Wednesday, October 27, 2010

PoArt Exhibit: Lawrence Charles Miller [48]

Lawrence Charles Miller
Newport, PA, USA / NYC, USA

8/20/2010 - Original Proposal:

Stealth Verso

a poster announcing an exhibition of drawings.
The original drawings are on the reverse side of the poster.
this is an act of selling myself - no shame - yes prostitution of art
The poster is destroyed if the drawings are cut out and sold (up to Mobius and action artists)

Dimensions: the over all poster is 17x36 inches (horizontal). The drawings are 8x10 inch each (Strathmore drawing paper adhered to verso)

9/4/2010 through 9/7/2010 - Installation queries:

JW (co-curator):
Got your tube today in the mail!

Should I wait to open it until we install it at Mobius? I'm afraid if I open it now I might not be able to stuff everything back in the tube safely - the tube looks completely fine (not a nick on it) so I'm sure the contents are safe.

I'm thinking we might hang it using strong fishing line for the exhibition (Sept 18-25th - exact times tbd -- but at least Sept 18th 8-10pm and Sept 25th 11am-6pm) and then have people take away pieces of it on Sept 25th (when there will be performances, hopefully foot traffic during open studios and so on)...

Thank you for letting me know everything arrived. Your idea for installing sounds good. I wasn't sure how it might fit in to your space and plans there.
Please feel free to do as you wish - and to take donations for the drawings to benefit Mobius. The drawings are all graphite originals. Signed and dated.
Hope they weathered the roll and tumble - but then they have been at sea.

9/18/2010 through 9/26/2010 - Exhibition:

The poster was taken out of the tube without any mishaps for the opening night of the exhibition. It was carefully laid on the display table containing the Prostitution of Art magazine along with Richard Smolinski's piece. The co-curators decided to save the poster and it's destruction for the closing but the closing proved not to be a suitable event due to the nature of a simultaneous five hour durational performance and the drifting in and out of the audience for open studios.

Photo by William Everton:

10/4/2010 - Post-Exhibition Quandary:

JW (co-curator):
I love your poster and drawings -- we tried to save them for the
Closing but the closing ended up not being the kind of event where we
could gather people around to take apart your poster so it's still

Would you like us to save it for another fundraiser or event and use
it somehow and videotape whatever we do to it - this might not be for
a while?

or would you like us to perhaps find something sooner, perhaps a class
or gather a group of people to take it apart (and document it).. (we
thought about using it in the Drawing Marathon which was on Sunday
Sept 26th but I don't think there were enough non-Mobius people in the
space at once to make it work)

Sorry we didn't use it! It just seems too beautiful to destroy!

Just let me know if you have a preference...

LM (Artist):
Please feel free to keep it and use it as you wish.
If you don't think it will work I could use it for a show
I'm having in December.
Of course I'd rather Mobius have it -

JW (co-curator):
AWWWWW!!!! thanks so much Larry!!

10/18/2010 - Facebook dialogue excerpts:

JW (co-curator):
i am still thinking about how to use your piece

i want to videotape whatever we do --

maybe the next drawing marathon at mobius (oct 24th) i will see if I can set aside a moment for people to perform with it and draw the performance at the same time!!!

wow that would be pretty whacky wouldn't it -- kind of a drawing infinite loop or something.... (-:

whatever happens, it will end up on the blog somehow and thanks again!

LM (Artist):
Please don't worry about using the Stealth Verso piece - maybe someday it will come in handy, or not.

10/24/2010 - Drawing Marathon 9:

On October 24th, Mobius Artists Sandy Huckleberry, Lewis Gesner, Margaret Bellafiore and Jane Wang installed Lawrence Charles Miller's The Stealth Verso and proceeded to destroy it. Three mirror-like metallic silver boards were suspended next to the drawings at varying heights.

Unfortunately, the co-curator couldn't remember if the four drawings on the back of the poster were also to be destroyed in the performance (they weren't). Two of the drawings were left completely intact. The entire performance was videotaped and is shown here along with video stills:

Drawing Marathon 9: Lawrence Charles Miller

Video Stills [complete slideshow/set here]:

In addition, the artist's piece in it's new configuration was used in the subsequent solo performance by Sandy Huckleberry, thereby creating an accumlative installation which in turn was drawn by two artists who attended the drawing marathon.

Drawing Marathon 9: Sandy Huckleberry 1
[this is part 1 of 7 of Sandy Huckleberry's performance
- to see thumbnails /access videos for parts 2 through 7, please click here]

Photos: Margaret Bellafiore

10/25/2010 through 10/26/2010 - Epilogue:

Excerpts from facebook emails:

JW (co-curator):
we videotaped and destroyed the Stealth Verso piece.
unfortunately, i had stupidly forgotten whether you actually wanted us to also destroy your four drawings -- i thought probably not but while we were talking about it, one of the artists performing carefully cut out a hole in one of the drawings.
We left all the other drawings intact thankfully!!

I'm ashamed of myself - i should have doublechecked (and should have known better - in a previous show, an artist told me to completely destroy her entire installation so that's probably where the brain freeze came from )..


On the positive side, the video of the performance turned out wonderfully AND the resultant installation (with your separated four drawings hanging in the air) were used intact as part of a subsequent performance/installation

and the shapes of your 4 drawings were drawn by two other artists

i plan to post the video along with video stills by weds this week.. and once Margaret uploads the photos of the two other artists' drawings of your drawings (!!), i will add that to the blog post...

and again sorry sorry sorry!

JW (co-curator):
I will post on the blog on weds or thursday..
in the meantime, here's links to the video

and a slideshow on flickr:

hopefully you will enjoy and not freak out )-:


ps i have 3 of the drawings whereupon i discovered one has a corner taken off it - so only 2 completely intact..

