Adam Void

Mighty Tanaka Gallery * Holiday Inventory Show * December 2012


If you are in Brooklyn, come down to DUMBO and check out Mighty Tanaka Gallery's Holiday Inventory Show. The show features a sampling of works from a majority of Mighty Tanaka's artists. The gallery's curatorial direction can be described as "where the raw meets the refined." The show contains recent work from Adam Void.

Mighty Tanaka
111 Front Street
Suite 224
Brooklyn, NY 11201

Train: F Train to York St
(1st stop in Brooklyn)

Hours: Wednesday – Sunday, 12pm - 6:30pm
Phone: (718) 596 8781

Filed under: Exhibtions No Comments

Maximum Rocknroll’s October isssue features two reviews of work from Adam Void.

mrr_353_cvr-300x390 Legendary (and still tapped into the punk underground) magazine, Maximum Rocknroll, featured two reviews of work from Adam Void in their October 2012 issue.

Sam Lefebvre reviewed the zine, Live the Dream Learn to Die #2, from Droid 907 and Avoid pi.

"This zine chronicles the tale of two travelers' train hopping, ridesharing, and walking up and down the West Coast. Each page contains Xeroxed and distorted pictures of graffiti and other sights along their path while gritty typewritten strips of words are sparsely strewn about the pages. The authors seem like experienced travelers. They explain illicit camping etiquette and the unusual dangers of their endeavors. The tone of the writing makes this zine most interesting. It's not elitist, glorifying nor stupid. Its matter of fact and terse which lends it a sense of grimy realism. Visually, the off-white pages, colored card stock cover and stapled inserts make it appealing as well."

Robert Collins reviewed the cassette tape, 131 Fires, from Adam Void aka Past Present Future Now.

"Childish, keyboard-driven elementary school art/punk/noise creations. Twenty minutes of madness that are a trying listen, even for those well versed in the world of schizophrenic sound. Lurches devoid of anything remotely resembling a steady tempo are punctuated with electronic blips and whirrs and general digital mindfukkery. I am presuming that these sounds are presented under the guise of "art" instead of music since they were created by street artist AVOID, but regardless of intent, the sounds are compelling."

Both the zine and the cassette tape are available online from Underground Editions.

Pick up a copy of the new issue at your local punk record shop or independent bookstore. If you can't find it near where you are, go online and they will send you a copy for less than five dollars.

Filed under: Media No Comments

Three new posts by Rhiannon Platt on Vandalog * Illegal Baltimore Graffiti & Street Art


Over the last few weeks, Rhiannon Platt and Vandalog have posted a three-part feature on Illegal Graffiti and Street Art in the City of Baltimore. The posts covered the topics of Streets, Rollers, Pieces & Freights. Click on the links to check out the full stories and pictures.

Here's a quick preview of the series.

Stab HOD

A few months ago, I was lucky enough to be able to visit Baltimore during their Open Walls Baltimore mural program. In addition to being fortunate enough to meet some of the most amazing artists from around the world, I was also able to explore the many hidden graffiti spots that the area had to offer. With a local writer as my guide, I was able to document over two dozen spots and see a wide range of work. Due to the prolific nature of Baltimore’s graffiti scene, the posts have been divided into three parts: pieces and freights, rollers, and street pieces.


Overunder, Avoid, Gaia, and Tence

Part one of the Illegal Baltimore series can be found here.

Due to the layout of Baltimore, the city makes the perfect playground for rollers. Built of bridges and tunnels, most of the graffiti spots contain elaborate pieces at eye level with equally as astounding rollers above them. The combination of these tunnels and the large amount of abandoned factories in the area makes for perfect spot to do elaborate, typographical rollers.

Nugz, Nanook, and Overunder

Even more astounding to me than the work itself was the number of familiar names I came across in, essentially, middle-of-nowhere Baltimore. People like Reverend, Nugz, Overunder, and Cash4, who had become my household names in New York had found themselves equally as prolific in this city. Through partnering up with local artists such as MTN NGC and Avoid, these New York artists seamlessly blended into the Baltimore scene, creating some interesting visual combinations in these spaces.

