Friday, January 31, 2020
A bakery is delivering every GOP senator a cake with a pointed message: 'This trial is half-baked' - AOL News
A bakery is delivering every GOP senator a cake with a pointed message: 'This trial is half-baked' - AOL News
https://www.jpost.com/OMG/GoFundMe-campaign-promises-to-send-impeachment-cakes-to-all-GOP-senators-615900?fbclid=IwAR2-sV6H-IsTI3Z81OdtHnBkX3YJKOx9JevNbvy9RbTjEKWe3t_GA_WlWYQ
Fundraiser by Colin Bishopp : Deliver a CONVICT TRUMP cake to every GOP Senator
https://www.grubstreet.com/2020/01/bakery-impeachment-cakes-republican-senators.html?fbclid=IwAR2_AWquCZcN5j_VBUE2hB_V6-hgjcWytQ23tz_-2cuBEBlfHQqRQeCVJh
https://www.jpost.com/OMG/GoFundMe-campaign-promises-to-send-impeachment-cakes-to-all-GOP-senators-615900?fbclid=IwAR2-sV6H-IsTI3Z81OdtHnBkX3YJKOx9JevNbvy9RbTjEKWe3t_GA_WlWYQ
Fundraiser by Colin Bishopp : Deliver a CONVICT TRUMP cake to every GOP Senator
https://www.grubstreet.com/2020/01/bakery-impeachment-cakes-republican-senators.html?fbclid=IwAR2_AWquCZcN5j_VBUE2hB_V6-hgjcWytQ23tz_-2cuBEBlfHQqRQeCVJh
Thursday, January 30, 2020
Wednesday, January 29, 2020
Johnes Ruta; curiosity .... emailing questions rather than FB posting - bevrichey@gmail.com - Gmail
curiosity .... emailing questions rather than FB posting - bevrichey@gmail.com - Gmail
Can you please advise me of the parameters of your project, and whether you intend to include submitted photos from that decade ?
There is more than just a tip to this iceberg ! There is plenty of arts and Bohemian history of New Haven going back to the 19th century. A really COOL, sharing community, which lacks the intense competitive atmosphere of NYC ! The Beat coffee house 1945-1965 "La Gallette" on Howe Street (Franz Douzsky one Beat there, later became Head of the English Dept. at Gateway); The Exit; George & Harry's on Wall St; Hungry Charlie's (now Toad's Place); Claire's Cornercopia; Karmel Korn; Mamoon's; Koenig's Art Supply; Cutler's Records; Whitlock's Books; the Yale Co-op; Book World and La Machinetta Cafe on Chapel Street, Atticus; et cetera).
I started going to La Gallette in 1963 when I was a Junior in high school, then The Exit, and moved into Westville
Dear Beverly,
I don't understand your question, "curious to know what I am thinking" .... so here goes .. You are doing the art history of the 1980s, and have
requested materials illuminating that decade.
In addition to my contacts in the 1980s and the many friends I still keep from that time, I am presently working with "Joey L. Tomorrow" - aka Joe Fekieta -- who created and/or collaborated on many art events all through the 1980s, and created dozens of posters to promote those events. In addition to his work
and acting in productions of Shakespeare on the New Haven Green in 1985 and 1986, (Roberta Chambers was the costume designer), Joe was also the founder of the New Haven Artists' Coalition ("the Coalescence") in 1988, which I immediately joined, along with Christopher Arnott (journalist), Suzan Shutan (installation artist) , Gerry Saladyga (artist), Robert Cuneo (Magic Realist painter), Joan Jacobson Zamore (print-maker), and several others. As an active member, I was "volunteered"/appointed to act as the Coalition's Liason to the Mayor's Council on Cultural Affairs, and attend their meetings.
I was fortunate to befriend some of those M.C.C.A. members, such as Mimi (Miriam) Sommer, who worked for decades in the Yale Admissions Office and the School of Music, and passed away in April 2018, at 89.
My involvement in the arts was as an historical art theorist & essayist, arts editor in the 1970s ("The Entertainer" published in Stratford for Fairfield & New Haven Counties), a (now published) novelist, and curator at the York SQat that time. I've been involved in the New Haven art scene since 1963. I still have my Walkman cassette tapes of my 1986 interview of you on your themes of WASTE ART.
-- I was also there at the party that Nick Fertig had in his Erector SQ studio, following his art opening in the E SQ Gallery, when you took a large dessert cake and turned it into a large frosting fresco in his floor ! (Maybe some pix saved somewhere here too.) Wow!
Joe Fekieta became excited to learn of your historical project from me, and on Sunday, he enlisted me to come by and spend a couple of hours photographing his 1980s posters and other ephemera items from his large format "scrap book" folder. He asked me to forward the usable photos to you, as notable activities he created and working on in the 1980s, which I will be doing.
I don't understand your question, "curious to know what I am thinking" .... so here goes .. You are doing the art history of the 1980s, and have
requested materials illuminating that decade.
In addition to my contacts in the 1980s and the many friends I still keep from that time, I am presently working with "Joey L. Tomorrow" - aka Joe Fekieta -- who created and/or collaborated on many art events all through the 1980s, and created dozens of posters to promote those events. In addition to his work
and acting in productions of Shakespeare on the New Haven Green in 1985 and 1986, (Roberta Chambers was the costume designer), Joe was also the founder of the New Haven Artists' Coalition ("the Coalescence") in 1988, which I immediately joined, along with Christopher Arnott (journalist), Suzan Shutan (installation artist) , Gerry Saladyga (artist), Robert Cuneo (Magic Realist painter), Joan Jacobson Zamore (print-maker), and several others. As an active member, I was "volunteered"/appointed to act as the Coalition's Liason to the Mayor's Council on Cultural Affairs, and attend their meetings.
I was fortunate to befriend some of those M.C.C.A. members, such as Mimi (Miriam) Sommer, who worked for decades in the Yale Admissions Office and the School of Music, and passed away in April 2018, at 89.
My involvement in the arts was as an historical art theorist & essayist, arts editor in the 1970s ("The Entertainer" published in Stratford for Fairfield & New Haven Counties), a (now published) novelist, and curator at the York SQat that time. I've been involved in the New Haven art scene since 1963. I still have my Walkman cassette tapes of my 1986 interview of you on your themes of WASTE ART.
-- I was also there at the party that Nick Fertig had in his Erector SQ studio, following his art opening in the E SQ Gallery, when you took a large dessert cake and turned it into a large frosting fresco in his floor ! (Maybe some pix saved somewhere here too.) Wow!
Joe Fekieta became excited to learn of your historical project from me, and on Sunday, he enlisted me to come by and spend a couple of hours photographing his 1980s posters and other ephemera items from his large format "scrap book" folder. He asked me to forward the usable photos to you, as notable activities he created and working on in the 1980s, which I will be doing.
Can you please advise me of the parameters of your project, and whether you intend to include submitted photos from that decade ?
There is more than just a tip to this iceberg ! There is plenty of arts and Bohemian history of New Haven going back to the 19th century. A really COOL, sharing community, which lacks the intense competitive atmosphere of NYC ! The Beat coffee house 1945-1965 "La Gallette" on Howe Street (Franz Douzsky one Beat there, later became Head of the English Dept. at Gateway); The Exit; George & Harry's on Wall St; Hungry Charlie's (now Toad's Place); Claire's Cornercopia; Karmel Korn; Mamoon's; Koenig's Art Supply; Cutler's Records; Whitlock's Books; the Yale Co-op; Book World and La Machinetta Cafe on Chapel Street, Atticus; et cetera).
