Rob Crowley finished Maria Jose Arjona’s chair for our benefit, where Arjona will be performing a new work. Arjona is a performance artist who focuses on affirming the body through long durational exercises and actions that unite individuals around a common experience of an event or events in a specific time. To see Arjona’s new piece, purchase a dinner ($1000) or after-party ($150) ticket by emailing [email protected] or calling MF Productions at 212-243-7300. (Note that dinner tickets are limited.) Many thanks to Rob Crowley and Maria Jose Arjona for their inspired dedication to this project. Looking forward to seeing the live performance!

Here’s the latest in our Capri sign series, this one celebrating The World According to New Orleans (design courtesy of Sally Coleman, with an image from Noel Rockmore’s painting, The Magician’s Silhouette). This is a new tradition for us: painting a sign to replace the old Holiday Inn sign at the Capri — you can see the version we made for Immaterial in 2010, plus the first one we ever did in 2005 for Yo La Tengo. Rob Crowley and Susannah Lipsey did all the heavy lifting on this one, and it turned out amazing (we made it the day of the opening).

The World According to New Orleans sign at the Capri. Photo by Rob Crowley.

Gina Phillips, Adam and Eve (detail), fabric, thread, acrylic paint, glitter

If you haven’t had a chance, stop by Jonathan Ferrara in New Orleans to see Gina Phillips’ new show, Heroes and Villains, which closes on March 3. Phillips, one of the artists in our upcoming exhibition, The World According to New Orleans, is showcasing new work — a series of tapestries, focusing on magically realistic, narrative imagery. For more information, you can see a video of Phillips discussing her work here.

Directed panspermia, where an alien race intentionally sent an asteroid or spacecraft loaded with living organisms to Earth, is another slightly more exotic theory

Courtesy of Jeff Skrenes

Jeff Skrenes removing a sign from a pole in North Minneapolis using a 10′ ice scraper.

Whatever the reason, it seems perhaps Alison pelt has at times had to become as effective a bad weather shield as that of her lanolin rich beasts.
Riverton High teacher arrested

Jarell’s attorney said she resigned in order to focus on her defense, and that she intends to enter a not guilty plea.
Other features include over sized double garage, dual street frontage, air conditioning plus much more.
Carroll also had 10 rebounds in that game, one off his season high and two off his career high.

Some of the dozens of dispensaries in the city skirt the law by teaming up with health professionals other than doctors and nurse practitioners, like naturopaths and in one case a psychologist, who issue certificates that dispensaries then rely on to let patients become members.

DEBORAH LUSTER
Tooth for an Eye, Ledger 01-05 and 01-06, 2008
Silver gelatin print on ink press film with acrylic on Dibond
Courtesy of the artist and Jonathan Shainman gallery.

We’re very excited to feature the work of Deborah Luster in our next show, The World According to New Orleans, which opens 18 March 2011. Luster’s current show at the Jack Shainman Gallery in New York, Tooth for an Eye, was recently featured in The New Yorker. As Vince Aletti describes:

If Deborah Luster’s photographs of New Orleans at the Jack Shainman gallery look like they came from police-evidence files, that’s probably because her subject is crime scenes. Someone was killed at each of these sites; the photographs’ captions note the names of the victims and the method of their death (almost always by gunshot). Although the crimes include several of the notorious police shootings after Hurricane Katrina, most were far less sensational, and the intersections, sidewalks, and alleys where they occurred have sunk bank into anonymity. But Luster turns the locations into memorials, and the subjects of her carefully focused attention are impossible to ignore. Her format emphasizes that focus by framing each site in a circle not unlike the lens of the view camera she uses. The device is old-fashioned, recalling the circular vignettes of early Kodak prints; for modern-day viewers the effect is both seductive and unsettling, like looking through a peephole or the sight of a gun. Suddenly, we are there, and desolation, desperation, and death are very real.

The show closes on 5 February 2011, so be sure to stop by if you have a chance. And if you’re in Marfa after 18 March, you’ll have a chance to see Luster’s work.

We recently discovered that Laleh Khorramian, one of the artists featured in our Immaterial exhibition, has a boisterous punk-art-performance-band, BAucH BeiN Po. In their words: “Punk rock band formed in Vienna. Three ladies of loud bring punk rock, humor, raw voices, raw obliviousness, and dirty lyrics to a new level.” You can watch their amazing music videos here (don’t miss the trailer to their musical thriller, “HOspITAL daYS”).

Can’t get enough? Check out the BAuchH BeiN Po calendar, spanning March 2011-March 2012 (lunar style). All calendars are spiral-bound and include all Austrian, French, Mexican, and American holidays (excellent); over 45 color photos of the BBP girls all around the world (double excellent); memorable quotes from songs (triple excellent); and a hole punch for easy hanging (quadruple excellent). Perfect for those upcoming January and February birthdays.

For more information, visit their Facebook page.

