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~ Open Call NYC Exhibition

“O’Flaherty’s Presents “The Patriot” July 9th an Open Call group show:
If it can hang on the wall, we will show it. If it’s really big or heavy text or DM us. If it’s a sculpture, DM me and I will logistically try to make it happen. You MUST drop it off or pick it up yourself at the gallery. **It will be historical and totally worth it, so make it good.** One artwork per person. There will be no context or pretense to how we hang it. The opening is July 9th.

55 Avenue C
any Thursday, Friday, Saturday, Sunday 3:00pm- 7:00 pm.
You have until July 7th to bring it over, and when the show is over, you need to pick it up”

Link to original post here

~ The Midnight Pub

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___      ___     .'The'.     ___      ___ |
|+|      |+|   MidnightPub   |+|      |+| |
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  I    I@|/            `Y@    I    I_.-.I
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It’s late. You are seconds away from the main street in a small alley. It’s quieter here, but you can still hear the sound of chatter, footsteps, and cars from busy downtown. The city is buzzing, the streets are like arteries. You see an intriguing place in the alley, with a moon on its door. It reads “The Midnight Pub”.

The Midnight is a virtual pub that lets you write posts and create pages.


~ Mathieu Canet Interviewed by Lucia Bell-Epstein and Siân Lathrop

Continued from: ~Oeufs Mimosa – Food Journals from a Month in Paris 

Ready to eat, we meet Simonez for lunch on a beautiful Saturday afternoon. All three of us arrive at Le Dauphin, the sister restaurant of the renowned Chateaubriand, around 1:15 PM.

The two restaurants sit beside each other on Ave Parmentier, and are credited with putting the 11th arrondissement on the map. While the Chateaubriand is known for its experimental plates, Le Dauphin does beautifully executed classic French food and wine.

The atmosphere in Le Dauphin is unmatched. The restaurant was designed by Rem Koolhaus, and the space makes a visit to Le Dauphin worth it even before you’ve started eating. The menu is warm and familiar, a contrast to the coldness of the marble interior.

Simonez is friends with Chef Mathieu Canet and has set us up to interview him. We order Oeufs Mimosa to start, and Chef Mathieu sends out grilled fish for us. The menu is deceptively simple, everything is in season. We have a salad of cilantro, a plate of grilled leeks with vinaigrette, and a ricotta and spinach tart. It tastes like spring. For dessert, a twist on the American classic, a banana sundae.

We are served food on plates that, when polished off, reveal a tiny red dolphin. As we eat, I can’t help but laugh. The restaurant seems to wink at itself. We are sitting in a marble box, listening to music playing out of black modernist speakers, and yet here we are eating the most classic French dish you can think of: Oeufs Mimosa. It is fantastic.

The restaurant closes so the kitchen can prepare for the dinner service but we stick around, waiting to speak to the Chef. Suddenly he’s sitting at our table in a big black puffer jacket. He makes everyone espressos and smokes a cigarette. “I am trying to make food that is really legible, very understandable and palatable to everybody.” Chef Mathieu’s philosophy is simple: Good food should be accessible. He emphasizes working with good suppliers and food that is in season: “This week is the start of the asparagus season. So this week we will serve asparagus.”

He moves around the marble box, reaching over the counter for another espresso. “The space is brutal, but that brutality is cut by comforting food. There’s no bullshit.” He’s an intimidating figure, tall and bearded, but he moves with grace. His favorite musician is Arthur Russell, the cult figure & disco cellist who died of AIDS in 1992. Russell favored the simple and straightforward – a minimalist with a cello. I am probably reading too much into this, Chef Mathieu isn’t reflecting on why he likes Arthur Russell. He just does.

We sat with him for an hour and spoke in mostly English mixed with a bit of French. Chef Mathieu describes how important it is for him to remove his ego from the food he cooks: “I want to turn away from myself as an individual and learn from the people who came before me. Credit them. The stuff I cook has a lot of references to French classics. If you get the reference that’s cool. But you don’t get the reference from the 200 year old recipe, you can just enjoy your meal. No judgment.” The food and space support Mathieu’s intentions. There is a strong sense of community between the people that work at Le Dauphin, both between front and back of house. It makes sense why there is not much turnaround, most people in the kitchen have worked there for 3 to 5 years…

Lucia Bell-Epstein: How is the food inspired by the architecture of this restaurant?

Mathieu Canet: I am trying to make really, really simple food to break with the architecture of the space. And with the kind of customer who comes into a high end restaurant like this. I am trying to make food that is really legible, very understandable and palatable to everybody. Without judgment. It’s pretty hard to talk about what you do. But I hope you get that sense of that when you eat here.

LBE: How long have you been cooking here? 

MC: I’ve been here for 7 years. I came here to work for Inaki Aizpitarte. He’s the guy who owns the two sister restaurants, Le Dauphin and Le Chateaubriand.

I’m from Bordeaux, in the South-West of France. I had a very typical start in cooking. Worked in a Michelin restaurant in Bordeaux after cooking school. It’s called Saint James, by a really well respected architect: Jean Nouvel. It’s funny because he is a big name in architecture, and so is Rem Koolhaus, who designed Le Dauphin. 

