Apr 20, 2011
Press & Documents
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OPENING COMMON GROUND Artists in the Everglades |
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Friday, September 19 6:30 PM Schmidt Center Gallery, University Galleries, FAU
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Alice Raymond, On-going (territory/property) 2014, acrylic on canvas, 5x10’, Courtesy the Artist |
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Harumi Abe Karen Glaser Dana Levy Gustavo Matamoros Adam Nadel Alice Raymond Rebecca Reeve Susan Silas
Schmidt Center Gallery Sept 19 - Nov 5, 2014 |
“Common Ground” presents selected artists from Artists in Residence in Everglades (AIRIE), a unique program that provides an extraordinary opportunity for artists to reside within the Everglades National Park. Organized by Donna Marxer, this unique program was started in 2001 after U.S. Congress passed the $8 billion Everglades Restoration Plan. The program brings professional artists to reside for one month within the park to create original works from their experience of living in our nation’s most environmentally endangered eco-system. Jill Lavetsky and Sybille Welter, co-curators of “Common Ground” have selected a group of eight artists who have participated in AIRIE in the past few years.
The exhibition aims to provide an overview of the dynamic works that have been produced by a variety of artists from this distinctive residency. Miami-based sound artist Gustavo Matamoros presents “Bats & Insects” a sound-scape in the Schmidt Center Public Space in collaboration with Freddy Jouwayed, a Miami-based artist who designed the installation layout. The hidden acoustical signature of the architectural space articulates the work and provides passerby with the sounds of the natural world within the context of a man-made space.
New York and Tel Aviv artist Dana Levy presents her recent work including “Environmental Effects”, a short video filmed at night and redesigned to include psychedelic fragmented rainbow-inspired colors, illuminating the vegetation and electrifying the nightscape. In Levy’s work titled “Emerging from the Swamp” she stages a scene depicting sunken artifacts utilizing thrift store furniture.
Photographers Karen Glaser, Rebecca Reeves, Susan Silas, and Adam Nadel have distinctly different commentary of the Everglades. Glaser, a recent transplant to Florida from Chicago, has been documenting the swamps from under the water, looking up to the land and sky. Her un-manipulated photographs allow the viewer an exclusive perspective of the unique and vulnerable environment of South Florida’s swamps. Silas (New York) presents selected images from “The Specimen Drawer.” Photographed from the South Florida Management Center, the stuffed birds are each tagged to identify its type and date back into the 1960s. The artist writes that, “collectively they are a record of the upheavals and changes in management techniques that have beset the park for over a century.” Rebecca Reeves (New York) images of curtains placed within the context of the Everglades reflects a 17th-century Dutch tradition where it was customary to hide all mirrors, landscape paintings and portraits thus the soul of the deceased would not be tempted to stay on earth. Her curtains serve as social fabrics, the familiar connectors to our increasingly unfamiliar landscape, the wilderness. Adam Nadel (New York) presents works from his series “Getting the Water Right” a project about the ecology and people in the Greater Everglades Watershed.
Alice Raymond (California) plays with the conceptual meaning of Territory, Property and Terrain within maps, drawn and painted, and specifically to the borders that make-up the Everglades.
Painter Harumi Abe (Georgia) presents recent work from her series “134 days and 21 hours” wherein the artist explores the notions of home beyond its physicality and explores the emotional attachment to the idea of home while also probing her own relationship to her homeland, Japan.
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We are presenting work by the following artists:
Margrethe Aanestad, Kevin Arrow, Loriel Beltran, Jenny Brillhart, Felecia Chizuko, Maze De Boer, Christy Gast, Adler Guerrier, Catalina Jaramillo, Ragnar Helgi Ólafsson, Ernesto Oroza, Ariel Orozco, Martin Oppel, Fabian Peña, Alice Raymond, Leyden Rodriguez-Casanova, Magnus Sigurdarson, Erik Smith, Frances Trombly, Odalis Valdivieso and Marcos Vallela.
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Organo #2, avatars et corps numériques –
25 & 26 mai 2013
La 2ème édition questionne le corps virtuel et le corps de substitution; les avatars, nos doublures dans le cyber-espace. Une dizaine d’artistes créent l’événement. A leurs côtés, performers et universitaires. Une soirée conviviale en plein air autour d’une projection d’oeuvres numériques consacrées aux nouvelles images et aux nouveaux médias enrichit la thématique de la biennale Organo.
Les associations Totoche Prod et Quai du Maroc se sont associées pour l’organisation de cet événement avec Nathalie Canals (Totoche Prod) à la direction artistique et Hubert Charon (Quai du Maroc) à la direction administrative et technique.
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PROGRAMMATION - " AVATARS & CORPS_NUMERIQUES" - SAMEDI 25 MAI
17h - TABLE RONDE - Identités numériques & immatérialité corporelle
animée par Aurélie Martinez (Docteure en art, artiste plasticienne)
// Xavier Pommereau (psychiatre, Bordeaux 2) // Bernard Lafargue (Professeur d’histoire de l’art et d’esthétique – Université Michel de Montaigne, Bordeaux 3; Critique d’art) // Alexandre Roudeix (professeur d’arts plastiques, plasticien) // Alice raymond (plasticienne).
à partir de 18h30 - EXPOSITION
// Jérémi Boutelet, Amy Brutton, David Calvet, Beb Deum, Jérémy Charbonel, Audric Escales, Guillaume Raynaut, Jean-Baptiste Trullu // Philippe Faure // La laitière - vidéo// Nicolas Richard Giacobett // Marine Marbleindex Marbleindex // Aurélie Martinez
// J'opterais personellement pour plus d'emphase et de disgression bavarde... Etude - Installation // Alice Raymond et Alexandre Roudeix
L'étude est un espace réservé aux VIP du festival. Elle présente un ensemble de recherches et documents sur le thème Avatar et Corps Numériques. L'utilisation de ces documents engage l'entière responsabilité des utilisateurs. Les utilisateurs ont accès aux informations récoltées les concernant et ils bénéficient d'un droit de modification et de suppression de leurs données personnelles. L'installation n'a pas de valeur contractuelle et n'est pas susceptible d'être sanctionnée au titre de la publicité trompeuse et mensongère. Les personnes morales peuvent être déclarées pénalement responsables. L'artiste est assujetti au secret professionnel. Tout comme pour les personnes physiques, les personnes morales sont assujetties aux formalités d'inscription au registre. Toute personne physique ou morale dont l'activité est d'éditer un service de communication au public doit communiquer sur son identité.
// Sujet 109.MP.2137 - Sculpture métal // Patricia Molins = sculptrice
// Avatar & Atavisme - Création sonore écoute casques // Tête de Huevo
19h - PERFORMANCE// « Transfiguration » // Olivier de Sagazan
21h30 - PROJECTION VIDEO PART1Projection de créations numériques & expérimentale
22h30 - PERFORMANCE SONORE
// « Somniloquie I II III » // Anahata
23h00 - PROJECTION VIDEO PART2
Projection de créations numériques & expérimentales
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PROGRAMMATION - " AVATARS & CORPS_NUMERIQUES" - DIMANCHE 26 MAI
15h - 18h00 - EXPOSITION + ATELIER EXPERIMENTAL "OSEZ VOTRE AVATAR" par DELPHINE AUTEF et Julie Courtadiou.
more pictures http://alices.blogspirit.com/album/ar-organo-2-avatars-et...
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AIRIE Artist Talk - Alice Raymond
A Collaboration with AIRIE
Thursday, May 2, 2013 at 7 pm
Thursday, May 2, 2013 at 7 pm
For the past few weeks AIRIE Fellow Alice Raymond has been working on an experimental mapping project, experiencing visitors’ perspectives on the Everglades National Park. In this artist talk she’ll share reflections on this project and her time at AIRIE.
Alice has been busy meeting rangers, scientists, and friends exploring the park with them to get their perspective. With a focus on human actions made through the park, she aims to get a global or outside sense of the use of the park, using her own view to put in balance others’ perspectives. Alice is interested in questioning the sense of wildness and landscape, looking at its evolution through decades and projects, pointing the permanent changes. She uses the vocabulary of maps as an example of the distortion between reality, perception and representation.
more works from the residence
http://alices.blogspirit.com/album/instagram-everglades/
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Alice Raymond | Dimensions Variable
Thursday, May 2, 2013 at 7 pm
For the past few weeks AIRIE Fellow Alice Raymond has been working on an experimental mapping project, experiencing visitors’ perspectives on the Everglades National Park. In this artist talk she’ll share reflections on this project and her time at AIRIE.
Alice has been busy meeting rangers, scientists, and friends exploring the park with them to get their perspective. With a focus on human actions made through the park, she aims to get a global or outside sense of the use of the park, using her own view to put in balance others’ perspectives. Alice is interested in questioning the sense of wildness and landscape, looking at its evolution through decades and projects, pointing the permanent changes. She uses the vocabulary of maps as an example of the distortion between reality, perception and representation.
Following Alice’s talk we’ll share more information about the residency and the application process for 2014.
About Alice Raymond
Alice Raymond was born in Paris, partly raised in Germany, has worked and lived in France, Sweden, then Miami since August 2009. She attended the Master programs in Art at University of Visual Arts in Bordeaux, and in Science of Language at the University of Grenoble, France. Her work, based on social and cultural research, has been shown in cultural and educative venues in Europe and in USA, as the Hungarian Multicultural Center in Budapest (Hungary), the Harper College Gallery in Palatine (IL), the collective Projektraum Kunst in Potsdam (Germany), the Miami-Dade Public Library, the Alliance Française Gallery in Miami, the Castle of Châlus in France. She received a European Grant for the German Art Residency Art Aspects. Focused on socio-cultural issues, she started her photography series about urbanism and space occupancy.
