Wednesday, December 2, 2015

Marina Reiter and Agora Gallery : : Featured on Conceptual Art Network, ltd's 200 Blogs and Sites. Will You Be Next?

Portals of Perception
November 23 - December 14, 2010
Opening Reception: Thursday, December 2, 2010, 6-8 pm

When We Were Young and Had No Worries   Oil on Canvas   24" x 36"
In an exuberant world of atmospheric color, Marina Reiter conjures intriguing biomorphic forms into existence. Often connected by intersecting lines and hashes, these creatures float in perpetual congress. Their smooth shapes give the impression of three-dimensional depth, heightened by the soft flatness of her shimmering pastel backgrounds. Careful balance of color and form ensures a harmony throughout the composition. For Reiter, the connections are important – this is the way that humans and emotions interact – as she says, “We enter this world to reach out and connect. We are not bound by space and time”. Her paintings are a celebration of everything that unties us and pulls us apart. Heavily influenced by the work of Wassily Kandinsky, her pieces channel the spirit of Surreal abstraction and Constructionist.  However, Reiter’s works are infinitely accessible, allowing her to affect her public directly through the work.

Marina Reiter works passionately and constantly strives for perfection in her work. Born in Moscow, Russia, she currently lives and works in Brooklyn, NY.

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Chasealias DS Pollack

Founder of the Alter Art (Alter-ism) Movement
Questioning The Reality of Identity to
Create an Emergence Theory in Humanity
Bringing us Closer to a Singularity\

Wednesday, October 14, 2015

Marina Abramoviç , (four Performances 1975 -76) : : Performance Art Starts and Ends with Self

Published on Jul 15, 2013
Marina Abramović (born November 30, 1946 in Belgrade) is a New York-based Serbian performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the "grandmother of performance art". Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.
4 Performances by Marina Abramovic, 1975-1976

1.Art must be beautiful, Artist must be beautiful.

2.Freeing the voice

3.Freeing the memory

4.Freeing the body.

Galerie Mike Steiner, Berlin, December, 1976.

54 min.
Taken by

Saturday, October 10, 2015

Joseph Beuys : : Every Man is a Plastic Artist

Joseph Beuys was a German-born artist active in Europe and the United States from the 1950's through the early 1980's, who came to be loosely associated with that era's international,  proto-Conceptual art movement, Fluxus. Beuys' diverse body of work ranges from traditional media of drawing, painting, and sculpture, to process-oriented, or time-based "action" art, the performance of which suggested how art may exercise a healing effect (on both the artist and the audience) when it takes up psychological, social, and/or political subjects. Beuys is especially famous for works incorporating animal fat and felt, two common materials - one organic, the other fabricated, or industrial - that had profound personal meaning to the artist. They were also recurring motifs in works suggesting that art, common materials, and one's "everyday life" were ultimately inseparable.

"Every man is a plastic artist who must determine things for himself."

How to Explain Pictures to a Dead Hare (1965)
In this performance piece, Beuys could be viewed - his head and face covered in honey and gold leaf - through a gallery's windows, a slab of iron tied to one boot, a felt pad to the other, as the artist cradled a dead hare. As though carrying out a strange music (if not some macabre bedtime story), Beuys frequently whispered things to the animal carcass about his own drawings hanging on the walls around him. Beuys would periodically vary the bleak rhythm of this scenario by walking around the cramped space, one footstep muffled by the felt, the other amplified by the iron. Every item in the room - a wilting fir tree, the honey, the felt, and the fifty-dollars-worth of gold leaf - was chosen specifically for both its symbolic potential as well as its literal significance: honey for life, gold for wealth, hare as death, metal as conductor of invisible energies, felt as protection, and so forth. As for most of his subsequent installations and performance work, Beuys had created a new visual syntax not only for himself, but for all conceptual art that might follow him.
Gold leaf, honey, dead hare, felt pad, iron, fir tree, miscellaneous drawings and clothing items - Galerie Schmela, Dresden, Germany

