflexion pour monter cette nouvelle exposition, installer les "happening” sorte de performance improvisée en fonction des rencontres, et faire écrire grâce à un atelier  de 3  jours encadré par une formatrice.
Tous les jours entre 15 et 19h, Laurence Neron Bancel ouvrira les portes de l’église et occupera l'espace en recréant son atelier.  Elle recevra le public, adultes et enfants, en les intégrant dans le processus de création en cours à ce moment et leur proposera d’assister ou de participer à différentes étapes de la création: élaboration d’un projet autour d’un mot identique en français et en anglais,   documentation, recherches de matières, atelier de découpage, de collage, et accrochage.

L’intérieur de l'église sera organisé comme les chapitres d'un livre :
-la préface correspond a l’accueil du visiteur en lui remettant une feuille de presentation de l exposition;
-les chapitres du livres étant l’espace exposition juste en entrant a droite et a gauche  puis au milieu de la nef une table ou se déroule l’assemblage; les 2 petites chapelles a droite et a gauche illustrant le thème du portrait avec une mise en scène pour se prendre en photo puis dans les traverses des grilles permettant l accrochage d’oeuvres réalisées sur place, ou peut être encore en cours...Le coeur sera réservé pour le repos, la méditation, la lecture.

Comme un livre de cuisine de bonnes recettes, les visiteurs seront  libres de choisir, juste feuilleter et regarder ou participer et faire.
A l’issue de l’exposition, un livre d’une vingtaine de pages aura été crée et réalisée grâce a tous les visiteurs.

Laurence Néron Bancel a choisi les collages comme mode d’expression. Depuis plus de 20 ans, elle  assemble, détourne, déchire, coupe, colle et reconstruit en utilisant tout ce qui lui tombe sous la main. A l’origine des papiers publicitaires mais aussi des objets trouvés, qui ont une histoire, un passé, à qui elle offre un avenir en ne les jetant pas. En parallèle de son activité créatrice, l’artiste est très impliquée dans le tissu associatif local et travaille comme guide dans deux musées centrés sur l’art américain: le Neuberger museum et le Whitney Museum of American Art . Une autre facette de sa personnalité est de découvrir des artistes, dénicher des galeries dans New-York et d’organiser des visites ou des tours guidés de foires internationales d’art comme l’Armory Show à New-York.

Régulièrement pendant la durée de l’exposition, un programme de festivités sera réactualisé avec  des activités en cours d'élaboration dont une nocturne et la participation à un concours de “mail art”. L’artiste vous invite à participer de manière active à la programmation d’événements en la contactant par email, par Skype, par courrier, ou auprès de Gérald Batissou à la Mairie de saint Hilaire les Places qui transmettra vos informations.
Cette programmation sera relayée par la presse et la radio et aussi par internet Facebook sur la page  New Saint Hilaire.

A très bientôt
Laurence Neron-Bancel
Skype Laurencen-b
adresse: 5 Carriage House Lane Mamaroneck, NY 10543 USA

Tuesday, May 19, 2015

message from Patrick Bancel the date


Join us for Art and drinks. 
Contemporary Artist Patrick Bancel presents " FLOW " New SCULPTURES and paintings collection. 
In positive psychology, FLOW, also known as zone, is the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does.
Billboards Hacker will present new Art and big News about next soon coming up large scale mural.


THURSDAY MAY 21ST       6 -10 PM

Loft 40,   52 Webster Ave, New Rochelle NY 10801

RSVP & Inquiries: 

Nicolaus Schafhausen ...Answering the question: Art trends: tired of participating

Nicolaus Schafhausen
Curator, Kunsthalle Vienna
© Kunsthalle Wien 2014, Photo: Sabine Hauswirth

Nicolaus Schafhausen

Current art should definitely not leave us alone. It has the potential to open up discourse, to inspire us, to jolt us. If the means for this are in events, it’s because art has to compete for viewers’ attention. Whether it’s masses of information in times of digital communication, sporting events, sociopolitical developments, or other branches of culture—contemporary art and its makers vie with countless other offers for consumer’ attention. Effective, ostentatious art products geared to participation not only draw a lot of visitors, but are also reported on often. So the crux of the issue is what is expected of art today. It should entertain and be fun. At the same time, however, art can and should be uncomfortable. It should challenge viewers and give them food for thought. Even if at some point there is an oversaturation or art not longer lives up to its potential as aesthetic commentary and free criticism, this is only the case because it doesn’t leave us alone.

nice way to start EACH day:

