Artipedia - Arts News

The Rhubarb Society
Anne Collier, Adam McEwen, Jonathan Middleton, John Pilson, Kathy Slade
September 16 ­ October 14, 2006
Opening Saturday, September 16 at 6pm

The Tracey Lawrence Gallery is pleased to present The Rhubarb Society, a group exhibition that brings together five international artists who are informed equally by popular culture and the history and legacy of conceptual art, and who work in a variety of media to address the relationship of visual art and language.

Vancouver artist/curator Jonathan Middleton contributed the title, The Rhubarb Society, as one of his artworks in the exhibition. Middleton took the title from a Goon Show skit in which a crowd is heard to be murmuring the word rhubarb over and over again. A speaker who identifies the group as
members of the Rhubarb Society then brings the crowd to order. The joke, a play on language, is based on the common practice employed by film directors of instructing extras to repeat the word rhubarb out of synch with each other in order to create a realistic crowd sound.

Until recently Jonathan Middleton was the curator of Western Front Exhibitions. He has curated over forty-five exhibitions including Organization for Cultural Exchange and Disagreement at Westspace, Melbourne, and Binocular Parallax at Consolidated Works, Seattle. Middleton¹s work has been included in exhibitions at Artspeak Gallery and the Or Gallery in Vancouver, and at the Chicago International Film Festival.

Anne Collier is an artist from Los Angeles who is currently based in New York. Collier produces minimalist photographs often based on pop culture sources such as found cassette tapes and records. She has exhibited in the USA, UK and Europe and most recently participated in the 2006 Whitney
Biennial. Collier is represented by Corvi-Mora in London (UK), Mark Foxx in Los Angeles, and Jack Hanley in San Francisco. This is Collier¹s first exhibition in Canada.

Adam McEwen is a British artist who lives and works in New York. McEwen studied English Literature at Oxford University and Visual Arts at California Institute of the Arts. His work blends visual art and text in a variety of media. McEwen has exhibited extensively throughout the USA, UK and Europe and, like Collier, participated in the 2006 Whitney Biennial. McEwen is represented by Nicole Klagsbrun in New York, Jack Hanley in San Francisco and Alessandra Bonomo Gallery in Rome. This is McEwen¹s first
exhibition in Vancouver.

John Pilson lives and works in New York. His film, video and photographic work humorously points to the unexpected while exploring social mores. Pilson has exhibited internationally including exhibitions at Centre Pompidou in Paris, Museum of Modern Art in New York and the Venice Biennale.
Pilson is represented by Nicole Klagsbrun in New York.

Kathy Slade is an artist from Vancouver who often works in machine embroidery. She proposes relationships between traditional embroidery samplers and texts and images from contemporary pop culture and art history. Slade has exhibited locally, nationally, in the USA and in Europe. She is
represented by Tracey Lawrence Gallery.

The exhibition is co-curated by John Pilson and Kathy Slade.

For further information contact Tracey Lawrence or Chris Keatley at 604 730
2875 or by e-mail at info@traceylawrencegallery.com

Tracey Lawrence Gallery
1531 West 4th Avenue
Vancouver, BC
Canada V6J 1L6
Phone +1 604 730 2875
E-mail info@traceylawrencegallery.com

Morris and Helen Belkin Art Gallery
UBC Masters of Fine Arts Graduate Exhibition

Strange Bedfellows: Abbas Akhavan, Derek Dunlop, Eryne Donahue,Rebecca
Donald, Robert Niven, Michael Euyung Oh

Until Sunday October 1, 2006

“Strange Bedfellows” points to the diverse and distinct practices of the
2006 Masters of Fine Arts graduates. This is an excellent opportunity to
view the work of six emerging artists whose practices explore the mediums of
video, sculpture, performance and drawing.

Abbas Akhavan’s four-minute video projection, August 2006, conflates terror
with pleasure, the real with the imagined, and destruction with beauty, as
it draws the viewer through a cycle of heightened anxiety and relief. This
duel signification creates a confusion out of which comes a comment on the
politics of location and perception. Akhavan is a semi-finalist for the 2006
RBC Canadian Painting Competition.

