Artipedia - Arts News

The Museum of Contemporary Art (MCA)

ESCULTURA SOCIAL:
A NEW GENERATION OF ART
FROM MEXICO CITY

In its final days!
Through September 2, 2007

Museum of Contemporary Art
220 East Chicago Avenue
Chicago, Illinois 60611
T 312.397.3826
F 312.397.4095
W http://www.mcachicago.org

Over the last ten years, Mexico City has become a thriving hub of artistic activity. A daring young generation of artists has developed a new vocabulary that embraces non-traditional materials as well as video, photography, and performance, with a love of conceptual art. This summer, the Museum of Contemporary Art (MCA), Chicago, presents Escultura Social: A New Generation of Art from Mexico City from June 23 to September 2, 2007 to explore the work of these significant and creative young artists.

Unlike recent surveys of Latin American art or regional overviews of art from Mexico, Escultura Social focuses on art that combines popular culture with a conceptual style that can be humorous, macabre, and imaginative in pushing the boundaries of art. This exhibition is not defining a “movement” or looking at a panorama of artists working in Mexico, instead, it includes innovative work made primarily in the last two years that has had a significant impact outside of Mexico by artists who formed a community in Mexico City and have often collaborated on projects together.

Escultura Social is curated by MCA Assistant Curator Julie Rodrigues Widholm who based the show’s theme on German performance artist Joseph Beuys’s idea of social sculpture, which she translated into the Spanish as escultura social. She explains, "The works are all socially engaged; they draw connections between people, animals and nature; they revisit conceptual practices/actions from the 1960s; and promote a demystified and democratic idea of artmaking. In addition, the meaning of the images, objects, and actions are at the crux of these artists’ works and the exhibition provides an opportunity to showcase their recent developments."

Influenced by twentieth-century art historical movements such as conceptualism, “actions” and “happenings,” the work also refers to aspects of popular culture — television, music, advertising, or flea markets — and its history, urban life, and current political issues, but in a fresh new way.

Mexico’s long political climate of oppression and corruption set the stage for unorthodox, collective, and “do-it-yourself” art practices in the 1990s. For example, in 1994, young artists Yoshua Okon and Miguel Calderon opened an exhibition space at a former bakery in Mexico City — La Panaderia — which was a gathering place for ten years for numerous artists, writers, and curators from Mexico and abroad. This and other collective efforts such as Temistocles44 and La Torre de los Vientos created an audience and forum for discussions about work that broke from tradition. An international dialogue has been crucial to its development, with several artists studying or participating in group exhibitions in the U.S. and Europe.

The Escultura Social exhibition includes site-specific, performative, and ephemeral projects in addition to videos, photographs, and installations. The complete list of artists includes: Maria Alós, Carlos Amorales, Julieta Aranda, Gustavo Artigas, Stefan Brüggemann, Miguel Calderón, Fernando Carabajal, Abraham Cruzvillegas, Dr. Lakra, Mario Garcia-Torres, Daniel Guzmán, Pablo Helguera, Gabriel Kuri, Nuevos Ricos, Yoshua Okón, Damian Ortega, Fernando Ortega, Pedro Reyes, Los Super Elegantes, and the architect Fernando Romero.

Artists
Maria Alós (Mexican/American, b. 1973) Lives and works in Mexico City
Alós is known for performances that often take place in public spaces, such as Grand Central Station. She also stages events in museums that act as an institutional critique, revealing unwritten rules of how art is displayed, collected and viewed. For the MCA, Alós creates Welcome/Farewell in which several performers recite a script saying hello and goodbye to the visitors during the preview and members openings of the exhibition.

Carlos Amorales (Mexican, b. 1970) Lives and works in Mexico City and Amsterdam
Amorales has moved away from his “lucha-libre” style wrestling performances, for which he became well-known, toward a body of computer animations and graphic work based on a vast image bank that he calls a “liquid archive.” Amorales also collaborates with musicians and composers and has co-founded an artist collective/record label called Nuevos Ricos.

Julieta Aranda (Mexican, b. 1975) Lives and works in New York and Berlin
Most of Aranda’s work operates outside the realm of art objects, instead creating video rental stores, newspapers, and graffiti, involving the ethos of a particular site.

