Subject : newsletter
From : Joy garnett
Date : 2001/01/29
Link : http://www.geocities.com/newsgrist/newsgrist2-4.html
 
============================
============================
    Newsgrist
where spin is art

http://newsgrist.com
back issues:
http://www.geocities.com/newsgrist/newsarchive.html
============================
Volume 2, no. 4  (January 29, 2001)
============================

now featuring "The Underbelly"
post your spin directly to the site:
http://www.geocities.com/newsgrist/underbelly.html
{type posts in continuous lines or they'll be abridged!}

Image of the week:  Cool Mint
http://www.geocities.com/newsgrist/Image.html

...................................

CONTENTS

- *Favorite URL/s*  jimpunk; 010101 pages
 - *Favorite Quote/s*  Art Talks Back
  - *Really?* at Artists Space
   - *Yes, Really* "Reality Video"
    - *Flatland Revisited* Superflat
     - *War Whores?* Disasters at PS 1
      - *Humpty Domety* Millennium Dome Falls
       - *Obits* Just Merit is Dead.
        - *Classifieds* WANTED:Skilled Computer Programmer;Webmaster


============================
============================
*Favorite URL/s*

http://www.jimpunk.com

................................

Direct links to artists' pages in
SFMOMA's
010101: Art in Technological Times
http://010101.sfmoma.org/

eric adigard
http://timelocator.projects.sfmoma.org/
entropy8zuper!
http://eden.garden1.0.projects.sfmoma.org/
mark napier
http://feed.projects.sfmoma.org
matthew ritchie
http://newplace.projects.sfmoma.org/
thompson&craighead
http://yahoo.projects.sfmoma.org


============================
============================
*Favorite Quote/s*

"Imagine [...] a world where
artworks talk back, where they
sense your presence and are, perhaps,
not at all pleased to see you."

(NYTimes, January 28, 2001
http://www.nytimes.com/2001/01/28/technology/28UNGE.html
In a Virtual Sculpture Park, the Art Talks Back
By Miles Unger)


============================
============================
*Really?*


January 27th - March 17th, 2001

"REALLY"
an exhibition
curated by Barbara Hunt
at
Artists Space
38 Greene St.
NYC

Artists:
Frank Benson, Steven Brower, David Henry Brown Jr.,
Alain Bublex, The Butterflies of Love, Kate Howard,
Janice Kerbel, Cees Krijnen, Matthieu Laurette

Perhaps the technological explosion, the constructed worlds
of cyberspace and digital manipulation are to blame for the
current, seemingly worldwide, obsession with "Real Life."
There presently exists a notion that unedited, unscripted,
reality is much more exciting than fiction or fantasy; in an
age of exponentially expanding entertainment and information
options, media presentations repeatedly offer us a window
into the real world, however tedious, painful or palpably
boring. It is within this context that Artists Space presents
"Really," a group exhibition of artists who consciously
operate  in the borders between reality and fantasy, art and
life.  Using video, sculpture, digital prints, photography and
architectural drawings, the artists challenge notions of
authenticity, provoking us to question assumptions,
institutions or established narratives that constitute our
daily lives. Using humor, they deliberately position the
viewer in the realm of uncertainty.
[...]

Throughout the exhibition, the relationship between the
artist and the viewer is critical. The included works ask us
to reconsider notions of the "suspension of disbelief"
within the interactions that make up our daily lives. What
is art, what is life, and what is artifice? Really?



============================
============================
*Yes, Really*


NYTimes, January 21, 2001

Before `Reality TV' There Was Reality Video
By Michael Rush
http://www.nytimes.com/2001/01/21/arts/21RUSH.html?pagewanted=all

THIRTY years before millions of Americans worried
whether Gervase would get booted off "Survivor" before
Sean, or whether the purple-haired Brittany would lose
her virginity under the ever watchful eye of "Big
Brother," Frank Gillette and his cronies in the video-art
Collective Raindance sat on a beach in Point Reyes, Calif.,
turned on their portable video camera and passed it around
"like a joint," as Mr. Gillette remembers it.

In a setting not unlike the tranquil tropical island of
"Survivor," Mr. Gillette, Paul Ryan and Michael Shamberg
taped their youthful musings on life, television and the
imposing transmitter jutting up to the sky just across the road.

"We were na•vely idealistic," Mr. Gillette said. "We thought
we were going to revolutionize television, put it in the hands
of artists and radicalize the medium."

