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Attack of the Schmoozebeasts


In an unusual attempt at self-preservation I've tried to avoid the current revival of feminist furor in the art world being stirred up by Roberta Smith and her consort, (buddy boy) Jerry Saltz, but my curiosity was sparked by this Artforum Diary posting on a recent panel on "Feminism" by Rhonda Lieberman.

(I'll give you time to read it. Trust me, it's funny).

Schmoozebeasts? Have I been sleeping or am I behind in my Yiddish? Will this replace the increasingly tiresome "hipster"? Please? It rolls off the tongue like a boiled pierogi. And I'll take anything over the repulsive "art fag"; it wasn't funny the first time around and it's not ironic now. It's just sad. Really really sad.

About the panel: I thought Joan Snyder drank herself to death in France years ago. Oh, right, that was Joan Mitchell. Sorry, my mistake. And, yes Joan, men are to blame for everything bad in the world but can we also take some credit for the good things? We're not all Julian Schnabel, you know. Some of us are sensitive pussycats like, say, Richard Serra? Why is it that a bonehead like Schnabel is always the target. Too afraid to take on the real tough guy, hey?

When Collier Shorr first appeared everyone always referred to her as Richard Prince's boyfriend so I'm not sure how much sincerity is behind her statements of admiration for Snyder, or anyone.

Barbara Kruger is, of course, always right (just ask her!) and though "direct address" is out of style right  now in favor of all that relational stuff I hope she'll dump academia and be back on the bullhorn soon. Kruger designed commercial book covers early on in her career -- I had an Aldous Huxley paperback  with a cover by her at one point  --  and she definitely knows what she's talking about in terms of media. Po-Mo princess Cindy Sherman, on the other hand, watched movies. She's right: Victim/Aggressor are absolutely two sides to the same coin. I guess you could say I'm a Kruger butch rather than a Cindy Sherman femme.

Tamy Ben-Tor's work I don't know so it's hard to decide whether she or Joan Snyder made the dumber statement.

My question is: Why did four intelligent and respected artists let Roberta Smith set them up like that?

A more considered and thorough (but much less funny) account of the panel by Mira Shor is here along with a piece on an earlier panel with Vanessa Beecroft.

VJ: Live Cinema Unraveled



VJ Live Cinema
 "VJ : Live Cinema Unraveled" is now available for purchase!

It is a signed, limited edition book on VJing and VJ Culture. The launch party last Saturday in L.A. was a success, and the book is available for the general public online, via the book site. Payments can be made using PayPal (with or without an account).

Probing into topics such as technological mobility, audience, environment, and codes of the medium, it explains the various dimensions of this emerging practice. Part design, speculative theory, reference and practical guide, this book links live cinema with its historical origins, and then describes the various offshoots and branches that are occurring now in the twenty-first century on a global scale.

If there are any questions, you can get in touch via this email address: info(at)

Troika Ranch at Eyebeam

Troika Ranch
Presented by Troika Ranch in association with 3 Legged Dog

January 18 - 28, 2006
8pm nightly
540 W. 21st St.

EYEBEAM is pleased to host

 Presented by

 Lush imagery vibrates against funnel clouds of physicality as Troika Ranch presents 16 [R]evolutions on January 18-25 & 27-28, 8pm at Eyebeam. Tickets are $20 at the door.

For more info visit


ARCHIVE: Keith Sanborn on Wolfgang Staehle's "Untitled" (2001)


Keith Sanborn's catalogue essay on Wolfgang Staehle's "Untitled" from 2001:


Keith Sanborn

Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order.

  —Walter Benjamin, The Artwork in the Age of its Technical Reproducibility



Wolfgang Staehle’s installation, 2001, ran at Postmaster’s Gallery in New York City from September 4 to October 11; by means of the events of September 11, it seemed to pass from interesting to extraordinary.

Read more

le podcasteur et le workshop


GH Goes to France

Remembering Jam Echelon Day 2001/1999

Links and Resources to Echelon Information, plus the 2001 and 1999 link archive from the first Jam Echelon Day are included below for your reference:


Zero Culture Panel -- NYC



Monday, Dec. 12, 2005; 7:30pm
The Theresa Lang Community and Student Center,
The New School 55 W. 13th St. , 2nd Floor
New York, NY
$8 at the door Free for students with valid ID

What's happening to the arts at Ground Zero? When did culture and memorial become incompatible? Your voice is needed at an important discussion about how the arts fit into the redevelopment plans downtown. With: Tom Bernstein,Thelma Golden, Hans Haacke, Mike Wallace, and Bob Yaro. Paul Goldberger moderates.

Bios & more

About NYU Strike



Teaching assistants at NYU conducted a union drive in 1999-2000, won an election, and affiliated with the United Auto Workers (in a local that also includes other educational professionals in NYC such as Museum of  Modern Art and New York Historical Society employees). The NYU administration fought hard against the union but was ultimately forced to recognize and negotiate with it by the National Labor Relations Board. There  followed a 3 year contract that brought the teaching assistants health benefits and a stipend increase. During  this time the university ran quite smoothly.

Automated Biography at Eyebeam

Robot Clothes

Automated Biography
Saturday, November 19, 2005
540 West 21st Street

$5 suggested donation.

12-2pm Exhibition of work by Robot Clothes and panel participants

What I Did Today: 11/16/05


Bored at the Death Star I ventured out today:

Somehow I missed out on the  Mike Kelley gene  because I've never thought much of his work even though I do admit to a bit of sympathy for what he tries to do. Alas, there's no sparks, not even in the acres and acres of work now at Gagosian in Chelsea titled "Day is Done". I do admit that he's got the whole schizophrenic market cornered but others do it much more economically. And what's with the ridiculous report on the opening by David Rimanelli on the Artforum site: