Paranoia means having all the facts.
— William S. Burroughs
When I invite a woman to dinner, I expect her to look at my face. That's the price she has to pay.
— Groucho Marx
Bore: one who has the power of speech but not the capacity for conversation.
— Benjamin Disraeli
The young always have the same problem: how to rebel and conform at the same time. They have now solved this by defying their parents and copying one another.
— Quentin Crisp
@ HW continuing thru Dec 20
gallery hrs Tues to Fri 11am to 6pm, Sat 1—4pm
"You can't smoke in here, Mr. Corbusier, you'll burn this mother down."
"Jesse Webber’s new series of prints is an homage to the historic trip made by Le Corbusier to the industrial area now known as the American Rust Belt in the early 20th century. Le Corbusier, as well as other modernist architects, were drawn to these buildings as they exemplified the spirit of modernist architecture in it's purest sense. Form derived from strict function—the building as a living machine. At the time of this trip, these areas enjoyed a boom of economic expansion at the top of newly emerging global markets. Upon seeing the grain elevators, Le Corbusier is reported to have exclaimed "The fruits of the modern era are upon us!" Corbusier did not forsee the depression and late-century decline that would eventually occur, nor could he have known that the particular open celled forms of these structures combined with grains that were stored in their interiors, and the gases and dust that they released, literally turned many of these grain elevators into architectural time bombs."
"Pining Wind is a communications satellite designed to eliminate the boundary between the illusion we know as reality and the reality of illusion by fracturing and multiplying the events of two lovesick lives. A video housed in the satellite tells a cyclical story that begins in the 9th century and ends in a century far in the future.
"The video Pining Wind (Fragmented on the Night Sea of Eternity) tells a mutated version of one of the most intimately human dramas, Matsukaze, a tale of pain and desire spurred on by the profound connection to illusion. Two spirits are trapped in the world of the living, enslaved in the ghost realm because of their longing for a lover who disappeared centuries ago. Their steadfast devotion to the impossible return of the lover repeats itself with every reincarnation of the spirits, and every subsequent punishment only invigorates their passionate crime."
• Kara Daving, Scott Bye, Viktoria Clostek, Oreen Cohen at Artspace op Sat, Nov 29, 6-9pm (thru Dec 20)
• Nancy Treherne Craig @ Viridian Artists Inc. (NYC) op Fri, Nov 28, 4-7pm (thru Dec 20)
• Artful Gifts @ Art Dialogue op Fri, Nov 28, 7:30—9pm (thru Dec 30)
• Beth Munro and Robert Ivers @ Nichols op Fri, Nov 28, 4-6pm (thru Jan 16)
• Becky Koenig Open Studi SAt, Nov 29, 10am to 5pm, 1413 Hertel Ave
Tim Leary @ Burnwood Studios (885 NIagara)
op Friday, Nov 25, 7-10pm (thru
Bryan Lohr writes: " We'll also have tables set up for various local artists and artisans
• Bruce Adams @ the Center for Inquiry thru Dec 24
• OP Art Revisited at the Albright thru Jan 25
• LInda Gale Gellman, Nancy J. Parisi, Robert Schulman @ Studio Hart thru Jan 3
• Noncommittal and MicroCosmic @ UB Art Gallery (thru Feb 7)
• Harvey Breverman, Bruce Jackson, Terri Katz-Kasimov at UB Anderson Gallery thru Jan 18
• Catherine Parker @ Indigo (74 Allen) thru Nov 30 Samuels' new digs
• Richard Huntington, Max Streicher @ the Castellani thru Jan 18
On the one hand, thirty years of paintings crunched into an intensely swift mini-retrospective. On the other, a gigantic inflated dung beettle. Win/win!
