NEWSgrist: *Joy Episalla: For The Birds* extended thru April 9th

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NEWSgrist

where spin is art

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Vol.5, no.4 (Mar 29, 2004)

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*Underbelly*

Bulletin board: post your own news, press releases, urls:

http://pub11.bravenet.com/forum/show.php?usernum=870870569

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CONTENTS:

- *Splash* Joy Episalla: For The Birds thru April 9th

- *Quote/s* “dood” - on Cory Arcangel + Beige @ the Whitney (Thickeye)

- *Url/s* Rainer Ganahl: anti war protests (ganahl.info); Art Prostitute

- *Fun da Mental* Fundrace.org (Modernartnotes.com; NYObserver)

- *Band a Part* Banned Music from DownhillBattle (bannedmusic.org)

- *Street Philosophy* Manuel DeLanda speaks at Columbia U.

- *InternetRadio Dreams* Alana Heiss hits the airwaves (NYtimes)

- *WBLYo Ho Ho* Choire Sicha’s [Radio] Pirate Queen (NYtimes)

- *The New Conservatism* Missing Shock Value (Artforum.com)

- *Not High Noon* Jerry Saltz’s OK Whitney (VillageVoice.com)

- *Whitney Surprise* Biennial Success! (Artnet.com)

- *Haacke Hack* Hans Haacke on Art + Politics (Artforum.com)

- *Screed for Hadid* Zaha Hadid (Archidose.blogspot.com)

- *Classifieds* Studio Sublet; Internship w/ Matthew Barney

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*Splash* http://newsgrist.net

Joy Episalla: For The Birds

exhibition extended through April 9, 2004

In For the Birds, Ms. Episalla explores the wilds of her back yard, and the

Wonderland of friends' bookshelves. Ms. Episalla engages the viewer in a

baroque exploration of person and place, a tour of Alice's underground.

For the Birds plays with and blurs the boundaries between photography,

video and sculpture, natural, cultural and personal...

Debs & Co.

http://www.debsandco.com

525 West 26th Street, 2nd floor, NYC

tel: 212 643-2070

splash archived at: http://www.newsgrist.net/Splash_Birds.html

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*Quote/s*

"I could go on about how this dood and his hooligan friends shit is

totally amazing in that it takes closed systems and then opens them up

(the "how-to" knowledge of which they totally share), or the interesting

parallels in their neo-rave psycadelic color and musical aesthetic mirrors

lots of other young artists that i see (as opposed to the victorian

line-drawing/metal imagery i see from other kids my age) and how valuable

and wonderful this is but it's late and i need to start drinking so I will

say that these kids fucking rock...."

-- Thickeye on Cory Arcangel + Beige Performance @ The Whitney;

(+ pics): “8.bit.funk.@.the.whit.whit,” March 19, 2004

http://www.thickeye.com/blog/archives/000050.html

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*Url/s*

1) Rainer Ganahl: anti war protests -

1 year (1 war, a couple of military coups) later,

new york 3/20/04: http://ganahl.info/demo3.20.04.html

.................

2) Art Prostitute: http://www.artprostitute.com/

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*Fun da Mental*

Fun with Fundrace [ http://www.fundrace.org ]

by Tyler Green

MAN (Modern Art Notes), March 18, 2004:

http://www.artsjournal.com/man/archives20040301.shtml#73421

Everyone in the blogosphere is having fun with Fundrace.org, so we will

too. (Fair disclosure: I was a Dean guy.) Presidential contributions by

your favorite art world stars (more to follow, especially if readers send

them in):

* Larry Gagosian: $2000 to Bush, $1000 to Lieberman

* Barbara Gladstone: $1000 to Clark

* Sol Lewitt: $2000 to Dean

* David Salle: $1000 to Kerry

* Larry Rinder: $250 to Clark

* Eli Broad: $2000 to Kerry, Lieberman and Clark, $1000 to Dean

...more on Fundrace.org from The New York Observer (3/22/2004):

Power Houses

by Lizzy Ratner and Gabriel Sherman

see full article: http://www.observer.com/pages/frontpage7.asp

Its the new Googling for Manhattan’s politically minded elite:

Fundrace.org organizes campaign contributions by address.

LIZZY RATNER and GABRIEL SHERMAN look at what’s been happening

behind closed doors at the Dakota, the San Remo, River House--the

portals that every Presidential hopeful must pass through to finance a

campaign. [...]

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*Band a Part*

Banned Music - a project of DownhillBattle

http://bannedmusic.org/

Bannedmusic.org is a peer-to-peer collaboration that makes it impossible

for the major record labels to ban or censor musical works. When record

labels send legal threats to musicians, record stores, or websites, we

will post the music here for download and publicize the censorship

attempt. There is a clear fair use right to distribute this music, and for

the public to decide whether current copyright law is serving musicians

and the public, they need to be able to hear what's being suppressed.