I started going to La Gallette in 1963 when I was a Junior in high school, then The Exit, and moved into Westville
here with my hippie wife and 3-year old daughter, in 1973.
Armando Erba also says he has film of his various New Haven abstract performance pieces in the 1980s, such as at the old Winery, as Prospero in the aforementioned "The Tempest" on the NH Green 85 & 86, and in the
Armando Erba also says he has film of his various New Haven abstract performance pieces in the 1980s, such as at the old Winery, as Prospero in the aforementioned "The Tempest" on the NH Green 85 & 86, and in the
"Sign Painter" with Steve Bellwood at the old Cape Codder Bar annex.In 1988, Chris Arnott produced and directed a performance at Art In Heaven Gallery, of Pablo Picasso's only written play "Desire Caught by the Tail."
Art In Heaven was run by Margaret Bodell, and the sisters Mary and Elizabeth Schiffer, until the City's Ninth Square Development plan forced the gallery to close. -- Rita Valley collaborated on many art & installation projects with Laurie Giemza, with Wasil, and with Ben Westbrock at the Erector SQ Gallery and the J S Ely House. There was also the Dada Invasion of Lighthouse Point in 1989, and the month-long Re-Dadaist Exposition at the Ely House with Chris Arnott, Chris Grey, Joey Tomorrow, Sarah Shuster, and Cathy Martin (poet). Michael Rush's theater productions,Jeff Burnett's monologue performances.
It affects my work-time to provide this info, and to write these informative long-letters that I am prone to do, so I need to know your limitations and requirements.
THANKS!
johnes
Art In Heaven was run by Margaret Bodell, and the sisters Mary and Elizabeth Schiffer, until the City's Ninth Square Development plan forced the gallery to close. -- Rita Valley collaborated on many art & installation projects with Laurie Giemza, with Wasil, and with Ben Westbrock at the Erector SQ Gallery and the J S Ely House. There was also the Dada Invasion of Lighthouse Point in 1989, and the month-long Re-Dadaist Exposition at the Ely House with Chris Arnott, Chris Grey, Joey Tomorrow, Sarah Shuster, and Cathy Martin (poet). Michael Rush's theater productions,Jeff Burnett's monologue performances.
It affects my work-time to provide this info, and to write these informative long-letters that I am prone to do, so I need to know your limitations and requirements.
THANKS!
johnes
Monday, January 27, 2020
Sunday, January 26, 2020
John Landino; Sculptor The Hartford Courant
THE HARTFORD COURANT
February 13, 1987
"In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer."
Photo Caption: John Landino of Cheshire is framed by two of his sculptures outside his studio along the Quinnipiac River in New Haven
Photo Credit: Michael Levingham (special to the Courant)
Is a rested, curved piece of scrap metal art? Is an old sail billowing in the breeze, with children struggling to hold onto it?
What about an 11 story building partially wrapped in nylon?
For sculptor and conceptual artist John Landino of Cheshire, art is all of these things and more. Using anything he can find, Landino works in abstract forms to produce objects and "art experiences" that he says deal with change, the future and the subconscious.
"I've always tried to take a material that was stable and create movement and change," says Landino, whose artistry takes him from his home in Cheshire to scrap metal yards, roadside tag sales, and landfill sites. Dealing primarily in "found objects," Landino creates abstract art forms.
To create his metal sculptures he never cuts, but rather welds together various pieces until they reach a form he is satisfied with. "I find objects and resurrect them into a new form, "he says with confidence.
The art he creates is not always something people immediately lie. but make no mistake, his work often attracts a lot of public interest-something that Landino says is all part of his art form.
A case in point. In September 1084, Landino and another artist - in the fashion of master site artist Christo -c completely wrapped a four-story Victorian building in New Haven in clear plastic. Last year, he wrapped several exterior floors of the Gateway Center Building in New Haven with 3,000 yards of nylon.
"What I do may be uncomfortable for people, "Landino says, But part of what I am trying to do is to make people react."
Landino's abstract sculpture titled "Homage to Creativity" caused a stir at a Cheshire park two years ago. Consisting of a curved piece of steel resting upon an 8 - foot I -beam on top of a metal post, the piece eventually was removed.
"Artwork doesn't have to be accepted by everybody," he says carelessly.
Still Phyllis Satin owner of the Wave art gallery in New Haven says a major attraction of Landino's sculptures is that try invite the observer to come closer, to touch or rub or climb on them.
"People seem to really respond to them," Satin said. Last fall, the gallery helped Landino organize a self - guided tour of his sculptures placed throughout New Haven.
Rarely paying for objects, Landino is always on the lookout for pre-art junk. "I try to make some sense of waste or scrap - there's beauty wherever you look. A dump is a place I feel real comfortable in."
In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer.
Although he has been working in metal only for the past five years, the 39 - year old Landino has quickly made an impression on the Connecticut art community.
"It was the meditative quality of his work that first attracted me, "said Deborah Frizel of the Connecticut Gallery in Marlborough. "I heard about his sculpture walk [in New Haven] and I went to see some of his pieces. I became very excited by his work and personality.
"Usually people aren't attracted to abstract sculpture, but it has something to do with his forms. proportions and relationships. "she said. "They invite you to touch and sit on them." Combining his career as an artist with a separate career as a recreational therapist, Landino sees part of his life's work as helping people relieve stress. One of Landino's major goals is to create sculptures that invite the observer to touch, to imagine and to fantasize.
"My sense is that in our society we don't have a lot of outlets to relieve stress, anger or tension, "said Landino, who works in a studio by the Quinnipiac River in New Haven: "Public art takes people out of their ordinary environment"
He points to Christo and Alexander Calder as major influences in his evolving career, " I always thought I was going to be a traditional sculptor but once I got a torch in my hand," he says excitedly," ...it was the fire and the element of stell that did it."
He divides his art and his therapy practice equally, but lately, as his art projects have grown, so has his time commitment to art. Recently he purchased a small crane to assist him in fashioning larger, "more pubic" sculpture outdoors.
Landino has set his sights on more large projects. He says he would like to work more in nylon and in kinetic wind forms. He'd also like to completely wrap the soldiers and Sailors Memorial Arch, which is now under renovation, in Harford's Bushnell Park.
"Imagine, " Landino says excitedly. "I know if I wrapped it I'd get at least 3 million people to see that arch who didn't even notice it in the past."
FOR IMAGES AND INTERACTIONS:
MEET & ENGAGE WITH JOHN LANDINO & OTHERS IN THE ARCHIVE
Link to John Landino in the Archive:
Link to John Landino New Haven Environmental Art Works in the Archive
February 13, 1987
Sculptor scours scrapheap
Abstract shapes meant to provoke
by RICK GREEN Courant Staff Writer
"In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer."
Photo Caption: John Landino of Cheshire is framed by two of his sculptures outside his studio along the Quinnipiac River in New Haven
Photo Credit: Michael Levingham (special to the Courant)
Is a rested, curved piece of scrap metal art? Is an old sail billowing in the breeze, with children struggling to hold onto it?
What about an 11 story building partially wrapped in nylon?
For sculptor and conceptual artist John Landino of Cheshire, art is all of these things and more. Using anything he can find, Landino works in abstract forms to produce objects and "art experiences" that he says deal with change, the future and the subconscious.
