James Wagner

does this sound familiar?

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The story appeared in The City section of the NYTimes on Sunday. It was part of an article describing the history of the World Trade Center site. As I read it I felt that its outline seemed very familiar. It described the manipulation of the power of the state for personal gain, but while both the profit and the loss associated with two years of warfare against the Indians in New Netherland was on a much smaller scale than that of the imperial Bush wars, has anything changed much in four centuries?

Jan Jansen Damen, who came from Holland around 1630 to help set up the new colony, was more than just a simple farmer. The first European owner of what would later become part of the World Trade Center site had much greater ambitions.

Like an early Donald Trump, Damen had a thirst for land and wealth. He pushed aggressively to secure commitments from the Dutch West India Company for grants or leases of property located just north of the barricade that was Wall Street. Below this barrier was all of settled New York, the land where the pioneers had built their crude, wooden-roofed homes.

When trouble came in the form of Indian attacks on settlers, the Dutch governor turned to Damen for advice, naming him in 1641 to New York's first local governing board, known as the Twelve Men.

The board's chairman, David Pietersen De Vries, urged Gov. Willem Kieft to be patient, as the tiny colony, with little in the form of arms or soldiers, was vulnerable and "the Indians, though cunning enough, would do no harm unless harm were done to them."

Damen did not agree. His land, at the edge of the settled area, was particularly vulnerable. In February 1643, accounts written at the time say, Damen and two other members of the Twelve Men entertained the governor with conversation and wine and reminded him that the Indians had not complied with his demands to make reparations for recent attacks. "God having now delivered the enemy evidently into our hands, we beseech you to permit us to attack them," they wrote in Dutch, in a document that survives today.

DeVries tried to calm Governor Kieft: "You go to break the Indians' heads; it is our nation you are about to destroy." But the governor disagreed. It was time, he resolved, "to make the savages wipe their chops."

The assault, which took place about midnight on Feb. 25, 1643, in Jersey City, then called Pavonia, and at Corlears Hook, now part of the Lower East Side, was an extraordinarily gruesome affair. "Infants were torn from their mothers' breasts and hacked to pieces," DeVries relates in his journal. Others "came running to us from the country, having their hands cut off; some lost both arms and legs; some were supporting their entrails with their hands, while others were mangled in other horrid ways too horrid to be conceived." In all, more than 100 were killed.

The region's Indian tribes united against Governor Kieft and the colonists. Damen was nicknamed "the church warden with blood on his hands," and expelled from the local governing board. The governor was ultimately recalled by the Dutch. The colony, over two years of retaliatory attacks, sank to a desperate state.

"Almost every place is abandoned," a group of colonists wrote to authorities in Holland in late 1643. "We, wretched people, must skulk, with wives and children that still survive, in poverty together, in and around the fort at the Manahatas, where we are not safe even for an hour whilst the Indians daily threaten to overwhelm us."

Damen died about 1650. His heirs sold his property to two men: Oloff Stevensen Van Cortlandt, a brewer and one-time soldier in the Dutch West India militia, and Dirck Dey, a farmer and cattle brander. Their names were ultimately assigned to the streets at the trade center site. Damen's was lost to history

We won't be so lucky with Bush's name.

Note: The native American peoples in Manhattan were of the group, Lenape or Lenni-Lenape, later catagorized by the Europeans as Upper Delaware.

[image from RootsWeb for Montgomery County]

Summer in the Long Island City

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PS1 and the members of Young Architects Program, responsible for the beautiful courtyard installation, should be delighted to know that the visitor pictured above, relaxing in one of their outdoor spaces, had made the art very much his own for part of the day. (We remembered seeing him earlier inside, very intent upon the work in the Special Projects and Studio Program rooms, but he may have been inspired by the sandy images in Ugo Rondinone's beautiful installation, "Sleep.")




I nearly forgot to post something about our visit to PS1 on Sunday afternoon. We almost didn't make it at all, since neither Barry and I nor our friend Karen were anxious to get the early start our day's ambitions recommended. We started out with a pilgrimage to ATM Gallery in the East Village, hours before the current show was to be taken down. Half of the afternoon had evaporated before we squeezed into the crowd drawn to Long Island City for the Museum's summer show, "Hard Light."