Monday, May 18, 2015

Ayşe Erkmen ...Answering the question: Art trends: tired of participating

Ayşe Erkmen

One can be a viewer in a cinema, reader of a book, auditor to music... Visual art is particular and varied…, The art viewer never was just a viewer and being just a viewer has become less and less interesting in time… Art is varied in its form, material and location, there is no fixed material nor a standard medium, art's whereabouts can be anywhere: museum, gallery, city, countryside, sea, sky, etc.... Visual art can adopt the form of film, music, book, theater, its physical existence can be anything from paint to air… can be mistaken for not being art or being something else or being nothing. Therefore not participating and being a sole spectator is generally not in the nature of art anyway. But on the other hand there is a fabricated, instructed and studious style of art where the viewer is given the codes of participation and one knows exactly what to do. In this case it is up to the viewer to go along with the guidance or not. There opens a space where one can have the possibility of just looking and passing by or alternatively participating wholly or partly. At this point, participating wholly is a way of making sense of, understanding, and being content. It depends on the viewer whether he/she wants to be fulfilled and satisfied or the artist if he/she wants to please... or puzzle...

Sunday, May 17, 2015


The basic umbrella was invented over four thousand years ago. We have seen evidence of umbrellas in the ancient art and artifacts of Egypt, Assyria, Greece, and China.
These ancient umbrellas or parasols, were first designed to provide shade from the sun. The Chinese were the first to waterproof their umbrellas for use as rain protection. They waxed and lacquered their paper parasols in order to use them for rain.

Origins of the Term Umbrella

The word "umbrella" comes from the Latin root word "umbra", meaning shade or shadow. Starting in the 16th century the umbrella became popular to the western world, especially in the rainy weather of northern Europe. At first it was considered only an accessory suitable for women. Then the Persian traveler and writer, Jonas Hanway (1712-86), carried and used an umbrella publicly in England for thirty years, he popularized umbrella use among men. English gentleman often referred to their umbrellas as a "Hanway."

James Smith and Sons

The first all umbrella shop was called "James Smith and Sons". The shop opened in 1830, and is still located at 53 New Oxford Street in London, England.
The early European umbrellas were made of wood or whalebone and covered with alpaca or oiled canvas. The artisans made the curved handles for the umbrellas out of hard woods like ebony, and were well paid for their efforts.

Saturday, May 16, 2015

announcement for the Neuberger Museum

Please note and remember that we are having a Docent Recruitment event this coming Thursday, May 21st beginning at 10:30 a.m.
check out

Friday, May 15, 2015

I did it..I did paint this black circle..and I received a check of 20$ Tell me what you think: Should I cash it?

The Gavin Brown Enterprise's booth at Frieze. Photo: Courtesy of Marco Scozzaro/Frieze
Gavin Brown's booths tend to try harder to be interesting than most — and usually succeed. In 2013, Brown had horror-camp artist Bjarne Melgaard paint the walls of his Frieze New York booth magenta and fill its labyrinthe arrangement with heaps of neon fleece carpets that made it difficult to walk (sort of a "fuck you" to fairgoers in heels — but then again, the carpets were also for sale, at $12,000 each). In 2012, the booth's centerpiece was Rirkrit Tiravanija's Untitled (Kramer and Newman Make Sausage), a performance in which Brown and the actor Mark Ruffalo grilled sausages and offered them to passersby.
On May 13, the booth resembled something between a sweatshop and a day-care center as attendees who managed to snag a pass to the VIP preview clustered at four collapsible tables, pushing black acrylic paint into eight-inch-diameter circles on square-foot canvases. Attendants behind them used ladders to mount their labors in seven 50-by-50 clusters, each a small work that became part of a bigger one. For the labor, each volunteer willing to make Horowitz’s art for him was compensated with a check for 20 bucks.

Jonathan Horowitz with his work. Photo: @openingceremony
(Not that they were supposed to be cashed: Participants were mostly keeping the checks to be framed, as a Jonathan Horowitz piece. If you did decide to take it to the bank to exchange for an Andrew Jackson, Gavin Brown will see you cashed it and will either think you're punk-rock or a no-class cheapskate. Up to you to risk it.) more;

Lecteurs //lectrices day..ecrivains another day?

Voici ma dernière chronique publiée sur le site de la revue numérique d'Aleph L'Inventoire
N'hésitez pas à envoyer votre texte à