Avoid and Fisho
Reverend, Nugz, and Tence


Part one of the Illegal Baltimore series can be found here, and part two can be found here.

Walking around in the abandoned areas of Baltimore gave me a peace of mind that the NYPD would never allow in New York. However, engaging life-long citizens of Baltimore about the graffiti surrounding them in the streets came with its own merits. The blending of New York and Baltimore-based artists that I saw in the the city’s innards was mirrored in its streets. With the, then recent, invasion of international artists for Open Walls Baltimore, the city had become a hub for any east coast street artist to visit. As long as you had friends in the area or on the roster, chances are you ended up there.

Filed under: Uncategorized No Comments

New York Art Book Fair 2012 * featuring Avoid pi / Droid 907 * Learn To Die / Live the Dream 2 * Reviews from Vandalog and Brooklyn Street Art

Printed Matter's New York Art Book Fair 2012 @ MOMA PS1 will feature the finest in graffiti zines, including LTD2 from Droid 907 & Avoid pi. Brooklyn Street Art and Vandalog both did amazing reviews. Click on their names for the links to the full articles.

Here are some clips from both.


Preview: Graff Zines Hit the NY Art Book Fair

September 27th, 2012 | By

(Left to Right) Droid and R2, Droid and Avoid, and NGC

Opening to the public this weekend, the New York Art Book Fair brings together the academic art history books with the grittiness of zines. This year, several graffiti zines have teamed up to display their wares at the Pantheon Books table. With zines from Baltimore’s NGC crew, 907, and Subway Art Blog, this weekend will be one that you need to fit into your tightly wound schedules (don’t forget it’s also Dumbo Arts Festival). Vandalog was lucky enough to be able to preview these zines before the public and the results were astounding. In the week since I have received these zines I have found myself flipping through them over and over, rereading passages and revisiting my favorite layouts.


The sick rollers and pieces seen in my recent Vandalog posts are echoed within the pages of NGC’s zine. A few of the spots I was lucky enough to see are document within their zine as well as several that remain unseen. An excellent pairing of inside jokes and montaged pages of tags and personal photographs, NGC gives you a taste of what it is like to be writers in Baltimore. Like Natty Bo, it’s cheap, awesome, and sure to show you a good time.

Droid and R2
Droid and R2

Being only familiar with the street work of 907, I didn’t know what to expect when opening the pages of their zine. The cover is decked with tags by some of the top writers on the East Coast, giving a hint that you are probably in for a read that is going to rock your brain. Droid and R2 have brought some of their favorite cudi spots together with some premium interviews. Between the eye catching pictures and a particularly moving narrative about loss, Droid and R2 have pieced the perfect pairing of opposites for this release.

Avoid and Droid
Avoid and Droid

In addition to his release with R2, Droid and Avoid will be showing their zine from last year, which features stories from their adventures riding freights across the country. In the urban jungle where pretty much everything gets you arrested, their tales of run-ins and writing trains is enough to make any New Yorker want to eject themselves from the city for a taste of the fun.

Cover (Courtesy of Subway Art Blog)

Last, but not least, Subway Art Blog has teamed up with the graffiti writer-based zines to prove to New York that, yes, there is in fact still art in the subways. Now in it’s second issue, Jowy Romano has focused this production on etches and scratchitti. By bringing together graffiti writers as well as enthusiasts, the New York zine table provides short reads for visitors of all tastes.

To pick up copies of these zines visit table A12 (Pantheon Projects). The New York Art Book Fair will be open to the public this weekend from:

Friday, September 28, 12–7 pm
Saturday, September 29, 11 am–9 pm
Sunday, September 30, 11 am–7 pm

All photos by Rhiannon Platt unless noted



People who are designing and creating independent zines and books are a really important part of the Street Art and graffiti D.I.Y. culture and PS1 in Long Island City is a vast feast of cool printed matter this weekend.  Starting today and running through Sunday, the Fair is presented by the esteemed establishment Printed Matter and if you don’t find stuff that engages you and blows your mind, it will be a surprise. One of the groups we highly recommend that you go and visit is the Pantheon Projects table (#12) where you’d find delicious hand crafted zines by Avoid, Droid, R2 and Carnage.

