Muscle Pup erwirbt zum Valentinstag von Daddy Bears gestochen
My sumptuously beautiful child of high art Jonathan Berger is back in the Pacific Northwest for his second solo show at Adams & Ollman Gallery in Portland, Oregon. Mr. Berger is a singular talent of monumental scope who is so brilliant and detailed oriented. His exhibition at Participant Inc. last year was heralded the world ever. Jonathan has worked consistently with his art mother Vaginal Davis since he was a weenager at California Institute of the Arts(Cal Arts) as a collaborator, producer and production designer for numerous international projects. Now the cleft coast gets a chance to view his lovely genius.
Jonathan Berger, Margaret Morton, Maria A. Prado
June 5 –July 17, 2021 THERE IS NOTHING LIKE LIVING LIFE ON THE LAM. LIKE BEING FREE
Adams and Ollman is pleased to announce Jonathan Berger’s second solo exhibition with the gallery. The exhibition includes a new series of text sculptures, each of which is a discrete line fragment, excerpted from his recent large-scale project An Introduction to Nameless Love. These pieces are presented alongside work he has included by two of his collaborators from that project—the photographer Margaret Morton (1948-2020) and homeless women’s advocate and activist Maria A. Prado.
From 2014-2019, Berger conducted a series of dialogues with diverse subjects about these types of relationships. Drawing on conversations and correspondences, the ongoing outcome of this process was a series of autonomous texts, each of which was generated collaboratively between Berger, the subject(s), and a guest editor of specific significance to each story. The exhibition presented these narratives as a series of large-scale, text-based sculptures comprised of thousands of meticulously cut and formed tin letters.
For this exhibition, Berger isolates and removes lines from these larger texts which constitute An Introduction to Nameless Love, creating an installation of discrete floating silver tin quotations, words, terms, phrases, statements, and crystalline relational moments. Unlike the original exhibition, which functioned much like a book with chapters, Berger's presentation of small-scale pieces at Adams and Ollman renders an environment where seemingly disparate parts of each of these distinct stories form unlikely relationships to one another, further illuminating the project's overarching investigation of "nameless love" in new ways. In this regard, the environment Berger creates from these excerpts in Adams and Ollman’s main gallery functions more philosophically, allowing for both direct moments of connection and transitional spaces of contemplation, speculation, and invention.
One of the stories chronicled in An Introduction to Nameless Love is that of Maria A. Prado, who lived underground from 1988-1995 and again from 2006-2007 as part of a homeless community known as The Tunnel, which occupied a two and a half mile long abandoned Amtrak freight train tunnel that ran under Manhattan’s Riverside Park. The space was originally created by Robert Moses in 1934 in order to hide the Hudson River Railroad from the expensive apartments on Riverside Drive and became no longer operational in the early 1970s. The space began being occupied by the homeless in 1973 and continued to function as a self-sustaining self-governed community, of different inhabitant groups, each of which constituted a neighborhood of sorts, until all of the residents were evicted in 1996. Subsequently, several years later, the space began being inhabited again.
In 1991, Prado met the photographer and oral historian Margaret Morton, who had been invited to The Tunnel by a member of the community she had met in Riverside Park. Up until the initial evictions, Morton photographed a small group of residents, documenting their daily lives and the architectural dwellings they created within the vast concrete space. Her images and text from extensive interviews comprise her book The Tunnel, which was published by Yale Press in 1995. The book is broken into chapters which document the life of different members, including Prado.
In 2010 with encouragement by Morton, Prado began writing her life story. The text meticulously documents her search for her biological mother which brought her from Connecticut to her birthplace of New York City and the process of finding empowerment in the wake of her experiences with incarceration, homelessness, domestic violence and witnessing her community become HIV positive. Prado’s twenty-one-year journey overcoming the struggles of street life, informed specifically by her Afro-Latina perspective, led her to found The Prado of Transitioning Forward, a transitional/congregate housing program to assist homeless women in becoming self-sufficient.
Concurrent with the exhibition, Prado will resume work on the unfinished manuscript of her memoir, Findin’ Ma, collaborating with editor, writer, oral historian, and art historian Stephanie E. Goodalle, whose work focuses on the experiences of the Black diaspora. Throughout the two months that the exhibition is on view, pages of Findin’ Ma will be displayed on one wall of the gallery as Prado and Goodalle complete them, allowing the book to unfold in real time.
Presented alongside Prado’s writing is a cinematic slideshow that Morton assembled and narrated about The Tunnel. She created the video as an artist’s talk, covering the four photographic projects for which she is best known, which include Transitory Gardens, Uprooted Lives (1993), The Tunnel: The Underground Homeless of New York City (1995), Fragile Dwelling (2000), and Glass House (2004). Each project serves as an archive of human perseverance in the face of adversity and the capacity of vernacular architecture created by self-organized alternative communities to serve as a force of agency, transformation, and self-actualization. Morton’s images are imbued with the depth of her long-term relationships with those pictured in them.