The earliest days of video art in the mid- to late 60's had a
motley mix of video sculptures (Nam June Paik, Wolf Vostell),
feedback systems (Mr. Gillette, Ira Schneider, Peter Weibel,
Valie Export), alternative television and documentaries (Jean-
Luc Godard, Skip Blumberg) and conceptual performance
tapes (Joan Jonas, Vito Acconci, Bruce Nauman, John
Baldessari).

What appealed to these artists was the real-time immediacy
of video tape. Unlike film, whose lush texture required
chemical processing, video was simultaneously viewable:
you saw what you got, either right away on the monitor or
later when you slipped the tape into the Betamax machine.
The term "up close and personal" soon caught on to describe
the intimate feel of the taped interview or news report.

Today, with video cameras on every street corner, at every
Automated teller and on the tie clips of tabloid television news
investigators, everyone is "up close," and our casual comings
and goings are suddenly "personal" to the nameless security
experts who scour these tapes watching for "false moves."

One of the first installations of video art was the 1969
"Wipe Cycle," created by Mr. Gillette and Mr. Schneider for
the Howard Wise Gallery in New York and shown in the
exhibition "TV as a Creative Medium," the first show in the
United States devoted to video art. The piece featured nine
video monitors, four of which played pretaped material
(some grabbed from television shows) and five of which
played live and delayed images of viewers as they entered
the gallery.

"Viewers were mystified," Mr. Gillette said. "They were
seeing themselves on television mixed in with all these
other images from TV shows, and they were shocked as
well as delighted."

Recalling Andy Warhol's visit to the gallery, he said:
"Andy, of course, loved seeing himself on television,
but even he was a little confused by the multiple images
and time delays. He kept shifting his briefcase from hand
to hand to see if he was really being filmed live or not."

If anything, the current batch of "reality TV" shows clearly
Demonstrates a loss of innocence in everyday folk regarding
being on television. It's as if camera culture has made
professionals of us all. The New York video artist and editor
Dieter Froese, who made video performances in the early 70's
by taping visitors in a SoHo gallery, projecting their
movements onto a monitor as an "immediate work of art" and
then having a critic write an instant review of the piece, said:
"These eager participants in the current `reality' shows become
professionals fast. They learn how to hide behind the camera
while at the same time suggesting something genuine, just
like film actors."

To Mr. Gillette this "lack of reticence" on the part of the
participants is endemic in the culture at large. People seem
all too willing to tell their story to anyone at any time, and if
a camera's running, all the better. "For us, it was the ideas we
found interesting," Mr. Gillette said. "We were exploring
notions of time. For the first time, past, present and future
were `materials' for our art, just like paint and wood."
[...]

The least camera shy of the early video artists was
Vito Acconci, now 60, who put the lens close-up on his
face and other body parts, using it as a mirror in which he
could see what was usually hidden. In his first tape,
"Corrections," 1970, he focused on a perceived imperfection,
a tuft of hair on the back of his neck. "I used video as a way
of exploring myself," Mr. Acconci said. "As an artist, my
most basic instrument was myself, and the camera was a
way inside."

If critics of "reality TV" lament the collapse of distinctions
between public and private in these shows, Mr. Acconci
blasted private domains 30 years ago in his live performances
and videotapes. The difference is when he did it he was
pointing to the futility of suggesting that television or even
art could offer real intimacy or real personal revelation.
[...]

At the birth of video art, artists turned the camera on
themselves (another crucial distinction from television) or
on others to investigate new meanings of time and identity,
or to create new definitions of space and perception in a
gallery setting. Naturally, there was an innocence in all of
this, but there was also a quest for ideas, a hunger for
experimentation. Audiences were part of the action, a
necessary component of the experiment. In turn, they were
offered a place in the development of an alternative to
television, an interactive art that really did need them and
really did place them center stage. (Some of these and
other early video art tapes are available through
Electronic Arts Intermix in Chelsea, http://www.eai.org )

TELEVISION is a medium of desire: it creates dreams,
answers dreams, sells dreams. It promises to reflect us
back to ourselves, but it ends up bouncing back what we
long to see. "Reality TV" is a part of this mechanism of
desire, more akin to the lottery than to actual everyday life.

