Peter Hopkins lives with his family in Stamford, Connecticut and has a studio there, and in New York City. He is currently represented by Christopher Grimes Gallery in Santa Monica, California, Galerie Sfeir-Semler of Hamburg, Germany and Beirut, Lebanon, and Galerie Grita Insam of Vienna. He has exhibited in Documenta IX, The Corcoran Biennial, The Whitney, PS 1, New Museum, several large European Museums, and over 50 solo and hundreds of national and international group exhibitions. He was the founding artist at Colin DeLand’s groundbreaking New York gallery of the mid 1980’s American Fine Arts Company. He has curated many shows over the past 3 decades including shows in Paris, Berlin, and across the U.S. These shows often include cutting edge use of technology years in advance of common usage. His self curated 1983 exhibition in Chicago with Group Red entitled “Art Confessional” was, for instance, perhaps the first recorded gallery installation involving a personal computer. His work is included in many prestigious private and public collections such as the Progressive Collection, Foundation Goetz, Foundation Pierre Huber, The Getty, and numerous other museum permanent collections.
KOAN JEFF BAYSA
“How does the concept of interstice, posed by the curator of your section, fit into your work’s concept?” I think that the concept of interstice, the in-between spaces, could refer (in the discussions) to the mental space, atomic space, and potential spaces between objects. Like the Chinese porcelain stools that are the potential spaces for the wooden stools; like Rachel Whiteread’s work. It could also be brought into the discussion of sound: what is the sound between sounds? Between silences? That the pause (another interstice) has figured into musical compositions just as importantly as the Arabic invention of the number zero.
Kóan Jeff Baysa is a physician, contemporary art collector, curator, designer, writer, critic, Whitney MuseumIndependent Study Program – Helena Rubinstein Curatorial Fellow, and a member of AICA, the association of international art critics. He specialises in designing and producing projects and events that appose and contextualise seemingly disparate subjects. A contributing writer for the online publication ArtSlant, and contributing writer and art editor for the now online contemporary culture periodical, aRUde, he has written for Art Asia Pacific, Flavorpill, Ctrl+PJournal of Contemporary Art, the Scent Marketing Institute Newsletter, and is the Pacific editor for d’Art International (Toronto). As a medical scientist, his interests center around issues of the sensate body and in the ways that the physical self experiences and knows the world through the senses; as a cultural worker, his interests lie in examining the dynamics of subcultures nesting within larger cultures. As an artist, he is most interested in creating text-based works, experimenting in all media. KJ Baysa has curated shows for the London Biennale, LA International Biennial, Chinese Biennial, Whitney Museum, Canon Corporation, The United Nations, and has organised and participated in art events throughout the US and in Paris, Cork, London, Abu Dhabi, Dubai, Tuzla, Sarajevo, Beirut, Beijing, Bandung, Hong Kong, Manila, Santiago, Singapore, Cologne, Seoul, St. Petersburg, Madras, Mexico City, and Yokohama. On the boards of The Vera List Center for Art and Politics at The New School University and the Art Omi International Artist Colony, he has presented lectures at the Whitney Museum of American Art, MoMA in New York, and is on the advisory panels for theChelsea Art Museum in New York, Art and Med in Los Angeles, and the Streaming Museum, a cybersite with public exhibition spaces on all seven continents.
As a cultural producer, I am interested in the contexts and perceptions around certain specific, historically burdened structures that we must all function within. As a writer and curator I have been interested in the idea of cultural specificity and the way in which art world structures influences cultural production. I am not concerned with defined roles that one must play within the art world structure and yet one must conform even when one defies. I think of my work as ever evolving and taking on different dimensions – articles, curated exhibitions, founding of a non profit that is focused on socially engaging art practice and currently a soap opera about a south asian woman’s journey through the new york art world are some of the means and ways by which I navigate, confront and create dialog around those specific concerns. I am also interested in exploring the notion of ‘art’ that functions outside the contexts of the art world and within the chaos of popular culture and if that is truly possible.
For citydrift/Bushwick I will function from the perspective of curator as enabler.
