Thursday, July 12, 2007


Subject: my James Fuentes story from last night

On Thu, July 12, 2007 2:55 am, JS wrote:


> Erika,
>
> Re: our convo last night about why James is interesting as an organizer
> because of the unusually open channel? I’m sending it to you here for the record.
>
> It was Emily who introduced me to James, I think it was at Bill Stones'
> show at Emily Harvey Gallery, the one with the head maze, such a great
> interactive work. No overkill making the whole body go through tight
> walls. Remember at Emily Harvey Gallery the drop ceiling over the office
> with a height of about 6 feet. Bill adapted it with a walk-in maze hanging
> from the ceiling that came down to about 5+ feet so you experienced the
> confinement from the neck up. It gave the entire opening, which was packed
> solid, a really crazy feel. In the midst of that opening Emily
> brought 20 something James over to meet me with an energy like, Josh, you're cool, do
> something with James, I have collectors to entertain. I can't remember
> what was up with Lance Fung Gallery at the time, I think this happened
> after "Five" so we were all in force. But, you know I had had that
> Personal Effects show with Emily and it had caused quite a lot to happen
> to me as an artist, I won't go into the details - but Emily and I had a
> very good rapport about organization and energy.
>
> James had that Proustian quality of appearing as a small irregularity
> which promised to develop into a massive presence, my antennae were up. I
> found out that James had grabbed a store front on Broome Street and was
> doing a temporary gallery in the space. He was looking for artists. I was
> a bit puffed up at the time and I think I had a handful of shows that year
> already so I wasn't really in the vein.
>
> A guy named Stephen was my business manager at the time. I met him at his
> office to go over careerist issues, he was quitting smoking. On his office
> wall were three really stunning graphic prints. When I asked Stephen about
> them he told me he had made them and thought they looked nice and put them
> up on the wall to decorate his space. He had no sense of himself as a
> visual artist, whatsoever. I asked how he made the work and he said, "oh,
> they are the filters from my air purifier, I’m such a heavy smoker and I
> have to keep the air clean for everyone else in the office, so I change
> them and they come out like this, they are beautiful." "Stephen, you
> should consider showing these, you are making a work." I said. He loved
> the idea, but was clueless. So I told him I was going to get him a show.
>
> I met with James at the desk in the back room of his temporary gallery on
> Broome Street and proposed putting Stephen up. I disclosed to James that
> Stephen was not a declared artist, just someone making these things for
> himself, that they were the filters from an air purifier, that Stephen was
> making them by smoking cigarettes and that James could activate this
> person with a show. James looked at documentation of the work (i had
> Stephen make slides of three pieces he had on his office wall) smiled and
> agreed and gave me a date for Stephen to have a show at James Fuentes
> Gallery.
>
> When I returned to Stephen I explained that there was the problem of
> installation and framing and that he should quickly produce enough of the
> pieces to adequately fill the space, which was not enormous, but required
> maybe 15 good works. Stephen says the problem is that each filter
> requires two months of chain smoking and the three on the wall are the
> only ones he has. Stephen proposes that he buy 15 air purifiers and smoke
> for another two months, but I explain he only has three weeks until the
> opening. For this reason I suggest that he contact the manufacturer of the
> air purifier to negotiate for the discarded test filters. For Stephen, who
> negotiates deals all day, its a natural - a week later he has a pile of
> these things and is simply holding them up one by one and selecting the
> ones he likes.
>
> Stephen went on to show with James and I believe, because James opened the
> venue to him, Stephen (who I’m out of touch with for years) showed with
> several other venues. I have one of Stephen's pieces from James' Broome
> Street gallery exhibition which I keep up to this day.
>
> J.




