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!DOCTYPE html PUBLIC -//W3C//DTD XHTML 1.0 Strict//EN       http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd>html xmlnshttp://www.w3.org/1999/xhtml xml:langen langen>head>meta http-equivContent-Type contenttext/html;charsetutf-8 />meta namedescription contentThe opinionated New York art guide />meta namekeywords contentgalleries, gallery, contemporary art, exhibitions, painting, sculpture, conceptual, drawing, photography, New York, calendar, guide, New York City, Chelsea, Williamsburg, East Village, Lower East Side, DUMBO, Greenpoint, emerging artists, listings, gallery listings, art gallery listings />link relshortcut icon hrefhttp://static.artcat.com/assets/artcal-favicon.ico typeimage/x-icon />link relalternate typeapplication/atom+xml titleAtom hrefhttps://feeds.feedburner.com/ArtcalZine />title>ArtCat Zine     /title>    link relshortcut icon hrefhttp://app.artcat.com/favicon.ico typeimage/x-icon />link href/static/blueprint/screen.css relstylesheet typetext/css />link href/static/blueprint/print.css mediaprint relstylesheet typetext/css />!--if IE>link href/static/blueprint/ie.css mediascreen relstylesheet typetext/css />!endif-->link relstylesheet typetext/css hrefstatic/zinenew.css mediaall />/head>body>  div classcontainer>  	hr classspace />  	hr classspace />  	div classspan-14>  		a hrefhttp://www.artcat.com/>img srchttp://static.artcat.com/assets/art_cat_head.png altARTCAT/>/a>  	/div>		div idheader-nav classspan-10 last>									!--   header navigation   -->  		br />  		h3 classartcatred>a hrefhttp://calendar.artcat.com/ classartcatred>CALENDAR/a> | a hrefindex.html classartcatred activesection>THE ZINE/a> | a hrefhttp://hosting.artcat.com/ classartcatred>HOSTING/a>/h3>  	/div>  	hr classspace />    p stylecolor: #0829DB; font-weight: bold; font-size: larger>This is an archive of the ArtCat Zine, 2007-2009.  Please visit our new project, a hrefhttp://idiommag.com/>IDIOM/a>./p>  	hr classspace />  	div classspan-15 append-1 left> !-- main content -->    div identry-459 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/08/rancourtyatsuk-production-stil.php.html>Master Cleanse at Kate Werble/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/stephanie_korszen/index.html>Stephanie Korszen/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | August  3, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-right>a hrefupload/2009/08/33_mc-d2-b400(2).jpg>img srcupload/2009/08/33_mc-d2-b400(2)-thumb-300x195.jpg width300 height195 alt33_mc-d2-b400(2).jpg/>/a>div classphoto-caption>Rancourt/Yatsuk, Production Still From em>Master Cleanse/em>, 2009/div>/div>p>a hrefhttp://www.katewerblegallery.com/>Kate Werble Gallery/a> hosts em>Master Cleanse /em>– a revolutionary two-day life-cleansing program – this Tuesday, August 4th, and Wednesday, August 5th.  For the duration of the exhibition, artists Rancourt and Yatsuk invite guests to meet with specialists one on one for a first hand exploration of various extreme tools concerning modern wellness. The program embraces controversial new age methods, as well as the accompanying ambiguities and commercial issues.  The gallery invites visitors to schedule appointments for either day, from 4 to 8 PM by e-mailing mastercleansereservationsatkatewerblegallery.com. Walk-ins are also welcome. br /> br />The artists, Justin Rancourt and Chuck Yatsuk, focus their work on “American leisure pastimes.”  Rancourt/Yatsuk live and work in New York City. /p>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/08/rancourtyatsuk-production-stil.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-458 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/burgers-at-the-laundromat.php.html>Burgers at the Laundromat/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/stephanie_korszen/index.html>Stephanie Korszen/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | July 31, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-right>a hrefupload/2009/07/ZelwiesBurger.jpg>img srcupload/2009/07/ZelwiesBurger-thumb-300x231.jpg width300 height231 altZelwiesBurger.jpg/>/a>div classphoto-caption>Juliane Zelwies, em>Hamburger Diagram/em>/div>/div>p>br />Saturday, August 8th, the Laundromat kicks off its 2009 season with The Burger Group Show – a one-day exhibition complete with selections from The Laundromat Flat File and a menu of conceptual burgers.  