Perhaps this is as it should be. The images of ourselves
that we might have seen in an installation by Mr. Gillette
or Mr. Nauman can now be viewed in department store
windows or on multiple screens in electronics stores. We
can "star" in a video display on Sixth Avenue any time we
want. All we have to do is walk in front of the camera.

The artists' motivations for turning on their portable
cameras were what set them apart, however. They didn't
know if anyone would ever watch their primitive videos
or venture into their techno-installations. Much less did
they think someone would actually pay them to make
these tapes or broadcast them on television. They had a
camera. They knew it had far reaching possibilities, and
they wanted to find out what they were.


============================
============================
*Flatland Revisited*

Artnet Magazine, January 18th, 2001

http://www.artnet.com/magazine/features/drohojowska-philp/drohojowska-philp1-18-01.asp

Superflat
by Hunter Drohojowska-Philp

"Superflat," Jan. 14-May 27, 2001, at MoCA
Gallery at the Pacific Design Center, 8687
Melrose Avenue, West Hollywood, Ca.

It is a 90-minute subway ride from Tokyo to Saitama,
where artist Takashi Murakami maintains his studio,
Hiropon Factory, a series of quonset huts in the middle
of a bamboo field. Murakami, 38, comes out to offer
warm greetings, his round face accentuated by round
glasses, wearing the goatee and many-pocketed sports
clothing favored by film directors. After requesting the
removal of shoes, he ushers his visitor into the tidy
building.

Murakami, who lived for many years in New York City
and still keeps a studio there, speaks fairly fluent English.
He is planning a project for Los Angeles at the MoCA
Gallery at the Pacific Design Center, a westside
satellite of the downtown Museum of Contemporary Art.
As acting as curator of the new satellite gallery's first show,
"Superflat," Murakami is transforming the exterior of the
boxy building into a monster by draping it with vinyl
banners of rolling eyes and pointed teeth.

Since joining MoCA as director a year and a half ago,
Jeremy Strick has boosted visibility and membership.
Recognizing that much of the museum's funding comes
from L.A.'s affluent West Side, Strick was amenable to
opening the West Hollywood site. MoCA trustee Cliff
Einstein, chairman and corporate creative director of
Daley and Associates Advertising Agency, is one of the
principal tenants of the Pacific Design Center and
arranged a meeting between Strick and the building's
owner Charles Cohen.

Cohen agreed to provide free use of the space that was
formerly the PDC's Murray Feldman Gallery and to
provide all operating expenses, the salary of the new
architecture and design curator, Brook Hodge. In Strick's
words, it will be devoted to "the full range of MoCA's
programming with an emphasis on architecture and design."

Which is where Superflat comes in. The term is Murakami's
own, his manifesto on the way various forms of graphic
design, pop culture and fine arts are compressed - flattened
 -- in Japan. The term also refers to the two-dimensionality
of Japanese graphic art and animation, as well as to the
shallow emptiness of its consumer culture. Murakami
first used it to label an exhibition he organized for the
PARCO department store museums in Tokyo and Nagoya.

Now, in a few days, an expanded version of that show is
to inaugurate MoCA's new venue, bringing together work
by 19 artists, illustrators, animators, manga artists and
commercial photographers, all pushing the boundaries of
their genres where commercial art media meets fine art.
"The show suggests the unity of so many of the visual arts,
Strick says later, "it seems to exemplify a great deal of
what we are attempting to do at the new gallery."

Murakami settles into a chair in his studio next to his
larger than life-size fiberglass sculpture, My Lonesome
Cowboy, -- a pornographic take on the characters in
Japanese animation films -- to talk about his evolution
and the concept behind "Superflat."

To Western observers, Murakami's art initially seems
something of an homage to Pop artist Andy Warhol. His
working methods are similar to those of the Warhol Factory,
whereby his sculpture and painting, no less than his toys,
t-shirts, and publications, are the result of teamwork. As
Murakami speaks, a dozen young Japanese artists monitor
Developments at computers or do the background work
on paintings that he later will finish by hand. His pieces
frequently include a cast list of his collaborators and he
embraces the techniques of mass production and media
manipulation.

In the beginning, Murakami says, he wanted to be an
animator in the style of the pioneering Yoshinori Kanada,
who is known for his sci-fi animation films from the late
1970s and '80s. But Murakami felt his technique to be so
weak that he could only qualify for background painting.
The best training was thought to be nihon-ga, the painstaking
painting of traditional Japanese subjects emphasizing
outline and flat areas of color.