Thursday, September 17, 2015

Dan Graham :: Voyeuristic Elements of Design in the Built World : Lisson Gallery

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Dan Graham
Present Continuous Past(s), 1974
Performance, John Gibson Gallery, New York 1975

For fifty years, Dan Graham has traced the symbiosis between architectural environments and their inhabitants. With a practice that encompasses curating, writing, performance, installation, video, photography and architecture, his analytical bent first came to attention with Homes for America (1966–67), a sequence of photos of suburban development in New Jersey, accompanied by a text charting the economics of land use and the obsolescence of architecture and craftsmanship. Graham’s critical engagement manifests most alluringly in the glass and mirrored pavilions, which he has designed since the late 1970s and which have been realized in sites all over the world. These instruments of reflection – visual and cognitive – highlight the voyeuristic elements of design in the built world; poised between sculpture and architecture, they glean a sparseness from 1960s Minimalism, redolent of Grahams’s emergence in New York in the 1960s alongside Sol Le Witt, Donald Judd and Robert Smithson. Graham himself has described his work and its various manifestations as ‘geometric forms inhabited and activated by the presence of the viewer, [producing] a sense of uneasiness and psychological alienation through a constant play between feelings of inclusion and exclusion.’ The pavilions draw attention to buildings as instruments of expression, psychological strongholds, markers of social change and prisms through which we view others and ourselves.
Dan Graham was born in Urbana, Illinois in 1942 and lives and works in New York. He has had retrospective exhibitions at the Museum of Contemporary Art, Los Angeles (2009), Castello di Rivoli Museo d’Arte Contemporanea, Turin (2006), Museu Serralves, Porto, (2001), Museum of Modern Art, Oxford (1997), Van Abbemuseum, Eindhoven, (1993), Kunsthalle Berne (1983) and the Renaissance Society, University of Chicago (1981). He has participated in documenta 5, 6, 7, 9 and 10 (1972, 1977, 1982, 1992, 1997). Among numerous awards he received the Coutts Contemporary Art Foundation Award, Zurich (1992), the French Vermeil Medal, Paris (2001) and was honoured by the American Academy of Arts and Letters, New York in 2010.


Saturday, August 22, 2015

Copy of chasealias, the most dangerous artist in america :: alter art...

Published on Aug 21, 2015

chasealias, the most dangerous artist in america :: alter artist (alter-ism)

the danger I pose
exposing reality
every human being
has a right to choose
To be whoever


Alter Art, An emergence theory in conceptual/performance art utilizes online avatars to question the reality of identity. Simultaneously creating a cultural Mise en Scene. The Use of Social Media, Immersion/Gonzo Journalism, Method Acting Characterization and Mimetic Style Self Imagery has allowed chasealias and his many other pseudonyms to become a mainstay in the cultural lexicon.

It has been scientifically proven that a photographic image/capture and especially a video still or screen capture resonate within the human subconscious far greater that any form of media we currently have to offer. Making it the most effective communication tool. Perhaps that's why chasealias, b. holden vance III, bryan cubby brent, tony marini, pawl stuart, retweet critique, i am ai, shiva dancing (nataraja), bear, caccia altrimenti, and the numerous other alters used by DS Pollack have been criticized and called threats to society. After all, This is my Art. It is Freedom of Speech and My Right.

Confucianism : : Rascality
The Master said, "I have not seen one who loves virtue as he loves beauty."
Analects 9:28. Confucius Quotes Confucianism App

You see
I remind you
Of what you
Think you


You Resist
You can think
How you grew.