Illegal Trouble II by Droid and R2. B & W photos, poems, recipes and interviews with Fade AA and Skuzz. (photo © Jaime Rojo)

These little art books capture stuff on the street in a way that helps you organize and appreciate it – with wit and a street poet approach. They also can give advice occasionally, like the recipe we found for juicing cucumbers/pineapple and something else to  produce “donut water”. Feast your eyes on the dope  images and take in the authors’ notes and observations as they rack up serious road miles for the love of art and discovery. Here is a selection of images from spreads of these zines to give you an idea of what we’re talking about.

Illegal Trouble II by Droid and R2. B & W photos, poems, recipes and interviews with Fade AA and Skuzz. (photo © Jaime Rojo)

Live The Dream Learn to Die II by Droid 907 and Avoid. A Road Trip with B & W photos, maps, inserts, guides and journals.  (photo © Jaime Rojo)

Live The Dream Learn to Die II by Droid 907 and Avoid. A Road Trip with B & W photos, maps, inserts, guides and journals.  (photo © Jaime Rojo)

Carnage. The stickers issue.  (photo © Jaime Rojo)

Carnage. The stickers issue.  (photo © Jaime Rojo)

Carnage. The doors issue.  (photo © Jaime Rojo)

Carnage. The stickers issue.  (photo © Jaime Rojo)

For further information, schedules and transportation regarding this Art Fair click here.

Filed under: Happenings, Media No Comments

Contemporary Art blog, Daily Serving, features interview with Adam Void

Daily Serving
  • September 1, 2012 Written by
  • Fan Mail: Adam Void

    For this edition of Fan Mail, Adam Void has been selected from our worthy reader submissions. Two artists are featured each month—the next one could be you! If you would like to be considered, please submit your website link to with ‘Fan Mail’ in the subject line.

    The tape fourtrack brought multi-tracking into the bedroom studio and accessing the tools for making okay-sounding songs is not hard. If you have bad equipment to begin with, then tape sounds pretty good. Fresh clean chrome tape sounds great. Hi-fi VHS sounds really great. Mastering to tape from fourtrack is the natural choice and the avenue of distribution is tape if you’re into all that duping and labeling. Then you can bring your recordings to computer and alter digitally—maybe pipeline it further through that eighth-inch jack then try to resuscitate some lost mid-range with garage-band filters. Tape labels are rampant today and most of my friends seem to still have tape decks, but also CD players in their cars, MacBook Pros, and smart phones. This time of technological transition is forefront in art making too—some push for the latest new-media and others prefer to examine the vestiges of innovation.

    Physical reality has a mystique to it, a sentimentality of the lives of others—outside of the data-driven world, touching objects, having objects, smells, covers, texts, papers, pens. Not having a lot of fancy stuff, you learn to lag technology. Then you get a taste for the retro, and the underappreciated articles of culture. An obsession with increasingly-obsolete tape equipment is, perhaps, a love of the imperfect—hiss, fuzz, and piercing treble. And maybe it’s a critique of perceived perfection almost achieved by digital. And the analog vs. digital debates goes on. “By any means necessary,” says Adam Void quoting Sartre or Malcom X.

    A deep archive of video, paintings, photographs, zines, etc. is what interested me in Adam’s website—a collection that reveals a persona. Our e-mail exchange is about as follows:

    CD: Living in Charleston, SC and having explored the south, it’s fun to see videos like Santee River Mythic Christmas South Carolina. Your rejection of crisp imagery is also appealing to me like in Babel Code. What is your sound setup and what methods of recording do you use?

    AV: I create my sounds from vintage toy keyboards, a circuit-bent 80′s era drum machine, a police scanner and walkie-talkies. I record to cassette tape through a four-channel Tascam fourtrack recorder. My video is edited in camera, by recording over previously recorded segments until they visually match the soundtrack’s rhythms. I film onto VHS-C tape and transfer them to digital by placing the camera’s display screen in front of a computer’s webcam. All shots are live and not taken from a television. Past Present Future NOW is a name I used for my performances from 2009 until late 2011. I have recorded a full-length tape and multiple videos under that name.

    CD: Some people might ask why you would release music on tape or be captivated with old technologies.

