Tarro de albañil con ligas rojas encontradas y un bombillo ...

Rafael Sánchez, 
2014-2018

mason jar, found rubber bands, light bulb; 9.25" x 3.5" x 3.5"

Jorge Clar, 2018

Montblanc PIX Rollerball fine tip in blue on ruled composition paper;
(spiral note book): 11" x 9"

Dusk to dawn bookstand,

579 Hudson St. NYC. August 29, 2018

Monuments

"What I did was, go out to the fringes. I picked a point in the fringes and collected some raw material. The making of the piece is really about collecting. The container is the limit it exists (in) within the room after I return from the outer fringes." -Robert Smithson

© Holt-Smithson Foundation

Double Bill

Curated by Redmond Entwistle

Art in General, January 22 - March 20, 2010

Redmond Entwistle

Sánchez-White Archives

Monuments 
a film by Redmond Entwistle

cityArts

Double-Bill

By  David Freedlander on Feb 23, 2010

It has been 42 years since Robert Smithson took an Inter-City Transportation Company Bus at the Port Authority to Passaic, N.J.

In his ambulatory meditations, Smithson cheekily compared the wrecked landscape to ancient Rome. His vision was cinematic, it delineated a new way of artistic interaction with the urban environment in tension with the suburban one, and it became a founding document of minimalism.

Through Mar. 20, Smithson’s work, and that of his contemporaries Dan Graham and Gordon Matta-Clark, gets a reworking at Double-Bill, an enlivening show at Art in General.

The centerpiece of the show is a movie about the journey the three of them take back to New Jersey. The old sites of their Monuments have grown derelict, wrecked by industrial decline in a way unforeseen to the artists when they began their careers five decades ago. The house that Matta-Clark once sawed in two has become an office park. Skateboarders zoom by. When one falls and cuts himself, Matta-Clark comically explores the “rupture.” “Surfaces,” he says, looking at the wound, “are too easily accepted as limits.”

Minimalism and post-minimalism have had a longer life in the seminar room than in the gallery, and the characters in Monuments are as much theories as artists; they travel through the area staring impassively at places where once they projected their art and reveling in their theories of art and urbanism.

“The museum and the city and the same,” intones Dan Graham. “My work has always been about the relationship between the city and the suburb.”

The show also features Rafael Sánchez and Kathleen White’s “BOOKS RECORDS TAPES.” It is a long table featuring stacks of for-sale books, sheet music, chapbooks and magazines of the kind found all over the city where vendors are still given reign. The ventures of Smithson et al matter because they expanded the definition of art and pointed out new ways of seeing, Sánchez and White’s seemingly dashed together collections of materials re-realizes that vision.

Through Mar. 20, 2010

Art in General

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Monuments on vimeo:
https://vimeo.com/42922707

<>

Robert Smithson, Nancy Holt, East Coast, West Coast

http://www.ubu.com/film/smithson_east.html

Jezus' Zoon

I knew every raindrop by its name. 

-Denis Johnson,

Jesus' Son

Denis Johnson, Jesus' Son 

translated to Dutch by 

Rob van Erkelens 

In Deknipscheer,

©1995

book design, 

J. -M. van Daalen 
Buissant des Amorie

Performance photo of 
Rafael Sánchez by Erik Odijk  

When I'm rushing on my run

And I feel just like Jesus' Son.

-Lou Reed, Heroin

Wig Suitcase

Kathleen White,
Wig Suitcase, 1990's

Familiar Feelings (On the Boston Group)
Curated by Manuel Segade

Centro Galego de Arte Contemporánea, 
Santiago de Compostela, Spain, 2009

Foto, Mark Ritchie

more:
http://www.mememoi.net/Curating/familiar-feelings/index.html

Santiago de Compostella

Kathleen and Gail
CGAC
Santiago de Compostela, Spain, 2009

Foto, Rafael

http://www.mememoi.net/Curating/familiar-feelings/index.html

REVOLVER

REVOLVER, 
Rafael Sánchez
Participant Inc, 2004 

(performance video still)

see video here:

https://vimeo.com/108204884

Ishtar

This large plaque was made of baked straw-tempered clay, modeled in high relief. The figure of the curvaceous naked woman was originally painted red; note the trace of the red color on her left wrist. She wears the horned headdress characteristic of a Mesopotamian deity and holds a rod and ring of justice, also symbols of her divinity. Her long multi-colored wings hang downwards, indicating that she is a goddess of the Underworld. The background was originally painted black, suggesting that she was associated with the night.

