by the-biennial-project 18. May 2014 14:57




















itis like a fucking hallmarl


ijustinvitedyou tobetter











































Adult Content | Guys We'd Fuck


by the-biennial-project 21. April 2014 13:48

"I'll tell you this. No eternal reward will forgive us now for wasting the dawn", Texas Radio and the Big Beat


A brief history of the past:
Near the beginning, there arose a prophet through whom the word* was revealed. He so reviled the sinfulness of the city that he determined to create a purer place where study of the word would be facilitated. He chose a small town in the remote Texas dessert for his endeavor, and commenced to create a grand compound of many buildings furnished to his detailed specifications. Word spread of the accomplishments of the prophet, and others who recognized the correctness of the his vision gravitated to this place. Pilgrims seeking a better understanding of the word began to travel there for study and reflection, which continues to this day.

A brief history of the week of 3/29-4/6/14
One small band of fervent seekers, also weary of the city and it's sin and endless dirty snow, arrives in said town for a week of such study and reflection.





Being a group with a long-established affinity for the wrong side of the tracks, they set up camp on the trailer-trash side of town. In trailers. Literally.




There they commence their study of the word, and of the town. Here follow a few impressions from this leg of their ongoing spiritual journey:


The Donald - thank you eternally Sir for having constructed pyramids in honor of your escaping, and thank you for letting us look at them - even if you didn't let us take pictures. Perfectly imposing constructions laid out just-so against the backdrop of the luscious Chihuahua dessert. Marvelous. Memorable. We were impressed, even if an evil little voice did whisper in our ear once or twice that as a theology it was perhaps just a wee bit, well, tidy.



Dan Flavor Flav Flavin - This we loved. Totally intoxicating. So much visual pleasure we felt like kids on a truly excellent sugar high. This work alone would have made the trip worth it.





Prada Marfa - The emptiness of commercialism. The fetishism of commodities. Man-made vs natural environments. Decay over time. The usual themes handled here with an extremely deft touch. Plus, it's fun. You try doing that. (Note to the State of Texas - we have a deal for you - back off on your plan to tear this place down and we agree to allow George W. Bush to continue to call himself a painter.)





El Cosmico - The above-mentioned trailer park. Only it's a trailer park as re-imagined by generous gurus on a particularly good batch of windowpane.  The perfect spot for your next wedding, bar mitzvah, acid trip. Did we mention the hot tubs?



Biennial Roadshow Marfa Opening Reception - The main event, held at El Cosmico. Sublime. The transcendence of life lived among art and artists. So much glorious art, and artists and art lovers to share it with. Proving once again that art is reason enough not to put a gun to your head. Did we mention the hot tubs?


bloghottub3there will be blood-page1

One of the highlights of the night was artist Artemis Herber – one of the prize winners and a truly amazing artist and person, speaking about her work. We are in total awe of her.

blogartemis1Biennial roadshow winners13

Biennial roadshow winners14blogartemis2

Biennial roadshow winners15

Check out more of her work here:

Then there was the also amazing and really nice Karen Rosenkrantz – on the left below at the reception - who showed work from her witty and apropos series Cowboys, and had this to say about the event afterwards: Thanks so much for including me .. It was an interesting experience. I think I was particularly impressed that the entire cast of characters (of course) just showed up: artists, gallerists, curators , and buyers. ... Pretty amazing and nicely done. All the best.”  Right back at you Karen – you are great!

blogginnykarenroadshow complete_Page_086

Check out more of Karen’s work here:

Another great participant was Ginny Barrett, who brought her human and canine entourage down from Austin for the event:

roadshow complete_Page_013blogginny2

We love her and her work! See more at:

See all the Biennial Roadshow Marfa art here:

See the Biennial Roadshow prizewinners here:

Because this work is great, and because as artists ourselves we take seriously our responsibility to publicize the fuck out of your work, we are going to show all the Biennial Roadshow Marfa artwork on a large sreen for the entire Boston Biennial 2015 (July/August - Atlantic Works Gallery Boston). Come one, come all!


Community of Marfa and Environs - We offer our most most profound un-ironic thanks for warming our hearts, tanning our faces, and sending us back to Gomorrah with a skip in our step. Such a gorgeous, unique huge little town. We'll be back if you'll have us.