Like Warhol, Murakami is frank about his original motives.
"My goal was to make money and build a traditional
Japanese house. My parents are from Kyushu and I
was raised in Tokyo. My father was a taxi driver and I
was poor as a child. I hate the poor life." Both animators
and nihon-ga artists are handsomely rewarded for their
efforts in Japan. His brother Yuji Murakami remains a
well-known nihon-ga practitioner.
[...]

[...], he had perfected his own version of superflatness.
Murakami bases his painting and sculpture on traditional
Japanese themes, especially the celebration of playful
childlike humor. But his images -- pastel flowers, figures
like the Lonesome Cowboy, and those signature teeth and
rolling eyes -- meld such influences as Japanese manga,
racy cartoon books, and anime, or Japan's stylized
animated films, with traditional Japanese painting and
printmaking.
[...]


Murakami first arrived at the concept of superflat as it
pertained to his own art. "I'd been thinking about the reality
of Japanese drawing and painting and how it is different
from Western art. What is important in Japanese art is the
feeling of flatness. Our culture doesn't have 3-D," he says.
"Even Nintendo, when it uses 3-D, the Japanese version
looks different from the U.S. version. Mortal Combat in
the U.S comes out as Virtual Fighter in Japan and it's
different."
[...]

One notion of flatness led to another - the compression of
genres in the pop-inflected work of younger artists. "The
new generation doesn't think about what is art or what is
illustration," Murakami explains. "Their work is 'no genre.'"

Murakami points out that his transformation partly the result
of Japan's long recession. The bubble burst in the early '90s,
creating a generation that faced a level of economic
uncertainty unknown since the '50s. Murakami feels that
Japan's long celebration of consumerism has turned to critique.

"The Japanese people get fed TV and media for 24 hours a
day," he says. "Now, we have a chance to think, 'what is my
life?'" Consumer culture looks only one direction, not
evolved. In the '80s, Japanese people didn't think about
the meaning of life because of the strong consumer culture.
Now, people are realizing there is an end. They have to
think about it more than in the past. Young people are
looking outside of consumer culture and asking, 'What
is life?'"

Superflat artists, Murakami says, create their own version
of popular culture to draw attention to the dominance
of the media, entertainment and consumption.
Significantly, many in the exhibition work in the
industries they critique. In addition to fine artists, there
are commercial photographers, fashion designers,
animators, graphic designers and illustrators. Sexual
innuendo and black humor are popular topics throughout
the show.
[...]

"Superflat" features works by the following
artists: Takashi Murakami, Yoshitomo Nara,
Chiho Aoshima, Yoshinori Kanada, Henmaru
Machino, Koji Morimoto, Katsushige
Nakahashi, Shigeyoshi Ohi, Masafumi Sanai,
Chikashi Suzuki, Aya Takano, Kentaro
Takekuma and Hitoshi Tomizawa, and those
who have adopted unconventional monikers:
Bome, Enlightenment (Hiro Sugiyama),
groovisions, SLEEP, and 20471120.


(HUNTER DROHOJOWSKA-PHILP is
completing a biography of Georgia O'Keeffe
for Alfred Knopf. She writes regularly about art
and design.)


============================
============================
*War Whores?*


TimeOutNY, Issue No. 278 January 18-25, 2001
http://www.timeoutny.com/art/278/278.art.disasters.open.html


War in pieces
Images of war at P.S. 1 create their own disaster
By Howard Halle

P.S. 1's latest offering, "Disasters of War: Francisco de Goya,
Henry Darger, Jake and Dinos Chapman," follows in the wake
of the Museum of Modern Art's "MoMA 2000" series, and it
displays the same propensity for lumping disparate artworks by
theme-except here, the subject is conflict and all its attendant
horrors. The exhibit slaps a generous hunk of recent work by
the Chapman brothers between pieces by Goya (whose intaglios,
Los Desastres de la Guerra, lend their title to the proceedings)
and by Darger, the American outsider. It is an ice-cube sandwich
of a show, however, guaranteed to leave your spirits as soggy as
just such a misbegotten menu item would be. True, "Disasters"
is hardly intended as a walk in the park for gallerygoers: We are
supposed to be rudely awakened by curator Klaus Biesenbach's
unorthodox selections and the parallels they draw between suffering
and spectacle, violence and sexual frenzy. And there is something
kicky about the way the exhibition bounces from Goya's certified
Old Master-ish renderings and Darger's untutored, out-there
fantasias to the Chapmans' slickly contempo shtick. So what?
The cumulative effect is still more titillating than shocking, more
snuff porn than sober consideration of the human condition.