Eryne Donahue problematizes notions of the portrait, where the autonomous
identity of real individuals and bodies is revealed and enlarged. Donahue¹s
use of various photographic and print media has led to a series of
explorations about how humanity is represented, remembered and understood.
Her approach is reminiscent of archival or mnemonic schematics that organize
larger concepts and questions of human life into more manageable parts.

Rebecca Donald combines drawing, painting and sculpture in her visceral
works about the home. Her thin-skinned ³towels² are literally made by the
skin that forms on top of thickly poured oil paint as it dries. The skin of
the towels sags and wrinkles with age much as a person¹s would. Donald¹s
drawings are obsessively rendered, little abstractions of rod-shaped
bacteria that make up objects we take for granted in the hygienic home: a
faucet, a sponge or even a large section of wallpaper.

Under the obscene pressures of advanced capitalism, Derek Dunlop considers
how our culture¹s rage is both intensified and diffused through the
celebration and destruction of the aggressive male. Dunlop considers
drawing a metaphor for the process by which one can learn and internalize
the subtleties of self-constitution. Drawing can be performed in agreement
with the enforced institutionalization and compartmentalization of everyday
life, or as a possible strategy of refutation or revolt. Dunlop works
through the shifting nature of power relations in everyday life, especially
in terms of masculinity, sexuality and desire.

Robert Niven explores various materials and methods, finding ways to make
visible conjunctions between memory, mis-recognition and metamorphosis.
Niven finds materials in a state of functional limbo and gives them an
absurd imitative gist, to confront viewers with recognizable objects in
alternative manners. These odd encounters are meant to create a dialogue
about our perceptions and preconceptions of materials, objects and forms.

Michael Euyung Oh began his “ranking projects” in 1999 by reorganizing
retail catalogue images of diamond rings, handguns, and burial caskets
according to his personal taste. For Oh, the act of making judgments to
construct a value system expresses today¹s utilitarian materialism and
institutional discourse, and is also an exercise in subjective absurdity.
Oh¹s latest ranking project, 100 Popular First Names is concerned with
textual and lingual qualities around naming, the resonance of
personal-cultural memory and fantasy, and the appearance of control and
determination.

For more info. contact Julie Bevan at tel: (604) 822-3640 or fax: (604)
822-6689, bevanj@interchange.ubc.ca
Morris & Helen Belkin Art Gallery, University of British Columbia, 1825 Main
Mall, Vancouver, BC V6T 1Z2, Canada. www.belkin-gallery.ubc.ca

The Power Plant launches major Commissioning Program with Turner Prize winner Simon Starling

TORONTO, September 29, 2006—The Power Plant launched today a key new initiative linked to the realization of its new Strategic Plan adopted earlier this year. The Power Plant Commissioning Program will produce at least one major new art work of international significance per annum, establishing The Power Plant as a lead agent in Canada for commissioning landmark contemporary art projects by Canadian and international artists.

“Following on the success of ALL SUMMER, ALL FREE, and the launch of our fall programs supported by a prestigious Ontario Cultural Attractions Fund grant, we are thrilled to announce the launch of our annual Commissioning Program,� said Gregory Burke, Director of The Power Plant.

“As Canada’s leading non-collecting contemporary art gallery, the commissioning of major new projects is a distinctive and important role for us. The Commissioning Program is a tangible expression of our commitment to strive to foster the conditions for the production as well as the reception of contemporary art and to develop new possibilities for artists within contemporary culture. Realizing at least one major commission per year, the program will incubate major art projects that might not otherwise see the light of day.�

Great projects are often backed by visionary patrons and this is true of the Commissioning Program. A group of prominent Toronto citizens have joined together to enable The Power Plant to realize this new initiative. These Founding Commissioners also have links to four current or past presidents of The Power Plant, evidence of an enduring belief in the need to support the development of The Power Plant as an essential cultural organization in Canada.

