The Boston Biennial 3 Introduces You to Some Amazing Art and Artists



The Boston Biennial 3 opened July 17th at Atlantic Works Gallery to a packed crowd of artists and art lovers!




If for some silly reason you missed this not-to-be-missed event, here’s a link to a video of the selected work:

Boston Biennial 3 Selected Artwork


And here is a sampling of some of this great art with comments on the pieces by the artists, plus links to see more work:

Open Arms, by Walter Kopec


"This land is your my land, this land is my land..." Of course we were here first and it's our inalienable right of, you know, Finders Keepers. And it's not like we are bordering on paranoia... it's just that we don't create the problems... and it's not like we are the ones who are different... and that word..." alien"... but... I say we should be kinder... let's be gentler... no need to fortify the fences, nor buttress the barricades, forget the burdensome obstacles... we'll just welcome with Open Arms.

See more at:



Memories Lost/Found #1 - Memories "undergo a complex process of reconstruction during retrieval." (Damasio; Feeling of What Happens, 227), by Laura Krasnow


For me, defining a sense of place is the allure of the photographic image.  The instant, when time and place seem to merge to catch a moment.  But it is the imperceptible connections I seek to define.....when something catches your peripheral vision, but is gone when you turn for a longer glimpse.  My photographs aim to force the viewer to look beyond the be present and aware of the physical and spiritual light within the reveal the essence beyond the normal visual spectrum.


See more at:



Frida, by Rachel Shatil


The pieces shown on the BB3 slide-show are part of a series which I call "The Absent Family". Every chair represent one person, usually a family member, most of whom vanished from the face of the earth during the most horrific assault performed by humans against their own kind, known as "The Holocaust". The stories of those people were told by my mother, a holocaust survivor, who embodied an incurable trauma, and dedicated her life to pass on her testimony. The chair called "Frida" represents a center figure in the story, my late grandmother and my mother's hero. She was last seen alive in the fall of 1943.

See more at



Notes on "ONE (A Space Timeline)", by Majorie Kaye

My sculpture has been about layering and piling cut pieces on top of each other, which lends itself to mirror natural forms such as pinecones, rock formations, etc.  It also is a statement and study of cause and effect, one piece's situation leading to the next, which is responsible in part, acting as magnetism, for phenomena in the natural world. In this piece, I have begun to utilize shingles, gluing them together, as they form a kind of wedge.  These are placed in between the cut plywood pieces to create an uneven area in between.  This leads to many possibilities of snake-like motions, "U", shapes, etc. The bending and warping of the layers created by the wedges signifies the warping of time, suggesting events on a timeline, and a oneness of space emerges.  This is the realization that time is an illusion, one big point in an endless stream of being.

See more at



All We Are Arises From Our Thoughts, by Carolyn Wirth


This image is really a collaboration between me and my photographer, Teresa Coates (, who has a strong vision of the noir-ness in my sculpture. This piece is called "All We Are Arises From Our Thoughts," which is a fortune-cookie saying from my new series of the same name. In a lighthearted mood, I think of this sculpture as an encounter between Ozymandias and Chuckie. More pensively, I imagine it as embodying the divide between thought and feeling.

See more at



Exuviae: barnacle (TAG0074), by Adamo Macri


Exuviae is an ongoing project. The basis: an ecosystem built with a multitude of sculptural works created, then photographed. Collectively forming a photographic, abstract plantation. An allegorical narrative dealing with the delicacy of nature and its potential deceptive beauty. This particular photograph is one of the artworks in the Exuviae project.

See more at, and



In Perpetuity, by Marlene Siff


In Perpetuity is one part of 47 paintings, works on paper and sculptures that became a solo exhibition at the Walsh Art Gallery in the Quick Center at Fairfield University in Fairfield, Connecticut, 2012. The exhibition entitled "Elements Of Peace" was my response to a desire to create spaces and gateways for people of all walks of life to come together to reflect on war and peace and to commemorate our "Fallen Heroes" in Afghanistan. All of the paintings entered in the BB3 are part of the series "Elements Of Peace".

See more at



Flirtation of meeting and parting, by Hildy Maze

flirtation of meeting and parting_oil on paper collage

To live the wound of love and yet not become scarred by despair or cynicism is a great living secret. How to live wounded without being chased by shadows and not merely 'endure'.


