Opening February 11, 2007 P.S.1 Opening Day Celebration: February 11 from noon to 6:00 p.m.

(Long Island City, New York – February 11, 2006) P.S.1 Contemporary Art Center presents the work of six artists as part of the International and National Projects program. Featuring new and recent works by an intergenerational group of artists, these solo exhibitions showcase a range of media, including video, photography, and installation. The International and National Projects open on February 11, 2007.

Joe Deutch’s “—–, A Cottage Industry” is part of an on-going investigation into public acts and pictorial theater. Comprised of video, photographic, sculptural, and audio elements, the project presents different facets of a singular idea. On a plinth in the center of the room is the Alcoholics Anonymous bible known as “The Big Book,” surrounded by clandestine audio recordings of moral conflict, transgression and confession made during these ostensibly private and anonymous groups. In a projection on the opposite wall the artist is engaged in a series of performative gestures which test the limits of what constitutes socially acceptable public behavior and seek out the point at which moral sense and social justice intervene. Speaking in the language of public declaration and private consensus, Deutch’s photographs of signage call into question the larger assumptions underpinning this same moral economy. In all “—–, A Cottage Industry” is a harsh interrogation of the right to speak when we have little or nothing to say.

Joe Deutch is based in Los Angeles. He has shown at Crowe T. Brooks Gallery, St. Louis; Cirrus Gallery, Los Angeles; Track 16 Gallery, Santa Monica, and Marianne Boesky Gallery, New York. This exhibition will be the artist’s first museum presentation.

This exhibition is organized by P.S.1 Curatorial Advisor Neville Wakefield.

Stefan Eins has been working in a variety of media including painting, collage, sculpture, and photography for over twenty years. For his project at P.S.1, Eins presents a suite of digital photographs investigating phenomena and coincidences in the urban environment. Central to his process is the incorporation of scientific research and the highlighting of objets trouvés (found objects) in New York City — what the artist refers to as a re-invention of Dada practice. Using a combination of images, maps, and texts written in English, Russian, Spanish, and Chinese – the four most widely-spoken languages – Eins documents encounters and findings that challenge accepted perceptions of the world.

Page 1 of 4Stefan Eins (b. 1958) was raised in Austria and has exhibited internationally since the 1970s. His installations have often appeared in New York City nightclubs and parks as well as galleries and museums, recently at Gallery X in Harlem. In the 1970s and ’80s, Eins was part of the collaborative artist group Colab, whose members included Kiki Smith and Tom Otterness. In 1978 he established the seminal Bronx art space, FASHION MODA, a museum of science, art, technology, invention, and fantasy. At the space Eins presented artists and graffiti writers such as John Ahearn, Crash, Jane Dickson, Daze, Keith Haring, Jenny Holzer, Kenny Scharf and many others. He lives and works in New York.

This exhibition is organized by P.S.1 Director Alanna Heiss.

Stefan Eins’ project at P.S.1 is supported by the Austrian Cultural Forum New York.

McKendree Key’s investigation of unnecessary material waste connects her broad artistic practice, but is posed most aggressively in her installations. For her P.S.1 project, Key will create a site-specific installation that fragments the room into cubic yards with mason twine. The project continues an investigation of space that she initiated with her 2006 work Pier 17: Space # 2085 Divided into Cubic Yards, an installation which divided the space of a vacant sporting goods store in the South Street Seaport with spandex. Each installation is an interactive environment in which viewers are invited to physically negotiate the tensile composition. A seemingly incongruous element in her P.S.1 room is Key’s inclusion of several pieces of her own furniture. If Key’s division of the space into cubic yards nods to the system of measurement favored by New York City realtors, her employment of the gallery as a warehouse for the term of the exhibition conjures the grim narrative of gentrification’s rapid commoditization of space.

McKendree Key (b. 1978; Vermont) has had solo exhibitions at Galería Senda in Barcelona, and Caren Golden Fine Art in New York City. She has exhibited her work at Socrates Sculpture Park in the Emerging Artist Fellowship Exhibition (2003), the Institute for Contemporary Art in Philadelphia (2006), and The Sculpture Center (2006). McKendree is a 2004 NYFA fellow and has participated in residency programs at CUE Art Foundation, the Lower Manhattan Cultural Council, and the Skowhegan School of Painting and Sculpture.