LM (Artist):
Not to worry. I intended for Mobius to do anything beyond cutting up the poster. So it sounds like it was a success. Sorry for not responding sooner. Got a flu and layed up. Best-

JW (co-curator):
sorry about the flu - hope you feel better soon - don't let it turn into pneumonia!
thanks again so much for your kindness.
i am so relieved i'm not now on your shit list..

ps and oops here's the slide show (i sent the wrong link before):

feel free to download any photos you like for whatever..
the blog will also 3 photos that Margaret took which feature your piece...

LM (Artist):
You just made me smile. You could never be on such a list !

PoArt Exhibit: Updates #17

The featured artist of the day is Lawrence Charles Miller. He sent in The Stealth Verso and kindly gave us permission to take it apart during a participatory performance, which we did ... about a month after the exhibit ended in a special performance. Through the fault of the co-curator (NOT James Ellis Coleman, the other one), managed to destroy more of the work than was originally intended. Thankfully the artist was good humoured about this and no blood was shed.

Friday, October 22, 2010

PoArt Exhibit: Mark Bloch [47]

Mark Bloch
New York City, NY, USA

9/12/2010 through 9/15/2010 - Last Minute "Solicitation/Bartering for Services Rendered" (excerpts):

MB (Artist):
I am so SO sorry I wanted to submit this

can I still send it?

here is electronic version I will also send the hard copy poster tomorrow

Can I????

I would LOVE to be in your show

[electronic image and text posted on blog here]

JW (co-curator):
You can definitely be in the blog but I'm not completely sure what you want me to do with the pamphlet - did you want me to post it on the blog? and then possibly print it for the exhibition?

or did you want to send me the actual pamphlets and the poster (or just the poster) for the exhibition specifically?

James and I haven't decided exactly what to do regarding the Prostitution of Art blog material - we thought of printing out whatever material we have from the blog in magazine form at the exhibition (except for the videos).

Send the poster and if you have a hardcopy of your pamphlet that you'd like use to display, that would be swell as well to:

[JW's address]

Also this is always kind of embarrassing to ask, would you mind terribly paying the $20 fee via paypal on if you definitely want your piece to be in the exhibition? ...If you just want it to be in the blog, the fee payment isn't necessary, no worries. (you can also wait to pay the fee after you send in the materials and make sure I get it in time... the show doesn't go up until Saturday so hopefully your poster and/or text will make it in time - I can call you as soon as I get it if you want).

MB (Artist:)
I am glad you like it. That's worth 20 byucks right there.
Seriously I need to think about what to do. At work today. Busy. I will
let you know the plan later today.... i'd like to send bioth for the show
but am pretty damn broke right now. Let me think on it. Just rented a new
studio.... a little closer to you!

JW (co-curator):
skip the $20 fee - no worries..
would you rather we just print the image and your text..
James Ellis Coleman is going to print out anything that can actually be printed out from the blog and put all images and text in a binder so he can include your pamphlet no problem and save you postage

[another email]
So do you want James to print your image and pages and put in the magazine?
If so, can you let me know soon so James will know (he has a lot of printing to do)
Just checking in..
also do you want me to post all on the blog?

MB (Artist:)
Let's make a deal----

Please put me in the book AND on the blog and in addition I am going to
send you some stuff by mail anyway plus ten bucks!!!!!!! I have a word
strik poster and I would like you to hang it up so I will mail it today.


Because I want to be in a Jane Wang project and I want to be an art WHORE
and an art john. You should NEVER back down on insisting on cash money but
in my case I will let you make an exception.

JW (co-curator):
As long as you aren't pimpin' on the street bro'

Thanks so much - Looking forward to it!

9/18/2010 - Receive Contraband:

JW (co-curator):
yup got it thanks mark .. still at mobius working.. probably b here til ????
work work work..

MB (co-curator):
good job

we'll do anything for art

don't forget to take care of jane!

9/18/2010 - Picture at an Exhibition:

Mark Bloch sent 2 copies of the Word Strike poster on newsprint-link paper, the entire Art Strike pamphlet with the new introduction printed on 8.5 x 11 inch paper plus one Pan poster and two Pan related pamphlets, a postcard and ten bucks. He left it to the curators' discretion to display whichever pieces would work in the exhibition. We decided to use one of the Word Strike posters and displayed his related pamphlet - in addition, the entire text and copy of the Word Strike image was printed in the magazine James Ellis Coleman printed. We thought the Pan pamphlets might be too confusing and we were out of suitable wall space.

Photo by, you guessed it, William Evertson

9/26/2010 - Epilogue:

JW (co-curator):
I wasn't sure what you'd like me to do with your posters and Pan mag -- here are some options and tell me which you like best:

1. send them all back to you
2. send them all to H
3. send them all to MH
4. make 'em into something else... deconstruct 'em and send them in to the fluxmuseum or other...

divide 'em up and send some to H and some to M?

MB (Artist):
yeah send it to both of them good suggestion

Tell H I said less coffee less booze and tell him i said more coffee more more more

PoArt Exhibit: Updates #16

The featured artist of the day is Fluxus Multi-Media Artist Mark Bloch. Enough said.

Thursday, October 21, 2010

PoArt Performance: Liz Roncka & Philippe Lejeune [46]

Liz Roncka
Cambridge, MA, USA

Philippe Lejeune
France/Brookline, MA, USA

8/5/2010 - Initial Facebook Contact:

LR (Artist):
I am thinking maybe Philippe & I would do a combo installation/performance with a box and a glass front. It may include a live performance of something similar to what i did in my video. When is the POA happening anyway?

JW (co-curator):
James Ellis Coleman is curating the performances with some help from me and i'm curating the exhibition with some help from James
anyway, we both hope you will perform in Sept for the show.
The dates are Sept 18 and Sept 25..
the 18th is already slated to be 8-10pm
the 25th is slated to be 4-6pm but we are already thinking of extending back to 11am on the 25th and potentially we could add evening performances on the 25th (the 25th is one of the Saturdays that is officially part of the SOWA Open Studios so we definitely want Mobius to be open from 11am until 6pm that day.

