Category:world trade center memorial

gregorg_untitled_fashion_island_2_nm.jpg
Untitled (Newport Center Monument) IV, 2017, 72 or 84-in. x 108 or 156 in. by 12 in., Ruddy Oak and Bright White on panels, installation image: gmaps

In 2011 The Irvine Company installed two identical monument signs in the grassy quarter-rounds on the East Coast Highway entrance of Fashion Island and Newport Center. They feature the names of three major tenants each, on both sides. Seven feet tall and 13 feet wide, they exceed the maximum dimensions (6' x 9') permitted under the Sign Standards of the Newport Beach Zoning Code, and required a variance. [In person the other day, I would never have guessed they were 7x13; they definitely feel like 6x9. Is it possible they were reduced in size after the permit was granted?]

gregorg_untitled_fashion_island_1_macys.jpg
Untitled (Newport Center Monument) III, 2017, 72 or 84-in. x 108 or 156 in. by 12 in., Ruddy Oak and Bright White on panels, installation image: gmaps

Though they also exceed the Code's letter size limits, the signs comply with the requirement that letters be "individually fabricated" and of high contrast for easy legibility. At least at their genesis, they were specified to be finished with Reflective Coating #1460 Bright White from Axon Aerospace, Inc.

dunn_edwards_ruddy_oak_newport_ctr.jpg
No aesthetic delectation here, Ruddy Oak! hashtag Spanish-Mediterranean, hashtag Craftsman, hashtag Perfect Palette®, image: dunnedwards.com

The 2011 permit application [pdf] describes the new signs as having "a faux plaster finish," but they sure looked painted to me. They match the color specified on plans [pdf] for a similar sign for an adjacent Irvine Company office building: a reddish brown from a local manufacturer, Dunn-Edwards Ruddy Oak (DE5188).

I can find no public record of this color being specified or required in either Newport Beach or Irvine Company codes or styleguides, but it is in heavy use for shopping center and commercial signs within the boundaries of The Irvine Ranch. It also appears on the permitted color lists of at least eight homeowners associations (HOA) in coastal Southern California.

gregorg_untitled_fashion_island_towers.jpg
Untitled (Newport Center Monument) I, II, 2017, 43 x 4 ft each, Ruddy Oak and Bright White on substrate, installation image: gmaps

They also match the color and finish of the main signs at the East Coast Highway entrance, a pair of 43-foot-tall pylons installed in 1985. Which is also the first year The Irvine Company used the "sunwave" logo. Over time the text on the signs has changed to reflect the evolving brand distinctions between Newport Center, a massive, multi-use development, and Fashion Island, the vast mall at its center.

For their part, the Newport Center signs also exceed the 20' height limit for pylon signs by 115%, but I presume they predated the creation of the code, and/or that no one will tell The Irvine Company what it can't do in Newport Beach. Their letters are individually fabricated.

There are at least eleven other signs at other entrances to Fashion Island/Newport Center, but they're more architectural than sculptural, with concrete plinths and stucco-finished capitals. Only the four signs on the ECH exhibit this rigorous, minimalist aspect.

gregorg_untitled_fashion_island_install.jpg
[l. to r.] Untitled (Newport Center Monument) III, I, II & IV, 2017, installation view, image: gmaps

Fashion Island was and remains a leader in the mall industry for experiential design. In an essay called, "The Archaeology of 'Shoppertainment,'" Matthew Cochran and Paul Mullins wrote about RTKL/ ID8, a mall interior design company which worked on the Fashion Island Experience. They quote an RTKL brochure:

[Mall experience is] about storytelling. Great places tell stories, and people love to find themselves in those stories. Often this has less to do with the way a building or a district is assembled and more to do with how we read it...Experience is in the details. If a place tells a story, then the details of that place make the story interesting. The smallest elements-from manhole coves to water features-conspire to create a dynamic, authentically human environment.
What story do these signs tell? What authenticity do they conspire to create, with their approved colors from a gated community on a bluff? Can the gestalt of the minimalist object be achieved from your car, at speed, as you pass the mall, or do you have to turn in?

This ID8 quote, too, turns out to have more to do with how I read it:

What makes us linger, pause, sit and think? The building blocks of place probably have less to do with the buildings and more to do with the spaces between those buildings.
In 2002, the day they flipped the switch, architect Gustavo Bonevardi explained how he and John Bennett arrived at their solution for what became the Tribute of Light World Trade Center memorial:
We're not reconstructing the towers in their original size, but the distance between the two squares of light is the same as the distance between the actual towers. So in effect, we're not rebuilding the towers themselves, but the void between them.
Because I cannot look at the Newport Center signs, and their proportions, and their void, and not see the World Trade Center.