The show features work by returning Laundromat artists, as well as newcomers who will be exhibiting their work with the space this fall. /p>p>Each participating artist has crafted a conceptual hamburger that references the study of art history, or art-related concepts.  The artists will be writing descriptions of their respective burgers for the menu, and cooking their creations for patrons.  Founder and director of the Laundromat, Kevin Andrew Curran, sees the menu as a tongue-in-cheek opportunity for the artists to make commentary and fuel artistic discourse. /p>p>Curran does not intend to teach visitors a formal lesson, but he does see the potential for artists and visitors alike to indulge in some (serious) fun with the idea of creating and consuming hamburgers that are playfully engaging art history.  The show also provides an opportunity for the Laundromat to display works from the spaces rotating Flat File. Artists included in the File lend their work to the Laundromat for one year, after which the drawer may be offered to another artist.  In this way, Curran hopes to increase the number of artists whose work may be viewed in the flat file, while simultaneously increasing the geographic diversity of the collection. /p>p>The Burger Group Show will be held at the Laundromat gallery on Saturday, August 8th, from 6-10 PM.  Participating artists include Chris Deo, Sarah McDougald Kohn, Maria Walker, Jonathan Allmaier, Scott Wilson, Ben Godward, Joe Protheroe, Ianthe Jackson and Liz Atzberger.  Conceptual burgers will be on sale for $5 to $20, and visitors are invited to take home a copy of the menu.br />/p>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/burgers-at-the-laundromat.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-457 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/nejla-yatkin-at-goethe-institu.php.html>Nejla Yatkin at Goethe Institute/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/scsquibb/index.html>S.C.Squibb/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | July 30, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-center>a hrefupload/2009/07/1989-11-09_People_freed_from_communist_East_Germany_for_first_time_in_40_years_as_the_Berlin_Wall_is_torn_down_November_11_1989.jpg>img srcupload/2009/07/1989-11-09_People_freed_from_communist_East_Germany_for_first_time_in_40_years_as_the_Berlin_Wall_is_torn_down_November_11_1989-thumb-600x401.jpg width600 height401 alt1989-11-09_People_freed_from_communist_East_Germany_for_first_time_in_40_years_as_the_Berlin_Wall_is_torn_down_November_11_1989.jpg/>/a>div classphoto-caption>via http://english.ttu.edu/div>/div>p>br />Growing up, I remember imagining that Berlin was located directly in the center of Germany. Thus the wall, whose existence we barely understood, was merely the manifestation of a line that ran the length of the country, spreading out from the city to the north and to the south. I also remember the day when my teacher sat us down to explain, as best she could, that the world had somehow changed, and that the biggest country on the map was now much smaller. In my head this was a hugely important development, indicating not only the immanent arrival of all new maps, but also promising big changes on those maps. Whole new countries. More colors. I was terribly disappointed when the new maps arrived and the changes seemed decidedly less than had been expected. I only bothered to learn the name of the biggest new country: Kazakhstan, while noting that Russia - which has always been its name in practice - still looked pretty big to me. /p>div classimage-center>a hrefupload/2009/07/berlin_wall_03.jpg>img srcupload/2009/07/berlin_wall_03-thumb-600x396.jpg width600 height396 altberlin_wall_03.jpg/>/a>div classphoto-caption>Robert Lacke / Time Life Pictures / Getty via time.com/div>/div>p>/p>p>To this day I cant decide to what degree these youthful misunderstandings warped the reality of the situation. Berlin is certainly not in the center of Germany, but Russia still looms terribly large, both literally and figuratively. And the Berlin Wall, for its part, did run the length of the country, in a great many ways. Nejla Yatkin is an internationally renowned choreographer who grew up with the Wall in the way I grew up with those maps, as a consistent presence. Friday, at the a hrefhttp://www.goethe.de/ins/us/ney/ver/en4611773v.htm>Goethe Institute/a> she will be leading a discussion about how The Wall has affected all of us, and about how the lines between the personal and the historic can often blur. The talk begins at six, and is free. /p>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/nejla-yatkin-at-goethe-institu.