The Founding Commissioners are:

Lonti Ebers and Bruce Flatt
Yvonne and David Fleck
The Latner Family
Phil Lind
Garnet and Evan Siddall

“Their commitment to The Power Plant and to the development of contemporary art enables us to realize our goals to offer audiences a chance to engage with the work of some of contemporary art’s most original figures, and to build awareness of its significance as a vital social and cultural force. Their support also helps to cement Toronto’s claim to be a major international art city given that each major commission has the potential to attract enduring international attention.�

“We are therefore delighted to announce that The Power Plant’s inaugural commission is a work by the British artist Simon Starling and that the work has both international significance and local relevance. This work focuses on Toronto’s enduring engagement with art and its histories at an international level,� said Mr. Burke.

The work takes as its starting point the close relationship between English sculptor Henry Moore and the City of Toronto, and the Zebra Mussel that flourishes in Lake Ontario. Outside of the Henry Moore Foundation in Perry Green, England, Toronto has one of the most significant collections of Moore’s sculptures in the world, a legacy with which Starling is engaging and broadening.

Simon Starling is a member of a young generation of British and Scottish artists who have emerged in the last decade to increasingly popular and international acclaim. In 2005, Starling received the Turner Prize, Britain’s most prestigious and important award for artists under the age of 50. For his recent exhibition, Cuttings, at the Museum fur Gegenwartskunst, Basel, Switzerland, The Power Plant co-published his exhibition catalogue (available at The Power Plant).

The Simon Starling Commission was initiated by Reid Shier, former Curator of The Power Plant. The Power Plant gratefully acknowledges the Art Gallery of Ontario for their assistance in realizing this project. The original Moore sculpture is housed within their collection. Furthermore, The Power Plant would also like to acknowledge the assistance of BMO Financial Group, The Henry Moore Foundation, Casey Kaplan Gallery, Hugh MacIsaac, Professor Gerry Mackie, Jay McLennan (Spire Art & Design), Sherry Phillips, and Dr. W. Gary Sprules.

Simon Starling will give a lecture on Friday September 29, 7PM, at The Brigantine Room, Harbourfront Centre, 235 Queens Quay West. Free to Power Plant Members. $15 non-members. To order tickets call Box Office at 416 973 4000.

The Power Plant at Harbourfront Centre is located at 231 Queens Quay West. Gallery Hours are Tuesday to Sunday: 12-6pm, Wednesday: 12-8pm, Closed Monday, open holiday Mondays. Admission is Free to Members, $4 adults, $2 students/seniors.

For gallery information contact 416 973-4949 or thepowerplant@harbourfrontcentre.com or visit www.thepowerplant.org
-30-

Media Contact: Linda Liontis, 416 973 4381, lliontis@harbourfrontcentre.com

BACKGROUND INFORMATION

In front of Toronto’s City Hall stands The Archer (1964-65), one of Moore’s most significant public works. Its history is rich with controversy. It was chosen for the city by architect Viljo Revell and Henry Moore but threatened by a public controversy surrounding its commission for Nathan Philips Square. Moore’s impassioned fans in Toronto would save the sculpture for the city by raising private money to purchase it. This coup would help sustain a relationship between Moore and Toronto and would result in the artist awarding a large and significant selection of his plaster originals to the Art Gallery of Ontario.

Prior to this historic acquisition, a small number of Moore’s sculptures entered the Art Gallery of Ontario’s collection at the recommendation of Anthony Blunt, an English art historian and member of the infamous spy ring—along with Kim Philby and Guy Burgess—that betrayed British secrets to the Soviet Union during WWII. Through the 1950s and 60s Blunt acted as advisor to the AGO, and was instrumental in the gallery’s purchase of Warrior with Shield, (1953-54), a bronze sculpture that evolved, in Moore’s words, from “a pebble I found on the seashore in the summer of 1952, and which reminded me of the stump of a leg, amputated at the hip.� Moore’s fascination with the suggestive formal possibilities of natural objects—particularly bones, pebbles, flint stones and shells is of particular interest to Simon Starling, and a jumping off point for the Commissioned work.

