Sep 5, 2018

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

Rafael Sánchez, 
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

Mar 2, 2018


"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

a film by Redmond Entwistle


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

Jun 11, 2017

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,


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


Feb 11, 2017


Rafael Sánchez
Participant Inc, 2004 

(performance video still)

see video here:

Jan 26, 2017


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.

Aug 28, 2016

Spirits of Manhattan ...

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

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

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

Jul 26, 2016

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

Sánchez / White,

Unifesto, 2006; stencil-action, 2013’s.html#.V5gyaDfgt5g

Sánchez / White, Bookstand

2004 -ongoing;  Art in General, 2010 

Somewhat Portable Dolmen

Sánchez / White, 2007 -ongoing

Jul 7, 2016

May 8, 2016

cute cart disappeared

for the first time in 15 years

on April 6th, 2016

the cute cart 

who did it ?!

last photo



Feb 22, 2016

Vol. Vl : Gypsy Joe, USA


Dixon Place163 Chrystie St.
Feb. 25, 7pm$10

Edited by Rafael Sánchez & Kathleen White


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.


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.