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-455 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/ellis-gallagher-at-collective.php.html>Ellis Gallagher at Collective Hardware/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/scsquibb/index.html>S.C.Squibb/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | July 23, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-center>a hrefupload/2009/07/EllisG_rain3.jpg>img srcupload/2009/07/EllisG_rain3-thumb-600x429.jpg width600 height429 altEllisG_rain3.jpg/>/a>div classphoto-caption>via ellisgallagher.com/div>/div>p>Three questions for Ellis Gallagher, whose first a hrefhttp://www.artcat.com/event/view/6/9920>solo show opens today at Collective Hardware/a>: /p>p>strong>ArtCat:/strong> Could you speak briefly about your work in relationship with everyday life? /p>p>strong>Eliis Gallagher: /strong>My work is directly related to everyday life, the content and subject matter of my work are all items/objects we deal with on a daily basis./p>p>I am simply putting works out there on the streets for people to enjoy publicly and also photographing my works to make prints - so people can enjoy them privately. /p>p>strong>AC/strong>: Is there a logic to how you choose your objects? Do they present themselves in such and such a way?/p>p>strong>EG/strong>: Sometimes there is a rhyme and reason behind which objects I work with, other times I like to randomly choose objects, in random geographical locations. It really depends on what is catching my eye at the moment; light source comes into play, as does color, dry/wet streets, chalk brand and location./p>p>strong>AC:/strong> Can you talk a little about the relationship between the objects themselves, your chalk renderings of them, and the images of said renderings? /p>p>strong>EG:/strong> It is all related. The objects are already there and have always been there. I am enhancing these objects with chalk. The shadows of these objects. In situ, it is sculpture/installation. Be it public or private. Photographed. Prints can be made from the photographs, so it becomes a different medium.br />/p>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/ellis-gallagher-at-collective.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-456 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/the-rotten-riotous-west-at-ven.php.html>The Rotten Riotous West at Venetia Kapernekas /a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/scsquibb/index.html>S.C.Squibb/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | July 22, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-center>a hrefupload/2009/07/RRW_2.jpg>img srcupload/2009/07/RRW_2-thumb-600x443.jpg width600 height443 altRRW_2.jpg/>/a>div classphoto-caption>/div>/div>p>Images from Margo Victors film, a hrefhttp://calendar.artcat.com/event/view/1/9907>em>The Rotten Riotous West/em>/a>, which opens tonight at Venetia Kapernekas. /p>        /div>        div classasset-more-link>            Continue reading a href2009/07/the-rotten-riotous-west-at-ven.php.html#more>The Rotten Riotous West at Venetia Kapernekas /a>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/the-rotten-riotous-west-at-ven.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-454 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/on-christopher-payne.php.html>On Christopher Payne: Nostalgia and the Asylum/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/greg_afinogenov/index.html>Greg Afinogenov/a> | a hreffeatures/index.html>Features/a> | July 16, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-center stylewidth:507px;>img srcupload/2009/07/PayneC_1.jpg width507 height400 altChristopher Payne, "Asylum Exteriors, Utica State Hospital," date unknown, photograph./>div classphoto-caption>Christopher Payne, i>Utica State Hospital, NY/i>, date unknown, photograph, dimensions unknown. Via artists website./div>/div>p>/p>p>b>Asylum: Inside the Closed World of State Mental Hospitals/b>br />The Urban Center, New York NYbr />Friday, July 10, 2009 /p>p>Straitjackets, cavernous hallways with peeling paint, a title cast in a well-worn sensationalistic mold: the marketing for a hrefhttp://www.archleague.org/index-dynamic.php?show925>Chris Paynes Friday presentation at the Architectural League of New York/a> set up a familiar sort of expectation for me. I knew what I would hear. The photographer, fresh