and . . . check out:
‘Silver Skull Hunters’ by FRODO MIKKELSEN
a limited edition silkscreen book published & printed by Re-Surgo! . . . out of BERLIN
silver on black heavy paper
16 pages incl cover, 16 x 22 cm
edition of 130, signed & numbered
see: ‘Silver Skull Hunters’ by FRODO MIKKELSEN from Re-Surgo!
while we are at it, also really like the zine by Re-Surgo! partner, ANNA HELLSGARD
‘Wool on Teufelsberg’ – ANNA HELLSGARD
Printed by Gfeller & Hellsgard, Re-Surgo!, BERLIN 2012
2 color silkscreen on 170 g light grey paper
16 pages, 15 x 11 cm, edition of 125, numbered.
see: ‘Wool on Teufelsberg’ – ANNA HELLSGARD / Re-Surgo!
BERLIN imprint Re:Surgo! has just published a beautiful new silkscreened and handbound limited edition art book, curated by STO of CINDERS . . . featuring artwork by artists such as: BRIAN CHIPPENDALE, ALLYSON MELLBERG, KEVIN HOOYMAN, SUMI INK CLUB, KELIE BOWMAN, JESSE ROSE VALA, JULIEN LANGENDORFF, and JOHN ORTH.
Curated Series #05 by Sto
1 color silkscreen, 22 x 16 cm
24 pages + cover
edition of 125, numbered $14 USD
see: Curated Series #05 by Sto
if you are in BERLIN, you can check them out – in person:
In:Surgo! – Torstrasse 110, 10119 Berlin – Mitte, U8: Rosenthaler Platz
CURATED SERIES #05 by STO, Re-Surgo! / ARTWORK on COVER/RIGHT: KELIE BOWMAN
left: JESSIE ROSE VALA
right: BRIAN CHIPPENDALE
left: SUMI INK CLUB
right: KELIE BOWMAN
left & right: SUMI INK CLUB (LUKE & SARA from LUCKY DRAGONS)
left: JESSIE ROSE VALA
right: ALLYSON MELLBERG
just posted on INDIEwire . . .
‘We Live In Public’ filmmmaker ONDI TIMONER has produced a nutshell narrative on the history of a nutshell ‘rocket’ !!
WATCH: The Pivot That Saved Twitter, As Explained by ‘We Live In Public’ filmmaker ONDI TIMONER – video !!
POSTED to artloversnewyork by: KATE CERIGO – WED NOV 21, 2012.
Ondi: “Twitter wasn’t always a social network with 500 million users . . .
Find out from one of the founding team members, DOM SAGOLLA how this monster of communication was born.”
the video is brought to you by Interloper Films (Ondi Timoner) and FastCompany.
from the video:
“in 2005 when I joined them I was the 9th employee. I was head of quality, so I was brought in .. to be the first user.”
– DOM SAGOLLA
“to be a Twitter user . . is to be a JOURNALIST” !!
though outsize $$$ numbers for ‘art’ are mindboggling all around, it’s NOT quite a celebration of art, per se.
more like . . . a banking option with benefits !!
you get to diverse your holdings and park your (immense) $$$ in a hard copy hi-end item, that hopefully . . . you fall in love with as well.
and trust me they got it all locked up, among the players . . . very little if ANY, of the action trickles down to the street level art world and/or market.
ANDY WARHOL/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK, via CHRISTIE’S IMAGES – c/o NEW YORK TIMES
“ANDY WARHOL’S 1962 silk-screen work, ‘Statue of Liberty’ sold for $39 million, or $43.7 million with fees (USD). Much was made of the fact that its red and green colors create a 3-D effect.” – NEW YORK TIMES
3-D !! (duh.)
but damn that Andy Warhol, ALWAYS ahead of the pack, or what !! if it isn’t neon pink camo – it’s 3-D !!
the action took place at CHRISTIE’S NYC, Wed Nov 14, 2012.
