#Photo JTT
Photo
WHAT.IN.THE.WORLD.
#this is the most 90s photo ever#the undertaker#jtt#jonathan taylor thomas#paul bearer#wwe#wwf#90s wrestling#vintage wrestling
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465. Daily Press, August 1, 1993
We all know that JTT was the only one who deserved hat raise.
Okay, so the person who wrote this letter about his Davey Allison NASCAR flag being stolen is the father of these two absolutely mean girls who I went to school with. Davey had died a few weeks earlier so I guess the thief thought that flag was going to be worth something.
Suffice to say, Kim did not make it to another Olympics. She tried a comeback in 1998, but it didn't work out. I didn't know that Phoebe Mills was also a diver! I can't find a clip.
So this was August 1st. Jurassic Park came out in the theaters on June 11th. You don't see ads in the papers for movies 2 months after it comes out anymore. Heck, unless it was a huge release, it's out on DVD nearly two months later these days.
I went to this!
Southwestern / Santa Fe was def a trend around this time. Does anybody remember the last couple seasons of Perfect Strangers when the gang moved into this huge house, and Balki's room was Southwestern/Mypos/Wayne Newton?
Daily Press held onto this Comics banner for years.
Oh my god. Does anybody remember when Bill's younger half brother, Roger was some sort of popculture sensation right after Bill became president? and he tried a singing career?
They didn't last.
Things that aged poorly.
Glamour Shots is something I did not like back then. They made everybody look 30 years older. Even as late as 2001 when I graduated from high school girls at my high school were getting their senior photos at glamour shots at the Coliseum Mall.
Okay, so for some reason this month there were no Sunday ads on the proquest edition for this paper. I had to grab these from the Ocala Star Banner from Florida. This Montgomery Ward salespaper was like, 70 pages. No wonder they went out of business a few years later.
These look absolutely to die for! Starburst fro yo?! The bars look like they would melt in three seconds, but the fro yo cups?!
Unfortunate placement in this drugstore salespaper.
OH. This is the beginning of striped shirt trend! Mom didn't like me wearing striped shirts because I was so fat.
This was the first "grown uppy" stuff I was allowed, about a year after this ad ran. I didn't know how to use it.
I remember seeing these at people's houses back in the day and thinking they were for the washing machine. No, they were for the dishwasher?!
I guess Goldfish Cookies were Pepperidge Farm's answer to Teddy Grahams?
Is that holographic school box a cat?!
Aw, I have memories about these pencils. I remember my dad buying them for me one time.
I miss these cardboard car shades. I hate those flimsy ones we have now.
So I left the big one for last, it was the main story that day. It was a giant investigation about a local businessman, David Merritt, and how he duped people in my hometown when he said that he would build a night club in the old Post Office in the downtown area. The night club, named after him (!) was only was fully functional for a few weeks, then it became special occasions only.
Highlights:
Another mistake, critics say, was Merritt's decision to dip into his limited personal resources to build his basement offices and a lavish, 1,700-square-foot apartment before the restaurant. That ate up more than half his money, while delaying the opening of the restaurant - and the revenue source that would return the money spent on construction.
"He reversed the deal," O'Neill says. "Now the restaurant not only had to carry itself, it had to carry the other two."
Says Merritt, "Looking back now, I wouldn't do the apartment and offices first."
But he offers no apologies for the amenities inside, which included a state-of-the-art stereo system, a tanning bed, a 50-inch TV, a $1,700 sofa and a weight room - the last so he could stay in shape.
[...]
Merritt unveiled a grandiose - and costly - vision for the place. It would feature an indoor gazebo, a 1931 Ford roadster, an old-fashioned jukebox and a bakery counter. But its opening date kept moving into the future: from late 1989 or early 1990 to May or June 1990 to sometime in 1991. It finally opened in August 1992.
[...]
Promising "casual gourmet dining at its best," Merritt's finally opened in mid-summer. Behind the scenes, its owner was staving off contractors and others who demanded that he pay his bills.
In December, Merritt's closed, except for private parties. In the coming months, it reopened sporadically, on weekends, marketed not as a restaurant but as a nightclub. Soon neighbors were complaining of gunfire and rowdy crowds on weekends.
It took years, but David got jail time. He was sentenced in 1998! :
NORFOLK — David J. Merritt turned and faced his family, friends and former contractors Wednesday, and apologized to the dozens of people he scammed in his failed Hampton restaurant project.