Gustavo Artigas (Mexican, b. 1970) Lives and works in Mexico City
In his videos and live actions that often evoke visceral reactions in viewers, Artigas directs performances that range from a football and soccer game being played on the same field to a motorcycle driving through a museum. He is developing a new work, Ball Game, in collaboration with an at-risk youth summer basketball league for this exhibition.

Stefan Brüggemann (Mexican, b. 1975) Lives and works in Mexico City and London
Working with text in various manifestations including neon and vinyl applied to the wall, Brüggemann examines how its meaning is brought into question when isolated into succinct and ambiguous phrases. Brüggemann’s vinyl and neon texts recall the work of Joseph Kosuth, but with a more sardonic approach.

Miguel Calderon (Mexican, b. 1971) Lives and works in Mexico City
Working in a variety of media including painting, photography, sculpture, and more recently video, Calderon’s interest in popular culture and his childhood fascinations with animals have become his subjects.

Fernando Carabajal (Mexican, b. 1973) Lives and works in Mexico City
Employing a poetic and ambiguous sensibility, Carabajal takes materials from his studios to create miniature galaxies of the artist’s imagination.

Abraham Cruzvillegas (Mexican, b. 1968) Lives and works in Paris
Cruzvillegas creates elegant sculptures from everyday materials that relate specifically to the locations of his art practice, employing the legacy of Duchamp’s technique of the readymade.

Dr. Lakra (Mexican, b. 1972) Lives and works in Mexico City
Dr. Lakra is a tattoo artist who transforms idealized figures and advertisements from 1950’s Mexican magazines, pin-up girls and wrestlers, by “tattooing” them with ink snakes, demons, spiders, and the faces of pouting vixens. His graffiti-like defacements politicize the relative innocence of images of a romanticized past, combining a kitschy erotica with elements of ancient ritual and hallucinogenic visions in his collages.

Mario Garcia-Torres (Mexican, b. 1975) Lives and works in Los Angeles
Mario Garcia-Torres’ practice is concerned with rethinking history and more specifically about calling attention to art historical moments and conceptual works for which the artist reconsiders their significance. In his work, the politics of memory are constantly revised.

Daniel Guzman (Mexican, b. 1964) Lives and works in Mexico City
Guzman is best known for his groups of drawings that combine texts from the lyrics of his favorite songs or books and related imagery. For this exhibition, his recent sculptural work is being included for its similar juxtaposition of text with objects that question ideas of value.

Pablo Helguera (Mexican, b. 1971) Lives and works in New York City
Helguera works with installation, sculpture, photography, drawing, and performance considering the relationship between history, cultural production, and language. Helguera fictionalizes the real, generating commentary and discussion about our surrounding cultural and political reality. In 2006, Helguera presented The School of Panamerican Unrest, a traveling public art project developed in numerous cities and locations in the United States and Latin America.

Gabriel Kuri (Mexican, b. 1970) Lives and works in Brussels and Mexico City
Kuri brings into question the manner by which transactions of value are represented everyday. He uses commonplace materials for their physical properties as well as their semantic implications creating a dialogue between cultural identity, economic structures, class issues, history, and temporality.

Nuevos Ricos – Carlos Amorales (born Mexico City, 1970); Julian Lede (born Buenos Aires, 1971); and Andre Pahl (born Hilden, Germany, 1975)
Artist Amorales, musician Lede, and graphic designer Pahl started Nuevos Ricos in 2003 as a way to create a hybrid art project and record label. The guise of the record label was a way for them to explore how rock music functions in Mexican youth culture. The interplay between art and life and the media’s influence on reality is at the crux of Nuevos Ricos’ work, which includes special projects and events at exhibitions and art fairs. Their project for the MCA, El Guerreros, takes the form of a newspaper to replicate the importance of the mass media’s influence, first through the film and then the local newspapers who reported on the rise of gangs in the 1980s in Mexico City.

Yoshua Okón (Mexican, b. 1970) Lives and works in Mexico City and Los Angeles
Okon’s videos blend staged situations, documentation, and improvisation and puts into question habitual perceptions of reality and truth, identity and morality, by collaborating with everyday people in the process of their own representation. He was the co-founder of La Panaderia an independent exhibition space with major influence in the contemporary art scene in Mexico City.

Damián Ortega (Mexican, b. 1967) Lives and works in Mexico City and Berlin
Subverting the notion of sculpture as a solid, monumental, finished object, the video and sculptural works of Ortega are intended to raise questions. Far from being static, his work suggests the potential for continual evolution and change. The exhibition includes the 16mm film projection Escarabajo, the third part of his Beetle Trilogy.

