ARTBASE (1)
BIO
Joy Garnett is a painter based in New York. She appropriates news images from the Internet and re-invents them as paintings. Her subject is the apocalyptic-sublime landscape, as well as the digital image itself as cultural artifact in an increasingly technologized world. Her image research has resulted in online documentation projects, most notably The Bomb Project.
Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.
extended network >
homepage:
http://joygarnett.com
The Bomb Project
http://www.thebombproject.org
First Pulse Projects
http://firstpulseprojects.net
NEWSgrist - where spin is art
http://newsgrist.typepad.com/
Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.
extended network >
homepage:
http://joygarnett.com
The Bomb Project
http://www.thebombproject.org
First Pulse Projects
http://firstpulseprojects.net
NEWSgrist - where spin is art
http://newsgrist.typepad.com/
Special Guest Mimi Goese @ XIX tomorrow night
Special Guest Mimi Goese @ XIX tomorrow night
http://newsgrist.typepad.com/underbelly/2006/05/special_guest_m.html
XIX - music by Ben Neill, with special guest vocalist Mimi Goese (Mimi,
Hugo Largo, Moby)
http://www.luakabop.com/mimi/cmp/info.html
Interactive video by Bill Jones, John Conte on bass, and Jim Mussen on drums
TOMORROW NIGHT! FREE!*
Wednesday, May 3, 8PM
World Financial Center Courtyard Gallery, enter on Vesey Street
part of the PlayVision series curated by Ben Neill:
http://www.worldfinancialcenter.com./calendar/
http://newsgrist.typepad.com/underbelly/2006/04/playvision_fusi.html
ambient electronics sampled from 19th century music combined with the
futuristic sounds of Neill's mutantrumpet and deep live
grooves...interactive video based on historical art works played live
through interactive VJ software... XIX explores the dynamics of 19th century
romanticism with new digital technologies and acoustic instruments.
* PlayVision performances are free, ticketed events. Tickets will be
distributed two per person on a first-come, first-served basis beginning at
5pm in the Winter Garden on day of show. Seating is limited.
http://newsgrist.typepad.com/underbelly/2006/05/special_guest_m.html
XIX - music by Ben Neill, with special guest vocalist Mimi Goese (Mimi,
Hugo Largo, Moby)
http://www.luakabop.com/mimi/cmp/info.html
Interactive video by Bill Jones, John Conte on bass, and Jim Mussen on drums
TOMORROW NIGHT! FREE!*
Wednesday, May 3, 8PM
World Financial Center Courtyard Gallery, enter on Vesey Street
part of the PlayVision series curated by Ben Neill:
http://www.worldfinancialcenter.com./calendar/
http://newsgrist.typepad.com/underbelly/2006/04/playvision_fusi.html
ambient electronics sampled from 19th century music combined with the
futuristic sounds of Neill's mutantrumpet and deep live
grooves...interactive video based on historical art works played live
through interactive VJ software... XIX explores the dynamics of 19th century
romanticism with new digital technologies and acoustic instruments.
* PlayVision performances are free, ticketed events. Tickets will be
distributed two per person on a first-come, first-served basis beginning at
5pm in the Winter Garden on day of show. Seating is limited.
PLAYVISION: Fusing Sound, Video, Art & Music
World Financial Center Inaugurates New Performance Space
with Cutting Edge Installation-Performance Series Fusing Sound, Video, Art &
Music
http://newsgrist.typepad.com/underbelly/2006/04/playvision_fusi.html
PLAYVISION
NEW YORK - The World Financial Center Arts & Events is inaugurating a new
200-seat performance space in its Courtyard Gallery, 220 Vesey Street, that
will be dedicated to innovative and experimental visual art, performance art
and music.
"The new performance space opens with an installation-performance series
with artists who fuse sound, visual art and musical performance entitled
PlayVision," said Debra Simon, Artistic Director of World Financial Center
Arts & Events, the largest arts program in Lower Manhattan. "The inaugural
series is curated by composer/performer Ben Neill and features a roster of
leading international artists who are working in this exciting field."
