Sunday, March 31, 2013

BRiTTANY CAMPBELL's newest MUSiC video

Happy Easter


an opinion piece about violence

Violence is the intentional use of physical force or power, threatened or actual, against a person, or against a group or community, that either results in or has a high likelihood of resulting in injury, death, psychological harm, maldevelopment or deprivation.[2] This definition associates intentionality with the committing of the act itself, irrespective of the outcome it produces.

Pacifism is opposition to war and violence. The term "pacifism" was coined by the French peace campaigner Émile Arnaud (1864–1921) and adopted by other peace activists at the tenth Universal Peace Congress in Glasgow in 1901.[1] The concept is an ancient one that goes back to the teachings of Hinduism, much earlier than Buddhism's existence. The Hindu scripture Mahabharata existed by 800-900 BCE[2] whereas Buddhism was born by 600-400 BCE.[3] The Mahabharata said about Ahimsa:
"Ahimsa is the highest Dharma, Ahimsa is the best austerity, Ahimsa is the greatest gift, Ahimsa is the highest self-control, Ahimsa is the highest sacrifice, Ahimsa is the highest power, Ahimsa is the highest friend, Ahimsa is the highest truth, Ahimsa is the highest teaching."[4] (Mahabharat XIII:116:37-4).


. .

As a pacifist  i fight-less,

but im going back 2:

"as long as im defending myself, or others, i shall "..

otherwise ..

actually i know i might sound crazy but it was always more like:

 "i can deal with whatever",

but iF c others hurting innocent ppl then i go up in arms,

ima have 2 start 2 applying that 2 myself..

somehow i thought i didn't have 2 fight any more i guess..

thought people were done with violence,

at least for a long time,

since we had a pointless bullshit war over oil and money ,

then occupy;

 which was basically a peaceful revolution..

could have gotten very violent


very quickly


especially with all those people

with everything 2 gain


nothing 2 lose,

and then the election battles..

like WtF! ..


trust ..


tea party had won we would have had a mass exodus


 the rest would b fighting it out amongst themselves;


would have just turned



Saturday, March 30, 2013

Organizing for Action Right now, OFA is counting on you.

It'd be a shame if you weren't part of the first group of supporters who stepped up to help build this organization's foundation.

Here's the supporter record associated with this email address:

    -- Organizing for Action member: No
    -- Suggested donation today: $5

Luckily, you can change that right now.

Make a donation of $5 or more today:

Get ready to make history.

Thank you,

Organizing for Action

more 2NiTE

that LOFT above Public Assembly: 70 N6th Street Brooklyn


    • (
    • XLS - The New XL Saturdays - New York VS. Ibiza Edition

      Ibiza takes on the Big Apple with:
      David Morales (NY) VS. Juanjo Martin (Spain)

      Plus The KAZAKY Secret Mission Tour at 10PM!

      Advance tickets available at

      Presented by Brandon Voss, Jared Needle & Patrick Crough
      In Association with Guillermo Yzabal, Brian Rafferty & Roze Black

      Hosted by Amanda Lepore

      Call 212-239-2999 for VIP Reservations

started @round 1pm

  • NYC
  • ☆☆ ╰✂

    I’ve searched for some of the most techy, old, interesting, weird, filthy, kitsch, etc bathrooms in nyc and now it’s time to go and…….lollygag in them. I will be going to each of the bathrooms below at different times and using/mis-using them, prankingplaying, dancing, eating lighted birthdⓐy candles, chatting, butoh, picture snaⓟping, tarot, etc.
    BElow are the bathrⓞⓞms

    Hope to see yew there¡¡¡


    I want to go to the bathrooms…And I want yu to come with me--->SO-De-stabilizing architecture where the most secret mainsprings of our heart will be laid bare. <-----

    This is a strategy, one of many to come, against architectural spaces, in an effort to de-structure/warp public buildings, crowded with distracted avatars, in order to open them up and transform them into spaces for active play, connection, creation and spiritual/shamanic exchange. Some of the performances will be filmed as part of a documentary/video/performance/sound art film I am working on surrounding this subject.