Meenakshi Thirukode is a writer, artist and Independent curator, who moved from India to America in 2006, and is currently based in New York. She has contributed to several publications including The Hindu Newspaper, Whitewall Magazine, artconcerns.com, Art Asia Pacific, Art India, Art and Deal Magazine, Art Journal, ArtMap Magazine, Of Note Magazine and Grassroots Literature Blog. Since 2008 she has been curating independent curatorial projects in the United States and India. Currently she also works as a curatorial consultant for ArtStar.com, involved in developing their South Asian and Middle Eastern portfolio.Thirukode is a member of AICA (International Association of Art Critics), IKT (International Association of Contemporary Art Curators) and served on the board of the South Asian Womens Creative Collective and continues to serve on the board of the Christies Alumni Society Board. Thirukode graduated with Honors in the Masters Program at Christies Education, New York with a focus on the History of the Art Market, Connoisseurship and Art Criticism. She is the co-founder of a non-profit public art project that looks to bring socially engaged art into abandoned urban spaces called Project For Empty Space. Currently she is working on a transmedia film based project, Isha: A Tell-All Tale.
Drifters in this Node:
ArtO2 and Kiran Chandra
Modesto Flako Jimenez
Han Seok Hyun
Node: Artist/Hart Island Project/citydrift
The Hart Island Project
Unique Place of Death NYC
Unique Place of Death is an invisible field within the HartIslandProject on-line database of 65,000 mass burials in New York City from 1977-2011. HIP: Citydrift participants will select a ledger book page where a “unique place of death” is listed. They will then travel to the public location, somewhere in the five boroughs, and return with creative response.
HIP: Citydrift creative responses will become part of an interactive storytelling portal designed in collaboration with Studio AIRPORT, Netherlands. Each person buried will be assigned a clock that measures the time that they are buried in bureaucracy to the moment when they regain their identity because someone added a story/image. When information is added, the clock changes into a name and the deceased New Yorker’s identity re-enters public history.
The Hart Island Project was founded in 1991 by Melinda Hunt. Over a twenty year period, various creative projects have been produced to visualize an invisible 101 acres where over 850,000 New Yorker have become increasingly isolated anonymous through a system of burials managed by the Department of Correction. The Hart Island Project posthumous wiki is funded with a grant from the New York State Council on the Arts with fiscal sponsorship from the New York Foundation for the Arts.
Melinda Hunt is director of the Hart Island Project, and a visual artist whose works include drawing, video, photography, installation, and public art. She graduated from Reed College in 1981. She received a M.F.A. in sculpture 1985 from the Yale University and a M.Sc. in Digital Imaging & Design in 2007 from New York University. She founded the Hart Island Project in 1991. She published a book, Hart Island in collaboration with Joel Sternfeld in 1998. Her film Hart Island: An American Cemetery co-produced with the Banff New Media Institute was released in 2006. Awards include Connecticut Commission on the Arts (1987), New York State Council on the Arts (1995, 2000, 2012) and Canada Council for the Arts (2008, 2009).
Contact information: firstname.lastname@example.org
Drifters in this Node:
The Glass Bees (with Chris Williams and Jason Das)
The Glass Bees are a multidisciplinary art project based in New York City.
Fashion Moda (with Stefan Eins)
Catherine Wald is a poet, author, songwriter and former Chief Rejecutive Officer of a website for rejected writers and artists. Of her poetry, Elaine Sexton says, “Catherine Wald’s poems hiss and growl, invoking a frenzied reality, a human condition nearly always on the verge of a nervous breakdown. The poems are so graphically, sonically charged they seem to shake each page…”
Andy Monk Art
Laura Napier is a California born, New York City based artist exploring behavior, sociology, and place through documentation and participatory performance.
