I started out in high school in rock bands. Living in suburbia, bored, with no culture and no access to culture. I wrote, was an art major and played music. At that time rock was just becoming big business. Here's a word piece that was published in my high school poetry magazine;


I applied to art school and was accepted to PCA (Philadelphia College of Art). My first weeks in art school were heaven. There I was with very smart, creative people, artists musicians, poets, designers etc.. I was a painting major at first. One of my teachers at the school was Rafael Ferrer. He taught a 3D fundamentals course. He was however teaching the most advanced ideas about Minimal Art. Rafael was a friend of Robert Morris'. Morris invited Rafael to be in a Process Art show at the Castelli warehouse. This was the show that introduced Arte Povera to New York. Ferrer filled the staircase at the warehouse with dried leaves raked up from lawns. I was enlisted with a couple of other students to help with the installation. After returning to PCA I found myself less interested in painting and switched to Sculpture major. The sculpture department was very active and wildly experimental. I did performance pieces, photo/text and installation work. I also studied film. and did body art.

Along with Rafael Ferrer the other teachers, Ree Morton and Don Roger Gill were very active in New York especially at 112 Workshop in New York. 112 was the first Alternative space in the country. It was run by artists and showed a lot of installation/ performance and conceptual works. I began to hang out at 112 and after graduation got a make-shift job of managing the gallery (actually just answering phones & gallery sitting). Among the more interesting events at 112 was a Video-performance week orgasnized by Willoughby Sharp. I participated in several of the videos among them The Prisoners' Dilemma by Richard Serra & Robert Bell.

After leaving 112 Workshop I organized a group of younger artists into a sort of loose collaborative. We had several shows and then broke up. A year later the group reformed and became Collaborative Projects. In the meantime I had been working with Gordon Matta-Clark helping him execute some of his large scale building cuts. I was also doing my own videos/ performance and installation works. I became part of the Punk Art scene and did a performance for the Chant Accapella tape done by Davidson Gigliotti. My piece, Rich Sucker Rap was an early rap piece although I didn't know it at the time which was 1977. Most of my fellow performance artist were pushing the boundaries and at a certain point we all formed bands and began to play at CBGB's and Max's Kansas City. I was in a band called The Communists . I was the drummer. During that time I acted in films by Scott & Beth B as well as Charlie Ahearn. I also did some sound track drumming for one of the BÕs movies. I made sculpture and conceptual work. I showed at various Colab organized shows,The Propaganda Show, Salute to Creative Youth etc.. I moved to the East Village in 1981 and in 1984 opened a gallery in the East Village. The name was Virtual Garrison. I did this for a couple of years. I closed the gallery in 1986.

Between 1986 and 1990 I took some time out of the public sphere. I was trying to build a stabile life for myself by purchasing a house with a studio in the mountains. This became my refuge. I returned to making sculpture in 1990. I made a series of archetypal, primitive sculptures and exhibited them in various shows, among them the Value Show curated by Dooley Le Cappelaine. I was trying to find a way out of art commodity manufacture to a pure creative state. I found that I couldnÕt reach a pure state with this work. I explored cutting apart buildings as a sort of homage to my relationship with Gordon Matta-Clark. I returned to the conceptual/ photo/text work I had been doing in the 1970's. I produced a showed called Surveys & Questionnaires which was all photo/text work. I did a billboard project called Terrorist Advertising. I did another for Creative Time called and the Metropolitan Transit authority called Hey Bozo... Use Mass Transit . The Hey Bozo piece caused a big stir in the media. I was on the TV shows, Good Day New York, ABC local news and NBC Nightly News.The United Press interviewed me and put the story out on the wire.The story was picked up by many local newspapers across the US.The NY Times, The NY Post, and the Daily News all did a story on the billboard. I began to see Mass Media and information systems as both material for art and a site for art making, A location if you will.

Still not satisfied I began to experiment with the computer and the internet. I joined the New York bbs's, artnet bbs, the thing bbs and echo bbs. On The Thing I did my first internet piece. I was trying to see if the internet was a viable method for distributing art. The piece was BKPC or Barbie & Ken Politically Correct . I started by scanning photos and presenting text & photos once a week for 14 weeks to members of The Thing bbs. The members could download the images for free. Later I happened into a gallery in Soho called TZ'Art. I was speaking with the director Tomas Zollner when he confided in me that he had downloaded BKPC and was using the images as a screen saver on his computer in the gallery. This confirmed my idea for using the Internet to distribute art. An image from BKPC was used in the December 1996 issue of Art in America as part of the cover story about Art on Line.

At around the same time the New Museum accepted the CBS news report of Hey Bozo..Use Mass Transit for a video show called Courage. I liked the fact that the boundaries of that art work were not confined to a discreet object nor to a specific event, rather its meaning exists separate from any objectness or time constraint. Indeed recently the documentation of the work and a 1/4 size new digital print of the billboard has been included in the Meme Breeders Show organized by Ebon Fisher. I have often found myself in the past, at odds with the incredibly slow moving mechanisms in the art world. I feel this is because the whole attachment to physical objects and discreet collectibles has an inherent slowness. Molecules after all move at a much slower rate when they form material.

My next steps were onto the world wide web. I put up Terrorist Advertising as a photo/ hypertext manifesto outlining some of my ideas on media environment. I was invited by ArtNet bbs to do a special project for it's new web site artnetweb. I put up Faux Conceptual Art. The piece is about signature style as a commodification of art. The work was also a proposal for a museum show or installation. The work has several forms, a digital form, a boxed set of the proposal and the actual installation (as yet unrealized). My third project on the Web is called Art Direct/ Sex, Violence & Politics. It is a protest work that uses some of the more disturbing aspects of media as an amoral confrontational system. The work is intended to convey psychic the perturbance that always churns just below the surface in American mass media. I find myself operating in a realm somewhere between art, advertising, pop culture, sociology and performance. I often take the position of a provocateur assuming that within a media driven spectacle society that information and the response to information is indeed art. Along with my Web projects, I write reviews for The Thing, and host a netcast talk show called Art Dirt.