Here's a review of Anna K.E's piece currently at The Kitchen!
2025 on Tumblr: Trends That Defined the Year


Discoholic 🪩
tumblr dot com
todays bird
he wasn't even looking at me and he found me
h
Noah Kahan
Show & Tell
Jules of Nature
$LAYYYTER
Sweet Seals For You, Always

titsay
YOU ARE THE REASON
trying on a metaphor
Not today Justin

★
🩵 avery cochrane 🩵
seen from United States
seen from United States
seen from United States

seen from United Kingdom

seen from United States

seen from France
seen from United States

seen from United States

seen from United States
seen from United States

seen from United States
seen from Brazil
seen from United States
seen from United States
seen from Colombia
seen from United States
seen from Germany
seen from Germany

seen from United States

seen from Mexico
@simonesubalgallery-blog
Here's a review of Anna K.E's piece currently at The Kitchen!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
B. Ingrid Olson
erection of a plate of glass between, 2014
Inkjet print, and UV inkjet printed matboard in aluminum frame.
25 x 17.5 inches
B. Ingrid Olson // double-ended arrow // Opening Sun. Jan. 11 6-8pm
To scatter (Untitled Music), 2014
inkjet print, silver gelatin print, and UV inkjet printed matboard in aluminum frame
34" x 24"
Unique
We are happy to announce our participation in this year's Art Basel Miami Beach! We will be exhibiting sculptural work by Sam Ekwurtzel in the Positions and Public Sectors, and Frank Heath in the Film Sector!
Art Basel Miami Beach
December 4-7th.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
There's only 7 more days of #FrankHeath 's exhibition "Backup", and then we'll have to say farewell to #Twinkie. Stop by the gallery soon #beforeitstoolate.
Another nice press mention for our Frieze London this time by Art Agenda "New York galleries P! and Simone Subal are showing the work of Brian O’Doherty, who brings to the fair a lifetime of experimenting with the boundaries of the visual, here in an installation that changes the viewers’ sense of depth and space as they move around it (Rope Drawing #123: Orange Crush, 2014)."
To read the full article please click the link below
Blouin ArtInfo
“Frank Heath”, Lookout, Art in America, 9/18/14