Chaseling was born in Munich Germany and lives currently in Berlin, New York and Australia. She received two Masters in Visual Art degrees, from the University of the Arts in Berlin and the Australian National University in Canberra, respectively. Recent exhibitions include a solo presentation at the Staatliche Kunsthalle Baden-Baden, Germany, the Bogart Salon in New York, Slag Contemporary, New York and the Lulea Art Biennial LAB 11 in Sweden. Major grants and scholarships received in Australia and Germany – include those of the German Academic Exchange Service (DAAD), the Anne & Gordon Samstag Scholarship and the Studio Award of the Karl Hofer Society. In the last year she has taken part in a number of international artists residencies, at Burlington City Arts, Vermont (Seven Below Arts Iniative), the Texas A&M University in College Station, and the School of Art, Australian National University in Canberra.
Drifters in this Node:
LEXI HOFMANN AND JUSTINE MCCULLOUGH
Ms. Hofmann is a practiced curator and art historian. Currently she lives and works in Manhattan for the Regional Offices department at Sotheby’s Auction House. Also, she is completing a Master’s degree from Sotheby’s Institute of Art with a thesis focusing on human ecology and the displacement of art centers specific to emerging dealers in the Lower East Side and Bushwick. In 2010, she graduated from Arizona State University with dual degrees in Art History and Museum Studies, with a focus on fifteenth-century Flemish art and contemporary Western. During her undergraduate education she worked as a registrar for Trailside Galleries and curated several BFA and MFA shows at ASU.
An attempt to overcome and investigate our struggles within our own female identity.
The drift will help us explore the confines imposed by the expectations of society. Changing our clothes at each node is a metaphorical representation of displacing our constraints we face from society on a daily basis and thus changing our identity in the physical form.
Nyssa Frank is the Director and Founder of The Living Gallery. Nyssa attended The University of Santa Barbara, where she graduated Magna cum laude with a Degree in Philosophy. She has traveled all over the world studying different cultures and their artwork; such places include India, Peru, Venezuela, Israel, Sri Lanka, Europe, and Bali. Nyssa is also interested in the structure of form and color and in positive and negative space. Her current body of artwork includes drawings of various dissected animals who have been reassembled in strange ways. Her dream has come true, and is The Living Gallery, a place where everyone feels free and welcome, where imagination can bloom and become a reality. Her goal is to keep The Living Gallery alive, to communicate with the surrounding Bushwick Community, and to alter the way minds think by erasing notions of differentiation.
Spontaneous Social Exchange Drift with City Drift
Music is a language of its own. Reaching across boundaries and connecting to the body and all of it senses, music is a rolling rhythmic language of movement. Movement that co-mingles cultures, crosses territories, cuts up borderlines and lives as a moving exchange that embraces all languages to become a shared understanding that allows for individuality. In our walk and stop drift we will organically drift through Bushwick being lead by the exchange of invitations to play, listen to each other’s music and dance la música del mundo de Bushwick.
Spontaneous Social Exchange Drift will emphasize listening, spontaneity, communication and the ever pulsing musical sounds of Bushwick. We may follow a car down Broadway, an ice cream truck meet new folks hanging on the front stoops or in the barber shops you never know where the la música del mundo de Bushwick may lead you and who will join us!
Meeting Place: The Living Gallery 1087 Flushing Ave Brooklyn, NY http://www.the-living-
Date: Friday Sept. 7th
Time: 8:30 PM until Sunrise
Please join us at anytime during the drift by calling Moira 631.891.9144
Dress to impress but, please wear comfy shoes.
Free and Open to the Public.
Moira Williams’ performance-based work invites public interactions and gestures of exchange. She is currently a fellow in the Laundromat Project’s Create Change Program, Bronx, NY and she is a founding member of the walking cooperative Walk Exchange. Her Recent work has been seen at No Longer Empty’s This Side of Paradise Bronx, NY, The Dorsky Curatorial Gallery, NY, The Brooklyn Food Conference, NY, Rumite Netherlands, D.U.M.B.O. Arts Festival, NY, Flux Factory, NY, and the Philadelphia Marathon. Moira is presently working on a living, mobile shelter for her upcoming New York to New York Walk. She can also be found walking to the DeKalb post office in Bushwick, NY, where she mails her daily letters to the Milky Way.
Moira Williams holds a BFA from the School of Visual Arts, a Certificate in Spatial Politics and an MFA from Stony Brook University.