“Making much of the fact that it is silk-screened in red over green ink on a white background in a way that creates the illusion of a 3-D image, Christie’s tucked cardboard pairs of 3-D glasses into every catalog.” (!!).
read more: RECORD-BREAKING PRICES at CHRISTIE’S – NEW YORK TIMES/NOV 15, 2012
JEFF KOONS – STAINLESS STEEL ‘TULIPS. PHOTO: CHRISTIE’S – c/o NEW YORK TIMES
JEFF KOONS (B. 1955) ‘Tulips’, high chromium stainless steel with transparent color coating
80 x 180 x 205 in. Executed in 1995-2004.
at the same auction, ‘Tulips’ . . . “a monumental Jeff Koons sculpture of stainless-steel flowers with transparent color coating, from 1995-2004, also brought a record auction price for that artist, selling to a telephone bidder for $33.6 million, well above its $22 million high estimate.”
see: RECORD-BREAKING PRICES at CHRISTIE’S (above link) as well,
and . . .
check out: INVESTOR’S FLY TO CONTEMPORARY ART – NEW YORK TIMES/NOV 16, 2012
everyone knows, the only real sizzle in the art world right now – is in the secondary market, and the only real cutting edge sizzle in the secondary market is, guess who . . . ?
DAN COLEN.
I’d sure like to know what brand of bubble gum he’s chewing, because it sure sticks to the bottom of your foot, er, I mean wallet.
let’s hope the synthetic, cheery-looking stuff, sticks to the paintings, too.
according to the New York Times … “another record price for an artist at auction was set for Dan Colen, ‘S&M’, one of the artist’s abstract canvases created only of chewing gum that was expected to bring $200,000 to $300,000, was bought by WENDY CROMWELL, an art adviser, for $480,000, or $578,000 with fees.”
the action was at PHILLIPS de PURY.
a clear vindication for artlovers . . . which posted vocal support for the ‘sticky’ work, in opposition to the negative review that appeared in the New York Times – when the bubble work first surfaced in a solo show at GAGOSIAN, a couple of years back. the show was titled ‘Poetry’ and ran from SEPT 10-OCT 6, 2010.
see: CHEWING GUM !! DAN COLEN – YOU GO GO !!
SOME ARTLOVERS PIX FROM: DAN COLEN, ‘Poetry’, GAGOSIAN GALLERY, NYC. SEPT 10-OCT 6, 2010
DAN COLON, ‘A Love Story’, 2010
Chewing gum on canvas. 106 x 209 in.
detail, DAN COLEN, ‘A Love Story’. (bubble gum)
DAN COLEN, ‘The Space Between Nothing and Everything’, 2010
Oil on canvas. 131 x 218 in.
detail, DAN COLEN, ‘The Space Between Nothing and Everything’. (oil on canvas)
DAN COLEN, ‘Overture (“Two Minutes in Silver Wells, Two Minutes Here, Two Minutes There, It Was Going to be Over in this Bedroom in Encino”)’, 2010
Half Pipe made of plywood, metal. 92 (H) x 192 (W) x 368 (L) in.
DAN COLEN, ‘Cracks in the Clouds’, 2010. Motorcycles, variable.
DAN COLEN, ‘In a Million Years’, 2010. oil on canvas, 90 x 204 in.
PHOTO OF DAN COLEN in ‘NEST – DASH SNOW DAN COLEN’, a big limited edition ‘coffee table’ book published by DEITCH PROJECTS in 2008.
PHOTOS BY & COPYRIGHT: NANCY SMITH. NYC SEPT 2010
Where is Jack Goldstein?
Nov 14, 2012 – Jan 15, 2013
Venus Over Manhattan – 980 Madison Av, 3rd Floor, Upper East Side, NYC
ART MAVEN SIMON CERIGO WEIGHS IN ON JACK GOLDSTEIN . . .