I put the calls for work up on the blog before I make it completely public -

8/24/2010 - Proposal:

PL (Artist):

Please watch the YouTube video:
When can we meet ?

JC (co-curator):
I feel the piece would really get the viewers engaged, I would love to include you and Liz's work in 'The Prostitution of Art'. I am free Monday the 30, if you like we can meet at MOBIUS

9/5/2010 through 9/10/2010 - Preparing to install and rehearse:

LR (Artist):
Philippe and I were wondering if it is at all possible for us to rehearse in the box sometime near the show at Mobius. I realize there will be other pieces installed and an exhbit going on during the week before. Any windows of time or space when rehearsal might be possible?

JW (co-curator):
no problem re rehearsing in space...
I think people will be coming in Sept 17th mostly to install ..
james and I will be installing whatever we can Sept 16th (video for signs and sent in pieces)and then of course Sept 18th during the day.

LR (Artist):
Would it be possible for us to rehearse either Friday during the day (17th) or Saturday during the day (18th) at Mobius? I know that Philippe would like his cube to stay assembled once he sets it up (although it can easily be shifted around the space). I would prefer Friday over Saturday, but I can do Saturday if that is the only option.

JW (co-curator):
Sure that would be fine -- just let us know approx. what time..
friday is good as long as you don't mind that other people will be in the space installing ... hopefully it won't be dangerous to have the cube out..
there will be some major things coming in (people on tubes, ladders and video installation plus more stuff ) -

could Phillippe install his cube by the windows closest to the street with one side facing the path leading to the patio/garden if that makes sense - that is facing Mobius from the outside looking in the windows, you'd be on the LEFT side) .. actually it might be a good spot to leave the cube even for the performances possibly! the cube can even go closer to the center of the gallery and up away from the street a little bit --
most of the sculptural and equipment heavy installation will be in the other corner (RIGHT side where the ceiling is lower) and in the hallway leading back to the bathrooms...
plus a few hanging pieces center of gallery (kind of where Ellen hung her photographs for 678 exhibition)

PL (Artist):

["Concepta" Group performance art show at Mobius. October 2008. Photo: ©Bob Raymond]

Is this the corner you are talking about?
If it is, it's OK with me... because of the audience it could be position in an angle ... I will have some audio equipment on the side and the light position on the top of the box
Before the performance I can move the cube in the corner and cover it to protect it ... something like that

I could install the cube on Friday ( have our practice with Liz) and hopefully leave it in the corner until Saturday night performance

9/18/2010 - Opening Night Performance:

“Mixed Feelings”
Performance by Liz Roncka
Installation by Philippe Lejeune
Music by Max Lord (Text: Liz Roncka)
The Prostitution of Art @Mobius
September 18, 2010

Set of Videos by Philippe Lejeune of the rehearsal at Mobius and the actual performances on Opening Night:

Artist Statement by Philippe Lejeune:

Note that for the initial part of her performance, Philippe Lejeune asked Liz Roncka to repeat the makeup ritual from the video she originally created for The Prostitution of Art Online Blog - Original post here

Four Video Clips taken by Mobius:

Mixed Feelings: Liz Roncka & Philippe Lejeune @Mobius - Part 1

Mixed Feelings: Liz Roncka & Philippe Lejeune @Mobius - Part 2

Mixed Feelings: Liz Roncka & Philippe Lejeune @Mobius - Part 3

Mixed Feelings: Liz Roncka & Philippe Lejeune @Mobius - Part 4

10/21/2010 - Script/Inspiration:

Further documentation sent via email from Philippe Lejeune including the "script" as it were that he wrote for Liz Roncka (entitled Your Performance) and inspiration/recherche for this collaboration.

Philippe Lejeune's words are shown in italics and for the sake of brevity in this blog post, only text he highlighted from quoted articles is shown below. Please click on the corresponding links if you wish to read the entire articles he has drawn inspiration/material from.

part of a text I exchange with Liz in preparation for the show

I am looking right now at what else I could give you...

Your Performance

It starts when you see the fabric going down... you are already sitted on the little cube.
1- you could start setting your tools on the floor in front of you on some kind of fabric you are rolling to reveal the tools. 1min. or less
2- you start putting your make up 5 min. or less ( it's up to you ) You can decide to ignore the viewer facing you but advancing your face toward the glass --there is no mirror ( the same way you would do it toward the mirror in order to see very well how to put the make up) you will be actually looking at the same time directly in the direction of the viewer sitting down and facing you.
3- when you are finished you can roll back your tools within the fabric, turn around and put everything outside the box ( by simply pushing the door) I think it might be easier to have everything out of the way)
4- suggestion: You start moving ( dancing ) slowly away from your seat ( little cube) looking around, looking at the cube and starting to move it slowly.
5- how it ends????

Music: some music will start playing when you are starting to put your make up. another music will start to play when you are starting to dance
voice: you decide to talk when ever you feel so... during the make up
Light: one light on top ( like you have seen it before) will be lighting all along the viewer sitting down and a bit at the same time you. I still need to experiment but I would like to have another small light ( flash light ) that I could direct at you or not open or close... to change a bit the effects of the reflection.... something like that. It also can be interesting to have a flash light inside the box that you could play with when you are performing... to be decided...
I am going to buy some kind of light dimmer to to be able to control the intensity of the light.
Public: one person from the audience all along is sitting facing you... I will decide how long they can stay, how they are told to move away for a new person to come sit down... I am hoping 5 or 6 or more people can sit + 1 or 2 from the make up time
Time: How long will be your performance? it's up to you... I am guessing for now 15 - 20 min. all together with your make up time 20 - 30 min.

I did some recherche and found this that help me reflect on the subject "prostitution of art"


"Kant's theory of beauty is not identical with his whole philosophy of art. Much of his discussion of beauty focuses on an example of natural beauty ("this rose is beautiful"). The universality and necessity of pure judgments of taste holds for natural beauty as well as art. What is distinctive about art is that purposiveness is accompanied by some specific purpose. With fine art, that purpose is the communication of ideas.