Angela Washko is simultaneously an independent curator devoted to mobilizing communities and a visual artist creating actions, interventions, videos, installations, and performances (sometimes inside video games). For Washko, curating is an extension of her visual art practice – she is sensitive to the activities of critical communities, and facilitates the presentation of them to larger audiences. She is excited to have been named the Curator of the Conflux Festival in October 2012.
Most recently Washko has been busy creating arenas for safe dialogue about feminism inside the massively multiplayer (and massively misogynistic) role-playing game World of Warcraft. She has just founded The Council on Gender Sensitivity and Behavioral Awareness In World of Warcraft – earning her the Terminal Award and Grant, an upcoming fellowship and residency at HIAP in Helsinki Finland, and a solo exhibition at Austin Peay State University. She is the Assistant Director of Habitable Spaces in Sequin Texas, and a long-term artist-in-residence at Flux Factory in Queens. Washko has recently curated Deconstructing the Habit, and HABIT: A Video Festival at Spattered Columns in SoHo as well as Collaborative Means at The Congress of Collectives, Why Participate? at Flux Factory, and the series Expert Oddities at venues in NYC and Troy, NY. Her projects have been written about by Hyperallergic, Rhizome, the New York Times, ANIMAL NY and more.
For Washko’s drift, she will get lost in a public space that many artists, gallery goers, curators, writers and other drifters will be unfamiliar with. Angela Washko will spend her entire drift exploring World of Warcraft and responding to its community of players accessing it remotely throughout the U.S. and abroad, its vast landscape, and the elements of chance that also exist in this massive virtual space. Though virtual – this space is a real world – it has communities that develop it, landscapes to explore, people to communicate with, characters with physical limitations, and unexpected elements to respond to. Washko will use multiple means of in-game transportation at her disposal to react and respond to the environment enveloping her- with complete openness to the wander as the object.
NECROPOLIS OR UTOPIA
What is the city? How did it come into existence? What processes does it further: what functions does it perform or what purposes does it fulfill. From the embryonic social nucleus to the complex forms of its maturity and the corporeal disintegration of its old age, the origins of the city are obscure, as we continue to bury its past or efface it beyond recovery. So its further prospects are difficult to phantom.
Will the city disappear or will the whole planet turn into a vast urban hive—which is another mode of disappearance? Can the needs and desires that have impelled humans to live in cities recover? Is there still a living choice between Necropolis and Utopia: the possibility of building a new kind of city that will, freed of inner contradictions, positively enrich and further human development?
If we wish to lay a new foundation for urban life, we must understand the historic nature of the city, distinguishing between its original function, those that have emerged from it, and those that may still be called forth.
—Lewis Mumford, The City in History
And he who becomes master of a city used to being free and does not destroy her can expect to be destroyed by her, because always she has a pretext in rebellion the name of liberty and her old customs, which either through length of time or benefits are forgotten, and in spite of anything that can be done or foreseen, unless citizens are disunited or dispersed, they do not forget that name and those institutions.
—Machiavelli, The Prince
The city is the locus of history because it embodies at once a concentration of social power, which is what make the historical enterprise possible, and a consciousness of the past. The present urge to destroy cities is thus merely another index of the belatedness of the economy’s subordination to historical consciousness; the tardiness of a unification that will enable society to recapture it alienated powers.
The five artists I have selected for the drift are Matt Freedman, Laurence Hagerty, Jennie Nichols, Brian Gaman, and Michael McKeown, whose works suggest the dichotomy between the collective and the personal, between the intimate and the public, between the seriousness of our conditions and our manifest optimism through our self afflicted dilapidation.
The city as an object of discovery can reveal visual traces of a personal and communal history, one that Citydrift can manipulate, transform, alter, reconstruct, and/or enhance, even as a memory or fading gesture.