from a day trip to one of the more convenient asylum-hulks in the area, would play up the Gothic-horror angle, show lurid closeups of bloodstained old medical equipment, insinuate that the place was haunted, then hawk his book to the audience. I, too, showed up, ready to do my part — scribble “Foucault” in my notebook, quote some old situationist to the effect that “the newest school buildings are indistinguishable from the newest prisons or the newest industrial complexes,” and so on. /p>div classimage-right>a hrefupload/2009/07/PayneC_2.jpg>img srcupload/2009/07/PayneC_2-thumb-300x388.jpg width300 height388 altChristopher Payne, "Patient Suitcases, Bolivar SH, TN," 2008, photograph, dimensions unknown. />/a>div classphoto-caption>Christopher Payne, Patient Suitcases, Bolivar SH, TN, 2008, photograph, dimensions unknown. Via artists website./div>/div>p>The reality was a pleasant surprise. Payne is no idle urban explorer; a hrefhttp://www.chrispaynephoto.com/payne.html>his project involves the careful photographic documentation/a> of state mental hospitals all over the United States. He has a genuine affection for these old spaces, not because of their creepy ambiance, but because they are the remnants of self-sufficient little communities that once enclosed everything from dairy farms to power stations. For Payne, they represent an echo of an America that once was — a place where things were still made, where homes were more than faceless condominiums. (He is an architect by training, so it is unsurprising that the real horror for him is the asylums gradual destruction at the hands of condo developers.) His photographs are thus suffused with a peculiarly poignant kind of nostalgia; in many cases, the buildings they depict have already been demolished. /p>p>The state mental hospitals, he explains, were built between the mid-nineteenth and early twentieth centuries, before psychotropic drugs and scientific psychiatry. (In fact, the Association of Medical Superintendents of American Institutions for the Insane was the precursor to the APA). In the absence of any reliable neurological treatment, the patients were offered complete isolation, natural surroundings and plenty of manual labor. At its height, the system housed over half a million people, the hospitals farms and shops contributing to local economies throughout the country. In the postwar period, however, inmate labor was banned and a variety of new therapies made the asylums obsolete. Some still function; others are used as prisons or housing complexes, or simply stand empty. /p>        /div>        div classasset-more-link>            Continue reading a href2009/07/on-christopher-payne.php.html#more>On Christopher Payne: Nostalgia and the Asylum/a>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/on-christopher-payne.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-453 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/public-practice-at-eyebeam.php.html>Public Practice at Eyebeam/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/scsquibb/index.html>S.C.Squibb/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | July 16, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-left>a hrefupload/2009/07/lambert-install-2.jpg>img srcupload/2009/07/lambert-install-2-thumb-300x200.jpg width300 height200 altlambert-install-2.jpg/>/a>div classphoto-caption>Steve Lambert, em>Everything You Want, Right Now/em> via. visitsteve.com/div>/div>p>The relationship between art and issues of the public, or the political has long been contentious. If the work is good, the thinking goes, why the additional qualification public-art or political-art? By demarcating a separate genre one creates different sets of rules for different kinds of art. This then reinforces the very boundaries which are often a target of artworks concerned with issues of the public and the private, in addition to absolving those works that otherwise would be seen as firmly supporting the status quo. These and other issues will be debated tonight at a hrefhttp://eyebeam.org/>Eyebeam/a> as part of their Summer School series. The presentation promises:  A rousing debate (with declaimed manifestos)  from artists Hans Bernhard (Ubermorgen.com), and Patrick Lichty, Also in attendance will be a hrefhttp://visitsteve.com/>Steve Lambert/a>, (of last years fake times and other strokes of brilliance) and Stephen Duncombe, editor of the much beloved em>Cultural Resistance Reader/em>. The talk runs from 6 to 8 pm, and is free. /p>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/public-practice-at-eyebeam.