When I landed in the New York City art world in 1982, there was a lot happening in Soho, but in my opinion the two most important galleries at the time that were showing cutting edge work were the MARY BOONE GALLERY on West Broadway and METRO PICTURES on Mercer.
The interesting thing was that the aesthetics of each gallery were diametrically opposed. BOONE showed expressionist painters JULIAN SCHNABEL and DAVID SALLE, Salle really had a foot in both camps . . . while METRO was showing very cool/ironic conceptual photography, as in CINDY SHERMAN and LAURIE SIMMONS; and appropriation-focused painting by JACK GOLDSTEIN, and WALTER ROBINSON.
I was so impressed by the work in both galleries that by 1983 I tried to buy a big (major) DAVID SALLE from Boone, but there was a waiting list. I recall Mary telling me, “Take a number, there’s a line – 30 odd deep!”.
But in 1984 there was NO line at METRO PICTURES to buy a major GOLDSTEIN lightning painting, 14 feet across and 9 feet high, and it was extremely cheap !! I was able to snap it up before anybody else knew what was happening, for $8,000. this is the truth, believe it or not.
in 1986 I exhibited the painting in an ‘abstract’ group show in my small storefront gallery, SIMON CERIGO GALLERY on Ave A at the height of the original East Village scene. Even though it was a hyper realist lightning painting, I considered it an ‘abstract’ painting because visually – it pulsated in a very formal matter across the surface of the painting. I also included one of Walter Robinson’s spin art paintings, 3 x 3 ft – which looked like a Kenneth Noland ‘target’ painting of the early 60s.
a year later, or so . . . the WHITNEY asked me to lend the painting to a show in their brand new annex in Stanford Conn to which I consented.
by 1989 I had two small children and the Jack Goldstein painting was so big I couldn’t get it even through the window of my 5th floor Tribeca loft. I was also paying about $200 a month for its storage so, needing money to feed my new family, when the young director of a new gallery in Soho, who had seen it at my gallery asked if it was available – I said yes.
it took them a scant 2 weeks to sell it to a Toronto gallery and I realized a good profit, and though sad to lose the piece, I considered myself lucky because the art market collapsed right after the sale. a couple of years later I heard from somebody that the painting .. was in the collection of the National Gallery of Canada, in Ottawa – and the tag beside the painting said: COLLECTION SIMON CERIGO, I guess because I was the first, and only private collector to own it.
the main reason the National Gallery of Canada wanted the piece was because Jack was born in Montreal, even though he grew up in LA.
fast forward to 2005, Jack Goldstein having committed suicide by drugs, whether inadvertant or not, in 2003 at the age of 58, dealers were approaching me and asking whether I still had the Goldstein. regrettably … I had to say, no.
fast forward to last night. I was at VENUS OVER MANHATTAN, the new ADAM LINDEMANN GALLERY on Madison Ave . . . for the opening of their JACK GOLDSTEIN show, their 4th show. the reception took place from 9 pm to midnight to accommodate Lindemann’s fellow collectors who were at the big contemporary art auction, that had started at 7 pm.
titled ‘Where is Jack Goldstein?’, this beautiful show has mostly paintings from the early 80s and late 70s, but also included one of Jack’s famous 16mm films, a loop of the barking dog, titled ‘Shane’, 1975.
Mr. Lindemann, as everybody knows also writes an art column for the New York Observer, in which he is very vocal about the goings on in the art world, and by presenting this show, he has staked out a very bold position for Jack Goldstein vis-a-vie the aesthetic dialog current today.