Kant expands on the topic of fine art. When successful, fine art displays genius, animated by spirit. These features distinguish it from the limited diversions of pleasing sensations or merely accessory beauty."

pleasing sensation this expression can be associated as well with prostitution or with art.... interesting!!!!!!

"... aesthetic and moral judgment

moral dimension

... the beautiful and the morally good. Locating beauty in disinterested pleasure does not, in the final analysis, free art from moral judgment."

you might not want to spend the time reading all this but it's very interesting stuff!!!!!
You can see in my recherche and collection of info, I colored the text that I found interesting

2.3.3 The Intentionality of the Pleasure

"Does the feeling of pleasure in a judgment of beauty have intentional content? According to Guyer, the answer is no (see especially 1979, pp. 99-119). Although Kant sometimes describes pleasure as awareness of the free play of the faculties, Guyer takes the relation between the free play and the feeling of pleasure to be merely causal. The pleasure is “opaque”: while one can come to recognize that one's feeling of pleasure is due to the free play, this is not because the pleasure makes one immediately aware of it, but rather because reflection on the causal history of one's pleasure can lead one to conclude that it was not sensory or due to the satisfaction of a desire and hence (by elimination) must have been due to the free play. While many commentors follow Guyer on this point, opposing views have been taken by e.g., Aquila (1982), Ginsborg (1990, ch. 1, and 1991), Allison (2001, in particular pp. 53-54, p. 69 and pp. 122-123) and Zuckert (2002)."

Aesthetics and Morality

"Aesthetic experience serves as a propadeutic for morality, in that “the beautiful prepares us to love something, even nature, without interest; the sublime, to esteem it, even contrary to our (sensible) interest”"

Kant, the Artist, and Artistic Freedom

"The definition of the “artist” in the Eighteenth Century was a trained technician who produced commissioned objects for these powers. The definition of “subject matter” or “content” in a work of art was that which had been approved of by the client or patron...

... concept of the individual as a free and independent human being who is allowed freedom of speech and expression as “natural rights.”

... The artist is now free of any external “commands” from patrons or the audience.

Artistic freedom was not a new idea, for artists had always struggled against the demands of troublesome clients.."

PoArt Exhibit: Updates #15

Today's featured artists will be Liz Roncka (Mobius Artists Group member) and Philippe Lejeune.

Liz Roncka performed in a box constructed by Philippe Lejeune with music by Max Lord (also of the Mobius Artists Group) and a video created by Philippe Lejeune for Opening Night of The Prostitution of Art exhibit at Mobius on Saturday September 18th, 2010. Philippe Lejeune in a sense was also performing during this particular piece.

Two possibly diverting video related notes regarding this piece:

1. Philippe Lejeune submitted a video for his proposal (please view the post to watch the video)

2. Philippe Lejeune specifically requested that Liz Roncka draw from her putting on makeup performance which she initially created for her own video submitted to this blog - which may be seen here and was actually entry number 1 in this online blog.

Tuesday, October 19, 2010

PoArt Exhibit: Terra Friedrichs [45]

Terra Friedrichs
Acton, Massachusetts, USA

8/18/2010 - Original Proposal:

i propose that i take video stills or clips of painted or printed art and project it along walls or other surfaces that are not flat...thus prostituting someone else's art. i'll either use my own art, or someone who gives me permission to do this with their art.

title: "belaid"

no actions required by anyone except that it's nice when people walk through the projection beams and the video is projected on top of moving bodies. it's adds to the mystery...

dimensions of your entry (or a good guess)

i'd like a hallway or staircase to work with... am flexible... prefer odd shapes

weather resistant (suitable for display outside)? Yes or No

no, unless i can keep the projector inside and project onto the street, or outside somehow through the glass...

i can create a page just for the show, if i have time.

it will be similar to this:
i create "moods" for spaces... dreamy haunting...

8/19/2010 - Initial acceptance/response:

JW (co-curator):
Your proposal has been accepted!

We do have one hallway that might work well - it would be the pathway that leads down from the main gallery to the kitchen area.. and can be kept somewhat dark which I think at least from my understanding of your proposal would work better than having your video projection out in the gallery (where during the day there would be a problem of too much sunlight and at night, too much bleed through from street lamps.

We do have a staircase but it's only 2 or 3 steps and might not have as many possibilities as the hallway (it also probably gets too much light bleed through from the windows).

8/25/2010 - Further Dialogue I:

TF (Artist):
A couple of questions:

1. How big is the hallway? rough dimensions are fine... like is it 10 feet long? or 100 feet?

2. Will people be walking through the images for work or just to wander about? I hope so, but if not, that's fine.

3. I'll be projecting images from other people's art. I have their permission. But only via email. Do you need a formal signature from them? Or is my word/their email good enough? One is a friend of 10 years and the other is my step-sister... They just want to be credited... which of course, is my honor. I'm hunting up a couple others, but one is 80 years old in France, and no one knows where he is anymore. But his niece is my old, dear friend of 20 years, who has also disappeared. But I'll find her before I use his work.

4. Will there be someone there to start the video again? I want to send up three projectors (don't worry...they are small) at different angles, and one of my DVD players doesn't seem to want to repeat. I may just put a long cord on the other one and have it feed the other projector. I like a delay when using multiple projects to get the effect...

JW (co-curator):
1. The hallway is about 15 feet long (unless you include the section which is open
I am attaching the blueprint of the space..(gallery.pdf). the hallway is by the Office.
I also took a photo but i have to upload it - i'll send it to you soon!

