Monday, March 28, 2022
Sunday, March 27, 2022
Saturday, March 26, 2022
ERIC KANDEL, This is your brain on art: A neuroscientist's lessons on why abstract art makes our brains hurt so good | Salon.com
This is your brain on art: A neuroscientist's lessons on why abstract art makes our brains hurt so good | Salon.com
MISC. # Hastags....
Untitled document - Google Docs
https://docs.google.com/document/d/1HfaLIiBKfoAJO_NpQqz8sAt6GhbsrqXGVlzPE2LWrpE/edithttps://docs.google.com/document/d/1HfaLIiBKfoAJO_NpQqz8sAt6GhbsrqXGVlzPE2LWrpE/edit
Wednesday, March 23, 2022
Artspace Asks: "Who Governs?"
Artspace Asks: "Who Governs?"
Artists frame history as a living thing, and the show is better for it. Across from Mitchell’s introductory text, Richey has created an archive around The A-Mazing Bureaucratic Birthday Cake, a June 1988 art installation designed and consumed for the city’s 350th birthday celebrations on the New Haven Green. At the time, Richey was a member of the then-fledgling Arts Council of Greater New Haven and a working artist herself. Biagio DiLieto was serving what would be his last term as mayor. Festival coordinator and artist Robert Gregson commissioned Richey for the piece.
To complete the project, she worked with a team of 50 artists-turned-“cake commissioners,” as well as members of the Arts Council of Greater New Haven, the New Haven Register, and Leon Weinberg of the now-defunct Leon’s Bakery to build a large, scalable iced replica of City Hall and provide enough sheet cake to feed 3,500 city residents. True to the installation’s name—and its attempt to mirror city policy—residents had to make it through a maze to receive a piece of cake, for which they received a permit for consumption. Even the building and its iced replica resonated: Henry Austin built New Haven’s gingerbread house of a City Hall in 1861, exactly 100 years before Who Governs? was published and 127 years before the city's birthday.
Amidst parades, horse-drawn carriage rides, live music and dancing on the Green in 1988, cake commissioners and celebrity guests doled out sweet slices with permits to consume cake. They used rubber stamps for fork usage and appropriate cake zoning. Richey’s aim was not just celebratory: she also intended to remind DiLieto and the city’s Board of Alders (then dubbed the Board of Aldermen) that there was an acute need for affordable artists' housing across the city. It’s a need that still exists—and is perhaps exacerbated by New Haven’s number of luxury apartments—today.
In the gallery, Richey has assembled a small display that walks viewers through the installation, with photographs, preserved rubber stamps, old programs and a screen-printed shirt from the event. It’s a window into history that is both cheeky and instructive: the things Richey was asking for in 1988 are still things artists are asking for today. The only difference is that New Haven is 32 years and four mayoral administrations older than it was then.
When a viewer sees a faded yellow “permit to eat cake,” they may be reminded of the long, confusion-riddled showdown between artists and alders over who got to live in the Hamilton Street Clock Factory last year. Or, perhaps, the narrow-eyed befuddlement that often strikes first-time presenters to the city’s Historic District Commission, when a ten-minute request is met with four hours of debate. Or the Board of Alders' struggle to balance the city budget each year when 60 percent of the city’s grand list is tax exempt.
"The bureaucracy involved frightens, inspires and fascinates me," Richey told the New Haven Register in June 1988. "But through it all I've discovered that systems, hierarchy, aren't necessarily bad, that in certain cases they are essential to get things done. It's been quite a stretch for me working with so many individuals and groups."
FHP: 2NU4U2C* Artist Bio
ARTIST BIO: 2020 BEV RICHEY
Born in New Haven, CT, Bev Richey was exposed early in life to the separation of head and heart and raised in an intellectual community while living in a spiritually intuitive Jewish home.
This early dichotomy continues to inform her art practice.
As an artist, arts organizer, and arts administrator she encouraged and supported artists and non-artists alike to work together on ephemeral public artworks. This work reached a pinnacle with a commission by the city of New Haven that incorporated over a hundred active participants from diverse backgrounds working together to develop and deliver over 3500 pieces of birthday cake free to the New Haven community.
Having accomplished numerous artistic goals related to community and inclusivity, Richey was then ready to move on. Her experience growing up in a deeply divided community created an interest in exploring issues related to private versus public. This made the midwest fertile ground for her interests. Settling on a ridge in the driftless region of Wisconsin, Richey was inspired and informed by the natural world as well as the nearby small communities.