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*Street Philosophy*

COLUMBIA ART & TECHNOLOGY LECTURES

http://rhizome.org/thread.rhiz?thread=12494&text=24105#24105

Manuel DeLanda

Thursday, April 8, 2004, 6pm

LeRoy Neiman Gallery, 310 Dodge Hall

Columbia University, New York, NY

Free and open to the public

Manuel DeLanda was born in 1952 in Mexico City and has lived in

Manhattan since 1975. He began his career in the mid-seventies as an

independent filmmaker, showing his films in cine-clubs and museums

around the world. In 1980 he acquired an industrial-grade computer

and became a programmer and computer artist, writing his own

software for several years. His philosophical essays have appeared in

many journals and he currently lectures extensively in the United States

and Europe on nonlinear dynamics, theories of self-organization,

Artificial Intelligence and Artificial Life. He is author of the books War in

the Age of Intelligent Machines, A Thousand years of Nonlinear History

and Intensive Science and Virtual Philosophy. He has contributed to

numerous collections, including A Thousand Plateaus by G. Deleuze

and F. Guattari, and Ecological Imperialism by Alfred Crosby and Self-

Organizing Systems, edited by Eugene Yates.

For more information, see

http://www.columbia.edu/cu/arts/dmc/docs/lectureseries.html

Or email art-tech-lecture @ music.columbia.edu

Co-presented by the Digital Media Center and Computer Music Center

at Columbia University

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*InternetRadio Dreams*

Word Pictures on Internet Radio

By CAROL VOGEL

NYTimes: INSIDE ART, March 26, 2004

http://www.nytimes.com/2004/03/26/arts/design/26INSI.html

It may seem odd that the director of a contemporary-art center, whose

life is consumed by visual experiences, would be obsessed with radio.

But for 20 years Alanna Heiss has dreamed of running her own radio

station.

"I like the idea of hearing without always looking," said Ms. Heiss, the

director of the P.S. 1 Center for Contemporary Art in Long Island City,

Queens.

She is about to realize her dream. On April 19, P.S. 1 is starting an

online radio station, WPS1, at its Web site, www.ps1.org. It is based in

recently constructed studios in the Clocktower Building, a city-owned

property designed by Stanford White at Leonard Street and Broadway

in Lower Manhattan, where P.S. 1 has an exhibition space. Bloomberg

L.P. has sponsored the project.

Two years in the making and billed as the world's first art radio station,

WPS1 will present original talk and music shows with contemporary

writers, artists and musicians as hosts. The station will also broadcast

historical audio material from a variety of sources, like the sound

archives of the Museum of Modern Art, with which P.S. 1 merged in 1999.

Being part of the Modern has its advantages. The radio station will have

access to 2,500 sound recordings of curators and directors. They include

Alfred H. Barr Jr., the museum's founding director, giving a talk called

"Art Under the Soviet and Nazi Dictatorships" in 1952.

Also caught on tape is a mix ranging from Walt Disney giving a speech

on the Modern's 10th anniversary on May 10, 1939, to Marcel Duchamp

speaking at the Modern on Oct. 20, 1962.

The radio station will coordinate with the Modern's curatorial

programming as well. It plans to play sound pieces by Dieter Roth, the

German-born multimedia artist now based in Switzerland, whose work

is the subject of a retrospective that opened two weeks ago at the

Modern's temporary space in Long Island City.

Some of the Modern's curators will also be broadcast on the station.

Other plans call for a real estate show featuring Heather Cohane, the

founder of Quest magazine, with advice for artists on buying and renting

places to live.

"This will not be seen as a talking head situation, but an extension of

P.S. 1," Ms. Heiss said. "It's like an important new wing."

Ms. Heiss is the station's executive producer, and Linda Yablonsky, a

writer, will be the program manager. Several P.S. 1 staff members are

involved, too, including Brett Littman, the station's managing director,

who is P.S. 1's senior administrator.

P.S. 1 officials hired the architect William Massie to design the studio.

Using bright orange laser-cut steel and plastic, he has created an ear-

shaped space for recording and broadcasting. The design combines a

1960's psychedelic feeling with a futuristic one, something that will

eventually be visible on the Web site. In a space that P.S. 1 once used

as a gallery, it will show "HiFi," detailed photographs of vintage recording

devices by Todd Eberle.

While the exhibition is not open to the public, in time P.S. 1 plans to

show the images on its radio Web site.

Just outside its offices is the clock tower that www.wps1.org is using

as its symbol. "That's where we're broadcasting from," Ms. Heiss said.