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
"The effect is something like seeing a bunch of monkeys starting to type Hamlet." -Jerry Saltz on Frank Heath’s exhibition "Backup".
THE DAILY PIC: Copper yesterday, copper today—is there some kind of Copper Moment happening in the art world , or at least in the Daily Pic? Today’s example of Cuprous Conceptualism—I should trademark that term before it goes viral—comes thanks to Frank Heath, now showing at Simone Subal Gallery in New York. His piece is titled Live-Help Backup Plaque (Pioneer TX9100 Schematic JEPG), and the title more-or-less, or maybe less than more, describes what Heath’s piece is about. (Click on my image to see it enlarged.) Its left panel presents the schematic drawing for the electronics inside a 1973 Pioneer TX-9100 audio receiver, such as many nerdsters owned back then. If the schematic isn’t recognizable as such, that’s because what Heath gives us is the hexadecimal coding for the JPEG image of the technical drawing, rather than the visible drawing itself. In theory, at least, some computer of the future could read and understand the coding, then use the schematic itself to reconstruct the old hi-fi component.
Heath’s right-hand plaque tells the story of the making of the etched-copper schematic, as birthed through an online chat the artist had with “David,” a customer-service agent for a metal engraving company. The plaque’s text begins with Heath talking to David about some of the challenges of etching the two panels that he wants—including the one where we’re reading their conversation—as some kind of long-lasting “analog backup” for the digital file of the JPEG, and therefore for the analog receiver itself. Then the chat session moves on to Heath’s attempt to get David to go off-script, and comment on such things as the lives of Indian scavengers who recycle dead electronics for their raw materials, including the copper that Heath wants David to use to record their conversation about a plaque whose aim is to revive old electronics.
Heath’s piece is obviously about the tension in our culture between the human and the mechanical. It’s also about communication, its successes and breakdowns: The coding is a perfect, but illegible, record of Pioneer’s communication device; the chat session works to get Heath the plaque he wants, but it also ends with David hanging up on his annoying client.
Mostly, however Heath’s piece is an example of the kind of glorious, absurdist circularity that I’m always a sucker for in art. I dare anyone to read Heath’s text and not smile. (Courtesy the artist and Simone Subal Gallery; photo by Joerg Lohse.)
The Daily Pic also appears at ArtnetNews.com. For a full survey of past Daily Pics visit blakegopnik.com/archive.
Frieze London 2014 Booth H15, P! / Simone Subal Gallery October 14–18, 2014 Inquiries: [email protected]
At Frieze London 2014, P! and Simone Subal Gallery stage a solo presentation of seminal artist, writer, and critic Brian O’Doherty (a.k.a. Patrick Ireland). Beginning in the 1960s, O’Doherty created a vast body of conceptual and language-based artwork including drawings, paintings, sculptures, performance, and site-specific installations. The booth at Frieze London 2014 focuses on the connections between a set of rare historical works juxtaposed with a new work created specifically for Frieze. Last exhibited together at Betty Parsons Gallery in 1970, four of O’Doherty’s “Ogham” sculptures command the booth’s interior. These wall-mounted, mirrored sculpture are incised with an ancient linear Celtic script, transforming the viewer’s gaze in an experiential and encoded moment of self-representation. An untitled painting from the mid-1970s, rendered in watercolor marker on unprimed canvas, captures the artist’s quixotic attempt to follow a strand of his own hair in an exploration of line and process. These works are complemented by a new “rope drawing,” the most recent in an ongoing body of work begun in the 1970s, together with a set of works on paper that reveal the structural underpinnings of O’Doherty’soevre and its deeper connections to the written word.
Brian O’Doherty (b. 1928, Ireland) has led a remarkable and multifaceted career. After working and researching as a medical doctor, he relocated to the USA, where he hosted two television shows on art and culture. O’Doherty served as art critic for The New York Times and as editor-in-chief of Art in America magazine. He edited and designed the groundbreaking “conceptual issue” of the multimedia magazine-in-a-box Aspen, as well as authored the seminal essay series Inside the White Cube. While part-time director of the NEA’s visual arts and media program, he helped make Soho a magnet for artists, coined the term “alternative space,” and championed early video art. From 1972 to 2008, he worked as an artist under the pseudonym Patrick Ireland. He has mounted over forty solo exhibitions, and was the subject of several retrospectives, most recently in 2007 at NYU’s Grey Art Gallery. O’Doherty is the author of several novels, including The Deposition of Father McGreevy (2000), which was shortlisted for the Booker Prize. His most recent novel, The Crossdresser’s Secret, was published by Sternberg Press in February 2014. His 2014 exhibition at P! and Simone Subal Gallery, Connecting the …, received widespread praise from publications including Artforum, The New York Times, The New Yorker, Art in America, ArtNews, Modern Painters, The Brooklyn Rail, The Daily Beast, and others.
Frank Heath “Live-Help Backup Plaque (Pioneer TX9100 Schematic JPEG),” 2014 in Backup at Simone Subal Gallery with Nathan Catlin. September 07 - October 26, 2014
Thanks for stopping by Pickle!
-SSG
We are happy to announce Frank Heath’s second solo exhibition with the gallery will be opening this evening Sunday September 7th from 6-8pm.
Click link for full press release.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Here's a Sam Ekwurtzel piece for throw back thursday.
Lake Intervention, 2007
Underwater sound system, recording of The Who in concert performance attributed to Pete Townshend's hearing loss, and recording of percussion piece by profoundly deaf musician Evelyn Glennie.
An underwater sound system was installed in a popular swimming area. For a period of two weeks the above mentioned recordings were played underwater. Swimmers were able to listen via bone conductivity, so that rather than conventionally 'hearing' sound, there was a sense that one was 'thinking' sound.
To see Sam Ekwurtzel's newest body of work visit simonesubal.com or stop by the gallery in person.