    ☽Bowery Hotel--------------------------2:45pm
    335 Bowery

    ☽the new museum-----------------------3:15pm
    235 Bowery

    ☽Bar 89
    89 Mercer Street------------------------4:00pm

    ☽Allegra La Viola Gallery-----------------5:00pm
    179 East Broadway

    ☽Schiller's Liquor Bar--------------------6:00pm
    131 Rivington Street

    ☽Wreck Room--------------------------8:00pm
    940 Flushing Ave

    506 E 13th st--------------------------9:30pm

    ⓟ.ⓢ. feel free to byo…props/miscl as well. ☺call me if anything@6468964524

Friday, March 29, 2013

in othe cities



Lu Magnus logo  
March 28, 2013
Sticky Fingers Make the Show
Benjamin Lowy for The New York Times 

Adam Parker Smith in his apartment with purloined art that goes on display Friday at Lu Magnus gallery.

THE art heist began, as art heists should, with a planning session in a nearby bar. Though he had already committed more than 60 such thefts, the perpetrator, Adam Parker Smith, a 34-year-old Brooklyn artist, was nervous. "Everyone whose work I like and who I respect, I've been lying to and stealing from," he said, sipping a beer.

Nonetheless he proceeded to the Bushwick studio of an artist he knew, Aaron Williams. It was a scheduled but informal visit, with subterfuge its agenda: Mr. Parker Smith intended to swipe Mr. Williams's work for his own artistic ends.

Well practiced, he strategically left his leather satchel, holding various-size folders he could stash things in, by the studio door, along with the beer he had brought to relax his mark. Two minutes in, he offered Mr. Williams one, popping the top with his belt buckle. As Mr. Williams showed off his canvases, the two delved into the problems of contemporary artists. "How do you deal with people asking about your relationship to pop iconography?" Mr. Parker Smith asked, studying a large poster of James Dean overlaid with purple stripes.

Soon Mr. Williams was chattily uncovering smaller mock-ups - perfectly sized for filching. Mr. Parker Smith shuffled through, making piles, three-card-Monte-style, the better to distract from whatever went missing. Several beers later Mr. Williams excused himself to go to the bathroom, and Mr. Parker Smith simply slipped an original artwork into his bag.

"I hope he didn't need that," Mr. Parker Smith said later, safely in a getaway car with his accomplice for the night, a reporter.

Mr. Williams's piece, a landscape collage, appears in "Thanks," a show opening under Mr. Parker Smith's name Friday at the Lu Magnus gallery on the Lower East Side. The exhibition is made up entirely of works Mr. Parker Smith meticulously stole from 77 artists: paintings, sculptures, sketchbooks, video, architectural objects, artmaking devices and more. Equal parts group show and conceptual installation, prank and boundary-pusher, it raises messy art world questions about aesthetic ownership and influence, the division between curator and artist, and the value of nontraditional and repurposed work. And it reveals something about how artists generate ideas.
Benjamin Lowy for The New York Times 
Adam Parker Smith stole works from 77 artists, which he kept in his apartment, including a "Gagosian" hat, center, he took from a friend.

For Mr. Parker Smith, who trained as a painter and sculptor and holds an M.F.A. from Temple University, friends and colleagues - the gamut of the New York art scene - are essential to his conceptual pieces. "The project has this gimmick, that I'm stealing from everybody, but it's really about community," he said. "Appropriation and theft are part of that." Scoff if you like. "I feel like so many of my ideas start out as jokes," he said, "for better or worse."

Lauren Scott Miller, a founder and director of Lu Magnus, was one of the handful of people apprised of Mr. Parker Smith's artistic thievery in the five months it took. She said she "agreed immediately" to host the show after he described it. As gallerists "one of our missions is to bring the creative community together," she said, "and we're very interested in process - in terms of this show, each artist's individual practice and how they influence each other." She thought of Mr. Parker Smith as both curator and conceptual artist: "He's very thoughtful about each acquisition."

The artists were notified of the thefts several weeks ago in an e-mail. "Your work is being held in a secure and climate controlled environment," Mr. Parker Smith wrote. (It was stored in his apartment in Williamsburg, Brooklyn, to which he'd added extra renter's insurance.) "I chose to acquire your work in this unconventional manner to bring attention to the community that we all work within and the diverse methodology in which we share, appropriate and occasionally steal ideas and materials. I value your practice and work and think of you as an important member of my creative world." He followed up with a phone call, expressing contrition.