    AV: Analog technologies such as film, audio and video tape produce a warmth of tone which aren’t possible when using digital technologies. Digital technology involves capturing small samples of sound or image, and recombining them to produce the final product. Despite current high sample rates, digital technology cannot completely recreate natural waveforms in the way of analog technology. My use of analog recording methods is both an aesthetic and a technical decision.

    Adam Void

    CD: Most graffiti has a secret source but you are connecting your identity to the art—or maybe you’ve built an identity for creating art. Using the name “void” has a certain meaning, but maybe it’s just an embellished lack of meaning. The tent symbol seems meaningful (a tentative space to fill, an efficient traveler) but also reminds me of the shape of a capital A or in it’s extended version AVOID.

    AV: The truth is definitely closer to “I have built an identity for creating art.” Adam = Man, Void = Nothing. Over the last few years, I have carefully worked to communicate the meanings behind my art instead of pushing them into the void. The tents are loaded with meaning. From refugees and the homeless to environmentalists and protesters, each tent represents someone who has removed themselves from an understood comfort.

    CD: Your photographs have a color and style of cheap 35mm cameras or polaroid, adding flatness and contrast, sometimes a bit overblown and flashed. Chattanooga to Occupy and now living in Asheville but lived in Brooklyn, South Carolina, Baltimore—what have you collected about your locations?

    AV: The first images come from a multi-state tour through the American South, shot with a Fuji Instax 210 Instant Camera. The second group of images come from early November in Zuccotti Park during Occupy Wall Street, shot with disposable cameras containing various speeds and brands of film. While I did stay at the camp on and off for over two weeks, the pictures remain tourist photography. They were shot haphazardly and are a represented few from a much larger archive.

    South Carolina was a great place to grow up. In the 90′s, Columbia had a unique and intense hardcore and experimental music scene. I participated in Charleston’s graffiti boom during the early 2000′s and decided to move to New York in order to progress my understanding of the art form. While in Brooklyn during the last half of the 2000′s, I got to witness what happens to an over-inflated art scene when the economic bottom falls out. DIY galleries appeared in tiny apartments; Street Art embraced non-saleability; and I had the freedom to experiment with different mediums and controversial content. I moved to Baltimore in 2010 to attend graduate school. There, I was engulfed in the local noise scene and had the physical space to expand my work into installations and large-scale roller-based graffiti. I am just getting my feet on the ground here in Asheville, but I hope to reconnect with how my work exists in relation to physical space, architecture and nature environments.

    Adam Void, Another Way 1

    The found object college pieces titled Another Way, began as hitchhiking signs collected from my travels hopping freight trains in California, Oregon and Washington. Once back in Baltimore, I began noticing the signage on local bodegas as well as the cardboard signs of the local homeless. The final artwork didn’t take shape until the Occupation of Zuccotti Park. Once in the park, I collected protest signs from my fellow Occupiers. At that point I began mixing those worlds, small business, travelers, activists, and the homeless. The resulting works took the shape of the common struggles experienced between those groups.

    Adam Void, Occupy or Die

    CD: The Occupy or Die segmented snake reminds me of one of those toys that you buy at a Myrtle Beach gift shop (you hold its tail and it flows left and right in an S-shape) that has been broken apart—the mural could be read as a call to unify but also seems like a dismantling with an ax.

    AV: The Occupy or Die piece is a re-imagining of Ben Franklin’s Join or Die illustration. It was meant to act as a request for the unification of the Occupy camps before they were systematically raided.

    CD: What are the successes and struggles that you experienced with Occupy?

    AV: I Occupied on-and-off at Zuccotti Park for the better part of three weeks. I first stayed in the park in early October, after the first Brooklyn Bridge Action. I would return for a couple of days each month to stay with my good friend, Rami Shamir, who’s a full-time Occupier. I went on many marches and was arrested for putting up posters related to the cause. I came back twice to continue my actions with the group during the Union Square Occupation. The major success of Occupy has been the political activation of a new generation of Americans. It gave a platform for millions who otherwise felt powerless in their lives. The major struggle is that many of our country’s oppressed still have not unified their actions and remain separated by race, religion and geography.

