Amanda & everyone involved with the Battleship conversation at Winkleman Gallery in NYC would like to thank everyone for turning out to the show and for helping to make it a great time. Here are some photos of the event as well as the link to the blog by William Powhida and Jennifer Dalton that streamed live video of the event and posts about it plus future events like it.

Again thanks for coming out and look forward to audio from the event in a future episode of Bad at Sports.

Ever feel like you wish you could take on painters in a one-on-one art debate!? NOW you can!!! Sink those battleships!! FIGHT FIGHT FIGHT!!! Embrace your inner art competitor!

Join our own NYC Correspondant / Referee: Amanda Browder (possible recording) For an afternoon of Battleship gaming at the Winkleman Gallery where two groups go head to head in an art conversation battle.
Sunday, February 28, 2010 / 2pm / part of the William Powhida – Jennifer Dalton exhibition #Class
HOST : Amanda Browder – Bad at Sports Podcast – NYC Correspondent
Address: 637 West 27th Street, NYC – btw 11th and 12th

Battle One: Formalists vs. Conceptualists.

- Why do people still fetishize the object?
- Why can’t I buy a performance?
- Can we actually believe half the work that is out there?
- What has more value: objects or ideas?

Battle Two: Painters vs. The World.

- Are painters just magicians? or illusionists?
- Why do painters always make more money?
- Isn’t photography a better version of painting?
- Painting sucks…why?

Battle Three: Artist vs. Dealer

- Why can’t I believe in my dealer?
- Why are artists so fucked up?
- Dealers suck because they use the artist for their own advantage.
- Artists have no idea what is going on, they need handling.

All are welcome and encouraged to choose your weapon. At the end we will tally up the points and see who really reigns supreme. It’s a WAR ON THE SHORE!

It is possible if all works out that some of it might be recorded for Bad at Sports….also an open soap box for ranting.

Bring it Sailor!!!! – I double dog dare you!

The Red Dot Art Fair’s NYC edition which was cancelled less then a month before it’s opening during Armory in 2009 has been rebooted in combination with MillionTreesNYC, a project initiated by Mayor Michael R. Bloomberg and New York Restoration Project (NYRP) Founder Bette Midler.

The new venue will be held at Skylight NYC, a renovated contemporary event space located on 10th Avenue and 36th Street right next to the Lincoln Tunnel.

The previous venue was their office space in the 500 block of West 25th Street.

It’s part installation art, part sculpture & part performance art JDS architects: experiencing the void is a proposal for the interior core of the Solomon R. Guggenheim Museum, New York where a heavy duty orange mesh net is installed like a archimedean screw so people can walk, run, lay and marvel at the space floating 6 stories up in the air.

The installation & sculpture art is obvious, the performance part comes into play when the lawyers standing at the base of the work all fall over dead like dominoes from the mind shattering liability at stake.

So needless to say the odds of this ever happening are much the same as Bad at Sports taking over the reins of MOCA. Which sadly like Leno we are more then willing to do if Mr. Deitch doesn’t quite work out.

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This week: Guest interviewer Anna Kunz (accompanied by Pamela Fraser) talks to Carroll Dunham about his show at He Said/She Said and more!

American painter. He completed a BA at Trinity College, Hartford, CT, in 1971 and later settled in New York. Initially influenced by Post-Minimalism, process art and conceptual art, he was soon attracted to the tactility and allusions to the body in the work of Brice Marden, Robert Mangold and Robert Ryman. Spurred on by the revival of interest in Surrealism in the 1970s, Dunham began to make abstract, biomorphic paintings reminiscent of the work of Arshile Gorky and André Masson, executed with a comic twist enhanced by lurid colours and the suggestion of contemporary psychedelia.

In the 1980s he began to paint on wood veneer and rose to prominence in the context of a broader return to painting in the period. Age of Rectangles (1983–5; New York, MOMA) is a highly abstract composition of differing forms, symptomatic of his work at this time: geometric sketches co-exist with eroticized organic shapes while the forms of the wood veneer show through the surface of the paint to suggest surging forces.

Towards the end of the 1980s he began to move towards single, dominating motifs; wave-like forms were particularly common. In the Integrated Paintings series he applied paint-covered balls and chips to the surface of the canvas to further develop the sense of organic life. Mound A (1991; priv. col.) is typical of Dunham’s work of the early 1990s in which his forms began to resemble mounds of live matter, covered in orifices. Around 1993 his paintings began to feature schematic, cartoon figures which suggest the influence of Philip Guston. [Read more]

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