"I love all of y'all," Merritt told his relatives in the U.S. District courtroom. Then, with his voice cracking and his lips quivering, Merritt spoke to his brother in the first row: "Tell Mom and Dad I love them."
Minutes later, Judge Raymond A. Jackson dashed any hopes Merritt, 39, would see his elderly parents anytime soon.
Agreeing with a prosecution request to go above the recommended guidelines, Jackson sentenced Merritt to 140 months - almost 12 years - in federal prison on 82 counts, stemming from fraud, perjury and obstruction of justice convictions. Jackson also ordered Merritt to pay $717,672 in restitution.
The paper used to do a feature where they would do a phone in poll everyday. Although nobody should ever use the word "rape" in this way:
tSeptember 23, 1992
September 23, 1992
You know it's bad when the FOOD gets repoed.
This was the only photo I could find of the inside of it.
When David was released from prison, he became a trainer at the local YMCA in 2008. He later moved to Florida and resumed his publishing company.
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390 Broadway, New York, NY 10013, Estados Unidos.
The exterior of JTT's gallery space at 390 Broadway in New York's Tribeca neighbourhood.
“Running a gallery is one of the most fulfilling experiences I will likely ever have,” Tsou told The Art Newspaper. “Every person that has been a part of JTT held shared beliefs in what we made and always put the artists’ ideas first. I’m proud JTT grew despite what was going on outside of us, not because of it.”
390 Broadway is a Building located in the Tribeca neighborhood in Manhattan, NY. 390 Broadway was built in 1900 and has 5 stories and 5 units. [the real address - first two pictures]
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Erected as Fire Patrol No. 3 in 1895. The interior is a modern, industrial decor, while still respecting the historic integrity of the building. Perfect for photo and video shoots,fashion shows, social and corporate events. [decoration - the rest of the pictures ++]
60 guests max | 1st floor | 250 sq. feet | Office/Conference/Co-Working
Availability
Mon - Fri
6:00 PM - 11:00 PM
Sat - Sun
8:00 AM - 11:00 PM
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Bruh why does Little Paul look like Young Rider Strong in that photo-
The floppy hair just *chefs kiss*
IRH & M2D Damon fighting to take care of FASFTS! Stefan scraped knee is everything- they probably hate (and love) that their Stefan instantly heal because they can’t take care of bruises. and M2D Enzo fussing over FASFTS!Stefan because his never actually seen his son so little- (My heart literally grew when you mentioned it as ‘his son’, IK is the Au but I still smiled stupid because I love that so much-)
What would FASFTS!Damon think of IRH & M2D Stefan being vampires? I know you’ve mentioned Stefan will become a vampire in FASFTS but that hasn’t happened yet. Like he gets to see how Stefan will look like when his older, but Stefan won’t grow up further than that-
Also completely skipped my brain but how would FASFTS! Defan react to the other AUs Defan’s being vampires from 1860- I feel like that would be so shocking for them (I really gotta find another word for shocking-) Like- F!Damon turned only a few years back- IRH & M2D Defan have been alive/dead for over 145year- not even getting into the fact on HOW they turned- that is a completely other wormhole-
With all this back and forth brainstorming we are having about the Defan Cinematic Universe we could probably write a fic 😂
They've got the iconic 90s swoop haha. JTT rocked it too.
F!Damon would be sad to think that the other two Stefans were vampires. It's the last thing he wants for his brother. Even though more than anything he wants Stefan to stay little, he wants him to have a future too. Live a life that Damon can't because he's a vampire now.
He'd definitely find it weird with the contrasting time periods. Ask them truly what it's like to live so long. Especially as in his mind, he won't have Stefan by his side as long as they will. It'd definitely be bittersweet for sure.
Not my type of fic to write haha, I'd prefer them to stay separate. But it is fun to theorize!
#for a shield from the storm verse#my two dads verse#i'm right here verse#thefandomchaos#asked and answered
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This week already feels long
I had today off which was nice
A lot to do this week
They put me back on the hard 3-arm structure but I’m still juggling other areas of the project
This Thursday though, 9/22
Is a big day for me
I start out with my ICP meeting, then I agreed to a work photo shoot to promote the company, and I end my work day with leading this months JTT, and happy hour afterwards w my coworkers…
The only thing I remembered about Thursday as I fall asleep
is how I will text E*** and say happy half birthday and how I hope this year of school goes well. I won’t say how much I miss him and how much he crosses my mind or how I’m happy alone and hope he is too, even if he’s not alone I just hope.. he’s happy.