Siân Lathrop: Do you care about design?

MC: Well, Apparently I do. Yes.

LBE: The way you were taught, did you have to unlearn and break certain rules ? 

MC: No, I don’t think about cooking that way. I don’t want to break anything.

SL: Really? Nothing? You don’t want to change anything?

MC: No. That way I can feel the connection with the history of what I am cooking and the people I am cooking it for. Keep it simple. I don’t want to put pressure on customers in my restaurant, like, “you need to understand this way or this way”. It’s why I like to give people simple food, you don’t need to explain anything. 

SL: No philosophy?

MC: Exactly yeah. I just want people to feel the kindness behind it. I just want everyone to be comfortable. 

LBE: How does living and working in Paris inform the cooking that you do ? Has it changed since you came from Bordeaux?

MC: It changed from Bordeaux for sure. But honestly? I don’t really think too much about what I do. No reflection. I just work with good suppliers. Like this week is the start of the asparagus season. So this week we will serve asparagus. 

LBE: What are 3 ingredients that you’re excited about?

MC: The asparagus, both the green ones and the white ones. It’s spring and there are vegetables coming in little by little, with the sun. But I like all the seasons, “c’est cool”.

That is why I say there’s no reflection behind what I give to people. We prepare simple food. Food that is in season. We don’t have 2000 people working in the kitchen. 

SL: How did Covid affect your work? 

MC: It was a good period for me. I didn’t cook during Covid. It was the first time in my life that I had time for myself. I have been working since I was 14. It was good to have time. I read.  

SL: What did you read?

MC: I read Paul Marchand. He was a reporter. The book that stayed with me was Sympathy for the Devil, in which Marchand covered the conflict in Bosnia. Marchand was very sure of himself and took a lot of risks. He was different from other war journalists: he wasn’t staying in hotels, he was on the ground in the conflict. 

His main point was that nobody can understand war, it’s so horrible. Although he took risks, he didn’t blame other journalists for not doing the same as him. Everyone has their own truth and he didn’t think he was better than others. This relates to what I was saying earlier about not putting pressure on people, you know? Nobody has the truth. You just have to let people live. That’s the connection with my work. I think that’s what really characterizes what I do. Not putting pressure on people, doing something simple, which is understandable to everyone. 

I watched a lot of films as well. 

SL: Like what?

MC: Cannibal Holocaust. 

LBE: Do you feel like art informs anything that you do here? 

MC: No. Everyone can make art. Even if you work in a bank you can make art. What informs my work most is simple: be kind to people. Try to put a smile on people’s faces. It is true, there are Chefs who are artists. But it’s way too easy to say “ah because you’re a chef you must be some kind of artist.” 

It is pretty rare that there is real thinking behind a dish, real knowledge. 50% of it is bullshit, there’s nothing behind it. People call themselves artists but they can’t talk about what is behind the work they do, the meaning of what they are cooking. It is empty. No feeling. It’s sad. 

I mean, as a Chef it is easy to emphasize yourself as an individual, to make everything about yourself. People like this have way too much vanity, way too much ego. I want to turn away from myself as an individual and learn from the people who came before me. Credit them. The stuff I cook has a lot of references to French classics. If you get the reference that’s cool. But you don’t get the reference from the 200 year old recipe, you can just enjoy your meal. No judgment. I hate the idea of the big famous French Chef coming to the table and taking credit for the meal. To me that’s horrible. 

LBE: I really feel a sense of community in this space.

MC: Yeah that’s cool. I’m happy you feel that because it’s real. There is one guy in the kitchen, he was a waiter at the Chateaubriand and wanted to be a cook so he came to work for me. There’s another guy who’s been here for 3 years. The sous-chef under me has worked here for 3 years as well. The guy who does the dishes has been here 5 years. There’s this other guy who’s worked here for 4 years. So not there is not that much turnaround. People stay here. 

LBE: In New York places usually have a fast turnaround.

MC: Yeah here too. That’s why this place is special. And I’m glad you said that because it’s true. Maybe it’s a bit too much to call us a family but yeah, it feels like a family. You want another coffee? I’m gonna make myself one. 


Hey everyone it’s Dana Greenleaf. Over the last few months, we have been gathering recordings of people’s conversations on the streets in New York. We curated them not into favorites but ones that work in conversation with one another. Conversations where nothing is really being said, conversations that read as accusations, good intentions, corrupted souls, pain, joy, live, laugh, love. It’s all set on a day where everything really feels like it’s falling apart. It’s going to be edited like how it feels to be online, social media online, lots of preaching, very little discourse, lots of people, lots of opinions. It’s going to be really good and probably encapsulate all of humanity and make you cry. Real tears.
We have the crew together and it’s fully cast. We are making it with friends and need money to pay them primarily. We also need money to rent a car, rent some equipment, and buy food for everyone. We are aiming for 7.5k. The film is going to be a little under 10 minutes and if you donate your name will be in the credits which means a lot if you ask me.
Also, here’s a link to the last film we made:

Here’s our DP Eamon’s reel:
Here’s another film from us:
If you want more information, please reach out to us and we will send you production documents, locations, actors, and whatever you want to see.