Emily Harvey Gallery selected exhibitions included:


Alison Knowles, Coco Gordon, Loose Pages, Emily Harvey Gallery(EHG), NYC, Feb 14, 1983

Eric Andersen, Visitors Walk (performance), EHG, NYC, Oct 30, 1983

Peter Van Riper, Portrait Triptychs, EHG, NYC, Nov 30, 1984

Valery Gerlovin, Rimma Gerlovina, N/A, EHG, NYC, Apr 19, 1985

Dorothee Selz, Eat-Art Event, EHG, NYC, Jun 19, 1985

Joel Ducorroy, License Plates Works, EHG, NYC, Oct 18
, 1985


Eric Andersen, Please Leave (performance), EHG, NYC, Nov 22
, 1985


Charlie Morrow, Citywave Copenhagen in New York, EHG, NYC, Jan 14, 1986

Alison Knowles, Malcolm Goldstein, Breath River Route (performance/installation), EHG, NYC, Mar 22
, 1986


Dick Higgins, Arrow Paintings, Emily Harvey Gallery(EHG), NYC, Nov 7
, 1986

Martin Richard+Richard Martel+Pieere-Andre Arcand, Performance, EHG, NYC, Nov 14
, 1986

Ken Friedman, Fluxus Objects, Fluxus Clothes 1966-1986, EHG, NYC, Jan 8, 1987

Jacques Halbert, Projects for Paintings, EHG, NYC, Apr 24
, 1987


Hans Breder, Ursonate 1986, EHG, NYC, May 1
, 1987

Group, BY THE LETTER – A show of text in art –, EHG, NYC, May 19
, 1987

Brendan Atkinson, Painting Money, EHG, NYC, Sep 25
, 1987

Alison Knowles, Finger Book, EHG, NYC, Oct 23
, 1987

Citizen Kafka, Citizen Sells Out, EHG, NYC, Nov 14
, 1987

Piotr Rypson, Slide lecture on polish Futurism, EHG, NYC, Dec 3
, 1987

Eric Andersen, Third Divertisement, EHG, NYC, Dec 5
, 1987

Carolee Schneemann, Self Shot: Photographic Sequence & Video Installation, Emily Harvey Gallery(EHG), NYC, Jan 15, 1988

Eric Andersen, To Dick and Achilleus, EHG, NYC, Feb 21
, 1988

Group, Extended Play , curated by Ursula Block & Christian Marclay, (Flexidisc Catalogue), EHG, NYC, Feb 12
, 1988

Ken Friedman, Made in Finland, EHG, NYC, March 18
, 1988

Larry Miller, Earthly Works, Emily Harvey Gallery(EHG), NYC, Apr 15
, 1988

Jean Dupuy, WHERE, EHG, NYC, May 17
, 1988

Group, A La Lettre , EHG, NYC, Jul 15
, 1988

Ben Patterson, Ordinary Life, EHG, NYC, Sep 23
, 1988

Eric Andersen, !Lo Lamentamos! !Fuera De Servicio!, EHG, NYC, Oct 21
, 1988

Charlie Morrow, Wedding Event , EHG, NYC, Oct 23
, 1988

Joel Ducorroy, New Work for New York, EHG, NYC, Oct 28
, 1988

Group, Extra! Special Editions, EHG, NYC, Dec 6
, 1988

Henry Flynt, Classic Modernism and Authentic Concept Art, EHG, NYC, Jan 27, 1989

Henry Flynt, Publication Party for lo no.14, Emily Harvey Gallery(EHG), NYC, Mar 3
, 1989

Henry Flynt, Tape Concert – Hoedown, Glissando #1, EHG, NYC, Mar 9
, 1989

Dick Higgins, Maps and More, EHG, NYC, Mar 17
, 1989

Ay-o, Corner, Higgins, Knowles - Talk w/ Robert C. Morgan on Fluxus @ soho20 gallery, EHG, NYC, Apr 14
, 1989

Yoshi Wada, a Sound Installation, EHG, NYC, Apr 21
, 1989

Jean Dupuy, Special edition for Hypermetropes, EHG, NYC, May 16
, 1989

Brian Buczak, a Memorial Exhibition, EHG, NYC, Jul 4
, 1989

Ben Vautier, Art Does Not Exist, EHG, NYC, Sep 16
, 1989

Eric Andersen, Call 212-431-7169, EHG, NYC, Oct 20
, 1989

Ben Patterson, What Makes People Laugh, EHG, NYC, Oct 27
, 1989

Group, Fluxus & CO, Emily Harvey Gallery(EHG), NYC, Dec 2

Alison Knowles, Seven Indian Moon – (Catalogue) , EHG, NYC, Jan 17, 1990

Charlotte Moorman, Child of the Cello, EHG, NYC, Feb 24
, 1990

Christer Hennix, Metaxy: a Wall of Poetry & Fragrance (Performance), EHG, NYC, Mar 18
, 1990