2. The hallway is the way to get to the kitchen and bathroom so yes visitors wi'll be walking through the images.

3. I think this should be fine re: permission - no worries...

4. Yes James and/or I will start up the videos ...

A few other things that you might want to know ahead of time just in case:
- we just have to make sure it isn't so dark in the hallway that someone could fall .. probably this won't be a problem but just wanted to let you know in advance - worst case i can put in some little safety lights if your video ever gets completely dark...
- The Office door will be closed and most likely locked when visitors are in the space..
- The door at the end of the hallway is an emergency exit and it will be closed the entire time (audience doesn't enter the space through that door - it leads to the rest of the building which we don't rent) - it can't be blocked just so you know ahead of time

TF (Artist):
Looks great. What about that long corridor in the back that's shaded out? I suppose that's not accessible. I do like long corridors. But 15 feet is fine, I'm sure.

Oh, images usually look great when people are walking through them and the shadows are all over the place.

It won't be that dark. Not at all. There will be plenty of light from the images. Even when the video ends, there's a blue screen...

Office door locked? hmm...sounds like an opportunity to me. I may project something on the door itself, so the door looks like another hallway... or maybe the door at the end. I'll have to see when I get there. I LOVE the idea of the door at the a little tunnel to the rest of the world. I may just work with that. I have some door ideas I've been wanting to work on. I might have time for that...

no problem. no matter about the picture, by the way. that drawing pretty much showed everything...maybe if you can just tell me how tall it is. but i don't really even need that. see you soon!that drawing pretty much showed everything...maybe if you can just tell me how tall it is. but i don't really even need that. see you soon!

JW (co-curator):
Ya the shaded out corridor is part of the building (we don't rent that - it's where the other residents are)..
I love the idea of the door at the end --- ...
Ceiling height - my impression is that it's standard - not particularly high but truthfully i forget!
I will be at Mobius on friday and can check again..
maybe i can tell from the photo i took (it shows the door and ceiling - the door is your basic standard door which is - whatever a standard indoor door height is..

TF (Artist):
no problem on the ceiling height. or door width, I'm all set on that.

I may have to come look and see how I can hang is there a pipe, or something at the entrance, preferably out "before" the entrance, so I can get the max projection width (it gets bigger, the farther away the projector is from the wall).

JW (co-curator):
Hanging the projectors might be a problem - I'm not sure -- there isn't a pipe or ledge above that will work - unless you can rigg something not in the hallway (maybe we can put something high enough there for you to use - stacked speaker cabinets or ... tbd),,
were you going to project all from one direction or ?? normally there are small shelves and miscellaneous ladders on their sides leaning against the longer wall (20 foot span) - we could clean up that space a bit (less junk more actual furniture you can use to mount projectors) and you could potentially put one or more projectors on that side... if that makes sense.
kind of hard to explain without your seeing the space.
Basically we have a lot of stuff but not much storage space so there's often things stacked (including many chairs) in various places. James and I can fiddle with moving things around no problem to accommodate your video installation..
I think it would be tough if not impossible to try to build a platform into the wall altho people have hung projectors from the ceiling in the main space (using hooks, chains/ropes and wood) so I'm assuming that might work in the hallway (altho there would be less ceiling clearance to work with..

TF (Artist):I wouldn't worry about cleaning stuff up. Stuff is fun to project against.

I do need a place to put projectors. Maybe I should check out the place, and see what we're willing to deal with. I'm pretty flexible, but don't want to go down a road that you don't like, and then find out you don't like it on the day of.

8/31/2010 - Further Dialogue II:

Note: Terra Friedrichs visited Mobius on Saturday, August 28th.

TF (Artist):
Couple of questions:

1. Can I put "black tape" on the walls leading down the hallway? Like stripes, to make it look like you're going down a shaft?

2. Is anyone else doing any "sound"? I'm wondering if music/soundscapes would be OK, or whether it would conflict with others. I'm thinking quite stuff, more like noisescapes like wind or whatever...

JW (co-curator):
1. you can put black tape on the walls only if it will not pull off the paint - we can't really afford to repaint the walls this time sorry about that. we could test a corner to check if you find something that might work. You could put some kind of tape on the cement floor no sweat!

2. You can't use sound unless it can be listened to via headphones - the Signs of the Times video will most likely be running with amplified sound during the exhibition - at least when there aren't any performances happening.

9/12/2010 - Shelving

TF (Artist):
is it OK if I use a shelving unit, instead of hanging from the ceiling? After a little test run here, I'm realizing that so many projectors on one hook is quite heavy. And I won't have time to install a heavy duty bracket on the same night. The shelving unit is pretty compact and should fit nicely in that little corner by the post along the rail. I can tie it to the rail so that it won't fall over if someone bumps it. It shouldn't stick out too much, but I figure if the public is there, that people tend to bump into things, and it's better safe than sorry. Also, I can wire the projectors to it so that they are nice and stable, instead of hanging, and potentially swinging.

JW (co-curator):
YES in fact that's a better/safe solution I think - great idea!

9/16/2010 - Final Notes from Terra:
Just finishing my final edit. It seems to actually look pretty good! Assuming there's some darkness, of course...

Not sure if you want the attached artist statement or not. I'll be bringing a print out of it to tape to the wall. And some flyers for people to take, so they can look up the artists that I'm "prostituting".

I'll try and get a photo of the installation Thursday and post that in time for people to see it on Friday. Did you want a link to my page to post on the Mobius site? Maybe linking my name on the list of artists to my page?

Either way, til then all I have is the photo from my last piece (below). And the attached.

video projection and masking tape

A video exploration of other people’s art, distorted along the walls much like a prostitute’s precious parts may be distorted in the using of them. Only “parts” of the art are being used, because in prostitution, one’s parts are often focused upon, with a distinct disregard for the whole.