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Buyer Guide to 2022 Whitney Biennial, From Turner Choice Award to Non-Representative Advocate
Whitney Biennial opened up to the public last week, a week after the world’s giants had already flocked to his VIP opening, and decided among themselves who the upcoming artists would set their sights on further their collection collection in 2022.
The last two years have been marked by scandals and protests, but this year’s edition — perhaps under the motto “Silence as it is maintained” – has…
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#Acts of Regen#artnet-news#Buck Ellison#Carlos / Ishikawa#Gagosian#Photo JTT#Rick Lowe#Sable Elyse Smith#Whitney Biennial
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Elaine Cameron-Weir, the witnesses turned away he signed the moon out of bed and fact folded back yielding a crumpled up smile a discarded face finally familiar it was setting the sun it was waiting for you, 2019, stainless steel, pewter, rawhide, neon, whip antenna, chandelier parts, liquid candle, leather, 72 x 35.5 x 10 inches, Photo by Isabel Asha Penzlien, Courtesy of the artist and JTT, New York.
Elaine Cameron-Weir at JTT – Art Viewer
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🖼💕
I want you to know that I really tried to post an autographed photo of Jonathan Taylor Thomas with Dolly Parton that hangs in the Dolly Parton Museum at Dollywood but the upload glitched somehow 😔 so imagine a teen JTT with 90s Dolly. It is inscribed “Dolly, you are a very special person”
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The Joshua Tree Tour
May 26, 2017
Arlington, Texas
#U2#The Joshua Tree Tour 2017#Arlington JTT#I only took 5 photos during the concert because#1. I wanted to experience the concert through my eyes and not a phone screen#2. because my phone's camera is crappy#The show was amazing and I'll post a scrambled thoughts post that I wrote up after the show but couldn't post because of crappy internet
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❤️JTT Fo-Eva! 11 year old me is SO proud of myself for making this Pin. My walls were plastered with this babe's photo's from Teen Beat, Bop, and Big Bopper. Grab your very own JTT pin from the shop- www.AdorntheHunter.com Worldwide Shipping #teenbeat #bigbopper #bop #jonathantaylorthomas #jtt #90s #pingame #flair #pinstagram #homeimprovement https://www.instagram.com/p/BtXo7z1Bq3s/?utm_source=ig_tumblr_share&igshid=hm1qj2i87w27
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Get to know me
Rules: Tag 10 people you want to get to know better
thanks @ourkissgoodbye for the tag!
Name: Kristin
Sign(s): Ares
Height: 5′2″...ish?
Background for your desktop/phone: both are actually a photo of my husband and me from our trip to Ireland, at the Cliffs of Moher
Who was your last kiss: would like to say my husband, but honestly it’s my dogs
Have you ever been stood up: No (only because it’s been 82 years since I’ve been single)
Have you ever been to Las Vegas? Yes. Once for a race, once with the in-laws.
Have you ever had a crush on a teacher? Nope
Where do you see yourself in 10 years? Finding new places to travel
Coolest Halloween costume: 2006, my now husband and all of his friends dressed up as the cast from Super Troopers (as the ONLY female... and blonde to boot... I was Ursulahhhh). IT WAS EPIC.
Favorite 90′s show: Home Improvement (HAIIII JTT)
Favorite pair of shoes: converse all-stars
Favorite fruit: Granny Smith apples
Favorite books: Anne of Green Gables, Sarah, Plain and Tall, Little House on the Prairie (I took a stroll down memory lane... it was everything I remembered it to be)
Stupidest thing you’ve ever done: There’s not enough room in this space... I blanked on a specific one (seriously there are so many) so I just asked my husband and he dead-panned “you married me.” SO.... WINNING.
I tag.... EVERYONE! But if I’m trying to do the thing.. Off the top of my head: @missclairebelle @smoakingwaffles @katnoenau @whiskynottea @sassy-sassenach @outlanderedandoverhere @ecampbellsoup (idk i’ve seen a lot of people already post so if you’ve already done it- disregard. If not... JUMP IN THE WATER’S FINE!)