"I've always tried to take a material that was stable and create movement and change," says Landino, whose artistry takes him from his home in Cheshire to scrap metal yards, roadside tag sales, and landfill sites. Dealing primarily in "found objects," Landino creates abstract art forms.
To create his metal sculptures he never cuts, but rather welds together various pieces until they reach a form he is satisfied with. "I find objects and resurrect them into a new form, "he says with confidence.
The art he creates is not always something people immediately lie. but make no mistake, his work often attracts a lot of public interest-something that Landino says is all part of his art form.
A case in point. In September 1084, Landino and another artist - in the fashion of master site artist Christo -c completely wrapped a four-story Victorian building in New Haven in clear plastic. Last year, he wrapped several exterior floors of the Gateway Center Building in New Haven with 3,000 yards of nylon.
"What I do may be uncomfortable for people, "Landino says, But part of what I am trying to do is to make people react."
Landino's abstract sculpture titled "Homage to Creativity" caused a stir at a Cheshire park two years ago. Consisting of a curved piece of steel resting upon an 8 - foot I -beam on top of a metal post, the piece eventually was removed.
"Artwork doesn't have to be accepted by everybody," he says carelessly.
Still Phyllis Satin owner of the Wave art gallery in New Haven says a major attraction of Landino's sculptures is that try invite the observer to come closer, to touch or rub or climb on them.
"People seem to really respond to them," Satin said. Last fall, the gallery helped Landino organize a self - guided tour of his sculptures placed throughout New Haven.
Rarely paying for objects, Landino is always on the lookout for pre-art junk. "I try to make some sense of waste or scrap - there's beauty wherever you look. A dump is a place I feel real comfortable in."
In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer.
Although he has been working in metal only for the past five years, the 39 - year old Landino has quickly made an impression on the Connecticut art community.
"It was the meditative quality of his work that first attracted me, "said Deborah Frizel of the Connecticut Gallery in Marlborough. "I heard about his sculpture walk [in New Haven] and I went to see some of his pieces. I became very excited by his work and personality.
"Usually people aren't attracted to abstract sculpture, but it has something to do with his forms. proportions and relationships. "she said. "They invite you to touch and sit on them." Combining his career as an artist with a separate career as a recreational therapist, Landino sees part of his life's work as helping people relieve stress. One of Landino's major goals is to create sculptures that invite the observer to touch, to imagine and to fantasize.
"My sense is that in our society we don't have a lot of outlets to relieve stress, anger or tension, "said Landino, who works in a studio by the Quinnipiac River in New Haven: "Public art takes people out of their ordinary environment"
He points to Christo and Alexander Calder as major influences in his evolving career, " I always thought I was going to be a traditional sculptor but once I got a torch in my hand," he says excitedly," ...it was the fire and the element of stell that did it."
He divides his art and his therapy practice equally, but lately, as his art projects have grown, so has his time commitment to art. Recently he purchased a small crane to assist him in fashioning larger, "more pubic" sculpture outdoors.
Landino has set his sights on more large projects. He says he would like to work more in nylon and in kinetic wind forms. He'd also like to completely wrap the soldiers and Sailors Memorial Arch, which is now under renovation, in Harford's Bushnell Park.
"Imagine, " Landino says excitedly. "I know if I wrapped it I'd get at least 3 million people to see that arch who didn't even notice it in the past."
FOR IMAGES AND INTERACTIONS:
MEET & ENGAGE WITH JOHN LANDINO & OTHERS IN THE ARCHIVE
Link to John Landino in the Archive:
Link to John Landino New Haven Environmental Art Works in the Archive
Letter from Paul; sept. 12, 1983
Bev----
this will be good fast and very sloppy of [sic] something.
i've enclosed a few press releases for you to gander over
and maybe try to get some info. the only thing I can add
it to keep the release as informative but simple (brief)
as possible. remember---dromes open these P.R. things and
are usually pretty bored by the whole idea. when there is
more than a hand-full of names on the release, they
tend to leave them out. use common sense about how much
to include. sometimes two release work better----one for
newspapers and brief insertions (entertainment, what's
happening sections, etc.) and another for publications that
might easily put a paragraph in with names and general theme
of the show, which by the little way is important to this EVENT!
I think the title is somewhat provocative (1984 a retrospective)
maybe Jack would enlarge 1984--etc. for the release?????
It;s important that the audience/readers understand that it's
not about the next year, but about the idea 1984
Just a few thoughts/attitudes here---- i'm not trying to be
smart assie or anything---just thinking in print.
I've said many times how important it is for you to get PMVI
moving in a way that is gratifying to you. what I think
I mean by that is that you should feel positive about spending time
and energy on the Inst. with the Western attitude of believing
that you'll get something in return----in this case i'm
thinking of money and a viable and survivable business.
you must believe me when i say that more people/artists
should have places like PMVI----and should think of these endeavors
as important as breathing. MORE IDEAS---MORE EXCHANGING
(rather than bickering about who it belongs to) equals
MORE VITALITY I'TS TAT SIMPLE!
this will be good fast and very sloppy of [sic] something.
i've enclosed a few press releases for you to gander over
and maybe try to get some info. the only thing I can add
it to keep the release as informative but simple (brief)
as possible. remember---dromes open these P.R. things and
are usually pretty bored by the whole idea. when there is
more than a hand-full of names on the release, they
tend to leave them out. use common sense about how much
to include. sometimes two release work better----one for
newspapers and brief insertions (entertainment, what's
happening sections, etc.) and another for publications that
might easily put a paragraph in with names and general theme
of the show, which by the little way is important to this EVENT!
I think the title is somewhat provocative (1984 a retrospective)
maybe Jack would enlarge 1984--etc. for the release?????
It;s important that the audience/readers understand that it's
not about the next year, but about the idea 1984
Just a few thoughts/attitudes here---- i'm not trying to be
smart assie or anything---just thinking in print.
I've said many times how important it is for you to get PMVI
moving in a way that is gratifying to you. what I think
I mean by that is that you should feel positive about spending time
and energy on the Inst. with the Western attitude of believing
that you'll get something in return----in this case i'm
thinking of money and a viable and survivable business.
you must believe me when i say that more people/artists
should have places like PMVI----and should think of these endeavors
as important as breathing. MORE IDEAS---MORE EXCHANGING
(rather than bickering about who it belongs to) equals
MORE VITALITY I'TS TAT SIMPLE!
So what I am trying to say is that PMVI is an idea-----any-
one can have it------Paul welcomes everyone to take it----
the idea-----please go out and run with it----go UP, DOWN,
LEFT, or RIGHT, but just do IT------everyone is INVITED----
even in class cast new heaven!
1
THE BUILDING; the institute, the gallery, the space
PAPIER MACHE VIDEO INSTITUTE133 HAMILTON ST., NEW HAVEN, CT 06511, USA
I'm defining THE BUILDING as an alternative space for lack
of a better definition. The Institute is not commercial
but certainly encourages the sale of art work.
The events(performances, visual arts, community meetings
etc.) that will take place in and around THE BUILDING have
no established location in the greater New Haven area. I
know this through first hand experience at the Institute,
presently at 133 Hamilton St. There are individuals in
the region (and around the country) who work, produce, and
even exhibit outside the traditional commercial gallery
context. These people do not represent a sub-culture;
they have become (and in some instances are the status
quo) a viable and substantial part of the contemporary
cultural scene. There are several institutions of this
sort in Hartford (Montevideo, Artspace, Real Art Ways,
Craftery) and in every major, and not so major, city in the
United States. when I exhibit my work I inevitably must
go outside the New Haven area, unless I show at the Institute.