Mr. JEFFREY DEITCH had taken the opposite position when upon becoming the new director of MOCA, in 2010, he cancelled the museum’s pre-scheduled Jack Goldstein retrospective. the published rationale on Jeffrey’s part for the cancellation was quote, that: “the show was academic.” I don’t find this surprising as Jeffrey is basically considered a “scenester”, and . . . you can quote me on that.
at the opening, Mr. Lindemann remarked to me how it took 20 years, and his death – for Jack Goldstein’s prices to start moving up. on the other hand Jack’s reputation and influence has never waned amongst succeeding generations of young artists and curators.
as an aside, I always wondered why the Jack Goldstein – Metro Pictures relationship ended in the late 80s. so my ears picked up when Mr. Lindemann casually mentioned to me that Jack and Helene, one of the founders of Metro Pictures were romantically involved until it all went south . . for quote “infidelity on Jack’s part”. . . blatantly, that is, in front of her face (!!) with another dealer. although he continued with some specific, and very colorful information, I think we’ll best close by saying that Jack was a notorious big party-down kind of guy .. and, we’ll just leave the rest to your imagination.
JACK GOLDSTEIN (Observatory), 1983 – PHOTO of ARTWORK COURTESY: VENUS OVER MANHATTAN
acrylic on canvas, 60 x 60 inches.
HEADS UP – LAST 3 DAYS !! at the FILM FORUM, OCT 31 – NOV 13, 2012
FILE UNDER: DON’T MISS IT.
GREGORY CREWDSON: BRIEF ENCOUNTERS – A FILM BY BEN SHAPIRO
REVIEWED BY NANCY SMITH. NOV 11, 2012
GREGORY CREWDSON, left, on location.
these past 2 weeks, NEW YORK CITY has seen a lot of tragedy, damage, and loss, due to extreme Hurricane Sandy’s rampage.
culturally speaking, specifically in the art world – probably the biggest loss – was the bad luck timing of this film’s – New York City opening run.
GREGORY CREWDSON: BRIEF ENCOUNTERS, ironically also a film of loss, pivoting on the natural downward spiral that is found in the unending cycle of human, geographic, and economic erosion, even touching on the inevitable degrading of the infra-structure of small town America circa 1940 – is a film that shouldn’t be missed on any account, but which also took on a more poignant local meaning, in the aftermath of Sandy’s path – yet, which lost its biggest play for gathering key audience momentum . . . due to the storm’s complete shutdown of the city.
bad timing to the max.
talk about real-world bad luck . . echoing the ‘down-on-your-luck’ ethos of the work !!
the reviews that managed to surface in the mainstream press, didn’t help.
the worst of the lot, was that dumb idiot chick in the NEW YORK POST, one FARRAN SMITH NEHME, whose under-educated and absolutely dreadful scribble – makes you wonder if she even saw the film. and if she actually did sit herself through an advance press screening – she still didn’t see it. what’s wrong with people, especially the ones who are supposed to telegraph the news.
one: even though it is a documentary – it is an astonishing narrative, and tells a wonderful story. it’s definitely NOT just all about the “astonishing amounts of labor and time” that go into the production of Crewdson’s work, though that in itself is a great reveal . . .
but more important, as to her last sentence . . . “Director Ben Shapiro keeps focus entirely on work, leaving Crewdson himself an enigma.” . . . this is SO ridiculous, and off-base, that all I could think of, besides being happy to be alive, and living on high ground – was, when would my Sandy-downed internet server gonna come back online, so I could refute this garbage, and set the record straight.
GREGORY CREWDSON; BRIEF ENCOUNTERS . . . is the most wonderfully, yet easy-going articulate portrait of an artist I have ever seen, and the artist himself is grounded and articulate to boot.
enigma, NOT !!
no, it’s not all about the work, the “SPEEDIES”, anybody ?!! though it’s obvious GREGORY CREWDSON is all about the work, and it’s a great piece of cinematic storytelling, esp great to be seen on a big screen, as to how it all comes about.
thank you BEN SHAPIRO . . . who produced, directed and PHOTOGRAPHED this film, and who followed Mr. Crewdson around for quite a period of time and, so the film includes, therefore . . . many history-making archival passages.
so, drop everything and go see it – on the big screen, here in NYC at least – during the next 2 days.
it’s the real deal.