That helped, Mr. Williams said. He hadn't noticed that his piece, "Two Mountains III," was missing. "I felt, like, slightly stupid," he said. "It was a convincing crime." But he was more tickled than hurt. Likewise Alfred Steiner, an artist and lawyer who specializes in intellectual property, whose glass and silver "Ring Pop" is one of the most expensive pieces in the show. "Any difficulty I had that he had breached a trust was overwhelmed by the humor I found in the overall project," he said, adding that he considered it merely borrowing. All 77 artists gave permission to have their work displayed. 
Benjamin Lowy for The New York Times 
A piece akin to a Molotov cocktail was taken from his landlord.
In 90 studio visits Mr. Parker Smith did not always leave with purloined treasure, but he was caught just once, he said, by an artist's 5-year-old daughter, who ratted him out to daddy. That artist's work is not in the show. A collector who is a lawyer also offered legal counsel, advising him not to amass more than $80,000 worth of pilfered stuff. But his kleptomania was boundless. From Naama Tsabar, whose studio space he rents, he took a piece akin to a Molotov cocktail, but made with an open liquor bottle - a hard thing to sneak out with. From his art dealer in San Francisco he nabbed a stash of pricey marijuana, going through a reality-show's worth of high jinks to avoid physically transporting it across the country. And from his pregnant girlfriend, Carolyn Salas, a sculptor who teaches moldmaking at Yale, he stole something entirely personal and unexpected: her mouth guard.

"This is a mold of the inside of her body," he said, delighted. Ms. Salas: "Really, you picked that, of all things? Couldn't you have taken something better? I think it's pretty disgusting." She knew about the project from the start, and it made her uneasy. "Mostly I was worried that people would hate him," she said, "and, in turn, not like me." (They live together so she knew she was an easy target, but she really thought the mouth guard was lost.)
Benjamin Lowy for The New York Times 
A painting by Gary Peterson.
"Thanks" follows a period in which Mr. Parker Smith was audacious in collecting ideas. He visited psychics, asking them what he would make next, but found them insufficiently creative minded. "They all wanted to tell me about my cholesterol," he said. About a year ago he simply bought an idea, paying the artist Brent Birnbaum $200 for the suggestion to make a pair of Kanye West's slitted sunglasses out of Venetian blinds. (They've been on view at the 
Ever Gold Gallery in San Francisco, priced around $10,000.) He also let other contacts know he was in the market for inspiration. "This one guy wrote me," he recalled, "and said, 'Buying ideas is for suckers, why not just steal them like everybody else?' " 
Benjamin Lowy for The New York Times 
A sketch by Liz Atzberger.
So even the idea for "Thanks" is appropriated, in its fashion.  "I give him credit for coming up with new ways of working," said Mr. Birnbaum, a close friend who doesn't mind their dynamic. "He's always short of ideas, and I always have too many."

A $100 limited-edition "Gagosian" baseball hat Mr. Birnbaum made was lifted for the show. Many artists decided to consign their work for "Thanks"; should it sell, Mr. Parker Smith will get a cut, but out of the gallery's fee, not the artist's. (At $36, the mouth guard is the cheapest item; the gallery owner called it her favorite.)
Benjamin Lowy for The New York Times 
A drawing taken from Colette Robbins.
For Mr. Parker Smith the project has been surprisingly discomfiting, and rewarding. "Ideas, and our creativity - that's the most valuable thing I have, as an artist," he said. "For me to give that up was actually very powerful." He paused, considering his bravura display of stolen ambition. "What the hell am I going to do next?"
Adam Parker Smith 
Adam Parker Smith's "Crush" (2011).
Adam Parker Smith 
The artist's own "Proposal" (2012) made of handwoven bracelets.

Printed article appears on the cover of today's Weekend Arts section, pg. C21.
Join us for tonight's opening, 6 -9 pm.
Lu Magnus logo  
55 Hester Street
New York, NY 10002
between Ludlow + Essex

Everything Flows, Nothing Stands Still (For Enrico Pedrini)
by Daniel Rothbart and Joachim Gerich 
Friday, March 29, 2013 | 7:00pm

Film Premiere with remarks by Wolfgang Becker, Former Founding Director, Ludwig Forum for International Art (Aachen, Germany)

Everything Flows, Nothing Stays The Same (For Enrico Pedrini) is a performance work with sculptural objects and mineral water by American artist Daniel Rothbart. In homage to Italian art theorist, curator and collector Enrico Pedrini, the work explores indeterminacy, mysteries of existence and the subterranean waters and currents that flow beneath Aachen, Germany. It is part of curator Wolfgang Becker's ongoing Aachen Water Project, a series of site-specific artworks conceived for the wells and waters of Aachen.  Filmed by Joachim Gerich and his camera team and edited by Daniel Rothbart, the film has a running time of 23 minutes. 
A Work by Daniel Rothbart

Curated by Wolfgang Becker

With Ahmed Kreusch, Laura Moreno Bruna, Daniel Rothbart and Annette Schmidt
Cinematography by Joachim Gerich