New Haven can support a space such as I'm proposing. Why
it does not exist at this time is a perplexing question.
The artists are here, and the public (audience) certainly
is, but THE BUILDING is not.
PAUL RUTKOVSKY
FB ARCHIVE LINK: PMVI HISTORY POST
Paul Rutkovsky; Correspondence February 1984
(estimated date: Feb 1984)
Just thinking about PMVI and
the 84 Show - Buy and Sell, etc,
and how exciting it is to realize
that all that activity demands some
cooperation and attention!
of course - I'm thinking about
this in Florida -
Love, Paul
I like to think that the New Haven
pettiness has evaporated ! ?
FB ARCHIVE; PMVI HISTORY POST
Just thinking about PMVI and
the 84 Show - Buy and Sell, etc,
and how exciting it is to realize
that all that activity demands some
cooperation and attention!
of course - I'm thinking about
this in Florida -
Love, Paul
I like to think that the New Haven
pettiness has evaporated ! ?
FB ARCHIVE; PMVI HISTORY POST
D0N'T STEP OVER THE FENCE IT LOOKS BETTER FROM HERE; PAUL RUTKOVSKY
ORDER FORM
corrugated artifact
if you wish to purchase a
corrugated artifact on the
other side of the fence,
simply sketch a primitive
symbol of the object in
the box below. For example,
if you want a tree just
draw an outline of a tree
in the box. If you think a
tree is too difficult, then
order a house; that's only
a square with a triangle on
top. Just to make sure
your order is clearly under
stood, print the name of
the object below the box--
T-R-E-E, or H-O-U-S-E, etc.
Complete the form by including your
name & address and send it with a
check or money order to:
PAUL RUTKOVSKY
1839 CHAPEL ST.
NEW HAVEN, CT.
06515
custom corrugated artifacts-$15.00
$2.00 extra for color
your name_____________________
address _____________________
_____________________
corrugated artifact
if you wish to purchase a
corrugated artifact on the
other side of the fence,
simply sketch a primitive
symbol of the object in
the box below. For example,
if you want a tree just
draw an outline of a tree
in the box. If you think a
tree is too difficult, then
order a house; that's only
a square with a triangle on
top. Just to make sure
your order is clearly under
stood, print the name of
the object below the box--
T-R-E-E, or H-O-U-S-E, etc.
Complete the form by including your
name & address and send it with a
check or money order to:
PAUL RUTKOVSKY
1839 CHAPEL ST.
NEW HAVEN, CT.
06515
custom corrugated artifacts-$15.00
$2.00 extra for color
your name_____________________
address _____________________
_____________________
Friday, January 24, 2020
Thursday, January 23, 2020
@newhavenclockfactorydoc Instagram post (carousel) The Papier Mache Video Institute's 1970s and 80s exhibitions sprawled as needed across large sections of the Clock Factory. The line for PMVI's legendary one-day-only 1984 exhibition grew so long that artists and performers took to the street and turned the line into an impromptu extension of the show. PMVI focused on Activist Art of a transient nature not typically found in museums and galleries, taking on issues of feminism, war, capitalism, elitism, Urban Renewal and 'TV mono-culture' with works of music, dance, poetry, visual art, performance, mixed media and of course Papier Mache and video. Founder Paul Rutkovsky, a fellow at Harvard's Institute for the Study of the Avant-Garde with works at cutting edge galleries such as NYC's Franklin Furnace, saw museums and galleries as exclusive "Cathedrals for A-R-T" entrenched in the capitalist-elitist art world. He sought to foster creativity in all people by engaging them in the creation of art. PMVI shows included opportunities to be videotaped smashing TVs, make Xerox art or for both men and women to compete in the annual Miss America Spectacle. When Rutkovsky became a professor at Florida State, colleague Beverly Richey took over and did groundbreaking work in feminist art, food as a political statement and was the driving force of the 1984 show. PMVI's poetic motto "Dedicated to the Promotion of Transient Culture" resonates with the Clock Factory's many ephemeral, intersecting lives. Kickstarter resonates with PMVI, too, as it enables us to remain 100% independent, bypass the traditional elitist-capitalist world and engage directly with the community. So, if you'd like to see this full-length documentary, please help us make it. REMEMBER, our campaign is All or Nothing and ENDS SOON (July 25th). Don't miss your opportunity to get involved. Click on bio to see the trailer, learn more and become a backer today! And don't forget to share! Link in bio #factory #documentaryfilm #clockfactory #newhavenclockcompany #art #music #abandondedbuildings #abandonedplaces #history #historicarchitecture #historicpreservation #placemaking #newhaven #Connecticut #film #cultural #community #hipstory - Gramho.com
Wednesday, January 22, 2020
PAUL RUTKOVSKY WRITES ABOUT PMVI; DECEMBER 1983
PMVI has been in existence for five years. Events have varied from small exhibits (25-30 people attending) to the 1984 show, 700-800 people in attendance. with 25 artists participating. The Institute has given artists from New Haven and the surrounding region (N.Y., Hartford, Boston) the opportunity to exhibit/perform in a time when it is becoming increasingly difficult to find space. The private galleries are experiencing the financial squeeze and are not taking chances with more experimental works. PMVI has tried to fill the need to show more ephemeral/transient works with limited resources.
As a result of the relative success of the 1984 event and a dedicated small core of artists, PMVI is preparing to incorporate as a non-profit organization. It is a delicate time, simply because all of the events. up to my departure in 1982 were of my making. I basically made all the decisions, and as a result did most of the work. We're now establishing Co-Directorships, where Beverly Richey will coordinate the Institutes's daily activities. A fundamental reason for incorporating is to establish a s membership and sponsorship to assist in funding future events, and a functioning office/gallery. We for see as a beginning finding a small space. Hopefully in downtown New Haven.
Paul Rutkovsky
Florida
Dec. 1983
As a result of the relative success of the 1984 event and a dedicated small core of artists, PMVI is preparing to incorporate as a non-profit organization. It is a delicate time, simply because all of the events. up to my departure in 1982 were of my making. I basically made all the decisions, and as a result did most of the work. We're now establishing Co-Directorships, where Beverly Richey will coordinate the Institutes's daily activities. A fundamental reason for incorporating is to establish a s membership and sponsorship to assist in funding future events, and a functioning office/gallery. We for see as a beginning finding a small space. Hopefully in downtown New Haven.
Paul Rutkovsky
Florida
Dec. 1983
artificial store; PMVI PAPIER MACHE VIDEO INSTITUTE
Dedicated to the promotion of transient culture.ARTIFICIAL STORE
a small space
New Haven, Ct.
This would be a relatively small space not larger than 20' X 30'. It would be a space/showroom to put on exhibit small transient works --- postcards, booklets, books, posters, and one of a kind small two dimensional & three dimensional pieces this might include paintings, but I'd rather envision works of more ephemeral or at least experimental nature.
The primary purpose of this "mini-space" is to establish an on-going adjunct of PMVI that would be open for a couple of hours a day. What I 'm trying to express is the need to attract a more diversified audience --- and to begin doing that with the Artificial Store. There is an audience that has not appeared consistently at PMVI events: people who respond to regular scheduling, etc. this would potentially be an audience that buys the works available in the space.