While conducting research in Toronto, Starling became fascinated with the recent invasion, throughout the North American Great Lakes, of the Eastern European Zebra Mussel. The Zebra Mussel entered the Great Lakes in 1988, marine biologists speculate, in the ballast water from large ocean going transport vessels. The mussels are native to the Black Sea, and since arriving in North America have proliferated in our fresh water lakes to such a degree that they have become a dominant aquatic species. This has led to profound ecological repercussions, both beneficial and destructive. While their fantastic numbers have helped filter out a great deal of pollutants from the lakes, the Mussel’s fortitude has pushed out many other native species.

Starling is combining his interests in Moore and the Zebra Mussel in an ambitious idea. The artist is creating a steel rendition of Henry Moore’s bronze sculpture Warrior with Shield then submerging this for a number of months in Lake Ontario. While underwater the sculpture will be colonized by mussels, and when extracted the mussels will die while their shells will remain affixed. This sculpture will then be exhibited at The Power Plant.

Starling’s dialogue with the work of Henry Moore is both an engagement with an artistic legacy and a conduit through which audiences might also understand an artwork’s larger social and cultural context. Moore’s relationship with Toronto has been received with enormous support as well as outright antagonism. Part of the reason The Archer’s acquisition was fought in the 1960s was because Moore wasn’t Canadian, and there were arguments against public support being given to foreign artists.

Nationalist insecurities erupted throughout the early years of Canada’s emerging cultural identification, and it is in his metaphoric employment of the invasive Zebra Mussel that Starling evokes these contested ideas of foreign ‘influence’ and nationalist protectionism.

THE POWER PLANT CONTEMPORARY ART GALLERY
at Harbourfront Centre
231 Queens Quay West
Toronto, ON M5J 2G8
tel: (416) 973-4949
fax: (416) 973-4933
www.thepowerplant.org
thepowerplant@harbourfrontcentre.com

Martin Kippenberger and Achim Schächtele in the Café Einstein, Berlin,
1979 (detail). Courtesy Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne. Image courtesy ICA Philadelphia.

Make Your Own Life this fall at Canada’s leading contemporary art gallery. Two major exhibitions launch Thursday night, accompanied by a fantastic line-up of programs, including LIVE/LECTURE/LOUNGE, Power Talks, Sunday Scenes, and Power Kids Art Camps. Don’t miss opening weekend.

Saturday 23 September, 3pm
Artist’s Talk: Michael Krebber
The Studio Theatre, 235 Queens Quay West. $8 members. $10 non-members.

Sunday 24 September, 2pm
Curator’s Tour: Bennett Simpson on Make Your Own Life
The Power Plant. Free with admission.

Sunday 24 September, 3pm
Artist’s Talk: Christopher Williams
The Studio Theatre. 235 Queens Quay West. $8 members. $10 non-members.

and don’t miss:
Friday 29 September, 7pm
Major International Lecture Series: Turner Prize winner Simon Starling
The Studio Theatre, 235 Queens Quay West. Free to members. $15 non-members.

Considering “You must make your own life the basis� for art, which the late artist Martin Kippenberger once decreed, The Power Plant is pleased to announce the opening of two must-see exhibitions that consider the life of the artist, and examine the social and cultural intersection, where life becomes the subject of art.

Make Your Own Life: Artists In & Out of Cologne features some of the most influential artists of the late 20th century. This must-see exhibition presents a look at the mythic and art historical significance of Cologne, Germany as a nucleus of contemporary art practice in the 80s and 90s, and highlights the integral social and artistic relationships. Artists in the show include: Bernadette Corporation, Cosima von Bonin, Merlin Carpenter, Stephan Dillemuth, Michaela Eichwald, Roe Ethridge, Filmgruppe West, Andrea Fraser, Kim Gordon, Charline von Heyl, Gareth James, Mike Kelley, Martin Kippenberger, Jutta Koether, Michael Krebber, Louise Lawler, Hans-Jörg Mayer, Lucy McKenzie, Christian Philipp Müller, Nils Norman, Albert Oehlen, Stephen Prina, Josephine Pryde, Blake Rayne, Reena Spaulings, Josef Strau, Rosemarie Trockel, Christopher Williams, and Christopher Wool.