I wasn’t that big a fan of Crewdson’s work before, but for sure, I am now.
the real magic in the film, and in the work is just how truly evocative . . . Crewdson’s photographs are. whether filmed on actual locale or created from the ground-up on a ‘production’ set .. we are provoked to see and feel the unspoken fear and sadness that lives in all of us. it’s funny-sad, but quite deeply true – how so much of life as we live it, is not about what we have, or have gained, but what we have lost.
somewhere along the way, in our personal lives, and somewhere along the way, as time passes, and specifically bypasses – the American small town ethos of the 40s, as the metaphor, and the reality.
and the inevitable future.
the only sureness is: all things will change.
a lot of this visual/emotional power comes from how Gregory Crewdson deeply understands his ‘story’ . . . and the detail-oriented vision with which he infuses what is still, even after the all the technical work – just one single frame, a still photograph. he says somewhere along the way that “every artist has one story that they tell over and over” . . . til they get it right.
one of the ways he gets it right, is simply through the use of man-made lighting.
on location, he shoots at twilight, when there is just that small window of camera time available to catch the production’s not day not night, but eerie ‘fictional’ light of an atmosphere, not so much charged, as so . . . incandescently imbued of the unknown. the photographs that result take ‘place’ and makes it: mystery.
without the viewer quite knowing why, at least until you see this film . . .
it’s that ‘captured’ unreal light that is the real ‘fiction’ and secret of these photographs. it’s simply ‘manipulated’ or ‘fabricated’ light as much as any other element – that really drives the scene. and tugs at your emotions. as the viewer, you can’t quite put your finger on the source, what is doing you in. and then the fog truck is called upon to roll through the composed scenario, just before the shutter clicks.
and you get it.
so yes. yes, for the power of great movies. profound photographs. enchanting story-telling, and behind-the-scene docs !!
take a pick-up truck spewing man-made FOG, add some cinematic lighting, and put to scenes of psychologically tinged reality, and you understand that Gregory Crewdson’s photographs are more like paintings, than you could have ever first imagined.
and nowhere near movies, which is the first impression.
watch the trailer & get more info: GREGORY CREWDSON: BRIEF ENCOUNTERS
this is the media poster for the movie.
whatever was I thinking, not using this image for the initial review, after a storm that flooded a great swath of this city and its environs.
well, actually the flood that Sandy unleashed was NOT like this . . . at all. it was more like a dirty mud-filled sucker punch that had no prettiness to it, at all.
and likewise, even though this image, which I guess was picked for its obvious poster-grade mass audience common denominator graphic punch – stands not for the majority of Crewdson’s work, but interestingly more speaks to how . . . he LEFT this way-too surreal, way-too obvious, way-too-easy-to-read brand of visual ‘fiction’ behind. and for the better.
in fact you could say a really compelling subtext of the film is actually how it follows the evolution of the work back and forth as time goes on, and reveals Mr. Crewdson’s evolving artistic decision-making. and his, finally – deeply gathered ability to distill a ‘vision’ – that is so pure and perfect – that it makes for a deeply singular and profound body of work.
it’s like . . . he had several aesthetic paths, esp once he got with the big bucks, to tell his story. and he pared down the surreal, and upped the Walker Evans.
it’s interesting therefore to watch how in touch he is with himself, and what he wants to say . . . about the world around him, and the great dark mystery of it all. he doesn’t need to discuss it, it’s just that ‘key’ that he left this garish hyper-surrealism layering behind, and concentrated on the classicism and silence of less ‘mentally’ composed scenes.
it’s …. feeling .. . stripped down, not amped up, that is WORKING here.
it’s really all about the lighting and the details, not a super-imposed ‘drama’. we aren’t distracted by a ‘thriller’ of a pictorial narrative that we can read with our minds, as much as we are led down a path – into ourselves. the deep secrets, the loss and fear – beneath the surface. we don’t need over-the-top surrealism, to bring it all home, just a little attention to detail, a grimy window, a dirty thrift-shop lamp, a local native . . . and the unseen, but ever intuited . . . . pass of the fog.
this is the real genius of Gregory Crewdson.