Alice exhibited at DV in 2012 with an installation called The Unit.
About AIRIE
South Florida is home to the only subtropical wilderness area in the country, Artists in Residence in Everglades (AIRIE) is the only program bringing artists to the Everglades. Since 2001, AIRIE has brought over 100 artists, composers, writers and dancers to Everglades National Park for month-long residencies. AIRIE Fellows have the unique opportunity to get to know the ecology of the Everglades by being immersed in it, and then share their perspective through creative public programs.
About Dimensions Variable
Interested in advancing artistic discourse in Miami, Dimensions Variable has been providing a forum for contemporary art since 2009. National and international artists are invited to exhibit and discuss their work along side locally based artists in their exhibition space in the new Downtown Arthouse building in Downtown Miami. Dimensions Variable is a Knight Arts Challenge Grant recipient from the John S. and James L. Knight Foundation. Dimensions Variable is run by Adler Guerrier, Leyden Rodriguez-Casanova and Frances Trombly.
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D'un point à l'autre, je vais. 26-30 mars, MC2a, Bordeaux
visit here >http://www.web2a.org/evenement-dun-point-a-lautre-je-vais...<visitez ici
Mardi 26 mars
18h30: Vernissage
Performance : Effacer toutes les frontières avec mes petits pieds
19h: Table ronde "Expériences migratoires" Modératrice, Elisabeth Magne
Vendredi 29 mars
15-18h: Open-mic' : Alice Raymond accueille les artistes ayant des projets en rapport avec le déplacement.
Déroulement libre d’un temps de partage. Inscription sur demande.
19h Table ronde: "Lieux de résidence" Modérateur: Eric Troussicot
Permanence de l’exposition
Du mercredi 26 au samedi 30 mars de 14h à 18h
plus d'images de l'évènement
http://alices.blogspirit.com/album/carte-blanche-gallery-mc2a-bordeaux/
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http://us4.campaign-archive2.com/?u=e83c542fcf2a9f4d76ad80905&id=c60a58a253
Artists In Residence In Everglades (AIRIE)
Announces 2013 AIRIE Fellows
FOR IMMEDIATE RELEASE
MEDIA CONTACT
airieinfo@gmail.com
MIAMI, FL January 7, 2013 – Now in it’s thirteenth year, Artists in Residence in Everglades (AIRIE), proudly announces the 2013 AIRIE Fellows. This year AIRIE has selected a diverse group of local and national artists across several disciplines, including, painters, sculptors and installation artists, photographers, writers, performance artists and a composer.
South Florida is home to the only subtropical wilderness area in the country, AIRIE is the only program bringing artists to the Everglades. AIRIE’s purpose is to inform, connect, and support artists, writers and musicians who wish to be inspired by the Everglades and then become ambassadors for the Park and its resources. AIRIE partners with Everglades National Park staff to offer month-long artist residencies in the Park’s subtropical wilderness. At least twelve AIRIE Fellows per year live and create new work in the Park, and in return lead interactive activities with visitors and donate artwork to the Park.
2013 AIRIE Fellows include South Florida-based artists Naomi Fisher, Alice Raymond, Harumi Abe, dancer and performance artist Ana Mendez, and composer Gustavo Matamoros, New York-based artists Bryan McGovern Wilson, Susan Silas, Mathias Kessler, as well as Wade Kavanaugh and Stephen Nguyen of Striped Canary, writers Wendy Call, Beth Raymer, and Bill Maxwell, and painter Jane Abrams from New Mexico. Read more about each of the AIRIE 2013 Fellows.
With generous support from the John S. and James L. Knight Foundation Arts Challenge Grant, AIRIE is now focused on deepening its mission by connecting Fellows with the South Florida cultural community to bring attention to this unique and endangered part of our national heritage. Building on the success of the 2011 partnership with O, Miami poetry festival (an installation of banners with poetry by AIRIE Fellows throughout the Park and readings in the Park and in Miami), AIRIE will again partner with O, Miami in addition to new collaborations with other cultural organizations. AIRIE’s expanded programming will feature a year-round calendar of events both in the Everglades and outside the Park, including readings, performances, workshops and lectures. Through these outreach events, Fellows will use their art forms to engage the public, showcasing the Everglades as beautiful, ecologically important, and worth protecting.
The 2013 Fellows join nearly 100 AIRIE alumni who have produced an outstanding body of Everglades-related work, and inspired visitors and Park staff alike. AIRIE Fellows have the unique opportunity to get to know the ecology of the Everglades by being immersed in it, and then share their perspective through creative public programs. “In a park known for its spectacular and diverse wildlife, the art and voices of AIRIE artists reveal other unique, and often missed, dimensions of this special place,” remarks Park Superintendent Dan Kimball.
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Artists in Residence in Everglades (AIRIE) is a not-for-profit organization generously supported by the John S. and James L. Knight Foundation and the Puffin Foundation, and with the support of Everglades National Park.
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Copyright © 2013 Artists in Residence in Everglades, All rights reserved.
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Bazar avec…
Février 2013 - Chapelle saint-Loup, Saint-Loubès
Texte de présentation de Claire Pariès : Claire Pariès - AliceRaymond.pdf
Sud-Ouest : Bazar SudOuest.pdf
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Art Live Fair 2012, Alice Raymond
2012 ARTISTS
Alouishous San Gomma / Christopher Astley / Baby B Strings / Buda / Tom Cocotos / Arlene Delgado / Sebastian Duncan-Portuondo / Natasha Duwin / Egregore / Ben Fain + Frank Van Duerm / Liz Ferrer / Pachi Giustinian / Marc Grubstein + Steve Johnson / A. G. Viva / Woop Dee Doo / Catalina Jaramillo / Matt Jones / Ana Mendez + Samantha Kruse / Sinisa Kukec + Brandon Opalka + Stephan Tugrul / Roberto Lange / Justin H Long / Heather Maloney / RPM: Marina Font + Rhonda Mitriani + Patricia Gutierrez / Jordan Marinov / Daniel Milewski / Ruben Millares / Miami Poetry Collective / Jerry Mischak / The TM Sisters / Gean Moreno / Gustavo Oviedo / Christina Pettersson / Primary Flight / Collaboration with Liliam Dooley, Priscilla Marrero, Nicole Martinez, Glexis Novoa Vian + Carlota Pradera / Alice Raymond / Jason Schmidt / Misael Soto / Sleeper / the end/ SPRING BREAK + Jenna Balfe / Marcos Valella + Jose Antonio Navarrete / Pioneer Winte / Antonia Wright / Wet Heat Project / Merle Wexler
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http://blogs.miaminewtimes.com/cultist/2012/05/situation_range_at_legalart.php
Video Art, Smartphone Apps, and Beer (Hooray!) at "Situation Range"
Twenty-four frames per second. That is all it takes for the human eye to register fluid motion, and for one night only, LegalArt is hosting a retinal feast.
This Friday, an exhibition of video-based works by national and international artists will be on display on the second and fourth floors of the LegalArt building, as well as at the adjacent The Corner bar.
The exhibit, "Situation Range," organized by the curatorial collective Southernmost Situations, features video-based sculptures and installations, and a looped reel of short videos. According to the curators, "No two pieces in the exhibition deal with the same situation. It is a survey of modern topics."
"We have artists from Miami, New York, Los Angeles, Germany. We have people who have submitted work...who actually relate perfectly in this moment and to what's going on worldwide, and that's something that the Internet and online media and video are feeding," said Dominique Breard, program coordinator for LegalArt.
French artist Alice Raymond's Cinema is a piece that dissects the cinematic elements of cinematography, soundtrack, narrative, and dialogue in an intentionally obscure style.
TM Sisters' video Lite Nite Shimmer explores the implication of equal hierarchy between the "battle and celebration" of night and day through stunning editing and effects.
Artist Dylan Römer will launch Time Piles, his smartphone application that creates a juxtaposition of images that are filmed in different times in order to explore issues of displacement, memory, and altered states of consciousness. He will be filming the video while simultaneously screening it as it occurs during the exhibit.
At The Corner, Clifton Childree's We Want Beer is a site-responsive installation that will be conveniently situated among the bar's patrons. According to Southernmost Situations, "Its characters yell, 'We want beer' from across The Corner's bar. There is an undeniable relationship between art openings and alcohol, and Clifton is responding to this in a theatrical situation."
Artist Dylan Römer will launch Time Piles, his smartphone application that creates a juxtaposition of images that are filmed in different times in order to explore issues of displacement, memory, and altered states of consciousness. He will be filming the video while simultaneously screening it as it occurs during the exhibit.
At The Corner, Clifton Childree's We Want Beer is a site-responsive installation that will be conveniently situated among the bar's patrons. According to Southernmost Situations, "Its characters yell, 'We want beer' from across The Corner's bar. There is an undeniable relationship between art openings and alcohol, and Clifton is responding to this in a theatrical situation."
Liz Ferrer and Alan Gutierrez are the collaborative minds behind Southernmost Situations, who proposed the show as part of their two month visiting curator residency at LegalArt in February 2012.
"We like one-night situations," said the duo of the unique exhibit. So it's now or never to see this contemporary display on Memorial Day weekend.
Situation Range takes place at the MacLeod Warehouse downtown and The Corner bar, 1035 N Miami Ave, Miami, FL 33136, this Friday, May 25, from 8 to 11 p.m.
--Briana Saati
"We like one-night situations," said the duo of the unique exhibit. So it's now or never to see this contemporary display on Memorial Day weekend.
