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Bang Bang.

July 7, 2014


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July 3, 2014


Sloppy Joes to the Rescue

June 13, 2014

A quick easy meal that can be made from either beef or chunks of tofu! Although I didn’t marinade the beef, I would Sloppy Joesuggest doing that for either protein you choose. It’s savory and some might call it scrumptious. This could even be a great way to use up leftovers.

  • 1/2 lb protein (beef chunks or cubed tofu)
  • 1 red pepper
  • 1/2 onion
  • 1/2 cup ketchup
  • 1/2 tsp cornstarch
  • 1 tbs Worcester Sauce
  • 1 tbs oil
  • 1/2 teaspoon ground black pepper
  • crushed red pepper to taste
  • cilantro for topping

Cook your protein until fully cooked in oil.  Add onions, red pepper and cook until onions are clear. Add ketchup and Worcester sauce consistently mix until bubbly. Dilute cornstarch in cold water, mix and add to beef/tofu mixture. Stir while cornstarch mixes in and thickens the sauce.  Add black pepper, red pepper for taste. Serve hot!

Note: If this mixture gets too thick, add a little more ketchup/Worcester sauce.

Straight out of Prompton.

June 12, 2014




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Epic Acre Farm

June 10, 2014


Join their email list at

Facebook /epicacrefarm


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Mickael Broth

June 9, 2014


Mickael Broth – Richmond, VA based artist – Sission Street Automotive Mural in Baltimore, MD

To View More of Mickael’s Work Click Here

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Four from Shohola.

May 27, 2014





A broken cup is more important than me

May 20, 2014

Between Coffee Lines

Choreography and performance: Luis Villanueva

Mexico, 2014


As in any other artform, dance has its own mechanisms to inhabit, manipulate, capture and create its spatio-temporal universe. Accordingly, capabilities of this body movement discipline go beyond just altering linearities, interrupting sequences, or even delineating the spatial limits of performance, but it’s also capable of suspending the time flow or even fragmenting and unfolding space.


And facing the eternal and playful question if it is space-time that shapes dance or the other way around, if indeed dance is the responsible for sculpting space-time,  there have been choreographic proposals expressing their own thoughts on the subject since the mid-twentieth century.


Many different dance perfomances took place during the last Dance Week on various venues of the Mexico City Theatre System. In this context, Between Coffee Lines, a Luis Villanueva’s choreography (Miguel Covarrubias 2007 for best male performer award and choreography) that sets out a very peculiar space-time experience through an exploration of loneliness, waiting, idealization and how it falls apart was presented.


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Theatrical and with a touch of stand-up comedy, this staging is, generally speaking, a look at the metamorphosis of a man who finds himself in a coffee shop awaiting for a woman. Meanwhile, audience is witness of his desires, frustrations and loneliness translated into spiral movements playing with a mobile set which -emulating the body of the performer- is constantly dancing, and such as the role he plays is persistently mutating.



In Between Coffee Lines, space is disassembled and glued back again over and over amidst harsh shadows moving on the walls, making their own choreography. Anxiety produced by high doses of coffee is perceived in his movements and also exposes spectators to a sort of spatial contained-volumetric experience where, on one side, we see how the character slowly emerges and on the other, how the scenic elements transform the shape of space.


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It is a no-lineal story, fragmented and fractured, where a cup of coffee becomes a time unit. Another interesting aspect is the dramatic text, interpreted out loud and acquiring its own physical dimension that way. Likewise, space materials –such as bubble wrap, wood, fabrics- are incorporated as sound elements of this coreography which is complementary to Ken, To Be or Not to Be Recyclable?, the first approach to the same protagonist, also staged by Luis Villanueva in 2013.


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In a moment when the clock seems to have finally stopped -but not the consumption of coffee- space gives the impression of being on the edges allowed by containment, waiting the slightest reason to sprawl everywhere, just as if a pressure cooker remained forever in the fire; and that man who dances his history in front of the audience, all wrapped around the solitude of his hopes, is so insignificant that a cup full of that delicious and cardiotonic dark liquid, crashing on the floor, is more important than him.



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Sticks and Drones at Paridise Row, London

May 16, 2014

Eric Yahnker - Space Jam

Runs MAY 17 – JUN 28
more info:

Joe Reyna

May 15, 2014

<p><a href=”″>VTXIFF screening Joe Reyna</a> from <a href=””>Ethan H. Minsker</a> on <a href=””>Vimeo</a&gt;.</p>

VTXIFF screening of Self Medicated a film about art.

May 15, 2014

VTXIFF screening of Self Medicated a film about art. from Ethan H. Minsker on Vimeo.

Touching A Van Gogh

May 15, 2014

Touching A Van Gogh from Ethan H. Minsker on Vimeo.

Mark of the Ninja: low brow art film

May 15, 2014

Mark of the Ninja from Ethan H. Minsker on Vimeo.

Asparagus Guacamole Dip Recipe

April 27, 2014

Welcome in Spring with this recipe for Asparagus Guacamole! This is a great addition to tacos, sandwiches or just chipsasparagus guacamole for dipping. The asparagus pops but isn’t over powering. You can also experiment with herbs to pair it with different styles of cooking.