A move to Milwaukee a decade later brought the opportunity for her to re-engage in urban culture. She was able to advance her interest in advanced Art History studies at UWM and in 2013 joined the Midwest Jewish Artists Laboratory. The Midwest Jewish Artists’ Laboratory was founded and directed by Jody Hirsh, Jewish Education Director funded by the Covenant Foundation. The MJAL became central in Richey’s art life. She credits the focus of a yearly theme of study, monthly study sessions with an annual exhibition requirement, combined with developing relationships with other Jewish artists, as a critical factor in her current studio practice. After six years of active LAB participation, Richey remains committed.
Richey has an undergraduate degree in psychology followed by university studio art classes, an artist apprenticeship, and advanced studies in Art History. In her early years working as an arts administrator, she co-founded and co-directed several artists’ organizations while serving on local nonprofit arts boards.
Tuesday, March 22, 2022
1980'S NEW HAVEN ARTISTS UNITED-ONLINE ARCHIVE | ***FYI: I worked on this post as a way to prepare for the exhibit at the New Haven Museum | Facebook
LINK TO FB POST:1980'S NEW HAVEN ARTISTS UNITED-ONLINE ARCHIVE |
FYI: I worked on this FB post in 2019 as a way to prepare for the exhibition at the New Haven Museum, Ct.
It is has over 50 IMAGES with INFORMATION LINKS.
Documenting the exhibit in a post....
PMVI "The First Show of 1984"
"1984 began early in New Haven when 700 people waited in the cold two weeks ago to see a multi-media art show based on the themes of Orwell's novel. Sponsored by the Papier Mache Video Institute, the show was held in a large industrial loft off Hamilton Street. By most accounts, it was a smashing success. It certainly wasn't just another white wine and cheese affair..." Mary Beth Bruno, New Haven Advocate Vol. X No.15 November 23, 1983
FULL ARTICLE HERE: https://mymuseumess.blogspot.com/2013/08/1984.html...
Monday, March 21, 2022
Mixed Use - Daily Nutmeg FACTORY
Mixed Use - Daily Nutmeg
"Covering nearly two city blocks along Hamilton Street, the massive space, where untold New Haveners produced and assembled timepieces, became the perfect place for those who preferred to fly under the radar. Among them were the Papier Mache Video Institute (PMVI), founded in 1978 by Paul Rutkovsky, an artist and a fellow at Harvard’s Institute for the Study of the Avant-Garde, and later taken up by experimental artist Beverly Richey. She created a legendary one-day exhibition at the factory in 1983 titled 1984, which 700 visitors lined up to see. PMVI took on the issues of the day—issues not likely to be addressed by mainstream galleries and museums—including “feminism, war, capitalism, elitism, Urban Renewal and ‘TV mono-culture.’” Artifacts of the group’s life inside the factory are on view in Factory, including video footage of multimedia installations (made, in part, of papier mâché), a performance piece on “how to draw a sink” and artists at work and in video portrait closeups.
Friday, March 18, 2022
Thursday, March 17, 2022
Waterboarding: Last Gasp for Habeas Corpus and the Geneva Conventions - YouTube JSG Jonathan Shorr Gallery September 30, 2006
Waterboarding: Last Gasp for Habeas Corpus and the Geneva Conventions - YouTube
 |
| Digital Projections by Beverly Richey 2006 |
"The event took place at the Jonathan Shorr Gallery September 30, 2006, following the passage of the Congressional Military Commissions Act of 2006 earlier in the week."