Set against this exhibition is Eve Sussman’s 89 Seconds at Alcázar, that was featured at the Museum of Modern Art’s official reopening last year, and the 2004 Whitney Biennial. It is a 10-minute choreographed tableau, based on Diego Velázquez’s famous 1656 painting Las Meninas. By recreating the events preceding and following the moment that is captured in the Spanish royal family portrait, she presents it as a cinema-vérité film still. Sussman’s extraordinary repositioning of the famous painting, which includes a self-portrait of the official painter, Velasquez himself, like Make Your Own Life, also introduces the life of the artist as subject.

A key figure in the Cologne art scene, Michael Krebber was a close friend of and former assistant to the late Martin Kippenberger. Krebber rethinks the potential for conceptually based painting in the wake of the medium’s exhaustion. He has exhibited widely throughout Europe and North America, with recent solo exhibitions at SECESSION, Vienna, and Greene Naftali Gallery, New York. Krebber’s visit has been generously supported by the Goethe-Institut Toronto.

Curator Bennett Simpson is Associate Curator at the ICA, Boston, where he has organized projects with Paul Chan, Roe Ethridge and Sergio Vega. >From 2001–2004 he was Associate Curator at the ICA Philadelphia, which originated Make Your Own Life.

Working mainly with photographs, and also incorporating film, performance, sculpture, graphic design, and video, Christopher Williams tackles the institutional and vernacular meaning of images, and engages the viewer in analyzing systems of information and power, and in questioning how political art might look and function today. His work has been exhibited internationally, and was recently featured on the cover of ARTFORUM, and was part of the 2006 Whitney Biennial.

In elaborately staged journeys and installations, British artist and 2005 Turner Prize winner Simon Starling creates breathtaking relationships that enact cyclical, sometimes absurd detours across geography and time. “When I’m making art,� says Starling, “I’m thinking up novels in a way. Whether things I’m telling are true or not … I’m involved in an activity which is similar to that of a narrator.� Starling’s works draw out an array of ideas, revealing previously hidden relationships between art, nature, economics, history and place.

The Power Plant extends a sincere thanks to BMO Financial Group, Presenting Sponsor of Make Your Own Life; Nancy McCain and William Morneau as supporting donors of 89 Seconds at Alcazar; and NOW Magazine, Media Partner for both exhibitions. These exhibitions have been financially assisted by the Ontario Cultural Attractions Fund a program of the Government of Ontario through the Ministry of Culture, administered by the Ontario Cultural Attractions Fund Corporation.

Make Your Own Life: Artists In & Out of Cologne is organized by the Institute of Contemporary Art, University of Pennsylvania. Curated by Bennett Simpson.

The Power Plant at Harbourfront Centre is located at 231 Queens Quay West. Gallery Hours are Tuesday to Sunday: 12-6pm, Wednesday: 12-8pm, Closed Monday, open holiday Mondays. Admission is Free to Members, $4 adults, $2 students/seniors.

For exhibition and tour information, contact 416 973-4949 or thepowerplant@harbourfrontcentre.com or visit www.thepowerplant.org

FOR MORE INFORMATION ON PLEASE CONTACT

THE POWER PLANT CONTEMPORARY ART GALLERY
at Harbourfront Centre
231 Queens Quay West
Toronto, ON M5J 2G8
tel: (416) 973-4949
fax: (416) 973-4933
www.thepowerplant.org

thepowerplant@harbourfrontcentre.com

Between the Lines
Jude Norris

Opening: Thursday, September 28, 2006 from 5:00-8:00pm
Artist Talk: Thursday, October 19, 2006 at 6:30pm

Trinity Square Video and the imagineNATIVE Film + Media Arts Festival present Between the Lines an exhibition of new works by acclaimed visual artist Jude Norris. This exhibition consists of two sculptures that incorporate video and sound elements in intimate and arresting ways. With these works, Norris examines our intricate relationships to technology, language, and the spirit world within a colonial framework.