Situation Range takes place at the MacLeod Warehouse downtown and The Corner bar, 1035 N Miami Ave, Miami, FL 33136, this Friday, May 25, from 8 to 11 p.m.
--Briana Saati
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http://www.legalartmiami.org/2012/05/20/press-release-situation-range/
Press Release: Situation Range
FOR IMMEDIATE RELEASE May 18, 2012
Situation Range
Friday, May 25, 2012
8:00-11:00 pm
LegalArt
1035 N Miami Ave, Miami, FL 33136
Miami, FL—LegalArt is pleased to present Situation Range, an exhibition of video-based works by national and international artists. Organized by the curatorial collective Southernmost Situations, the exhibition will occupy the second and fourth floors of the LegalArt building, as well as The Corner bar, aptly located on the Northwest corner of the LegalArt building. On view for one night only Friday, May 25 from 8:00 pm to 11:00 pm, Situation Range features video-based sculptures and installations, and a looped reel of short videos.
As a relatively familiar and accessible medium, video art has the power to frame, communicate, and present a broad range of topical issues, whether through traditional linear narratives or timeless abstraction. The works in this exhibition are brought together to illustrate the expansive nature of video art and its seemingly boundless capacity to effectively present in terms of formal and visual content. Video as a geographical, cultural, linguistic, technological, domestic, ethnographical, political, historical, and art historical record, among other subjects, are all represented in Situation Range.
Featured artists include: Nicholas Arehart, Hannes Bend, Reed van Brunschot, Clifton Childree, Cynthia Cruz, Orlando Estrada, Christine de la Garenne, Bill Billowit & Richard Haden, Moira Holohan, Tatiana Istomina, Jordan Marty, Patrick Moser, Ania Moussawel, Crystal Pearl, Alice Raymond, Dylan Römer, Lindsay Scoggins, Magnus Sigurdarson, TM Sisters, A.G. Viva, and Antonia Wright.
The exhibition begins with How Many Miles, a video by Crystal Pearl shot at the southernmost point of the U.S—the birthplace of Southernmost Situations. Coupled with audio from a market in Cuba, the imagery in How Many Miles exudes a deep-seeded nostalgia prevalent in Miami for home, family, and absent cultural values. ANKERN, by German artist Christine de la Garenne, is a montage of underwater anchor footage, serving as a visual metaphor of calm, rest, and refuge in stormy seas. Ania Moussawel’s Twice Fried Plantains delivers a cinematic documentation of the process of making tostones, a staple in Latin-American cuisine. Artist Dylan Römer will launch his smartphone application, Time Piles, to create a new video on site that employs real-time footage to explore issues of displacement, memory, and altered states of consciousness. Orlando Estrada’s Tahiti sarcastically exaggerates the instant capabilities of art-making by presenting a ready-made that isn’t really a video, but simply moving imagery.
German artist Hannes Bend’s installation Essence is composed of collected footage from an iPad photobooth at a Miami Beach bar, a piece of the recently burned down “Senator” tree, and a performing go-go dancer. The “Senator” was the fifth oldest living tree, at more than 3,500 years old, until a woman burned it down while doing meth. The go-go dancer alludes to Felix Gonzalez Torres’ Untitled (Go-Go Dancing Platform), 1991, and references a recently publicized “tree-hugger” at Miami’s Ultra Music Festival.
Richard Haden and Bill Bilowit’s Sundays, puppies, nails, the rest documents another facet of social realism. Haden collects videos of Miami’s drug addicted prostitutes in various states of their comfort, which Bilowit then edits into short segments. The organic process dictates the filters and transitions Bilowitz uses, interjecting subtle abstractions into the sometimes hard to watch segments.
Nicholas Arehart’s Speech uses a simple effect to create an obvious political statement, using a recording of a congressional speech. Tatiana Isotamia’s Historical inquiry: Prima and Lindsay Scoggin’s Challenger both use found recordings and technological techniques to portray different events, questioning the validity of historical documentation.
French artist Alice Raymond’s Cinema dissects cinematic elements such as cinematography, soundtrack, narrative, and dialogue in a purposefully obscure manner. The importance of linguistics and their translation is romantically explored through French narration and its translation via sources such as Google Translator and Raymond’s francophone friends. What’s lost in translation depends on the extent of one’s understanding of the original French narration. Dark cinematography and a soundtrack to nothing also investigate the significance of their own roles.
Jordan Marty’s Some Song uses highly filtered footage from a “King of the Hill” cartoon episode as source material for a sculptural and hypnotizing colorful video loop. A CRT monitor sits on a rug on the floor, as if awaiting its next source of attention.
TM Sisters’ video Lite Nite Shimmer captures and projects an energy that implies equal hierarchy between the “battle and celebration” of night and day through the use of spectacular editing and effects. A.G. Viva’s installation Eclipsed recreates the perception of a cosmic phenomenon with the use of a mirror ball, an icon of celebration, and projected video alongside a hologram-like video performance by the artist that uses physicality as a means of energy transfer. The theatrical role of the artist is both the creator of the piece as well as the space for which energy and attention is transferred. This role is complicated by the S&M gimp mask being worn, which eclipses the physical identity while establishing a level of objectification.
On the second floor, a looped reel presents the works of Reed van Brunschot, Cynthia Cruz, Moira Holohan, Patrick Moser, Magnus Sigurdarson, and Antonia Wright. At The Corner bar, Clifton Childree’s We Want Beer is appropriately situated amidst drinkers. It taunts and tempts with repetition at the aesthetic intersection between analog nostalgia and digital means. After the opening, The Corner bar will offer drink specials inspired by the theme of the exhibition.
LegalArt’s programs are generously supported and made possible with the support of the Knight Foundation and Emily Hall Tremaine Foundation. We would like to express special thanks to Dorsch Gallery. The opening reception sponsored by Peroni, Little Black Dress Vodka and Perrier.
Image: Crystal Pearl, still from “How Many Miles”, 2012 1.28 minute loop video
For further information contact:
Dominique Breard
info@legalartmiami.org786.347.2360
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http://downtownlafayette.org/Events/EventsDisplay.asp?p1=9168&p2=Y
http://www.theind.com/arts-a-entertainment/86-aae/10407-artists-named-for-southern-open
| Southern Open 2012 | |
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Artwork Selection Made For Southern Open 2012‚ Exhibition to open May 12 at Acadiana Center for the Arts The Acadiana Center for the Arts is excited to announce the artists that will participate for Southern Open 2012. Seventy-five pieces of art created by 31 artists will be showcased in the Main Gallery of the AcA in downtown Lafayette beginning on May 12 and running through July 14. The Southern Open is a competitive juried exhibition featuring artists from the 5 southern states of Texas, Louisiana, Mississippi, Alabama and Florida. Taking place in the Main Gallery at the AcA, Southern Open 2012 includes all types of original media: painting, drawing, sculpture, installation, photography and video/DVD. Congratulations to the following artists who have been selected to participate in Southern Open 2012: Chad Aldridge, Richard Armendariz, David Armentor, M R Barry, Kathy Baus, Heather Bause, Joe Bennett, David Bogus, Sesthasak Boonchai, Matthew Broussard, Shanna Dantonio, Lee Deigaard, Keith Dorwick, Troy Dugas, Kurt Dyrhaug, Terry Grow, Sandria Hu, Weston Lambert, Colin Miller, Emee Morgan, Stephanie Patton, Pat Phillips, Alex Podesta, Akasha Rabut, Alice Raymond, Gregory Reuter, Cynthia Scott, Trish Simonite, Brian St Cyr, David Sullivan, Jonathan Vaughan Each year the AcA curator chooses a single juror who then selects which artwork will be included in the Southern Open. This year, juror Rene Barilleaux, Chief Curator and Curator of Art after 1945 at the Mcnay Art Museum in San Antonio, Texas, sifted through 750 pieces of artwork submitted by over 150 artists to select the finalists. For more information on Southern Open, or to view the 2012 exhibition schedule, visit AcadianaCenterfortheArts.org. Southern Open 2012 Juror Rene Barilleaux Rene Paul Barilleaux is Chief Curator and Curator of Art after 1945 at the McNay Art Museum in San Antonio, Texas. He received a Bachelor of Fine Arts degree from The University of Southwestern Louisiana in 1979, and a Master of Fine Arts degree from Pratt Institute in 1981. Prior to the McNay, Barilleaux held curatorial positions at the Mississippi Museum of Art; Halsey Gallery, College of Charleston, South Carolina; Madison Art Center, Wisconsin; and Museum of Holography, New York. Since joining the staff of the McNay in 2005, Barilleaux organized solo exhibitions of the work of Lynda Benglis, Judith Godwin, Jane Hammond, Joseph Marioni, Ernesto Pujol, and Sandy Skoglund, as well as American Art Since 1945: In a New Light and Recent Acquisitions: Modern and Contemporary Art. He collaborated with fellow McNay curators on Neither Model nor Muse: Women as Artists, and in spring 2011 organized the award-winning exhibition and book New Image Sculpture. Barilleaux's next major exhibition for the McNay, Andy Warhol: Fame and Misfortune, opens in Feburary 2012, accompanied by a book of the same title. In addition to exhibitions created for the institutions listed, Barilleaux organized exhibitions presented at the Whitney Museum of American Art, New York; and MIT Museum, Cambridge, Massachusetts, among others. In addition, he taught courses in art history and museum studies at the College of Charleston and Millsaps College, Jackson, Mississippi. |
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here and then | Carol Jazzar
written by Eddie Arroyo
This space use to be a car garage and has been converted into a room which is the case with most homes in South Florida. Most if this was done for extended family or to rent out for financial supplement. It’s this domestic history and quiet nostalgia which ever present in the here and then exhibition at Carol Jazzar. Alice Raymond is an artist who has curated this exhibition which is a compilation of four artists exploring different mediums in a retrospective eye.