There is lots more to be told about Marfa. But it will have to wait for now. El Cosmico doesn't have cable, and those re-runs of Project Runway don't watch themselves.


The Biennial Project, in collaboration with the Biennial Roadshow Marfa Advisory Group.

* And the word is Minimalism.  (Prominent artists associated with this movement include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. Minimalism derives from the reductive aspects of Modernism and is often interpreted as a reaction against Abstract expressionism and a bridge to Postminimal art practices.)


Our Biennials | Report-backs and Reviews


by the-biennial-project 22. March 2014 13:29


Best in Show (what we like to call the Golden Armadillo):
Federico Delfrati & Ieva Jakusonoka

The sensibilities of Federico Delfrati and Ieva Jakusonoka are so well-matched that they seemed to be one person. Their installation "An uncertain map of the known universe made of wax, wood, clay, ropes and various paper." was a universal hit with the judges, and we're proud to be featuring them on the Roadshow.

Photography: Adamo Macri
Video: Luke Boggia
Performance: Christine Comeau
Painting: Hildy Maze
Sculpture: Artemis Herber
2D: Nick Nazzaro
Digital Art:
Judith Kindler

Special Juror Awards:
Anna's Choice Award:
David Turner
Eric's Choice Award: Katherine Sweetman
Lizzy's Choice Award: Laura Krasnow

Sonia's Choice Award:
Dennis Miller
Stephanie's Choice Award:
Nicole Duennebier
Accepted Artists featured in the Biennial Roadshow Marfa exhibit:
(alphabetically by first name)
Adamo Macri
Adrienne Lichliter
Alan Lerner
Amy Butowicz
Anthony Astone
Anya Klepacki
Artemis Herber
Benjamin Phillips
Benjamin Phillips
Brandy-Michelle Byard
Brendan Mahoney
Calvin Pressley
Carol Stensrud
Charlene Liska
Charlie Lemay
Christina Macal
Christine Comeau
Christopher  Deris
Ciara Duffy
Claudia  Sbrissa
Claudio Scardino
David Turner
Dennis Miller
Elizabeth Harris
Eric Charlton
Federico Delfrati
Flair Robinson
Frances Berry
Ginny Barrett
Hildy Maze
Jenny Zoe Casey
John Lawson
Joshua Zerangue
Judith Kindler
Julie Weitz
Karen Rosenkrantz
Karina  Bania
Kate Mackay
Katherine Sweetman
Kelly Jo  Shows
Kristen  Freitas
Kristi  Beisecker
Larry Alford
Laura Krasnow
Laura Scandrett
Leigh Hall
Luke Boggia
Maggie Fishman
Marjorie Kaye
Matthew Mazzotta
Michael St.Germain
Mitchel Ahern
Molly Radecki
Nebras Hoveizavi
Nick Nazzaro
Nicole Duennebier
Nyssa Juneau
Paul Sisson
R. Prost
Renato Koledic
Robert Festa
Robyn Day
Stephanie Angelo
Stephanie Goode
Susan Fitzsimmons
Tom Estes
Tyler Beard
Vanessa Thompson
Walter Kopec
Yana Clark


Our Biennials | Our Shows

Why The Biennial Project Matters

by the-biennial-project 9. March 2014 13:22

The Biennial Project, a dynamic new collective body of work by artists Eric Hess, Anna Salmeron and an ever-expanding group of collaborators, takes off from one elegantly simple organizing principle.

Several mid-career visual artists (The Biennial Project members, playing themselves), feeling that their work merits greater acclaim, set out on a pilgrimage to discover the secrets to success at the top levels of the art world.

Drawing upon the phenomenon of prestigious national and international biennial exhibits, and their role within the art world in determining which artists will be granted global recognition, near celebrity status and high commodity values for their art, as well as the nearly universal desire by artists to have the opportunity to exhibit at such venues - the Project provides a metaphorical vehicle to explore the underlying dynamics of who gets validation from the art world apparatus and why - at the same time addressing the artist’s internal dialectic between expected and achieved success in external and personal universes.

Moving on two planes simultaneously, unmasking both the appeal and the hollowness of success in an arena often dominated by players with a financial stake in promoting their own artist and venues, the project is an exhilaratingly gonzo field trip into the internal landscape of the artistic consciousness.