Fernando Ortega (Mexican, b. 1971) Lives and works in Mexico City
Ortega works in a wide range of media including video, photography, installation and sound interventions. Ortega’s work brings to the attention of the viewer the balancing act, between sensory experience of chance encounters and intellectual understanding, which underlies our interpretations of the world.

Pedro Reyes (Mexican, b. 1972) Lives and works in Mexico City
Trained as an architect, Reyes is interested in the relation between architectural structures and their use, and is often seeking a transcendental individual and collective experience in his work.

Los Super Elegantes - Milena Muzquiz (Mexican, b.1974) and Martiniano Lopez-Crozet (Argentinian, b. 1968) Live and work in Los Angeles
Los Super Elegantes are a unique punk-mariachi-hip-pop group from Los Angeles (via Tijuana and Buenos Aires). They founded the group in 1995 and have mixed original music with theatrical stage improvisations in amusing live performances. Together they perform onstage with a backing band (or lip-synch to prerecorded tracks) at concerts, art events, and parties; record albums and create music videos; make photographs and T-shirts; and write, design sets for, and star in their own plays. The two met as art students in San Francisco in 1992, formed Los Super Elegantes in 1995, and by 1997 were living in Mexico City with an album released on a major Latin American label. The band is currently working on a new album that will be released in 2007.

Fernando Romero (Mexican, b. 1971) Lives and works in Mexico City
Romero founded LCM (Mexico City Laboratory) in 1999 where he developed a uniquely interdisciplinary workshop. In 2005, he founded LAR (Laboratory of Architecture) in Mexico City, a branch of his firm focused on research and experimental projects. Recent international commissions have included Bridging Tea House (2004) for the Jinhua Architecture Park in China.

Panel Presentation
Exploring the Contemporary Art Scene in Mexico City
Saturday, June 23, 2 pm, MCA Theater
Internationally-recognized artists Abraham Cruzvillegas, Carlos Amorales, and Julieta Aranda will be joined by the curator of the exhibition, Julie Rodrigues Widholm, and Cesareo Moreno, Visual Arts Director at the National Museum of Mexican Art, to discuss their work, their artistic process, and the contemporary art and culture scene in Mexico. For tickets call 312.397.4010.

Exhibition Catalogue
Escultura Social: A New Generation of Art from Mexico City
Edited by Julie Rodrigues Widholm with essays by Julie Rodrigues Widholm and Itala Schmelz. Featuring the work of twenty-one artists, this bilingual volume includes several artists’ writings by pioneers of artist-run exhibition spaces: Stefan Brüggemann, Abraham Cruzvillegas, Pedro Reyes, and Yoshua Okón, Critical essays on the contemporary Mexican scene and relevance of Beuys’s ideas are accompanied by illustrated texts on each artist in this unique and important book. Itala Schmelz is director of the Sala de Público Siqueiros, Mexico City. The catalogue is 224 pages with 130 color illustrations. It is available in the MCA Store for $39.95.

Travel Schedule
Nasher Museum of Art at Duke University: January 15 - May 31, 2009

Related Exhibitions
National Museum of Mexican Art: Women Artists of Modern Mexico: Frida’s Contemporaries
(Mujeres artistas en el México de la modernidad: Las contemporáneas de Frida)
June 22 - September 2, 2007
This exhibition showcases and brings to light the artistic works of 26 women who have produced art since the beginning of the twentieth century. These women used different artistic languages such as painting, photography, printmaking, and sculpture to provide a view of modernity through different proposals and approaches. They were creators, muses, and also politically active. This exhibition is comprised of artwork by exceptional women whose expressions were not limited to the visual arts, but rather included literature, music, dance, theater, and cinema. This exhibition takes place at the National Museum of Mexican Art in Chicago (1852 W 19th St)

National Museum of Mexican Art: Nahui Olin: A Woman Beyond Time
(Nahui Olin: Una mujer fuera del tiempo)
June 22 - September 2, 2007
This exhibition presents the artwork of Nahui Olin, a woman of great intellectual and creative capacity. These qualities quickly made her a prominent figure in a country that was headed toward modernism. These pieces will help the public gain a better understanding of how Nahui Olin opened the roads to freedom for other female artists who walked freely and with great dignity through the cultural scene of twentieth-century Mexico. This exhibition takes place at the National Museum of Mexican Art in Chicago (1852 W 19th St)