The first piece that holds my attention is Antonia Wright’s The Brief Case of Poets which is a collection of books, magazine, pencil, pen, paper, and a book entitle How to Get Published. On the wall hung above seems to be a quote from the book instructing the reader the tools and methods on how to obtain a professional job. The piece is beautiful in its simplicity and subtle frustration and seems to be recept for failure. Kerry Phillips’ View with a room plays with the space it occupies in wonderful trompe l’oeil fashion. She has used the same window on both sides of the room one has a view of the outside and the other only has a view of the wall.
Antonia Wright |The Brief Case of Poets
briefcase, written, in journals, 1 blank, books, BOMB magazine, pencil, pen, paper, How To Get Published
dimensions variable
2010
Kerry Phillips | View with room
found windows, woods, drywall, grasscloth
dimensions variable
2012
Kerry Phillips | View with room
found windows, woods, drywall, grasscloth
dimensions variable
2012
Dogain Arslanglu pieces seem to be an walk in American History where he has manipulated the image of an atomic explosion and entitled it Oppenheimer Quote. The other is called Image with Harry S Truman Speech. This seems to be an extension of Arslanglu’s solo exhibition Investigations at the 6th street container last year where he re-contextualized familiar images. Loriel Beltan seems to be doing the same with her untitled paintings on magazine pages. The paint covers most of the original images and abstracts it to an unrecognizable perception if shapes and color. Overall the show seems to be an exercise of looking back in order to move forward or further back.
Dogain Arslanglu | Image with Oppenheimer Quote
inkjet print
33″ x 24″
2012
Dogain Arslanglu | Image with Harry S Truman Speech
inkjet print
33″ x 24″
2012
Loriel Beltan |Untitled
oil on magazine paper
9″ x 11″
2012
Antonia Wright| From the series Women Who Stand on the Sun
single channel video
6 min 13 sec
2012
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carol jazzar is pleased to present
in the project space
Here and Then
Curated by Alice Raymond
Antonia Wright
Kerry Phillips
Loriel Beltran
Dogan Arslanoglu
"Here and then attempts to show how the surrounding world are embedded in recent works of the presented artists, and what memory might result from these assessments.
The installation focuses here on issues in relation to events and attempts to show what kind of observation or critical thinking the artists' work can then activate". Alice Raymond
Antonia Wright, Kerry Phillips, Loriel Beltran, Dogan Arslanoglu are living and working in Miami.
THE GALLERY IS OPEN SATURDAY & SUNDAY 1-6PM & BY APPOINTMENT
FOR MORE INFORMATION CAROL JAZZAR 305 490 6906 WWW.CJAZZART.COM
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http://blog.wlrn.org/index.php/2012/01/art-occupies-a-different-space-with-dimensions-variable/
Art Occupies a Different Space with Dimensions Variable
It is one thing to feature an exhibition from an individual or a collective in an art gallery. Most exhibitions consist of pieces of work which are brought in, set up, and later dismantled and moved to another space, or possibly a storage unit.
“Site-specific” works, however, are made to address the space in particular. While they have recently been popularized as the basis of street art, projects of this kind are a rarity in the traditional arts scene. One Miami organization called Dimensions Variable wants to blur that line and bring these unique projects into the gallery.
The organization has made it their mission to “provide a forum for the introduction of unfamiliar, complex, collaborative and multidisciplinary practices to a Miami audience,” and with the help of recently winning a Knight Arts Challenge grant, they are soon going to be able to expand their project, and widen their scope. Recently I had the pleasure of visiting artist Alice Raymond when she was setting up her latest installation in the Dimensions Variable space in Miami’s Design District.
The current space is unassuming enough, as there is a glass entrance to a 490 square foot room with white walls and little else to speak of. Alice is constructing what looks like a wooden octagon that sits at eight feet tall with the help of two friends. One of the sides has a door and a lock on it. She explains the project, called Unit to me. “We will allow two people at a time into the room, then we close the door. You will be able to spend whatever amount of time you want in the space with your friend, girlfriend, or whoever you are with,” she says. Within the walls of the Dimensions Variable space there is now a “sub” gallery that can essentially occupy any space and still hold it’s own. And once you enter into it it is yours.
While the insides of the octagon are now blank, Alice has enlisted the works of 19 friends to line the walls, some close, some recent acquaintances. “I have always been on the move, like I have been in Miami now for two years” she tells me. “And no matter how long you stay in a place, no matter how long you are going for, you leave with two suitcases. That is what they let you take on the plane, so that’s what you take.” She goes on to describe to me that these 19 friends represent the state of her social life at this point in time. If she had to fit her friends into two suitcases, today this is all she could fit. If it were a few weeks ago, the gallery would be different, and a few months from now the same.
The following is taken from the Dimensions Variable site:
Considering them as part of herself and partly responsible of her work, Alice Raymond invites friends and colleagues she has encountered throughout her travels, to build an eclectic collection. This collection is offered to visitors within the confines of a unique structure. The structure is asymmetrical in shape with a raw and unfinished exterior. Inside, the walls are finished and create an intimate environment to offer these works as a private collection to two individuals at a time for the duration of their stay.
Behind the rough walls, we can see the formation of relationships between the participants and the artist—relationships built over time and by chance. Raymond uses the act of choice in her practice to bring together people and their offered objects for one installation. Instead of decisions about materials, Raymond is interested in social choices influenced by her travels and everyday encounters. This project brings up collective pluralistic ideas and questions the individualistic tendencies popular in the art world.
We look forward to following the organization over the course of the next year as they gain traction thanks to the Knight Arts Challenge grant.
This unique project is running from January 14 through February 18, 2012. Dimensions Variable is located at 171 NE 38th Street in the Miami Design District.
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http://www.knightarts.org/community/miami/step-inside-at-dimensions-variable
Alice Raymond's alt art space.
French-born artist Alice Raymond is up to some clever tricks over at the Dimensions Variable (a 2011 Knight Arts Challenge Miami winner) alternative art space. She has built a unique wooden structure, raw and unfinished on the outside, smoothed over on the inside, which can fit comfortably two people.
As one of the two visitors at a time, you will encounter an eclectic collection of artworks made by people Raymond met and collaborated with over the years and across continents. There isn’t a particular theme per se to the artworks, it’s more about the ideas and mindsets behind the individuals that are important to the end result. According to Dimensions Variable, “Instead of decisions about materials, Raymond is interested in social choices influenced by her travels and everyday encounters.”
So Raymond collected an interesting grouping to show in her asymmetrical wood house, locals and from abroad, including some familiar artists such as Jenny Brillhart, Leyden Rodriguez-Casanova, Frances Trombly, Adler Guerrier and Emmett Moore, along with some newer names such as Per Nyström and Sabine Herrmann.
Raymond’s world involves influences from her birth-town of Paris, her formative years in Germany, and studies and travels in Sweden and the United States. She settled on Miami in 2009. Her second show here, “Unit,” opens on Second Saturday, Jan. 14.
“Unit” opens Jan. 14 and rund through Feb. 18 at Dimensions Variable, 171 N.E. 38th St., Miami; dimensionsvariable.net.
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http://www.beachedmiami.com/2012/01/11/miami-art-walk-guide-january-2012/
Unit @ Dimensions Variable
A project by French artist Alice Raymond, Unit is an asymmetrical structure with an unfinished exterior of raw wood and a finished interior decorated with an unspecified collection of objects provided by the artist’s friends and colleagues. From the exhibition description: “Behind the rough walls, we can see the formation of relationships between the participants and the artist—relationships built over time and by chance. Raymond uses the act of choice in her practice to bring together people and their offered objects for one installation. Instead of decisions about materials, Raymond is interested in social choices influenced by her travels and everyday encounters. This project brings up collective pluralistic ideas and questions the individualistic tendencies popular in the art world.” Two people may enter the structure at a time. To learn more about Unit, visit the Dimensions Variable website.
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http://www.visualartnetwork.com/Verge_miami_saturday.html
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WORKMAN STEINHAUER PRODUCTIONS PRESENT THE
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VERGE Art Miami Beach Opening Reception Tonight 6-10pm
PUBLIC HOURS $15 OPENING NIGHT TOMORROW'S ART TODAY: THE THIRD ANNUAL VERGE ART MIAMI BEACH
THE DRAWING SHOW
ABOUT VERGE ART MIAMI BEACH "GMORK is a wolf of many sexual facets." --Aniumals Talking In All Cap
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http://www.tumblr.com/tagged/kombucha-party
http://www.mypureluck.com/post/13242156430/kombucha-party-miami
VERGE ART MIAMI BEACH AT THE GREENVIEW HOTEL
1671 Washington Avenue @ 17th Street
December 1-4, 2011
PUBLIC HOURS
Thursday, Friday & Saturday, 2 - 3 December, Noon to 10 pm
Sunday, 4 December, Noon to 6 pm
OPENING NIGHT PARTY
Thursday, 1 December, 2011, 6:00 pm to 10pm
TOMORROW’S ART TODAY: THE THIRD ANNUAL VERGE ART MIAMI BEACH
Coming Thursday, December 1, Verge Art Miami Beach invites you to experience the finest, freshest work on display in Miami Beach by living artists. Unstunted by the blue-chip rehash of a stale market, VERGE breaks away from the false quality of name recognition art to reach for something new and cutting edge. Verge Art Miami Beach is proud to host a list of exhibitors that includes international and national gallery exhibitors, and more than fifty artists for “The Drawing Show” and “Tomorrow Stars.” Chosen by a distinguished panel of jurors, “Tomorrow Stars” represents the brightest and best by artists from around the globe, as selected by Meg Duguid, Clutch Gallery Director and Cultural Grants Coordinator for the Chicago Office of Tourism and Culture, Michael Thomas, Dogmatic Gallery co-founder and sitting member of the Visual Arts Committee for the Chicago Cultural Center, Patrick Collier, artist and critic for PortlandArt.net and ultraPDX.com, and VERGE owner Michael Workman. Don’t miss out on this opportunity to own the work of tomorrow’s stars today!