But maybe that's just me. I invite you to visit, view, linger, think, and pause at this installation of new work and pursue your own authentic, dynamic, human experience.

Previously, unexpectedly related, c. 2002: On reading (between) the lines
On's Location

July 24, 2016

Tantas Sombras

la_sombra_margolles_1_cmiranda_lat.jpg
Teresa Margolles' La Sombra, installed at Echo Park Lake, photo: Carolina Miranda/LAT

Teresa Margolles has contributed a memorial to Current: LA Water, the "public art biennial," which started last week. La Sombra (The Shade) is near Echo Park Lake and looks to be the most significant and prominent work in the program, which runs, incredibly, for less than a month.

La Sombra is a six meter-high...pavilion? Awning? Structure? In her onsite report for the LA Times, Carolina Miranda calls it an installation, a memorial, and a monument. It looks like it's made of concrete, but if it's going to disappear in a couple of weeks, I suspect it's gunnite or stucco sprayed on a plywood box.

Which hurts. Margolles created La Sombra as a memorial to 100 Los Angelenos murdered with guns in the last 18 months. The sites of these killings were visited, washed, and the water re-collected for use in mixing the concrete. This circulatory element echoes Margolles' previous works which incorporate the water used to wash corpses in the morgue in her home city of Juarez.

La Sombra is a stark, powerful form that draws people to it, especially on a hot, sunny day. In this way, perhaps, the deaths of these hundred people might yield some comfort to the living. Maybe family and friends can come sit under it. Maybe people will be motivated to act against gun-related violence.

"I wanted [La Sombra] to be on the scale of what has happened," says Margolles in the Times. "I wanted it to have presence."

judd_chinati_concrete_wiki.jpg
Donald Judd, One of 15 Untitled Works in Concrete, 1980-84, 2.5m x 2.5m x 5m, Chinati Foundation, image via wiki

The scale and presence of La Sombra are indeed notable. It seems quite large. It looks like it could be concrete-Judd-in-Marfa-fields-size, but it is actually 4x that. It has an architectural presence and is not slight. It feels like about the right scale for 100 people. Maybe it is even the size of 100 people standing within it, I don't know.

Memorials use scale to convey their meaning. Some memorials, like for the people killed in the Oklahoma City bombing and the AA77 crash at the Pentagon, use a cemetery-like field of individual-scale objects-chairs and benches, respectively-to represent the dead. The Vietnam Veterans Memorial and the World Trade Center Memorial, meanwhile, incorporate individual names into a larger, holistic experience of loss. nodding to a larger, shared sense of mourning, of a community, a nation. It really depends on the scale of death, whether it is thousands (58,195 or 2,977), hundreds (168 or 184), or one.

By remembering 100 otherwise unrelated deaths with one La Sombra, Margolles appears to have found a new scale for memorialization: a memorial unit that modulates between societal tragedy and individual loss. [I just remembered that the Pentagon Memorial actually called the benches "memorial units".]

There were not just 100 people killed in LA with guns in the 18 months Margolles bracketed; there were 975. Even if it was just because of the prohibitive the logistics of washing down all those murder sites, the artist knew her temporary memorial alone could not account for that "scale of what has happened." She'd need nine more La Sombras, just in LA. With an average of 55 people being killed each month, that's another La Sombras every two months.

judd_chinati_concrete_4.jpg
Imagine these 3-meter tall Judd concrete sculptures at Chinati are actually 6-meter tall Margolles La Sombras, each commemorating 100 people killed with guns. image: chinati.org

And now scale them up. There are 30,000 gun deaths in the US-half a Vietnam War or ten September 11ths-each year. Margolles' La Sombra could be the optimal form and size for memorializing the people killed by gun violence across the country. But some details would need to be worked out. How far back in time do we go? We could need thousands of La Sombras right from the start. Seems impractical, at least at first.

Where should they be placed? Do we combine them all into one sprawling site, like an AIDS Quilt of concrete, an ever-growing Holocaust Memorial for a slaughter we refuse to stop? I think a La Sombra site could take into account the hundred people it memorializes within a city or perhaps a state, without getting too granular with your data; you wouldn't want them to pile up and stigmatize a neighborhood, though having a few together could totally work.

