I happen to be downtown today. Having time to kill before my appointment, I visited New World School of the Arts’s gallery. Here are some of the works.
Todd Gibson’s post on MAN.
Michael Tilson Thomas, of the San Francisco Symphony and the New World Symphony, has this very cool radio program. The first in the series is a discourse on music, noise and their shared borders. One can hear via HD-Radio or from the American Public Media website. Suzanne Vega co-host.
Have a listen.
Last day for Conditions of Display at the Moore Space, in which I am exhibiting an installation, untitled(the fifth victim).
Also, the opening of Confluence: a collaboration at Fredric Snitzer Gallery.
Aja Albertson and I collaborated on a video.
“Activists, historians and Hialeah politicians gathered” … ” at the offices of the Dade Heritage Trust to celebrate Hialeah Park being placed on the National Historic Trust’s list of America’s 11 Most Endangered Historic Places.”
It does not guarantee the destruction of park.
I propose to all a multi-disciplinary competition to propose programs for the park. The idea is simple — don’t focus on practical solutions for the park and yet, make it relevant again to us all. This competition should enlist all students(elementary school to college) to send in a proposal. Also, invite artists, musicians, dancers, storytellers, comedians to address the park. Hopefully, all these interventions would begin the re-establish the cultural value of Hialeah Park.
Tom Austin wrote about the Cintas award and exhibition. Of the exhibition at the Frost Museum, Austin wrote “the quality of the work is wildly uneven.” He stated, in reference to Maria Martinez-Canas, “Hers is easily the best work in this year’s Cintas finalists’ exhibition.” And “Moreno’s work,…, has grown into something more complicated and visceral.”
The article’s statements in regards to Leyden Rodriguez-Casanova:
“Leyden Rodriguez-Casanova’s Two Sectionals Creating Closure may be too simple: The artist — who has previously created such pieces as A Gated Space for One, slabs of ornamental powder-coated aluminum welded together to form a conceptual cage — bought two stupendously mediocre imitation leather sectionals at El Dorado and simply pushed them together. Rodriguez-Casanova, who attended the New World School of the Arts in 1994 and ’95, is from Westwood Lakes in southwest Miami. He concedes that Two Sectionals didn’t require ”a lot of process,” but points out the bigger picture: “It’s a comment on my personal nostalgia, the life of the suburbs. And also a dialogue with the viewer about the importance society attaches to working class objects, and why the efforts of the working class are not as valued as the work of others.”
There has been a discussion, here at TNFH Central, about the recent works of LRC. Though, it has not concluded; we have come to perceive the recent works by LRC haven’t always deliver its intended poetics. I believe the systems and rules used by LRC to form and generate works are sound and conceptually attractive. But in the final hours of the executions of works like Two Sectionals, I believe LRC allows Duchampian readymades to overly influence the works. By that I mean the idea that readymades are simply found and are coupled and are exhibited. This is in contrast to Rauschenberg’s and Johns’s brand of readymades, in which objects are manipulalted , abstracted and shaped into a work.
Two Sectionals Creating Closure is a very poetic phrase. For one thing, I think of the ying-yang. Another thought is of matrimonial unity. One can go on…