We made shrimp tacos to enjoy with this guacamole. The shrimp was marinated in hot salsa to stay on track with the Mexican food theme. I think you could fool any asparagus hater or kid to enjoy this without them ever knowing!

Asparagus Guacamole Dip
Serves 2-3

  • 1 medium to large avocado
  • 1/2 lb asparagus
  • fresh cilantro, about 2 tablespoons
  • 1 teaspoon garlic
  • pinch of salt
  • 1 lime, juiced

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The Soft Hustle

April 21, 2014

The Soft Hustle from Ethan H. Minsker on Vimeo.


Here is the full film. Please share it. This was a test project. We wanted to see what we could make with very little money. $2000. Most of that was spent on the hotel and drugs in that one scene. The guns are real. So is everything else. It took us 4 years to make this. We wrote a scene each week. Then filmed for 2 hours each week. Our friends gave us music, location and acted for free. It played in over a dozen film festivals from Wood Stock to The Chicago Underground Film Fest. Now have a look.

A Walk in West Philly.

April 21, 2014


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The resurgence of Ulises Carrion

April 14, 2014

A couple of weeks ago Tumbona Ediciones officially presented El arte correo y el Gran Monstruo (Mail Art and the Big Monster) and Lilia Prado Superestrella (Lilia Prado Superstar), both books are –along with El arte nuevo de hacer libros (The New Art of Making Books)-, the complement of the series dedicated to rescue, rediscover and put into the Spanish-speaking terms the influential and still unknown Ulises Carrion essays.










The importance of having access to the writings of this founder of Other Books and So –Amsterdam based library and forum for artists and model for a generation of young artists, curators, publishers and designers- and “post-Mexican, post-literary, post-book, post-art” artist, as defined by Heriberto Yepez in his magnificent introductory text, lies in the Carrion’s ambitious cultural project as an unexplored territory. It’s about not only a coming back, but the stellar first appearance of this Mexican writer who at the moment when he was about to be canonized, jumped out to the margins becoming a rare specimen immersed in his own ostracism.




Carrion (Veracruz, 1941- Amsterdam, 1989) is intriguing for those who believe in avant-garde as a form of cultural subversion as well as in art transversely.  He reflected on mail art at the time when it was the belly of the international artistic activity, and was the responsible for creating a network where collaboration, exchange and political participation were the basis for a new cultural environment.




This is not the first attempt to come back to Carrion. Because his contemporary relevance goes beyond a single discipline and can be understood as of all his own definitions, renunciations and charming contradictions, some researchers, curators and different publishers have taken up his work at different times and in different ways.


For example, the recently opened Abject matter: resonances and obstructions around Rodolfo Nieto, an exhibition in the Carrillo Gil Contemporary Art Museum, is a conversation between Oaxacan artist work and national contemporary artists –Carrion included- about drawing mechanisms and line and paper’s role such as creative generators.




Also The Vostell Malpartida Museum hosts -until next 4th May- the exhibition Writings in Freedom. Experimental Spanish and Latin American Poetry in the 20th Century which presents for the first time the experimental works of visual poetry artists offering the opportunity to explore the plastic nature of words and a literature where word and image are together in new and startling realities. Among other artists, Edgardo A. Vigo, Clemente Padin, Guillermo Deisler aJuan Hidalgo, Fernando Millan, Joan Brossa, Francisco Pino, Juan Eduardo Cirlot, Jose Miguel Ullan and of course, Ulises Carrion, are part of this  journey through a century of creation.




Through artist’s books or visual poetry, periodicals, film and video works, art with rubber stamps or conceptual and playful proposals, the latest avant-garde of the twentieth century had the ephemeral and changing network of mail art as a compass, always challenging national institutions and questioning artistic conventions.


The resurgence of Carrion is an opportunity to peek in many windows and to hear the call to re-read and create from new concepts, to enjoy yourself the new ways of living intensely the culture. But finally, the return of this writer, promoter of the constant renewal of cultural strategies, lover of language and gossip, is an invitation to keep thinking.


In the old art you write ‘I love you’ thinking that this phrase means ‘I love you’.

(But: what does ‘I love you’ mean?)

In the new art you write ‘I love you’ being aware that we don’t know what this means.

You write this phrase as part of a text wherein to write ‘I hate you’ would come to the same thing.

The important thing is, that this phrase, ‘I love you’ or ‘I hate you’, performs a certain function as a text within the structure of the book,


In the new art you don’t love anybody.

The old art claims to love.

In art you can love nobody. Only in real life can you love someone.


Not that the new art lacks passions.

All of it is blood flowing out of the wound that language has inflicted on men. 

And it is also the joy of being able to express something with everything, with any thing, with almost nothing, with nothing.

“Structures” (fragment), in The New Art of Making Books


April 12, 2014

I am new at this, be nice.


In Memory of Shawn Whisenant 1981-2014

April 2, 2014

It was a month ago today Shawn passed away. This is a great video that shows Shawn’s love of skateboarding, street art, photography.

A Quick Visit to Narrowsburg, NY

March 30, 2014

WP_20140316_007Narrowburg, NY – A little town on the Delaware River with great little shops – decor, fashion, food! All you need for a quick get away or an afternoon trip. Read more…

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