In The Definition of Bear, a bear skull props open an Oxford English Dictionary, pointing to ironic definitions of its name. The definitions emanate softly from the bear, spoken in both English and Cree. Through the hybrid identity of the bear, Norris reveals the complexities of language as the expression of a particular worldview and gives voice to the animal’s enduring strength. In Words of a Feather, a turn-of-the-century school desk sits alone in the centre of a dark room - soft, glowing light filtering out from within its half-opened lid. Instead of schoolbooks, this desk is filled with spirit helpers and earth. A gold-tippe! d feather pen rests on its surface. In this poignant piece, Norris acknowledges an ongoing potential to rewrite the position of First Nation’s people within colonial and literary education and culture.

Biography
Multi-disciplinary Cree-Metis artist, Jude Norris, employs idiosyncratic combinations of ‘Native’ material, language, traditional creative practice, and iconography with elements of western technology, art practice, theory, and language. Grounded by a strong aesthetic sensibility, and often a subtle humour, her work is an exploration and expression of the oddness and challenges of contemporary colonized reality. Jude is a recent recipient of a Chalmer’s Arts Fellowship, and has received awards from the Canada Council, the Alberta Foundation for the Arts, the Ontario Arts Council, and the Toronto Arts Council. Her work has been exhibited internationally.

Exhibition runs until October 26, 2006

Trinity Square Video Gallery
401 Richmond St. West, Suite 376
Toronto, ON M5V 3A8
416 593-1332
www.trinitysquarevideo.com

imagineNATIVE Film + Media Arts Festival
www.imaginenative.org

TSV will be open 7pm - 2am for Nuit Blanche on September 30, 2006. www.nuitblanche.livewithculture.ca

The Agnes Etherington Art Centre News
27 September 2006
PUBLIC PROGRAM

The Trouble with Oscillation
Lecture/performance by Sally McKay
Sunday 15 October 1:30 pm

Full on Gall
Participatory workshop
Sunday 15 October 2:30 to 5 pm

The artists in Neutrinos They Are Very Small - Rebecca Diederichs, Gordon Hicks and Sally McKay - offer an afternoon of encounters between advanced physics and the artistic imagination. Their exhibition, on view at the Art Centre until 10 December, presents their responses to the underground laboratory of the Sudbury Neutrino Observatory as a site of observation, experimentation, and, above all, passionate curiosity about the inner workings of the cosmos. Adopting the persona of an adventurous tourist, Sally McKay will take visitors on a brain-time vacation in an entertaining lecture/ performance that probes the affinities between scientific and artistic processes. All three artists host Full on Gall, a drop-in workshop that invites visitors to draw a neutrino, plot an oscillation, delve into the mystery of the Black Box - and more. Representatives of the Sudbury Neutrino Observatory, an international facility in which Queen’s University scientists play a major role, will also be on hand to chat about their work.

This project and the accompanying catalogue have been co-developed with the Art Gallery of Sudbury. Neutrinos They Are Very Small would not have been possible without the generous cooperation of the Sudbury Neutrino Observatory, in particular Dr. Doug Hallman. The 48-page illustrated publication, designed by the award-winning Lisa Kiss, contains essays by exhibition curator Corinna Ghaznavi and art historian Allison Morehead, with an introduction by Jan Allen. The publication (available at the Gallery Shop or through ABCArtBooksCanada) includes a DVD with video excerpts and an interactive component documenting the experimental artistic collaboration Black Box.

This exhibition is made possible by funding from the Canada Council for the Arts, the Ontario Arts Council and the George Taylor Richardson Memorial Fund.

