March 4 - April 8, 2006
JENNIFER and KEVIN McCOY
“Directed Dreaming”

Postmasters Gallery is pleased to announce the opening of Directed Dreaming, the third New York solo exhibition of Jennifer and Kevin McCoy. The show will open on March 4 and will be on view until April 8, 2006. The reception is planned for Saturday, March 4, between 6 and 8pm.

In Directed Dreaming, the McCoys present four new sculptures that use movement to explore anxiety. The title of the exhibit refers to practice of willing oneself to dream about specific situations in order to resolve conflicts in one’s waking life. The works in Directed Dreaming fuse cinematic, personal, and historical images to become visual records of those conflicts, with the question of resolution left open to the viewer.

The two major sculptures in this show expand on the McCoys’ 2004 installation Our Second Date by further exploring the artists personal history, fantasies, and memories. Second Date incorporated miniature models of Jennifer and Kevin intercut with views of a meticulously crafted miniature scene from Godard’s Weekend. The works in Directed Dreaming splinter the couple’s shared autobiography.

In Double Fantasy II (sex), the McCoys represent themselves as nine year olds, drawing on a child’s scant sexual understanding to generate fantasies of their adult selves. With this technique they each reach back to a time when their ideas about love and sex were created from an amalgam of observations from television, popular culture and playground gossip that was hopelessly far from reality. In that these sources provide only the broadest of gestures, Double Fantasy II is an autobiographical take on the importance of genre. Formally, the work is a two-sided sculpture containing miniature film sets that fragment and isolate bodies at once fetishized and romanticized. The images captured by the tiny cameras cut together quickly to form a stream of consciousness meditation on the elusive subject of nascent sexuality and childhood imagination.

In Dream Sequence, the McCoys examine how sleep becomes a filter through which objective reality becomes fantasy . The work consists of a two-sided, 3 feet in diameter revolving circle, each side corresponding to the dream world of one of the artists. Using an obsolete trick of early cinema, a partially reflective mirror superimposes the sleeping artists against mutating landscapes. The resulting double projection physicalizes the dream worlds of each artist’s psyche. Kevin sees a helicopter unloading soldiers in a bleak landscape. Jennifer dreams of floods that segue into suburban resort swimming pools. The artists abandon the cinematic idea of editing with its jarring ruptures and discontinuities and instead set in motion a fluid self-sustaining world in front of the camera and in front of the viewer.

Included in the show are two wall mounted sculptures from the Clouds series that explore the vocabulary of a unending one shot film. In Clouds 9 and Clouds 10, cameras are trained on moving cloud formations to create suggestions of unknowable and yet moving and possibly ominous events.

It is with deep sorrow that we must inform you of the passing of Eathon G. Hall, Jr., who died in a tragic accident on Friday, February 17, while on vacation in Brasil. Eathon returned to Newark last year as Program Director of Aljira, a Center for Contemporary Art (from March 1996 through January 1999, he was Assistant Director of Education at the Newark Museum) following his tenure at the Bronx Museum of Art where he served as Curator of Education for five years.

On Thursday night, February 16, at a V.I.P. reception on the occasion of Aljira’s most recent installations—Sudan: The Land and The People; Children of Darfur: Gen Genocide; and Khalid Kodi—Eathon was publicly recognized by Aljira’s Board Chair Charles Russell and Executive Director Victor L. Davson for his innovation and for the engaging experiences in visual culture that were under his development at Aljira. Future collaborations he intitiated include Mexican Vogue with the Newark Museum, Planet Hip Hop with New Jersey Performing Arts Center, and Do You Think I’m Disco?/B-Side with Longwood Arts Project.

His passing is a great loss to Aljira and to the larger cultural community, and we will all miss his spirit, commitment and leadership.

A memorial service for Eathon Hall will be held on Monday, February 27, 11 a.m. at the Macedonia Baptist Church in Harlem. It is located at 452 W. 147 St. between Convent and Amsterdam. Phone: 212 283-7973. Further information about the interrment and reception will be available at the church.

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• #99. Save Free TV
• #98. A Comparative Study of Apples & Oranges
• #64. Mind Control by Flashing Lights: An Internet Survey
• #20. In Ohio, In The Fall, You Were Young
• #25. Ten Digital Ready-Mades
• #44. Home Page for the Haphazard (AKA oopsdotcom)
• #68. Hardware, Software, Just-Rightware
• #17. Captain Kirk’s Chair: An Instructional Installation
• #100. The Light That Falls Across the Ceiling of the Room that Shows Us The End Of The Day As Night is Slowly Making Its Way Into Our Sight (AKA It’s Now Safe To Turn Off Your Computer)
• #66. Pixel Bitch
• #53. Java My Ass
• #38. Close Your Eyes, Make a Wish, Hit Delete
• #04. Twenty-Five Concrete Examples of Why John Cage Is Not My Father
• #11. Auction Stand for Personal Hate
• #89. Nothing Ventured, Nothing Gained (Notes On Digital Art)
• #01. Random Access Mortality

MTAA propose to extend the exhibition space of star67 gallery, brooklyn, by the amount of 3 megabytes of disk space on the servers of yahoo.com.

• onKawaraUpdate
  Created with Alex Galloway as a splash page for Rhizome.org.
• vitoAcconciUpdate
  Commissioned by The Whitney for a gate page on their Artport web site.
• 1 year performance video (aka samHsiehUpdate)
  A 2004 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Jerome Foundation.