~ Making It, a collective and it’s first GroupShow

The summer of 2021 was a very pivotal moment in my personal journey as an artist, and for many of my artist peers and friends. Rumors of overnight success launched through internet hallways and tunnels and the chatter online led to a frenzy of creators trying to have their voices heard and art seen, myself being one of those artists. It felt as though my efforts were being overshadowed by projects and overnight artists that were simply cashing in on something and getting a cargo load of praise, and funds for “ingenuity”.

So I decided to build a community of creators, friends really,  who’s work I believe is truly unique and is constantly developing, so we could navigate this intersection of the NFT space and art world together. We share our new found knowledge and our recent creations, supporting and critiquing one another. The intention was to infiltrate the mainstream culture of NFTs and have a new standard of art, to show what was really good and worth investing in, and then build a system that works not only for us but the culture as a whole. I couldn’t do it all myself.

What started out as me putting a bunch of my artist friends in a twitter group-chat so they could meet each other would turn into a community, project, and now a group show.

The show will only be on Thursday June 23rd from 12pm -10pm, at Free Advice (@freeadvice.xyz). rsvp here wearemakingit.247@gmail.com




Seth Fountain is a multi disciplinary artist and designer whose work explores the concepts surrounding Social Media and commercialism. I met with him at his lofty studio (and professionally makeshift screen-printing operation) in the Soho neighborhood of Manhattan blocks away from the heart of Chinatown’s culturally rich Canal street. Over tea and coffee, we discussed the modern world of art and the importance of honesty in what one creates.


C: Just to start off, where are you from? How’d you get into art? 

S: I guess we’ll keep it simple. I’m originally from New Orleans, I grew up there. Didn’t travel much, so I’ve just been in the South mostly. I’m a self-taught artist. I did go to school, a little bit. I went to Tulane and studied studio arts, but I liked it because [Tulane] wasn’t an art school. I thrive in a studio atmosphere, with facilities to be able to make whatever I want. 

C: Did you have that sort of studio situation when you were there?

S: Yeah. Their studio program is great. There’s plenty of space. 

C: How was growing up in New Orleans? 

S: It’s my favorite place in the world. It’s just a little slow. Although I think if you’re a creative, you have to be in New York. I mean, not forever, but that’s part of it. 

C: Do you think being from New Orleans has influenced your art? 

S: Yeah, I mean, I know what [New Orleans] is like. Its mostly handmade and thrown together, like bricolage. Something that has always been interesting to me is the evidence of craft or human interaction, making something work just to get by. The other day I saw a bicycle. It was missing the pedal, but there was a wooden block screwed on — and it looked like it had been there forever, so it worked. It probably took more time to make that than buying a pedal, but I think that exists a lot [in New Orleans]. That comes from an economic standpoint of stubbornness — like I know I can make this, and I don’t want to buy it or I can’t afford it, so I have to make it.

A lot of what I’ve made is within the same realm. I don’t use fancy art materials, per se, but I love high brow. I love really nice materials. I don’t use cheap paint, but I’ll use pancake flour in my paintings. The south is a huge influence and it’s everything to me because, like I said, I do have some formal training, but I’m mostly self-taught and I follow my own interests. My interest is in things that are folk. 

C: What do you think your ethos is? 

S: It’s funny, because a good friend of mine, she writes for Art Net; the gossip column. She was like ‘what do you think of this?’ and sent me this draft that read, ‘prankster artist Seth Fountain.’ I was like, ‘don’t say that.’ Although humor is paramount because of the relatability, it’s a fine line — I love humor, I don’t want to be taken seriously, but I want my work to be taken seriously. I guess it all exists. What I always communicate within my work is that I want the idea and the execution of the idea to be on the same level. I want it to be open to interpretation, and I want people to have fun.

One time I was in Paris and I went to Fiac, and on a whim I just threw up a croissant on a wall with a little staple. That was years ago. And then Maurizio Cattelan puts the banana on the wall. That was Miami’s Art Basel, which is months after Fiac. And I was like, damn, am I being an egomaniac? Do I think he ripped my shit off? Perrotin gallery was right across from where I did the croissant, and he’s represented by that gallery. But he didn’t make anything for 15 years, and then he did the banana thing. Like Duchamp. I mean, that’s so much fun to me because it makes people upset, It makes people happy, and it inspires people to question all of it — or to make something themselves. 

C: What got you into this art we are seeing now? The logo rips, etc? 

S: Skateboarding. 100%. When I was younger I fucking hated reading. I didn’t want to read books, I wanted Mad  Magazine and Thrasher because I’m visual. Later in life, of course, I found how wonderful reading can be. Fiction,  nonfiction, doesn’t matter. It’s just really good for us. Our brains. It’s good. No doubt. Skateboarding and logo flipping, Supreme has a lot to do with that. Music too, like Rave Flyers.