N’entre pas dans mon âme avec tes chaussures

Capture d’écran 2015-04-21 à 11.49.00Jusqu’au 25 mai, Sylvie Néron-Bancel vous propose d’écrire à partir du livre de Paola Pigani « N’entre pas dans mon âme avec tes chaussures » (Liana Levi, 2013). Vous pouvez nous envoyer vos textes à Une sélection sera publiée deux semaines plus tard. 
«  Un jour que Mine est affairée à préparer la promenade des enfants avec le curé, elle aperçoit cette très jeune mère, son corps qui ploie avec un nourrisson collé sur la hanche. Elle n’en revient pas, une mère si jeune, beaucoup plus jeune qu’elle.
Mine a vingt ans, pas de fiancé ni de temps à perdre. Elle a interrompu ses études de médecine à Bordeaux, s’est rapprochée de sa famille en Charente. La guerre n’a pas fait de trou dans sa vie. Tout est seulement en suspens. C’est ce qu’elle dit souvent. Et puis sa place est ici sur le réseau. Entre son nom de baptême, le surnom que lui ont donné les petits gitans et celui de ses camarades résistants, il lui semble avoir trois vies qui font le désespoir de ses parents. Des notables qui, depuis plusieurs générations ont planté sur le plateau d’Angoulême une réputation de gens bien, essentiellement préoccupés de bienséance, de bien-pensance et de succession. Mine leur donne du fil à retordre, depuis ses années au lycée Saint Paul. Elève brouillonne et brillante, elle n’a jamais su tenir sa place, ni lisser ses cheveux fous, ni sa jupe. Elle ne quitte jamais sa gibecière en toile usée que déforme souvent un livre de Bernanos ou de Marx.
Mine revient essoufflée de la promenade. Il a fallu surveiller les débordements, les rassembler, chanter, crier, les rassembler de nouveau. Le curé a menacé de renoncer à ces sorties si elles doivent se terminer ainsi en chasse aux fuyards. On a même vu des martinets dans les mains des gardiens. Mine, tout au long du chemin de retour, ressasse les gestes des gardiens, réfléchit à une nouvelle stratégie pour soustraire les enfants à leur rudesse et s’épargner les propos du curé qui la juge complaisante et désinvolte. »
Ce passage se trouve aux pages 151-152 du premier roman de Paola Pigani, N’entre pas dans mon âme avec tes chaussures (Liana Levi, 2013). Mine, étrangère à ses parents, fronde l’autorité des adultes et pose un regard tendre sur les jeunes manouches enfermés dans des baraquements, pendant la deuxième guerre mondiale. Elle tente de leur apporter un peu de gaieté et de sa liberté. Nous sommes en 1940, un décret interdit  la libre circulation des nomades et des roulottes. Trois cent cinquante Tsiganes de Charente et de Charente-Maritime sont internés au camp des Alliers, sous l’autorité du préfet et de la Kommandantur d’Angoulême, alors en zone occupée. Ici, Mine rencontre Alba, l’héroïne du livre, pour la première fois.
Paola Pigani s’est inspirée  de l’histoire d’Alexienne Winsterstein, grand-mère manouche,  qu’elle a rencontrée et qui a passé six ans dans ce camp des Alliers. Elle nous raconte le quotidien de cette communauté tzigane et plus particulièrement d’Alba. La jeune fille de quatorze ans va grandir au milieu des privations, des maladies, des confiscations – roulotte, chevaux, essence même de leur vie-, s’occuper de Maria, sa mère aveugle et de son petit frère né dans ce camp. Elle va traverser le deuil, découvrir la féminité, l’amour…. pendant  ces  six années.
Vous avez sans doute un jour dans l’enfance eu ce sentiment   de votre propre « étrangeté », ce sentiment de la différence, comme Alba ou comme Mine. Je vous suggère dans un premier temps de lister des premières fois où vous auriez ressenti cette différence. Ensuite,  choisissez dans cette liste un souvenir et dépliez-le en nous  parlant du lieu, du regard des autres, des silences qui accompagnaient ce sentiment, ce jour-là.
Vous pourriez nous envoyer ce récit, sans oublier que la page comptera au maximum un feuillet standard (250 mots ou 1 500 signes)…
Il y a d’abord ce titre magnifique qui fait référence au proverbe tzigane, On n’entre pas impunément chez les tziganes, ni dans leur présent, ni dans leur mémoire… C’est d’un pas léger que Paola Pigani y pénètre justement.  Il y a aussi cette couverture rouge, cette roue énorme, symbole de leur liberté, dont ils seront privés pendant six ans, qui est magnifique.
Au delà de ce fait historique peu relaté des Tziganes enfermés dans des camps, Paola Pigani fait entendre leur souffrance, leur silence, leurs rires, leurs pleurs, dans ce temps suspendu de la guerre. Fille d’immigrés italiens, elle nous dévoile dans le prologue sa rencontre avec les manouches dans la ferme de Charente où  était installée sa famille et  de l’accueil que réservait sa mère à ces gens du voyage. On sent que le lien s’est tissé à cet endroit-là.
Le ton de ce très beau premier roman est poétique, grave et léger comme le violon qu’on entend à plusieurs reprises. Il « grince, tambourine la patience ou extirpe une espèce de nourriture céleste » distillée à cette communauté tzigane mais aussi aux lecteurs. Paola Pigani, nouvelliste, poète,  fait danser, chanter  les mots autour de ces feux qui ne brûlent plus,  elle nous fait entrer à pas feutré dans l’âme des tziganes. On s’indigne, on pleure cette mère aveugle qui s’éteint de fatigue,  on s’émeut de ces amours naissants, on tremble lorsqu’Alma et  Silvère s’échappent du camp. Lorsqu’on  referme le livre, le regard sur ces gens du voyage, dont la dignité a été bafouée pendant la 2ème guerre mondiale, a changé. On attend avec impatience son deuxième roman.