The goal of the School of Conceptual Clay is to promote the study and practice of conceptual clay.

Conceptual Clay was invented by M.River & T.Whid as a metaphorical activity and an open-ended collaborative performance commenting on the digitization of former analog practices and techniques.

The MTAA Signature Series is an attempt to maximize mindshare in the online art market while maintaining the economics of scarcity on which the traditional art market depends.

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I feel compelled to ask (of him or anyone here who cares) what comprises this “fine line” between the two extremes of “good Pop Art and a sickening psychophantical [sic] homage to the dominant media culture”..? And must all art that appropriates the form and/or content of popular media fall into one or the other of these extreme categories?

Where does parody fit in, because to me, for something to be truly successful, on a parodic level, it has to be highly imitative—and, hence, to some degree, reverent, even if only in the sense of (let’s say) what Jameson calls “nostalgia films,” which are not necessarily acting in praise… To me, it is this act of shadowing (miming, resulting directly from, yet in contrast and however shape-shifted) that best affords the opportunity for critique. Admittedly, it is sort of an act of relinquishing some of the sense of “value” implied in models of authority (read: authorship), in order to sort of free one’s speech, ie to protest.

But anyway. I also wonder how TWhid (& MRiver) would situate their 1 year performance project re: reality tv—and if they see similarities, then have they given us “good Pop Art [or] a sickening psychophantical homage to the dominant media culture”? ;)

We bought a couple of Zywiec beers and some pirogi, then headed for the gilt-framed stage. Packed onto the honey-colored wood floor (polished by the polka?), hundreds of jeans-clad fans waited for the headlining act, Spoon. Touted as the next big thing for years, the Austin-based art rockers took the stage, all sharp drums and crisp guitar riffs, sounding like they’d finally arrived. This corner of Brooklyn felt like it had, too.

The results returned by the service are in XML which varies per service.

These rate limits are imposed independently for each service and are typically in the thousands-per-day per user range. See each service’s documentation for the individual limits.

At the Heritage Foundation’s annual Resource Bank meeting in Chicago last Friday, protesters masquerading as a right-wing think tank took the stage and announced that in light of Bush’s shortcomings, they were nominating former Reagan Attorney-General Ed Meese for president.

The audience applauded for nearly ten seconds.

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[…]in the mold of Slate and Salon, with, get this, guest bloggers ranging from Sen. Jon Corzine, Larry David, Barry Diller, Tom Freston, David Geffen, Vernon Jordan, Gwyneth Paltrow, and Harry Evans and his wife, Tina Brown.

Her business partner is Ken Lerer, the head of AOL-TW’s corporate communications in the Bob Pittman era.

Along with the celebrity cred, these super-busy bloggers may not actually blog, but e-mail or phone in their posts: “We’re setting up a system wherein you’ll be able to e-mail or phone in your latest take, which our editorial team will fact-check and turn into a blog post.”

The site’s soft launch is apparently set for April.

I’d be interested to know why you made the decision to try and show in galleries. Do you feel you are having to find ways to “shoehorn” your stuff into a format that fits.

Wichita State University has announced that the Emily Jacir exhibition scheduled to run January 20 - March 6, 2005, at the Ulrich Museum of Art will do so without any conditions.

Elizabeth King, Vice President for University Advancement, released the following statement late this afternoon:

“Wichita State University is aware of the discussion generated by the scheduled exhibition of work by artist Emily Jacir at the Ulrich Museum of Art. The University is committed to going forward with the exhibition without conditions or limitations that could be considered to compromise the integrity of Ms. Jacir’s work as an artist. The University appreciates the widespread interest in the artist and the exhibition.”

via: From the Floor: Emily Jacir Exhibition to Proceed without Conditions

Scientists said yesterday that they have discovered a tiny genetic mutation that largely explains the first appearance of white skin in humans tens of thousands of years ago, a finding that helps solve one of biology’s most enduring mysteries and illuminates one of humanity’s greatest sources of strife.

The work suggests that the skin-whitening mutation occurred by chance in a single individual after the first human exodus from Africa, when all people were brown-skinned. That person’s offspring apparently thrived as humans moved northward into what is now Europe, helping to give rise to the lightest of the world’s races.

[MTA spokesman] Mr. Kelly acknowledged that the random searches were without precedent, but added that he hoped riders would not consider the actions an inconvenience.

This exhibition, entitled Welcome to my Homepage Artshow, is the first solo show in New York by Arcangel, a founding member of the Beige Programming Ensemble. The show includes a number of new hacked Nintendo game cartridges - the work that Arcangel has become known for - and a number of new works in the medium of video. In the former group are a fully interactive Ipod® programmed for the Nintendo® system and an absurdly slowed down version of Tetris®. In the latter group are Sans Simon, a video of Simon and Garfunkel in which the artist uses his hand to hide Simon’s presence, and Geto Boys/Beach Boys in which videos by the two eponymous bands are played side by side creating an oddly harmonic synchronicity.

[…]

The show at Team […] marks the launch of dooogle.com, a search engine which only yields results about Doogie Howser, M.D. Also available is a new piece of software called T.A.C. (Total Asshole Compression), a program which increases the size of any file passed through it.

A group of established artists have been gathering for invitation-only figure drawing sessions, an exercise that had fallen out of fashion.

[…]

Only a few years ago, the idea of artists gathering to paint from a model would have seemed impossibly old-fashioned and hokey - and if the model was female and nude, sexist to boot. Yet for nearly three years now, a number of artists - not students putting charc