Taking advantage of the substantial charisma and performative abilities of member artists, as well as their unique chemistry as a working group, the collective produces a body of work that succeeds in simultaneously identifying with and mocking the grasping aspirationalism and bewildered sense of unfulfilled entitlement underlying much artistic endeavor today. Creative people everywhere will recognize themselves in the collective’s deadpan portrayal of the misadventures of our befuddled crusaders as they attempt to scale to the peaks of the art world.

The Biennial Project member artists are part of a generation of global artists whose aesthetic identities transcend simplistic categorization. While clearly referencing the development of art in the post modern period, the body of work they have created wears its citations lightly. The aesthetic vocabulary and narrative strategy it adopts have an uncanny command of idiom, and succeed in making surprising connections between seemingly disparate ideas and media.

The Biennial Project has an intentionally breezy tongue in cheek quality that could not have existed without the example of the currently de-rigueur post-modern ironic detachment. But by folding post-modernism’s disjunctive effect back onto the unvarnished ambition of its group of earnest pilgrims, the Project elicits a frisson between its inherent irony and the sincerity and desire of purpose that lie beneath - and as such represents a reinvigoration of the expressive potential of post-modernism.

By adapting conventions of advertising signage and promotion, and by harnessing the associative power of corporate branding as a way to promote the agenda of the project, they raise the question of where the line lies between acceptable ‘fine art” self-promotion and embarrassing hucksterism. They deftly appropriate popular vernacular associated with “reality” programming in which contestants, often with no special skills or accomplishments, vie for fame and fortune. The prize here is art world success – with the quest at turns poignant and ridiculous.

But rather than devolving into a meditation on life’s inevitable disappointments, the Project artists create a dazzling deconstruction of the myth of the self made artist. Determined to raise themselves up by their portfolio straps, they present an ironic take on the ever-resonant American success myth – that if one bangs hard enough on the door to success, and persists at all turns with an undoubting and simple-minded positivism, like the little engine that could – in the end one will be rewarded with success. With squirm-inducing directness they implicate the viewer and force their audience to confront it’s own complex set of motivations and desires vis-à-vis art world success – thereby allowing no safe viewing distance from which to objectify our hopeful crusaders and their relentless “It’s About Us” mantra.

This rhetorical strategy also deconstructs an impulse that is central to the history of minimalist art – the desire to make art in such a way as to reduce or erase the fingerprint of the individual artist. Standing this convention on its head, the Project deliberately plays to and with the personas of its member artists. In this context, telling idiosyncrasies and autobiographical references resonate with irresistible particularity.

As one follows the infectious high-jinks of this band of merry pranksters “acting in the gap between art and life” (a la Rauschenberg), mining ideas from high and low art and appropriating them to the service of their cause, one realizes the extent of their accomplishment. They have fashioned a deceptively simple construct which manages to collapse the conventional dichotomy between art and commerce into a new genus, and with this paradigmatic shift have succeeded in locating The Biennial Project at precisely the nerve center of the current zeitgeist. With their finger firmly on the pulse of art-making today, their work is uniquely relevant – addressing several of the core questions confronting artists and their supporters at this historical juncture. Bravo!

Clea Saharoli, September 2013


Report-backs and Reviews

Biennial Roadshow Marfa–the great work keeps coming!

by the-biennial-project 23. February 2014 13:19


Art is good.

Art makes you happy when you need to be happy.

Art makes you cry when you need to cry.

Art makes you think when you need to think.

Art pisses you off – well,  you get the idea.

And the art that is being entered for the Biennial Roadshow Marfa again makes us honored to be part of this tribe.

Check out a few sweet samples from recent entries, and don’t forget that the absolute final deadline to submit your work to the Biennial Roadshow Marfa is this Saturday March 1st.

Don’t miss your chance to participate in this beautiful and exuberant show.