They’re using familiar iconography as a form of…it’s kind of bait, it baits you in. Like a shirt that looks like the Tide Detergent logo, but it says ride, and then it’s a snowboard thing. It’s cool. It’s piggybacking off of millions of dollars of research for the graphic design, colors for marketing and all of that. But you can just get it for free just from re-working it. And it’s humor. Graphic design can be so beautiful and serious, or it can be junkie and handmade, thrown together, punk, all different styles. 

C: How would you define a bootleg then, when you see a logo but it represents something else? 

S: I think what defines a bootleg is how it’s sold. A lot of [bootlegs] right there on the street could be sold online, but it’s sitting out on a blanket on the corner of the street. I think there’s a sense of pride that they’re fake but they’re, like, really good. But in terms of bootleg, what defines it? 

C: Yeah especially in art, too. 

S: It’s interesting that when you talk about bootlegs in art, people kind of scrunch their nose. But I love it existing in art.

C: Do you think bootlegging is seen positively or negatively in fine art? Like, warping what’s already there to make it something new? 

S: To be honest, I think people look down on it because they think it’s the pun of the graphic design world. It’s just like a quick little joke. You could ask ten people and probably get a pretty even divide. Or if you ask someone, like, what do you think about McDonald’s? People want to look down on that, but it’s a universal food. Everyone all over the world can have the same burger and fries. 

C: Yeah. Especially with bootlegs — like with Chinatown, obviously that shit is looked down upon because It’s not real, but people are still buying it. 

S: It’s great. I’m glad someone can offer a fake LV or Gucci wallet for someone who isn’t financially stable. Like, they’d never spend $400 on it, but they can still feel a little better. They have something special, even though it’s fake. I mean it depends, what is fake? Authenticity comes from the specific factory or specific materials. I know someone who has a ton of Balenciaga and shit, and it’s all fake. And he’s so happy to tell everyone it’s fake. He’s more excited to have a good replica, like a really good bootleg, and then kind of flex it like ‘I got it on the low, everyone thinks it’s real.’ You’re kind of tricking people in a fun way. 

C: Do you think bootlegs, in their own way, are a form of art? It’s almost tricking the eye in a sense, twisting what people know into something else. Like how commercial art is kind of a separate world from fine art. Would you consider yourself in that realm, or would you ideally want your art to be in galleries? 

S: There’s no trajectory or a specific path. I think you might as well go for it. Everyone’s scared of like, I’m going to ruin my career if I do this thing or this thing. Every day we’ll see a New York artist that’s kind of well known with a Tiffany’s collaboration. People don’t care. That’s not selling out; you’re making money. And if someone wants to make one type of painting or art for the rest of their lives, who’s to say it’s good or bad? I think everyone, with courage and confidence, just take your own path. 

C: For people who are new to art, especially commercial art, how do you think one can stay authentic? 

S: I think the best thing is to really know yourself and what you want. Younger artists, you don’t fully know yourself. You’re learning about yourself, about everything. Ideally, I think the only way to stay true is to just really spend some time with what all of it means to you. Are you making paintings to sell them, to make money? Are you making them solely to express yourself, you don’t care about the money? There’s no right or wrong, you’ve just got to be honest. I think everyone sees that honesty, that’s what I think is really beautiful. You don’t have to know everything about the subject, but you can have your own take on it.


C: How has the world of commercialism influenced your work? Like what you’ve done with the McDonald’s World War 3 shit, what led you to use logos like that? 

S: Social media is so much fun. If I didn’t have Instagram, I wouldn’t be making little graphics to do what with, like post on Tumblr? Print them out? A lot of my designs always became a T-shirt; if I’m working with other brands or my friends, they become something physical, which I love. I love print making — because of social media and how you see all of my work, it’s so stimulating.

I love graphics to be digestive. So if I have an idea, boom, I can make it. I can just post it to Instagram — and you don’t make any money off of that shit, right? It’s great. It’s like sharing a meme with a big group chat. I’m not getting hyped off the like counts, but I’ve gotten a ton of work because people were seeing my Instagram as a website, a portfolio. That, to me, is so much fun. That’s better than having a very serious graphic design or very serious artist job. That’s just personal. I love it. I think it’s great. The ability to share on an unlimited platform has changed the way I approach graphic design and using it in the most rudimentary way possible, bare bones. I’m talking, like, bootleg Photoshop app on your phone. 

C: I love that. Counterculture and social media. 

S: Yeah, it’s definitely something I care a lot about. I’ve always seen the positive in sharing work, making fun, just shaking it up, keeping it fresh. That’s what people want.They don’t want stale or overdone, tired… or maybe they do! I’m not trying to make the most elevated artwork in the world. 

I want what McDonald’s is. 

Seth’s studio and home, shot by Calvin Ogden.
More at @IAMADDICTEDTOSOUP @calvinmogden @MethFountain.

~ Ruby Neri Interview

In the Studio With an Artist Who Makes Giant Woman-Shaped Vases - The New York Times

Ruby Neri is a San Francisco born artist, currently living and working in Los Angeles. She received a BFA from the San Francisco Art Institute and a MFA from the University of California.

Lucien Smith: If you can maybe just describe your introduction to art? I read your father Manuel Neri was an artist? Can you tell us a little about him and his practice?