Hallways are favorite places for my projection art, because I love places of transition. And I love illusion and the distortion of perspective, hence the stretching of the images, and the masking tape, which helps make the hallway seem longer… so as to suggest how time seems to go on forever for the one being prostituted. The distortion is especially meaningful to me because the need to disassociate by imagining another place/time/space/dimention… to be at peace…

These artists were kind enough to let me prostitute their work:
(listed alpha by first name…please check out the whole of their work)


Cynthia Von Buhler -
Jeannette Staley -
Juliet Schneider -
Marc Rosenthal

Nick Vargelis -

Larry Lee Oppel -
Gene Beresin
Scott Billington
Gene’s Friends

Places: South Village Arc de’Triomphe & The Museum of Fine Spaces

Thanks to Mobius
for making it possible for artists to be…

9/18/2010 - Opening:

Photos: Terra Friedrichs and friends

PoArt Exhibit: Updates #14

The featured artist of the day is Terra Friedrichs. She presented a beautiful video installation in the back hallway behind the main gallery of Mobius. Although difficult to document the experience, she kindly sent a series of images taken while the installation was up to give one a sense of one brief fleeting moment in the multi-video visual kaleidoscope.

Some bizarre statistics on one of the vimeo videos that was uploaded. On October 18th, 2010 for some obscure reason, Jessica Borusky's “Seeking Arrangement” video garnered 300 plays! Her artist profile on this blog may be found here.

Monday, October 18, 2010

PoArt Exhibit: Nathan Nadeau [44]

Nathan Nadeau
Providence, RI, USA

9/1/2010 through 9/3/2010 - Signs of Our Times submission

Nathan Nadeau had submitted his signs to the Signs of Our Times exhibition.

JW (co-curator):
I don't suppose you have a piece that would be suitable for the Mobius exhibition "The Prostitution of Art" that you'd be willing to install at the show?

NN (Artist):
Yeah I'd be totally into the exhibition. I glimpsed over but I think I have a sign that could work. This is Jesus christs pawn shop. There's a bit more to it but I'm outta town so I'll send better pics with the application. Thanks for the shout out. I'm looking forward to getting involved with you guys!

9/6/2010 - Original Proposal

JC's Pawn Shop
This sign is a layered response the corruption and sexual exploits in the catholic church that is supposed to be a saving grace for people who rely on faith to survive day to day life. It touches on homosexual persecution conveyed through Irish Catholic 10 bead rosery's used during Protestant persecution, the churches uncanny ability to nearly swindle honest folks out of money on the belief that it will help insure a spot in heaven and an inevitable crossroad on up or down (heaven or hell) and if our choices in life do impact where we land in the after life regardless of individual religion.

3'x5' Mild Steel

9/18/2010 - Illness:

Due to a bout of strep throat, Nathan Nadeau was unable to bring his installation to the Prostitution of Art exhibition.

Here is a link to an article about his “Time of the Signs” show at the Wolcott Eco Office building in Providence:

"Art Scene" by Bill Van Siclen - The Providence Journal, May 28, 2009

PoArt Exhibit: Updates #13

The featured artist of the day is Nathan Nadeau of Rhode Island. He was not able to bring his installation to Mobius due to illness.

Note that on July 26, 2011, PoArt Exhibit: Updates #12 and PoArt Performance: [43] were deleted by special request of the contributing artist.

Thursday, October 14, 2010

PoArt Exhibit: Shawn Gilheeney / Greg Penniston [42]

Shawn Gilheeney / Greg Penniston
Providence, R.I. USA

9/9/2010 - Original Proposal:

Plastic House

“excessive growth”
enamel on wood

”wants needed”
enamel on wood

“ten percent”
enamel on wood

"own zero"
enamel on wood

not weather resistant

or you could hang the big one in the last picture outside..
that one is

“own your excess”
enamel on masonite

9/9/2010 through 9/14/2010 - How to install:

JW (co-curator):
Your proposal has been accepted!

I don't think we'll be able to handle the largest sign unfortunately - it's pretty spectacular!
But I'm going to forward your proposal to James Ellis Coleman who is co-curating the show.
Maybe he will have some ideas.

Were you thinking of bringing all of the signs or just one or two of them? I wasn't sure.

Would there be any way to make these signs freestanding? (instead of mounted on the wall)?
Given that we don't have a lot of wall space... and what we have isn't the greatest for hanging anything heavy. It might be better to hang the works somehow from the ceiling. or can they be leaned up against a window?

If you have any ideas about how to install the signs (and how many you'd like to bring), please let me know.

JW (co-curator):
we checked the space and there is room for your 17 foot sign if you'd like -
but i think it will have to stand on the floor leaning against the windows facing the street if you decide to bring it...
we might suspend your other signs from the ceiling or figure out some other way to install them...

SG (Artist):
please don't be offended
thanks for the opportunity...but it sounds like you guys have enough art
and are a little short on wall space.
. all ourwork is designed and made for hanging on walls....
I hope we can work together on another project some other time....????.

..also check out my non text based paintings and installations here

I hope your show goes off great!!!!!1

take care

PoArt Exhibit: Updates #11

The featured artists of the day, Shawn Gilheeney and Greg Penniston, were not part of the final exhibition because we were unable to accommodate their spectacular and large pieces.

Wednesday, October 13, 2010

PoArt Performance: Adriana Disman [41]

Adriana Disman
Toronto, Canada

8/31/2010 - Original Proposal and Correspondence:

I'm a Toronto-based performance artist. I saw your Call for Performers: The Prostitution of Art, and would love to be considered for a durational performance slot.

According to Merriam Webster, a definition of 'Prostituted' is; 'to devote to corrupt or unworthy purposes: debase.'
I feel that my work as a performance artist is inherently related to this definition.

My proposed performance is partially born of Shakespeare's Macbeth. The above definition is a clear theme in Macbeth and has always been of deep interest to me, particularly in the character of Lady Macbeth. The extremity with which her guilt manifests itself is at odds with the extreme devotion to her purpose, leading me to the conclusion that she believes her own pursuit to be corrupt BUT worthy. This juxtaposition is something I find extremely compelling on a personal level because, in everything I create, I feel this same pull. This tug between the narcissistic and self-serving reasons for creating my performances vs. the deep belief that they truly can and do touch others and serve a greater purpose.