Edited by Daniel Rothbart

Photography by Laura Dovern, Joachim Gerich and Jan-Peter Trogerlic

Sponsored by Detlef Hambuecker, Schwertbad Clinic, Aachen, Christoph Koesters, Itertal Clinic, Aachen

James Rieck "On Location" Opens March 29th, 6-8pm
James Rieck, Freedom of Action, 2013
Oil on canvas, 72 x 54 inches

James Rieck,Sun and Swim, 2013
Oil on canvas, 72 x 44 inches

James Rieck, Rugged but Relaxed, 2013
Oil on canvas, 60 x 54 inches

James Rieck On Location
James Rieck, Ready for Tomorrow, 2013
Oil on canvas, 60 x 48 inches
James Rieck, Petite Pleat, 2013
Oil on canvas, 54 x 54 inches
On Location
March 29 - April 27, 2013

Artist's Reception
Friday, March 29th, 2013

Lyons Wier Gallery
542 West 24th Street
New York, NY 10011

Gallery Hours: Tues - Sat, 11-6pm

Nearest Subway: C,E @ 23rd St & 8th Ave.

Lyons Wier Gallery is pleased to present On Location, by James Rieck AND celebrate our 20th year in the art industry.  

In his latest series of paintings, James Rieck's new muse is his 'self-imposed dislocation.'  Eight months ago, Rieck uprooted his long-time residence and studio/safe house in Baltimore, MD, and transplanted himself 'on location' in downtown Los Angeles, CA -- the home of infinite 'locations'.

The artist states, "One's relationship with their environment is a critical definer of how they feel about themselves and the world. The artist's studio is the place where artists usually feel at ease to experiment and explore. The idea behind the new body of work was to explore what a different environment does to the artist's 'natural' approach. Does one's environment affect the outcome? What happens when one consciously disrupts their 'safe' environment, and therefore the 'natural' outcome of their artwork? This is the idea for "On Location" -- the pursuit of dislocation or purposeful disruption to find a different result."

In a conversation with the artist, Rieck asked, "Is Los Angeles/Hollywood the land where dreamers transplant themselves, hit it big and find their pot of gold? Or, is it the seedy underside where dreams are broken and hopes are dashed?" Either way, the mere fact that these simplified scenarios may seamlessly coexist, yet not exist, are the myths perpetuated by the magic of the movie industry. It is this disconnect between posturing and position that has fascinated Rieck about his new surroundings.

Rieck has always sifted source material from commercial advertising catalogs. But for first time, the artist has deviated away from exclusively using commercial catalogs by introducing imagery from manufactured studio locations. It is obvious that the self-imposed exile to Hollywood and the celluloid scene of Los Angeles has influenced his current work. Like the magic of movies, our beliefs are momentarily suspended as we gaze at these images of beautiful people, visiting exotic locations, indulging in the finest that life has to offer, knowing all the while that the compositions are make-believe.

The paintings in On Location are compositions painted from digitally composited studies of figures in grandiose landscapes. The figures are clearly models poached from advertisements and the landscapes are classic displays of manufactured nature; but combined, they are 'on location'! The clothing models have been transported to exotic lands, but we know that they are not actually there. These people were not in these places; they were not interacting with the nature. This revelation brings home an almost universal feeling of displacement, and yet no matter how disquieting, there is a peaceful feeling of serenity, as if that is exactly how the narratives and compositions should be.

James Rieck earned both his MFA and his BFA from the Maryland Institute College of Art, attended the Skowhegan School of Painting and Sculpture, and the Glasgow School of Art. He has shown at the Flag Foundation, New York, Charles Campbell Gallery, San Francisco, and the Corcoran Museum, Washington, DC. Rieck's work is present in the Burger Collection, the Bollag-Rothschild Collection, Switzerland, and the Chadha Collection, The Netherlands. Rieck lives and works in Los Angeles and has been represented by Lyons Wier Gallery since 2003.
For more information & images, contact:

Lyons Wier Gallery
542 West 24th Street
New York, NY 10011

Wednesday, March 27, 2013



IMAGE: Jose Pedro Godoy. The Beloved, 2013. Oil on canvas, 19 x 19 inches. Courtesy of the artist. 

José Pedro Godoy: The Beloved 
Curated by Yael Rosenblut
March 26 - April 11, 2013 
Opening Reception: Wednesday, March 27, 6 - 8pm


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Tuesday, March 26, 2013

8500 blog iNs (page views) thank U :)



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Music by Brendan O'Hara and Keith Cooper

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