Carolee Schneemann, Cycladic Imprints – a Kinetic Installation, EHG, NYC, Mar 23
, 1990

Takako Saito, Games, EHG, NYC, Apr 20
, 1990

Gerhard Ruhm & Franz Mon, Performance, EHG, NYC, Apr 25
, 1990

Dick Higgins, Brown Paintings 1989 – 90, EHG, NYC, Sep 14
, 1990

Eric Andersen, The Crying Place (Manhattan), EHG, NYC, Oct 26
, 1990

Group, a Fluxus Group Show, EHG, NYC, Dec 14
, 1990

Yoshi Wada, A Sound Installation, EHG, NYC, Feb 5, 1991

Henry Flynt, The Samo Graffiti, Emily Harvey Gallery(EHG), NYC, Mar 8
, 1991

Albert Fine, 1932 – 1987 (curated by Christian Xatrec), EHG, NYC, Apr 19
, 1991

Charlie Doria, an Evening of Poetry & Performance, EHG, NYC, May 31
, 1991

Ben Vautier, For a Pluri-Cultural Avant-Garde World – (Catalogue), EHG, NYC, Sep 24
, 1991

Ben Vautier, Talk about his statements on ethnies, EHG, NYC, Oct 24
, 1991

Giordano Bruno Publish party w/ Dick Higgins, Charlie Doria, EHG, NYC, Oct 29
, 1991

Ay-o, Ay-o's Blackhole, EHG, NYC, Nov 1
, 1991

Group, Music for Eye & Ear, EHG, NYC, Dec 4
, 1991

Philip Corner, Pieces of Reality, EHG, NYC, Jan 31, 1992

Alison Knowles, Bread & Water, EHG, NYC, Mar 13
, 1992

Henning Christiansen, I am a Bird..., EHG, NYC, Apr 24
, 1992

Orlan, Lecture, Emily Harvey Gallery(EHG), NYC, Apr 29
, 1992

Group, 10 years on Broadway – 1982-1992, EHG, NYC, Sept 18
, 1992

Sari Dienes, Rubbing, EHG, NYC, Nov 24
, 1992

Henry Flynt, Concept Art, Modern Art and Fantasy, EHG, NYC, Feb 5, 1993

Ay-o, Some Hanging Pieces, EHG, NYC, Mar 19
, 1993

Dick Higgins, Natural Histories, EHG, NYC, Apr 23
, 1993

Peter Van Riper w/ Setsuko Konishi, Performance, EHG, NYC, May 21
, 1993

Alain Arias-Misson, Publish Party, EHG, NYC, Nov 12
, 1993

Frances Whitney, Sculpted Light, EHG, NYC, Feb 11, 1994

Joshua Selman, Personal Effects, Emily Harvey Gallery(EHG), NYC, Mar 11
, 1994

Kirsten Justesen, Surfacing, EHG, NYC, Apr 22
, 1994

Ay-o, Some Hanging Pieces no.10, EHG, NYC, Sep 26, 1996

Ben Patterson, Blame it on Pittsburgh, EHG, NYC, Jan 30, 1997

Emmett Williams, Fresh Impressionism, EHG, NYC, Apr 8
, 1997

Alison Knowles, Sea Change, EHG, NYC, Oct 3
, 1997

Alain Arias Misson, Shamanix!, EHG, NYC, Apr 9, 1998

Al Hansen, (curated by Gracie Mansion), EHG, NYC, Sep 16
, 1998

Al Hansen, Performances (organized by Gracie Mansion), EHG, NYC, Sep 18
, 1998

Geoff Hendricks, Sky Notes 1 – 22, EHG, NYC, Jan 29, 1999

Bill Stone, Musings & Ruminations, EHG, NYC, Apr 7
, 1999

Jessica Higgins, How it sometimes goes in Kangaroo land, Emily Harvey Gallery (courtesy Lance Fung Gallery,) NYC, Sep 9
, 1999