This exhibition is organized by P.S.1 Curatorial Advisor Nick Stillman.

Mark Lewis‘ films, through their attention to light, depth, color, and geometry, evoke pictorial tradition and suggest ways in which film can be said to reinvent it. For his project at P.S.1, Lewis presents Northumberland, shot in 2005 in the northeast of England. Consisting of a single uninterrupted tracking shot on super 16mm, this film moves slowly along an ancient moss-covered stone wall. Beyond a stark forest, the viewer catches a glimpse of a distant world. Over the course of the last decade, Lewis’ visual language has combined cinematic process with digital technologies. His time-based compositions are enigmatic, drawing on the tension between naturalism and abstraction, realism and theatricality.

Mark Lewis (b. 1957; Canada) has had solo exhibitions at the Hamburger Kunstverein; MUDAM, Luxembourg; Kunsthalle Bern; Columbia University, New York; The National Gallery of Canada, Ottawa; Patrick Painter, Los Angeles; Triple Candie, New York; among many others, and has participated in numerous group exhibitions. He lives and works in London. His work appears courtesy of Monte Clark Gallery, Vancouver and Toronto and Galerie Cent8, Paris.

This exhibition is organized by Klaus Biesenbach, P.S.1 Chief Curatorial Advisor and Chief Curator, Department of Media, The Museum of Modern Art.

David Maljkovic presents the tripartite video work, Scenes for a New Heritage, which focuses on Petrova Gora, a memorial to the victims

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of World War II that was built in Croatia between 1970 and 1981. Set in the future, specifically the years 2045 and 2063, the video investigates both the architecture of the

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monument, its historic implications, and societal memory. According to the artist, “My work is about the future, about collective amnesia, about what is going to happen and whether people are going to create a new heritage for themselves… Your moment is your heritage. I’d like to create a complete collective amnesia, which would open new possibilities for the museum of nothing, where you may bring anything you like.”

David Maljkovic (b. 1973; Rijeka, Croatia) is currently a studio artist at KW Institute for Contemporary Art, Berlin. He has exhibited at Centre de Creation Contemporaine, Tours, France; Van Abbemuseum, Eindhoven; Kunsthalle Winterthur, Switzerland; Charlottenborg, Copenhagen; De Appel, Amsterdam; Museum of Contemporary Art, Zagreb; the Tirana Biennial 3; and the Istanbul Biennial 9, among others. Maljkovic lives and works in Zagreb.

This exhibition is organized by P.S.1 Director Alanna Heiss.

David Maljkovic’s project at P.S.1 is supported by the Croatian Ministry of Culture, The International Council of The Museum of Modern Art, and Neda Young.

Senam Okudzeto’s wide-ranging practice incorporates performance, painting, and sculpture. At P.S.1, she will present, Portes-Oranges, an installation featuring metal sculptures used by Ghanaian fruit sellers to display oranges. Scattered across the gallery floor will be one thousand oranges accompanied by a video projection documenting the fruit sellers at work. This project is part of her on-going Ghana-Must-Go series which, according to the artist, “explores the concepts of ‘modernity, memory and material culture,’ using images of contemporary Africa as a point of departure to annotate a growing global awareness of social complexity.” Questioning the status of the art object in a manner reminiscent of Duchamp, Okudzeto’s recent work references the marketplace of art and food, raising questions about the politics of necessity (food) versus the politics of luxury (the art object). Engaging both the formal qualities and social aspects of the sculptures, Okudzeto addresses the role and function of art, global and local economics, and tourism.

Senam Okudzeto (b. 1972; Chicago) was raised in Ghana and Nigeria, Europe and the U.S. She received her B.A. from the Slade School of Fine Art, London University College, MFA from the Royal College of Art in London, and participated in the Whitney Museum Independent Study Program in New York City. She was an artist-in-residence at the Studio Museum in Harlem, at the Stiftung Laurenz Haus in Basel, Switzerland, and recently completed a 2003-4 fellowship at the Radcliffe Institute for Advanced Study at Harvard University. Okudzeto’s work has been shown internationally since 2000, including Africa Remix at Centre Pompidou in Paris and the 2006 Dakar’art Bienalle in Senegal. She has received numerous awards, including a Pollock-Krasner Award in 2002. Okudzeto lives between Basel, Accra, and London.

