Three exhibitions as part of Fort Point Open Studios•Where: 35 Channel Center St, (corner; Thompson Design Group) •When: Friday October 17 - Sunday Oct. 19; hours Fri - 4-7pm;
Sat, and Sun: 11am-6pm.
Reception: Sunday October 19, 6-8pm   Transposing Bumpkin Island's Art Encampment and CommunityArtists, curators and respondents from the Bumpkin Island Art Encampment exhibit their findings through recreated installations, photographic images, slides, video, discussion, and artwork created during and in response to the encampment. The artists and groups will also investigate the significance of being part of a temporary community, and explore the adaptation and evolution of their artistic experience from initial vision to completed form. The Bumpkin Island Art Encampment has taken place over the past two years during a five-day period around Labor Day, and has involved over 18 projects and 40 artists. The project is curated and produced by Carolyn Lewenberg, Megan Dickerson of Berwick Institute, Jed Speare of Studio Soto, and Island Alliance. works by Astrodime Transit Authority Laurinda Bedingfield, Barbara Cone Jane Van Cleef, Jack McGrath Erik Conrad Tiffany Dumont, Else Eaton, Raymond Garrett, and Rory Jackson Sharon Dunn Madhu Kaza Wenxiong Lin Gabe Moylan, Rachel Roberts Joshua Rosenstock Kristjan Varnik Jason Sanford Hanna Shell, Dan Hisel, Etienne Benson Jane Van Cleef, Jack McGrath Dedalus Wainwright, Bryan Long, Micheal D. Andelman Alison Wood   The Economy of SeedsGina BadgerGina Badger will present one of her current research projects, The Economy of Seeds. Her installation will consist of a large two- and three-dimensional process diagram that will invite viewers to consider the relationship between the simple practice of seed saving and utopian political visions. Gina Badger is a public amateur who alternately poses as visual artist, curator, gardener, and writer. Recent products of her research include radioactively-colored seed bombs, pedagogical experiments in collaborative practice, a garden of weeds, and a series of workshops on herbal gynecology.    Compulsive NotationLewis GesnerThe graphic notations I present here represent a large part of five years work. I composed from then to the present nearly daily. I conservatively estimate about 100,000 notations are represented. There are more in various places, in different people's possession and simply lost. The compulsive aspect is one not easily explained, but I will attempt to. It involves the nature of composition as performance. As an overriding state, such composition necessarily is about invention, and the formation of the most direct compositional response possible. As each moment changes in a series of moments, and as our memory becomes increasingly less important, a mechanism is set in place, a reflex that is a compositional form, established through repetition based on the compulsion of the moment, and the continuity of feeling/expression, and becomes fixed as a muscular conditioning, from eye to inward perception to hand, and not necessarily in that order. (and, all considered as muscular) Compositions then vary within that establish reflex, and the basic compulsion to DO continues to produce compositions in long or endless series from a single established reflex.    
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2008 |