Ruby Neri: Yeah, my dad and my mom were both artists. It was just a part of my life. I kind of always wanted to be an artist. I didn’t really know anything else. I grew up among art my dad collected, mostly art of his friends, artist like Peter Voulkos, Bob Arneson, John Brown, Viola Frey… So many artists from the Bay Area were a part of my life. It was really intuitive in the sense that there wasn’t really anything else I was going to do aside from becoming an artist myself. My dad had an amazing life, he was part of the Beat Generation, he was at the first reading of Howl, and then was a part of the Bay Area Punk Movement when he taught at Davis. He was also part of the Bay Area Figurative Movement. So a lot of his influences fell upon me and my work definitely.

LS: Do you think that limited or accelerated your interest in art?

RN: It was definitely both. I mean it was really hard when I was younger. It took me a long time to find my voice, and it was kind of crazy to come from all that because there was so much I was up against in terms of finding myself, finding my independence and because it was so all around me, you know, it’s was kind of hard to figure out what I was going to do with art. I never made sculpture, until I was much older because my dad. It was just overwhelmingly overbearing when I was younger but I sort of just mucked it and yeah. Now I’m super grateful for my dad’s life and like the influence that he had on me for sure because it’s become my personal history.

LS: He taught at San Francisco Art Institute? Was that while you were studying there?

RN: He taught there in the sixties way before I was born. He taught at UC Davis for a really long time and a lot of his students, became teachers at the art institute. He taught Bruce Nauman and Nancy Rubins. He was a huge figure in the Bay Area art scene and so my teachers were constantly comparing his work to my work, which now looking back is totally crazy. But I mean I had a good time in Undergrad. It didn’t really consciously effect me. I didn’t really think about it until much later.

LS: What was it like as an undergraduate? Do you remember some of your earlier influences where those mostly people around you?

RN: It was so amazing, the Art Institute was the kind of school that encouraged all this dabbling in all the departments. So as a painting major I was really familiar with the photography department and the print making department, you could really use the entire school. It was a 24 hour campus. It was just so much fun. I think I was the first of two teenagers that started there, the average age when I in 89 was around 25. They didn’t really recruit out of high school until much later. It was really different. But um, George Kuchar was teaching in the film department, San Francisco had this incredible underground scene and I mean it’s still there but barely. I think the Art Institute was definitely where that stuff was cultivated.

LS: Is that where you met Barry McGee and other members of the Mission School? Were they going there at the same time as you?

RN: Not as many people from the Mission School scene went to the Art Institute as people would like to think. I don’t even know if Barry got his degree while he was there. I didn’t really meet him at school, he was a little bit older than me and so we met doing graffiti actually out in the street (laughs). I never really saw him at school. I think he left the year that I started. I would see him sometimes in the print making department. I was dating Craig Costello, who started KrinkTM, and he went to the Art Institute but kind of a little bit later for photography. He was a really, really good photographer. He totally archived us doing graffiti. Someday I’m sure he’s going to put a book out and it’s going to be such a cool thing. It was a total document of just the four of us, me, Craig, Barry, Margaret, and couple other people. It was a really small scene. A lot of art students were doing graf as well. I had never heard of New York graffiti, I didn’t know anything about tagging or anything like that.

RN: I was sort of doing it for fun, but because I met Craig who was from New York and he of course grew up with it, I finally learned a little bit about the history of graffiti. I was way into it before I learned about New York graffiti. Barry was just a huge influence on everyone and Alicia McCarthy was my best friend at the art institute but she didn’t do so much graffiti, but she’s a huge part of what people call the Mission School.

LS: Would you explain what the Mission School was? RN: It’s kind of ridiculous that they call it that. LS: Where did that come from?

RN: Someone just started calling that group that way after…. As a sort of catch all for the 90s(laughs). It was just like a real small circle of people. I mean it was pre internet and you know, we were just a small group making art and going on the street and what have you. I didn’t really meet Chris Johanson till much later because I left the bay area in late 96 and Chris Johanson started showing his work in 96 in San Francisco. I met him in LA months later.

LS: Got It.

RN: I was just sort of part of that because I did graffiti and what have you. But Barry really turned it into a career, you know? the whole mission thing. My doing graffiti was more of like a social activity. I was still doing actual art, like studio work on the side.

LS: There was a separation between the two for you at the time

RN: Yeah, for sure. It was sort of ridiculous to transfer that into the gallery me for some reason Barry was really good at it.

LS: What was it like? I mean specifically being a female in the early nineties and doing graffiti.