More of the work (merchandise) in the display cases would be small and probably cost anywhere from 25 cents to $25.00. This has been successful at Printed Matter in N.Y.C., and Artworks in Los Angles. I realize New Haven is not New York, and that's why the size and responsibilities of the mini-space would be limited, certainly at the beginning.
PMVI has been in existence in one form or another for five years and has a reputation locally. I believe the Artificial Store would be a success simply because of the following PMVI has had in the past.
This would be the perfect time to start the STORE.
Paul Rutkovsky
PMVI PAPIER MACHE VIDEO INSTITUTE; decicated to the promotion of transient culture INAUGURAL EVENT DEC. 1&2
INSIDE COVER TEXT:
The THIRD ANNUAL MISS AMERICA SPECTACLE took place at PMVI last September 9 with multi-activities, including 15 T.V.'s, music, and prizes. JACK HARRIETT snapped the lovely cover shot while the history of MISS A. flashed on the screen and the real show was broadcast on the tube. It (the evening was truly a spectacle. The significance of our culture was made plainly apparent by a handful of electron guns scanning the 525 line of our teleprompter existence. If you did not receive and invitation to the event, submit your pedigree--you may be invited to the next one.
The "TWO EVENINGS" event will be a time for everyone to simply explore, view, and produce various visual works. We will have a the Institute two SCM photo-copying machines (#1200 and #152) which are capable of reproducing half
-tones (photos). The purpose is to allow as many people as possible to create there own works and to put that on our official Institute walls. Come prepared with a box full of two-and tree-dimensional objects to copy.
Under the auspices of KEITH JOHNSON we will have a "T.V. ELIMINATION HOUR". for a nominal donation (10 dollars). PMVI will provide a portable or console T.V. sledge-hammer, and a photograph of the devious act. (Upon special arrangement the smash can also be videotaped.)
PMVI recognizes that we all live in a transient commodity culture. The necessity to capture or comprehend something before it disappears is a trait not peculiar to America. We produce it, sometimes use it (not always), then discard it in a not so-fashionable manner. Why the obsession with producing so much of everything? Is there a segment of the commercial we're missing? Are we only looking at bits of a story and not looking at the whole one? Come to one of the "TWO EVENINGS' and observe the bits and pieces that make up a transient story in video, music, photographs, sculpture, film, and a performance, including "T.V. GUIDE POETRY".
The space at 133 HAMILTON STREET is being used to occasionally stage relatively small events and /or transient exhibitions. The traditional support system (galleries, museums) is abysmally limited and tends to separate the artist from the public. PMVI is part of a system that will help change attitudes about the "passive recipient of art" problem. The methodology is participation, art is not necessarily a spectator sport.
Our next event will be slides that tell stories, Anyone possessing a slide or slides that visually or verbally conveys a thought should submit work by January 20, 1979. Showing: February 3, 1979, 8pm.
Paul Rutkovsky
Special Thanks to:
BEVERLY RICHEY
JANIELLE FINCH
SERMISAI SNIDVONGS
PUBLISHED BY PAPIER MACHE WORKS
A SUBSIDIARY OF PMVI
133 HAMILTON ST. NEW HAVEN, CT. 06511 USA
203-777-0906, 387-5974
PRAY FOR ANOTHER ISSUE.
IT MAY COME SOON.
WE WELCOME ALL TRANSIENT
INFORMATION. SASE PLEASE, IF
YOU WANT IT RETURNED.
THANK YOU, THANK YOU, SCM, FOR THE MACHINES.
Hamilton St. is east of I-91 between Grand Ave. and Chapel St. ,
diagonally across from the Coup DeVille. The Institute is in the
back courtyard on the fourth floor of the old Hamilton
Clockworks bldg. Watch for PMVI directions
MORE ABOUT: PMVI/NEW HAVEN MUSEUM "FACTORY" ARTICLES/VIDEO
Mary Hunter Wolf with Gov Ella T. Grasso and Martha Graham
But I think that one of the things that's most important is the pressure to look at arts organizers, arts administrators as somehow coming from this mystique of the business world and it's so important that they be corporation copies, and I hope they're going to resist that firmly and know that their strength and their future and their real career lie with the tightest association that they can possibly manage with artists themselves, because to build in significant places of the leadership women who are looking to the corporate world for the structure and the management of their job, the bottom is going to fall out if they are not close, intimate understanding and I personally feel, to some extent practicing artists in some discipline or other so they know what the creative process is.
1982 ARTS COUNCIL ARTS AWARDS; The New York Times, Sunday, May 2, 1982 Connecticut Journal
1982 ARTS COUNCIL ARTS AWARDS
THE NEW YORK TIMES, SUNDAY, MAY 2, 1982CONNECTICUT JOURNAL
Mary Hunter Wolf, Murry Sidlin, right and Paul Rutkovsky, recipients of the 1982 awards from the Arts Council of Greater New Haven.
Annual awards of The Arts Council of Greater New Haven, the these three such awards in state, will be bestowed from 4 P.M. to 6:30 P.M. Saturday in the Yale University Art Gallery. Former Mayor Richard C. Lee will preside for the third year as master of ceremonies and Mayor Biagio DiLieto will make the presentations to the four recipients.
"The production of art in this region is so spectacular," said a spokesman for the council, "that an event of this kind is warranted."
The program will begin with a violin solo by Paul Kantor, followed by a one-act play titled "The Switchman," written by J.J. Areola and adapted for the stage by D.W. Faulkner.
For "achievements, services and artistic accomplishments which serve as an inspiration and standard of excellence to the arts community of South Central Connecticut, " as the presentation will read, hand-calligraphed scrolls will be presented to the 21-year old Creative Arts Workshop of New Haven, and to Murry Sidlin, conductor of the New Haven Symphony Orchestra.
Those to be cited for "exceptional growth and for exploring new forms and ideas," are Paul Rutkovsky, 35 year old performance artist and founder of Papier Mache Video Institute, and Mary Hunter Wolf, theatrical director, producer, television editor, actress and former chairman of the State Commission on the Arts, whose career began in 1927.
A special Laureate Award will be presented to Laetita Pierson for "continuous exemplary service to the the arts in the region." Mrs. Pierson had a significant role in forming the Arts Council, the Audubon Arts Center in downtown New Haven, the Creative Arts Workshop and the program of public plantings by the New Haven Garden Club. She will have a show of her own drawings and paintings at the Creative Arts Workshop, May 14-19.
The awards ceremony will end with a reception in the Gallery Sculpture Hall. Tickets at $12 must be reserved in advance by calling 772-2788.
Tuesday, January 21, 2020
Monday, January 20, 2020
PRESS RELEASE: PMVI "THE FIRST SHOW OF 1984"
PAPIER MACHE VIDEO INSTITUTE
PRESS RELEASE
THE FIRST SHOW OF 1984
A RETROSPECTIVE
NOVEMBER 5, 1983
7:30 P.M.
ONE NIGHT ONLY!
One Saturday, November 5, 1983, at 7:30 P.M., Papier Mache Video Institute will present a multi-media event, The First Show of 1984, at 133 Hamilton Street, New Haven, Connecticut.