It was a warm urban moment. Summer in the city. People were drawn by the art and maybe the music, but perhaps more than anything else, by each other.

We will have to return to get a good look at the work of some 40 or 50 artists and collaboratives installed in and around the rambling old school building, but judging from what we did manage to see, I'd say that anyone would have to be quite dead not to be delighted, surprised or challenged by much of what's there.

The weekends on Jackson Avenue are great fun, but the weekdays are probably better for serious arties.

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arties and friends having fun in the main courtyard on Sunday

for TAG Projects art is the personal and the political

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Peter Corrie untitled (2004) 11" x 14"

Barry and I actually stopped by twice on Saturday at the Dumbo space of the TAG Projects show, "Death to the fascist insect that preys on the life of the people." We left in triumph with the piece shown above, by the young artist and curator of the show, Peter Corrie, and we still expect to add one or more small works by other artists to our cart once we can pin down the details.

There was a great deal to like about each of the dozen or so artists who had contributed work. While certainly and unapologetically politically-driven, this is art which can stand very strongly on its own both at this moment and in the eden for which these people are working.

My most-savored (or at this moment most-remembered) images are, in no particular order, the wall installations of Noah Lyon and Peter Corrie (who can't stay on paper alone). Corrie's provocative sculpture, "Dear W," is a small found suitcase filled with a simulated bomb assembled largely from art supplies. The infernal machine would be in our apartment at this moment except for the problem of space associated with most sculptural and installation art.

John Jodzio's imagination could make any neighborhood a legend, and his two large exciting works on paper (sharpie pen and watercolor) do a very good turn for Jersey City.

Leah Meyerhoff's (triptych-y?)video, "Packaged Goods," seems to offer one proposal for dealing with the fascist world of the show's title, and it's as painful as it is fascinating to witness. Great installation.

Alex Barry's 19 drawings, each assigned a title beginning with "I Wish I was . . . ," hold back as much as they deliver. I'm trying to say they're all keepers.

Drew Liverman presented a beguiling collage assembled with cut-outs from printed vinyl inflatable toys. As far as I could determine, the piece offered less menace or malice than any other in the show. So, is that something like a reversal of the kind of impulse which will sometimes contrive a deliberate mistake in an otherwise perfect work?

Jeff Swartz creates small, pretty, exquisitely-crafted melancholy images of military hardware.

Tim Kent has refashioned a child's doll (ok, it's actually G.I. Joe), and its labelling, and returned it to its bubble-wrap packaging. The figure is now costumed as the standing, black-hooded figure in Abu Ghraib Prison which will be etched in our brains forever.

Spy pins a home-made stuffed white rabbit to a column and in its "hand" are three useless playing cards. Just below the figure is another, separate work, a white marker image on black paper of the devil holding a rabbit upside down. The title of the piece with the stuffed rabbit? "He's Got Jack."

We're very sorry once again that we only managed to get to the gallery space on the last day of a one-week show run. We'll do better next time, and I certainly hope, and expect, there will be lots of nexts. We want to watch this good stuff happening.

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Noah Lyon drawings, installation detail

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Peter Corrie Dear W (2004) mixed media 3' x 2' x 4'

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Drew Liverman untitled (2004) 6' x 4' printed vinyl & plastic sheeting

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Spy, installation view, with He's Got Jack (2004) 2' x 1' fabric, stuffing and playing cards; and untitled (2003-2004) 14" x 11" marker on paper

One more note about both the people who are TAG Projects and the artists shown in this exhibition: Many if not most of them are as dedicated to and creative in music as they are in their visual work.

And if anyone's still wondering about the inspiration for the title of the show, copied in the first paragraph above, it's a quote from the Symbionese Liberation Army. For more of an immersion in extreme activism, and only slightly less extreme sex, check out Bruce LaBruce's new film, "Raspberry Reich," a brilliant film tool for seducing homos on behalf of the revolution.

disorder in the court and confusion in the newsroom

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the United States Supreme Court, showing nothing upstairs

More on today's ruling from the Supreme Court.

The news stories which first appeared this morning have already been rewritten a number of times (the AP story I linked to in my own post no longer exists; its replacement bears a report which is almost a reversal of the original), reflecting the confusion which surrounds the justices' "decision."