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Yay, I got some birthday love from @d.sawa 😃 Been a fan of Devon since my childhood days. My best friend Katie at the time loved Devon too, so I had to hide my love for Devon or she would get upset so instead I had to show all my love for JTT but secretly I had two crushes. Lol 😂🤣😂 I got photos to prove it, I’ll post those soon. ;) good throwback photos for sure! #devonsawa #birthdaytweet #appreciationpost https://www.instagram.com/p/CMcXd4Rno3_/?igshid=l9k37fd7wktz
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For today I choose topic for #30dayswritingchallenge about the power of music while uploading photos at @jtts.id 😊 As quoted from www.udiscovermusic.com , numerous scientifc and psychological studies have shown that music can lift our moods, combat depression, improve blood flow in ways similar to statins, lower levels of stress-related hormones such as cortisol, and ease pain. Namun pada kenyataannya; musik juga bisa membuat kepala tambah pening. Faktor ini antara lain mungkin karena selera musik yang berbeda atau FAKTOR U. Sometimes we even suspected that the staff in charge play the music loudly on purpose. Because we were chatting forever & seems to forget to finish our meal and get out. But anyway, thanks God when my friend & I were at Journey To The South, no loud music ruin our mood. They served us warmly, making us both takes note to come back here again next time. *trus apa hubungannya sama musik ya postingan ini? 🤣🤣🤣 #food #eat #coffee #mocha #chocolate #jtts #journeytothesouth #jktgo #whatsnewjakarta #kopi #daerahkemang #culinary #cuisine #jakarta #restojkt #jktculinary #kemang #ngopidikemang #kulinerkemang (at Jalan Kemang Raya Jakarta Selatan) https://www.instagram.com/p/CHUSTDDn-zu/?igshid=1xtqd1yl851di
#30dayswritingchallenge#food#eat#coffee#mocha#chocolate#jtts#journeytothesouth#jktgo#whatsnewjakarta#kopi#daerahkemang#culinary#cuisine#jakarta#restojkt#jktculinary#kemang#ngopidikemang#kulinerkemang
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MEET SIMON CASTETS
Director, Swiss Institute. Contemporary Art New York
Simon Castets has been at the helm of the beloved non-profit contemporary art space Swiss Institute for the past seven years. Founded in 1986, Swiss Institute is dedicated to promoting forward-thinking and experimental art making through innovative exhibitions, education, and programs. It serves as a platform for emerging Swiss and international artists, catalyzes new contexts for celebrated work, and fosters appreciation for under-recognized positions. After a several months-long hiatus due to COVID-19, Swiss Institute reopened its doors on September 9 with the time-based media program TENET. We recently caught up with Simon to discuss the effects of the pandemic, SI’s upcoming exhibitions and its dedication to community engagement.
Swiss Institute was closed for months due to COVID-19, how did you experience the lockdown? Are you able to move forward with the planned program or has the pandemic fundamentally changed your work?
Lockdown was a frightening time for many New Yorkers, but it also was an unprecedented moment of togetherness. I can speak from my experience at SI-- but when NYC went into lockdown on March 20th, I immediately entered into a conversation with fellow directors of contemporary arts nonprofits about how we could triumph over these unknown, looming threats. It is thanks to our working together, sharing ideas and information, that we managed to weather the storm.
As far as our program goes, we had to do a lot of reshuffling. Our Irena Haiduk and Jan Kiefer exhibitions were forced to close early, and our Jeremy Shaw exhibition has been postponed until 2022 due to sustained travel restrictions. These are the challenges of working with international artists. But it's also provided an opportunity to work in a different capacity. With artists Reetu Sattar and Yu Honglei, SI and the New York Public Library offered two artist talks in foreign languages, Bengali and Mandarin Chinese, respectively. We have conceived of a long-term, three part digital project with Sable Elyse Smith, who installed a public sculpture on our roof as part of our SI ONSITE series of semi-permanent installations and will curate our 2022 Architecture and Design Series. We are currently planning a full-building group exhibition that explores the concept of haunting.
Image: Sable Elyse Smith, BACKBEND, 2019. Powder coated aluminum. Courtesy of the artist; JTT, New York; and Carlos Ishikawa, London. Photo by Charlie Rubin
Your current time-based media program TENET is particularly fitting for this moment, how did it come about? Was it conceived during the pandemic?