    Adam Void, New Homes

    Adam Void, Trust No 1

    CD: Showing objects in decay, nature’s methods of decay and reuse—what is it about decay that is so captivating?

    AV: Decay is the object’s natural state. “New” is a temporary and mostly manufactured condition. Why fight against this natural state?

    Adam Void, Suicide Ride

    CD: The clandestine rider is using a system that once was a great symbol of progress (like the interstate highway system); now he’s an outsider in the industrial landscape, mostly vacant.

    AV: These struggles and experiences are essential to who I am. I rode freight trains for years before I began documenting and producing art from those travels. I get a majority of my food and my art materials from dumpstered sources. The dominant culture system produces an unsettling amount of waste. I am one of many new-century gleaners. We make use of what others consider useless and make beautiful what others consider ugly.

    CD: You seem to enjoy using text to make jolting messages on worn material, such as No Income No Assets. Painting letters has joy to it–often writing is in haste without much attention to form.

    AV: No Income No Assets is painted on a found mattress: skinned, stretched and then subtly altered. Graffiti, sign painting and signatures are some of the last few traces of humanity in written communication. I am at home with the imperfect and the strained. I utilize transitional tools of lettering as well, like typewriters, rub-on-letters, and vinyl stickers.

    CD: Dreambook reminds me of the cover of a fashion or tabloid magazine—those publications always have these bombastic figures on the cover. Using numbers has the feeling of exactitude.

    AV: The mini-zines are produced en masse and mostly mailed and given away (I sell some at Printed Matter and other art-book retailers for $1). I approach them as a visual poem. Each retains the same size and format restrictions, while the content comes from specific sources. I mine these sources for subconscious connections and visual appeal, keeping in mind the flattening that occurs with their photocopied reproduction.

    CD: I cannot help but think of Jasper Johns, who spent his youth in the south, when viewing your work.

    AV: Johns was a foundational influence, along with Rauschenberg, Brakhage and Raymond Pettibon. My current influences run the channel of “poor-art,” including Arte Povera, Tramp Art, American Folk Art, Art Brute, and Cy Twombly.

    Adam Void is currently showing at the Hillyer Art Space in Washington DC until the end of the month. September will have an interview in The 22 Magazine, as well as four pieces with “No Dead Artists” at the Jonathan Ferrara Gallery in New Orleans. In October, I am doing an installation at the (e)merge Art Fair in Washington DC which will feature a new publication discussing the flaws of a two-party political system.

    Filed under: Media No Comments

    Support Brooklyn Shelf Life’s Kickstarter. Help Printed Matter & Showpaper produce some amazing zines for free.

    Visit Brooklyn Shelf Life's Kickstarter page before July 17th to make this project happen.

    Filed under: Happenings No Comments

    Adam Void & Gaia collaborate on a sculpture for Brooklyn Shelf Life / BAMart: Public * BAM, Showpaper & Printed Matter * Opens Tuesday, June 19

    brooklyn-street-art-gaia-adam-void-jaime-rojo-BAMart-06-12-web-9 brooklyn-street-art-gaia-adam-void-jaime-rojo-BAMart-06-12-web-3WebResource.axdBAMart—(Brooklyn Academy of Music) BAM’s visual art program—is pleased to announce the final selections for BAMart: Public, a year-long initiative aimed at enlivening the BAM campus and its surrounding district through the commission of four distinctive public artworks from emerging and established artists. The four artists chosen from more than 100 submissions worldwide are Glen Baldridge, Ed Purver, Timothy Hull and Future Expansion Architects, and Showpaper (with contributions by Adam Void & Gaia, Cassius Fouler & Faust, Leon Reid IV & Noah Sparkes, Ryan C. Doyle & Swoon, and UFO 907 & William Thomas Porter).

    The pieces will be installed in early June with a public opening on Tuesday, June 19 from 6-8pm in the Dorothy W. Levitt lobby of the Peter Jay Sharp building at 30 Lafayette Ave, Brooklyn.