THE BROOKLYN COMICS AND GRAPHICS FESTIVAL
OUR LADY of Mt. CARMEL CHURCH
275 North 8th St. – WILLIAMSBURG, BROOKLYN, NY
SAT NOV 10, 2012 / 12 – 7 PM
FREE ADMISSION
see: BROOKLYN COMICS AND GRAPHICS FESTIVAL
and: their update blog
POSTER BY CHRIS WARE
so, HAPPY HALLOWEENIE – while I still have the web juice !!
the invisible ‘system’ – going down with the storm ?!!
damn, NYC caught between . . . a KILLER NANNY and a KILLER STORM.
and, on the very eve of Halloweenie !!
it’s like being shot – right . . . between the eyes.
PLUS: my hard drive, holding ALL my iPhoto pix since 2007 – is failing, the back-up is sputtering and my computer seems to be heading to the graveyard – too. I can hear the drives grinding. damn.
talk about YOUR PERFECT STORM.
it’s not funny . . . A-N-X-I-E-T-Y RULES !!
ok infanticide is bad enough . . . and, KNOCK on WOOD.
but. when you face PERSONAL / CYBER-DISCONNECTION . . . whether thru theft, loss, hacking, or hardware malfunction, that’s also severe enough to give your bio-body a heart attack, for real . . . that’s why people hold onto their phones, for dear life (!!) in the face of hulking muggers. it is like losing a child. or losing touch with your child, is maybe a better way to put it. we’re spoiled lethally soft by instant communication.
losing your digital device. it is losing your life. well that’s a bit unsensitive, but actually . . . damn straight – true. a void opens up, deep in the heart of you.
SO: when you face a week of being bumped off the grid – due to natural forces, they say the storm will down the power lines . . . that feed your devices. what can you do. can you manage to breathe.
yep, and you know it – at the end of the day – you need that electrical power current. like your body needs water.
so, NO, it’s not a TOTALLY wireless world, YET !!
and until it is, and they be working on it, I’m sure – ANXIETY RULES.
so you do realize we are already: half man, half machine, don’t you ?
SO FUNNIE, but get this !!
FILE UNDER: who woulda thunk it . . .
this is my conscious mind, above – and it’s totally wired . . . to the web as you can see.
though yes, I can also read TAROT CARDS, when it comes down to it . . .
but in MY dreams ?
omg, excuse the expression – I wake up this morning, and WTF am I dreaming ?
I am part of a hi-tech cyber crew hatching plans to ‘patch’ into the cyber banking world – and make off with the biggest digitial bank theft . . . in history – under cover of the storm !!
anonymous, move over !!
well, I guess what they say is true: yes, NECESSITY . . . is the MOTHER OF INVENTION !!
even, in your d-r-e-a-m-s.
ALL ARTWORK – BELOW – BY JAMES MOORE.
EXHIBITED at Mr. Fine Art, NYC – ‘NEON AND CANDLES’ – CURATED BY THOMAS ARSAC
YOUR BRAIN ON STEROIDS, I MEAN . . . the INTERNET !!
W-I-R-E-D.
BLACK LIGHT. sunshine, NOT !!
so with the killer storm, rhymes with killer whale ? as in BIO. BIO. BIO. VIOLENT.
and the horrifying break-down of the deranged Dominican killer nanny – I got to thinking, maybe it wasn’t . . . ALL about BIO-HUMAN warfare and self-destruction.
short-cut called: ‘planetary’ bio-species.
BUT: maybe it had more to do with the fact, that we are all living lives, in a future-sense. pressed by the new reality of economic forces & change . . . and so disconnected on the physical level – as a society as a whole.
while we live more TRULY – as a society as a whole – on the web. I mean how do you have a life, when you update a blog, do your Facebook, and . . . follow 780 twitter friends ?
our heads are b-u-r-n-i-n-g !! . . . . to the BONE !! with COMMUNICATION, INFORMATION, stalking ? and NO RULES.
our heads are on fire . . . with the youTube/google possibilities. aka the life & brain … on-grid. aka florescent light !! aka purple rain !!