Composer Ben Neill and video artist Bill Jones launch the new space
Wednesday, May 3, at 8:00pm; video artist Christian Marclay and the trios of
Elliott Sharp and Okkyung Lee Wednesday, May 17, at 8:00pm; The Books
Wednesday, May 24, at 8:00pm; and Tmema (Golan Levin and Zachary Lieberman)
Wednesday, May 31, at 8:00pm.
PlayVision performances are free, ticketed events. Tickets will be
distributed two per person on a first-come, first-served basis beginning at
5pm in the Winter Garden on day of show. Seating is limited.
Download full info and bios:
http://newsgrist.typepad.com/underbelly/files/WFCPlayvisionPR.pdf
May 3
MUSIC CONCERT
BEN NEILL + BILL JONES
Ben Neill is a composer/performer and designer of the mutantrumpet, a unique
acoustic/electronic instrument. Along with his visual collaborator Bill
Jones, Neill has developed a "playable" form of cinema in which he plays
video images live. For this show Neill presents XIX, a new series of
music/interactive video pieces based on samples of 19th century music and
art, featuring bassist John Conte and drummer Jim Mussen.
May 4 - May 27
VISUAL ARTS
RODNEY GRAHAM
REVERIE INTERUPTED BY THE POLICE
Thursday
with Cutting Edge Installation-Performance Series Fusing Sound, Video, Art &
Music
http://newsgrist.typepad.com/underbelly/2006/04/playvision_fusi.html
PLAYVISION
NEW YORK - The World Financial Center Arts & Events is inaugurating a new
200-seat performance space in its Courtyard Gallery, 220 Vesey Street, that
will be dedicated to innovative and experimental visual art, performance art
and music.
"The new performance space opens with an installation-performance series
with artists who fuse sound, visual art and musical performance entitled
PlayVision," said Debra Simon, Artistic Director of World Financial Center
Arts & Events, the largest arts program in Lower Manhattan. "The inaugural
series is curated by composer/performer Ben Neill and features a roster of
leading international artists who are working in this exciting field."
Composer Ben Neill and video artist Bill Jones launch the new space
Wednesday, May 3, at 8:00pm; video artist Christian Marclay and the trios of
Elliott Sharp and Okkyung Lee Wednesday, May 17, at 8:00pm; The Books
Wednesday, May 24, at 8:00pm; and Tmema (Golan Levin and Zachary Lieberman)
Wednesday, May 31, at 8:00pm.
PlayVision performances are free, ticketed events. Tickets will be
distributed two per person on a first-come, first-served basis beginning at
5pm in the Winter Garden on day of show. Seating is limited.
Download full info and bios:
http://newsgrist.typepad.com/underbelly/files/WFCPlayvisionPR.pdf
May 3
MUSIC CONCERT
BEN NEILL + BILL JONES
Ben Neill is a composer/performer and designer of the mutantrumpet, a unique
acoustic/electronic instrument. Along with his visual collaborator Bill
Jones, Neill has developed a "playable" form of cinema in which he plays
video images live. For this show Neill presents XIX, a new series of
music/interactive video pieces based on samples of 19th century music and
art, featuring bassist John Conte and drummer Jim Mussen.
May 4 - May 27
VISUAL ARTS
RODNEY GRAHAM
REVERIE INTERUPTED BY THE POLICE
Thursday
IMAGE WAR: Contesting Images of Political Conflict
Press Release: April 2006
WHITNEY'S INDEPENDENT STUDY PROGRAM PRESENTS
download press release [PDF] :
http://www.firstpulseprojects.com/isp-exhibitionrelease.pdf
IMAGE WAR:
CONTESTING IMAGES OF POLITICAL CONFLICT, MAY 19-JUNE 25, 2006
At the CUNY Graduate Center, 365 Fifth Avenue at 34th Street
Opening Reception: Friday, May 19, 2006, 6-8 pm
Gallery Hours: Wednesday-Sunday 12-6 pm
Featuring work by fourteen contemporary international artists, Image War:
Contesting Images of
Political Conflict highlights recent artistic practices that explore media
representations of war and
conflict. Artists included are Willie Doherty, Claire Fontaine, Coco Fusco,
Rainer Ganahl, Joy Garnett,
Johan Grimonprez, Jon Haddock, Amar Kanwar, Dinh Q. Le, An-My Le, Radic=
al
Software Group (RSG),
and Tamiko Thiel & Zara Houshmand. The exhibition is on view from May 19
through June 25 at The
Art Gallery of the CUNY Graduate Center, 365 Fifth Avenue at 34th Street.