I don't mean to sound like someone's pretentious thesis rotting away in a cupboard but I want to communicate that I find the concept of prostitution is intrinsically tied with my self-identification of 'artist'. The 'devotion' is a necessity but, honestly, I am unable to tell whether I am prostituting myself for art or art for myself. My pieces are an exploration of that.

So, for the sake of stopping this before you gouge your eyes out, I feel that my attached proposal would support your curatorial vision and I would love to be a part of this show.


Performance Description

Title: Cleaning The Hands

Performance: I stand in the middle of the dim space. There is light on me. I wear no clothing or makeup. I will wash my hands. The audience is invited to create a silent dialogue with me by maintaing eye contact. Different types of brushes may be used to aid in this cleansing (made of hair, metal, etc.)

Duration: 6 hours

This piece deals with the eternal question of Guilt.

Artist's Biography

Adriana Disman recently returned to Toronto after performing and living in New York City for three years. As a performance artist, her interests veer towards testing physical and mental limits through durational extremes. Her pieces are often ascetic, and focus on energy exchange as a catalyst for change. Adriana uses her background in stage to deconstruct the given theatrical framework, with particular focus on questions of predetermined control and expectation between audience/performer. She holds a NAST certification from the venerable Neighborhood Playhouse School of the Theatre (NYC.)

Recent works: In June '10, Adriana performed in Josephine Decker's SpilLover. A response to the BP Oil Spill, the piece was executed in the heart of Times Square and covered by the NY Times, Wall Street Journal, and WNYC amongst many. In August '10, Adriana was in invited to perform her solo piece 'ADRI IN FLUX(us)' in Toronto's Feed The Birds.

9/11/2010 through 9/13/2010 - Preparations for performance (excerpts):

AD (Artist):
Regarding the performance itself; I wanted to get a bit of a sense of how you're physically planning on setting up the exhibition. Perhaps you're not sure yet, which is completely understandable, but when you have an idea of where I'll be performing in the space, please let me know.

As well, I'm thinking of a small adjustment to the piece. I've been contemplating what is of more import: completing the performance for the duration or attempting the original idea of standing for the full period of time. The more I think about it, the more I'm leaning to switching between sitting and standing every hour on the hour (i.e. First hour standing, on the hour when water is changed, switch to sitting, etc.) I wanted to let you know and if either of you have any thoughts on that please feel free to share them!

I'm also wondering if Mobius has:
- a small space heater
- a plain wooden chair (I've attached an image just for clarity)
- a plain, very small wooden table, perhaps more of a tall night stand, to place a water basin on
- a large glass bowl/water basin (idea photo attached but I realize this will be difficult to find.)

As well, is there a particular type of signage you normally use or is it up to me to figure out how to display the instructions to the audience? If so, is it alright to stick vinyl lettering to your space's walls?

JW (co-curator):
Mobius has one chair that is wooden but it has a kind of blu-ish green vinyl seat (it's actually a nice looking chair - looks kind of old school).
If you are attached of chair, James and I can ask the group if anyone has a chair like that which we could borrow for the day.

Mobius does not have a small space heater. I have one at home which I could bring if you want - it looks like a little white radiator (runs on oil and electricity) and needs just to be plugged into a wall.

Small tall wooden table for the glass bowl - we'll have to ask around... how high do you need it to be?

Mobius does not have a wash basin in the gallery area .... could you use a glass bowl which you empty and refill from two bucket (one with clean water, one with the dirty water)?
I don't think we have anything like what you have in your photo. I might have a pyrex bowl which is clear and large enough for you to use.

Also I forgot to ask you, there will be a video/slideshow with sound running during your performance - we could lower the sound but it is kind of a major part of the exhibition (Signs of Our Times with images by 99 artists from around the word running with several one minute sound compositions by five different composers. Just want to make sure this is not going to be a problem for you - we could resort to headphones if so.

AD (Artist):
Thank you so much for such a thorough and quick response. I really appreciate it. I apologize if my email seems overly thorough- it's because, not having been to Boston or Mobius before, I feel especially like I must nail everything down before I arrive.

Re: Sound running- of course! It's part of the exhibit and I wouldn't want to alter anyone else's work in anyway!

Re: signage/placement in the room. The middle of the room sounds excellent- I agree that we should perhaps take a look at the space when I arrive and we can figure out the details of placement then. I'll create some kind of cardboard sign so that wall space needn't be used.

Re: Chair. Hm. I'm not sure. The only thing I need from the chair is that it be very solid and not extremely reminiscent of any time/place that's too specific. Perhaps it would be good if you could ask the other Mobius artists as you suggested. Maybe a kitchen chair? As close to the concept in the picture as possible would be wonderful (wooden, some kind of back support, plain) but in the end it's just a chair. Babies aren't being killed over it so I'm not worried.

Re: space heater- that's perfect! As long as you don't mind my borrowing yours, I'll just bring it along with me on Saturday to the space. (Just in case it's cold out/ I'm near the door)

Re: wash basin. Yes, I was thinking I might have to resort to a pyrex bowl. I'm going to look around Toronto and see what I can find first. Or maybe I'll bring a glass casserole baking dish.

Re: documentation. My dear friend/photographer (Sophie) is going to shoot footage as well. Just a still single shot- I wanted to get full length docum. because I feel the length itself is of huge import in this piece.

Re: table. Truly, I'm not totally certain. The concepts that I'm hoping for in a table are the same as the chair (plain, solid) and that
1) I don't have to bend down when standing in order to put my hands in the water- I'm 5"10 so this may be tricky- and
2) that it doesn't become a barrier or way of 'hiding' my body. Again- no one's dying over it and I think the height is the only thing that's really important so I don't hurt my back. It's too late for me to grab the measuring tape without waking anyone but I'll send you some table-height ideas asap.

Re: meeting me at the bus that's so nice of you! I'll send you the exact details asap, as well.

Dear god- it's such a bother that I can't simply come talk to you in person but there you have it. I hope you don't mind long emails since these ones have been epic.