I’m even thinking: LSD. or at the very best, peyote ?
not to mention all the god damn meds – everybody in this country is on. addarall, anybody ?
look out !! when you INTERVIEW YOUR NEXT NANNY.
KEY QUESTION NUMBER ONE: are you on meds ?
but, duh. with, or without the meds, we are wired . . . . and we are consumed.
we live in the alternate twilight.
it’s already happened. the future – is US !!
we are evolving into a planet . . . of animals – that are melted as in, w-e-l-d-e-d to the web, the alternate universe of the internet. c-a-p-t-i-v-e. c-o-n-s-u-m-e-d.
and note: the electric cord.
it’s not just a case of being wired. but of needing to be … wired.
as in: connected to the juice.
the . . . purple power ?
from the side you can plainly see . . the human skulls . . . dripping down the evolutionary ladder ?
killer whales. killer nannies. killer storms.
downed technology ?
ectoplasm of the f-u-t-u-r-e.
our NEW brains. . . . switched on, and ‘wired’.
merging with the machine, the grid. the web. the power source.
so, you do know a slice of a mouse’s brain, is no diff from a slice of the universe – except in SCALE. look it up.
and the ectoplasm pools around the feet, and lies in puddles like blood – on the porcelain bathtub … I know it’s friggin gruesome.
it makes you wonder how our ancestors ever got thru without the advanced linked-in technology we depend on today. I mean ok, first they had the stars to guide them, then the myths, then religion. to help them connect the dots. but still unless they had telepathy skills that we have lost / how did they ever feel …. SECURE ?
without smartphones. even just cellphones.
and I mean, even just our fairly recent colonist fathers . . . leaving Europe, or Africa (!!) for the new land, and once getting here, picking up and …. being pioneers setting off into the unknown frontier, ok they had quilts !! and guns !! BUT STILL without – any way to communicate to those back home ?
and. how did the fomilies left behind, cope with that. how did the 60s cope with . . . land lines, only ?
JAMES MOORE also projected a scary movie on the wall – opposite the ‘venue’. ha.
yes. we are on the very cusp of either going . . . totally back in time to primal, or becoming neo-primal – as in, back to basics: warriors, stalkers. predators. prey.
avengers. hackers. vigilantes ?
or, worse case scenario: bio-robot ‘demented’.
in fact: the issue seems to be . . how NOT to become humanly ‘dis-connected’ . . . in the face of so much … connection !!
so, yeah. the future don’t look to be as cuddly …. ‘locavore’ as in Brooklyn farm-to-table fare – as much as locavore: as in LOCO and VAMPIRE. and no doubt about it, we are the FOOD.
if we are not the FIGHTER ?
we are the victim, if we are not the bully ?
same old, same old human condition . . . if you think it down to basics, nothing ever . . . changes !!
two choices. be the hunter. or be the hunted.
BLACK & WHITE ?
with a little green, for bio – thrown in for good measure. ha.
we are in essence, dismembered – by the web.
we are the new: CAPTIVE ANIMALS. WE ARE PREY.
TO OUR CREATION.
DUDE, BETTER EVOLVE, FAST, GROW WINGS & LEARN to FLY . . . on that web.
THE FUTURE IS – US !!
THE FUTURE IS – NOW.
yes, even I … though mighty steeped in the ancient arts, watercolor, quilting & knitting . . . wake up to live on the web. to spill my guts . . . to total strangers ?
CHECK OUT: JAMES ELLIOTT MOOORE
this IS the face of the web. TRON, not !!
PHOTOS/COPYRIGHT: NANCY SMITH, NYC. SEPT 13, 2012.