TENET is a product of the pandemic that came about when we realized our summer exhibitions were not possible, and that we needed a degree of flexibility in the type of exhibitions we were going to stage at SI. In many ways, it draws on the institution's history of unorthodox group exhibitions, perhaps most obviously by borrowing its title from the summer's most hotly anticipated, but conspicuously absent, blockbuster. We wanted to create a space where these excellent, underseen time-based media works (three single channel videos and one two-channel sound installation) could be easily accessed by our East Village community as a variation on a walk-in cinema.
Although they initially appear quite different from one another in form, all four works engage with notions of time: its repetition, acceleration, slowing and manipulation. In a year in which time as we knew it radically changed, this felt like an exhibition in which our audiences could take solace, but also discover works by international artists that resonated within this unprecedented moment.
Image: TENET installation view, photo by Charlie Rubin, courtesy of Swiss Institute
The recent publication SInce 1986 chronicles the history of Swiss Institute, how has the institution evolved over the years? And how do you envision SI’s future?
One of the ideas that comes through in SInce 1986 is that in spite of SI's movement through the city and expansion of its programs and offerings, is that Swiss Institute has always kept carrying on the same spirit of experimentation. Our national affiliation has always been a bit of an anomaly within the nonprofit landscape of New York City, but throughout our history, SI has always played this to our advantage. This institutional ambiguity that SI has accrued in our history as an "outsider" has always given the organization the freedom to push boundaries and experiment, and always place the artist's wishes first. Our enduring support of female artists has been a cornerstone of our programming, but has expanded significantly in the past five years.
Perhaps what has most evidently changed since our founding is that we are more than ever focused on the communities we serve, always free-of-charge. Much of this came from securing a long-term home in the East Village-- a Manhattan neighborhood with a deep, complex artistic lineage. Upon moving to St. Marks Place, we established an education program for families, teens and older adults, and brought on a community engagement advisor who liaises with other East Village-based nonprofit organizations of all kinds. Central to SI's mission is providing a platform for artists to showcase their innovative work and ideas, and a large part of that is cultivating an audience that feels at home with SI.
Image: SInce 1986, photo by Charlie Rubin, courtesy of Swiss Institute
What does SI have in store for us over the next few months? Is there an exhibition or artist that you are particularly excited about at the moment?
In early November, we will open our exhibition HAUNTED HAUS that features some of today's most exciting young Swiss and Switzerland-based artists including Alfatih, James Bantone, Milena Langer, Maïté Chénière, Ivan Mitrovic, Melanie Akaret, Cassidy Toner, Gaia Vincensini, Claire Van Lubeek, Alan Schmalz, Gabriele Garavaglia, Dorota Gawęda and Eglė Kulbokaitė. Later that month we will open a two-person presentation of the work of Sitara Abuzar Ghaznawi and under recognized Dadaist Emmy Hennings in our library space. In January we will open our annual architecture and design exhibition, curated by Puerto Rican-Kuwaiti artist Alia Farid. Entitled The Space Between Classrooms, the exhibition engages with the legacy of Alfred Roth-designed schools in Kuwait, and in a broader sense, the possibilities of unlearning as articulated by philosopher Ivan Illich. We are also very excited to open the first US presentation of Welsh artist Angharad Williams and Swiss artist Mathis Gasser entitled Hergest: Trem. As I mentioned, we are also working with Sable Elyse Smith on a digital initiative that takes the form of both a magazine and a vinyl mixtape. The first issue, Fear, launches on October 26 and features both new and old interdisciplinary work by Jessica Lynne, Paul Peiffer, Jibade-Khalil Huffman, Johan Grimonprez and Jason Moran.
Image: Swiss Institute, photo by Daniel Pérez, courtesy of Swiss Institute
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Artists: Maria Bartuszová, Elaine Cameron-Weir, Lin May Saeed, Trevor Shimizu, Erika Verzutti
Venue: VIN VIN, Vienna as part of curated by, Vienna
Exhibition Title: Crumple
Date: September 8 – 26, 2020
Curated By: Emily Watlington
Click here to view slideshow
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of the artists; VIN VIN, Vienna; Alison Jacques, London; Jacky Strenz, Frankfurt, Hannah Hoffman, Los Angeles. Photos by Flavio Palasciano.