B. Holden Vance III

Bored Shorts as Chase Alias

Friday, August 14, 2015

Bored Shorts as Chase Alias


*chasealias and B. Holden Vance III are Alters of
*Performance Artist D S Pollack and Protected by Creative Commons Attributions
*All Right Reserved, Unless Otherwise Stated or Marked
*Names, Logos, Images, Brands and Use of All Intellectual Property, Copyrighted.
*For Information, Terms of Use or Terms of Sale Please Contact an **Art Dealer

**Suggested Art Dealers::

       Gagosian :
       Serpentine :

Saturday, August 15, 2015

Barbara Kruger Creates Works that Speak to Many...Each Work Begins with Herself

American conceptual/ pop artist Barbara Kruger was born in Newark, New Jersey in 1945 and left there in 1964 to attend Syracuse University. Early on she developed an interest in graphic design, poetry, writing and attended poetry readings.
After studying for a year at Syracuse she moved to New York where she began attending Parsons School of Design in 1965. She studied with fellow artists/photographers Diane Arbus and Marvin Israel, who introduced Kruger to other photographers and fashion/magazine sub-cultures. After a year at Parsons, Kruger again left school and worked at Condé Nast Publications in 1966. Not long after she started to work at Mademoiselle magazine as an entry-level designer, she was promoted to head designer a year later.
Later still she worked as a graphic designer, art director, and picture editor in the art departments at “House and Garden”, “Aperture,” and did magazine layouts, book jacket designs, and freelance picture editing for other publications. Her decade of background in design is evident in the work for which she is now internationally renowned. Like Andy Warhol, Kruger was heavily influenced by her years working as a graphic designer.

Her Art

Kruger’s earliest artworks date to 1969. Large woven wall hangings of yarn, beads, sequins, feathers, and ribbons, they exemplify the feminist recuperation of craft during this period. Despite her inclusion in the Whitney Biennial in 1973 and solo exhibitions at Artists Space and Fischbach Gallery, both in New York, the following two years, she was dissatisfied with her output and its detachment from her growing social and political concerns. In the fall of 1976, Kruger abandoned art making and moved to Berkeley, California, where she taught at the University of California for four years and steeped herself in the writings of Walter Benjamin and Roland Barthes.
She took up photography in 1977, producing a series of black-and-white details of architectural exteriors paired with her own textual ruminations on the lives of those living inside. Published as an artist’s book, Picture/Readings (1979) foreshadows the aesthetic vocabulary Kruger developed in her mature work.
By 1979 Barbara Kruger stopped taking photographs and began to employ found images in her art, mostly from mid-century American print-media sources, with words collaged directly over them. Her 1980 untitled piece commonly known as "Perfect" portrays the torso of a woman, hands clasped in prayer, evoking the Virgin Mary, the embodiment of submissive femininity; the word “perfect” is emblazoned along the lower edge of the image.
These early collages in which Kruger deployed techniques she had perfected as a graphic designer, inaugurated the artist’s ongoing political, social, and especially feminist provocations and commentaries on religion, sex, racial and gender stereotypes, consumerism, corporate greed, and power.
During the early 1980s Barbara Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars. The inclusion of personal pronouns in works like Untitled (Your Gaze Hits the Side of My Face) (1981) and Untitled (I Shop Therefore I Am) (1987) implicates viewers by confounding any clear notion of who is speaking. These rigorously composed mature works function successfully on any scale. Their wide distribution—under the artist’s supervision—in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, confuses the boundaries between art and commerce and calls attention to the role of the advertising in public debate.
In recent years Barbara Kruger has extended her aesthetic project, creating public installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer. Since the late 1990s, Kruger has incorporated sculpture into her ongoing critique of modern American culture. Justice (1997), in white-painted fiberglass, depicts J. Edgar Hoover and Roy Cohn—two right-wing public figures who hid their homosexuality—in partial drag, kissing one another. In this kitsch send-up of commemorative statuary, Kruger highlights the conspiracy of silence that enabled these two men to accrue social and political power.