Jonathan Berger (b. 1980, New York) lives and works in New York City. Over the past fifteen years, his practice has encompassed a spectrum of activity, pursuing a rigorous investigation of the many ways in which the exhibition site can be repurposed. He maintains an interest in abstract and experimental forms of non-fiction, including embodied biography and portraiture, as rendered through the creation of large-scale, narrative-based exhibitions made from both constructed and found objects. He has presented solo installation projects at the Carpenter Center for the Arts, Harvard University, Cambridge, MA; the Busan Biennial, South Korea; Vox Populi, Philadelphia; Participant, Inc., Maccarone, Karma, and Grimm-Rosenfeld Gallery, all New York; Frieze Projects, London; Adams and Ollman, Portland; and VEDA, Florence. His collaborative and curatorial projects have been presented at venues including MOCA, Los Angeles; The Hebbel Theater, Berlin; and The Queens Museum of Art, Participant Inc., and Performance Space 122, New York, among others. His current project, The Store, is on view at the Aspen Art Museum through 2021. From 2013–2016, Berger served as Director of 80WSE Gallery at NYU, where he mounted a wide range of major exhibitions and collaborative projects presenting the work of Ellen Cantor, Bob Mizer, Printed Matter, James Son Ford Thomas, Michael Stipe, Vaginal Davis, Susanne Sachsse, and xiu xiu, among others. He is a Clinical Associate Professor in the Department of Art and Art Professions at New York University.
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Just received this news from those hot ladies known as Chicks on Speed:
NEW MUSIC | You are invited to pre-save an upcoming drop, click below and it will be on your playlists of your prefered music platform. Interambiento by VooCha (Melissa E. Logan) is a music release made with Armageddon Turk, Mary Ocher, Ortis and NLLY.
A time travel into the future as well as a love song about the internet: With the perspective of a limited internet the collab offers melancholia, miami vice moments, 80s guitars, cinematic vibes and rather than a smooth ride grit and bumps.
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Artist's Edition to benefit Tulsa Community Remembrance Coalition
As you may know, today marks a somber day in Tulsa, Oklahoma. One hundred years ago, white mobs attacked Tulsa’s Greenwood District, popularly known as “Black Wall Street,” burning more than 1,500 homes and bombing over 600 Black-owned businesses. Survivors and their descendents are still asking for restitution and repair from the city of Tulsa, the state of Oklahoma, the United States Congress, the Supreme Court, and insurance companies that have withheld compensation for damages over the last century.
In an initiative developed in collaboration with Tulsa-based activist Dr. Tiffany Crutcher, a descendant of a survivor of the Massacre, artists
Adrian Aguilera and
Betelhem Makonnen partnered with Philbrook Museum to produce an artist’s edition of their work untitled (a flag for John Lewis or a green screen placeholder for an America that is yet to be) (2020): a small lapel pin of a green American flag. With this piece, in their continuing series of reimagined U.S. flags, Aguilera and Makonnen honor all past and present liberation workers who continually fight for freedom, justice, and equal rights not only for some, but all Americans. Aguilera and Makonnen's reimagined flag asks us to consider our role in the construction of our American future. The edition is $10, and can be purchased online
at this linkAll net proceeds from the sales of this edition will support the Black Wall Street Memorial, a project powered by the Tulsa Community Remembrance Coalition. The Coalition is led by descendants of survivors of the 1921 Tulsa Race Massacre. Dr. Crutcher has been working with other descendants and survivors of the Massacre to lead calls for reparations and accountability in Tulsa. Read more about Dr. Crutcher’s important work
here, the Terence Crutcher Foundation
here, and the Tulsa Community Remembrance Coalition
here.
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Hadn't received any info for quite sometime from that incredible singer Billy Ray Martin who use to live several years ago for a very short period in the building where my atelier is housed. Billy is continuing to put out releases and re-mixes and the like so fans of hers feel free to check to place your orders now:
Pre-order now. Heading for the Night - The Frankie Knuckles Mixes. VInyl, CD, digital
Pre-order finally :)) Release date is 9th of July, Vinyl End August.. The unreleased Frankie Knuckles remixes. Pre-order now at
https://www.billieraymartin.co...The CD is exclusively available on the website (we listened to your moans and there's a CD now :)All other Formats are also available in all digital stores stores and record shops worldwide.
Info for digital stores at
https://www.billieraymartin.co...
sexy young and talented, the artist known as Jonathan Berger
Chicks on Speed
its an easy rule for kids to follow today and any day that Judy Garland and Freddie Bartholomew are THE WAY!