Alexandra Wiesenfeld, paintings

Turkish Adulteress

November 1997
Curated by Neil Grayson

Review by Gerrit Henry
From zingmagazine, October 1998

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Reese Live Performance

November 10th 1997

Soul singer Reese performs with acoustic guitar and percussion.

DeDe Fedrizzi, Brutal Photographie

October 1997

Wreckage, 1997 c-print, edition of 14, 20 x 24 in.

Untitled 2, 1997 c-print, edition of 14, 20 x 24 in.

Johannes Tonio Kreusch, acoustic guitar

October 12, 1997

classical guitarist performing the works of Augustín Barrios Mangoré Joaquín Rodrigo Isaac Albéniz Alberto Ginastera

Audrey Code, paintings

September 1997

The inaugural exhibition at the Dactyl Foundation for the Arts & Humanities featured New York artist Audrey Code. PBS Television (channel 21 in New York).

PBS Television (channel 21 in New York)
MetroGuide August 27, 1997
Interview with Audrey Code and Neil Grayson.


“I’m very much interested in classical drawing, classical painting. . . but updated. I place the canvas on the floor and do a lot of splattering and pouring of paint, not randomly. It’s controlled. I call my technique a kind of learned intuition.

“Oftentimes I see representational painting that impresses me on a technical level but doesn’t move me or get me excited. I oftentimes see abstract painting that is so detached from the form that I can’t relate to it in any real way. I can’t recognize it. What I think every great artist is always searching for is a way to express the ineffable and still hold on to something tangible that the viewer can relate to as well. Audrey manages to get these two qualities in a single image. It moves you.”

Jim Klein, spirit paintings

April 1997

‘Spirit,’ paintings by Jim Klein.

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Steven Vincent, 1997 essay award recipient

1997

In his essay, ”Listening to Pop.” Vincent demonstrates how the lesson of Claes Oldenburg’s work is distorted as it is reinterpreted today. According to the argument, representational art has reinforced the illusion of a knowable, static reality, while at the same time it has always explicitly deconstructed that illusion by its very nature of being artificial. Pop Art attempted to apply this lesson at large, showing how everyday objects should be seen as signs trying to establish an eternal logos. An important lesson indeed. But one that has backfired. As Vincent argues, these everyday objects have come to re-present themselves as signifiers of a signified, reversing Pop Art’s intention. They now “represent” the Mythology of the era in which they were produced. Vincent captures the eeriness involved in such a reinterpretation and reminds us how deeply invested the human race is in its will to believe. Copies of the essay can be obtained for $7 by writing to info@dactyl.org. Note: Steven Vincent was murdered in Iraq in 2006 for questioning political practices in a NYTimes Letter to the Editor.

What is the Dactyl Foundation? article by Jean Foster

What is the Dactyl Foundation for the Arts & Humanities?

by Jean Foster

zingmagazine

dac’tyl, n. [L. dactylus; Gr. dactylos, a finger, a measure of length, a dactyl.] [continue...]