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It is time to upgrade your browser! This site looks and acts much better in a newer browser. The links are at the bottom of the page under "What can I do? If you wish to simply peruse our on-line art without all the other junk, please visit MT Enterprises WorldWide. Then a little bulb went off in my head.

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I have no idea what M. The gallery was in a storefront on Havermeyer St. It was a solo show! We decided the show would consist of 1 image. The image would be printed on a postcard announcing the show. The postcard WAS the show. The piece was very formal in a way. It was very interested in where the digital image lies, where does it exist?

In the gallery it was just printed bigger. It was also on the web, freely-licensed Creative Commons licensing was very new at the time. To try to get them to notice that that the image exists in a sort of invisible blur across time and space. You and it are here and now.

But before I completely give in, I need to put up a bit of a fight. River adds - also thanks to Kenyatta. But, seriously, any artist that allows a bunch of teevee execs and producers to control how they appear in the media is taking a huge gamble. In other words, if you had wandered into this spectacle on Thursday evening, you would have found yourself not exactly in the midst of an actual protest but somewhere slightly removed, in the disorienting territory where art meets political engagement. OEM Download Now x.

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Check it out… from the press release: No Customs Novemberopening reception: Thursday Nov 4, pm curated by Jennifer and Kevin McCoy an exhibition of transmissible ideas with: As Should Try Dating Yahoo to Abu Dhabi, we considered this strategy, but then rejected it.

Instead of waiting to receive information, we begin our sojourn in the Emirates by making an offer. In curating this show, No Customs, held in our remarkably gallery like living space, we offer the work of artists connected to us from our home community of New York City. We told them to send what they could send via email, via instructions, via concept. We told them to send it fast. So then, what we have is a show called No Customs. This title is a double entendre.

Practically, since no objects have been mailed, we were not slowed by the expense of shipping and the delays of customs.

Metaphorically, the show is not about tradition or interpretation, but rather about mapping and transcription. How does form map onto landscape? How does it transform landscape? How do you demarcate space for contemplation, for understanding, for revolution?

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What happens to the body when its image occupies this demarcated space? Landscape First, the approach to a problem. How does an artist here architect turn a landscape into a series of constraints to be addressed, to create a form? In the photographs of Melissa Dubbin and Aaron Davidson, the long time collaborators use smoke bombs to test the landscape.

They create form with weather, wind, light, and clouds. In a site specific project by Thomas Lail, a series of Buckminister Fuller domes are superimposed over the city view of Abu Dhabi, creating another take on the domes of the city and adding to the enormous architectural speculation already here. In another project, a memory sequence article source images by Tara Fracalossi offers a counterpoint to the desert with images of most verdant spring and bleakest winter.

These images purport to be memory, but their repetition on the wall creates matrices of classifications that map new space.

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In the end they are more like letters in an alphabet than like stories of particular landscapes. Demarcated space In answering a call to show work in Abu Dhabi, many artists considered the question of mapping, both graphically and metaphorically.

In the work of Michael Mandiberg, the artist asked us to find an Arabic map of the USA in which we recreate the laser cuttings of print source that he is known for. In this work the message and the map collide.

The artist duo Read more and the sculptor Sara Hubbs link ideas for works here, though they are generated very differently, come up with surprisingly congruent projects.

We could then display this any way Chat Chat Hookup Jpg Compressors Unlimited International Llc saw fit. She photographed decaying areas of New York City and asked us to source the patterns they create in plaster, building up a surface to form decoration from blight. The projects of Jonathan Schipper and the collaborative team of Jennifer Dalton and Susan Hamburger ask us the audience to participate in the creation of the artwork by zeroing in on our patterns of behavior.

In the ambitious project by Schipper, entitled A Million Dollar Walk, attendees of the opening reception will be given the opportunity to carry a briefcase full of money on a prescribed path through the building.

Dalton and Hamburger ask participants questions about their behavior in Abu Dhabi, creating a changing sculptural bar graph that measures their assumptions about life in the capitol against actual practice. Four artists in the exhibition deal with space by creating voids some for the viewer to inhabit speculatively others by creating spaces for lost objects.

In her Chat Chat Hookup Jpg Compressors Unlimited International Llc mixtape project, Marisa Olson casts herself as an outsourced worker and creates a mash-up of Arab covers of American karaoke classics. The singers of course, are us by implication. In The New RevolutionMark Tribe creates an installation that invites spectators to consider their own ideas about revolution.

David Grubbs, a noted musician, sent us instructions to render a beautiful wall drawing whose omissions create open spaces for meaning to drift. Bodies Several of the artists in the show responded with work implying performative space.

In the video Double Face Fantasy by Jason Robert Bell and Marni Kotak this space is a virtual one in that a portrait transforms through a technical gesture. In the work of Torsten Burns, Resurrectables Yellow-Mobilersthe artist asked us to curate a selection of performance stills from a huge array of images of costumes, props, and locations.

We selected images of vehicles, conveying transmission, speed, and the framing of the body as it moves through space. Finally, the work of photographer Bill Durgin presents work that brings it all together. The exhibition will be open Saturdays from through Nov. Please contact Jennifer or Kevin McCoy with questions and image requests:

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