The last thing is that I had a water-changing idea but am not sure if it's feasible as it means someone would have to be around for the entire duration. I thought I'd ask someone to change the water every hour on the hour. This would also be my signal to switch from sitting to standing as well as a mental marker. Less of a necessity then a movement, a moment. Like a scene change or refresh button. Do you think it's possible that there's an artist that would be willing to hang around to do that?

JW (co-curator):
I was wondering if a wooden stool might serve you better - we have two stools - they are both solid - for sitting or putting something on. then you could set the height that will work for both sitting and standing... and not hurt your back.

One of the mobius artists said she has several wooden tables so maybe send ideal dimensions and we can try to find one that will work.

re waterchanging - we might be able to work in shifts --
do you want someone to actually take the bowl away and bring it back or dump out the water immediately and refill with clean water?

What if you had a timer or clock by the table or even on the table?

JW (co-curator):
I think we have the type of wooden chair you requested covered as well as several possible options for tables, and space heaters...

if you have some idea for the dimensions of the table that would be ideal - let me know and i'll pass that info along to the artists who are offering their tables.

all that remains is the pyrex or glass bowl.

i have a large pyrex one (basically from a set of pyrex bowls)
mine says it hold 4.0 liters. (see photo below- kind of looks like that)
you can definitely wash your hands in it.

I also have a large square glass bowl (which i stuck my head in and sang underwater with a mic underneath) so it's large enough for handwashing as well...

AD (Artist):
Re table and bowl: I think as close to 30 inches from the ground would be ideal. With the bowl on top, I think this will be perfect. In terms of the table top size, it is only needed in order to hold the bowl and should be as small as possible- ideally it would be the same width as the diameter of the bowl. Does that make sense? So that if you looked at it from above it would look like a CD in a CD case. Oh god, if only I had any real-life skills and could communicate physical things instead of just ideas this would be so much easier! Well- let me know if that doesn't make sense and I'll figure out a better way to write it. I've attached some table images- square topped is best but circle is fine.

The pyrex you mentioned should serve just fine. I'm going to go to a store and pretend to wash in that size bowl just to see what it's like and I'll report back confirming bowl-washing-usage and whether or not I got kicked out of a kitchenware store. I am interested in the square glass bowl as well, though- do you have a photo?

Re: clock that you mentioned and water-changing. I thought long and hard about that idea when writing my proposal but I feel that watching minutes tick by may cause immediate suicide. I think the time marker is important but has to come unexpectedly for me- I don't want to be able to count down the minutes till the hour mark. Is there a sink in the space? Perhaps in the washroom? I was thinking that it would be removed, dumped, refilled and replaced but you know, I am thinking about your two-bucket idea more and more. It's a good idea. My thought would be that I could bring a small medicine bowl with me and on the hour mark have someone sound it so I would know to change the water.

Well, I suppose either way I just need someone there as a time-notifier whether it be water-switch or bowl. If that isn't possible I may be able to come up with something so let me know.

Wonderful about the chair- thank you!

JW (co-curator):
i think we might be able to work with your bell ringing ... no worries
you don't even have to bring a bell - my partner and i have plenty..

worst case we could rig something that rings on the hour perhaps...
a constant alarm - since your friend will be documenting, perhaps she can periodically check if no one else in momentarily around whether whatever we use is still going ...

or a kitchen timer which gets reset every hour facing away from you so you won't know when your hour is up.

James and I are working on getting some students from Mass college of Art to do guerrilla performances with me (prostituting themselves) and perhaps we can get them to come in on the hour to ring the bell...

we can several options so perhaps we can figure this all out i think when you get here...
(for example, we won't know about the students most likely until next week- how many and who and when they can perform/ring the bell etc).

I'm forwarding the photos and measurements you sent to the two artists who offered a possible table for you to use.

AD (Artist):
Mmm- I love the guerrilla piece concept.

Yes, we can certainly figure out water-change stuff once I'm there- since we've got some sort of bell if we need and it should be easy enough to find two jugs/buckets if that's the route chosen.

THANK YOU for forwarding that table use. It's a bit finicky but I figure better to be specific and then work with whatever we can find.

I feel confident that we've established some clarity of the piece now and have most elements in place.

P.S. Soap Works just accepted my request for a soap donation! WOOHOO! And they're giving me double the amount I asked for so I'll be arriving in Boston with a dozen bars of soap...

That'll be weird at the border.

9/25/2010 - Performance at Mobius:

Wooden chair courtesy of Joanne Rice (Mobius Artist Group)
Prayer bowl courtesy of Grant Smith (Mobius Artist Group)
Hour noted / water changing by: Quinn Morris (Toronto)
Could not find table of specified height/dimensions, Adriana Disman modified her original concept accordingly.

Text in italics and photographs by Sophie Traub excerpted from Adriana Disman's website page: "Cleaning the Hands" Full Documentation - with the artist's permission.

Please visit to view more photographs (including beautiful extensive close ups of Adriana Disman's hands) by Sophie Traub and full documentation of her performance.

Performed at Mobius, Inc. in Boston on September 25, 2010 from 11:20am- 4:20pm. The piece ran concurrently with The Prostitution of Art and Signs of Our Times exhibition.

Title: Cleaning The Hands

Performance: I stand in the middle of the space. There is light on me. I wear no clothing or makeup. I wash my hands. The audience is invited to create a silent dialogue with me by maintaing eye contact. A brush may be used to aid in cleansing.

Duration: 5 hours

This piece deals with Shakespeare's Macbeth, ritualized cleansing without the frame work of organized religion, and the eternal question of Guilt.

Four Photos: Mobius

All Subsequent Photos: Sophie Traub

Within the first hour, the police were called for ‘indecent exposure’.

The first black cloth went up

Concern that the sun was burning me brought up the second black cloth. I did not find this out till after the performance was complete. At the time, I assumed there had been another visit from the police.

(Above: Marilyn Arsem attaches the second black cloth)

Performance artist Milan Kohout (performing above and below.)