Earlier related post on this site

From PLATFORM's Unravelling the Carbon Web:

Unprecedented coalition from the arts condemns BP-sponsorship of the Tate
171 figures from the arts sign letter on the day Tate celebrates 20 years of BP funding

[Editor's note: Peter Fend of Ocean Earth Construction and Development Corporation, and a longtime post.thing.net contributor, is signatory 19.]

Sunday, June 27, 2010. A letter today was published in the Guardian today signed by 171 figures from the art world condemning BP’s sponsorship of cultural institutions in the UK. The letter has been published on the day that Tate Britain is hosting a party to celebrate 20 years of BP’s sponsorship. [1] A group of artists under the banner of ‘The Good Crude Britannia’ are planning on protesting outside the event, and will be handing out the “Licence to Spill’ briefing to people attending the party.[2]

Arts/activist organisation Platform [3] has gathered 171 signatories from the international arts community, for a letter that says:

“As crude oil continues to devastate coastlines and communities in the Gulf of Mexico, BP executives will be enjoying a cocktail reception with curators and artists in the Tate Britain. These relationships enable big oil companies to mask the environmentally destructive nature of their activities with the social legitimacy that is associated with such high profile cultural associations.”[4]

The Madness of Art is a sitcom set in the Chelsea art world, and more particularly in the Jim Kempner Gallery on the corner of Tenth Avenue and 23rd Street. Ten episodes have come out thus far, of which the ninth (with sculptor Bernar Venet) is embedded below.

94.5º ARC x 14 from Jim Kempner on Vimeo.

A related posting on this site.

from The Guardian:

The summer season of events at Britain's most prestigious galleries and museums will be picketed by artists and green groups intent on portraying BP's arts sponsorship as a toxic brand.

Protests are planned next Monday by an eco-alliance styling itself "Good Crude Britannia" at Tate Britain's celebration of its 20-year association with the international oil conglomerate.

Climate change activists, artists and musicians opposed to the fossil fuel industry are determined to highlight BP's link to the arts in the context of the company's international embarrassment over the continuing oil spill in the Gulf of Mexico.

On the evening of June 20, 2010 in conjunction with the exhibition "Dead Flowers," a group show based on the work of actor/director Timothy Carey, a selection of performance pieces were presented at Participant Inc. "Veil" by Johanna Constantine is a mysteriously disturbing yet poetic "dance" alluding to flight and perhaps the rebirth of the soul. Genesis Breyer P-Orridge is well known for his/her work with the proto Punk band Throbbing Gristle. In the 1990s, with his second wife, Lady Jaye, P-Orridge began an ongoing experiment in body modification aimed at creating one pandrogynous being named "Genesis Breyer P-Orridge". In this performance P-Orridge is accompanied by the recorded voice of the late Lady Jaye. Marti Domination & Beaut riff on classic burlesque, using the novelty item known as a whoopee cushion to great effect.

On the evening of June 20, 2010 in conjunction with the exhibition "Dead Flowers," a group show based on the work of actor/director Timothy Carey, a group of performance pieces were presented at Participant Inc. "Veil" by Johanna Constantine is a mysteriously disturbing yet poetic "dance" alluding to flight and perhaps the rebirth of the soul. A full report will be forthcoming on the James Kalm Report channel.

June 20, 2010
Welcome home party at Pier 66 Maritime
6 p.m. to 9 p.m.
Foot of West 26th Street & Hudson River

From the NY Times:

ABOARD THE ANNE, off New Jersey — After 1,152 days meandering the world’s oceans on a 70-foot schooner he built himself, Reid Stowe plans to sail into New York on Thursday afternoon and claim the record for the longest sea voyage in history — eclipsing a century-old record by almost three months.

Warren Neidich: Cindy Unveiled
Opening Reception: June 18, 7-10PM

Louis V.E.S.P.
140 Jackson St, #4D
Brooklyn NY 11211

In 1986 the artist Warren Neidich, then acting as American Editor of the Belgian photography magazine Cliché visited Cindy Sherman in her studio at 51 Walker Street. The banal photographs exhibited at Louis V E.S.P were the result of this meeting. Cindy Sherman is seen without the equipment of her trade. She is without make up and with out costume. She is unmasked. She is in between acts and as such the seven photographs shot from this encounter are more about her state of readiness then her state of being. They capture her desire to be invisible in front of the camera of the other, to be something else besides that which we have become familiar with. What we know of her. What her self-portraits depict; the female impersonator of the feminized persona of the filmic still. These portraits are then contradictions to the self-portraits. They are in the Lacanian sense of the Object a, the image of lack.