Organized by the 2005/06 Helena Rubenstein Curatorial Fellows of the Whitney
Museum of
American Art Independent Study Program, this exhibition features work in a
variety of media
including painting, photography, digital compositions, video, and
interactive virtual reality. The
works in the show were all made since the first Gulf War, but focus on
conflicts ranging from the
Vietnam War through the current war in Iraq. The artists in the exhibition
examine how media
coverage of political violence often determines our understanding of
conflicts.
In Dial H-I-S-T-O-R-Y (1995/1997) the artist Johan Grimonprez mines archives
of televised
airplane hijackings, remixing the material into a compelling, disco-driven
video narrative that
rethinks depictions of air terror.
In Rainer Ganahl's Afghan Dialogs series (2001-03), two of which are
included in Image War, the
artist took taglines from the bottom of cable news channels during the U.S.
military campaign in
Afghanistan. He then embroidered them into large fabric banners, which were
sent to Afghanistan,
where residents were given the opportunity to stitch their own responses to
these taglines.
Joy Garnett's painting Kill Box (2001) appropriates a night-vision image of
a tank from the First
Gulf War as made iconic by television coverage. This painterly
interpretation highlights a
dissonance between the digital image and the human touch.
In conjunction with the exhibition three special events are planned.
On Tuesday, May 23, 7- 9 pm
in the Martin E. Segal Theatre of The Graduate Center, artists Joy Garnett
and Alexander Galloway
will discuss modes of appropriation in their artwork.
On Tuesday, May 30, 7- 9 pm in the Martin
E. Segal Theatre of The Graduate Center, Coco Fusco will host the New York
premiere of her new
video Operation Atropos.
And on Saturday, June 8 at 5:30 pm neuroTransmitter will lead a
performance which will begin at The Art Gallery.
Contact:
Jan Rothschild, Stephen Soba, Meghan Bullock
(212) 570-3633 or pressoffice@whitney.org
www.whitney.org/press
+++
WHITNEY'S INDEPENDENT STUDY PROGRAM PRESENTS
download press release [PDF] :
http://www.firstpulseprojects.com/isp-exhibitionrelease.pdf
IMAGE WAR:
CONTESTING IMAGES OF POLITICAL CONFLICT, MAY 19-JUNE 25, 2006
At the CUNY Graduate Center, 365 Fifth Avenue at 34th Street
Opening Reception: Friday, May 19, 2006, 6-8 pm
Gallery Hours: Wednesday-Sunday 12-6 pm
Featuring work by fourteen contemporary international artists, Image War:
Contesting Images of
Political Conflict highlights recent artistic practices that explore media
representations of war and
conflict. Artists included are Willie Doherty, Claire Fontaine, Coco Fusco,
Rainer Ganahl, Joy Garnett,
Johan Grimonprez, Jon Haddock, Amar Kanwar, Dinh Q. Le, An-My Le, Radic=
al
Software Group (RSG),
and Tamiko Thiel & Zara Houshmand. The exhibition is on view from May 19
through June 25 at The
Art Gallery of the CUNY Graduate Center, 365 Fifth Avenue at 34th Street.
Organized by the 2005/06 Helena Rubenstein Curatorial Fellows of the Whitney
Museum of
American Art Independent Study Program, this exhibition features work in a
variety of media
including painting, photography, digital compositions, video, and
interactive virtual reality. The
works in the show were all made since the first Gulf War, but focus on
conflicts ranging from the
Vietnam War through the current war in Iraq. The artists in the exhibition
examine how media
coverage of political violence often determines our understanding of
conflicts.
In Dial H-I-S-T-O-R-Y (1995/1997) the artist Johan Grimonprez mines archives
of televised
airplane hijackings, remixing the material into a compelling, disco-driven
video narrative that
rethinks depictions of air terror.
In Rainer Ganahl's Afghan Dialogs series (2001-03), two of which are
included in Image War, the
artist took taglines from the bottom of cable news channels during the U.S.
military campaign in
Afghanistan. He then embroidered them into large fabric banners, which were
sent to Afghanistan,
where residents were given the opportunity to stitch their own responses to
these taglines.
