As far as plot development, you might have been lost because it subtly has you watching "Storyville" emplode as a business – hence why the two might sue each other. The characters are not identifiable and the audience who might enjoy this are possibly off the beat and path anyhow.

There might be better films to enjoy than what the bees have brewing in Beeswax.

As a fine art installation piece, the work engages the audience through live performance, the relation between stills and the moving image and show stopping theatrics – and yes it includes a few dancing red bull servers traversing down the theater isle once hoping out of their oil consuming vehicle.

Love to hear more.
Of course be the judge when fully viewed

Robert Kaupelis: In Memorium
(An excerpt from College Art Association News)

First there was Kimon Nicolaïdes’s Natural Way to Draw (1941), then there was Robert Beverly Hale’s
Drawing Lessons from the Great Masters (1964). Then in 1966 came Robert Kaupelis’s Learning to Draw. It was a book smart enough and egalitarian enough to employ old and modern masters’ examples along with students’ work; the point was the dynamics of application, not only the procedures of attempting realism. The book offered me and my generation what we knew but didn’t quite trust yet—the processes of mark-making, be it gentle, violent, nuanced, or bold. We had seen those applications in artworks we admired—old and new—but we hadn’t had it broken down in a philosophy with lessons before.

Kaupelis, who died on June 12, 2009, began teaching at NYU in 1956. He was born in Amsterdam, New York, in 1928 and educated in Buffalo and at Columbia University. In 1975 he was the subject of a chapter in a Herbert Livesey book surveying higher education called The Professors, where he was cited as one of the nation’s outstanding art educators. In 1980 Kaupelis wrote his second Watson-Guptill drawing book, Experimental Drawing, which reinforced his exuberant amalgam of stressing the fundamentals of art along with encouraging innovative and, at times, refreshingly quirky approaches: fifty nonstop drawings in three hours, drawing from out-of-focus slides, drawing the model with eyes shut. This newer book was almost as significant as Learning to Draw because at the time it was published drawing had become a very undervalued curriculum in university programs; it was a time when drawing was considered by many as old-fashioned and nearly irrelevant.

As an artist Kaupelis emerged as the New York School rose to prominence and when nonobjective American art found its place on the world stage. His own work reflected that influence in its vibrancy and spontaneity. He was, as the critic John Canaday wrote, a seductive colorist.

Kaupelis asked a lot from his readers and students. His main demand was: “LOOK!”—look at this: at this sepia wash Constable landscape; this Sheeler charcoal still life; this De Kooning gouache; this pen-and-ink Manet portrait; this Rauschenberg collage; this Pontormo red-chalk figure dancing off the page with a gesture line of astonishing confidence, speed, and grace! Look at this form, this line, this shade, this figure, this edge, this space! Look at your assimilation of them all! How many future artists, curators, art historians, cartoonists, animators, illustrators and teachers were asked to LOOK by Kaupelis during his thirty years at NYU and in his two important drawing books, Learning to Draw and Experimental Drawing? Thousands.

Kaupelis said drawing was anything intended as art which left a mark. He left his.

———————————-

John Carey, an artist and art teacher, is the editorial cartoonist for Greater Media Newspapers in central New Jersey.

The route will be:

West on Exposition
North on University to Third
Right on Third to GALLERY M

6:15 to 6:30

http://online.wsj.com/article/SB123395183452158089.html

Do your research, fool.

(DENVER) The City and County of Denver outlined Wednesday details of a public viewing area to be established for Denver residents and visitors who wish to exercise their First Amendment rights and observe activities outside the Pepsi Center during the Democratic National Convention from August 25th through August 28th.

The public viewing area, also known as a “public demonstration zone,” will be a 50,000+ square foot area located within Pepsi Center Parking Lot A.

The area will be within view and earshot of delegates and others entering and leaving the Pepsi Center. The public viewing area is provided in addition to myriad other opportunities for free speech that will exist throughout the city.

“Recognizing our community’s great interest in the Convention and the desire of so many to observe activity around the Pepsi Center and have their views be heard by delegates, we are dedicating more than a full acre of land to a public viewing area,” said Katherine Archuleta, Senior Policy Advisor to Mayor John Hickenlooper. “The area will be able to accommodate several thousand people at one time. Our intention is to maximize opportunities for people to express themselves in a safe manner that also respects the rights of others as well as local, state and federal laws.”

The entry and exit point for the area will be at 7th Street and Auraria Parkway and can be reached freely from the west via the Auraria Parkway sidewalk.

The City will treat the viewing area as a “public forum site,” no different from other public sidewalks and walkways throughout the city.

According to Denver City Attorney David Fine:

· Permits are not required to enter or use the public viewing area.

· Persons using the public viewing area will be protected from unreasonable search and seizure, or conversely may be subject to search and seizure, under Constitutional standards.

· No one will be allowed to obstruct the public viewing area in a way that would prevent free use of the area by others.

· The public viewing area will be open to the public, subject to laws that apply to public areas, including juvenile curfew laws and laws that govern overnight camping in parks and on any public right-of-way.

The City expects to use wire mesh fencing to mark the public viewing area. It is similar to chain-link and will not obstruct sight or sound. The City does not anticipate topping the fence.

The City also announced further details today about how the designated parade route connects with the public viewing area. From the intersection of Larimer and Speer, marchers will be able to continue on foot down Larimer to 7th Street to access the public viewing area. The area between the intersection of Larimer and Speer and the public viewing area will be open to the public under the same conditions as any other public space.

Do you have any favorites in Chelsea, Soho or Dumbo?

The greats before today’s artists also needed to sell works to continue to create. P August Renoir sold door to door approximately 11,000 works prior to his death. His time spent being both a salesman and a painter might have been better spent just painting had he known that a corporate client using the “boating party” shared an interest in his art as both an owner and as a joint marketer of his talent. The difference today is with so much information in front of us fine art can be selectively used to enhance our lives subtlety. Perhaps this is one reason why Toulouse is so revered for posters today.