    The boxes will be installed on Lafayette Avenue and Ashland Place in Downtown Brooklyn

    While news boxes usually live a nondescript, utilitarian existence (ending up weathered and grimy), they remain valuable resources of information. In answer to the quotidian plastic or metal box, Showpaper, a free bi-weekly print-only publication which lists and promotes every all-ages show in the New York area, proposed a project titled Brooklyn Shelf Life. Here, five news boxes will be created by five pairs of artists (Adam Void & Gaia, Cassius Fouler & Faust, Leon Reid IV & Noah Sparkes, Ryan C. Doyle & Swoon, and UFO 907 & William Thomas Porter), curated by Andrew H. Shirley. They will be stocked with a revolving series of independent print publications curated by Jesse Hlebo of Swill Children, in collaboration with Showpaper and Printed Matter. Prototypes display a range of approaches, from melted and surreal to folkloric to ancient and tribal.

    Here is the description of our box from the press release:

    The reading shelter and reverse surveillance panopticon, produced by Adam Void and Gaia celebrates names of the infamous "scratchitti" vandal culture as well as the faces of politicians and developers integral to the creation of Brooklyn's Fulton Street/Metrotech district. Both the handstyles on the exterior of the glass and the information provided inside the kiosk ask the pedestrian to reconsider their notions of blight, beauty, and function.

    CURATING TO PROVOKE: DANGEROUS IDEAS, DANGEROUS PLACES, a Panel and Discussion about Curatorial Practice in Baltimore with presentations by Anita Durst, Maiza Hixson, Hannah Brancato, Rebecca Nagle, and Adam Void. * Sunday, April 29th

    Curating to Provoke-Dangerous Ideas, Dangerous Places FlierThis Sunday April 29th, come participate in a panel discussion at Baltimore's Area 405, "CURATING TO PROVOKE: DANGEROUS IDEAS, DANGEROUS PLACES, a Panel and Discussion about Curatorial Practice in
    ," with presentations by Anita Durst, Maiza Hixson, Hannah Brancato, Rebecca Nagle, and Adam Void. There will be ample time for tough questions and discussion.

    This panel and discussion is sponsored by MICA’s MFA in Curatorial
    Practice and the William G. Baker, Jr. Memorial Fund, creator of the
    Baker Artist Awards

    CURATING TO PROVOKE: DANGEROUS IDEAS, DANGEROUS PLACES will feature presentations by Anita Durst, Maiza Hixson, Hannah Brancato, Rebecca Nagle, and Adam Void. These presentations will spark a lively discussion. The panel and discussion will take place Sunday, April 29,
    1:00PM - 4:00PM
    at Area 405 in the Station North Arts and
    Entertainment District in Baltimore. CURATING TO PROVOKE: DANGEROUS
    IDEAS, DANGEROUS PLACES is the semester-end project for
    Interdisciplinary Approaches to Curatorial Practice (IACP), a graduate
    level course, taught by Marcus Civin, that focuses on revealing the
    history of curatorial practice by analyzing influential curators and
    influential exhibitions. Inspirations for CURATING TO PROVOKE include
    the Occupy Wall Street Movement, politically charged artwork, and
    community art.

    Hannah Brancato, Rebecca Nagle, and Adam Void, are all Baltimore
    curators and artists:

    Hannah Brancato works on a range of community based projects about
    gender stereotypes, material culture, and power structures. She has
    curated at The Creative Alliance, Whole Gallery, Current Space, and in
    various public spaces, dealing with issues from rape and consent to
    the accessibility of fresh food in Baltimore. Currently, she and
    Rebecca Nagle are organizing a touring exhibition, series of video
    screenings, and guerilla interventions as a part of the project FORCE:
    Upsetting Rape Culture - a project committed to disrupting the culture
    of rape and promoting a culture of consent.

    Rebecca Nagle has curated for Artscape, The Transmodern Performance
    Festival, The Maryland Historical Society, and The Reginald F Lewis
    Museum. Nagle’s projects engage issues of intimacy, the body, and
    power. With Hannah Brancato, she is curating FORCE: Upsetting Rape

    Adam Void works in galleries, art institutions, independent spaces,
    and in public to engage the largest possible audience. Recently, Void
    participated in “PANTHEON: A History of Art From The Streets of NYC”
    at Donnell Library 53rd St. in New York City, across from the Museum
    of Modern Art. PANTHEON was a part of a grassroots response to the
    exhibition "Art in the Streets" at The Museum of Contemporary Art, Los
    Angeles.  PANTHEON pointed to New York City's lack of institutional
    acknowledgement of graffiti art and street art.