Wave Poetry Bus Tour at Dia

Stopping at 50 cities in 50 days, the 2006 Poetry Bus Tour, sponsored by Seattle-based independent press Wave Books, is touring North America from September 4 through October 27 offering readings by a wide range of contemporary authors. The bus tour includes stops at the Space Needle in Seattle, the Naval Academy in Annapolis, MD, the Museum of Natural History in Los Angles, the Green Mill in Chicago, and a variety of bookstores, galleries, bars, prisons and schools throughout the US and Canada.

Dia Art Foundation
Saturday, September 30, 2006, 4pm-midnight

Readings by participating poets: Joshua Beckman, Matthew Zapruder, Noelle Kocot, Mary Jo Bang, Vijay Seshadri, John Yau, Marie Howe, Brenda Shaughnessy, Christian Hawkey, Rebecca Wolff, Rachel Zucker, Larry Fagin, Travis Nichols, Ann Lauterbach, Timothy Donnelly, John Godfrey, Lewis Warsh, the Typing Explosion, Catherine Wagner, Major Jackson, Monica Fambrough, Matthew Rohrer, Edwin Torres, Cate Marvin, David Lehman, John Ashbery, Eileen Myles, Evie Shockley, James Tate

548 West 22nd Street
New York, NY 10011
www.diaart.org

Dia:Beacon
Sunday, October 1, 2006, 2-5pm

Readings by participating poets: Joshua Beckman, Matthew Zapruder, John Yau, Mary Ruefle, Noelle Kocot, Mary Jo Bang, Nick Flynn, Brenda Shaughnessy, Major Jackson, Thomas Sayers Ellis, Catherine Wagner, Matthew Rohrer, Caroline Knox

3 Beekman Steet
Beacon, NY 12508
845-440-0100

* Admission at both venues is a $5 suggested donation.

Wave Books
Wave Books is an independent poetry press based in Seattle, Washington. Dedicated to publishing the best in American poetry by new and established authors, Wave Books was founded in 2005, joining forces with already-established publisher Verse Press. Wave Books seeks to build on and expand the mission of Verse Press by publishing strong innovative work and encouraging our authors to expand and interact with their readership through nationwide readings and events, affirming our belief that the audience for poetry is larger and more diverse than commonly thought.

Dia Art Foundation
Dia Art Foundation was founded in 1974. A nonprofit institution, Dia is internationally renowned for initiating, supporting, presenting, and preserving art projects. Dia presents public programs and its permanent collection of works from the 1960s through the present at Dia:Beacon, Riggio Galleries, in New York’s Hudson Valley. Dia has also proposed a plan to relocate its contemporary exhibition program in New York City to a new facility located at the future entrance to the High Line public park in downtown Manhattan. Additionally, the foundation maintains long-term, site-specific projects in the western United States, in New York City, and on Long Island.

For more information, please visit www.poetrybus.com or www.diaart.org.

LMAKprojects in collaboration with Puncto Gris is pleased to announce to present at Preview Berlin a selection of artists whose formal considerations include architectural topics. The works presented explore ideas about space, varying from pure formal issues to more environmental related visions. Preview Berlin will be held in Berlin from September 28 to October 3, 2006 (above image)

In this issue of the fair, the limited edition catalog will include original works by Claudia Joskowicz from Punto Gris and Ariadna Carpasso from LMAK Projects. Enclosed please find an image of Ariadna Capasso’s limited fair edition Green Canopy: A Collage, 2006, Digital print, 128 mm x 128 mm.

Ariadna Capasso is a video and installation artist who developed together with : Patricia Tinajero-Baker, a sculpture/installation artist and Damián Keller, a composer specializing in three-dimensional ecological-sounds the idea of the Green Canopy, which is an environmental sound installation. Built entirely from recycled materials, including PVC-pipes, carpet padding, and crocheted plastic bags, the sculpture is the forest of the future. Green Canopy: The Tree is 10-feet high, 15-feet in diameter and finished in festive colors, a tongue-and-cheek reference to the Latin American “aesthetic. On view at Preview Berlin will: The Green Canopy: the Bud, a 5 feet tall version. The original material for the music was collected in the Amazon jungle by Keller.