Art by Barbara Kruger

Sex / Lure - 1979
Untitled / You construct intricate rituals which allow you to touch the skin of other men - 1981
Your assignment is to divide and conquer - 1981
Your Comfort is My Silence - 1981
Your every wish is our command - 1981
Your Gaze Hits the Side of My Face - 1981
Your manias become science - 1981
Untitled / We have received orders not to move - 1982
We will undo you - 1982
Untitled / You are seduced by the sex appeal of the inorganic - 1982
You invest in the divinity of the masterpiece - 1982
You make history when you do business - 1982
We Won't Play Nature to your Culture - 1983
Your life is a perpetual insomnia - 1983
You Are Not Yourself - 1984
Untitled / Money Can Buy You Love - 1985
We don't need another hero - 1985
A Picture is Worth More than a Thousand Words - 1987
Give me all you’ve got - 1987
In space no one can hear you scream - 1987
I Shop Therefore I Am (I)- 1987
I Shop Therefore I Am (II) - 1987
No Radio - 1988
Your body is a battleground - 1989 
It's a Small World But Not If You Have to Clean It - 1990
Who is bought and sold? - 1990
You can't drag your money into the grave with you - 1990
All Violence is an Illustration of a Pathetic Stereotype - 1991
Questions - 1991
Think Twice - 1992
Repeat after me - 1985-94
Not Ugly Enough - 1997
Super rich / Ultra gorgeous / Extra skinny / Forever young - 1997
Thinking of You - 1999-2000
Untitled / Pray - 2001
Untitled / Pro-life for the unborn, Pro-death for the born - 2000-004
Twelve - 2004
Untitled / Seeing through you - 2004
Untitled / Chess Board - 2006
Face It (Cyan) - 2007
Face It (Green) - 2007
Face It (Magenta) - 2007
Face It (Yellow) - 2007

Friday, August 14, 2015

DS Pollack's Use of Alter's Question the Reality of Identity in Bugchaser, Who I M Series, 2010-2014

Performance Art Can Sometimes Place the Artist's Vessel in Harm's Way the Sake of Art. -@Chasealias 


The value of "interpretation" is that through it, one might expose reality, or explain oneself. -Ai WeiWei

Who I M Series, 2010 - 2014, 
Affective Memory Screen Capture 
by DS Pollack
Includes Instant Message Conversations.

DS Pollack brings to the Conceptual Art Genre of Performance Art
the Use of Alters, Questioning the Reality of Identity

#chasealias #endogenous #theorizeart #screencapture #NewMedia #Immersionist #NetArt

Tuesday, August 11, 2015

Curator's Choice: Dystopian Manga in Pierre Huyghe's One Million Kingdoms at Tate Liverpool | Culture24

A photo of a glowing Manga character at Tate Liverpool, from Pierre Huyghe’s One Million Kingdoms – part of the new collection display, DLA Piper Series: Constellations
Pierre Huyghe’s One Million Kingdoms 
© Tate Liverpool, Laura Deveney
“When I was in my teens I had a subscription to a magazine that championed Japanese pop culture; it introduced me to the edgy and frequently beautifully rendered worlds of Anime and Manga – Japanese animation and comic books.

I was hooked in particular by the style of illustration used to bring the characters that populated these stories to life – all cool, angular hair and androgynous features. Years later I’m still a sucker for films by the likes of Studio Ghibli, the producer of contemporary classics such as Spirited Away, Ponyo, and The Wind Rises.

It’s fascinating to see how something that was once so niche has become ‘just’ another way for western audiences to consume animated film. Despite its adoption by the mainstream, however, I don’t think I ever envisaged seeing anything inspired by this medium exhibited at Tate Liverpool.

Enter Pierre Huyghe’s One Million Kingdoms, made in 2001. One ‘chapter’ of No Ghost Just a Shell, a collaborative project initiated by Huyghe and his fellow artist, Philippe Parreno, its overarching title owes a debt to the 1995 dystopian neo-noir Ghost in the Shell.

It’s fitting that this particular iteration of the experiment was realised in 2001 – its chronology putting the work in direct narrative correspondence with the masterful Stanley Kubrick film 2001: A Space Odyssey.

In the context of the work’s setting at Tate Liverpool – juxtaposed with Richard Hamilton’s JFK-featuring Towards a definitive statement on the coming trends in menswear and accessories (a) Together let us explore the stars, from 1962, it becomes especially apt in light of Kennedy’s exhortation the same year that ‘we choose to go to the moon.’

Central to One Million Kingdoms is Annlee, an ostensibly unremarkable Manga character that Huyghe and Parreno bought the rights to. The character was made available for subsequent use to other artists.