This exhibition is organized by P.S.1 Curatorial Advisor Franklin Sirmans.

Senam Okudzeto’s project is funded in part by The International Council of The Museum of Modern Art and the kind support of Maja Oeri.

International and National Projects are supported in part by the Jerome Foundation.

Exhibitions at P.S.1 are made possible by the Annual Exhibition Fund with support from Peter Norton and the Peter Norton Family Foundation, Altria, Patricia Phelps de Cisneros, The Horace W. Goldsmith Foundation, Lawton W. Fitt and James I. McLaren Foundation, Marie-Josée and Henry Kravis, Jerry I. Speyer and Katherine G. Farley, Philip Aarons and Shelley Fox Aarons, Kathy and Richard S. Fuld, Jr., Lily Auchincloss Foundation, J. Christopher Daly and Sheldrake Organization Inc., Rosa and Gilberto Sandretto, John and Connie Cioffi Foundation, John Comfort, E. William Judson, David Teiger, Michel Zaleski, Enzo Viscusi, Sue & Edgar Wachenheim Foundation, The Broad Art Foundation, LBC Foundation, Inc., Mimi and Peter Haas Fund, Dennis W. LaBarre, Julia Stoschek, Pamela and Richard Kramlich, Richard Anderman, Paul Beirne, Werner H. Kramarsky,

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Douglas S. Cramer, L. Matthew and Elizabeth Quigley and the Mathis-Pfohl Foundation, SilverCup Studios, The Friends of Education in honor of Peter Norton and Gwen Adams, and The Contemporary Arts Council and The Junior Associates of The Museum of Modern Art.

Time Out New York is the official print partner of exhibitions and public programs at P.S.1.

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Sheldrake in Wide-Ranging Meeting With Tenants; But No Discussion of Future Ownership, Per the Law

sheldrake, j christopher dalyThe Sheldrake Organization and its Blackwell Management subsidiary may seek to drop support of the Island’s Public Safety operation in future negotiations with the Roosevelt Island Operating Corporation (RIOC). That was one of several points brought out Monday and Tuesday evenings when the new owners of Westview and Island House met with residents of the buildings in the Chapel of the Good Shepherd.

Neither of the meetings touched more than passingly on possible future resident ownership. Charles Lucido, who for many years has headed the investor groups that have owned each of the buildings, explained that such conversations are prohibited by law. “We are absolutely prohibited from talking about it,” he said. He did say that intractability in various RIOC administrations over the years had thwarted his personal goal of resident ownership, and added, “I will say this: I look forward to a positive outcome for all of us.” Lucido praised his new partner, J. Christopher Daly, the owner of the Sheldrake Organization, as someone who shares his “principles and ideals” and has the wherewithal to get the job done. “We’re meeting with your steering committee, and will continue to do that, as long as things are being handled constructively,” he concluded.

“Obviously, we understand there are probably a lot of questions about the future of the buildings,” said Robert Klehammer of Sheldrake. “We are discussing issues with RIOC at this time and it would be difficult for me to really address those issues. That’ll be another meeting at a later time.”

j christopher daly, sheldrakeA building security organization would replace the Public Safety Department (PSD) within the buildings, Daly said, adding, “The overall plan should be that the New York City Police Department should have a presence on the Island.” His company is in continuing negotiations with RIOC, he said, on this and other matters.

RIOC controls the ground leases for the buildings. Any increase in ground rent associated with the planned privatization of the buildings’ mortgages, and any increase in PILOT payments (Payments in Lieu of Taxes), would impact directly on the cost of living in the buildings. At one point, Klehammer suggested that anticipated taxes could mean an increase of “about $300 to $400 per apartment,” but said the company is working toward keeping that figure down.

Tim Johns, who for years was active on the Island House Ownership Committee (IHOC), asked about empty apartments, asking for reports “required by law.” Daly assured him, “We have to submit those same reports to DHCR, and if we’re warehousing apartments, they penalize us.”