Matthew Day Jackson, The Tomb, 2010. Detail.
Found wood, plastic resin, stainless steel, glass, sycamore, scythe blade, neon tubes, Charles and Ray Eames leg brace, yarn, silver, tool dip, tiger eye, 126 ½ x 94 x 124 in. / 321,3 x 238,8 x 315 cm – 2500 kg. Ca.
The Flowering Trees Collection
Photo by Adam Reich / Courtesy of the Artist and Peter Blum Gallery, New York.

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We’re excited to announce that Ballroom Marfa alum Matthew Day Jackson’s exhibition In search of… will be featured at MAMbo, the Museo d’Arte Moderna di Bologna, from 27 January – 1 May 2011.

Read more about Day Jackson’s history at Ballroom here, here, and here.

And from MAMbo’s press release about the show:

MAMbo – Museo d’Arte Moderna di Bologna opens its 2011 programme with In search of…, the first solo show hosted by a European museum of the work of leading American emerging artist Matthew Day Jackson.

Taking his cue from our fundamental questions concerning human existence—who we are, where we come from, what lies ahead—the artist enacts an exploration of personal and collective myths through a selection of works spanning from 2007 to 2010.

The exhibition’s rich display wholly transforms MAMbo’s venue, making it vibrate with colors by applying a layer of special film on the lighting fixtures, which then reverberate with the whole chromatic spectrum; questioning it with the ambiguous presence of a special Foucault pendulum, hanging from 16 meters of height; animating it with machine-driven works powered by solar panels mounted on the museum’s terrace.

The red thread running through In search of… is Jackson’s video with the same title (2010), based on the format of a popular American TV show aired between 1976 and 1982 and hosted by Leonard Nimoy (Star Trek‘s famous Dr. Spock), investigating paranormal phenomena and mysteries. The film, divided into three parts by the interpolation of faux Audi commercials, includes footage from stock archives and from the Getty archives, staged interviews with intellectuals such as David Mindell (historian and engineer at MIT) or Alexander Dumbadze (writer and art historian), with a half-solemn, half-ironic background storytelling by David Tompkins [ed’s note: Tompkins works at the Chinati Foundation here in Marfa]. In the first part, anthropomorphic forms found in clouds moving around the Earth as seen from the moon raise questions on the myths traced in terrestrial landscapes. In the second part, the mysterious disappearance of Matthew Day Jackson is an opportunity to underline the complex nature of the objects we leave behind as witnesses to our existence. In the last part, some artifacts found in archaeological excavations reveal the existence of Eidolon, an ancient, now extinct civilization.

The situations narrated by the video reference the ways in which humans participate to contemporary culture and define themselves through the objects around them: both themes can be found in all the other works displayed at MAMbo. This is true, for instance, of Study Collection VI (2010), a monumental steel shelf teeming with artifacts which collectively generate a sort of figurative sculpture. The same holds of The Tomb (2010), a large work inspired by the Tomb of Philippe Pot (15th century), attributed to Antoine Le Moiturier and exhibited by the Paris Louvre. The hooded monks carrying Pot’s effigy in the original version are replaced by Jackson with astronauts, carved into wood and plastic scraps compressed in a single block and later cut with a CNC process. The astronauts carry on their shoulders a steel and glass casket protecting a sort of skeleton based on the artist’s body measurements. Seen through a one-way mirror that allows the viewer to simultaneously see his own image and the effigy’s content, Matthew Day Jackson’s skeleton offers an autobiographical anchor while linking together disparate forms and narratives. The Way We Were (2010), a work composed of seven skull-shaped sculptures (made of titanium, lead, bronze, copper, aluminum, iron and steel) once again researches the origins of mankind, while Me Dead at 35 (2009) and Me Dead at 36 (2010)—two large format photographic prints—are variations, as in every exhibition, on the simulation of the artist’s death, his absence, his existence only through his work’s substance. The exhibition in Bologna includes another series of important works, with a display specifically conceived for the museum’s spaces by the curator and the artist: Everett Coleman Jackson (2009), Foucault Pendulum (2010), Reflections of the Sky (2010), J. Robert Oppenheimer (I am Become Death, Destroyer of Worlds) (2010), Chariot II (I like America and America likes me) (2007/2010).

After its MAMbo premiere, Matthew Day Jackson’s exhibition will travel to Kunstmuseum Luzern (Lucerne, Switzerland) and Gemeente Museum den Haag (The Hague, Netherlands).

Augustine and Honeymoon Island State Park in DunedinThe likelihood of dependence is high, according to the drug label.
What comes to the fore instead is the theme of the power of faith, in conflict or collaboration with the state.
The Department of

Natural Resources and Mines makes no representations or warranties about accuracy, reliability, completeness or

suitability of the data for any particular purpose and disclaims all responsibility and all liability (including

without limitation, liability in negligence) for all expenses, losses and damages (including indirect or consequential

damage) and costs which might be incurred as a result of the data being inaccurate or incomplete in any way and for.
We spend so much of our time, money, and resources trying to prevent people from hurting one another rather than asking ourselves how we can create the types of communities and lifestyles that make people so fulfilled that they have no reason to want to harm others.