She is perfectly cast, a vessel for exploring the narratives of the different authors who have her at their disposal: ‘just a shell’, belatedly imbued with a life, a personality and purpose – however prone to change that purpose may be.

I experienced a protective response to Annlee as she explored the desolate and undulating lunar landscape alone; the terrain changing according to the tone of her voice, an uncanny digital synthesis of the voice of astronaut Neil Armstrong combined with passages from Jules Verne’s 1864 novel Journey to the Centre of the Earth.

Intriguingly, our heroine’s first steps in One Million Kingdoms are accompanied with the words ‘it’s a lie.’ Three words which conjure, once again, Stanley Kubrick – a director who so skilfully and convincingly brought space travel to life in his 1968 opus that even today rumours persist among some that he was party to faking the following year’s moon landing on a Hollywood backlot.

What does it all mean? On one level it drags the Duchampian idea of the readymade into the 21st century and asks questions of ownership, both literal and intellectual. For Huyghe it demonstrates the increasingly fine lines between reality and fiction, an exploration of parallel universes perhaps – or, as he has said, the ‘many different present moments possible’.

For others - myself for instance - it’s an opportunity to see Anime in a fine art setting, amid myriad works expanding elements and ways of thinking emerging from Richard Hamilton’s constellation.

DLA Piper Series: Constellations groups together major works from the Tate collection to encourage the exploration of connections between them. At the heart of each grouping is a ‘trigger’ work that has been selected to originate a variety of correspondences with modern and contemporary art.

Huyghe’s One Million Kingdoms 2001 forms part of the Richard Hamilton constellation.”

  • DLA Piper Series: Constellations is at Tate Liverpool until summer 2016.

More pictures from the exhibition

A photo of a silver square artwork as part of the DLA Piper Series: Constellations exhibition at Tate Liverpool
DLA Piper Series: Constellations exhibition at Tate Liverpool
© Tate Liverpool, Roger Sinek
A photo of a nude sculpture in front of lots of colourful textiles as part of the DLA Piper Series: Constellations exhibition at Tate Liverpool
nude sculpture in front of lots of colourful textiles as part of the DLA Piper Series
© Tate Liverpool, Roger Sinek
A photo of a piece of pink artwork and wires on a wall as part of the DLA Piper Series: Constellations exhibition at Tate Liverpool
pink artwork and wires on a wall as part of the DLA Piper Series: Constellations exhibition
© Tate Liverpool, Roger Sinek
A photo of a wooden sculpture hanging from a gallery ceiling as part of the DLA Piper Series: Constellations exhibition at Tate Liverpool
wooden sculpture hanging from a gallery ceiling as part of the DLA Piper Series: Constellations
© Tate Liverpool, Roger Sinek
A photo of a woman looking at framed artworks on a gallery wall as part of the DLA Piper Series: Constellations exhibition at Tate Liverpool
woman looking at framed artworks on a gallery wall as part of the DLA Piper Series: Constellations
© Tate Liverpool, Roger Sinek
A photo of lots of small metal irons in a gallery display case as part of the DLA Piper Series: Constellations exhibition at Tate Liverpool
small metal irons in a gallery display case as part of the DLA Piper Series: Constellations
© Tate Liverpool, Roger Sinek
Three galleries to see great modern art in

Scottish National Gallery of Modern Art, Edinburgh
An outstanding collection of international post-war work and the most important and extensive collection of modern Scottish art. The post-war collection features art by Francis Bacon, David Hockney, Andy Warhol and Lucian Freud, with more recent works by artists including Antony Gormley, Gilbert & George, Damien Hirst and Tracey Emin.

Middlesbrough Institute of Modern Art
mima opened to international critical acclaim in January 2007, and is now renowned for hosting temporary exhibitions of fine art and craft from 1900 to the present and showcasing work by internationally respected artists.

Bristol Museum and Art Gallery
Current exhibition Modern Art in Britain: Reality Questioned aims to show how painters such as Barbara Hepworth, Henry Moore, David Bomberg and Eric Ravilious experimented with primitivism, illusion, visual puns and abstraction.