The 25 artists in the show will interpret aspects of George Orwell's novel, 1984, in their work. This will include set installations such as sculpture, painting and drawing, combined with performance pieces such as mime and dance, and purely visual effects through video and light displays.
The event is open to the public and admission is one dollar. For further information, call 281-7860.
Hamilton Street is east of I-91 between Grand Avenue and Chapel Street.
CONTACT; Beverly Richey
281-7860
777-0906
Andrea Rossi
288-4110
Press Release: Visual Events in Various Rooms
PMVIPAPIER MACHE VIDEO INSTITUTE
PRESS RELEASE
Papier Mache Video Institute will present Visual Events in Various Rooms Oct. 23, 8;00 P.M., at 133 Hamilton St., New Haven, Ct. Enter on St. John's St. across from the Silver Saddle Saloon.
The Animal Room will feature a group exhibit containing "The Farm Installation" by ANNA BRESNICK and FRAN REAL; paintings by JOAN GARDNER, "Entrances and Exits of Animals"; and a dart gun elimination game by FRANK GARDNER, "Random Roads to Extinction". BEVERLY RICHEY will exhibit a room of graphite works on paper. JACK HARRIETT will display an imitation backyard, including birdbaths and birds. In another room, BEN WESTBROCK will be exhibiting "Abstract Environmental Sculpture".
"The Artificial Store" (PAUL RUTKOVSKY) will be open with cultural refreshments available at discount prices.
Hamilton St. is east of I-91 between Grand Ave. and Chapel St.
CONTACT: Paul Rutkovsky
387-5974
777-0306
ROBERTA CHAMBERS: 1986 "HUMAN ARTS FLOAT"
1980'S NEW HAVEN ARTISTS UNITED-ONLINE ARCHIVEhttps://www.facebook.com/groups/514691815799451/permalink/561405634461402/
For Connecticut’s 350th Birthday in 1986 a parade was New Haven’s celebration. SNET sponsored an art section that City Spirits organized. It would be a “human float” with the Art Officials out front, the band Mikata playing and students from Roberto Clemente school dancing/marching. City Spirits asked me to design & make all the costumes, their designer had quit, so I had a short amount of time to do it in. Readymades! I ordered dozens of sweatshirts & sweatpants which at that point were rarely worn outside of gym & track. I picked a rhyming term for each of the arts: cues = acting, blues = music, hues = visual art, toe shoes = dancing and muse = writing then silkscreen printed them on the sweats in random order/placement so each set would be different.
Their designer had made a drawing of gowns with one letter each on the front spelling ‘SNET” and ‘ARTS’ which I fabricated for the dancers. I made loose colorful cotton ‘berets’ and used the gown material for zany turbans with wire & tassels. Since it was almost springtime I made enormous tulle rose hats for the Art honchos who decorated their own sweats and also wore hardhats.
We assembled on April 19th at the Yale Bowl and marched/danced down Chapel Street.
Sunday, January 19, 2020
Friday, January 17, 2020
Thursday, January 16, 2020
PMVI 1984; Industrial Art, New Haven Advocate, Mary Beth Bruno
Industrial ArtNew Haven Advocate
by Mary Beth Bruno
This Saturday, Nov. 5, a vast loft in a New Haven industrial building will be transformed into a giant art gallery. Members of the Papier Mache Video Institute (PMVI) will be the transformers, bringing in paintings, drawings, installations, sculptures, video, mime and performance pieces by over 25 artists. Each of the works will be an interpretation of some aspect of George Orwell's novel, 1984.
This will be The First Show of 1984.
It will also be the first show that PMVI has mounted in a while. Founded in 1978, PMVI is a New Haven institute that promotes and exhibits artistic activities of a transient nature: photography, video, performances and other works not commonly found in traditional galleries or museums.
Some of the highlights of The First Show of of 1984 will include "The Artificial Store." featuring the T-shirts, scarves, posters, and postcards of Roberta Chambers; a military wedding cake by Beverly Richie [sic] a performance of Haircut'84 by Boston based artists Tim Conant and R.J. Doughtey; stuffed, pulled and found forms by Andrea Rossi; the 1984 Quiz, a three dimensional piece by Jack Harriett; and a red-tape cell installation by Michael Vuksta. The whole evening of activity will become a work of art itself when documented in color video by Betsey Haynes.
The First Show of 1984 will be presented at 133 Hamilton St., which is east of I-91 between Grand Avenue and Chapel Street. Doors will open at 7:30 p.m.The one-day event is of course open to the public, and admission is $1. For more information, call 281-7860.
1984 typed articles....
Pre Event:Industrial Art; by Mary Beth Bruno The New Haven Advocate
Article in Advance of the Show
Pre Event: Artists Interpret Orwell New Haven Register Kathleen Katella
https://mymuseumess.blogspot.com/2013/07/artists-interpret-1984-new-haven.html
Post Event: 1984 New Haven Advocate; Mary Beth Bruno
http://mymuseumess.blogspot.com/2013/08/1984.html
Post Event: Artists Band together Roger Baldwin
The Paper-Mache Video Institute
by Bud Brenner (a senior at Stillman college; Yale University)
THE NEW JOURNAL VOL. 14 #2 10/24/81 Yale Univ. Publication
OTHER RICHEY RELATED ARTICLES:
Wednesday, January 15, 2020
Curt Pardee "Reprogamming Booth" 1980'S NEW HAVEN ARTISTS UNITED-ONLINE ARCHIVE
1980'S NEW HAVEN ARTISTS UNITED-ONLINE ARCHIVE
My installation for the 1984 Show we held in Novenber [sic] 1983 was a Reprogramming Booth. The idea was a capsule which an individual would get inside and there be bombarded with visual cues chosen to break the corporate spell we are subjected to on a daily basis. I will start with a simple diagram of this installation.
ROBERT GREGSON: The Molson Summertime Street Festival
1980'S NEW HAVEN ARTISTS UNITED-ONLINE ARCHIVE
In the late 1980s Mark Cestari asked me about creating a street festival to take advantage of the new Tennis Tournament. We called it The Molson Summertime Street Festival. It was a thrill to collaborate with Jamie Burnett doing lighting and production, Jeff Burnett and Nikila Cole hired the talent. I think we had three stages and several informal performance areas -- plus a beer garden!
Tuesday, January 14, 2020
PMVI PAPIER MACHE VIDEO INSTITUTE; MYSTERIOUS SERIOUS FIRES
Photo in Working album: Early PMVI - Google Photos
PMVI
PAPIER MACHE VIDEO INSTITUTE
POST CARD INVITE
MYSTERIOUS SERIOUS FIRES
PAUL RUTKOVSKY
April 21, 1979, 8:00 p.m
Papier Mache Video Institute
133 Hamilton Street, New Haven, CT.
4th Floor, in the rear
PMVI is not responsible for any mysterious serious fires
donation: $1.00
Document/Handout: Mysterious Serious Fires (PMVI/Hamilton Street Event)
MYSTERIOUS SERIOUS FIRES
PAUL RUTKOVSKY--PAPIER MACHE VIDEO INSTITUTE
"LIGHT MY FIRE" -- ENOCH LIGHT SINGERS
*INTRODUCTION OF CHARACTERS
THIS IS THE HOUSE
THIS IS THE BUS
THIS IS THE PLANE AND CAR
*VIDEO FIRES
NEW YORK, NEW YORK; JANE MCWILLIAMS MYSTERIOUSLY BURNS TO DEATH ON HER LIVING ROOM FLOOR, NOVEMBER 3, 1976
OKLAHOMA CITY, OKLAHOMA: A SCHOOL BUS LEFT ON THE CORNER OF GREEN AND ALBERT STREETS MYSTERIOUSLY BURNS ON JANUARY 16, 1976.