Press Release:
Crumple brings together art objects concerned with the hybrid space between fragility and permanence. The works mine humble materials, be they fragile, quotidian, or provisional. All exude a certain vulnerability, and even humility, yet nonetheless, all are material objects.
Likening the humbleness of their materials to that of their message, the works make principled points without preaching, or avoid grand statements altogether. Some of the artists—such as Elaine Cameron-Weir (b. 1985, Canadian) and Maria Bartuszová (1936–1996, Slovak)— emphasize their work’s materiality, without endeavoring to transcend it. In her 2019 wall piece, as elsewhere in her work, Cameron-Weir emphasizes the hybrid delicacy and durability of industrial and functional objects: in this case, laboratory lattices and parachute harnesses. Bartuszová sculpts using plaster: she favored the material’s provisional connotations. The stacked sections comprising Untitled (1968–9) exude simultaneous precarity and sturdiness.
On the other end of the spectrum, Lin May Saeed’s (b. 1973, Iraqi-German) sculpture and relief comment on human-animal relations. Bilal (Pyramid) (2014) is based on a visit to Egypt, where the artist saw many stray dogs. Saeed’s chosen material—styrofoam—is prone to crumbling, yet also rather permanent: it does not biodegrade. The twinned pitiful and attractive qualities of Saeed’s styrofoam mimic the way one often perceives stray dogs, for whom the artist seeks to evoke empathy. Her strategy differs starkly from that of wagging fingers at human perpetrators, yet the live plants placed atop the structure gently remind us that all species are part of one ecosystem and are interdependent. Similarly, her styrofoam relief Hammar Marshes (2015) reflects on the dehydration of Iraqi marshlands—likely the site of the Garden of Eden—due to climate change. Even this sacred site is vulnerable. Nature is also found in Erika Verzutti’s (b. 1971, Brazillian) wall relief and Trevor Shimizu’s (b. 1978, American) two paintings. Verzutti deeply reveres natural beauty, and her practice is driven by the question: why does nature make certain things beautiful, even when it serves no obvious evolutionary function? For Dieta (2018), she cast bananas—which are abundant in her native Brazil—using papier-mâché, creating one-to-one copies of nature rather than endeavoring to subsume or outdo it. Similarly, Shimizu paints animals and mushrooms, but eschews the trope of sublime beauty common to landscape painting. He also does not attempt to “master” his medium. In Pigs, Horses, Birds (2016), he leaves the canvas unstretched, while the canvas for Shrooms 1 (2017) is small and most of its surface unpainted.
It is a pleasant coincidence that crumple and humble rhyme imperfectly.
Mária Bartuszová (b. 1936 in Prague, Czechoslovakia – d. 1996 in Košice, Slovakia)
Upcoming solo exhibitions: Tate Modern, London, November 2020. Solo exhibitions include: Alison Jacques Gallery, London, UK, 2016; Museum of Modern Art, Warsaw, Poland, 2014; Slovak National Gallery Bratislava, Bratislava, Slovakia, 2005; Group exhibitions include, among others: Pinault Collection, Punta della Dogana, Palazzo Grassi, 2020; Museum Susch, Switzerland, 2018; Lévy Gorvy, New York, USA, 2018; Tate St Ives, UK; travelled to Pallant House Gallery, Chichester, UK; The Fitzwilliam Museum, Cambridge, UK, 2018; Whitechapel Gallery, London, UK, 2018; Hepworth Wakefield Gallery, West Yorkshire, UK, 2017; Kunstmuseum Stuttgart, Stuttgart, Germany, 2014; The Goetz Collection, Munich, Germany, 2013; Palazzo Reale, Milan, Italy, 2013.
Trevor Shimizu (b. 1978 in Santa Rosa, California, USA)
Trevor Shimizu had solo and two person exhibition at, among others: 47 Canal, New York, 2020; ICA Philadelphia, Pennsylvania, 2020; Mendes Wood DM, São Paulo, Brazil, 2018; Galerie Christine Mayer, Munich, Germany, 2017; Magenta Plains, New York, NY, 2016; Misako & Rosen, Tokyo, Japan, 2015.