The main problem is that the show, which was originally mounted
(minus Darger) at Kunst-Werke Berlin last summer, is obviously
conceived as a showcase for the Chapman brothers. No offense to
Biesenbach, but I suspect that it is the Chapmans themselves who
are the masterminds behind "Disasters." The whole affair reeks of
their sense of humor, of that Brit bad-boy attitude so mired in 1995.
Throw in their healthy sense of self-regard and their affinity for
Goya (whose work they've plundered in the past), and voilˆ!
You've got an instant lesson in art history posited as a sick joke.

Luckily, Goya's etchings are impervious to tampering; they remain,
as ever, one artist's starkly brutal testimony to his homeland's
defilement. Some 80 images depict the occupation of Spain by
Napoleon's marauding armies, and though the plates for them
were created between 1810 and 1816, the prints themselves
weren't struck until 1892, long after Goya's death. His shockingly
candid portrayals of atrocity-of various garrotings and limbless
torsos lashed to trees, of branches ripe with the strange fruit
of hanging bodies-still demand a strong stomach, and the
surreality of their impact continues to seem strikingly modern
today. Even so, their inclusion with the rest of the work in this
show implies that Goya was simply indulging his imagination
when in fact his "Disasters" are meant to be taken as a form of
reportage, however biased.

Darger's works, on the other hand, are the pure products of
Artistic imagination, and a rather strange one at that. Born in
Chicago, Darger (1892-1973) was abandoned by his father to a
remedial institution for children sometime after his mother's
death around 1905. Eventually, he escaped the place to a life
of menial jobs and a shabby room from which he'd emerge to
attend Mass several times a day. In between, he'd retreat into
a universe of his own making-a "history" of a future civil war
fought on an alien planet over the issue of child slavery.
[...]

So what do the lads offer? Two things: a meditation on the
Holocaust, titled "What the Hell, I-IX," and their own cartoony
takeoff on Goya's etchings, a series titled "Gigantic Fun." The
former is a group of large photographic close-ups of some of
the same toy-soldier scenes that the Chapmans created for Fucking
Hell (a huge, railroad-model-type tableau that gathers some
10,000 figures into in a swastika-shaped diorama of wartime
carnage). The images of "What the Hell" imagine the camps as
Freddy Krueger might have run them. Instead of Nazis killing
Jews, however, we see Nazis doing their worst to one another:
heads on hooks, bodies being dragged into the ovens, that sort
of thing. This can be read as either an elaborate revenge fantasy
or a twisted expression of moral relativism-that the Germans
were really hurting themselves with all that genocide stuff. I'm
not sure which idea seems stupider. "Gigantic Fun," meanwhile,
just plays stupid with Goya, though to what end eludes me.

In the final analysis, "Disasters of War" (the show, not the
etchings) is an exercise in the sort of cynicism at which the
Chapmans are quite practiced-in this case, the suggestion that
we are all complicit, somehow, in a game of cultural fraud.
That certainly isn't true of either Goya or Darger; it's too bad
they had to be dragged into the act.

"Disasters of War: Francisco de Goya, Henry Darger, Jake
and Dinos Chapman" is on view at P.S. 1 through February 25.


============================
============================
*Humpty Domety*

The Art Newspaper, Friday January 26th, 2001
http://www.theartnewspaper.com/news/article.asp?idart=4495

Artworks dispersed
Dome artists are rescuing their works
By Martin Bailey

LONDON. Now that the Millennium Dome is being
sold off and its contents dispersed, most of the dozen
or so major artworks which it once housed will be
returned to the artists. Sadly, the story of how the
New Millennium Experience Company (NMEC) dealt
with art reflects the general ineptitude of its management.
Although seven important sculptures were commissioned
for the area between the Dome and the Thames, these
were crassly displayed and a promised grant from the
Henry Moore Foundation was needlessly lost.

Curator Andrea Schlieker, who coordinated the outdoor
sculpture programme, soon became disillusioned with
the Dome administrators. "I wanted to ensure that the
sculptures were in a dignified setting, but as soon as
the Dome opened it was clear that the reverse would
be true." A booklet showing the location of the works
ran out after three weeks and was never reprinted, so
few visitors could even find the art.