RN: I mean I was bananas. I would go out by myself and just paint on the street (laughs) back then guys would walk around with literally a bucket of paint. If you wanted to paint with a bucket and a brush you could. It was sort of like this crazy free for all. There were so many art students doing it. I first started going out with this other guy and he would paint these dogs on the street with bucket paint and then he was like, “you have to do the same thing over and over again. Something you can do really quick.” And so I decided I’ll do a horse (laughs) it was just so ridiculous. But then I got super into it. I would go home from school late at night and I would just tag all the way home and paint, it was just freeing, no one was around. But then people started talking and saying, “Oh, you should meet Barry Mcgee he does graffiti.” I couldn’t handle it but the cops didn’t care and met him when he was painting a wall for the Yerba Buena Center. He was painting this mural that became kind of a big deal, in terms of influencing a lot of writers in San Francisco. I met Craig “KR” I in a subway station, he was tagging in this book or something and I was like, oh my God, that’s “KR”. It was so weird, that’s how small the city was. You could just find people if you wanted to, because there was so few people doing it. Craig knew a lot of real writers and that sort of turned me onto people that were already doing old school graffiti. We would go out every night, we were totally insane. But as a woman there was never really any challenge, I think because I just started it on my own. I was doing it so much by myself.

LS: You had respect.

RN: I think because I was like up so much, you know what I mean? I didn’t even realize like how much of a feat that was. I was just sort of like, I’m into this. I just wanted to be everywhere. I was bananas.

LS: Reminisce, that was the name that you were going by?

RN: Yeah, that goes back to me not having a tag. I would write right these words with the prefix “RE”, like “Recidivism”, every time I did a horse, and so then someone was said, “you have to write the same thing over and over again! You need a tag!” So then I started writing Reminisce, which was just this ridiculously long word (laughs), it was really funny.

LS: So that’s San Francisco, and then you attended UCLA for graduate school?

RN: Yeah. I applied to one school and I got in. I moved to LA in 96 when I was 25, and then I stopped doing graffiti entirely. I kind of maxed everything out in San Francisco, it was sort of incestuous and crazy and I needed a break. Craig and I had a huge breakup and I was just over it, so I left. It was nice to go to LA and just make studio work. I just completely stopped doing graf, it was kind of amazing.

LS: What was that transition like?

RN: All this stuff happened in San Francisco, personally, and I just wanted to leave. So UCLA was a huge relief. It was an escape which I really needed. I was happy to be in the studio and to go back to painting, and then I got really into sculpture. I thought I was going to go back to the bay area after school, but I never did. I just stayed in LA because I created so many strong ties here. I became really close with Evan Holloway and Karin Gulbran, all these artists that I still know. I created a really strong community here and thats really was what kept me here. It was really nice to be away for my personal history, like my dad, I felt a lot freer to pursue my interests with art. LA was such an amazing city. It wasn’t as social as San Francisco, you don’t just walk around the street and run into people. You are in your studio, you spend a lot of time alone. It’s just a really different place, and I think I really enjoyed that.

LS: What was it like making art in a new setting?

RN: It it took a long time for me to find my place here. I showed at China Art objects for a long time, like right when they opened. That was really amazing. That was around 1999, and then I didn’t really make work for awhile. I took a break for a couple of years and started working for Mike Kelly. I worked for Mike from around 99 to 2003.

LS: What was that like?

RN: It was amazing. I really had a connection to the people working there, and Mike was such an amazing person. I was working a lot for him, I did a lot of Memory Ware. It was a really fun time and I was making some work on my own and then I got married and did a show at China art objects in 2005. Dave Kordansky saw it and he had his gallery in chinatown then, I was really unhappy with China Art objects so I switched to Dave’s around 2008.

LS: You had your first show with him in 2009?

RN: Yeah, it sort of panned out.

LS: Your show Slaves and Humans, that was your latest show at Kordansky?

RN: Yeah.

LS: Does that title refer directly to the sculptures themselves or is it pertaining more to the exhibition?

RN: It really came out of the pieces themselves. The work of Michelangelo called Slaves the figures that were sort of still embedded in marble and what have you, that was a huge influence on the title. But also the work that I’ve been doing, these ceramic pieces are so much about these power struggles within human relationships. Primarily from a female perspective obviously. They were so much about this struggle or need for freedom. Although the imagery is really freeing my interests is literally about power struggles, who’s in control? Who is not? That show is the beginning of this whole body of work about the need for freedom and it’s all from a real personal perspective.

RN: People really tie the work that I’ve been doing lately to the #metoo movement. In a way it doesn’t not come from that, It’s just sort of weird timing. I started this body of work in 2015. The work doesn’t really have a feminist agenda necessarily, it comes from a real personal place from my personal experience and that experience is female because I’m a woman. When you look at my 2009 show I was making sculptures and then I was making ceramics and then I was making paintings and it got so schizophrenic for me. I was making all these different bodies of work.

LS: It seems here that things really began to come together.

RN: Yeah, yeah, yeah, exactly. And so it came together in an even a broader way too because now that I’m just spraying the glazes it kind of goes back to my graffiti even, so it was like full circle.

LS: I definitely noticed some of those elements from graffiti transitioning into your work and couldn’t help but wonder how that came about and if that was a new development or something that you’ve been working with for awhile?

