★★★★★★★★★PRESS★★★READ ALL ABOUT IT★★★★★★★★★★PRESS★★★★★

As seen in Teen VOGUE's May 2010 Shopping Spree section

Featured on Lucky Magazine's 2010 Gift Guide: Under $150: 15 Wildy Cool Gifts

Featured in the November 2010 issue of Marie Claire ( thanks Taylor, Justin & Danielle!)

Thanks Foam Mag( thanks Kristina & Zoe)!
Featured on Refinery 29 ( thanks Piera and Kristian!!)

Photo by Sarah Cates

Featured on Feels Like White Lightning ( thanks Elizabeth!!)

Featured on Real Simple( Thanks Julee!)

The beautiful and talented photographer Louise Ingalls Sturges rocking her SFK

Also available at Tenoversix in LA...http://shop.tenover6.com/

International Center of Photography gift shop in NYC


please contact me with any questions:


*all background artwork by David Shull


DS Portrait, Photograph 2010

Once I was beset by anxiety...

...but I pushed the fear away by studying the sky, determining where the moon would come out and where the sun would appear in the morning.

RIP Queen Louise

The Puritan 1989
The Blind Leading the Blind 1947- 49

Seven in Bed 2001


Jasmine of Queen of Quartz, 2010

@ Union Pool 5/19/10


Untitled (For Now) 2010, Collage

Anita Fix + The Ecstatic Gestures

at Tommy's Tavern 5/15/10



Part 1:

Part 2:


Ocean Offer 2008, Photograph


Help out by sending hair, fur and/ or used pantyhose:



Josephine Meckseper @ Elizabeth Dee Gallery

A chillingly timed show reminding us to think twice about greed and our oil addiction.

May 8th- June 26, 2010http://www.elizabethdeegallery.com/exhibitions/


Related 2010

Moonbath, Photograph 2010

I do (I'll Do Anything You Want)/ Mother Ocean/ Sister Sea 2010, Collage


Duchamp on women of the USA

The American woman is the most intelligent woman in the world today- the only one that always knows what she wants, and therefore always gets it. Not only has she the intelligence but a wonderful beauty of line is hers possessed by no other woman of any race at the present time.

And this wonderful intelligence...is helping the tendency of the world to completely equalize the sexes, and the constant battle between them in which we have wasted our best energies in the past will cease.

( p 151- 2 from Duchamp A Biography by Calvin Tomkins)


David Shull: Report Posters

Anita Fix and Bam Bam

Goddess of Song
March 2010
@ Goodbye Blue Monday
for the Anti-War Benefit



Far Gone and Out

Sound Baths at the Integratron
The Sound Bath is a 30-minute sonic healing session that you can experience while resting comfortably in the Integratron's highly resonant, multi-wave sound chamber. We play 9 quartz crystal singing bowls live, each one keyed to the energy centers or chakras of the body, where sound is nutrition for the nervous system. Imagine lying on comfy mats in the center of this relaxing and resonant high-energy field, while having your body bathed in exquisite sound for 30 minutes. The results are waves of peace, heightened awareness, and relaxation of the mind and body.


Cool Connections... Mr. Irwin, Meet Bruce.

From page 169 of Seeing is Forgetting:

There are such sophisticated systems of orthodoxy and they're so beautifully developed- not just the orthodoxies of painting and sculpture but the super-structures of museums, galleries, collecting, criticism, and so forth- that when you decide to try and operate outside of those systems you really have a problem, because everything is set up to induct that which is already within the paradigm or within the orthodoxy. And if you should actually ever question these orthodoxies, the first thing you have to face is that there actually is no process by which your information can in fact be inducted. So you're forced to operate in a contradiction, which means that if you want to deal with culture at all, you will have to deal at least in part with its present currency. Thus for example, I'll use a museum space to try and show the irrelevancy of the museum situation. You have to use all the currencies, all the processes that are already operative and argue against their inclusiveness even while you're using them, which is a funny place to be. And it's not always a convincing argument, since you're contradicting yourself even as you're making your case.

Now please read this:


Who Needs the Whitney? They Have Their Own Show

Published: February 25, 2010

If the 2010 Whitney Biennial is too lean, clean and demure for your taste, you might try an alternative, the Brucennial in SoHo, which features 420 artists from 911 countries working in 666 disciplines, and is, for good measure, the most important survey of contemporary art in the world. Ever.

Mike Appleton for The New York Times

Alli Miller, left, putting up the finishing touches of her installation at the democratically arranged Brucennial 2010.



The latest on the arts, coverage of live events, critical reviews, multimedia extravaganzas and much more. Join the discussion.