Joy Garnett's painting Kill Box (2001) appropriates a night-vision image of
a tank from the First
Gulf War as made iconic by television coverage. This painterly
interpretation highlights a
dissonance between the digital image and the human touch.
In conjunction with the exhibition three special events are planned.
On Tuesday, May 23, 7- 9 pm
in the Martin E. Segal Theatre of The Graduate Center, artists Joy Garnett
and Alexander Galloway
will discuss modes of appropriation in their artwork.
On Tuesday, May 30, 7- 9 pm in the Martin
E. Segal Theatre of The Graduate Center, Coco Fusco will host the New York
premiere of her new
video Operation Atropos.
And on Saturday, June 8 at 5:30 pm neuroTransmitter will lead a
performance which will begin at The Art Gallery.
Contact:
Jan Rothschild, Stephen Soba, Meghan Bullock
(212) 570-3633 or pressoffice@whitney.org
www.whitney.org/press
+++
In Conversation with Paul Chan: his own private Alexandria (v.1)
NEWSgrist - April 21, 2006
In Conversation with Paul Chan: his own private Alexandria (v.1)
http://newsgrist.typepad.com/underbelly/2006/04/in_conversation.html
Artist Paul Chan has a new audio project up online. He talks about it in a
recent email conversation with NEWSgrist (below):
My own private Alexandria (v.1)
Free DIY MP3 audio-essays | Over 16 hours of readings | 2006
http://www.nationalphilistine.com
I'm so tired of this war and numb from the fear of the slightest sound and
shadow. I just want to leave. Escape. So I read. It helps to think about the
history of philistinism and the uses of silence and how color is sex but
it's not enough. So I start to record myself reading. And I realize how
little I know the reading I'm reading. It gets better. I can't pronounce
German, French, Russian, Chinese, Brazilian, Latin, not even English
sometimes. I don't care. A task is what I want: to measure the time spent
escaping into words that string together sentences that become essays about
potatoes and trousers and aesthetic revolutions. I listen and they sound
okay. I even like the stammers. But they need music. So I make some. I love
Garageband. Here they are: http://www.nationalphilistine.com
P.
4/16/06
New York City
................
Paul Chan in conversation with NEWSgrist (Mar-Apr 2006):
NEWSgrist : To perform the words of these late greats (in "competent English
and mangled French, Chinese," etc.!) and make them freely available is a
really cool thing: it functions simultaneously as an archive, a public
service, an homage, and as performance. Making the readings available online
calls up copyright issues including the ongoing file sharing wars and the
recent Google Print controversy, yes, but it does so in a most interesting
way, with a twist. It's personal and it's an artwork; the parameters and
choices you've made have to do with the writers and thinkers who have
influenced you. This is your art. You are not selling anything, except maybe
other people's ideas, and then only figuratively speaking. You are promoting
and distributing the copyrighted expression of their ideas free of charge,
where no one else has.
The project as a whole is a remix: an archive of remixed performance. Or:
Personal Archive as Remix if you prefer. On the other hand, the fact that
the citations are accurate and genuine, even providing ISBNs, makes it very
much like a library or archive (you are providing access), but instead of
amassing and organizing actual books and offprints, you have amassed and
organized your performances of excerpts. Most important, you are forming a
bridge, contributing to the education of the "Ipod Generation"; you are
providing a unique kind of access to otherwise remote texts to a certain
demographic of listeners who consume information in a certain way...
PC: You're right about all of it. I will only add all of these ideas
swirling around the project came later. In the beginning, there was only one
idea: to remember someone who had died, or rather, their work. And that
person was Susan Sontag. There's no reason to think that her work will be
out of print any time soon. But what is important is that her ideas went
beyond her books. She engaged outside the book. She was called a public
intellectual. But it might be better to say that she felt at home with the
world enough to quarrel with all of it, every pleasurable and difficult bit.
So what does it mean, then, to remember someone who gave the gift of herself
beyond the book? And this is what I came up with.
NG: ...This project reminds me of a seminar talk at NYU given by a "forensic
musicologist" [Lawrence Ferrara] who consults for both record labels and
musicians alike, and who worries privately about the effect of copyright law
on the creative process. There is a real fear that artists won't be able to
make work that even tangentially touches on our increasingly commercialized
world because every part of it has been bought up and copyrighted. What do
you think about this idea of using copyrighted material as part of the work
and the legal battles against cultural "ownership"?
