Join me@.NO Gallery, Sat.10/22, 1-5pm

.NO Gallery is located 251 E. Houston, (btwn. Norfolk and Suffolk) on the Lower East Side in NYC. (take F-train to 2nd Ave, closest stop). See full program HERE.

Noah Becker: "… Authorship of ideas is fluid in the current online environment with ideas and images distributed like a digital wild west. We are still moving forward at a rapid pace with no sign of slowing down. When the paradigm shift in the art world began (from print to digital) things began to change. Whitehot took a drastic step at that juncture bringing in a large number of new critics, artists and curators forward. This involvement will hopefully provide the reader with a disconnect from the massive amount of cyclical commentary and intellectual pollution that is characteristic of our time." (from: The Letter from Editor, Monday Jan. 10, 2011. See: http://whitehotmagazine.com/documents/about)

Franklin Evans: "… Are we the Make It Bigger Generation? I think we are past that (possibly linked to recent economic decline). … Nothing felt like Richard Serra’s Torqued Ellipses, Robert Smithson’s Spiral Jetty, or even the maquette for Jeff Koons’ LACMA Train. The recent economic past may be a harbinger of what’s to come (slow decline of economic hubris and transition to more moderate lifestyles) and in ways it may be seen in some of the GNY work. Matt Hoyt’s strange work wonderfully relates (and more than just this) to what I suggest as the current social attitude digesting the socioeconomic decline of America." (from: Greater New York Roundtable by Richard J. Goldstein, Sep.7, 2010)

Vanessa Albury: "…The light, the image, once you’ve reached it, it consumes the space and cascades before you. You are surrounded by images on top of themselves. A montage of a white lily, black lace trim, dust & sand in a mirror. I send my images back upon myself in reflections on dusty mirrors & on glossy glass windows. I send these images on to you." (from: http://www.vanessaalbury.com/2statement.html)

Tanja Thorjussen: "… One thing that is specific to the Norwegian art market is its multiple grants for artists, this sets the economy of those Norwegian artists that receive a grant in a different light than the American artists that do not get grants to the same extent. We will not be able to sidestep this comparison. I will therefore briefly explain how the grants are built up and how this influences the way many Norwegian artists work." (from an email correspondence with Boris Zakic, Oct.11, 2011)

Inger‐Reidun Olsen: "… Through the physical body, sound and simple scenographic elements [RE-ACTION] is reflecting how these power structures affect us and the way in which we have power over our own lives, in relation to other people and the world around us." (from: http://irodance.wordpress.com/main-projects/)