Well, that’s what the news release says. And there really is a ton of art shoehorned into the Brucennial’s 5,000-square-foot street-level quarters on West Broadway. The show is the brainchild of the Bruce High Quality Foundation, a five-artist collective focused on reshaping the art world as we know it by placing some of its more conspicuous functions, like education and the organizing of exhibitions, into artists’ hands.

Making such change doesn’t require, as you once assumed it did, staying clear of the art mainstream. Just the opposite: the collective is happy to show in commercial galleries, and it contributes a major piece to this year’s Whitney Biennial. Nowadays change means doing what the mainstream does, but doing it differently.

The Brucennial, in its third year and at its first Manhattan site, is by this point well established, but it claims no permanent home. (The SoHo space, which extends over two floors, is on short-term loan from an art collector and real estate titan, Aby Rosen.) And in almost every way the show remains, by design, a pick-up affair.

If the selection process for the Whitney Biennial is super-stringent, getting into the Brucennial is a breeze. To be sure, there is an invitation list: the collective asks some favorite artists, as does the young dealer Vito Schnabel, son of Julian, who is the official handler of this year’s edition. Mostly, though, word just gets out, and people turn up with their work.

The democratic spirit is also reflected in the messy, larky, charged-up look of the show. The installation feels less organized than artfully disorganized. The walls are hung salon-style and filled top to bottom. I was there during the helter-skelter set-up, and saw how it worked. If a new painting arrived, and it was big, a bunch of small ones already up got rearranged, no muss, no fuss. But neither size nor quality guaranteed advantageous positioning. Nor, for the most part, did celebrity, of which there are many representatives in this supposedly nonestablishment (if not anti-establishment) show.

Among celebrated artists with work on the walls, I noted David Salle, Francesco Clemente, Ron Gorchov, George Condo, Donald Baechler, James Nares, and, unsurprisingly, Julian Schnabel. That they were interspersed with younger colleagues was nice, but that they were there at all was a surprise. Purely in terms of star power, the Brucennial puts the 2010 Whitney show in the shade, making its roster look like a list of strivers still outside the blue-chip loop.

So where does the Bruce High Quality Foundation stand in relation to that loop? That may be the big Brucennial question. The word these days is that it’s impossible for artists to take an effective critical position outside the socioeconomic system called the art world. The system is all-encompassing. It absorbs all resistance. The very notion of alternative anything is a romantic illusion.

This means that if your defining goal is to change that system — open it up, tangle its wiring, expose its codes — you have to work from within: but really work, take what you find and seriously do something to it to make it your own. On paper, the 2010 Brucennial, which is subtitled “Miseducation,” seemed poised to do that, but it doesn’t. It’s fun, it’s cool, it has some good stuff, but it felt, at least in preview, like the average Bring-Your-Own-Art bash crossed with a Whitney Biennial of, say, 25 years ago.

Still, these Bruce High Quality people are smart. Their hearts and brains are in the right place. I’m counting on them to rethink (again) the whole positioning thing and do the 2011 Brucennial in — to quote the show’s Web site (www.brucennial.com) — a harder, better, stronger way. No joke.


Kierkegaard meets ( not quite) Irwin but the two had a connection?

From Kierkegaard's Either/ Or, reprinted in Seeing is Forgetting...

...one tires of living in the country, and moves to the city; one tires of
one's native land, and travels abroad; one tires of Europe, and goes to
America, and so on; finally one indulges in the sentimental hope of
endless journeyings from star to star. Or the movement is different but
still extensive. One tires of porcelain dishes and eats on silver; one tires
of silver and turns to gold; one burns half of Rome to get an idea of the
burning of Troy. But this method defeats itself: it is plain endlessness...
The true rotation method resembles changing the crop and the mode of
cultivation ( rather than the field). Here we have the principle of limitation, the only saving principle inthe world. The more you limit yourself, the more fertile you become in invention. A prisoner in solitary confinement for life becomes very inventive, and a simple spider may furnish him with much entertainment.


Seeing is Forgetting the Name of the Thing One Sees

yay, I ordered this online for $3.50 and it just arrived...
already I found good quotes by R.I. :

"Basically, I can have a terrific time doing nothing. I am quite at ease, and always on the plus side."

Regarding Guston's "really smart paintings"...

"...that God damn Guston...some people call it ' the inner life of the painting'...all that romantic stuff. A good painting has a gathering , interactive build-up . That's what a good Vermeer has, or a raku cup, or a Stonehenge. And when they've got it, they just jump off the goddamn wall at you. They just, bam!"