• Andrea Ruggieri @ Olean Public Library thru Dec 3
• Buffalo Arts Studio Annual Artists Exhibit & Sale thru Jan 3
• A Holiday Bizarre at Grant St. Gallery (216 Grant) thru Jan 17)
• Mary Weig at Betty's thru Jan 11
• XIVth Fall National Show juried by Holly Hughes at Impact • Joey Buczak at Buff State thru Dec 5
• Julian Montague @ Armand Bartos Fine Art (NYC) as part of Sign/Age Pt II: Lost in the Supermarket thru Dec 19
• Rebecca Smith @ NIna Freudenheim thru Jan 13
• Sonia Peñaranda-Taggart @ 27 Holboro Dr (Orchard Pk) thru Dec 20
• Gene Witkowski, Glenn Murray, Robert Schultz, MIchael Mulley, Tim Raymond, Evan Everhart, Jeannine Swallow, Nick deMarchi, Jerry Greenberg @ College St. Gallery thru Nov 30
• Bruce Adams at the Center for Inquiry thru Dec 31 Buffalo News
• Mark Duquette @ Alleyway Theater thru Nov 30
• Trans-Evolution: Examining Bio Art @ CEPA thru Dec 20
• Bruce Adams & Richard Huntington at the Carnegie thru Dec 13
• Michael Goldberg @ Anderson Gallery thru Jan 18
• Geraldine LIquidano, Alan Larson @ Galeria Blanca (4222 N. Buffalo Rd, Orchard Pk) thru Dec 14
• Adele Cohen @ Buffalo Big Print thru Nov 29
• Adele Becker, Susan Budash, Susan Copley, Jason Klinger, Ginny Lohr @ Amherst Jewish Center (Getzville) thru Nov 30
• Michael Goldberg @ UB Anderson Gallery thru Jan 18
• Rita Argen Auerbach at The Mansion on Delaware (until daylight savings time ends)
• Diane Baker at The Mansion on Delaware (indefinitely)
The Sunshine of Your Ginger Jesus
When I go shopping with someone, I have this preternatural ability to never find what I'm looking for while the person I'm with (who is never looking for anything) finds their own version of what I want. It happened in Toronto this summer as I scoured the town for new running shoes, found nothing while Carlo "Imelda Marcos" Cesta found his dream pair, on sale no less, within fifteen minutes. More recently, I was complaining to Buffalo Arts Studio curator Cori Wolff that I have never managed to find a cool painting at a thrift shop or flea market. Of course, shortly after my complaint, Cori scored this ten dollar masterpiece:
At first, I thought it was the world famous lord and savior Jesus Christ and had that been the case, we might have had to arm-wrestle for it. But it was actually a 1967 painting someone had done of Cream drummer Ginger Baker. Cori explained how she grew up listening to Cream because her mother always played them. I could not top that sentimental rationale. It's disturbingly hilarious and, I might add, very painterly, with thick, visible brush strokes. Best of all, the artist took the time to hand-carve the title directly into the frame. I think I speak for both of us when I say Ginger Jesus made our day.
"At a time when oil prices and oil dependence are forcing us to rethink the wisdom of suburban and exurban living, Buffalo could eventually offer a blueprint for repairing America’s other shrinking postindustrial cities."
I kept forgetting to post this piece because I knew everyone in Buffalo had already read it. So, for those of you located Elsewhere...
"We were excited to work on the logo and energized by the prospect of Mr. Obama’s campaign. However, we didn’t pursue or develop the work because we were motivated exclusively by ideology. It was an opportunity to do breakthrough work at the right time in what’s become a predictable graphic landscape."
Eavesdropping in Toronto
@ YYZ, Toronto, thru Dec 13
John asked myself and the great Steve Reinke to write a couple of texts for his current show Eavesdropping On Objects, which you can read here.
Betty James 1918—2008
NY Times obit
Something I listened to this week...
I'm still fully locked into Bob Dylan's Tell Tale Signs, but the ageless sound of that record—and Bob's version of Miss The Mississippi—has led me backward in time and I've been playing the shit out of this splendid piece of 1958 vinyl by Jimmy Rodgers, his first album. Interesting in that it doesn't sound exactly like a country album, though Rodgers does employ some deft yodeling trills here and there, and it doesn't exactly sound like a rock and roll record, even though Rodgers was recording during the birth of the genre. And despite the ultra-pleasant album cover art, there's always a dark edge to Rodgers. Voice of a sad, beautiful angel. This may be the vinyl that prompts me to use that usb cable that came with the turntable.
It is not the critic who counts, not the man who points out how the strong man stumbles or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly, who errs and comes up short again and again. Because there is no effort without error and shortcomings, he who knows the great devotion, who spends himself in a worthy cause, who at the best knows in the end the high achievement of triumph and who at worst, if he fails while daring greatly, knows his place shall never be with those timid and cold souls who know neither victory nor defeat.
— Theodore Roosevelt