HILO, HAWAII: MR. FRANZ ROLAND'S PLANE AND CAR MYSTERIOUSLY BURN ON JUNE 17, 1975.
*FIRES BEGIN
HOUSE
BUS
PLANE AND CAR
*FRIES END
MYSTERIOUS SERIOUS FIRES MATCHBOOK
SPECIAL THANKS TO: SERMSAI (DICK) SNIDVONGS
FRAN CUTRELL RUTKOVSKY
BEVERLY RICHEY
SANDRA JONES
MORE PMVI PHOTOS AND INFO HERE:
PAPIER MACHE VIDEO INSTITUTE
POST CARD INVITE
MYSTERIOUS SERIOUS FIRES
PAUL RUTKOVSKY
April 21, 1979, 8:00 p.m
Papier Mache Video Institute
133 Hamilton Street, New Haven, CT.
4th Floor, in the rear
PMVI is not responsible for any mysterious serious fires
donation: $1.00
  |
MYSTERIOUS SERIOUS FIRES
PAUL RUTKOVSKY--PAPIER MACHE VIDEO INSTITUTE
"LIGHT MY FIRE" -- ENOCH LIGHT SINGERS
*INTRODUCTION OF CHARACTERS
THIS IS THE HOUSE
THIS IS THE BUS
THIS IS THE PLANE AND CAR
*VIDEO FIRES
NEW YORK, NEW YORK; JANE MCWILLIAMS MYSTERIOUSLY BURNS TO DEATH ON HER LIVING ROOM FLOOR, NOVEMBER 3, 1976
OKLAHOMA CITY, OKLAHOMA: A SCHOOL BUS LEFT ON THE CORNER OF GREEN AND ALBERT STREETS MYSTERIOUSLY BURNS ON JANUARY 16, 1976.
HILO, HAWAII: MR. FRANZ ROLAND'S PLANE AND CAR MYSTERIOUSLY BURN ON JUNE 17, 1975.
*FIRES BEGIN
HOUSE
BUS
PLANE AND CAR
*FRIES END
MYSTERIOUS SERIOUS FIRES MATCHBOOK
SPECIAL THANKS TO: SERMSAI (DICK) SNIDVONGS
FRAN CUTRELL RUTKOVSKY
BEVERLY RICHEY
SANDRA JONES
MORE PMVI PHOTOS AND INFO HERE:
PMVI STATEMENT OF PURPOSE PAPIER MACHE VIDEO INSTITUTE 1978
1980'S NEW HAVEN ARTISTS UNITED-ONLINE ARCHIVE
DOCUMENT TEXT:
PAPIER MACHE VIDEO INSTITUTE
The institute, founded in 1978, is a multi-purpose space that promotes and exhibits activities of a transient of a transient nature (photography, video, performance, including the PMVI newspaper, posters, postcards, etc. PMVI is my studio, plus several raw spaces (approx. 2000 sq. ft. each) that are used for various events. the purpose is to show work that is not commonly found in a traditional gallery or museum, of which there are many in this region.
The Institute is not subsidized and therefore does not pay a fee to exhibitors or performers, individuals receive 50 to 75% of the door depending upon who assumes responsibility for invitations (publicity and other paraphernalia.
PAPIER MACHE VIDEO INSTITUTE
The institute, founded in 1978, is a multi-purpose space that promotes and exhibits activities of a transient of a transient nature (photography, video, performance, including the PMVI newspaper, posters, postcards, etc. PMVI is my studio, plus several raw spaces (approx. 2000 sq. ft. each) that are used for various events. the purpose is to show work that is not commonly found in a traditional gallery or museum, of which there are many in this region.
The Institute is not subsidized and therefore does not pay a fee to exhibitors or performers, individuals receive 50 to 75% of the door depending upon who assumes responsibility for invitations (publicity and other paraphernalia.
Sunday, January 12, 2020
PMVI 1984 Google Albums... the NH trip - Google Photos
Art Documentation Images... the NH trip - Google Photos
https://photos.google.com/album/AF1QipNxesvsh6tNmxbjKf22L1IIk64tJPhzPvmcwLNm
https://photos.google.com/album/AF1QipNxesvsh6tNmxbjKf22L1IIk64tJPhzPvmcwLNm
2018 visit to Hamilton Street
https://photos.google.com/album/AF1QipN77FufnEzvmj3U_TDiJymFnSpLkye-XOT61VPp
The whole hamilton street shoot
https://photos.google.com/album/AF1QipOaoLgYYUe-RuENk9xnCb8M2BDwThemtkGR2xd5
Hamilton Street
https://photos.google.com/album/AF1QipMLhZjGCx7GeU9CbqVg8aVYjRwagjDYSydPyzeb
More of the above I think....
https://photos.google.com/album/AF1QipPywN3deoWVR4tHxKM2QcpATaM_6fE6eyCX4bu4
Filming day with materials in the trunk of the car...
https://photos.google.com/album/AF1QipMKWxmyIYlPJwCJqvIdziGKdJTqnSGbT-2nGDC5
MISC. PMVI
https://photos.google.com/album/AF1QipOYT9-5atu65ewfizzgjDQNLzBBFTbArjVAU4tt
Document for the NH Museum
https://photos.google.com/share/AF1QipMUBCa67ybwFiX89w6N8TW5ggcyuzEIv0-bA5sBCWuwHJahXsT57rEJsuN8R5Ch1A?key=cGVEWGVMVTZNMVlKUkJRRjYxQVp5dVRfQ2tBU01B
https://photos.google.com/album/AF1QipNxesvsh6tNmxbjKf22L1IIk64tJPhzPvmcwLNm
https://photos.google.com/album/AF1QipNxesvsh6tNmxbjKf22L1IIk64tJPhzPvmcwLNm
2018 visit to Hamilton Street
https://photos.google.com/album/AF1QipN77FufnEzvmj3U_TDiJymFnSpLkye-XOT61VPp
The whole hamilton street shoot
https://photos.google.com/album/AF1QipOaoLgYYUe-RuENk9xnCb8M2BDwThemtkGR2xd5
Hamilton Street
https://photos.google.com/album/AF1QipMLhZjGCx7GeU9CbqVg8aVYjRwagjDYSydPyzeb
More of the above I think....
https://photos.google.com/album/AF1QipPywN3deoWVR4tHxKM2QcpATaM_6fE6eyCX4bu4
Filming day with materials in the trunk of the car...
https://photos.google.com/album/AF1QipMKWxmyIYlPJwCJqvIdziGKdJTqnSGbT-2nGDC5
MISC. PMVI
https://photos.google.com/album/AF1QipOYT9-5atu65ewfizzgjDQNLzBBFTbArjVAU4tt
Document for the NH Museum
https://photos.google.com/share/AF1QipMUBCa67ybwFiX89w6N8TW5ggcyuzEIv0-bA5sBCWuwHJahXsT57rEJsuN8R5Ch1A?key=cGVEWGVMVTZNMVlKUkJRRjYxQVp5dVRfQ2tBU01B
ARTICLE 1981: The Paper-Mache Video Institute; Paul Rukovsky
by Bud Brenner (a senior at Stillman college; Yale University)
THE NEW JOURNAL VOL. 14 #2 10/24/81 Yale Univ. Publication
The harvest moon shines brightly above the massive hulk of industrial silhouettes in New Haven's warehouse district. Hamilton Street is silent, lit by persistently pink mercury street lights. Romance pervades every darkened corner of the Bethany Shift Works building. A man in a tuxedo and battered sneakers makes his way up five flights of creaky stairs; a woman's rhinestone tiara glistens in the factory's greasy parking lot. A small crowd gradually congregates upstairs in the studio headquarters of the Paper Mache Video Institute. Tonight a time-honored American tradition finds new meaning, new vitality, in the Institutes's long awaited, sixth annual Miss America Spectacular.