GALLERY EXHIBITORS
ANTIDOTE, Brooklyn, NY, and Chicago, IL, Astro Space Party, Chicago, IL,Visual Cocaine, Berlin, Germany, Friend Party Enterprises, Berlin, Germany,Antena Gallery, Chicago, IL, Van Brabson Gallery, Minneapolis, MN, Diane Birdsall Gallery, Old Lyme, CT, Byrne Art Portfolio, Merion Station, PA,McGowan Projects, London, UK, Peters Art Projects, Chicago, IL, PURE LUCK, Brooklyn, NY, Vortex Enters Void, The Muldives, Dhivehi, Klaus Gerdes Projects, New York, NY.
TOMORROW STARS
Chizuco Sophia Yw, “Propogate-G,” Brooklyn, NY, Emi Brady, “Convergence,” Brooklyn, NY, Fanny Allié, “My Town is Gone,” Brooklyn, NY,Jay Paavonpera, “Front St. / Gold St.,” Brooklyn, NY, Eve Lateiner, “Untitled,” New York, NY, George Goodridge, “Number Twenty, Vertebrate Companion Series,” Miami FL, Adrienne Outlaw, “How to Mistake Your ____ For a ____,” Nashville, TN, Michael Iauch, “Giving of Myself,” Brevard, NC, Jordi Williams, “Artificial Plantlet Array,” Richmond, VA, Josafat Miranda, “Lover,” Ft. Lauderdale, FL, Cindy Mason, “I will give you what you do(n’t) want,” St. Petersburg, FL, Alice Raymond, “Mise plat 5,” Biscayne Park, FL, Jovan Karlo Vilalba, “A Dawn Perched on Downbursts,” Miami, FL, Mare Vaccaro, “Valor,” Lexington, KY, Horst Josch, “Against the Odds #4,” Meerbusch, Germany, Francesco Vizzini, “On the Trunk,” Brooklyn, NY, Marita Contreras, “Death2,” St. Pete Beach, FL, Michael Harris, “Seven Island Way,” Weston, FL, Romy Maloon, “Birthing,” Marietta, GA, Melissa Maddonni Haims, “Hell,” Philadelphia, PA.
THE DRAWING SHOW
Monica Rezman, “Hairpiece 30,” Chicago, IL, Jordan West, “My Desires Are Not Easily Controlled,” Santa Fe, NM, Danielle Wyckoff, “Horizon (we are each others’ fates),” Athens, OH, Catherine Lane, “Figure With Guns,” and “Figure With Deer,” Toronto, Ontario, Canada, PST, “Rape Dream”, Chicago, IL, Stefan Haase, “p016,” Berlin, Germany, Alice Raymond, “Cloche,” Biscayne Park, FL, Charmaine Ortiz, “Graphite Spill (Aquatic),” Carolina Beach, NC, Erin Whitman, “Projections: Gojira,” Eureka, CA.
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http://www.miamidade.gov/parks/releases/11-03-15-h20_exhibit.asp
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For Immediate Release: March 15, 2011
The Deering Estate at Cutler Announces Artists for the 2011 Spring Photography Exhibit "H2O"
FREE opening night exhibit Wednesday, March 16th; open to the public.
Exhibit on display through April 17th; free with Estate admission.
(Miami-Dade County, FL) -- The Deering Estate at Cutler congratulates the following artists selected for the 2011 Spring Photography Exhibit "H2O": Jonathan Brooks, Brian Call, Jessica Fiallo, Jacqueline Fitzgerald Ruiz, Marina Font, Christopher Foster, Ryan Gilbert, Kenny Jones, Ellie Perla, Diego Quiros, Vivian Quiros, Alice Raymond, Gertrude Rodon, Gregory Schaffer, Raquel Vargas, Andre von Bloedau da Silveira, and Jeff Weber. The exhibit focuses on water - "H2O" - through the inspiration, themes or content provided by each artist.
The exhibit opening is on Wednesday, March 16th at 7:00 pm. The exhibit opening is free to the general public. The month long photography exhibition will be on display in the historic Stone House and Richmond Cottage through April 17th to guests visiting the Estate and is free with general admission.
For more information, please visit the Deering Estate website.
About the Deering Estate at Cutler
The Deering Estate at Cutler, a Miami-Dade County Park, is located at 16701 SW 72 Avenue in Miami. This 444-acre natural and archeological preserve and historic site is listed on the National Register of Historic Places and serves as a center for education, culture and recreation. Historic house tours are offered daily at 10:30 am & 3:00 pm and natural areas tours are offered daily at 12:30 pm (October - May). EcoAdventure Tours are also offered throughout the year for an additional fee. For more information on the Deering Estate's educational and cultural programs, please visit www.deeringestate.org.
PARK AND RECREATION
Hickman Building
275 N.-W 2nd Street, 5th Floor Miami, Florida 33128
(305) 755-7800
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Simigo Gallery & Workspace: “Pixelated Insights”
Simigo Gallery & Workspace invites you to join them as they re-open for the 2010/2011 season with “Pixelated Insights,” a photography exhibition on Friday, October 8th from 7-11pm. Local artists showcased include: Daniel Baloy, Wes Carson, Joe Franco, Liana Garcia, Marco Graziani, Andrew Grodner, Diana Larrea, Kevin Marcell, Alice Raymond, and Gabriela Serra.
Jayme Gershen and Rosaura Perez run the gallery and their goal is to create a work and show space that is accessible to the community. They want artists to feel welcome and to present their ideas with the confidence that they will be heard and have a chance to create their visions with them.
If you want more information on this gallery or if you are interested in having your work displayed here, send an e-mail to: info@simigogallery.com
Simigo Gallery & Workspace
150A NW 54th Street
Miami, Fl 33127
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http://frenchmorning.com/miami/2010/04/15/alice-raymond-a-lalliance-francaise/
Exposition
Alice Raymond à l’Alliance Française
L'Alliance Française de Miami présente une exposition de peintures d'Alice Raymond du 23 avril au 14 mai.
Le travail d’Alice Raymond est largement inspiré par l’utilisation de la ligne dans le portrait et de la déformation des paysages. Elle est également professeur de français à Miami-Dade, et enseigne aux enfants d’Haïti dans le cadre du “French Heritage Program”.
Alliance Française sud de la Floride – Miami
618 SW 8th Street
Miami FL 33130
afmiami@afmiami.org
www.afmiami.org
Tél: 305 859 8760
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NiteTalk: Alice Raymond Gets It Together at Galerie Carré Rouge
Serg Alexander
Miami being the melting pot that it is, we're blessed with one of the most keen and colorful collection of characters in the wild world. Among the latest to hit our fair shores is oneAlice Raymond, a tres fab French artist who ditched Sweden for the Magic City. Our town hasn't been the same since. Tonight, at the Alliance Francaise' Galerie Carré Rouge, Raymond marks her Miami art world debut. The show is called "Together." And this hip chick has it all together in more ways than we can even count.
You're an ex-pat in a city of ex-pats from all over the world. What do you think it is about Miami that attracts such an array of people? Well, it is borders and laws that say that I am an ex-pat. I feel home where I live. For others, I don't know, maybe "Sea, sex and sun / Le soleil au zenith /Me surexcitent / Tes p'tits seins de Bakélite / Qui s'agitent"? (Serge Gainsbourg)
What attracted you specifically to our town? When I received an offer to come in Miami, I laughed in front of my computer! What should I go to a town that has such a superficial image? That became my reason to come: I wanted to see what is behind the set.
How would you rate Miami among other world class cities anyway? Five stars! I expected to find some contrast here. In that field, I am spoiled. I have been dropped from the airport in a hotel on South Beach. I have been wandering in the streets for three days, to catch the atmosphere of my new environment. The first people I had conversations with were the valet of the hotel ... and a homeless guy asking for cigarettes and money to buy soups. He got in the fight some days before and had all his teeth crushed.
Now that you've been here for a spell, do you plan on staying a good while? Yes! Surprisingly, Miami is a great town to work [in]. The light is nice and regular all year long. ... The foliage and the mix culture, with its good weight of unbelievable stories, are a nourishing source of inspiration for me. I met gorgeous people here in very different fields.
Speaking of action, your first Miami show "Together" opens at the Alliance Francaise today. Can you please tell us a bit about it? I am interested in the relation between individual backgrounds and location of living, environment. I like the layers we all have as persons -- as much as the ones you can observe in nature. Both carry a lot from the past, using it as a ground to grow and keep on going. I choose to live in Little Haiti and there the Caribbean culture became a perfect backdrop for my work. Working together on getting things together is to me the only way to keep on going. As a place of exchange and culture, the Alliance Française sounded to me a good location for my first Miami show.
You're also a photographer and an illustrator. Is there one form of visual art that you feel most comfortable in? A medium is not a goal for me. I use the one that fits the best to my ideas or situation. Since I feel a bit nomad, paper is a great material for me. It's light, soft and it's akin to the fragility of your roots as something you have to preserve. When I travel, I have sketchbooks for documentation and special grey paper drawing books where I draw odd characters in strange and distinctive situations. They tell universal stories, totally independent of where I am. I use photographs to show how I perceive moving and transfers. All those mediums are part of how I see the world. I need all of them to feel comfortable.