RN: Well it came out of just working with clay actually because I really didn’t want to use true glaze with these pieces because I was so interested in the form itself. Glaze is so opaque and goopy and I just didn’t want to cover up the form and that sort of came out of a sculptural sensibility. I didn’t want to hide the objects so much and I really loved the clay itself. I wanted color but I didn’t want it to be super opaque. So the first thing that came to mind was “I can just spray this stuff on.” I didn’t want to use a brush, I didn’t want to “paint” paint and so I thought of just using airbrushes and so I was not intentionally thinking of graffiti per se. But then when I started using it I was like, wow, this is really fun. It was totally reminding me of the “mark making” I was doing when I was doing graf. the whole reason why I think I was so attracted to graph and why I like clay is that everything that I’ve ever used has this sense of immediacy, you know? I really need to just pick something up, the materiality of the clay, the physicality of it is really appealing to me. There’s not a lot of process, aside from firing, which is sort of after the fact. I just need to work with things right away.

RN: And so I think the airbrush gave me that as well, an immediate satisfaction. And then after I did that Tony Marsh who’s this old ceramicist was like, “wow, no one’s ever done that, I’ve never seen anyone use an airbrush with ceramics.” And then it kind of took off from there. I love using airguns and I love using spray paint (laughs), And so it comes definitely full circle.

LS: Can you speak on the scale of your works?

RN: I never was attracted to the clay because of its beauty in a beautiful objects sense. I’m not interested in small, precious things. So I think that the scale that I work at is really referring to painting and is really referring to sculpture. I kind of react to the surfaces as I would a painting and to the object as I was sculpture. I think that that really comes about from not having done ceramics in school or not having had this whole history of ceramics infringed upon me. Painting has this intense history that I have a problem with, but I mean sculpture or three dimensional work is such a wide umbrella so anything goes. And so there’s this freedom. Ceramics are just so uptight and guided by history. As a ceramics student you’re just hounded with vessels and like ancient pottery. I’m just grateful that I didn’t really have that, because I probably would not be making this work.

RN: I personally have a huge respect for traditional pottery. It’s incredibly beautiful when people do it well. I don’t want that lost, because I love it. I love making my own things for my house or what have you. It is very separate, but I love learning from it. When people are really involved in the whole science of glazing and what have you, it’s amazing.

LS: When I was visited your studio you were saying how you were working between two different locations. The kiln you use is at the California State University in Long Beach? And you primarily work alone?

RN: Yeah, but at this point I’m going to hire assistants because I have such a tight timeframe right now. It makes my life insane when people help me because it’s just so much more work for me, I have to go over everything that they do and reshape it. So it’s really physically demanding. I mean, it already is by itself, it’s intense.

LS: How does that make you feel?

RN: I mean, I’m grateful that people love the work. I’m super, super grateful, but it’s intense. It’s physically so draining. I have two solo shows this year and I’m so happy, but it’s fucking so tight. It’s a happy, tired, but I’ll be really happy when this year is over. I’m just going to lay on the beach or something. And then having a kid also, it’s like, oh my God, I’m just tired all the time. But I mean, I love the work that I’m making. I wish I didn’t have to drive to Long Beach everyday that’s for sure. I’m working on trying to get this set up in LA where I could have a kiln, I want a range of things available to me with ceramics.

LS: Perhaps this hard work will lead to that.

RN: Yeah. Yeah. Right now I’m just working as much as I can it’s super fun being around the students and what have you, but it’s draining. I mean, it’s funny because as an artist or at least in the past I’ve spent a lot of time alone in my studio and so it’s nice to be social and be around other people.

LS: Maybe there’s a balance there between having assistants and having your own space. RN: Yeah.

LS: I know you mentioned before your interest in marble and some other materials? What’s on the horizon? What are your future future projects that you are envisioning?

RN: I definitely want to work with stone. I’m probably gonna go to Italy and just like look at it and then come back because I’m so busy right now (laugh). But yeah, that’s for like future projects for sure. I’m super excited to do that. I just got to make it through this year without like falling apart. Yeah, no, no more two solo shows in one year thats for sure.

~ Alice Moireau Interviewed by Lucia Bell-Epstein

Continued from: ~Oeufs Mimosa – Food Journals from a Month in Paris

“…On my last afternoon in Paris, I climbed the stairs to Alice Morieau’s apartment in Belleville. A cook, food stylist, and overall culinary artist, Alice welcomed me into her home; we skipped awkward niceties to immediately start talking about food. Her tone and mannerisms were passionate as she described her infatuation with Algerian pastries, preserved lemon in salads, and her obsession with sheep’s milk yogurt. We spend the next hour going through her pantry and same-day market provisions…”

Lucia Bell-Epstein : What in your pantry are you excited about? 

AM: Try this roasted Macadamia nut. A game changer. I never tasted Macadamia like this, you know? So this is my goal in life. Everything I taste, I would like to have the most exquisite taste of it, you know, but simple. It’s not even salted, the Macadamia are just roasted. 

LBE: Who taught you how to cook?

AM: No one. I would see my dad cook but he didn’t really teach me. I learned by watching. My parents are painters. Most of the ceramics in the kitchen are made by my mom.

LBE: What kind of projects are you working on? 