Spread them out at least a bit. Though maybe a city or state could decide to stack them up in a public space, magnify their presence, so the absence of the dead can't be ignored. Of course, you'd also want to avoid gamifying them, having them treated as kills to be racked up by violent forces in society, or even just a run-of-the-mill gun-toting psychokiller. They need to stay present in the landscape, but also just ominous and uncomfortable enough to prick the consciences of we who remain.

An artist's imposing new monument at Echo Park Lake honors Angelenos killed in violent crimes [latimes]
Current: LA Water, LA's Public Art Biennial, runs through August 14. [currentla.org]

kelly_veneziano_washmt_freeman.jpg
Domenico Veneziano / Washington Monument, 1984, image: peter freeman/artsy

So I didn't spot this Ellsworth Kelly postcard collage at Peter Freeman's booth at Frieze Masters, and I love it. It makes me want to see more. And to wonder why we haven't?

Kelly's used collage and found shapes and forms to develop his paintings and sculptures since the very beginning. He's made postcard collages to explore scale and shape and site, too. They're little glimpses into the way he sees. He makes them for himself, and he sends them to friends.

This example, made using photo torn from the newspaper and a postcard from the National Gallery of Veneziano's St. John in the Desert has some postal markings on it, so I expect it's the latter.

statue_of_liberty_1957.jpg
Statue of Liberty, 1957

Can we have a show of these, please? Or at least a book? I guess the closest so far is that amazing Drawing Center show in 2002, Ellsworth Kelly Tablet: 1949-73, curated by Yve-Alain Bois, which had collaged up pages from the artist's sketchbooks.

upper_manh_1957.jpg
Upper Manhattan, 1957

But these postcard collages are not just, or not all, preparatory works; they're social, too. Their intimate scale, non-preciousness, and exchange function remind me of Felix Gonzalez-Torres's Polaroids and Gerhard Richter's overpainted photographs. The absolute least gesture and material required to convey the artist's observation.

tuileries_study_bl-w_1964.jpg
Study for a Blue and White Sculpture of Les Tuileries, 1964, like many of the smaller images, from a slideshow at nyss.org

They inevitably also function as postcards, seeming to mark a visit to a place, and the artist's reaction or memory there. In the Guggenheim's 1996 retrospective catalogue, Roberta Bernstein called them "souvenirs of experience." The light on the Seine, the bridge near the Taconic, the sliced coffee lid at Agnes Martin's place. Kelly talks of seeing things others don't, thus the unsuitability of an off-the-rack postcard.

st_maarten_triangle_1974.jpg
St. Maarten, 1974

In at least one case, the private, unique postcard became a published edition.

st_mart_horiz_nude-1974.jpg
St Martin Horizontal Nude, 1974

If I'd realized that it started with a postcard, I'd have been less baffled by the big lithographs that pop up occasionally at auction.

st_martin_lndscp_1979_2-a.jpg
Saint Martin Landscape, 1979, 16x22-in

Postcards are obviously useful for sculpture, space, and scale. They're ambitious and offhand at the same time, a powerful proposition that can be discounted, but not unseen.

riverfront_stadium_1980-2.jpg

This 1980 postcard collage of Riverfront Stadium reminds me of Ground Zero, the newspaper collage Kelly sent to Herbert Muschamp in 2003:

ellsworth_kelly_ground_zero_nyt.jpg

There's one other instance I can think of where Kelly's postcard collages and his monumental sculptural situation are linked, the imposition of sculptural form on photogenic tourist vista: his 1998 sculptural installation on the roof garden of the Metropolitan Museum.

I've found this over and over: 1998 is invisible online. There was a lag between the internet and digital photography, and archival digitization projects privilege the dusty. Ellsworth Kelly Metropolitan is a predictably beautiful search on flickr, but it doesn't yield any images from the pre-flickr era. Which is really too bad, because as I recall, they were picture perfect.

kelly_totem_met_roof.jpg

UPDATE:: Whaddyaknow, here's a picture of Totem on the roof of the Met, which I just randomly found in a 2010 NPR story about the closure of Carlson & Co.

Anyway, point is, we need a show. So please send all the Ellsworth Kelly postcard collages to me, and I will exhibit them.