Teresa Margolles, Muro Ciudad Juárez, 2009
(Photo courtesy of FRAC Nord – Pas de Calais, Dunkerque, and Galerie Peter Kilchmann, Zurich. Photo by Nils Klinger)

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Teresa Margolles, one of the artists who participated in our spring 2010 show, In Lieu of Unity, has a new show, at the Kunsthalle Fridericianum in Kassel, Germany.

Under the title Frontera, Margolles is presenting works which reflect the frightening extent to which the drug war is influencing Mexican society; they also engage with the general taboo on death and violence. Using reduced but always drastic means, Teresa Margolles creates extremely poignant works of art. At first glance, her works often seem to be minimalist in their form. Viewers only discover that they are deeply emotional and dramatic when they become aware of the rigorous realism in the choice of material.

Margolles uses substances such as blood, body fat or even water used to wash corpses not only symbolically, but also palpably, attacking human beings’ fears of contact in a subtle way. The large painterly exterior work Frontera on the outer façade of the Fridericianum envelops the entire building. 40 lengths of cloth dipped in soil and bodily fluids will make the Fridericianum ‘bleed’ when subjected to weather influences. Margolles confronts visitors directly with death by having water used for washing corpses taken from a Mexican autopsy room drip on to a hot steel plate in the exhibition space, thus making death perceptible both olfactorily and atmospherically. In addition, she put up two walls in the Kassel exhibition, which are witnesses of daily violence: they display bullet holes resulting from shoot-outs related to the drug war. In her filmic works, she documents places with no future in a disturbing way: a poor quarter in the north of Mexico as well as performances at schoolyards in Guadalajara and Ciudad Juárez, are drawing attention to the theme of hopelessness in Mexican towns bordering the USA.

will be on view from 27 May to 21 August 2011 at the Museion.

Ballroom Marfa is pleased to be part of the 2011 Texas Biennial, which will take place April 9 – May 14, 2011. The Texas Biennial is a project of Big Medium, an Austin-based non-profit 501(c)3 organization dedicated to promoting contemporary visual art in Texas.

This will be the fourth edition of the Texas Biennial, which originated in 2005. The core of each Biennial to date has been a group exhibition of art works selected from submissions gathered from throughout the state. This year artists were selected by 2011 Biennial Curator Virginia Rutledge, a New York-based art historian and art lawyer, who has continued the exhibition’s aim of providing “an independent survey of contemporary Texas art.”

This year the Biennial will grow, as Rutledge has invited non-profit arts venues statewide — including Ballroom Marfa — to support the Biennial with their own, independently
curated exhibitions and other programming. Stay tuned for details about what we’ll be presenting in the spring!

Every December, Artforum invites artists, critics, and curators to look back at the year in art. In the current issue, fourteen contributors choose their top ten highlights of 2010. Victoria Noorthoorn, an independent curator based in Buenos Aires, chose Linda Matalon’s work from our show Immaterial as one of the year’s best. In Victoria’s words:

In Matalon’s wax and graphite drawings (featured in the group show “Immaterial”), the slightest gesture becomes the basis for an intimate diary, a palimpsest of experiences. The minimal information the works provide–a stroke of graphite, an infinitesimal amount of dirt, the slightest cut–reveals a heritage that spans from Turner to Agnes Martin, Chris Burden, Eva Hesse, and Richard Tuttle. Each drawing challenges invisibility to speak not just of the sublime but of the coarse texture of the present.

For more of the best picks, take a look at the print edition of the December Artforum.

Linda Matalon discussing her “Untitled” diptych © Photo: Lindsay Pollock.

Two weeks ago, we opened our new show, Immaterial, which was curated by our executive director and co-founder, Fairfax Dorn. The exhibition features work by Barbara Kasten, Rachel Khedoori, Esther Kläs, Liz Larner, Erlea Maneros-Zabala, Linda Matalon, Julie Mehretu, and Charline von Heyl, including new commissions by Rosy Keyser, Laleh Khorramian, Heather Rowe, and Erin Shirreff. The night opened with a reception, followed by a community dinner at the Capri. A couple snapshots from the night.

Sansom holds a bachelor degree in Philosophy and Politics and a master in Conflict, Governance, and Development, both from the University of York

Joel, D, Tarrasch R.
Whenever we are running errands, if we come across a black male, she holds me tight and begs me to leave,” the mother said.
Minimum height will be 34 inches, which will allow many 2 and 3 year olds to ride.

More telling about the driver, however, is that Day wondered about Woods desire or whether he was troubled by anything off the golf course.
Loving Dad of Annette and John De Haas, Lyn and Les Hornby, Angus and Michelle, Stewart and Sherryn, Cameron and Margaret, Jane and Harry Van der Maat.

They were here for the last great Vegas fight, when in 2007 Mayweather beat Oscar De La Hoya in the changing of the guard as the sport’s pound for pound best fighter.