first day of class at BHQFU

In response to Alan W. Moore's critique of their show at Susan Inglett Gallery and my response to said critique, the Bruce High Quality Foundation sent the following note:

Hey Steve,

Thanks for sending this, and thank Alan too for his criticisms. They are well warranted if one is expecting the exhibition to provide a clear argument for what the school is, why it is, or how it got there. For better or worse, we decided against doing that. The school decided to let the school be the school and let the exhibition take a more tongue in cheek, poetic approach to self-representation.

Whatever one feels about that decision, the university itself is a different animal, one that thrives on the kind of conversation you and Alan seem invested in participating in. We will be having our final BYOU meeting of the semester this coming Tuesday and we'd be happy to see you both there. We start at 7 and stop when it's over.

Best,
BHQF

^ Bruce High Quality Foundation, Bachelors of Avignon ^

Bruce High Quality Foundation University
Susan Inglett Gallery
522 West 24 Street
New York NY 10011
December 8, 2009 - January 23, 2010
www.inglettgallery.com/exhibitions.php?id=93&year=2009

I had to dig up my six gun from the backyard for this. I last used it on Mel Ramos in 1975. But the Bruce High Quality Foundation’s show at Susan Inglett is the worst I’ve seen in many a moon, and that’s why I gotta get on their asses.

Theatrum Anatomicum (and other Performance Lectures), Pablo Helguera, published by Jorge Pinto Books

BOOK LAUNCH: THURSDAY, OCTOBER 22, 8PM
THE BRUCE HIGH QUALITY FOUNDATION UNIVERSITY
225 West Broadway
(as part of Edifying, a series of performative lectures curated by Beatrice Gross)

“If you have ever felt trapped amidst a boring lecture, this book has been made for you”.

Over the last few years, from the bars in Brooklyn to the stages of highbrow European museums, a now ubiquitous mode of lecturing is proliferating. It is known as “performance lecture”, referring to an academic presentation delivered by an artist that often turns into a spectacle and is usually accompanied by satire and irreverence. Despite the fact that this entertaining and experimental practice is now a familiar part of the life of artists communities around the world, few are recorded or survive beyond their presentation. Fortunately, Pablo Helguera, one of its most assiduous practitioners, has reunited a group of his performance texts to create what may well be the first anthology ever made of this genre.