Happenings @ the WHitney

This is a photograph of an event taking place this last Wednesday..
great funand a lot of success in the galleries,
here on the 7th floor in front of Lee Krasner's Seasons
Check out what 's happenings @ the still new Whitney..

photograph from Filip Wolak. 
 image are owned by Whitney
 and please credit Filip if printed! Thank you!

Wednesday, May 13, 2015

open studios the dates ...

 white plains

May 16

Events – Open Studios

Upcoming Events

Open Studio

Jan Summers
Saturday, May 16, 2015
1:00 pm - 5:00 pm
Jan Summers Art Studio at the Arts Westchester Building, White Plains, New York/ Westchester
Handicap Accessible? Yes


Peekskill Open Studios

Celebrate and enjoy two full days of art, performances, music and food at the 18th annual Peekskill Open Studios. This event is part of ARTSEE.
Peekskill Arts Alliance
Saturday, June 6, 2015
12:00 pm - 5:00 pm
Downtown Peekskill, Peekskill, NY
Handicap Accessible? Yes

Peekskill Open Studios

Celebrate and enjoy two full days of art, performances, music and food at the 18th annual Peekskill Open Studios. This event is part of ARTSEE.
Peekskill Arts Alliance
Sunday, June 7, 2015
12:00 pm - 5:00 pm
Downtown Peekskill, Peekskill, NY
Handicap Accessible? Yes

more infos

save the date LYON,,LA BIENNALE de LYON

08-09 sept.

guest curator
ralph rugoff
artistic director
thierry raspail

Please note
This year, the Biennale de Lyon is composed of three exhibitions:
- la vie moderne
Sucrière Musée d'art contemporain, Musée des Confluences

- ce fabuleux monde moderne
Le Plateau / Région Rhône-Alpes

- rendez-vous 15
IAC, Villeurbanne / Rhône-Alpes

And two platforms :
- Veduta and Résonance

Tuesday, May 12, 2015

opened May 9...still white?..I'm check out,....Yayoi Kusama...always inventing and creating...

David Zwirner is pleased to present Give Me Love, the gallery’s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the artist’s seminal installation The Obliteration Room from 2002.

Widely recognized around the world, with a recent survey of museum attendance ranking her as the mo.......

The exhibition marks the United States debut of The Obliteration Room, an all-white, domestic interior that over the course of the show is covered by dots of varying sizes and colors. In a departure from earlier iterations of the work, which have involved one or several rooms, the present installation is built like a typical, prefabricated American suburban house. As visitors are handed a set of stickers and step inside, they enter a completely white residential setting where otherwise familiar objects such as a kitchen counter, couch, and bookshelves are all painted the same shade. Gradually transforming the space as a result of the interaction, the accumulation of the bright dots ultimately changes the interior until it is eradicated into a blur of colors. A sense of depth and volume disappears as individual pieces of furniture, floors, and walls blend together.

check out David Zwirner 's website ...

on view @ the Museum of the city of New York "The Birth of Hip Hop in New York" and special event this coming thursday

The Birth of Hip Hop in New York
Thursday, May 14 at 6:30pm

Photographer Joe Conzo, Jr. first began to document New York's emerging hip hop scene in the late 1970s as a high-school student in the Bronx. Back when hip hop was still a grassroots and localized culture, Conzo took pictures of many influential early groups and became the official photographer for the Cold Crush Brothers featuring MC Grandmaster Caz (Curtis Fisher). Join close friends Conzo and Caz as they sit down with scholar Dr. Joseph Schloss for a lively conversation about the fabled world of early hip hop, when DJs, MCs, and b-boys/b-girls waged epic battles in parks, school gyms, and neighborhood rec centers.
Co-sponsored by Hush Tours.


Free for Museum members; $12 for students/seniors; $16 for general public.

Monday, May 11, 2015


Aedh Tells of the Perfect Beauty

W. B. Yeats
O cloud-pale eyelids, dream-dimmed eyes,
The poets labouring all their days
To build a perfect beauty in rhyme
Are overthrown by a woman’s gaze
And by the unlabouring brood of the skies:
And therefore my heart will bow, when dew
Is dropping sleep, until God burn time,
Before the unlabouring stars and you.
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This poem is in the public domain.


Launched during National Poetry Month in 2006, Poem-a-Day features new and previously unpublished poems by contemporary poets on weekdays and classic poems on weekends.