PC: I think of this not in terms of Law, but Aesthetics. Theodor Adorno
believed how we could tell if something is beautiful or not, or even more
fundamentally, whether something is art or not, by a certain relationship
the work has with nature. It doesn't mean Adorno only championed landscapes
filled with trees and rivers. Only that like Kant, Adorno believed we can
only judge the force of art by how much it takes in certain notions we get
from nature; namely a kind of overwhelming plenitude that escapes our
dehumanizing exchange relations. This was a time, of course, when people
thought they couldn't own mountains, or the water we drink, or air. A time
when nature still had territory not polluted (in the environmental and
commercial sense) by us. Nature provided the philosophical model for
articulating the almost speechless sense we feel in front of art worthy of
that name: something that--as we experience it--perpetually renews itself
and gives us, without asking for anything back, a sense of boundless
plentitude and potentiality. In other words, Art as an image of absolute
freedom.
But now we have a very different relationship to nature. In fact it is
almost impossible to find nature without a frame of culture. On the other
hand, Culture has become so pervasive that it in fact feels like a kind of
"overwhelming plenitude" that we once associated with mountain ranges and
oceans that stretch beyond our vision.
This might seem so obvious but worth stating: our nature (now, at least for
my generation) is in fact culture. The illegal DVDs being sold in Chinatown
are like so many pieces of coal harvested from the mines in Allentowns
everywhere. And the fight about who owns culture and who gets to use its
resources is like the early 18-19th century battles to control and colonize
natural resources.
NG: Do you know of Ubu Web?
PC: Sure do. Economy of the gift is certainly one of the things I'm thinking
about. I think Ubu is wonderful, not only as a site but an ethic.
NG: Ubu is wonderful. Funny, when I was first poking around online in the
90s, discussing on various net.art list-serves, the gift economy was
discussed endlessly... and now? the discussion has shifted away from social
ideals and alternatives for the "future of the web"....
PC: The future of the web is bright. It belongs to contraband.
April 21, 2006 at 11:20 AM in Books, Copyfight, Intellectual Property,
Interviews, Open Source, Philosophical..., Publications | Permalink |
Comments (1)
In Conversation with Paul Chan: his own private Alexandria (v.1)
http://newsgrist.typepad.com/underbelly/2006/04/in_conversation.html
Artist Paul Chan has a new audio project up online. He talks about it in a
recent email conversation with NEWSgrist (below):
My own private Alexandria (v.1)
Free DIY MP3 audio-essays | Over 16 hours of readings | 2006
http://www.nationalphilistine.com
I'm so tired of this war and numb from the fear of the slightest sound and
shadow. I just want to leave. Escape. So I read. It helps to think about the
history of philistinism and the uses of silence and how color is sex but
it's not enough. So I start to record myself reading. And I realize how
little I know the reading I'm reading. It gets better. I can't pronounce
German, French, Russian, Chinese, Brazilian, Latin, not even English
sometimes. I don't care. A task is what I want: to measure the time spent
escaping into words that string together sentences that become essays about
potatoes and trousers and aesthetic revolutions. I listen and they sound
okay. I even like the stammers. But they need music. So I make some. I love
Garageband. Here they are: http://www.nationalphilistine.com
P.
4/16/06
New York City
................
Paul Chan in conversation with NEWSgrist (Mar-Apr 2006):
NEWSgrist : To perform the words of these late greats (in "competent English
and mangled French, Chinese," etc.!) and make them freely available is a
really cool thing: it functions simultaneously as an archive, a public
service, an homage, and as performance. Making the readings available online
calls up copyright issues including the ongoing file sharing wars and the
recent Google Print controversy, yes, but it does so in a most interesting
way, with a twist. It's personal and it's an artwork; the parameters and
choices you've made have to do with the writers and thinkers who have
influenced you. This is your art. You are not selling anything, except maybe
other people's ideas, and then only figuratively speaking. You are promoting
and distributing the copyrighted expression of their ideas free of charge,
where no one else has.