"The tower itself becomes a symbol of time and sound. Because it's

Internet radio, you have real time and back-in-time."

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*WBLYo Ho Ho*

'40 Watts From Nowhere': The Pirate Queen

By CHOIRE SICHA

NYTimes, February 29, 2004

http://www.nytimes.com/2004/02/29/books/review/29SICHAT.html?ex=1393390800&en=efea6184d42ba09c&ei=5007&partner=USERLAND

Sue Carpenter was a mystery to herself. In 1995, at 28, she had spent

five dull years as a legal secretary in San Francisco. For unknown

reasons, her life's frustrations were projected onto the pitiful state of

commercial radio. Overwhelmed by this sudden hatred, she stumbled

into the seemingly all-male community of eccentric, leftist pirate-radio

broadcasters and was soon pseudonymously running an illegal radio s

tation of her own, the all-music KPBJ.

The editorship of UHF, a tiny culture magazine, soon took Carpenter to

Los Angeles and away, fortunately, from her heroin-addicted boyfriend.

At great cost (incurring both financial and sleep debts) and with curious

urgency, she founded a new station, KBLT, in the growing hipster

community of Silver Lake. From broadcasting alone in her semi-

soundproofed closet to an audience of potentially zero people, Carpenter

saw her baby station eventually grow to an around-the-clock freak show.

''I'm attracted to pirate radio for the same reason I ride motorcycles: it

terrifies me,'' Carpenter writes in ''40 Watts From Nowhere.'' This seems

like an odd, inverted motivation. She is an unlikely political spokeswoman

for freedom on the dial -- she confesses early on that ''I have absolutely

no idea what's going on in the world. I don't have a TV, don't listen to NPR

and never read the newspaper.''

UHF died, and Carpenter made a nervy go as a freelance writer.

Simultaneously, KBLT took off. The band Mazzy Star played a benefit for

legal fees. KBLT broadcast bootleg world premieres of songs by Beck and

Madonna. The Red Hot Chili Peppers played on air. The Jesus and Mary

Chain came by one drunken night and spun records and playfully abducted

her stemware. She lived through these adventures in a very real terror of

the Federal Communications Commission.

KBLT became a torture to her neighbors, a strain to her sanity and a

distraction from her journalism career. ''The music in my house is so

omnipresent that it has become background. . . . I rarely listen anymore to

the new music that comes into the station,'' she confesses. She worked as

a motorcycle instructor for extra cash; meanwhile, the news media tried to

crash her unlicensed party.

Carpenter is best on her experience as a media subject, unable to control

the journalists who wanted to exploit KBLT. She is equally ferocious when

she expresses her disgust with consolidated radio empires and the

ludicrosities of the F.C.C. itself. Also fascinating is her take on Miami's

big-time underground-radio world. The building anxiety of her illegal-

broadcast lifestyle is terribly unnerving. As the story progresses, the

F.C.C. strangles more and more pirate stations, and the government's

men in white vans draw ever nearer to sweet little KBLT.

There are frustrations to the book, notably Carpenter's opacity as to

motivation. Carpenter is a radio addict, one finally assumes, powerless

against the dream of an anarchic utopia on the air. She writes in a

straightforward enough magazine style, but veers between entertaining

overdisclosure and a seeming fear of divulgation. Obviously the book will

be of great interest to music lovers, self-publishers and renegades in all

media, and film rights purchasers -- you wonder why Carpenter didn't

forgo the book and sell that screenplay.

On a tip that the F.C.C. is coming, KBLT shuts down, then returns. In the

last days of the beleaguered station, Carpenter does something absolutely

extraordinary -- and, at last, revelatory. She has scouted tall buildings in

Los Angeles and, finding a rooftop already crowded with antennas, installed

her own among them. When the station suddenly hisses to static one day,

she jumps on her motorbike, racing to her secret antenna. From the street

she can see figures atop the building. Surprising herself for perhaps the

final time, she races up to the roof and the long-feared Agent Smiths of

the F.C.C. and boldly claims the equipment as her own.

[Choire Sicha writes for The New York Observer.]

============================

*The New Conservatism*

Shock Value Conspicuously Absent at Beck's Futures Show

ArtForum News, 03.25.04

http://www.artforum.com/news/?sid=0a287467709ca2fee6c8a01eddeee9ec#news6552

The fifth Beck's Futures prize exhibition, now an established

annual postcard from contemporary art's wildest shores, has opened at

London's ICA, and according to Philip Dodd, the ICA's director, this

year's exhibition proves "the days of shock are over." While some of the

work may not be ingratiating, Tim Dowling writes in The Guardian, there

is a calm, nonconfrontational feel to the show. It represents a definite

move away from dead sharks and unmade beds:

http://www.guardian.co.uk/arts/news/story/0,11711,1176530,00.html

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*Not High Noon*

The OK Corral

by Jerry Saltz

Village Voice, March 15th, 2004 5:00 PM

http://www.villagevoice.com/issues/0411/saltz.php

Call this the OK Biennial. The 2004 Whitney Biennial never goes

off-the-tracks bad but it rarely goes off-the-charts good, either. There's

a lot of worthy work on hand, some surprises, and a few high moments.