Major support for Escultura Social: A New Generation of Art from Mexico City is generously provided by the Harris Family Foundation in memory of Bette and Neison Harris. Additional support is provided by Karen and Steven Berkowitz; Juan and Gela Gallardo; Anne and William J. Hokin; Abe Tomás Hughes II and Diana Girardi Karnas; The Albert Pick, Jr. Fund; and Jim and Rita Knox. This exhibition is partially supported by a grant from the Governor’s International Arts Exchange Program of the Illinois Arts Council. Air transportation is provided by American Airlines, the Official Airline of the Museum of Contemporary Art.

The Museum of Contemporary Art, Chicago (MCA) is a private nonprofit, tax-exempt organization accredited by the American Association of Museums. The MCA is generously supported by its Board of Trustees, individual and corporate members, private and corporate foundations, and government agencies including the Illinois Arts Council, a state agency, and the City of Chicago Department of Cultural Affairs. The Chicago Park District generously supports MCA programs. Air transportation is provided by American Airlines, the Official Airline of the Museum of Contemporary Art. The MCA is located at 220 E. Chicago Avenue, one block east of Michigan Avenue. The museum and sculpture garden are open Wednesday through Sunday from 10 am to 5 pm and Tuesday from 10 am to 8 pm. The museum is closed on Monday. Enjoy free admission every Tuesday generously sponsored by Target. Children 12 years of age and under, MCA members, and members of the military are admitted free. Information about MCA e
xhibitions, programs, and special events is available on the MCA website at http://www.mcachicago.org or by telephone at 312.280.2660.

MEDIA CONTACTS
Erin Baldwin 312.397.3828 ebaldwin@mcachicago.org
Karla Loring 312.397.3834 kloring@mcachicago.org
Sarah Wambold 312.397.3832 swambold@mcachicago.org
Images: http://www.mcachicago.org/media

For more information go to: http://www.mcachicago.org

TELIC Arts Exchange

Jordan Crandall
Showing
8 Sept - 20 Oct 2007
opening 8 Sept 6-9 pm

Telic Arts Exchange
975 Chung King Rd.
Los Angeles, CA 90012
213-344-6137
info@telic.info

http://www.telic.info

"Showing" is an exhibition by Jordan Crandall that takes its form as a series of events at TELIC Arts Exchange between September 8 and October 20. These events include presentations, screenings, and performances, along with discursive interventions in various formats. TELIC operates as a stage throughout the show, with every event being recorded and then distributed as a catalog series of DVD’s.

Presentations by: Julie Albright (on self-transformation, makeover, and the management of attraction); Scott Bukatman (on attraction, spectacle, and the cult of the amateur); Gary Dauphin and Josephina Ayerza (on the "pose" as a marker of identity and social standing); Mimi Nguyen (on the circuits between star and fan); Susanna Paasonen (on sexuality, pornography, and affect); John Paul Ricco (on narcissism and the space of exposure), and Theresa Senft (on webcamming, micro-celebrity, and performance in everyday life). "Watch Me Get Watched" program organized by Glenn Phillips and Catherine Taft. "Showing for All" program organized by Dylan Wilcox.

For a complete schedule of screenings, presentations, and performances see http://www.telic.info/catalogs/showing.

Jordan Crandall http://jordancrandall.com is a media artist and theorist. He is Associate Professor in the Visual Arts Department at University of California, San Diego. The most recent instantiation of his ongoing art and research project "Under Fire" opened in 2006 at the International Biennial of Contemporary Art of Seville. To date, two catalogues of "Under Fire" have been produced, in 2004 and 2005, published by the Witte de With center for contemporary art, Rotterdam. Crandall’s most recent video is "Homefront", a 3-channel installation that combines live-action video, surveillance footage, and military tracking software, and which explores the effects of the new security culture on subjectivity and identity.

TELIC Arts Exchange, located on Chung King Road in Chinatown, Los Angeles, provides a place for multiple publics to engage with contemporary forms of media, art and architecture. For four years the space has been a platform for exhibitions, performances, screenings, lectures and discussions. TELIC’s program emphasizes social exchange, interactivity and public participation to produce a critical engagement with new media and culture.