I see a little of artist Cy Twombly in some of your recent work. Is he an influence? I love Cy Twombly's work! It looks light and easy, but tell a lot about the tangle of life. Around me, I feel too Peter Doig, Mark Rothko and also fairy tales, comics and Renaissance art, for predellas and the polyptych, as the previous concept of series in contemporary art.
Besides other artists, where else do you draw some of your inspiration? In daily life: people's stories, as an echo to mine and any other human being; in landscapes and surprising plants in botanical gardens; in daily adaptation to new situations, feelings of anger or absence.
Word is you also teach children in Little Haiti. What's that like and how did it come about? It is fun! The issue of culture, origin, and language, regarding to the place of living is part of my personal life. The wish of both Haitian parents and French authorities to pass a linguistic knowledge headed me teaching and organizing cultural sessions in Little Haiti. Regarding to history, the link between Haitian and French cultures is significant and it is very enriching to wonder about.
When you're not holed up in your studio, where do you most like to hang out? In the neighborhood biking to Buena Vista Bakery, for an outside expresso-croissant-book-cigarette ... or their neighbors Lemoni, stopping eventually at Sweat Records, a pearl in Miami. Drop by a botanica for an exotic visit and talk. Grab food at the Fish Corner, at the nameless Cuban cafeteria for standing workers on 66th & Biscayne, Metro or Café Mimo to eat outside, Anise by the river. Then later to Churchill's, for various live music, with a great punk rock smell. For a longer trip I'll go to Tap-Tap, via the gorgeous Venetian Causeway, of course!
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http://www.afmiami.org/EventListing0510.htm
Together
A solo exhibition by Alice Raymond
At Galerie Carré Rouge, Alliance française
Until Friday, May 14
Born in the suburbs of Paris, educated in Bordeaux Fine Art School and the University of Science of Language of Grenoble, she is currently based in Miami, Florida, after being based in Stockholm (Sweden), Bordeaux (France) and Trier (Germany) in the past.
Since she arrived in Florida, the cosmogony of the Caribbean culture became a perfect backdrop for her work. Like a mangrove swamp, the root sprouts and grows interconnected with other roots.
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February 2012 / Unit project - Map of the collection
Unit at Dimension Variable, January 14 - March, 2012 is:
Jenny Brillhart
Annie Hollingsworth
Jet Sargent
Stephanie Marie
Chad Cunha
Jacqueline Soir
Domingo Castillo
Leyden Rodriguez
Frances Trombly
Randolph Gonzales
Paul Steen
Per Nyström
Adler Guerrier
Jayme Gershen
Emmett Moore
Larry Newberry
Sabine Herrmann
Carol Jazzar
Misael Soto
Alice Raymond
Jet Sargent
Kind of Untitled, Cross Stitches and Lexicon on small table
"I am a firm believer in not taking oneself too seriously.
By combining the soft comfort of cross stitching with the depravity that lives in my brain, life makes a little more sense."
Jacqueline Soir
Untitled, 3 digital black and white photographs
Jacqueline Rios "Soir" was raised and live in Miami, born in Nicaragua. She is currently pursuing a Bachelor degree in Fine Arts from New World School of the Arts with a focus on Photography. Her work is mostly staged photographs with obscure figures that represent metaphors for the unconscious and the hidden, personality and the soul, life and death, human nature.
www.jacquelinesoir.blogspot.com
Jenny Brillhart
Intercontinental Hotel Vent, 2011
Painting on wooden structure
Brillhart’s work is concerned with a dialogue between made and found spaces and forms, and their relationship to place, structure and organization. She uses traditional methods of still life, studio practice, photography and paint to inform each object or painting, bringing to it a new history and diary of existence, and then proposing to forward that record to future, unknown contexts. These objects are therefore always in flux, whether made or found, and striving to stay in keeping with the initial impulse of authorship, making, or purpose. The formation of objects and materials reveals a process of adding and subtracting on purpose or in err, in an attempt to balance or level ideas of beauty, form, structure and narrative.
Brillhart was born in Keene, NH. She received her BA from Smith College, then attended the Art Students League in NY and went on to receive her MFA in from the New York Academy of Art. She lives and works in Miami, Florida.
Brillhart's most recent solo show was at Dorsch Gallery in 2011. In 2010 she showed new work with Kuckei + Kuckei Gallery in Berlin and she was chosen for New Work Miami at the Miami Art Museum, curated by Rene Morales and Peter Boswell. Brillhart recently participated in group shows at venues including The Naples Museum of Art (Naples, FL), David Castillo Gallery (Miami, FL), the Anhaltinischen Gemäldegalerie Museum in Dessau, Roemerapotheke Gallery in Zurich, The Art Gallery at Government Center in Miami, Morgan Lehman Gallery in NY and CT, and ArtCenter/South Florida in Miami Beach. Her work has been published in The McKinsey Quarterly, New American Paintings and Miami Contemporary Artists. She was awarded the Chestler Foundation Grant and a Vermont Studio Center grant.
Carol Jazzar
Exploring youth in my head and with my hands
Text based collage
September 2011-January 2012
Annie Hollingsworth
Sketch for Elegua costume, 2012
Sketch for Shango costume, 2012
Sketch for Swange costume, 2012
At the end of 2011, my dance company Mayami Folklorico pulled together a diverse group of folkloric dancers and drummers for our first full-length show. As the production progressed, it became clear that this show had a life of its own. With only a week left for rehearsal, the pieces I had expected to produce fell away, leaving me with something very different than what I had originally planned. It was a volatile transformation marked by an indecent marriage proposal, a clash between spiritual philosophies, and a major shift in casting—an appropriate finale for a show whose purpose was the union of Haitian and Cuban Folklore (and all of their attendant energies). I could never say which show would have been better, the one I had expected or the one that was actually brought into form, but in the end life was given to only one.
The three "lost" pieces have remained as persistent ideas. Alice was there in the cafe on the day that these particular pieces were first proposed, so for Unit I've sent her color swatches for the costumes that were never finished. In traditional dances, the color combinations and geometric patterns of the costumes name the deity or group of spirits embodied on stage.
Chad Cunha
Preservation boxes
Found card board, hinges, lock, key, magnets, 2011
Chad’s work investigates instances of oscillating energy between concepts, visuals and perspectives.
http://cargocollective.com/chadcunha
Leyden Rodriguez
Frame, paper, wood
Frances Trombly
Primed Canvas
Handwoven Canvas, gesso
23 X 23 inches
Born in Miami, Florida where she lives and works, Frances received a BFA from the Maryland Institute College of Art and completed residencies at the Capri Palace in Anacapri, Italy in 2009 and the Vermont Studio Center in 2007. Trombly has exhibited throughout the US, as well as venues abroad, including an installation at Socrates Sculpture Park in New York and numerous group exhibitions.
Recent solo exhibitions of her work include: Not Paintings, Shoshana Wayne Gallery, Santa Monica (2011); Everything and Nothing, Goldie Paley Gallery, Moore College of Art & Design, Philadelphia (2011); Paintings, Girls’ Club, Ft. Lauderdale, Florida (2010); A Point From Which to Start, Galeria Casas Riegner, Bogotá, Colombia (2010); Thinking of Things at David Castillo Gallery, Miami (2008); and Frances Trombly, Kevin Bruk Gallery, Miami (2006).
Her work has been featured in various publications including Art + Auction, Art Papers, Sculpture Magazine, Surface Design Journal, and The Los Angeles Times and is in the permanent collection of the Museum of Contemporary Art, North Miami, Florida, as well as in private collections throughout the United States. In 2009, she received a South Florida Cultural Consortium Fellowship for Visual & Media Artists.
Randolph Gonzales
Alison, Pyrography
I’m from Albuquerque. Been in Miami for 9 years. My art is based on pure feeling, of all things on earth. Some things move my heart then I burn them in wood. Usually plant life, sea life, architecture, mechanical are always in the burn. The pyro you just see is not done.
Paul Steen
Untitled, 2 Digital color prints
Paul Steen is a Swedish artist living in the Bavarian Alps.
Education: Royal Academy of Fine Arts, Brussels, Belgium.
Per Nyström
Earth ship, Storm, mp3
It’s Horror, Storm, mp3
Miami Version, mp3, Music of the video on display
Reflections, Diagnos, mp3
Vertigo, Mackaper, mp3
Everything in between, Dj Performance, Saturday, December 21st
Per Nyström is a Swedish musician involved in various different musical projects and bands in his hometown Stockholm. He plays the keyboard with The Concretes and is also a member of the organ based progressive instrumental duo Mackaper. Diagnos and Storm are the names of some of Pers other musical projects in Stockholm.
Per has also composed music for various different Swedish theatre plays. This year the underground label Moptaco Dics will put out a cassette with some of this theatre music as well as some other of Per's solo music (including the track Miami made for this exhibition.
http://soundcloud.com/mackaper
http://www.ghostwolfproductions.com/ghostwolf-records-storm.html
Adler Guerrier
Untitled (object of importance but little value)
enamel on paper
12x20 inches
http://dig.thenextfewhours.com
Jayme Gershen
Mini-me, Cards
Yearbook, Book
Jayme Gershen started making photographs early on, generally decapitating her subjects. She has since learned the importance of the face and all the information it can provide in a photograph, ultimately learning to use her skill of decapitation with precision in recent work. Photography has helped Jayme to absorb different settings and circumstances she has encountered along her constantly evolving path. She often feels that her work “knows” before she does, relying on her subconscious to expose and inspire her artistic direction, retrospectively understanding the ideas expressed in the work. Jayme’s understanding of similitude across cultural boundaries allows exploration of these concepts in several bodies and styles of work.