An uncertain map of the universe

An uncertain map of the universe_det1

Federico Delfrati Ieva Jakusonoka, Germany, 
An uncertain map of the known universe 
made of wax, wood, clay, ropes and various paper



Paul Sisson, CO, Next Auction



Eric Charlton, Nevada, A Prudent Dialogue of Opulence


happy rest

vanessa thompson, MA, happy rest 



Tom Estes, United Kingdom, Temptation of Christ
Nick Nazzaro, MA, The NRA Way



Judith Kindler, WA, Stilettos


flying cowboys(2) copy

Karen Rosenkrantz, MA, flying cowboys (2)


Our Shows | Our Biennials

A Valentine gift from The Biennial Project that doesn’t require lube…

by the-biennial-project 14. February 2014 11:45


So, if you are like us you didn't get a dozen red roses or a 5 carat diamond this Saint Valentine's Day.


We didn't even get a crappy little bear holding a heart.


Like us you might have also gained 10lbs from all the cheap chocolate and candy hearts that people have been bringing into the studio.



Maybe you even made an attempt to go out for a romantic dinner only to have to wait for a table and eat cold pasta in an overcrowded, overpriced restaurant


only to be requested by your love to perform anal sex when you got home.


Well, we here at the Biennial Project are here to save your St. Valentine Day this year.

We have decided to extend, by two weeks, the deadline for The Biennial Roadshow Marfa!!

Aren't we wonderful!!!



In case you have been living under a rock and have no idea what The Biennial Roadshow Marfa is, let us explain.

The Biennial Roadshow Marfa is an open call to artists worldwide to enter and possibly be selected to show in our online juried competition, and screen in our digital presentation at our Hoodang and Gala reception in Marfa, Texas this April!!

The new and improved FINAL deadline is now March 1st, 2014, MIDNIGHT.

We also highlight in blogs and facebook posts some of the work entered before the we jury the entries, so the earlier you get your work in the more likely we will show it off.

So get your ass in the saddle and enter the Biennial Roadshow Marfa by March 1, 2014.


Did we mention we are open to butt fucking?


For information go to on this juried Art show go to

For instruction on how to enter go to


And for an added Valentine thrill, we’ve prepared today’s preview of some of the kick-ass work submitted so far with an eye to the spirit of the holiday.

Feast your eyes:


Against Nature, by Joshua Zerangue



Yin and Yang, by Kristen Freitas





Walls of Love2, by Herber Artemis


Llama (Fragmented Memories, Page 68), 
by Stephanie Goode
Witches I, by Katherine  Sweetman




Don't Play With Fire, by Judith Kindler



Adult Content | Our Biennials

Sneak Preview of Art from the Biennial Roadshow Marfa

by the-biennial-project 9. February 2014 15:01

Hey artists and art lovers!

Here’s this week’s sneak peak at some of the AMAZING art that has been submitted to the Biennial Roadshow Marfa.

And remember – the deadline for submissions is this Friday, so get those entries in!

Enter the Biennial Roadshow here!


David Turner, Belfast, Northern Ireland, I Nearly died Laughing
Kristi Beisecker, Wellesley, MA, Bluebells


Joshua Zerangue, Philadelphia, PA, Against Nature
Michael St. Germain, Newton, MA,  Hollywood Basement sketch


Adamo Macri, Montreal, Quebec, Stasis Echo of Mount Helicon


Brandy-Michelle Byard, Arlington, Texas, Message in a Bottle

And check out this totally cool video entry:




Our Shows | Our Biennials

Check out some cool art!

by the-biennial-project 25. January 2014 11:51

With the entry deadline 3 weeks away, The Biennial Roadshow Marfa is already attracting fantastic artwork from far and wide – with U.S. entries from all around this fair country – including from Florida, Louisiana, California, Illinois, Texas, Maine, Massachusetts, and New York, plus international entries from as far away as Indonesia, Thailand, and Quebec!

Feast your eyes on some of the beautiful work we’ve received so far! Now go enter your work so that it might be included in our next roadshow round up of submitted art! And don’t forget to follow the Biennial Roadshow on Facebook – we’ll be posting samples of submitted artwork daily!

