Brendan Fowler at Rental Gallery
This Sunday November 15, 2009, 1-6 pm, free and open to all…come whenever you like, stay for however long! This event is part of Performa 09, the huge festival of performance art that is taking over they city of New York all this month!

If you go to this, say hi to our very own Max, who is in NY for a week and will be helping with the performance! AND on that note, please be extra extra patient with your mail-orders this week and next, as we are temporarily without the awesome MAX!

Chips Ahoy!

German photographer Annette Kelm’s show opens in London this Saturday at Herald St. gallery.

If we were better globetrotters, we would be there. 

Now through November 22nd.

And and and….our champagne glasses are raised to Londoner Pablo Bronstein for his U.S. show at the Met! A toast to you from coast to coast…

It’s running from now until February 21st at the Metropolitan Museum of Art in NYC.  If you can’t make it to the Big Apple between now and then, you can still get these two books by him and daydream of mythical architectural histories from your bedroom.

Zine release!

Reminder — we will be releasing five new zines out of a Slow and Steady Wins the Race piñata tomorrow Saturday October 3rd, at 2pm in the lobby of PS1 at the New York Art Book Fair!

Ree Morton

For those of you in NYC, the Drawing Center’s exhibition of artist Ree Morton (1936-1977), opens this Friday! The show’s title, “At the Still Point of the Turning World,” takes its name from a T. S. Eliot poem Morton kept above her studio desk. This exhibition highlights Morton’s influential body of work, remarkably all produced between her decision to turn to art full-time in the late 1960s and her tragic death shortly before her 41st birthday. While reflecting many of the currents of Postminimal and Conceptual art of the 1970s, Morton’s work also looked to a pioneering use of personal narrative, intimacy, humor, and poetic imagination. Yet the scope of her artistic production remains largely unrecognized, as does her vital contribution to feminist art practice and the importance of drawing to her development as an artist. Fortunately, there has been a recently revitalized interest in her work, with her inclusion in MOCA’s WACK! Art and the Feminist Revolution, and her solo exhibition at Overduin and Kite in Los Angeles two years ago.

You can also check out The Mating Habits of Lines, a publication containing pages from Morton’s sketchbooks and notebooks, compiled by Allan Schwartzman and Kathleen Thomas. This book is a poignant insight into the relentless and methodical curiosity that characterized the artist’s short-lived career. Morton, who claimed her life’s work to have begun at age three, springing from a fascination with “watching ant hills and protecting lady bugs,” was encouraged by her family to pursue science. It wasn’t until she had already started a life as a nurse, married with three children, that she realized her passion for observation was at its core an artistic instinct. Within six years she received a BFA from the Rhode Island School of Design, an MFA from the Taylor School of Art, and moved to New York to teach and work as an artist. This left her only nine years of postgraduate work before a car crash took her life in 1977. Morton’s sketches and notes, which are composed mainly of lists, quotes, visual patterns, and explorations of unresolved motifs, seem to insist a commitment to observation over analysis, to playfulness as the guiding principle behind her sculptures, drawings, and installations. These pages feel open-ended and intimate in a way that can’t help but inspire.