Through my superimposition of choice, I have gathered together a group of artists that share a sophistication, humor, and highly articulated understanding of the derive. —Bonnie Rychlak
Bonnie Rychlak is an artist, independent curator and writer. For many years, she worked as the curator for the Isamu Noguchi Foundation and Garden Museum, where she began her association to the institution in 1980 as an assistant to the sculptor, Isamu Noguchi. As an authority on Noguchi and his vast body of work, she has written numerous essays and curated critically recognized exhibitions at The Noguchi Museum and other institutions worldwide. As an independent curator, she continues to lecture on Noguchi’s work. Rychlak artwork has been seen in both solo and group exhibitions in New York City and Los Angeles since 1985. Her next exhibition will be in December 2012 for the outdoor sculpture park at Sculpture Key West. Among her awards and acknowledgements, she has received an N.E.A., a Rockefeller Foundation residency at the Bellagio Study and Conference Center, and a Fellowship at the American Academy in Rome. Recently Rychlak curated Diversities of Sculpture/Derivations from Nature, a group exhibition of scultures at the LongHouse Reserve in East Hampton, New York; Black and White and Re(a)d All Over for Bogart Salon in Bushwick, Brooklyn; and On Display In Orange County: Modern and Contemporary Sculpture at a pop-up gallery in South Coast Plaza, Costa Mesa California. Among the numerous exhibitions she has curated for The Noguchi Museum are Courage of Imagination: California; Full Figure and Portraiture, 1926–1941; Design: Isamu Noguchi and Isamu Kenmochi; Noguchi and Graham: Selections from the Dance; Noguchi: The Bollingen Journey, Photographs and Drawings 1949–1956; and Zen No Zen: Aspects of Noguchi’s Sculptural Vision, (2002). Currently she is writing a book on Henry T. Segerstrom and his cultural legacy in Orange County, California, and teaching at Pratt Institute.
Drifters in this Node:
Laurence Hegarty and Jennie Nichols
Our drift will have two nodes: one is through the shadow world of Bushwick as given to us in film and google earth. Beginning with an image chain built in the 1970′s by Telly Savalas (yes Kojak was set in Bushwick, the 83rd precinct was his home base) and meandering through The French Connection and American Ganster we drift through google earth’s re-imaging of that supposedly noirish world. From Popeye Doyle to Popeye’s Chicken we will inhabit the imaginary map of bushwick as spawned by Hollywood’s drift through America’s urban psyche. Second is the graffiti chatter of both cinema and the streets of Bushwick. Godard’s One Plus One –for example– scatters the scrawls of SI inspired graffitos across an urban and political landscape. Bushwicks tags will be mined as contemporary parables of identity and locale. Throughout the drift we will e-mail short films to all participants. These films of Bushwick can be viewed on personal devices (phones, pads etc) and or stationary platforms (desktop computers). If participants wish to reply to said e-mails with images they shoot on their devices that would be welcome. All films will be available for viewing at:
A definition of art has not been established in anywhere and anytime. Moreover, a definition of what makes artists great is always vague over the generations. Some artists are eager to become millionaires to pursue their art career goal. Some artists might not even think about their artistic career. Instead, they keep making art in order to be themselves. It might be the only place where they can position themselves in. City Drift does not include these complicated elements. Artists can return to childhood and just play with their creativity. Everyone has had this experimental stage. Break down their current artistic style and create something fun and new.
What can I do to bring artists back to this experimental stage?
While walking back home from school during childhood, I remember smell of dinner waifing in the air. It possibly came from dinner a family was having. I run at a gallop to go back to my family. I still remember that memory in my heart. “Scent/Smells” always arouse one’s memory and bring one back to a place where one was. I coordinated some Japanese visual artists mostly residing in New York. By having the theme “Scent”, each visual artist will expose an intangible idea instead of tangible creation, which visual artists typically use. I hope this will be the new beginning or rediscovery of their creativity.
Eri Takane is a curator, producer, art administrator who recently graduated from the Visual Arts Administration program at New York University. Since coming to New York 10 years ago, she has worked both nonprofit and profit sectors including a charity auction house, photographer’s foundation, and a contemporary art galley. She is currently an assistant for Shingo Francis and a producer for fashion photographer Takahiro Ogawa.