The project as a whole is a remix: an archive of remixed performance. Or:
Personal Archive as Remix if you prefer. On the other hand, the fact that
the citations are accurate and genuine, even providing ISBNs, makes it very
much like a library or archive (you are providing access), but instead of
amassing and organizing actual books and offprints, you have amassed and
organized your performances of excerpts. Most important, you are forming a
bridge, contributing to the education of the "Ipod Generation"; you are
providing a unique kind of access to otherwise remote texts to a certain
demographic of listeners who consume information in a certain way...
PC: You're right about all of it. I will only add all of these ideas
swirling around the project came later. In the beginning, there was only one
idea: to remember someone who had died, or rather, their work. And that
person was Susan Sontag. There's no reason to think that her work will be
out of print any time soon. But what is important is that her ideas went
beyond her books. She engaged outside the book. She was called a public
intellectual. But it might be better to say that she felt at home with the
world enough to quarrel with all of it, every pleasurable and difficult bit.
So what does it mean, then, to remember someone who gave the gift of herself
beyond the book? And this is what I came up with.
NG: ...This project reminds me of a seminar talk at NYU given by a "forensic
musicologist" [Lawrence Ferrara] who consults for both record labels and
musicians alike, and who worries privately about the effect of copyright law
on the creative process. There is a real fear that artists won't be able to
make work that even tangentially touches on our increasingly commercialized
world because every part of it has been bought up and copyrighted. What do
you think about this idea of using copyrighted material as part of the work
and the legal battles against cultural "ownership"?
PC: I think of this not in terms of Law, but Aesthetics. Theodor Adorno
believed how we could tell if something is beautiful or not, or even more
fundamentally, whether something is art or not, by a certain relationship
the work has with nature. It doesn't mean Adorno only championed landscapes
filled with trees and rivers. Only that like Kant, Adorno believed we can
only judge the force of art by how much it takes in certain notions we get
from nature; namely a kind of overwhelming plenitude that escapes our
dehumanizing exchange relations. This was a time, of course, when people
thought they couldn't own mountains, or the water we drink, or air. A time
when nature still had territory not polluted (in the environmental and
commercial sense) by us. Nature provided the philosophical model for
articulating the almost speechless sense we feel in front of art worthy of
that name: something that--as we experience it--perpetually renews itself
and gives us, without asking for anything back, a sense of boundless
plentitude and potentiality. In other words, Art as an image of absolute
freedom.
But now we have a very different relationship to nature. In fact it is
almost impossible to find nature without a frame of culture. On the other
hand, Culture has become so pervasive that it in fact feels like a kind of
"overwhelming plenitude" that we once associated with mountain ranges and
oceans that stretch beyond our vision.
This might seem so obvious but worth stating: our nature (now, at least for
my generation) is in fact culture. The illegal DVDs being sold in Chinatown
are like so many pieces of coal harvested from the mines in Allentowns
everywhere. And the fight about who owns culture and who gets to use its
resources is like the early 18-19th century battles to control and colonize
natural resources.
NG: Do you know of Ubu Web?
PC: Sure do. Economy of the gift is certainly one of the things I'm thinking
about. I think Ubu is wonderful, not only as a site but an ethic.
NG: Ubu is wonderful. Funny, when I was first poking around online in the
90s, discussing on various net.art list-serves, the gift economy was
discussed endlessly... and now? the discussion has shifted away from social
ideals and alternatives for the "future of the web"....
PC: The future of the web is bright. It belongs to contraband.
April 21, 2006 at 11:20 AM in Books, Copyfight, Intellectual Property,
Interviews, Open Source, Philosophical..., Publications | Permalink |
Comments (1)
"Headlines"\_-\_seventeen\_artists\_referencing\_current\_ events\_/\_the\_artist\_as\_ultimate\_information\_'filter
April 5, 2006
FOR IMMEDIATE RELEASE
"Headlines"
May 7-July 14, 2006
opening reception May 7 from 2-4 pm.
Pierro Gallery of South Orange
5 Mead Street
South Orange, NJ
(SOUTH ORANGE)
FOR IMMEDIATE RELEASE
"Headlines"
May 7-July 14, 2006
opening reception May 7 from 2-4 pm.
Pierro Gallery of South Orange
5 Mead Street
South Orange, NJ
(SOUTH ORANGE)