Book Review of Jean Baudrillard’s Pataphysics
Reviewed by Joseph Nechvatal
at The International Journal of Baudrillard Studies (IJBS)
http://www.ubishops.ca/BaudrillardStudies/vol4_1/nechvatal.htm
Painter Charline Von Heyl recently described Americans' disconnect between the personal and political this way: "While almost everything in the outer world feels messed-up, our inner lives aren't altogether messed-up." The current art world, awash in money and success, is shot through with a similar disconnect.
To some, the art market is a self-help movement, a private consumer vortex of dreams, a cash-addled image-addicted drug that makes consumers prowl art capitals for the next paradigm shift. This set seeks out art that looks like things they already know: anything resembling Warhol, Richter, Koons, Tuymans, Prince, and Wool could be good; any male painter in his thirties could be great. To others, the market is just a jolly popularity contest, or as New York Times reporter David Carr put it about having his own blog, it's like "a large yellow Labrador: friendly, fun, not all that bright, but constantly demanding your attention."
THE BFA FINE ARTS AND ART HISTORY
DEPARTMENTS AT SCHOOL OF VISUAL ARTS (SVA)
PRESENT “DIGITAL DIVING: A CUT AND PASTE
UPDATE”—A PANEL DISCUSSION
Tuesday, February 27, 7pm
School of Visual Arts
209 East 23 Street
3rd-floor Amphitheater
Free and open to the public
Review of Richard Foreman's new mixed-media play WAKE UP MR. SLEEPY! YOUR UNCONSCIOUS MIND IS DEAD!: Richard Foreman's new mixed-media play WAKE UP MR. SLEEPY! YOUR UNCONSCIOUS MIND IS DEAD! Photo @ Paula Court
http://en.wikipedia.org/wiki/Catherine_Perret
Catherine Perret: The most important contribution for art of the so-called New Technologies is that they introduce and/or let appear new process and forms of thinking. Is it possible to define them and their characteristics?
Q & A with Abbe DeLozier and Vickie Karp (Editors of "HACKED! High Tech Election Theft in America")
After nearly a year of effort, editors Abbe Waldman DeLozier and Vickie Karp have compiled an astounding and weighty treatise on the issue of electronic vote fraud, its implication to the loss of our democratic process, and why Americans must start TODAY to reclaim their elections.
This is the best thing on American politics I have read in a very long time. 
The Surreal Politics of Premeditated War
by R.W. Behan
Published on Sunday, December 3, 2006 by CommonDreams.org
blogged here with the permission of the author R.W. Behan
George W. Bush, who proudly claimed the mantle of “war president,” was keenly rebuked in the recent mid-term election. The event was notable, but it merely continued the surreal politics of premeditated war—a politics that has dominated the last six bizarre, hideous years of our nation’s history.
Book Review of Jean Baudrillard’s Pataphysics
Reviewed by Joseph Nechvatal
at The International Journal of Baudrillard Studies (IJBS)
http://www.ubishops.ca/BaudrillardStudies/vol4_1/nechvatal.htm
metaphysicsCURATED BY ROBERT C. MORGANMETAPHYSICS AND THE VIRTUAL
JOSEPH NECHVATAL AND HUSTON RIPLEY
The Roger Smith Lab Gallery
DECEMBER 14-23, 2006
OPENING RECEPTION: FRIDAY, DECEMBER 15TH, 630-9PM
This exhibition will focus on the works of two artists whose endeavors in the realm of an aesthetic/conceptual practice represents an overlay between the rehabilitation of metaphysics and the virtuality of the information age.
YVES KLEIN
CORPS, COULEUR, IMMATÉRIEL
5 OCT. 06 - 5 FEB. 07
The Centre Pompidou / Musée National d'Art Moderne, Paris
Long live the immaterial!
-Yves Klein, The Chelsea Hotel Manifesto
Yves Klein is for me, and many others, the most important French artist after Henri Matisse. This may sound somewhat appalling to some, as Klein enjoyed only a very concise, but invigorating, seven-year artistic career. But I will clarify this controversial judgment by pointing out his historic relevance to our era of digital culture. The emphasis here will be on Klein’s conceptual articulation of the spatial and the ephemeral/immaterial in relationship to our current actual state of virtuality. Indeed the subtitle of the exhibition, CORPS, COULEUR, IMMATÉRIEL (Body, Color, Immaterial), itself brings out the salient viractual (*1) aspects of Klein's art.