Drifters in this Node:
Jessie Brugger was born in Puyallup, Washington. She received her Bachelors of Fine arts in 2002 from Concordia University in Montreal, Quebec. Jessie moved to Bedford Stuyvesant, Brooklyn in 2005, and In 2010 she completed a Masters of Fine Arts at the New York Academy of Art. She started doing stop animation in 2010 with her drawings, clay, and other mixed materials. She was awarded a residency in Giverny, France, and created a piece called, “The Stained Glass Window.” In April 2011, she was awarded “Best in Animation” at the New York International Film Festival. The videos that Jessie makes are colorful and whimsical, yet disquieting and socially political. Jessie continues to work on her animations, maquettes, paintings and drawings in Brooklyn, New York, and from her studio space in the Elizabeth Foundation for the Arts building on 39th street in Manhattan.
I have an exaggerated need to emotionally connect with people in a direct way, which I believe is what drives my work. As a child growing up, I was the black sheep in my environment. I was very shy and isolated. I struggled at making friends. Although I always had a “best friend”, a lot of my routine interactions with people and relationships were not satisfying. It seems that my work is a reaction to that part of my childhood. I use my work to try to make emotional though platonic connections, even with people I meet casually, which is ridiculous, but I love it. Art is healing; and I am now described as outgoing.
Rockin Mommy Love: Saturday September 8th 2012, 4-4:30 PM
Outside 56 Bogart St building.
More info on performance: Rockin’ Mommy Love_Performa
I’m a conceptual artist, self-proclaimed psychotherapist, performer, and comedian. I’ve exhibited my work at many venues including White Columns, Artists Space, Printed Matter, The New Museum and the Scope Art Fair. I also co-host Gallery Beat, a video program about art, which you can view online at gallerybeat.net.
In addition to making my own work, I am always looking for different ways to use my creative skills. I have won an Absolut Vodka photography contest with a photo I did in a photo booth, a Hebrew National advertising contest, where I won the top prize of $83,00 and I also had a turn on David Letterman’s Stupid Pet Tricks with my hamster that bowled along with many other strange, random television appearances that I have orchestrated behind the scenes, which can be seen on my YouTube Channel, youtube.com/lisalevy
Currently, the projects I am most involved with are my character, Dr. Lisa, the self-proclaimed psychotherapist who performs psychotherapy on stage as well as giving out “prescriptions” (advice on a prescription pad) and Ego Evaluation Badges from my EE® chart. In the past year, I have also begun an ongoing series of oil paintings called, “The Thoughts in my Head”. They we’re recently featured by the website GAWKER; “catchy and colorful paintings present Levy’s sage wisdom and personal confessions.” Currently, as Dr. Lisa I’m doing a residency at Agape where she does psychotherapy and subsequently makes text “portraits” of the sessions.
Drifters in this Node:
Occupy Museums will be at citydrift engaging in open conversation at the intersection of art and activism.
Max Bushman is an independent curator and writer currently living in Brooklyn, NY. Having been raised in London and moved to Kuwait at a young age, Max found New York at 18, as well as the art world in all its mystery. Compelled to be involved, through working, writing, curating and organizing, Max is also a key member of the up and coming image consulting firm Idea Concept Reality, LLC, formed by friend and partner Justin Lopez.
ART TIME CAPSULE:BUSHWICK
Surrogates: Matthew Lange, Tilton Widrow, Alex Chipkin, Becky Chipkin, Ben Godward
The Peoples Art Collective (PAC) is pleased to sponsor, and cordially invites you to participate in Art Time Capsule: Bushwick. As a component of citydrift/Bushwick the Peoples Art Collective will host Art Time Capsule: Bushwick at Momenta Art (56 Bogart Street), at 8pm on Friday, September 7th. Through hired surrogates the PAC are soliciting all artists, writers, poets, and musicians to bring a work they would like inhumed alongside Duchamp’s Fountain, Robert Smithson’s Asphalt Rundown and, Gordon Matta-Clark’s Splitting. The project will preserve for future generations an insight into what “cultural artifacts” were being produced in 2012. On that evening please bring a piece of work that you would like to have registered, documented, preserved, and carted to the Fresh Kills midden. There our underground “salon” shall rest, in perpetuity, waiting for future generations to exhume, deconstruct, parse, and enjoy.