Artists I'm only mildly interested in impress. But overall it's tame.

There's not a lot of heat here, and little that's juicy or transcendental.

Sometimes you feel the curators are just covering their bases, pulling

cool artists from the right cliques. Politics are internal, not external.

Still, at a time when biennials, triennials, and Documentas are as

overblown, irritating, and automatic as Academy Award ceremonies,

when it's not clear who or what these carnivalesque cattle calls are for,

Chrissie Iles, Shamim M. Momin, and Debra Singerthe three Whitney

curators appointed by former director Maxwell Anderson should be

cheered for giving us a biennial that has the virtue of being a fairly

accurate, occasionally sparkling snapshot of what now looks like in

American art. [...]

============================

*Whitney Surprise*

Artnet News

3/23/04

http://www.artnet.com/Magazine/news/artnetnews2/artnetnews3-23-04.asp

WHITNEY BIENNIAL GOES ONLINE. . .

For art lovers unable to see the Whitney Museum 2004 Biennial Exhibition,

Mar. 11-May 30, 2004, in the flesh-world, the museum has launched a

handsome, comprehensive cyberspace version at

http://whitney.org/biennial/ The site provides a mother-load of online

info, with critical texts by the likes of film theorist Laura Mulvey and

Artforum editor Tim Griffin along with luscious reproductions of work by

each of the show's 108 artists, who range from Marina Abramovic to

Andrea Zittel and include two artists' co-operatives, the Washington

based low-fi art punk band Tracy and the Plastics and the performance

group Los Super Elegantes. Museum director Adam D. Weinberg does

his bit with a seven-page-long Oscar- worthy list of acknowledgements,

in which he thanks the curators, Chrissie Iles, Shamim M. Momin and

Debra Singer, for their "Herculean efforts, dogged determination and

passion, passion, passion." The site provides a chat section, which

strives to spark debate with the intro, "Excited? Enraged? Welcome to

the Biennial Dialogue."

. . . AND BIENNIAL NOTED AS MEASURE OF SUCCESS

The 2004 Whitney Biennial must be a success -- other organizations are

using it as a yardstick to measure their own accomplishments. ArtPace,

the artist residency and exhibition center in San Antonio, announced that

the Biennial features 13 alumni of its own programs, including "ArtPace

fellows" Maurizio Cattelan, Spencer Finch, Isaac Julien, Robyn O'Neil,

Liisa Roberts, Dario Robleto, Ada Ruilova, Yutaka Sone and Erick

Swenson.

Meanwhile, the innovative art-world nonprofit Creative Capital has

announced that five of its grantees are represented in the 2004 biennial:

Harrell Fletcher, Sam Green, Miranda July, Simparch and Sharon

Lockhart. Creative Capital also notes that it helped fund The Weather

Underground, a documentary that was nominated for an Academy Award,

and also backed several films that have been included in festivals in New

York, Berlin and at Sundance.

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*Haacke Hack*

HANS HAACKE ON ART AND POLITICS

ArtForum Int'l News: mid-March or so...

http://www.artforum.com/news/week=200413#news6533

The Neue Zrcher Zeitung's Gabriele Hoffmann asks Hans Haacke about

the trials and tribulations of politicized art. "It's uncomfortable for me

to be identified as a 'political artist,'" Haacke told the newspaper. "The

work of an artist with such a label is in danger of being understood

one-dimensionally. Without exception, all artworks have a political

component--whether it's intended or not. . . . There's a widespread

assumption in the public--and often among art professionals--that art

has nothing to do with politics and that politics can only contaminate

artworks. Then one is put in the political' corner and practically

excommunicated. Sociologically, that's an extremely interesting

phenomenon." full article (in german):

http://www.nzz.ch/2004/03/13/li/page-article9FP30.html

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*Screed for Hadid*

Hadid Backlash

A Daily Dose of Architecture, 3.24.2004

(Almost) daily architectural musings from the American Midwest

http://archidose.blogspot.com/2004_03_01_archidose_archive.html#108015461484378178

A lot is being said about Monday's award of the Pritzker Prize to

London's Zaha Hadid. Here's a sampling.

Herbert Muschamp in The New York Times:

"Zaha Hadid is a woman and Iraqi-born, and her identity is news in its