Installation series “Untitled 2007”(Primitive Cool), Sarawut Chutiwongpeti,Thailand


    Prospero Sycorax Ariel, Adamo Macri,Quebec


 Sweep, Laura Scandrett, CA


Untitled (light head), and Jacob McCandles, Big Jake, 1971, Christopher Deris, LA


      cupandcardboard, Susan Fitzsimmons, Texas


 Freeport Story In Papua, Bahtiar Dwi Susanto, Indonesia


      Congress Street Bridge HDR 04, Robert Festa, MA


         Stop being Assholes, Kelly Jo Shows, ME



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Other Biennial Campaigns | Our Biennials

A Unique Opportunity to Support The Biennial Project’s Important Charitable Work.

by the-biennial-project 11. January 2014 12:22


As you’re preparing your entry for Biennial Roadshow Marfa (ENTER BIENNIAL ROADSHOW MARFA HERE), you can also help us establish a Biennial Roadshow Marfa Artist Residency for a Deserving International Artist who would otherwise not have the means to participate in this career-making event (ENTER BIENNIAL ROADSHOW MARFA HERE).

The artist selected for this prestigious residency by the Biennial Roadshow Marfa Advisory Council (BRMAC) will be invited to participate fully with the Biennial Roadshow Marfa Traveling Group (BRMTG) as an artist-in-residence for the entire week of Biennial Roadshow Marfa – March 30th thru April 6th, 2014. (ENTER BIENNIAL ROADSHOW MARFA HERE).

Lodging will be provided for the Artist-in-Residence within our state of the art campus on the spacious grounds of the internationally renowned El Cosmico Centre for Artistic Development.


This fortunate artist will have full access to the sophisticated creative apparatus of The Biennial Project to develop their own artist practice and to contribute to the greater good of The Biennial Project. (ENTER BIENNIAL ROADSHOW MARFA HERE)

The BRMAC will look to select an artist whose body of work demonstrates the vision, maturity and collaborative ability to contribute to The Overall Biennial Project Oeuvre.



We will also look to select our Artist-in-Residence from an underprivileged area - someplace where artists don't have access to the multiple resources to support the arts that we as Americans take for granted.


(To give just one example of many, guns. If an aspiring artist in many parts of the world is called by their muse to use guns as part of their practice, they are forced to deal with a Kafkaesque nightmare of boring bureaucracy.  When artistic inspiration strikes, who has time for paperwork?)

Hummer Gunsguns_wall44

In summary then, the BRMAC will scour the world to identify the most talented but geographically-challenged contender, and with your support will assist them with travel costs, accommodation, and beer money.

What you will receive in return for your generous support of this project:

Good Karma, plus:

Support Level One – Smile – $1 (Click YES to Donate $1 to Support Art Residencies when submitting your work to Biennial Roadshow Marfa). Help make the Biennial Roadshow Marfa look more prestigious on your resume and curry favor with the judges! (ENTER BIENNIAL ROADSHOW MARFA HERE)

Support Level Two - Sparkle – $10 - A Limited Edition Biennial Roadshow Marfa Commemorative Postcard signed by all BRMAC members OR a personal email exchange with the BRMAC member of your choice (up to 3 emails each).

Support Level Two – Glitter – $25 - A Limited Edition Biennial Roadshow Marfa Commemorative Postcard signed by all BRMAC members PLUS a Limited Edition Biennial Roadshow Marfa Commemorative Poster OR a brief hug with the BRMAC member of your choice (travel costs not included).

Support Level Three – Bronze – $50 - A Limited Edition Biennial Roadshow Marfa Commemorative Postcard signed by all BRMAC members PLUS a Limited Edition Biennial Roadshow Marfa Commemorative Poster PLUS a Limited Edition Biennial Roadshow Marfa Commemorative T-shirt OR a somewhat longer hug with the BRMAC member of your choice (travel costs not included).

Support Level Four – Silver – $100 - A Limited Edition Biennial Roadshow Marfa Commemorative Postcard signed by all BRMAC members PLUS a Limited Edition Biennial Roadshow Marfa Commemorative Poster PLUS a Limited Edition Biennial Roadshow Marfa Commemorative T-shirt PLUS a Limited Edition Video of the Highlights of the Biennial Roadshow Marfa OR a lingering hug with the BRMAC member of your choice (travel costs not included).

Support Level Five – Gold – $250 - A Limited Edition Biennial Roadshow Marfa Commemorative Postcard signed by all BRMAC members PLUS a Limited Edition Biennial Roadshow Marfa Commemorative Poster PLUS a Limited Edition Biennial Roadshow Marfa Commemorative T-shirt PLUS a Limited Edition Video of the Highlights of the Biennial Roadshow Marfa PLUS a signed photo from the Biennial Roadshow Marfa Artist-in-Residence, PLUS regular (no less than 7) email updates from the Biennial Roadshow Marfa Artist-in-Residence as he/she completes the artistic journey of a lifetime OR a lingering hug with wandering hands allowed with the BRMAC member of your choice (travel costs not included).

