James Wagner

Brandon Ballengée at Archibald Arts

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Brandon Ballengée Cleared and Stained Clearnose Skate, Rajaegianteria 2003 digital C-print mounted on Plexiglas 60" x 48" [detail of installation]

It's only a coincidence that this image and post follows my lizard report, but I like the connection. Brandon Ballengée's skate was one of the works in a very interesting show at Archibald Arts we visited on Saturday. Ballengée is an environmental artist fascinated by fish and amphibians, notably lizards. In a remarkable show of haunting images of nature, and our corruption of nature, "Cleared and Stained Clearnose Skate" was the beautiful elephant in the middle of the room.

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Skate [installation view of full image]

miniature Manhattan wildlife

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Eastern Fence Lizard, Northern fence subspecies

I think it was one of his relatives.

I don't know when a modest garden of pots on a low Manhattan roof qualifies as a natural wilderness, but I'm thinking that ours must be getting pretty close. We've watched birds of all kinds visiting the scene for water, berries, grubs or house-building materials, and one parakeet decided to come in out of the cold and stay. I've also collected and resettled a few snails in the last couple of years, but today I spotted a tiny lizard on the wall above the pots. Its body couldn't have been more than an inch long, excluding its tail, and because of its size and line-markings I thought at first that it was some kind of centipede or water bug. I just don't think of lizards as being big on New York real estate.

I didn't get a picture while I stood out there with my hose. I guess I couldn't quite believe what I saw, or maybe I couldn't imagine it was an unusual sighting. I still don't know if it was: Try Googling "New York City" and "lizards," and you'll see what I mean. Also, the critter was so small and well-camouflaged on the brown-grey stucco wall that I doubt it would have shown up at all even if I had my camera with me.

If he stays around I'll try to do better next time, but I don't want to frighten him away.

[image from eNature]

before Billy Joels, before potato barns, before the Shinecock,

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untitled (rose scallops) 2005

. . . there were these communities.

I'm very fond of shellfish, and my taste in art and food, especially food preparation, includes a powerful strain of minimalism. I spotted this gorgeous cache of shellfish at the Union Square Greenmarket this afternoon. Our plans for the evening precluded my bringing any home today, but at least I was able to take away the memory, the pleasure and this captured image.

The suppliers of this happy bounty were the smiling people of Pura Vida Fisheries, from Hampton Bays, Long Island.

I'm going back next Friday.

Post No Bills at White Columns

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Bob and Roberta Smith Left is the New Right 2004 screenprint 30" x 20" [installation view]

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Mike Paré and Marc Swanson It Will Be The Same (Blacklight Goya) 2004 five-color silkscreen 17" X 26" [installation view]

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Scott King Gold Madonna 2003 screenprint 32" x 24" [installation view]

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Charles Goldman Your Name Here 2000 poster 12" x 17.75" [installation view]

It was the last day of a large group show when we finally made the ten-block trek to White Columns on Saturday, but I couldn't resist doing a post on it anyway. I found Matthew Higgs' "Post No Bills" so impressive (and sometimes even a lot of fun, in between the more disturbing posters) that I wanted to be on record for saying so. There were dozens of artists represented, hung more or less salon style (bill style?), and none of them was a dud. The images shown above are almost a random selection, and partly a consequence of relative success with the camera, but they were all in a long list of favorites.

The complete roll:

John Armleder; Fabienne Audéoud and John Russell; John Baldessari; Fiona Banner; Derek Barnett; Simon Bedwell; Walead Beshty; Matthew Brannon; Matthew Buckingham; Clint Burnham; Steve Claydon; Jeremy Deller; Sam Durant; Shannon Ebner; Harrell Fletcher; Ryan Gander; Charles Goldman; Wayne Gonzales and David Silver; Rodney Graham; GuerrillaGirlsBroadBand; Mark Hagen; Steve Hanson and Frances Stark; Inventory; Scott King; Jim Lambie; Cary Leibowitz; Robert Linsley; Lucy McKenzie; Aleksandra Mir; Jonathan Monk; Alex Morrison; Paul Noble; Mike Paré and Marc Swanson; Kelly Poe; Allen Ruppersberg; Igor Santizo; Steven Shearer; Karina Aguilera Skvirsky; Kathy Slade; Slimvolume 2004; Bob and Roberta Smith; Michael Smith; Ron Terada; Rirkrit Tiravanija; Kelley Walker; John Waters, and William Wegman.

There's no longer any excuse for boring dorm or apartment posters, no matter the budget, but of course there never really was.

Phong Bui at Sarah Bowen

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Phong Bui Hybrid Carnival for Exupéry #2 2005 [detail of gallery installation]

Phong Bui's site-specific installation takes over almost every inch of Sarah Bowen's gallery space. The press release talks about flight, "exhuberant fantasies of lightness," the painted language of cubism and his free evocation of "the mystifying vision of Modern art’s rambunctious youth."