This exhibition is made possible in part with the support of The Peter Norton
Family Foundation and The Andy Warhol Foundation for the Visual Arts.

SHOWING

In our cultural landscape of blogs, webcams, profiles, live journals, and lifecasting, the intimate lives of everyday people are on parade for all to see. One could say that a new culture of erotic exposure and display is on the ascendance, fueled by the impulse to reveal the self, and streamlined by DIY media technologies. In many ways this culture would seem to be less a representational than a presentational one, where we are compelled to solicit the attention of others, act for unseen eyes, and develop new forms of connective intensity — as if this were somehow the very condition of our continued existence, the marker of our worth. Within this new culture of self-exposure, one could say that the dream of panoptic power has been achieved, or that it has reversed course. Does the drive to willingly display the self constitute a surrender to the controlling gaze, or simply a shift in the dynamic of the game? For within these presentational environments, performance and
role-playing reign supreme, and new forms of subjectivity and identity emerge.

These new cultures of self-display challenge us to reconsider foundational concepts in film and media theory and, consequently, to rethink the very conditions of our approach. For clearly these cultures are not necessarily those of mastery and visual pleasure. They do not resolve easily to questions of perception, power, and language. They are cultures of showing as much as those of watching. Instead of a reliance on questions of spectatorship, representation, and scopic power, we are challenged to foreground issues of performance, affect, and display. Instead of a privileging of reception, we are challenged to incorporate authorial intent or originary motivation. For these new media phenomena are not only texts to be read: they are solicitations, conductive excitations, embedded within networks of erotic exchange. There are pleasures and affective stimulations that motivate these new acts of connection, sharing, and erotic display, for all players on the circuits of
production and reception, including both displayer and watcher. Their texts must not only be decoded but their circuits traversed, in implicated ways that destabilize any one-way analysis and its deflections of libidinous investment.

There is much to be gained in rethinking the dynamic between voyeurism and exhibitionism, compensating for the under-theorization of the latter. In film theory, concepts of "attraction" have provided useful tools in thinking forms of exhibitionistic address that counter the voyeuristic orientation of film analysis. In contrast to the mechanisms of maintaining a coherent narrative world, transporting the viewer into another time and space, attractions are those phenomena that directly solicit the viewer’s attention in the here-and-now. They can take the form of narrative asides, spoken in confidence to the viewer outside of the diegetic space; as spectacles for their own sake; or as shots which exist purely to titillate the viewer, having no function in the furthering of the narrative. They prompt modes of apprehension that rely less on discursive flow than on direct transmissions that arouse or tease the viewer, engaging the immediacy of the bodily sensorium. I
n this way they are similar to the way that affects can counter meanings.

In the case of new media of self-exposure, sharing, and erotic display, one could suggest that the emblematic "pose" functions as such an attractor. The pose is a form of exhibitionistic spectacle — direct address, performative display, or bodily stimulus — that stands in contrast to the narrative or conversational flow of a social world, whether real or imaginary. It bypasses demands for narrative coherency and instead conducts transversal operations at the level of both the semiotic and the sensational, the reflective and the transmissive. It solicits attention while at the same time functions as portal or conduit for a reciprocal flow: a conductive excitation geared to develop some degree of connective intensity.

Since the pose feeds on reciprocality, it can prompt the changing of roles and positions. In this way it can be seen as a catalyst for identity-formations. Especially as witnessed in the database-driven format of the online profile within which the pose is often embedded, identity is performed through the adoption of specific codes (whether gender or otherwise). One is called upon to play roles in order to assume symbolic mandates, to the extent that "impersonation" becomes a core act of self-identification. Yet the pose does not only operate extensively but intensively, and such "impersonations" arise equally through the internalized transmission of affects. Emergent forms of identity arise through flows of affective resonance that are themselves a powerful social and subjectifying force.

Such impersonations and internalizations can be understood to be driven by lack or by abundance. As a performative player, we are driven by a primary lack at the core of the psychic apparatus. It compels us to seek fulfillment through the gaze of the other: the elementary fantasmatic scene of being looked at (validated) by an unseen presence. The imagined gaze observing us becomes a kind of ontological guarantee of our being. It serves to put us in our place — to subject us. In this way, erotic cultures of exposure and display can be seen as driven by the need to perform for the gaze — the Big Other, the symbolic order — and therefore to write themselves into existence. Yet at the same time, these insertions of the self into the symbolic order can be regarded as a way of channeling or dissipating surplus energy. From such a viewpoint, the connective intensities that drive these new forms of self-exposure and display are those of expending excess, and the allure of
showing could parallel that of sacrificing. The pose, as event-portal, becomes a double-edged solicitor.