I think most of us don't have to be reminded that it was this same Supreme judiciary body which three and a half years ago installed the Administration which we see working so asiduously to re-create the remainder of the judiciary in its own image.* I don't think we can expect "judicial review" to safeguard any of us from assaults waged in the name of the War on Terror.

Today's decision says Bush has the right, under the Patriot Act, to arrest and hold both citizens and non-citizens indefinitely and without charges, although both citizens and non-citizens have the right to go to court to argue, apparently one at a time, that in their particular cases they are being held illegally. No one will be let out today - or tomorrow - and in fact the separate cases could be argued for years while the plaintiffs languish in camps, thanks to these (un)worthy judges.

However you look at what the Court did today, it has to be regarded as making bad law.

* One reminder which more of us actually do need: John Kerry, our great blue hope, voted for the war, voted for staying the course in Iraq, and voted for the Patriot Act.

[image from supremecourtus]

Cheney tells senator, "Fuck Yourself"

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Big Time

Could this be the same newspaper whose editors have been major cheerleaders for the Bush administration for three and a half years? Starting even with their site headline, "Cheney Uses Major-League Expletive," this delicious story from the Washington Post reads more like something you'd see on a smart progressive blog than what you might expect from a White House rag.

Among other helpful tips, the Post article reminds us:

As it happens, the exchange occurred on the same day the Senate passed legislation described as the "Defense of Decency Act" by 99 to 1.

Goodness!

[image from CONSPIRATION.CC]

from Chelsea to Williamsburg

A few quick shots of four shows enjoyed very recently, the first two in high Chelsea, the last two in lower Williamsburg:

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Ryan Humphrey installation view, including (top to bottom, left to right, BMX for Japanese Hipster (Aztec Orange), BMX for Japanese Hipster (cavern Pool Green), Remember, Narrate and See (all 2004)

At Caren Golden Fine Art Ryan Humphrey shows a very personal selection of already playfully-seductive commercial products which he has intensely, even obsessively, individualized. They end up as the things without which the rest of us simply cannot go on. It looks like he started working on this show when he was seven - and I mean that in the best way.

The show has been extended through July 16.

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Freecell, installation view

The collaborative Freecell is responsible for what may be both the most charming and most disturbing installation around this month. When you enter a small quiet room at Henry Urbach Architecture you are in a spaceship hovering among an unnatural miniature landscape where impossibly-high real skyscrapers are visible just outside the vessel's large window. The environment is both abstract and, quite literally, very earthy, er . . . mossy. The conceptual implications end up mucking up your head even after you've returned through the air and time lock and travelled back to where you began.

While you are there, don't miss the other side (in both senses) of this brilliant gallery, an elegant show of architectural photographs by Ezra Stoller.

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Susan Jennings installation view Wood Corner (2002) c-print, plexi 26-3/4" x 26-3/4" courtesy of Michael Steinberg Fine Art

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Nancy Shaver The Blue And The Gray (1989) antique frame with found clothing 37-1/4" x 23-1/2 x 3" courtesy of Feature Inc.

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Jennifer Coates Adrift (2004) acrylic on canvas 30" x 24"

Champion Fine Art just took down their "Exhibition #14: Grass and Honey," curated by David Shaw, and it was up to the very high standards of an artist-curated series which began with #20 and which will end as it winds down to #11. The last ten exhibitions will be mounted in Los Angeles - our loss, the Angelenos gain. There were two fine works in this show by Susan Jennings, each photo-based. One jumped into the third dimension, all be it only one plane at a time.

Also within the space through yesterday, the Nancy Shaver and Jennifer Coates pieces were as striking as they are "photogenic" themselves.

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William Powhida installation detail

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William Powhida installation detail

You've probably seen him everywhere, and you've certainly read his work, now you get to see William Powhida's very personal art at Dam Stuhltrager gallery, on a small corner in Williamsburg, just west of the BQE. The title of the show, "Persona," doesn't begin to suggest how many of his roles you'll find there. The wonderful video in the special "back room" in the middle seems almost to hold it/them together - if only for its (eminently-repeatable) four-minute duration.

tree cave

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untitled (Roebling street tree)