Previously, suddenly related, souvenirs of virtual experience: Ellsworth Kelly on Google Art Project

September 17, 2013

Gerhard Richter's Septembers

tl;dr version: Gerhard Richter made a small painting, September, based on a photo of the WTC getting hit by a plane, and gave it to MoMA, which has never shown it. Then he made a print version, which he sold here and there, and which has been seen in NYC once. The image is the same, but the experience of them is quite different, which is something no one really mentions or talks about. It's almost like the propagation of the image is more important than the actual objects, or than the particulars of seeing them in person. Which, in addition to being the kind of distancing tactic Richter's very fond of, is also a non-trivial observation that can be made about the WTC attacks themselves.


gr_september_ptg_2005_6836.jpg

I had not wanted to write about the WTC attacks [or "September 11th"] on September 11th, and though it was the day I actually started thinking about this post, I didn't want to write about Gerhard Richter's September on September 11th, either. And I'm glad I've waited; my reflex was to be a bit cynical, and that has largely dissipated. So.

Richter was in the air on September 11th, traveling to New York and grounded/diverted to Nova Scotia. His eventual artistic engagement with the attacks was a small painting, September [CR: 891-5], above, which he made in 2005. Joe Hage, the collector who is also the instigator behind the artist's ambitious website, acquired a half interest in the painting in order, the story goes, to prevent Richter from deciding to destroy it.

The aura of ambivalence surrounding the painting's existence is of a piece with the painting itself, which is based on a FAZ photo of the hijacked UA175 hitting the South Tower. [A newspaper image the artist didn't see at the time, because he was stuck in Canada. Which means he hunted it down at some point.] Richter knifed and scraped the canvas, deploying abstraction to obscure or even erase the representational image.

As far as I can tell, the small painting, just 52x72cm, dimensions Rob Storr compared to a TV screen, but which I'd say is more computer monitor-size, has never been shown in New York.

It wasn't in Richter's solo show at Marian Goodman in 2005-6, even though squeegee paintings listed before and after it in the artist's roughly chronological CR were. MoMA acquired a dozen of them, a series of abstracts, CR 892-1 through 12, titled Wald/Forest.

When Goodman showed Richter's paintings again in 2009-10, September the painting was not among them. That's when the artist and Hage donated it to The Modern, and when Storr made a video about it. His take on the painting and its context were expanded into a book-length essay published in 2011.

gr_sept_mgoodman.jpg

But wait, wasn't it--no. That 2009 show did include a September. But it was a print. As the gallery checklist describes it, a "print between glass". September 2009 turns out to be an enlarged [66x90cm] inkjet on vinyl mounted between two sheets of glass, and published in an edition of 40.

gr_sept_66x90cm_7703.jpg
September, 2009, CR 139, digital print between two panes of glass, image: gerhard-richter.com

The gallery's own reproduction of the print leaves out the glass mount; and smooth, sealed surface; and the reflection it inevitably creates. Even though these have to be considered as central elements of this work, as different as can be from the scarred, textured surface of the painting it reproduces.

Here's an installation shot from We Heart New York that shows the gallery and other work reflected in the print's mirror-like surface:

richter_sept_mg_whrtny.jpg

And here's a shot of it installed last year at a retrospective of Richter's editions at Collectors Room, Berlin. It's big and glass and framed, and looks and feels completely different than a painting. Because it's a blown up, face-mounted photo of a painting.

gr_sept_edition_screenshot.jpg

Yet even here, in a show about editions, curator Hubertus Butin mostly talks about September as a painting. And so did Storr. And I confess, I'd seen the Goodman show, and read Storr's book, and seen his interview, but it wasn't until I saw this shot that it even registered with me that there was an edition. And that's what I'd seen, not the painting I thought I'd seen.

When I realized this last week, on September 11th, I felt a rush of cynicism, reading Richter's production of an edition as a sell-out. Just as he donated his Important Historical Image to the Modern, he'd quietly sold 40 copies of it to lesser [sic] museums and collectors. Dallas got one. But then I saw one in Beirut, and it occurred to me that an edition circulates the image in ways that transcend the painting itself. It puts September in more, wider, and more varied contexts than MoMA's loan policy could ever accommodate. [UPDATE: John from BR&S adds that a print was in this 2011 exhibition at Montserrat College of Art. Indeed, it's on the catalogue cover. Storr also spoke.]

gr_betty_offset_hubertus.jpg

In that video tour, Butin talked about Betty, calling Richter's painted portrait of his daughter the "most famous and probably the most successful picture that he has ever created." Successful, Butin continued, because "No other subject of his has been as frequently reproduced in books, catalogues, postcards and posters." The Betty in his show is, of course, an edition, not the original. It's a print of a photo of the painting [of a photo.] And as an image, at least one metric of its success, is its rate of reproduction.