Support Level Six – Platinum – $500 - A Limited Edition Biennial Roadshow Marfa Commemorative Postcard signed by all BRMAC members PLUS a Limited Edition Biennial Roadshow Marfa Commemorative Poster PLUS a Limited Edition Biennial Roadshow Marfa Commemorative T-shirt PLUS a Limited Edition Video of the Highlights of the Biennial Roadshow Marfa PLUS a signed photo from the Biennial Roadshow Marfa Artist-in-Residence, PLUS regular (no less than 7) email updates from the Biennial Roadshow Marfa Artist-in-Residence as he/she completes the artistic journey of a lifetime PLUS A Single Edition (yours will be the only copy available!) video of the Biennial Roadshow Marfa Artist-in-Residence during his or her residency - including their performance during the Closing Ceremony OR a lingering hug with wandering hands allowed with the Biennial Roadshow Marfa Artist-in-Residence (travel costs not included).

Support Level Seven - Plutonium – $1000 - you tell us what you're interested in, and we'll talk.





Other Biennial Campaigns | Our Biennials | Our Charitable Work


by the-biennial-project 25. December 2013 14:24

So the other night we had perhaps one too many at one of the Glittering Art Soirees that are mandatory this time of year, and got to chatting with artist friends about the Roadshow Biennial Marfa that The Biennial Project is hosting this coming April.

One of our co-conspirators, who had had, if we are to be entirely honest, perhaps two too many, suggested that we should ask our favorite art critic Jerry Saltz to jury the show with us.

At the time this sounded like just the most daring and Biennial Project thing to do, so we agreed with said co-conspirator that he should chat the old boy up and see if he was game.

What a surprise then when we awakened the next day to find that the aforementioned co-conspirator had face-booked his friend Jerry and asked him to jury our show.

Egad we thought - what would ever have given him the idea to do such a thing? What could he have been thinking? Seriously, that man drinks too much.

But as it happens around the holidays, everything happens for a purpose, and the purpose is always good.

And the purpose of our little adventure was to confirm that Sir Jerry Saltz is indeed not only the best major critic writing in the English language today, but also just the nicest and most decent famous person out there.

Not only did he answer our sorry little asses (OK, maybe not SO little this time of year), but he gave us a rejection letter that surely will reign forever as the most goddamned sweet rejection letter of all time.


On Wednesday, December 18, 2013 11:37 PM, Jerry Saltz wrote:

I want to – but I am so so so busy these days.

NYM is stopping publishing weekly and going bi-weekly; means MORE on-line writing for me; Whitney Biennial is March, etc., etc.

I am poor; you are poor: Bad match.

You don’t have enough to pay me. I can’t work for less than I charge – which is WAY more than you have.

I LOVE being asked; your lives there are so so much bigger than mine here.

I truly envy you all for these lives lived in art…

Thank you; I am honored to have been asked,




OK Biennial Project friends, If you can find us a more generous rejection letter, we will print it in our blog - but we know you can't because such a thing would be outside the realm of human possibility.

Other than the general niceness, there are three things worth pointing out about this response:

Jerry Saltz thinks we're poor. Is it that obvious? Maybe we should stop cutting our own hair to save money. But more importantly,

Jerry Saltz thinks we're artists. How many times have we tried to explain this to you?  Take THAT, painters of fruit - we told you so!

Jerry Saltz thinks we're much bigger than him. OK, now we're just melting in a warm pool of wonderful.  LADADADADADA! LADADADADADA!

While we still have visions of invites to major biennials dancing in our heads, and definitely plan to achieve our goal of becoming super famous in the coming year, until then, this will do nicely. And they say there is no Santa Clause!

Now, be well-behaved children and go follow the good Mr. Saltz on face-book and wherever else you find him, so that you can enjoy his refreshing take on art and the art world - and don't forget to tell him The Biennial Project sent you!


(US with Jerry outside the Whitney Biennial Preview Party last year.)


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