Lin May Saeed (b. 1973 in Würzburg, Germany)
Lin May Saeed had solo exhibitions among others, at: The Clark Art Institute, Williamstown, USA (June – October 2020); What Pipeline, Detroit, USA (September 2019); Jacky Strenz Galerie, Frankfurt am Main, Germany (May 2019); Studio Voltaire, London, UK, (June – August 2018). Group exhibitions include, among others: Ujazdowski Castle Centre for Contemporary Art Warsaw, PL (June – October 2020); Palais de Tokyo, Paris, FR (June – September 2019); Schirn Kunsthalle, Frankfurt am Main, DE (November 2018 / February 2019); MUMOK, museum moderner kunst stiftung ludwig, Vienna (June – November 2018); Museo Castello di Rivoli, Turin, IT (March – September 2018). Upcoming: Castello di Rivoli Museo d’Arte Contemporanea, RivoliTorino, IT (October 2021 – February 2022).
Erika Verzutti (b. 1971 in São Paulo, Brazil)
Erika Verzutti had solo exhibitions, among others, at: Aspen Art Museum, 2019; Centre Pompidou, 2019; Misako & Rosen, 2018; Andrew Kreps Gallery, 2018; Sculpture Center, New York, 2015; Alison Jacques Gallery, 2015. Group exhibitions include, among others: Pio Pico, Los Angeles, 2020; Peter Freeman Inc., New York, 2019; Galerie Thaddaeus Ropac, London, 2019. Group exhibitions include, among others: Mendes Wood, 2018; 57th La Biennale di Venezia, 2017; Galerie Neu, 2016; Guggenheim, New York (2014).
Elaine Cameron-Weir (b. in 1985 in Alberta, Canada)
Elaine Cameron-Weir had solo exhibitions among others, at: JTT, New York, 2019; Sadie Coles, London, 2019; Storm King Art Center, New York, NY USA, 2018; Dortmund Kunstverein, Dortmund, Germany, 2018; New Museum, New York, NY USA, 2017; Hannah Hoffman, Los Angeles, CA USA, 2017. Group exhibitions include, among others: Gió Marconi, Milan, Italy, 2019; Magenta Plains, New York, NY USA, 2019; Ramiken Crucible, New York, NY, USA, 2018; Simon Lee Gallery, Hong Kong, China, 2017; Luxembourg & Dayan, New York, USA, 2017; La Biennal de Montreal, Montreal, Canada, 2016.
Emily Watlington is a critic and curator of contemporary art. She is assistant editor at Art in America, and was previously the curatorial research assistant at the MIT List Visual Arts Center. She is a Fulbright Scholar and has taught in the Department of Architecture at MIT. Her work often focuses on video art through the lenses of feminism and disability studies. She holds a SMArchS in the History, Theory, and Criticism of Architecture and Art from MIT, and has given talks at numerous institutions including the University of California, Berkeley; Rhode Island School of Design; the Institute of Contemporary Art, Boston; and Museo Reina Sofia, Madrid. Her writing has appeared in numerous publications including: Artforum, Mousse, Frieze, Another Gaze, Spike, and Art Review, and has been translated into German, French, and Croatian. Recently, she contributed to the exhibition catalogues Before Projection: Video Sculpture 1974-1995, Sheida Soleimani: Medium of Exchange, and An Inventory of Shimmers: Objects of Intimacy in Contemporary Art. She received the Vera List Writing Prize in the Visual Arts (2018) and the Theorist Award from C/O Berlin (2020).
Link: “Crumple” at VIN VIN
The post "Crumple" at VIN VIN first appeared on Contemporary Art Daily.
from Contemporary Art Daily https://bit.ly/2ZTzJcp
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I commented on a photo of this R&B group called "Immature" (three boy's in their under wear on a bed together in a room with their child molesting producer Chris ? managed B2K and molested them)
I said "I can't believe this photo didn't ring an alarm when I was in the 5th and 6th grade listening to them...did I not care or was I that brainwashed?" 🙃🙄🤕🤒🤖 I always crushed on J.T.T middle school through high school. Esoteric Kitten on youtube had a photo of JTT naked in a bedroom alone as a young teen but the video was deleted. I mentioned to the vlogger that he was my childhood and teenaged crush. And that my twin said "I should have known you were gay because he looks like a girl." 😐
and referred to this intro where he says "I've been programmed. Even my conditioning has conditioning." 😖😆
Its not funny but I laughed and made a joke about them being sexualized in front of the world as little teen's. 🙊🙉🙈
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