The figure could be an aspect of the goddess Ishtar , Mesopotamian goddess of sexual love and war, or Ishtar's sister and rival, the goddess Ereshkigal who ruled over the Underworld, or the demoness Lilitu, known in the Bible as Lilith. The plaque probably stood in a shrine.

Old Babylonian period, 1800-1750 BCE, from southern Iraq (place of excavation is unknown), Mesopotamia. (The British Museum, London).

Osama Shukir Muhammed Amin

Originally published on 18 September 2014 in Ancient History Encyclopedia under the following license: Creative Commons : Attribution-Non-Commercial-Share-Alike. This license lets others remix, tweak, and build upon this content non-commercially, as long as they credit the author and license their new creations under the identical terms.

https://www.ancient.eu

fall diptich

Spirits of Manhattan ...

Kathleen White, Eugene Fedorko, Gypsy Joe
alLuPiNiT NYC,  2011

http://www.actuporalhistory.org/interviews/images/fedorko.pdf

photos by Rafael © 2016 / alLuPiNiT NYC & The Estate of Kathleen White

Kathleen White, 1991
watercolor, gauche on phone book page
Collection Eugene Fedorko, NYC

IV Embrace: On Caregiving and Creativity

In The Power of Your Care 

The 8th Floor

17 West 17th Street, NYC

IV Embrace: On Caregiving & Creativity –

Thursday, July 14, 2016

Kathleen White
Love Letter, oil on canvas, 2002

Kathleen White, Devotion, Participant Inc, Jan. 2004

Rafael Sánchez, REVOLVER
Participant Inc, Oct. 2004

pictured Robert Appleton and Kathleen White

https://vimeo.com/108204884

Sánchez / White,

Unifesto, 2006; stencil-action, 2013

http://cityandstateny.com/articles/policy/healthcare/the-bargain-that-closed-st.-vincent’s.html#.V5gyaDfgt5g

Sánchez / White, Bookstand

2004 -ongoing;  Art in General, 2010

http://allupinit-nyc.blogspot.com/2010/02/gotham-art-theater-by-elisabeth-kley.html 

Somewhat Portable Dolmen

Sánchez / White, 2007 -ongoing

https://vimeo.com/32184265

http://the8thfloor.org/iv-embrace-on-caregiving-creativity/



The 8th Floor

crater

crater
fire island
© R. Sánchez 2014

Not Over, 2013 / Tracings

cute cart disappeared

for the first time in 15 years

on April 6th, 2016

the cute cart 
disappears

who did it ?!

last photo

r.i.p.

                                                                                                                                                                                     

André Gide

Post title

Mail from Gypsy Joe

Vol. Vl : Gypsy Joe, USA

Link:
http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/

Dixon Place163 Chrystie St.
Feb. 25, 7pm$10
IN THE LOUNGE
GERSHWIN LIVE: ALLUPINIT VOL. VL – THE POEMS OF GYPSY JOE 

Edited by Rafael Sánchez & Kathleen White

ABOUT THIS SHOW

Gershwin Live is an evolving 21st century salon, artists with fearless & distinctive voices are given free rein to present theater, dance, film, cabaret, ghost stories, music & uncategorizable hybrids. Curated by Michael Wiener & Neke Carson.

ABOUT THE ARTISTS

Gypsy Joseph Cvetetic hails from Montgomery, Alabama. His poems & rhyme stories have flowed like a river though his travels around the globe. He met future alLuPiNiT cofounder & editor Kathleen White in the East Village performance scene of the 1980’s. Production of alLuPiNiT Vol. Vl was interrupted when Kathleen White was diagnosed with stage 4 lung cancer in the summer of 2013. It was Kathleen’s wish that the magazine continue. This event celebrates the first alLuPiNT release since Kathleen’s passing in the fall of 2014.

alLuPiNiT grew out of the collaborative energies of artists Rafael Sánchez & Kathleen White. The team stewarded an outdoor bookstand on Hudson Street in post 9/11 NYC. That project blossomed into a situational confluence of art, citizenry & conversation. alLuPiNiT, NYC was formed as a 501(c)3 in 2008 as a forum for extended collaboration with a family of artists working in every imaginable medium & discipline. The stand, magazine, readings & other works have been presented with Art in General, El Museo del Barrio & in MoMA’s 2012 exhibition Millennial Magazines.

http://dixonplace.org/performances/gershwin-live-allupinit-vol-vl-the-poems-of-gypsy-joe/