See more at, and



LEGO Firearms 2014, by David Turner


I am a Belfast-based artist who creates autobiographical work through toy mediums that reflect conflict, terrorism, and evoke critical commentary on present day violence and war.Growing up in turbulent Belfast, I was surrounded by violence and conflict. These events have had a direct influence on my life and artwork, causing me to revisit my adolescence and recreate these memories with childhood mediums such as LEGOs, Hama Beads, Plasticine, and jigsaw puzzles. My artwork presents a platform that is both a direct reflection of my childhood and the conflict I have experienced, as well as giving a voice to current atrocities, be they children of war, child soldiers, or children who have lost their lives or a loved one to gun violence. My most recent series of work have materialized in many forms, from two-dimensional depictions to fully functioning firearms, which break down contentions of representation and offer new and exploratory directions for investigating themes of conflict, war, self, and popular culture.

See more at and




3000 ans d'errance, by Christine Comeau


3000 ans d'erranceis a performed installation, a choreographed tableau vivant. It is about the wandering of a small community of nomadic creatures pulling with them their mobile home. They are both curious and frightened by the discovery of this peculiar world. The topics of this project are about nomadism, exile, identities and networks between human being and their environment.The carts and tents have been made during a two months artists residency at Est-Nord-Est artists run center, St-Jean-Port-Joli, Quebec, in 2011. A photo shooting and a parade have been organized in the streets of the village and near the Saint-Laurent river, in the province of Quebec, Canada.

 See more at



A delicate Balance, by Nick Nazzaro










Originally this piece was going to be specifically about student debt, since I'm a recent college goer. After a lot of brooding, it became more about the 1% on top in general, with emphasis on the harm on they can cause. Some of these guys are true cartoon characters, getting away with dastardly deeds you'd only see from a goofy villain. If it wasn't so frighteningly sad, it'd be comical. My favorite part of the piece is the face. I wanted to bring it back to reality a little bit, and show this ugly mug, with a half finished, sort of sloppy, extremely red face. This whole process presented me with the question, "Are these people at top being corrupted by the money they make, or are only the corrupt able to get to the top?" 

See more at


The Boston Biennial 3 is up until August 21st, so come on by and take a look:





Your Next Big Shot at Fame and Fortune!



 About the Boston Biennial

Call for Entry


The Biennial Project is wicked psyched to announce an open call to artists worldwide for Boston Biennial 3- an online juried competition and digital presentation being held at Atlantic Works Gallery in atmospheric East Boston all summer long!!  


Now how can turn down a shot at fame and fortune like this? You might get so rich you can eat Boston Cream Pie and Lobster all week down the Cape or in your walk up in Beacon Hill!!!


The potential for exposure is enormous! You'll be running with the big dogs here. Duh!! It's a no brainier...we want you to enter!  


We want the world to see your creations. We want you to be celebrated and wealthy. You must enter!!! You can be as happy as a Boston Brahmin on graduation day from Harvard.


It's About US


The Biennial Project is an artists' collaborative whose goal is to explore the nature and understand the perception of biennials within the art world and, in so doing, to develop a collective body of work that will be exhibited in as many biennials as possible - especially the really cool ones.


Our Event

If your Killa work is picked it will be shown on The Biennial Project website and in a blog posting reaching 3,000 very important people of influence in the art world.  


You know, The Big Wigs. Ain't that a Pissa!!


Best of all your art will also be presented a digital display at Boston Biennial 3. That's almost as asume as BoSoxs sweeping the The New York Stankies in the series.


Yankees Suck!!


Open to all artists.  Open to all media, including 2-D, 3-D, sculpture, photography, performance, video, installation mixed media, and art from a kit.

Our Jurors

All work will be juried by the internationally known art collective The Biennial Project with special guest juror. We are working out the details with a very, very important Boston Art Big Shot.  Maybe Yaz!!



Deadline for submission is July 1, 2014.  












"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.)




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

Why The Biennial Project Matters

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

Biennial Roadshow Marfa–the great work keeps coming!



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)

This is your lucky day!


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.



For information go to on this juried Art show go to

For instruction on how to enter go to


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