September the print has exactly the same relationship to September the painting. And even more than a painting, a glassy digital print ends up capturing September's electronic screen essence that Storr originally identified. Which makes me wonder how, why, New York, of all places--of all places--has only seen the print, and not the painting. Not the visceral, physical experience of the original, but the distanced, reflective, mediated simulation. Or maybe it's all incidental to September achieving historic, Betty-scale "success".

September, CR| 891-5, 2005 [gerhard-richter.com]
September, CR 139, 2009 gerhard-richter.com]
September: A History Painting by Gerhard Richter, by Robert Storr [amazon]

September 13, 2013

A Vested Interest

Josh Marshall solicited "What's Your 9/11" thoughts from the readers of Talking Points Memo. I've avoided reading them, and most such other efforts this week. But the title he gave to reader DE's submission really encapsulated my own ambivalence about what the Memorial Industrial Complex has metastasized into, and why I'm reluctant to turn myself over to it:

So my personal unease with 9/11 memorials is the feeling that there are a lot of people in this country with a vested interest in the country not moving on, even though the two main perpetrators of the attack are either dead or in US custody and the organization they led has been soundly defeated. They want our leaders to keep delivering the Gettysburg Address every year, to keep us on that war footing, so that they can misdirect our resources and some Americans' lives in the service of foreign and domestic policy goals that have nothing to do with what happened on 9/11.
This manipulation of memorialization by keeping the wounds open was quickly apparent to some, of course. For all the good that did.

"A Vested Interest in the Country Not Moving On." [tpm]

September 25, 2012

Untitled (NYPD)

nypd_concrete_55th_st.jpg

It's UN Season in New York, and the streets are filled with people enjoying the sun, and squeezing through these flat-out gorgeous NYPD barriers. Seriously, I mean, Tony Smith, Donald Judd, Richard Serra, Beverly Pepper, Anselm Kiefer, Janine Antoni, Scott Burton, Robert Gober--you see where I'm going with this? I mean, Rachel Harrison--I'd love to make a Rachel Harrison-style version of these. That would be awesome. and so much more manageable, too.

Oh, look, I was right:

ows_concrete_animalny.jpg
Occupy protestors on Sept. 17th in Battery Park, as covered by Bucky Turco at Animal New York

So the next thing would be a Cow Parade-style celebration across the whole city. These barriers could become a vibrant platform for artists the world over, and highly collectible, too. Munny dolls-meets-street security furniture.

I. Am. On it.

July 17, 2012

Twin Towers

Add Damian & Cosmas' importance to Joseph Beuys and his renaming in 1974 of the then-new World Trade Center towers after the twin physician saints to the list of things I did not know about but probably should have.

From Marina Warner's generous discussion of Damien Hirst in the LRB:

[Hirst] is named after the patron saint of doctors (usually spelled Damian), who, with his twin brother Cosmas, performed the first surgical transplant when he grafted the leg of a Moor who had fallen in battle onto the stump of a white Christian knight. This operation, depicted on altarpieces in the saints' many churches, can't be consigned to the antique glory hole of weird Catholic legend, for it was crucial to Joseph Beuys's dream of revolution: a vision of inter-racial fusion, of the resurrection and reconciliation art can achieve. In one of his works, Beuys eerily renamed the two towers of the then newly built World Trade Center after the brother saints: did he do so in some wan hope that the towers could be transfigured into instruments of good?

Beuys, needless to say, is second only to Duchamp in importance to the current philosophy of making art.

Needless to say, I would have known if only I'd been a little more faithful in my Brooklyn Rail reading. Because that's where I found David Levi Strauss's thorough, if slightly Nostradominous, discussion of Cosmas und Damian, Beuys' multiple [?] based on a 3D postcard of the Twin Towers.

beuys_cosmas_damian_card.jpg

Once A Catholic... [lrb.co.uk]
IN CASE SOMETHING DIFFERENT HAPPENS IN THE FUTURE: Joseph Beuys and 9/11 [brooklynrail.org]
David Levi Strauss's essay was also just republished as one of those 100 chapbooks from documenta 13 [amazon]

September 19, 2011

Two Of These Things

As those who kindly email me about run-on italics--and those who don't--know, I don't actually visit this site site as often as I probably should.