Please Join the “Surrogates” ( Matthew Lange, Tilton Widrow, Alex Chipkin, Becky Chipkin, Ben Godward) on Sunday, September 9th at 12pm at Bogart Salon to discuss the data collected for the Art Time Capsule: Bushwick project.
Art Time Capsule: Bushwick is a sponsored action of Peoples Art Collective (of upper Westchester and lower Fairfield counties) as part of their ongoing mission to help fund young artists and educate them in the ways of the art world.
SEAN ALDAY AND MICHAEL KRONENBERG
Trust Fall is meant to explore what happens when you physically remove yourself from the context of “normal” life and place your trust in the Universe and other people to preserve you. It is about going back to basics to discover what you really need to sustain yourself and what the minimum requirements are to create art and experience the world. You can’t watch life pass by your window if you don’t have a window.
It’s also an exploration and documentation of how “Artists” make their space to create and what is required to do so. How much suffering and struggle is involved? What if anything is sacrificed in the process? What are the rewards associated with the artist’s way. Is it worth it?
We go out with an arsenal of questions to learn and understand and share experience and perspective. We have also experienced sharing what we have with others for the last two years at 950 Hart Gallery. Through this, we’ve thoroughly explored the collaborations and compromises that come with sharing a creative space and want to explore the other side of that equation.
We are not showing up empty handed. We are choosing to share our creative energy and to also share the stories of those we encounter with everyone we can. This will be accomplished mostly through film and the visual arts. We also want to explore a specific community that exists at a specific point in time and space. We are seeking to understand, document and absorb the creative energy that is the “Bushwick” art scene. This documentation and desire to share the creative experience was started in our gallery and continues with Trust Fall.
Trust Fall is a way to remove ourselves from our comfort zones.
Trust Fall will require us to use our bodies and their locations in space and time as an extension of the documentary process. We will also explore the following side notes: Voluntary homelessness, energetic field manipulation, alternate uses for slop sinks, tracking the wi-fi grid, minimum daily requirements, the wonders of refrigeration, the EBT Gourmet, portable bedding and 21st century scurvy.
ERIK MOSKOWITZ AND AMANDA TRAGER
Erik Moskowitz and Amanda Trager are collaborating artists who live and work in NYC. Recent work has been presented internationally at such venues as The Pompidou Center and the Jeu de Paume (Paris), The Reina Sofia National Gallery (Madrid), The Haus der Kulturen der Welt (Berlin), The Pera Museum (Istanbul) as well as the 303 Gallery and Momenta Art (NYC) and ICA Philadelphia.
marching orders is a citydrift project led by Wilson Duggan. Within citydrift’s organizational framework, marching orders is a Bushwick “Choose Your Own Adventure” that will seek to examine the urban landscape by way of a collective improvisation.
Wilson Duggan is an aspiring artist and curator and a recent graduate of Fordham University, where he studied Art History and Marketing. He currently works as a studio assistant for the artist Denise Green and is an intern at the Bogart Salon in Bushwick. He also runs Mr. Struggan’s Regards, where he serves as Blogger-in-Chief.
THOMAS DODD AND ELLIOT MARKELL
Tracing the ever shrinking IBIZ zone. (Industrial Business Zone)
Join Artist/Curator Elliot Markell and I as we walk the ever-moving line which demarcates Bloomberg’s area preserved for Industrial Business. As we walk this DMZ zone we will discuss the wonderful things that have happened here and grown in the area between the borders, much as the Korean DMZ zone has protected the growth of an incredibly diverse wildlife sanctuary. We shall reminisce on how we have enjoyed such a productive environment and perhaps discuss ways of preserving such fertile grounds.
Please be aware: I will be writing violations for any individual who is found to produce items not deemed appropriate for the manufacturing zone.