A member of the Common Council of the Roosevelt Island Residents Association (RIRA), Joyce Mincheff, asked Daly to be mindful of how monies his organization pays to RIOC are used. “I want to ask you to take seriously your responsibility toward the needs of the residents not only for a better quality of life in the buildings, but also, because you, as the owner, are responsible for paying the land lease to RIOC, that you give attention to the services residents should receive on the Island in general – services paid for with the funds tenants pay you, and you in turn pay to RIOC. As you look around the Island, you’ll see that things have deteriorated. You hold the money. You receive money from each one of these residents, and you turn it over to RIOC, so all of us here would sincerely like to see you take a strong position in insuring that

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RIOC applies the money that you pay in a worthwhile way.”

Mincheff added, “The garage, in particular, is a pet peeve.” Daly agreed. “The condition of the garage is deplorable,” he said. Mincheff added: “Our sidewalks, and our roadways… It’s like taxation without representation, because the people that run that money are appointed by the State of New York and not elected by the people here. In the past that money has not always been used effectively.” Daly responded, “Point well taken. Thank you,” and there was brief applause.

Frank Farance then connected Mincheff’s comments to the Island’s Public Safety Department (PSD). “That’s something we pay for, and they’re not doing the job,” Farance said. “Don’t be surprised to find that is a significant issue. That’s part of the equation here that you probably don’t have in your other buildings.”

j christopher daly, sheldrake

“We ask that you call the local precinct as often as possible,” Daly responded. “The overall plan should be that the New York City Police Department should have a presence on the Island. Without you logging in complaints, they don’t hear you. The long-term strategy should be a New York City police presence on the Island.”

“RIOC does have an ear to listen to you,” Farance said, “because you pay the bill. We’re counting on you to represent our interests in that regard.”

Daly asked residents to make the Blackwell Management office, headed by Jennifer Jones, their first call “when you see something you don’t like.” He said, “If you see something you don’t like – that a porter’s doing, that security people are doing, our people are doing – call Jennifer, or call the maintenance people. Don’t talk to the super, don’t talk to someone else, don’t call Public Safety – call us.” (The Blackwell Management phone number is 212-755-3012, and Jennifer Jones’s e-mail address is JJones@BlackwellMgmt.com. Hours at the office are Monday through Friday 9-5, and 9-7 every first Thursday. Daly also told those attending the meeting that a box provided in lobbies for rent checks can be used to present suggestions and complaints, as well.)

After one complaint, Lucido offered a testimonial promise on behalf of Sheldrake. “What I find very surprising is the resistance the tenants showed to the change in management. Chris Daly’s intention here is to win you over, not with words, but with performance. These are very competent people here. I checked on his other buildings and what was going on there. The quality of life in those buildings that he owns and manages, from what I’m hearing, is superior to this. Let me add something else. You are very responsible, and very active, and I admire it. But there is something that goes on in this community and in our properties that disturbs me, and that’s a certain protection of tenants who offend your rights, who offend your quality of life, and that shouldn’t exist. I think that you should demand that the tenants live up to the standards of the community. Chris has explained – he did last night and I’m sure he will tonight – that if you report someone, that information, your identity will be kept in confidence, but they will see to it, if something that can be done to correct a lot of these continuing problems, they will attempt to correct it.”

Lucido continued, “We do pay too much for Public Safety. I had a big fight with RIOC over the past few years because they were increasing the charges, and again, because there were other issues on the table, we mitigated the problem somewhat, so that’s my little speech to you. I hope things improve.”

Frank Farance described a computerized system of reporting building problems – “something Judy Berdy called the þschmutz patrol'” – and their resolution, employed after the mid-’90s in cooperation with RIHMC.

[While Daly and some other members of his team used an amplified microphone in answering questions, tenants had none, and not all their questions or comments were audible on The WIRE’s recording of the meetings.]

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Q magazine, Riverhouse 1 Rockefeller Park, and the New York Academy of Art hosted summer rooftop cocktails …

qmag06 chris daly, riverhouse

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Seventh Generation’s Premiere Party for Big Green Lies

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Seventh Generation CEO and founder Jeffrey Hollender (L) and Riverhouse developer

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Chris Daly (R) attend the premiere party for Big Green Lies hosted by Seventh Generation at Riverhouse – Penthouse 3 on

April 14, 2009 in New York City. (Photo by Andrew H. Walker/Getty Images for Sunshine Sachs & Associates) * Local Caption * Jeffrey Hollender;Chris Daly

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