A battery of television sets lined up against one wall of a darkened room assail the viewer. Most are tuned to the Miss America Pageant, and the plastic glory of Atlantic City, New Jersey, is reproduced in Technicolor throughout the room. Many of the sets are wildly mis-tuned, with nearly fluorescent orange and green tones, sound blares loudly across the room in a distorted chorus.
A young boy plays with a video tennis game, oblivious to a Brooke Sheilds commercial echoed some twenty times in front of him. Grown men manipulate toy tanks with remote-controlled radios. From behind a large wooden cut-out tank, people help themselves to wine and cucumber dip.
PMVI is no by any means a typical art gallery. Indeed, there are those who would insist that the Institute has absolutely nothing to do with art.
"I'm dedicated to avoiding art, " muses Paul Rutkovsky, the patron saint of PMVI. Rutkovsky, who founded the Institute teaches at New Haven's Pair School of Art. He keeps a low profile, focusing attention on his work. "We live in a time where museums are cathedrals; they've served their purpose for holding icons of the past. This is why I have a passion for reaching out to a different audience, one that has nothing to do the A.R,T. world. What is vital to our culture is off the picture plane, out of the proscenium and into the department stores and onto the highways." A large sign at the entrance to the Institute (which actually is located on the top floor of an old shirt factory) reads "Dedicated to the Promotion of Transient Culture." The medium? Xerox, of course.
Rutkovsky choose to construct most of his sculptural installations out of transient materials; video tape and papier mache figure prominently. Both decay in a comparatively short time span. Huge houses, built of papier mache and reaching anywhere from floor level to nearly ten feet high, haunt one area of the studio of the Institute. Contained within each one is a flickering video display. As the view peers into the windows of each house, he or she enters into a smaller world. In one house, the video display consists of a child's head, the figure composed of papier mache relief, the video screen comprising a face, which changes from a smile to tears over time.
In a taller house, a man sits in front of a silent TV screen, and the viewer gazes past him through another window to an alleyway and into a video display of a street beyond it. Rutkovsky says the houses represent the forced containment of people in their individual boxes, houses, cars and institutions are rigid enclosures of isolation. The inclusion of video screens serves as a reminder of television's omnipresent impact on our lives. People learn to relate to an inanimate box instead of each other.
There is stark sense of irony in Paul Rutkovsky's work, Confronting the culture's obsession with death machines with a childlike innocence, he combines some rather ugly images with happy colors and buoyant gesture. A recent exhibit, entitled "Paintings for the Future," consisted of sixty or seventy small paintings lined up on white walls. Rutkovsky remarks that they are representatives of military war machines in very slick fashion, I just wanted to present them in a highly designed mode. It was actually a very cynical presentation. because, because they were so pretty-graduated colors, muted greys. My cynicism hides occasionally, but it was out this month. "Subject matter included airborne missiles gliding past the upturned tails of happily leaping whales, studies of tanks and a detailed mini-series called "Marty Watching TV,"which depicted a young man with vacant face in front of various colored television sets.
Television is a recurring theme in Paul Rutkovsky's work. As a video artist he has created a number of unusual tapes, including one which was presented at a Stillman Sheep's Clothing concert a few years back, a piece entitled "How to Draw" In the videotape, Rutkovsky appears and shows the viewer how to draw various objects (such as a sink, cat, etc.,) and objects and finally shows a filmed demonstration of each object in use. The last lesson demonstrates the drawing of a gun, and the video protagonist is assassinated at the end of the lesson. One reason why Rutkovsky's work is so accessible to those "untrained" in art, and appreciated by those who might normally reject it out-of-hand, is that no abstraction is carried beyond everyday life. If it can be translated into television terms, it can be understood by any modern person.
Needless to say, there are strong political overtones to Rutkovsky's art. However, there is no ideology involved in its presentation, no preaching. He says his creations simply reflect militaristic attitudes rampant in today's world. A show upcoming in Los Angeles, opening on November 14 at Contemporary Exhibitions, is called "Airplane Remnants" and consists of a Korean War bomber control panel, whose switches are operated by Rutkovsky. Portable tape players and hanging lights are placed at different points in the gallery,, scattered among wings, stewardesses cockpits, pilots, wheels, bullets, tail fins, and missiles. Rutkovsky operates the lighting and sound selections at whim: sounds include recordings of an atomic bomb explosion, bullets, and machine guns. The audience wanders about the gallery viewing the changes through plastic opera glasses and filling out order forms for their favorite airplane remnants. the message behind the art, in this case, is gleaned through direct participation.
Participation is what an evening at a Papier Mache Video Institute opening is all about. At any given moment, you, the viewer, might be drafted to zerox [sic] your face in slow motion or assist in the photography of a seltzer bottle being shot at a live electrical wire. Artists are are always willing to discuss their work, and the physical layout of the Institute is intriguing. at times a bit confusing, because the walls are moved periodically. the surrealistic surroundings of a totally industrialized neighborhood offer a vista refreshingly unlike Yale's ivory towers.
Although the Papier Mache Video Institute is held together largely by Paul Rutkovsky's imagination and a little rubber cement, it is the home of numerous exhibits and performances created by other artists whose interest range from the mildly avant-garde to the wildly incomprehensible. Sound sculptures, painting displays, video and film projection and performance pieces are all part of the Institutes's calendar. New York's Carmen Beuchat performed two evenings of modern dance on October 16 and 17. Her performances, according to Paul Rutkovsky, "include works that combine pure dance with mixed media modes that are both mysterious and exhilarating."
Another opening, entitled "Visual Events in Various Rooms" premiered on October 23. A number of artists have collaborated on this one, the Animal Room features a group exhibition containing "The Farm Installation" by Anna Bresnick and Fran Real, paintings by Joan Gardner called "Random Roads to Extinction." In addition Jack Harriett displays imitation backyard (complete with birds and birdbaths). Beverly Richey's graphite and paper works and Ben Westbrock's "Abstract Environmental Sculpture" fill a room each. Rutkovsky's ever-popular Artificial Store is also open, offering "cultural refreshments at discount prices."
One attraction tentatively being planned is the creation of the Hamilton Street Country Club, which will feature a 9-hole miniature golf course, papier mache landscapes, souvenir T-shirts and golf caps and assorted toys. Rutkovsky terms the work "a recreational art piece," viewers will be encouraged to play on the course.
"The Papier Mache Video Institute is located at 133 Hamilton Street, in New Haven. The studio phone number is 777-0906. Paul Rukovsky welcomes inquires about exhibits and is always open to presenting new works at the Institute. Whether you're dedicated to art, dedicated to avoiding art or simply into watching television PMVI is an adventure for the senses.
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