Now: Here: This March 3, 2006

(scroll right to walk through the exhibition)


Harold Wallin,
Washington Heights, New York City

Joel Adas,
Williamsburg, Brooklyn


Joel and I got together at the Met again and made a collaborative piece for N:H:T. It was to be another film clip of the artist confronting art. Due to a technical problem I couldn't get what we made into a usable form. And there's that lesson again: Art is mostly about failure (in a world interested only in success that's a hard one to hear.) But that said, it's not that sort of failure. It's not a brand that marks you, which limits you. It's the sort of failure that leaves you with more possibilities. So is it really failure? Is there failure, or is it all just making?

So here I submit the residue of our attempt, or perhaps more positively, with the banner of: Soon to be a major motion picture.

Nick Holliday
Great Barrington, Massachusetts

collage and gouache on paper

This piece I made remembering my father.


sexus X - schicksals liebe
digital print / words from sitte&sexus text-series

what is the most important thing on my mind right now?
white. the snow. i love when all around me turns white.
black. black on white, there seems to be the real truth and at the same time the deepest lie.
red. written in blood. words from the heart.

Jacie Lee Almira
Falls Church, Virginia

mixed media

Asking for forgiveness.
Having a clean slate for my baby.
Though it may not be possible.


New York City


Beauty or efficiency? I have a refrigerator from the 40's that I love, but it doesn't have a freezer. Can I possible let go and move on? In a display case I have 4 broken drinking glasses that I can't quite part with. Then there is that person from the 40's. But seriously, I might just buy a new fridge. People do it all the time, right?

Petr Shvetsov
St. Petersburg, Russia


During the Soviet times, Soviet artists received virtually free studios from the city and received commissions from the government. The times have changed. We now live in a post-industrial, super cruel, capitalistic state. Recently the government of St. Petersburg tried to evict artists from their studios and in such a way to gain control of these valuable pieces of property in the center of the city. This time artists succeeded in proving their right to low cost work space, but I'm afraid that this will not last for very long. However, not long ago I received a new 80 square meter studio in a wonderful neighborhood of St. Petersburg. And, so, all my life now is hundreds of boxes, which have been moved to a new space. These boxes represent the labor of my entire life, garbage collected for many years without which I couldn't survive. But, now all these treasures are lost in boxes which all look the same. I could start working in my studio now, beginning from scratch. In theory, I no longer need these boxes. But, in any case, I must do something with these hundreds of boxes and boxes.


Peter Ferko
Washington Heights, New York City

untitled (hallway)

From New York Times review of the Whitney Biennial, by Michael Kimmelman:

"Mark di Suvero and Rirkrit Tiravanija have revived Mr. di Suvero's 1960's "Peace Tower": they've commissioned colleagues, who in turn invited friends, to devise two-foot-square panels, minimanefestos or whatever...
"The Peace Tower" is old-school civic protest, almost quaint--a genuine, albeit predictable response to what's going on in the world that makes no claims to being anything other than what it is. And why shouldn't artists get together to say something about war and peace, in the midst of war, if there is an opportunity like the biennial?"

I have been wondering about the answer to what is here phrased as a rhetorical question. Is the appropriate response to what's going on in the world to keep exploring formal issues and abstractions, quirks and concepts; or is it incumbent upon artists (and everyone) to address problems literally? What's that saying about playing the violin as Rome is burning?

Karien Vandekerkhove
Flanders, Belgium


... nothing that is not there and the nothing that is ... " (part 2)


portraits of him, me, us...

Click here to view this "hall"


Sky Pape
Inwood, New York City

digital image

On My Mind: 11am, mindlessly/mindfully staring at a bookshelf nook in the studio. Among other things, thinking about resistance and resilience.

"Nothing in the world
is as soft and as yielding as water.
Yet for dissolving the hard and inflexible,
nothing can surpass it.

The soft overcomes the hard.
The gentle overcomes the rigid.
Everyone knows this is true,
but few can put it into practice."

~excerpted from Lao-tzu's "Tao Te Ching", translated by Stephen Mitchell.

The word 'ripples' makes me think 'laughter.'


Anthony Gonzalez
Washington Heights, New York City

Scotch tape collage and Photoshop

Scotch tape collage and Photoshop

Scotch tape collage has become my new vice. Thank you PP.


Mark Proctor
Washington Heights, New York City


I am trying to bring my work to the next level. I want to think outside the box, network more, exhibit more, improve the quality of my work, and continue to grow and develope.

Vikki Michalios
Jersey City, New Jersey

oil on panel, 12"x12"

what is on my mind right now: new beginnings

Olivia & Misha Dontsov
New York City

meaning of life 001


Joel Adas
Williamsburg, Brooklyn

Tree, Cloud, Building
colored pencil on paper, 3 1/2" x 5 1/2"

Light & Life. How life is for the living: be it the tree that I am drawing now or the teenagers walking down the street below.




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