I also like the gorgeous collage drawings shown on a wall in the rear gallery. They suggest studies but they could only have gone so far in directing the kind of spontaneous exuberance seen in his three-dimensional intervention.

fuzzy grass

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untitled (summer border in purple) 2005

Aaron Wexler at Jack the Pelican

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Aaron Wexler Flowers Through the Weeds 2005 acrylic, ink and paper on panels 96" x 104" [detail]

- being another work from the current show at Jack the Pelican Presents. Barry and I had first seen Aaron Wexler's beautiful art exactly one year ago at Oliver Kamm's 5BE Gallery in a show curated by Lital Mehr. Wexler's older paper collages were so subtle they were virtually invisible, especially in photo reproduction. I only had to wait.

[image from Aaron Wexler's site, where the piece is titled, Out of Darkness]

Katherine Daniels at the Pool Art Fair

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Katherine Daniels Multi-Colored Pendant 2003 wired plastic beads on plastic spool [large detail of installation, with details of two works on paper in the background]

I realize this site has been looking pretty grim lately, and that I was risking the loss of its art blog aspect, so I went through my photo stash and found something which would brighten up the space and at the same time show some beautiful work most people would not have seen yet.

This piece by Katherine Daniels was installed in one of the rooms at the Pool Art Fair earlier this month. Daniels was included in the show David Gibson curated at Jack the Pelican last April, "Culture Vulture," with another wonderful, even more extravagant piece.

what to do if stopped for a subway search

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not so simple now, even for white guys, but maybe it never was

UPDATE: I received a very constructive comment on my last post, "bag the entrance searches, we need exits!", from Matt of the "Flex your Rights Foundation," and I thought it would be extremely useful as a post of its own.

Go here for The Citizen's Guide to Refusing New York Subway Searches. The site includes an excellent introduction to its practical advice on how to "safely and intelligently 'flex' your rights":

In response to the recent London terror attacks, New York police officers are now conducting random searches of bags and packages brought into the subway.

While Flex Your Rights takes no position on the usefulness of these searches for preventing future attacks, we have serious concerns that this unprecedented territorial expansion of police search powers is doing grave damage to people's understanding of their Fourth Amendment protections against unreasonable searches and seizures.

In addition, as innocent citizens become increasingly accustomed to being searched by the police, politicians and police agencies are empowered to further expand the number of places where all are considered guilty until proven innocent.

Fortunately, this trend is neither inevitable nor irreversible. In fact, the high-profile public nature of these random subway searches provides freedom-loving citizens with easy and low-risk opportunities to "flex" their Fourth Amendment rights by refusing to be searched.

The site includes a handy guide-flyer which can be downloaded and printed for giving out to friends and strangers, dressing up a refrigerator or carrying in your . . . er, . . . bag.

[image of Norman Rockwell's 1958 "The Runaway" from the artchive]

bag the entrance searches, we need exits!

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the wrong kind of crowd control

It's a good thing it was Penn Station, because virtually none of New York's Transit system stations could be evacuated for either a real or a false alarm.

Chief Kelly and Mayor Bloomberg's new policy of passenger searches absolutely will not prevent a terrorist hit in our subway system. A real terrorist will just take another train or set off a weapon on the spot. But if something does happen tomorrow, any survivors of an initial attack are likely already doomed by today's official negligence.

They'll never get out.

Sometimes there are a few regular low-bar turnstiles at a station, but most of the time passengers have to exit through ceiling-to-floor turnstile cages which admit only one person at a time. In addition, even though there are often a number of exit stairways in each station, during many hours of the day (or permanently) all but one of them is locked, even those which can only be used as exits!

There's no chance a number of cars and a platform could be emptied in anyone's definition of a hurry. Up to 2000 people may be on a single train, and many more might be on the platform, waiting or leaving, at the same time. Most everyone will have to pass through cages one at a time. I sounds to me like this could easily take a half hour or more.

In addition, it won't help any of us to survive if the system's emergency lighting is still connected to the third rail, as it is now. When train power is cut for whatever reason there is no light anywhere in the tunnels.

Looking to the near future, the MTA is still proceding with plans to eliminate clerks in the stations, conductors in the cars, and even motormen at the stick. Where is the sanity?

Our politicians and public guardians hope to give us the impression that they are making us all safer with unconstitutional searches. Certainly they know the policy is wrong and useless, so why are they not addressing a very real danger but jumping at the chance to push this obviously bogus remedy? I think it's because sending the police in to go through the bags of people of color is much less trouble, much less expensive, and, above all, much less like an embarrassing admission of continuing incompetence - that is, until something really does happen.

For a personal account of our own experience of MTA incompetence in a real incident, fortunately with neither serious injuries nor terrorism involved, see this post.

[image from the MTA]