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-452 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/the-modern-and-manet-at-bastil.php.html>The Modern and Manet at Bastille Day/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/scsquibb/index.html>S.C.Squibb/a> | a hrefevents/index.html>Events/a> | July 14, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-right>a hrefupload/2009/07/E.Manet - Olympia.jpg>img srcupload/2009/07/E.Manet - Olympia-thumb-300x218.jpg width300 height218 altE.Manet - Olympia.jpg/>/a>div classphoto-caption>Manet, em>Olympia/em>, via wikipedia/div>/div>p>The French Revolution, which we celebrate today, is often taken in tandem with the industrial revolution as marking the birth of the modern world. If this is the case, it stands that modern art was decidedly late to the party. Sixty-six years late, to be exact, if we take Manet’s em>Olympia /em>as the first document worthy of the descriptor. Here’s T.J. Clark on the subject: “Something decisive happened in the history of art around Manet which set painting and the other arts on a new course. Perhaps the change can be described as a kind of skepticism, or at least unsureness, as to the nature of representation in art.” In this rendering, the modern revolution in art does not immediately seem to resonate with what we understand of the French Revolution, taken here as the modern revolution in politics - in either timing or content. /p>p>The argument could be made, certainly, that those shopkeepers, em>rentiers/em>, artisans and journeyman who sacked the Bastille two-hundred and twenty years ago today were displaying a pointed skepticism towards the nature of representation in politics; but ‘unsureness’ doesn’t really capture the spectacle of the same dancing around Paris with the Governor’s head on a pike. Perhaps the comparison is fruitless, and ‘modern’ is best understood to be a mere chronological indicator, employed by different disciplines to recognize decisive moments in their respective histories, but irreducible to any common essence. /p>        /div>        div classasset-more-link>            Continue reading a href2009/07/the-modern-and-manet-at-bastil.php.html#more>The Modern and Manet at Bastille Day/a>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/the-modern-and-manet-at-bastil.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-451 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/nobody-zone-at-studiox.php.html>No-Body Zone at Studio-X/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/scsquibb/index.html>S.C.Squibb/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | July 13, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-left>a hrefupload/2009/07/no-body cover.jpg>img srcupload/2009/07/no-body cover-thumb-300x380.jpg width300 height380 altno-body cover.jpg/>/a>div classphoto-caption>/div>/div>p>The haunting of the theatrical avant-garde by its written texts makes contemporary arts reliance on the archive look  incidental by comparison.There is good reason for this. Since performance combines so many different registers of representation at once, and all their attendant problematics, it requires that many more conceptual frameworks to support it. Few theatrical auteurs have seen fit to provide this documentation, and the most famous one, Artaud, provided only that, so far superior was em>The Theater and Its Double/em> to any of his relevant theatrical practice. Richard Foreman, however, is a welcome exception to this tendency, making freely available his many notebooks and written works in relation to his more famous productions. Now, a hrefhttp://www.nobodyzone.com/>No-Body Zone/a>, is taking one of these texts as impetus for creating an Exploding Audiobook this a hrefhttp://beta.arch.columbia.edu/event/gsapp-event/no-body-zone-designing-exploded-audiobook>Tuesday at Studio X./a> The performance attempts to grapple with the question Can a media city-structure be built out of (Foremans book em>a hrefhttp://www.nobodyzone.com/text.html>No-Body/a>/em>) ? The performance starts at 7, seating is limited and reservations are required. /p>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/nobody-zone-at-studiox.php typetext/javascript charsetutf-8>/script>/div>/div>    div identry-450 classentry-asset asset>    div classasset-header>        h2 classzine-title artcatred>a href2009/07/art-and-power-at-the-drawing-c.php.html>Art