AM: Right now I am working for a brand called Christofle. They’ve been making silver plates, forks and knives for over two centuries. This plate here is from 1830. I do events for them: hosting dinners in Paris and the South of France. Sometimes I cook the dinner myself, sometimes I collaborate with a chef. It depends on the specific event. Everything is well thought out. For example if we are hosting a dinner for 25, introducing a new collection, I would hire a chef. That meal needs to be gastronomical. I do friendly cooking, daily life cooking, it’s very simple. I am not a chef. In some situations I need to work with experts. I love hosting people, and sometimes you need to choose between cooking and hosting. It is very hard to do both. My last event I worked with the chef at Clown Bar. He is from Lisbon by way of Cape Verde. His cooking is so precise and perfect. It’s very mindful cuisine. 

Alice’s Pantry Pictured above –

  • Boutargue from Marseille
  • Fresh Orecchiette
  • Hand Picked Anchovies
  • Dry Oregano  from Olhao, Portugal
  • Jam from Babylonstoren, South Africa
  • Honey from Tuscany
  • Fleur de Sel from Ile de Ré
  • Dry Udon from Japan

LBE: If you had to pick one ingredient to cook with the most, what would it be? 

AM: I mean right now I am doing a lot of asparagus, because it is the season. I am doing it every way possible: roasted, grilled, risotto, sometimes in the oven, sometimes on the barbeque. 

Most of the time I steam it because it’s so fresh and so tasty, and you can actually feel the whole asparagus. To me this is the best way to eat asparagus because nothing is hidden. For example, for lunch I did steamed asparagus with tuna, olives, green garlic, and Japanese Bonito sweet vinegar sauce.

I make meals like this all the time, following the same principle. I only use 3 to 5 ingredients, maximum 6 that are good quality. 

LBE: Are there any artists that inspire you? 

AM: Daniel Spoerri. I love the tables he made. He glued everything to the surface of a table and then stuck the table on the wall. Each piece was a proper meal: he would glue the meal to the table, and fix it all to a wall. I also love Rothko, because I love the colors. It’s very classic I know, not weird at all, but I love Rothko so much. I also love old clothes, vintage stuff, with interesting shapes and colors.

In terms of music, well I listen to a lot of American country and reggaeton, and I play classical music when I want to think about nothing. I love the song Sweet Florence. I love Italian disco, anything groovy I like. 

LBE: You’re working in food but you’re not a chef – can you describe what you do? How do food, cooking, and art come together in your work?

AM: Food to me is a ritual. Food is about gathering people, but it is also about every step along the way to that gathering. You buy your groceries, you store them in the fridge, you decide how you will set your table, paper napkins or fabric napkins, what are you going to wear? The whole experience around making a meal I love so much. Everything is a choice. You choose the people, you choose the food, you choose the meal, you choose how you set the table. It’s a curation. How can I curate this moment so I can have the most magical experience? I want to curate the best ingredients to make the dish nice, I want to put it on a nice plate because that will improve the presentation. The lighting is part of the ritual. The choice between overhead lighting and candles. Even the ashtray for the cigarettes is important. I like all the little steps that lead you to a meal. 

I’m really lucky I get to curate these moments for work. I’m not only cooking, I’m not only styling, I’m not only hosting. I’m doing a bit of everything. I cook, I style, I consult for brands. I am very specific about my clients, I only work with a few people. I want to have long relationships with them – I need to have trust. I love the events I curate. 

~ Museum of Crypto Art: Synthetic Being & Virtual Curator Project

Verrrrrrry quietly, we have been building something monumental, something to address one of the traditional museum model’s major problems. In traditional IRL museums, visitors are left to walk through the gargantuan spaces aimlessly, lacking individual guidance, full of unanswered questions. What if there were a way for every Museum of Crypto Art (M○C△) visitor to have a personalized guide within the Museum, someone to answer their questions, provide analysis, and offer insight? It would provide a new curatorial experience, and it would fully decentralize a Museum experience that has been, to this point, hyper-exclusive.

Karan4D, M○C△’s resident AI expert, has spent months building a GPT-J custom model to do just that. He has fed the “Virtual Curator” with over 100,000 words of art criticism by our writer Maxwell Cohen so far, and and it’s now ready to meet you. In 10 years time, we see the Virtual Curator being a synthetic brain and encyclopedia of Crypto Art, educating visitors through VR worlds on the story of NFTs and pointing them to immutable blockchain timestamps.

We invite you to join the M○C△ Forum and help craft our Virtual  Curator’s voice. We request your input under the ‘Permanent Collection’ section of our Forum. There you will find the names of 230 OG crypto artists: each artist minted artwork on the Ethereum blockchain from before December 2020. Browse through our Permanent Collection, and find the artist that interests you, and bring your thoughts into the Forum. Every word added will be integrated into the model. Comment, post, philosophize.

As we develop and release this project throughout 2022, we hope the web3 community can look to us as the first model of an arts and culture institution decentralizing, sparking a widespread desire to get in and get involved. Education and stewardship of fine art must change for Crypto Art and in the age of network effected artistic expression.



@SankoGameCorp is pleased to announce the
‘First Annual Sakura Park Fan Fiction Contest’
To enter, tag us in a fan fiction tweet about Sakura Park
Winner receives 2 ETH, 3 runners-up win NFTs good luck & have fun!!!!