Richard Cork, critic for The Times and a member of
the commissioning Sculpture Group, is even more
outspoken, saying that Dome officials showed an
"appalling lack of respect" for the outdoor works.
Tony Cragg's "Life Time" was "largely obscured by
yellow litter bins" and Tacita Dean's "Friday/Saturday"
was used as "a stacking depot for plastic chairs".
Anish Kapoor's "Parabolic Waters" was "drained
and boarded off with rudimentary metal fencing", less
than a week after it had been inaugurated. Although
NMEC paid around £250,000 for construction costs
for "Parabolic Waters", it was probably seen in working
order by only a few thousand visitors.

The Dome administrators also failed to follow up a
£100,000 grant they had requested from the Henry
Moore Foundation. Although the money was awarded,
NMEC did not get round to submitting the necessary
paperwork, so it was never paid out. Altogether at least
£1 million was spent by NMEC on the seven outdoor
sculptures - a £10,000 fee for each artist, plus the
much larger costs of having the works made.
[...]

Unlike the artworks, most of the contents of the Dome
belong to NMEC. The main contents are being sold off
through Henry Butcher International, in some cases by
private treaty sale, but mainly at auction from 27 February
to 2 March. As for the Dome structure and site, it still looks
as if it will be bought by the Legacy consortium, which
hopes to use it for a business park. A Cabinet decision on
the £125 million Legacy bid is expected to be made by the
end of next month.


============================
============================
*Obit*

Just Merit is Dead.

Just Merit, the artist from Linz/Austria, died of cancer
earlier this week. Just had been working as one of the
pre-eminent international machine artists since the 1980's
and was the driving force behind projects like Contained
(in the Voest steel factory) and Time's Up (based in Linz
harbour- http://www.timesup.org ).

Just's creativity, energy and enthusiasm were an
inspiration not only for the people who worked closely
with him, but also to the visitors of the shows and art
projects he participated in, as well as to the international
electronic art community. Strange physical experiences,
the limitations of the human body, the pleasure of working
with machines and having fun with people - all these were
characteristics of his rich artistic life.
[...]

Sad greetings to those who were closest to him.

Andreas Broeckmann


============================
============================
*Classifieds*

I:  Skilled Computer Programmer

Location: Chelsea, Manhattan, NY

Tired of working "inside" the Matrix?
CharacterWare is looking for a talented, capable
programmer with demonstrated skills in designing,
coding, porting and debugging software applications
for the Internet and PC-based platforms.

Creative Environment. Artists Welcome.

- Strong understanding of C/C++, Open GL, Visual C,
VB, along with Internet related programming languages
(Java, Javascript, HTML, DHTML, etc.).
- Experience within wireless O/S's, protocol's and
devices considered a plus.
- Candidate should possess a strong working knowledge
of Active X, Direct X, and COM.

Salary and benefits are competitive and will relate to
experience.
Send your resume to bill@characterware.com
 or fax to (212) 675-7747.
................................................

II: Webmaster

CharacterWare is also looking for a Webmaster who can
build and maintain our internal and external Websites.
Design aspects are as important as technical abilities in
this position. The Webmaster will be responsible for
building and maintaining our external website which
includes client privileged access, together with our intranet
which is designed to assist Administration, QA, and
Marketing.  The position will also include responsibility
for connecting to backend database (or write server-side
scripts to connect to outsourced db's) and developing and
maintaining web usage tracking (web trends, keynote
systems, etc).

- Must know JavaScript, HTML, DHTML, and XML.
- Excellent understanding of the Internet and popular
browsers (particularly most versions of Internet Explorer,
Netscape and AOL).
- Familiarity with Java SDK a plus
- Be able to use a scripting language for CGI (Perl, etc).
- Awareness and working understanding of network
security.
- Experience setting up and maintaining the physical
equipment for the web servers a plus.

Send your resume to bill@characterware.com
or fax to (212) 675-7747.


============================
============================

http://newsgrist.com
free e-subscriptions:
subscribe@%%%%%%%%%%%%%%%
Classifieds, submissions + editorial:
underbelly@**********

============================
============================
     Newsgrist
where spin is art

is a subsidiary of

First Pulse Projects, Inc.
P.O. Box 1269
Canal Street Station
New York, NY 10013
http://www.firstpulseprojects.org
info@***************

++++++++++++++++++++++++++++++