Jayme has studied at the University of Colorado at Boulder and Miami International University. Where she received her BFA in Photography. She has lived in Massachusetts, Vermont, Colorado, and spent several months in Ghana, West Africa and Colombia. She currently lives and works in Miami, FL.
Yearbook
How did we end up in the role that we play? Was it forced or chosen? Did we choose to be forced? Perhaps our roles developed in school as we learned to handle different interactions and situations. My inability to choose a particular life role, has given me the opportunity to play hop-scotch through cities, and situations with whichever “character” I feel most connected to at the time.
In this series, I explore stereotypical roles in the American school setting, creating personalities with a nod to Cindy Sherman. These self-portraits present the class in the style of a yearbook. The interactive scenes that accompany the portraits create a storyline and interpersonal relationship among my characters. These characters continuously test one another’s personal traits in each scene, prodding the question of identity development and supporting a personal exploration of self-definition via their stereotypes.
www.jaymegershen.com www.jaymegershen.tumblr.com
Emmett Moore
vis-à-vis chair
recycled pedestal material
Larry Newberry
St Jerome with the Margarita, 2012
Graphite on paper, book, frame
Sabine Herrmann
falling angel, 2009
Naturpigmente, Mischtechnik auf Aquarellkarton, ungerahmt
Natural Pigments (black tea and silver pencil), no frame, 21 x 29 cm
Born 1961, Sabine lives and works in Berlin. Since the mid 1980s the artist has been working on large-scale paintings on handmade paper, drawings, collages, stray environmental installations and books. After her studies at the Art Academy Dresden and Berlin (from 1981–1986) she co founded and organized one of the first underground–galleries in the East.
She first drew attention to her work with the solo exhibition “the poesy of the monotone” at the new founded “KW Kunstwerke” Berlin. She’s got several art awards, such as the important “Vattenfall Kunstpreis”. Her work has been shown widely at Museums and galleries in Germany and in several other countries. (In the US, her work has appeared at the Berman Museum Philadelphia, at the Goethe-Institute Washington and at “Deutsches Haus” in New York).
She is currently preparing for a lecture at the Museum of Modern Art, curated by the New York based poet Rob Fitterman and collective task.
In 2005 she met French artist Alice Raymond for the first time in Bordeaux, where both of them took part at the mayor arts festival “La Plie”.
The shift in the technique of paint application impacts the tactile qualities of Herrmann’s pieces, transforming the churning; energetic impasto of her previous expressionistic works into a soft, powdery texture. Herrmann’s delicate, exquisitely subtle surfaces form one of the significant components of her compelling pictorial dramas - her quasi-visible figures the other-and, strangely, serve to empower her ghostly images. Dr. H. Braysmith PhD
About zines and collaboration with artists:
http://www.poesiedesuntergrunds.de/php/presse.php
http://books.google.de/books/about/Collective_Task.html
http://www.magnetberg.de/collective/index.html
Stephanie Marie
Second Chance, 2 pictures framed and signed, 2 speakers
Second Chance is an opportunity to discuss the value of memories, age, and failure. The broken speakers belonged to my grandmother; the drawings are not originals but photocopies; the signatures in gold are mine.
Through drawing, installation and video, Stephanie Marie discusses personal relationships with the past, mis/communication, and unconventional beauty.
Misael Soto
Performance (1/2), Saturday, December 14th
Performance (2/2), Saturday, December 21st
Alice Raymond
La nuit est un refuge, Video, 2011
Get your memory, Green board / Little Tales series,
Ink, acrylic, pencil on paper, 2011
Untitled, Green board series,
Ink, acrylic, chalk on canvas, 2012
Unit, wooden structure, 2012
I am a collective construction, zine, 2011
Born in France, in Miami since August 2009. Her work is based on social and cultural research. Unit is her current project at Dimension Variable, reviving the collective attitudes in her work.
Domingo Castillo
domingo castillo
two found objects whose function will change on a semi-consistent level |||
2 found, used and complicated hooks
dimensions variable, 2011-2012
dreamy nomads, baby - lisa slominski, 09.10.11-10.22.11
duets - domingo castillo, 11.12.11-12.31.11
unit - alice raymond, 01.14.12-02.18.12
The Heart of a Broken Story
Esquire XVI, September 1941, Page 32, 131‐133
EVERY day Justin Horgenschlag, thirty‐dollar‐a‐week printer’s assistant, saw at close quarters approximately sixty women whom he had never seen before. Thus in the few years he had lived in New York, Horgenschlag had seen at close quarters about 75,120 different women. Of these 75,120 women, roughly 25,000 were under thirty years of age and over fifteen years of age. Of the 25,000 only 5,000 weighed between one hundred five and one hundred twenty‐five pounds. Of these 5,000 only 1,000 were not ugly. Only 500 were reasonably attractive; only 100 of these were quite attractive; only 25 could have inspired a long, slow whistle. And with only 1 did Horgenschlag fall in love at first sight.
Now, there are two kinds of femme fatale. There is the femme fatale who is a femme fatale in every sense of the word, and there is the femme fatale who is not a femme fatale in every sense of the word.
Her name was Shirley Lester. She was twenty years old (eleven years younger than Horgenschlag), was five‐foot‐four (bringing her head to the level of Horgenschlag’s eyes), weighed 117 pounds (light as a feather to carry). Shirley was a stenographer, lived with and supported her mother, Agnes Lester, an old Nelson Eddy fan. In reference to Shirley’s looks people often put it this way: “Shirley’s as pretty as a picture.”
And in the Third Avenue bus early one morning, Horgenschlag stood over Shirley Lester, and was a dead duck. All because Shirley’s mouth was open in a peculiar way. Shirley was reading a cosmetic advertisement in the wall panel of the bus; and when Shirley read, Shirley relaxed slightly at the jaw. And in that short moment while Shirley’s mouth was open, lips were parted, Shirley was probably the most fatal one in all Manhattan. Horgenschlag saw in her a positive cure-all for a gigantic monster of loneliness which had been stalking around his heart since he had come to New York. Oh, the agony of it! The agony of standing over Shirley Lester and not being able to bend down and kiss Shirley’s parted lips. The inexpressible agony of it!
* * *
That was the beginning of the story I started to write for Collier’s. I was going to write a lovely tender boy‐meets‐girl story. What could be finer, I thought. The world needs boy‐meets‐girl stories. But to write one, unfortunately, the writer must go about the business of having the boy meet the girl. I couldn’t do it with this one. Not and have it make sense. I couldn’t get Horgenschlag and Shirley together properly. And here are the reasons:
Certainly it was impossible for Horgenschlag to bend over and say in all sincerity:
“I beg your pardon. I love you very much. I’m nuts about you. I know it. I could love you all my life. I’m a printer’s assistant and I make thirty dollars a week. Gosh, how I love you. Are you busy tonight?”
This Horgenschlag may be a goof, but not that big a goof. He may have been born yesterday, but not today. You can’t expect Collier’s readers to swallow that kind of bilge. A nickel’s a nickel, after all.
I couldn’t, of course, all of a sudden give Horgenschlag a suave serum, mixed from William Powell’s old cigarette case and Fred Astaire’s old top hat.
“Please don’t misunderstand me, Miss. I’m a magazine illustrator. My card. I’d like to sketch you more than I’ve ever wanted to sketch anyone in my life. Perhaps such an undertaking would be to a mutual advantage. May I telephone you this evening, or in the very near future? (Short, debonair laugh.) I hope I don’t sound too desperate. (Another one.) I suppose I am, really.”
Oh, boy. Those lines delivered with a weary, yet gay, yet reckless smile. If only Horgenschlag had delivered them. Shirley, of course, was an old Nelson Eddy fan herself, and an active member of the Keystone Circulating Library.
Maybe you’re beginning to see what I was up against.
True, Horgenschlag might have said the following:
“Excuse me, but aren’t you Wilma Pritchard?”
To which Shirley would have replied coldly, and seeking a neutral point on the other side of the bus:
“No.”
“That’s funny,” Horgenschlag could have gone on, “I was willing to swear you were Wilma Pritchard. Uh. You don’t by any chance come from Seattle?”
“No.”—More ice where that came from.
“Seattle’s my home town.”
Neutral point.
“Great little town, Seattle. I mean it’s really a great little town. I’ve only been here—I mean in New York—four years. I’m a printer’s assistant. Justin Horgenschlag is my name.”
“I’m really not inter‐ested.”
Oh, Horgenschlag wouldn’t have got anywhere with that kind of line. He had neither the looks, personality, or good clothes to gain Shirley’s interest under the circumstances. He didn’t have a chance. And, as I said before, to write a really good boy‐meets‐girl story it’s wise to have the boy meet the girl.
Maybe Horgenschlag might have fainted, and in doing so grabbed for support: the support being Shirley’s ankle. He could have torn the stocking that way, or succeeded in ornamenting it with a fine long run. People would have made room for the stricken Horgenschlag, and he would have got to his feet, mumbling: “I’m all right, thanks,” then, “Oh, say! I’m terribly sorry, Miss. I’ve torn your stocking. You must let me pay for it. I’m short of cash right now, but just give me your address.”
Shirley wouldn’t have given him her address. She just would have become embarrassed and inarticulate. “It’s all right,” she would have said, wishing Horgenschlag hadn’t been born. And besides, the whole idea is illogical. Horgenschlag, a Seattle boy, wouldn’t have dreamed of clutching at Shirley’s ankle. Not in the Third Avenue Bus.