and Power at The Drawing Center/a>/h2>        div classasset-meta>    span classbyline>        By a hrefcontributor/b_blagojevic/index.html>B. Blagojević/a> | a hrefevents/index.html>Events/a>, a hrefupcoming/index.html>Upcoming/a> | July 10, 2009    /span>/div>    /div>    div classasset-content>        div classasset-body>            div classimage-right>a hrefupload/2009/07/gusmao474.jpg>img srcupload/2009/07/gusmao474-thumb-300x225.jpg width300 height225 altJoão Maria Gusmão + Pedro Paiva, Colombos Column, 2006, still from silent 16mm film, 3:02 min./>/a>div classphoto-caption>João Maria Gusmão + Pedro Paiva, i>Colombos Column/i>, 2006, still from silent 16mm film, 3:02 min. Via CCA Wattis Institute for Contemporary Arts./div>/div>p>Artist Warren Neidich has organized a day-long panel discussion taking place a hrefhttp://www.drawingcenter.org/events_public_01.cfm>tomorrow afternoon at The Drawing Center/a>. Present will be a diverse group of artists and writers including Keller Easterling, Boris Groys, David Joselit, Jonatan Habib Engqvist and others. The topic at the center for the convergence will be art and power, or, to risk begging the same question the events title suggests, the power of art. Its something of a perennial concern for culture workers in a country where contemporary art -- and the liminal conversations that recede from its limits into neighboring disciplines -- remains steadfastly excluded from the national discourse. In a cultural field as comparatively cash rich, media enabled and internationally dispersed, its no small wonder why it remains sequestered from the more fluid stream of popular culture. To creatively illustrate the point we may cite a myriad of quotidian metrics, from relatively low museum attendance rates in relation to other Western countries, to the phantom readership of the ever expanding realm of arts journalism, as deftly outlined by James Elkins in his 2003 book i>What Happened to Art Criticism?/i>. But power, of course, as living thinkers from Rancière to Groys remind us, does not necessarily equate visibility or even the consolidation of bodies and wills in time and space -- even though the popular imaginings of its resistance remain fixed on these models. With a gentle insistence, then, our editors suggest tomorrows panel to readers interested in these questions. /p>        /div>    /div>    div classasset-footer>script srchttps://feeds.feedburner.com/~s/ArtcalZine?ihttp://zine.artcat.com/2009/07/art-and-power-at-the-drawing-c.php typetext/javascript charsetutf-8>/script>/div>/div>  	/div>  	div classspan-8 last right>  		!-- RIGHT -->  		div classspan-8 last>  		/div>  		hr classspace />      hr classspace />  		div classspan-7 prepend-1 last>  			!-- search form GOES HERE -->                form actionhttps://www.google.com/cse idcse-search-box>          div classspan-6>            input typehidden namecx valuepartner-pub-5677245260484261:ik66hl-tiyh />            input typehidden nameie valueUTF-8 />            input typetext nameq size20 />            input typesubmit namesa valueSearch />          /div>        /form>        script typetext/javascript srchttps://www.google.com/coop/cse/brand?formcse-search-box&langen>/script>  		/div>      hr classspace />  		div classspan-4 prepend-10px>  			!-- first column of side content GOES HERE -->  			h3 classartcatred>ZINE/h3>  			h6 classquiet>a hrefindex.html>HOME/a>/h6>        br />  			h6 classquiet>TIPS / COMMENTS/h6>          p classquiet>a hrefcdn-cgi/l/email-protection.html#b2d7d6dbc6ddc0f2d3c0c6d1d3c69cd1dddf>span class__cf_email__ data-cfemail482d2c213c273a08293a3c2b293c662b2725>email protected/span>/a>br />        a hrefhttps://twitter.com/aczine>Twitter/a>/p>	 h6 classquiet>CATEGORIES/h6>	ul>	li> a hrefannouncements/index.html>Announcements/a>/li>	li> a hrefevents/index.html>Events/a>/li>	li> a hreffairs/index.html>Fairs/a>/li>	li> a hreffeatures/index.html>Features/a>/li>	li> a hrefnews/index.html>News/a>/li>	li> a hrefreviews/index.html>Reviews/a>/li>	li> a hrefroundup/index.html>Roundup/a>/li>	li> a hrefupcoming/index.html>Upcoming/a>/li>	/ul>ul>li>a hrefarmory2008/index.html>Armory 2008 Coverage/a>/li>/ul>h6 classquiet>CONTRIBUTORS/h6>	ul>	li> a hrefcontributor/greg_afinogenov/index.html>Greg Afinogenov/a>/li>	li> a hrefcontributor/b_blagojevic/index.html>B. 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Domain > zine.artcat.com

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Port 443