"The work was collaboratively devised by Duckworth, Landino, and Beverly Richey; texts and materials were collected by Duckworth. Video by Julia Shor; edited by Duckworth. Digital collage created by Richey follows video. In loving memory of Ezra Talmatch." David Duckworth
The event took place at the Jonathan Shorr Gallery September 30, 2006, following the passage of the Congressional Military Commissions Act of 2006 earlier in the week. Role playing the parts of a State now authorized with absolute power over the citizen or non-citizen individual, John Landino coordinated the apprehension and interrogation of David Duckworth as detainee, assisted by gallery visitors. After being suited, hooded and strapped to a canvas gurney, Duckworth was paraded along a section of a New York city street while under interrogation. Returned to the gallery for "torture," Duckworth was then stripped and covered with wet plaster cloth. Visitors applied torn texts from the Military Commissions Act, the Taguba report, a U.S. Army document on Iraqi prisoner abuse, and news accounts covering habeas corpus, torture, the rights of detainees, the United States and its obligation as signatory to international treaties governing these issues, and the moral path of this country in its war on terrorism. Live spontaneously-composed music was provided by musicians. The work was collaboratively devised by Duckworth, Landino, and Beverly Richey; texts and materials were collected by Duckworth. Video by Julia Shorr; edited by Duckworth. Digital collage created by Richey follows video. In loving memory of Ezra Talmatch
Work on this post: Bradley Manning | dpduckworth blog post, photos of projections tow youtubes
Bradley Manning | dpduckworth 
photos of Detainee: The above photographs without captions are from the performance Detainee, organized and performed by the author at The Roger Smith Hotel, New York, from January 29 to February 3, 2007, in collaboration with Beverly Richey (image projection), Max Yawney (wall painting and performance), Patrick Todd (sound composition) and a host of artists and non-artists who participated as interrogators. The photographs are unattributed. The performance was filmed by a bystander and posted at YouTube. It can be viewed at: http://www.youtube.com/watch?v=mFlQv7XeMys
FROM PERFORMANCE at JONATHAN SHORR GALLERY SEPTEMBER 2006
Waterboarding: Last Gasp for Habeas Corpus and the Geneva Conventions, Jonathan Shorr Gallery, 109 Crosby St., New York, September 30, 2006. PERFORMANCE ARTIST, multi-media performance in collaboration with sculptor John Landino, digital artist Beverly Richey, and participation from gallery and neighborhood visitors and passersby. https://www.youtube.com/watch?v=c9L5PcUHkTg
BEVERLY RICHEY'S "HAMDENOTABLE" ARCHIVE/PORTFOLIO: MOVING MEDIA DIGITAL PROJECTIONS
BEVERLY RICHEY'S "HAMDENOTABLE" ARCHIVE/PORTFOLIO: MOVING MEDIA DIGITAL PROJECTIONS
Link to Moving Media Digital Projections:
Missing from this POST are
Reflection Projection
Green Words
Big Brother is Watching YOU
Detainee1- "Detainee" , The Lab, Monday, January 29 through Friday, February 2, 2007. "Detainee"
The Roger Smith Hotel Art Gallery, The Lab, Presents "Detainee"
Art Explores Politics in a Dehumanizing Environment Created with Paint and Digital Projections.
Detainee links the image of the United States of America with its recent decision to implement the Military Commissions Act of 2006, focusing within this performance work on the absolute power that the State has determined is within its moral and political prerogative to hold over any individual. David Duckworth, as a bound blindfolded detainee, becomes the paintbrush with which interrogators paint the American Flag on the floor of the gallery. Digital projections by Beverly Richey, painted walls by Max Yawney, and sound compositions by Patrick Todd, augment this central action by creating an environment in which detached governmental roles in a dehumanizing process is explored.
The Roger Smith Hotel is committed to relaying all types of performance and fine art to the public through its gallery and all of its wall space. With the combination of The Lab's prime location in midtown (Manhattan) and the intensity of Detainee, it is sure to attract the attention of the public. It is both courageous and bold to become involved with such an influential piece of art during such an uncertain time.
Art Explores Politics in a Dehumanizing Environment Created with Paint and Digital Projections.
Detainee links the image of the United States of America with its recent decision to implement the Military Commissions Act of 2006, focusing within this performance work on the absolute power that the State has determined is within its moral and political prerogative to hold over any individual. David Duckworth, as a bound blindfolded detainee, becomes the paintbrush with which interrogators paint the American Flag on the floor of the gallery. Digital projections by Beverly Richey, painted walls by Max Yawney, and sound compositions by Patrick Todd, augment this central action by creating an environment in which detached governmental roles in a dehumanizing process is explored.
The Roger Smith Hotel is committed to relaying all types of performance and fine art to the public through its gallery and all of its wall space. With the combination of The Lab's prime location in midtown (Manhattan) and the intensity of Detainee, it is sure to attract the attention of the public. It is both courageous and bold to become involved with such an influential piece of art during such an uncertain time.
(I felt the need to share this brilliant artistic creation through video, and want to thank its creators!! The following is an excerpt description regarding this live multi-media art exhibit I taped in NYC. "THIS VIDEO MAY NOT BE SUITABLE FOR CHILDREN DUE TO GRAPHIC IMAGES")
Roger Smith
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