But what is more logical is the possibility that Horgenschlag might have got desperate. There are still a few men who love desperately. Maybe Horgenschlag was one. He might have snatched Shirley’s handbag and run with it toward the rear exit door. Shirley would have screamed. Men would have heard her, and remembered the Alamo or something. Horgenschlag’s flight, let’s say, is now arrested. The bus is stopped. Patrolman Wilson, who hasn’t made a good arrest in a long time, reports on the scene. What’s going on here? Officer, this man tried to steal my purse.
Horgenschlag is hauled into court. Shirley, of course, must attend session. They both give their addresses; thereby Horgenschlag is informed of the location of Shirley’s divine abode.
Judge Perkins, who can’t even get a good, really good cup of coffee in his own house, sentences Horgenschlag to a year in jail. Shirley bites her lip, but Horgenschlag is marched away. In prison, Horgenschlag writes the following letter to Shirley Lester:
“Dear Miss Lester:
“I did not really mean to steal your purse. I just took it because I love you. You see I only wanted to get to know you. Will you please write me a letter sometime when you get the time? It gets pretty lonely here and I love you very much and maybe even you would come to see me some time if you get the time.
Your friend,
Justin Horgenschlag”
Shirley shows the letter to all her friends. They say, “Ah, it’s cute, Shirley.” Shirley agrees that it’s kind of cute in a way. Maybe she’ll answer it. “Yes! Answer it. Give’m a break. What’ve ya got t’lose?” So Shirley answers Horgenschlag’s letter.
“Dear Mr. Horgenschlag:
“I received your letter and really feel very sorry about what has happened. Unfortunately there is very little we can do about it at this time, but I do feel abominable concerning the turn of events. However, your sentence is a short one and soon you will be out. The best of luck to you.
Sincerely yours,
Shirley Lester”
“Dear Miss Lester:
“You will never know how cheered up you made me feel when I received your letter. You should not feel abominable at all. It was all my fault for being so crazy so don’t feel that way at all. We get movies here once a week and it really is not so bad. I am 31 years of age and come from Seattle. I have been in New York 4 years and think it is a great town only once in a while you get pretty lonesome. You are the prettiest girl I have ever seen even in Seattle. I wish you would come to see me some Saturday afternoon during visiting hours 2 to 4 and I will pay your train fare.
Your friend,
Justin Horgenschlag”
Shirley would have shown this letter, too, to all her friends. But she would not answer this one. Anyone could see that this Horgenschlag was a goof. And after all. She had answered the first letter. If she answered this silly letter the thing might drag on for months and everything. She did all she could do for the man. And what a name. Horgenschlag.
Meanwhile, in prison Horgenschlag is having a terrible time, even though they have movies once a week. His cell‐mates are Snipe Morgan and Slicer Burke, two boys from the back room, who see in Horgenschlag’s face a resemblance to a chap in Chicago who once ratted on them. They are convinced that Ratface Ferrero and Justin Horgenschlag are one and the same person.
“But I’m not Ratface Ferrero,” Horgenschlag tells them.
“Don’t gimme that,” says Slicer, knocking Horgenschlag’s meager food rations to the floor.
“Bash his head in,” says Snipe.
“I tell ya I’m just here because I stole a girl’s purse on the Third Avenue Bus,” pleads Horgenschlag.
“Only I didn’t really steal it. I fell in love with her, and it was the only way I could get to know her.”
“Don’t gimme that,” says Slicer.
“Bash his head in,” says Snipe.
Then there is the day when seventeen prisoners try to make an escape. During play period in the recreation yard, Slicer Burke lures the warden’s niece, eight‐year‐old Lisbeth Sue, into his clutches. He puts his eight‐by‐twelve hands around the child’s waist and holds her up for the warden to see.
“Hey, warden!” yells Slicer. “Open up them gates or it’s curtains for the kid!”
“I’m not afraid, Uncle Bert!” calls out Lisbeth Sue.
“Put down that child, Slicer!” commands the warden, with all the impotence at his command.
But Slicer knows he has the warden just where he wants him. Seventeen men and a small blonde child walk out the gates. Sixteen men and a small blonde child walk out safely. A guard in the high tower thinks he sees a wonderful opportunity to shoot Slicer in the head, and thereby destroy the unity of the escaping group. But he misses, and succeeds only in shooting the small man walking nervously behind Slicer, killing him instantly.
Guess who?
And, thus, my plan to write a boy‐meets‐girl story for Collier’s, a tender, memorable love story, is thwarted by the death of my hero.
Now, Horgenschlag never would have been among those seventeen desperate men if only he had not been made desperate and panicky by Shirley’s failure to answer his second letter. But the fact remains that she did not answer his second letter. She never in a hundred years would have answered it. I can’t alter facts.
And what a shame. What a pity that Horgenschlag, in prison, was unable to write the following letter to Shirley Lester:
“Dear Miss Lester:
“I hope a few lines will not annoy or embarrass you. I’m writing, Miss Lester, because I’d like you to know that I am not a common thief. I stole your bag, I want you to know, because I fell in love with you the moment I saw you on the bus. I could think of no way to become acquainted with you except by acting rashly—foolishly, to be accurate. But then, one is a fool when one is in love.
“I loved the way your lips were so slightly parted. You represented the answer to everything to me. I haven’t been unhappy since I came to New York four years ago, but neither have I been happy. Rather, I can best describe myself as having been one of the thousands of young men in New York who simply exist.
“I came to New York from Seattle. I was going to become rich and famous and well‐dressed and suave. But in four years I’ve learned that I am not going to become rich and famous and well dressed and suave. I’m a good printer’s assistant, but that’s all I am. One day the printer got sick, and I had to take his place. What a mess I made of things, Miss Lester. No one would take my orders. The typesetters just sort of giggled when I would tell them to get to work. And I don’t blame them. I’m a fool when I give orders. I suppose I’m just one of the millions who was never meant to give orders. But I don’t mind anymore. There’s a twenty‐three‐year‐old kid my boss just hired. He’s only twenty‐three, and I am thirty‐one and have worked at the same place for four years. But I know that one day he will become head printer, and I will be his assistant. But I don’t mind knowing this anymore.
“Loving you is the important thing, Miss Lester. There are some people who think love is sex and marriage and six o’clock‐kisses and children, and perhaps it is, Miss Lester. But do you know what I think? I think love is a touch and yet not a touch.
“I suppose it’s important to a woman that other people think of her as the wife of a man who is either rich, handsome, witty or popular. I’m not even popular. I’m not even hated. I’m just—I’m just—Justin Horgenschlag. I never make people gay, sad, angry, or even disgusted. I think people regard me as a nice guy, but that’s all.
“When I was a child no one pointed me out as being cute or bright or good‐looking. If they had to say something they said I had sturdy little legs.
“I don’t expect an answer to this letter, Miss Lester. I would like an answer more than anything else in the world, but truthfully I don’t expect one. I merely wanted you to know the truth. If my love for you has only led me to a new and great sorrow, only I am to blame.
“Perhaps one day you will understand and forgive your blundering admirer,
Justin Horgenschlag”
Such a letter would be no more unlikely than the following:
“Dear Mr. Horgenschlag:
“I got your letter and loved it. I feel guilty and miserable that events have taken the turn they have.
If only you had spoken to me instead of taking my purse! But then, I suppose I should have turned the conversational chill on you.
“It’s lunch hour at the office, and I’m alone here writing to you. I felt that I wanted to be alone today at lunch hour. I felt that if I had to go have lunch with the girls at the Automat and they jabbered through the meal as usual, I’d suddenly scream.
“I don’t care if you’re not a success, or that you’re not handsome, or rich, or famous or suave. Once upon a time I would have cared. When I was in high school I was always in love with the Joe Glamor boys. Donald Nicolson, the boy who walked in the rain and knew all Shakespeare’s sonnets backwards. Bob Lacey, the handsome gink who could shoot a basket from the middle of the floor, with the score tied and the chukker almost over. Harry Miller, who was so shy and had such nice, durable brown eyes.
“But that crazy part of my life is over.
“The people in your office who giggled when you gave them orders are on my black list. I hate them as I’ve never hated anybody.
“You saw me when I had all my make‐up on. Without it, believe me, I’m no raving beauty. Please write me when you’re allowed to have visitors. I’d like you to take a second look at me. I’d like to be sure that you didn’t catch me at a phony best.
“Oh, how I wish you’d told the judge why you stole my purse! We might be together and able to talk over all the many things I think we have in common.
“Please let me know when I may come to see you.
Yours sincerely,
Shirley Lester”
But Justin Horgenschlag never got to know Shirley Lester. She got off at Fifty‐Sixth Street, and he got off at Thirty‐Second Street. That night Shirley Lester went to the movies with Howard Lawrence with whom she was in love. Howard thought Shirley was a darn good sport, but that was as far as it went. And Justin Horgenschlag that night stayed home and listened to the Lux Toilet Soap radio play. He thought about Shirley all night, all the next day, and very often during that month. Then all of a sudden he was introduced to Doris Hillman who was beginning to be afraid she wasn’t going to get a husband. And then before Justin Horgenschlag knew it, Doris Hillman and things were filing away Shirley Lester in the back of his mind. And Shirley Lester, the thought of her, no longer was available.
And that’s why I never wrote a boy‐meets‐girl story for Collier’s. In a boy‐meets‐girl story the boy should always meet the girl. |||
Documentation
on XXXX, an ongoing conversation between Domingo Castillo and Ruth Legg
CollectiveTask, book of the collective, with Sabine Herrmann
Yine Mours, documentation/track from Rencontres project
Catalogue de fringues de copains,
printed edition of the original exemplary, Alice Raymond
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