Larry Miller, Genesthetics, EHG, NYC, Oct 8
, 1999

Carolee Schneemann, Vespers Pool, EHG, NYC, Jan 27, 2000

Daniel Spoerri, La Cabinet Anatomique – (Catalogue), EHG, NYC, May 11
, 2000

Alison Knowles, Footnotes, EHG, NYC, Oct 5
, 2000

Alain Arias-Misson, Little Shamani , EHG, NYC, Feb 1, 2001

Christian Xatrec – (Catalogue), EHG, NYC, Apr 12
, 2001

Ay-o, Tits Mandala, EHG, NYC, Oct4
, 2001

Fluxus Concert (Beginning of Rainbow), EHG, NYC, Nov 3
, 2001

Henry Flynt, Musical Recordings Publication Party, EHG, NYC, Nov 4
, 2001

Emmett Williams, The Boy & the Bird, screening at Anthology Film Archive, Emily Harvey Gallery(EHG), NYC, Apr 6, 2002

Emmett Williams, Story lines, EHG, NYC, Apr 10
, 2002

Berty Skuber, Under Penalty of Law – (Catalogue), EHG, NYC, Oct 3
, 2002

Geoff Hendricks, Accidental Significance (Collaboration with Brian Buczak), EHG, NYC, Oct 9, 2003

Jean Dupuy, Looking at Stones – (Catalogue), EHG, NYC, Feb 26, 2004

WILLIAM STONE AT JAMES FUENTES LLC, 2007

On 7/8/07 1:32 AM, JS wrote:

> Also, is it possible to get a shot of the outside of
> the gallery and a little something on the social club history? I could imagine
> Bill's show being the interior shots with captions for the pieces, a paragraph
> on Bill and then a little history of the gallery and then a history of James'
> organizational approach.
>
> Bill thought an interview between him and James would be good. That's another
> interesting direction. Who's going to be the writer? It should be an artist.



AOA: Can you give us a paragraph about your organizational approach to obtaining gallery spaces and structuring art events?

JF: The program consists of artists that have shaped and propelled my career from the start. I can safely say I would be in another line of work were it not for crossing paths with these artists. There is a core group of 6 or 7 and the other half of the program is one off project based exhibitions. When I came across this new gallery space, I had no desire to-reopen a gallery at the time. My lease was up on my apartment on Canal Street in Chinatown, I wanted to stay in that neighborhood so I scoured downtown for “for rent by owner” signs. I took a wrong turn on the way to Tribeca and that is when I happened on St. James Place and this odd looking building. When I looked through the storefront window that late night, I imagined it activated by people and art, I could see it very vividly. The sign said there was an apartment upstairs too, so it was a win win situation.

AOA: How does Bill fit into your overall program of organization. How do you feel about allowing artists that work with you into your organizational process?

JF: Bill Stone’s approach, which is reflective on the mediums he utilizes, rife with metaphor and poetry, like a magic trick, and seamlessly executed compliments the program but also provides a really significant anchor as it’s informed by close to two decades of exhibition experience. An artist who showed prior to Bill for instance was astounded by how he was able to transform the space. I have a good feeling that the dialogue between the artists in the program and the community surrounding the gallery is destined to create something great that I can¹t fully explain, in fact that’s already the case.

James Fuentes LLC is currently located south of the Bowery and borders City Hall, South Street Seaport, Wall Street, Tribeca and Chinatown but exists within an almost autonomous zone that stands as the last remaining working class enclave in downtown New York. One of the important contexts that the gallery provides is being reflective of the community that it is situated in. The program also reflects the social and political environments of its time, is conceptually rigorous yet aesthetically accessible and embraces a multidisciplinary approach to art. Stone’s practice is steeped in poetics and mechanics resulting in works that enhance perceptual possibilities, giving the most familiar objects new meaning. His exhibition at James Fuentes LLC consisted of new sculptures including altered readymades, fabricated readymades and works that address the core of functionality, exhibition and design in a subversive manner. His approach to the space was responsive to the gallery¹s architecture utilizing inherent fixtures ranging from the tenement windows, radiator and electrical conduit and exterior.

JF: It was important for Stone to be one of the first exhibitions at the new gallery as he was chosen to create the last exhibition for my first gallery closed in 2000. You can find a video of that project on this page which includes images, press and biographical information: http://www.jamesfuentes.com/artists_pages/stone_frameset.htm



Artist Organized Art
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As seen in Artforum


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