    Two curators will visit Baltimore for this panel and discussion:

    Maiza Hixson is the Gretchen Hupfel Curator of Contemporary Art at
    the Delaware Center for the Arts which presents between 20 and 30
    exhibitions annually of regional, national, and international artists,
    exploring topical issues in contemporary art and society. Along with
    Lauren Ruth, she is the co-founder, director, and curator of The
    Shaft, an unauthorized gallery space located in the elevator of the
    Vox Populi building in Philadelphia. Her work was recently featured in
    the People’s Biennial organized by Independent Curators International
    and curated by Jens Hoffman and Harrell Fletcher.

    Anita Durst is the Founder and Director of Chashama which supports
    creativity in New York City by repurposing vacant properties,
    recycling them as work spaces and performance spaces, and granting
    them at free or highly-subsidized rates. She has secured over one
    million square feet of space in New York City for artists. She
    believes programs like chashama are the vital building blocks to
    ensuring cultural capital in New York City. Anita sits on the boards
    of New York Foundation of Arts, Tai Chi Chuan Center, The Tank, Adarsh
    Alphon Projects, Exploring the Metropolis, and Bindlestiff Family

    Hixson and Durst will bring outside perspective to our conversation in
    Baltimore. This will be a great opportunity for curators in Baltimore
    to meet and discuss issues relevant to curatorial practice. Everyone
    is encouraged to join the discussion.

    The idea that curatorial practice can provoke, in addition to educate
    and inspire, is an idea that is gaining steam across disciplines.
    Curators can challenge diverse publics by engaging place and sharing
    artwork that reflects significant, contemporary global and local
    issues and provides tools for engagement.

    Please join us at Area 405, Sunday, April 29, 1:00PM - 4:00PM. Area
    405 is one of Station North Arts and Entertainment District’s top
    exhibition spaces for contemporary art directed to broad audiences.
    Area 405 is housed in a living, working artist-owned building that was
    once an abandoned warehouse. Thanks to its many volunteers, Area 405
    has been hosting exhibitions, film screenings, performances, lectures,
    and artist talks since 2003.

    When: Sunday, April 29, 1:00PM - 4:00PM
    Where: Area 405, 405 East Oliver Street, Baltimore, MD 21202,
    RSVP encouraged at
    Here is the Facebook Invite:

    Further Reading:

    About Hannah Brancato and Rebecca Nagle’s project, FORCE:

    About Anita Durst’s organization, Chashama:

    For context, perhaps it would be helpful to consider this statement on
    the Occupy movement, by Rebecca Solnit:

    Filed under: Happenings No Comments

    Pulled from the vaults: Showpaper’s The Community Serviced Too footage of the Chris Stain / Adam Void newspaper box

    ==| THE COMMUNITY SERVICED TOO |== from grossymmetric on Vimeo.

    Summer 2011

    Filed under: Happenings No Comments

    “An American Dream” receives kind words from Vandalog, Brooklyn Street Art, Complex, Bmore Art and Popflys


    The exhibition, "An American Dream" has received incredible press from a variety of sources. Many thanks to RJ and Gaia at Vandalog for their mention and additional graffiti images. Brooklyn Street Art is always on point with their continued coverage of all things Avoid. Nick at Complex has shown lots of love recently and is greatly appreciated. The local, Bmore Art Blog also featured some images from the opening night. Finally, Popflys, a daily photo and design blog, mentioned Adam Void's photography on March 22nd.

    They are quoted as saying, "I can’t say I’m even on the edge of necessarily enjoying Adam Void's photographs but I knew I had to post him out of some sense of having the chance to write about Adam Void before everyone is writing about him and his work. ...there’s something there, something less voyeuristic and more point of view. A point of view on struggle, it just doesn’t feel like it’s through a photographers eye and I’m starting to like that."

    - a strange, but flattering comment from those guys.

    Filed under: Media No Comments

    Adam Void

    Adam Void Inventory