BIO: Thomas Burr Dodd
Thomas Burwell Dodd, aka “Burr”, is a Builder, Artist, Dreamer. With his wife Pearl they built Brooklyn Fire Proof into a creative multiplex of work space, artist studios, film and television stages, music studios, Café/Bar, gallery and event spaces.
Brooklyn Fire Proof was founded in 1998 in Williamsburg Brooklyn to provide a nurturing space for the unknown to stimulate and challenge all senses.
As project leader for the 2003 Urban Beach at PS1 then working on the PS1’s Clock Tower in Manhattan a new vision was formed for BFP which required a lot more space. BFP Started construction of it’s new facilities in Bushwick, East Williamsburg in 2004. Occupying and managing over 165,000 SF of space BFP is looking for it’s next project.
Burr has A BA in Photography and a Minor in Art History from The Savannah College of Art and Design. Burr’s artwork includes experimental Photography, Cliché Verre, Mordancage and Photogenic Paintings. Later he transitioned to hand blown Sugar sculptures and now after 7 years of building space and 6 corporations. (equally artistic) He is painting again. Color and shape always a primary concern.
Thomas sits on the board of Trilok Fusion Arts, an arts program and elementary school in Forte Greene, and Momenta Art in Bushwick.
BIO: Elliot Markell
Painting has remained for me an authentic process uncorrupted by fashion or careerist ambition. I’m basically a working stiff, both as a painter and art shipper. Driving my truck around moving art for the last 25 years or so has been a good way to get a feel for the pulse of artistic activity. And I’d say the local community thrives on the creation of art as a physical act.
Drifters in this node:
Jong Il Ma
Mery Lynn McCorkle
NAOMI SAFRON – HON
Annelie McGavin is a curator and the director of Studio10: upcoming exhibition Image and Objecthood: Santiago Mostyn, Peter Sutherland, Jai Lennard, Sept 7-30, 2012. Annelie worked at Benrimon Contemporary and Sperone Westwater in New York after completing her masters in Modern and Contemporary art at Christie’s Education, London.
citydrift is a game. This is important when we remember that the power of play is not the moment of play itself, but in what emerges over time. It is through play that we learn — or perhaps I should say, learn best. We observe this in children, and even in animals, but forget that we are not above these moments as adults. To drift is to initiate, but simply to be a drifter is not enough; even the most transient among us leave trails through the interactions we begin or encounter. I am interested in following these ephemeralities and seeing how they become, over time, concrete. Valued. Who are we now? What are we leaving behind? How does what we leave behind shape the external view of our current time and place?
Chloë Bass is an artist and public practitioner. Upcoming solo exhibit:The Bureau of Self-Recognition, Momenta Art, 2013. Chloë has received commissions from the Culture Project’s Women Center Stage Festival, the Bushwick Starr’s Bushwhack Festival, and 3rd Ward’s Moviehouse. Recent artistic work has been seen at Exit Art (Collective/Performative), EIDIA House/Plato’s Cave, IV Soldiers, Panoply Performance Laboratory, SCOPE Art Fair (Us vs. Us), Fountain Miami (Grace Exhibition Space survey of Contemporary Visual Performance), Agape Enterprise (Tea Will Be Served), and the New Museum’s Festival of Ideas for the New City (Farm City) as well as throughout public spaces in New York City. She is a 2011 Rema Hort Mann Foundation Individual Artist Grant Nominee and the 2011 NURTUREart Benefit Honoree. From 2007 – 2011, Chloë served as the co-lead organizer for Arts in Bushwick, which produces Bushwick Open Studios, BETA Spaces, and Armory Arts Week performance festival SITE Fest, which she founded. Chloë also serves as the director of SUPERFRONT Detroit, a project dedicated to exploring architecture through interdisciplinary exchange. She has guest lectured at Parsons School of Design, Sotheby’s Institute, the Polytechnic University of Puerto Rico, and Brooklyn College CUNY. She holds a BA from Yale University, and an MFA in Performance and Interactive Media Arts (PIMA) from Brooklyn College. She is an Adjunct Lecturer at Brooklyn College.