Rebeca Méndez, Series: Homeland 3, "Peace White", 2004, ink-jet art print and plexiglas, 40 X 15 X 15 inches.

Andlab presents Rebeca Méndez, "Each Day at Noon", on view through December 7, 2006. Since the late 1980s, the subjects of Rebeca Méndez’s photographic series are varied and have included industrial hotel beds, landscapes, seascapes, and natural patterning. Her works are studies in the everyday, in stillness and emptiness, as well as in isolating the temporal in phenomena.

Méndez completed her B. F. A. at Art Center College of Design, Pasadena, in 1984. After a successful career in design, returned to Art Center to receive her M. F. A. in art and new media, in 1997. She is based in Los Angeles and travels internationally capturing images in various media—16mm film, digital video and photography.

In 2004, Méndez began her Homeland series consisting of extreme panoramic landscapes of what she calls ‘ever landscapes’–landscapes and seascapes being farmed and quarried for daily human nourishment and consumption. Méndez’s interest is to give the viewer a glimpse of these raw materials in their integrity and beauty, as well as expose cost of convenience. Her landscapes and seascapes are carefully planned images of sea or land and sky in which horizon line bisects each picture. In her compositions, she creates new, non-existent landscapes where glaciers float puffy clouds and Nordic cows graze on top of tropical waters. Each of the six compositions has an overall dominating – red, orange, yellow, blue, green and white. The first five of those colors correspond to the United States’ Department Homeland Security’s National Alert Threat Levels. Méndez realized that "peace"—currently the most important ambition humanity—and its corresponding color, white, were missing from the chart, and it became her sixth composition. Méndez’s latest photographic work About to Happen, 2006, consists of still frames of her 16mm film shoot throughout Iceland. By isolating a single frame of an infinite repetition, Méndez images move beyond appearance and expose temporality in phenomena. In ‘Dettifoss 001’, Méndez captures an instant of Europe’s largest waterfall–500 cubic meters per second.

‘Rebeca Méndez Each Day at Noon’ at ANDLAB ART Gallery features works from Méndez’s Homeland 3 and About series.

ANDLAB shows works in its mission to foster curiosity and knowledge, offers a variety educational opportunities and creative developments through its selection of art and design classes and projects.

Warhol (1928-1987), Pink Marilyn, 1985.

Coskun announces the launch of their new galleries at 91 Walton Street with a series of works by Andy Warhol ranging from Pink sparkling Shoes to Pink Marilyn. Andy Warhol succeeded almost single-handedly in resurrecting grand-style portraiture of people important, glamorous, notorious or rich enough – whether statesman, actresses, or wealthy patrons of the arts – to warrant leaving their human traces in the history of painting. His representation of these subjects evinces a ring of commonplace truth that we recognize from the newspapers and glossy magazines that disseminated their fame; and it is this facet of Warhol’s, his remarkable ability to elevate seemingly ordinary images, that has, for the 21st Century viewer, achieved a level of recognition that is even greater than those he depicted. One can view at the exhibition portraits from Marilyn to Prince to Reagan to Lenin.

As well as portraiture, it was the women’s shoes that Warhol had a fascination from as early as 1950s when he was working for I. Miller. Already a stylish and successful commercial artist in 1955, Warhol was offered the I. Miller account by Geraldine Stutz. Immediately, his whimsical and inventive shoe drawings became the talk of the town. But, it was in the 1980s that Warhol created oversized Shoe canvases sparkling with diamond dust.

This year’s cycle of talks on the Public Domain continues on

Wednesday, November 29, 2006, 6:30 PM
Radio Communities: The Other Side of the Electronic Divide

Monday, December 4, 2006, 6:30 PM
Open Source: On the Line

The New School
55 West 13th Street
New York City
http://www.nsu.newschool.edu/vlc/

Astrodome Radio and Hurricane-Affected LPFMs
A six watt micro-radio station broadcasts from an Airstream trailer in the parking lot outside the New Orleans Astrodome.
Image courtesy: Prometheus Radio Project

Wednesday, November 29, 2006, 6:30 PM
Radio Communities: The Other Side of the Electronic Divide
The New School
55 West 13th Street
New York City

Radio has reemerged as one of the most accessible media. Cheap, omnipresent, and now low-tech, it is transforming the way we think of geography and public place in locations as disparate as Oaxaca, Beirut, and the Lower East Side. Radio has gained additional prominence and validity in politically charged situations which demand anonymity of dissenting citizens. What political, cultural and humanitarian goals can be served exclusively by this medium? How does radio function as a tool for shared information? This panel will discuss the ability of airwaves to keep the world connected near and far when other technology fails.

Panelists:
Khin Phyu Htway, student, The New School; Voice of America, Burmese service
William H. Siemering, President, Developing Radio Partners
Pete Tridish, Prometheus Radio Project
Gregory Whitehead, artist

Moderator:
Stephanie Guyer-Stevens, Producer, Outer Voices

• Monday, December 4, 2006, 6:30 PM
Open Source: On the Line
The New School
55 West 13th Street
New York City

Artists and technologists mine the promising aesthetic and political possibilities afforded by different open source systems, a powerful concept that is revolutionizing human interaction. In the open source concept, something given for free becomes, thanks to its ubiquity and utility, valuable and even indispensable. Panelists examine sites like Wikipedia and Digg.com, as well as p2p networks and social networking sites. They also explore offline artwork, arts institutions and businesses that have sought to adopt open source models and current challenges to its continuation such as "net neutrality."

Panelists:
Cory Arcangel, artist
Joy Garnett, artist
Daniel Mayer, Co-founder, Wikipedia
Laura Quilter, Founder, Fair Use Network

Moderator:
Christiane Paul, Adjunct Curator of New Media Arts, The Whitney Museum of American Art

Co-sponsored by Rhizome.org.

It’s a busy December for the C6 disaster unit providing visuals for the Buzzcocks in a national celebration of their 30 years in punk. The 12th of December will see C6 link cargo in Shoreditch, London with Sine Wave Island in Second Life for a one off dual dimensional show with Longrange (ex orbital Phil Hartnoll). All accompanied of course by lashings of spray paint (check out the map, www.c6.org/thedotmasters )

The BUZZCOCKS 30 retrospective exhibition, a multimedia display featuring artwork by Malcolm Garrett and photographs by Kevin Cummins and Chris Gabrin accompanies C6’s VJ punk backdrop to the band and supporting acts.

28/11 St Albans Alban Arena,29 Bristol Anson Rooms,1/12 Manchester Academy,2 London Forum,4 Northampton Deco,7 Gateshead Sage,8 Glasgow ABC,9 Warwick Arts Centre

On the 12th of December at Cargo London and Sine Wave Island in Second Life, Longrange and C6 mix it up for two audiences, visualizations in both will merge these venues with streaming media, so join us at either location for an evening of stunning music and visuals.

http://www.buzzcocks.com/site/livedates.html

http://www.myspace.com/longrangemusic

http://www.c6.org

An exhibition of Damien Hirst's private collection shows just how infuriating and inspirational he is, says Richard Dorment

When someone once asked Andy Warhol why he had papered a large gallery at the Whitney Museum with garishly coloured wallpaper patterned with the head of a cow, he replied that he wanted New Yorkers to be able to stand at the entrance to the show, look into the gallery, and be able to say truthfully that they'd seen the Warhol exhibition. The same could (almost) be said about the Serpentine's show of Damien Hirst's private collection

More

You are invited to the private view of John Logan's new installation; What's inside the pea? What's outside the pea? How can the pea be?

WEDNESDAY 29TH November 2006 6pm > 8pm Nancy Victor

http://www.nancyvictor.com