- Jordan Crandall

For more information go to: http://www.telic.info

Art in General

August 16 to November 9, 2007
25 Years Later:
Welcome to Art in General
The UBS Art Gallery (1285 Avenue of the Americas, New York City)

September 5-December 15, 2007
Corporate Logo by Judi Werthein
Art in General (79 Walker Street,
New York City)

September 8, October 20, November 11
Where To?
Art in General

November 5, 2007
25th Anniversary Gala
(A new venue at the intersection of Tribeca and Chinatown in
New York City)

http://www.artingeneral.org

From August to December 2007, participate in a dynamic program to celebrate Art in General’s twenty-five years of service to artists, and to welcome a future of contributions to the field of contemporary art.

25 Years Later: Welcome to Art in General presents a handful of situations that bring together art and the public in creative ways through an exhibition of art installations involving happenings as well as time- and event-based artworks. This exhibition includes works by a number of artists who have recently participated in Art in General’s program as well as artists whose participation marks their first collaboration with the organization: Bik Van der Pol, Alejandro Cesarco, Kianga Ford, Chitra Ganesh and Mariam Ghani, Sharon Hayes, Tim Hutchings, Surasi Kusolwong, Ana Prvacki, Jirí Skála, and Lee Walton. A number of artworks and projects include daily performances, happenings, and events. A complete schedule is available at http://www.artingeneral.org

Concurrent to this exhibition–and in a similar spirit that Art in General turns The UBS Art Gallery into a space for alternative art and happenings–a new art project by Judi Werthein turns Art in General’s gallery into a corporate-like lobby space. Werthein’s exhibition, Corporate Logo, is part of a project entailing the creation of a new identity for Art in General.

During the fall, Art in General hosts Where to?, a series of public programs curated by Dean Daderko that respond to the gallery and its neighborhood. The series includes Rainbow Dawn (September 8, 8pm), an event with artists Dewayne Slightweight and Edie Fake; General Concert (October 20, 8pm) with artist Rachel Mason and her ever-evolving cadre of band members and dancers; and The Eat-In (November 11, 2pm) with Elaine Tin Nyo.

A unique Benefit Gala to celebrate Art in General’s 25 years takes place on the evening of November 5 in a new venue at the intersection of Tribeca and Chinatown. Honoring Art in General’s co-founders Martin Weinstein and Teresa Liszka, and artist Glenn Ligon, and featuring an art event commissioned from artist Spencer Sweeney, this will be an extraordinary evening co-chaired by Suzy Berland and Keith Recker. For tickets or information: info@mfproductions.com

Finally, for the first time in its history, a relational catalogue of the exhibition and programming history of Art in General is published on-line. The website http://www.artingeneral.org includes summaries, images and, when available, original publications of the organization’s art commissions, exhibitions, residencies, and other arts and education programs.

Art in General is a nonprofit organization that assists artists with the production and presentation of new work. It changes in response to the needs of artists and informs and engages the public about their work.

The exhibition 25 Years Later: Welcome to Art in General is made possible by UBS. Additional support has been provided by the New York State Council on the Arts, a state agency; the Mondriaan Foundation, Amsterdam; the Consulate General of the Netherlands in New York; the National Arts Council of Singapore; and the Center for Contemporary Arts Prague.

Corporate Logo by Judi Werthein is part of Art in General’s New Commissions Program, which is made possible by The Institute of Museum and Library Services, an independent federal grant-making agency dedicated to creating and sustaining a nation of learners by helping libraries and museums serve their communities; the Andy Warhol Foundation for the Visual Arts; and the Booth Ferris Foundation. Additional support has been provided by the National Endowment for the Arts; Deutsche Bank Americas Foundation; Peter Norton Family Foundation; The Greenwall Foundation; Agnes Gund and Daniel Shapiro; the Jerome Foundation; and George Mills. Judi’s project is also made possible with the generous support of Ron and Lucille Neeley.

Art in General
79 Walker Street
New York, NY 10013
T. 212-219-0473
info@artingeneral.org
http://www.artingeneral.org

For more information go to: http://www.artingeneral.org