Which is part of the reason I didn't notice until just now this nice side-by-side posting of Matt Connors' painting and Barack Obama et al's blast shields at the dedication of the World Trade Center Memorial.

obama_connors_gregorg.jpg

UPDATE: Or three of these things. Mondo Patrick likes the Connors diptych alongside this:

Thumbnail image for flavin_beyeler_christies.jpg

sforzian_frontdrop_reuters.jpg

An extraordinary Reuters photo from the World Trade Center Mem--wait, I guess now we'd better make that "ordinary." Maybe add an integrated teleprompter or heads up display?

And Joe Biden complains that the Secret Service won't let him drive his Corvette off his driveway.

image: Reuters/Daily Mail via @wagnerblog

Wow. Nearly camouflaged.

While each pool has a pumping system powerful enough to recycle 52,000 gallons of water per minute, it is the surface of the nearly 1,600 lineal ft of parapets that had to be robust enough to withstand rain, scorching heat, snow and ice as well as the wear and tear of three million annual visitors. For the comfort of the millions of hands that will touch the etchings, the parapets have a heating and cooling system.

"The [National September 11 Memorial & Museum non-profit foundation] was very concerned about making the experience as pleasurable as possible for visitors," many of whom will want to touch the engraved names, says Robert Downward, an associate with the project's local MEP engineer, Jaros Baum & Bolles.

JBB and Service Metal Fabricating, the parapet's Rockaway, N.J.-based supplier, knew of no prototype for a project like this, so they started from scratch to build a back-mounted tubing system that would work within the parapets and the nameplate system. The fabricator built a prototype of the panel, tested it under sunlight and then analyzed the results using computational fluid dynamics modeling.

"We calibrated the model so that it produced results in line with real field conditions," Downward says.

The result is a network of tubes that feed water behind the bronze plates. The tubes, nearly camouflaged, are underneath the plates and parallel to the rows of names.

"The spacing between the tubes was critical to maintaining comfortable temperatures at the panel surface," Downward says.

Each parapet section was shipped to the site with the tubes attached. Then, using a series of manifolds, workers connected the tube sections to the piping. The piping is connected to below-grade equipment that supplies the heated or chilled water.

9/11 Memorial Is Centerpiece of World Trade Center Redevelopment [enr via @chton1c]

1 2 3 4 5 6 7 8 9 10 ... 14 Next

Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

comments? questions? tips? pitches? email
greg [at] greg [dot ] org

find me on twitter: @gregorg

about this archive

Category: world trade center memorial

recent projects, &c.


pm_social_medium_recent_proj_160x124.jpg
Social Medium:
artists writing, 2000-2015
Paper Monument, Oct. 2016
ed. by Jennifer Liese
buy, $28

madf_twitter_avatar.jpg
Madoff Provenance Project in
'Tell Me What I Mean' at
To__Bridges__, The Bronx
11 Sept - Oct 23 2016
show | beginnings

chop_shop_at_springbreak
Chop Shop
at SPRING/BREAK Art Show
curated by Magda Sawon
1-7 March 2016

do_not_bid_or_buy_iris_sidebar.jpg
eBay Test Listings
Armory – ABMB 2015
about | proposte monocrome, rose

shanzhai_gursky_mb_thumb.jpg
It Narratives, incl.
Shanzhai Gursky & Destroyed Richter
Franklin Street Works, Stamford
Sept 5 - Nov 9, 2014
about | link

therealhennessy_tweet_sidebar.jpg
TheRealHennessy Tweets Paintings, 2014 -
about

sop_red_gregorg.jpg
Standard Operating Procedure
about | buy now, 284pp, $15.99

CZRPYR2: The Illustrated Appendix
Canal Zone Richard Prince
YES RASTA 2:The Appeals Court
Decision, plus the Court's
Complete Illustrated Appendix (2013)
about | buy now, 142pp, $12.99

weeksville_echo_sidebar.jpg
"Exhibition Space" @ apexart, NYC
Mar 20 - May 8, 2013
about, brochure | installation shots


HELP/LESS Curated by Chris Habib
Printed Matter, NYC
Summer 2012
panel &c.


drp_04_gregorg_sidebar.jpg
Destroyed Richter Paintings, 2012-
background | making of
"Richteriana," Postmasters Gallery, NYC

czrpyr_blogads.jpg
Canal Zone Richard
Prince YES RASTA:
Selected Court Documents
from Cariou v. Prince (2011)
about | buy now, 376pp, $17.99

archives