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{{wikify|date=September 2012}}
{{orphan|date=September 2012}}
{{DISPLAYTITLE:LIZ-N-VAL}}
{{DISPLAYTITLE:LIZ-N-VAL}}
[[File:LIZ-N-VAL Portable Museum Apple Sale in 1985.jpeg|thumb|alt=LIZ-N-VAL: Portable Museum Apple Sale in 1985'''.|Liz-N-Val, "Portable Museum Apple Sale", 1985.]]
[[File:LIZ-N-VAL Portable Museum Apple Sale in 1985.jpeg|thumb|alt=LIZ-N-VAL: Portable Museum Apple Sale in 1985'''.|Liz-N-Val, "Portable Museum Apple Sale", 1985.]]
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[[File:LIZ-N-VAL-Woman wanted for Rape.jpeg|thumb|alt=LIZ-N-VAL: Woman wanted for Rape, 1980''.|Liz-N-Val, "Woman Wanted for Rape", 1980.]]
[[File:LIZ-N-VAL-Woman wanted for Rape.jpeg|thumb|alt=LIZ-N-VAL: Woman wanted for Rape, 1980''.|Liz-N-Val, "Woman Wanted for Rape", 1980.]]
[[File:LIZ-N-VAL-Spielberg Head.jpeg|thumb|alt=LIZ-N-VAL: Spielberg Head, 1980''.|Liz-N-Val, "Spielberg Head", 1980.]]
[[File:LIZ-N-VAL-Spielberg Head.jpeg|thumb|alt=LIZ-N-VAL: Spielberg Head, 1980''.|Liz-N-Val, "Spielberg Head", 1980.]]
'''Liz-N-Val''' stands for the collaboration of [[Eastern Europe|Eastern European]] artists Elizabeth Clark and Valentine Goroshko.
'''Liz-N-Val''' is the moniker of the [[Eastern Europe|Eastern European]] art team Elizabeth Clark and Valentine Goroshko.


==Biographies==
==Biographies==
Elizabeth Clark was born in 1931 in Warsaw, Poland. Valentin Goroshko was born in 1944 in Minsk, Belarus.<ref>Peter Grass, What Is It?, ArtForum, December 1984</ref> Elizabeth Clark and Valentine Goroshko met in the late seventies and started a collaboration producing together art interventions and transgressions.<ref>Judith A. Hoffberg. Who’s Where, What’s What, Art Express, December, 1980</ref> in both public and private space <ref>Janet Harnik, Samizdat At Franklin Furnace curated by Gerlovin, Villager, Spring 1980</ref>.
Elizabeth Clark was born in 1931 in Warsaw, Poland. Valentin Goroshko was born in 1944 in Minsk, Belarus.<ref>Peter Grass, What Is It?, ArtForum, December 1984</ref> Elizabeth Clark and Valentine Goroshko met in the late seventies and started a collaboration, producing art, events and transgressions<ref>Judith A. Hoffberg. Who’s Where, What’s What, Art Express, December, 1980</ref> in both private and public space <ref>Janet Harnik, Samizdat At Franklin Furnace curated by Gerlovin, Villager, Spring 1980</ref>.


==Works==
==Work==
===Early Work===
Steven Breslow wrote on their exhibition 'Clark and Goroshko Rockin’ 80s," at White Columns: “Mixing multi-media, sculpture, painting, graffiti, <ref>Barnaby Ruhe, Barnabe Ruhe’s Soho, Art/World, March, April 1984</ref>collage, conceptual language games in both Russian and English and <ref>Proposal For A Window by Clark and Goroshko Cleaning Co, Downtown Magazine Spring ‘80</ref>even earthworks, into forceful forms that make gritty political and social statements <ref>Scott Gordon, Art World Diary, East Village Eye, June 1985</ref>, they opened a wide door into a complexly ironic and pluralistic mode of art which does not yet have a name, at this time.”<ref>Steven Breslow, AR magazine, 1982</ref> They established new forms of Art,<ref name="AbigailEsman">Abigail Esman, Biting The Hand that Feeds Them?, Egret Guide - Documentary, 1987</ref> such as, ‘Signature Art’<ref>Dan Cameron, Seven Types of Ambiguity, Arts, Summer 1987</ref>, ‘Abstractrealism’,<ref>Grady Turner, Liz-n-Val, Feted-n-Validated", Flash Art, January-February 2000</ref> ‘Talking Disco’ and created numerous Museums,<ref>Clark*Goroshko: Liz-N-Val, Juliet Art Magazine, October 1981</ref> as a conceptual enterprise: Museum Of Abstractrealism<ref>Michael Kimmelman, Diversity of Lower Broadway Galleries, New York Times, June 1988</ref>, Museum of Truth-N-Beauty,<ref>Doreen Simpson, Talking Heads; I’m Dreaming of A White Christmas, Village Voice, Center Fold, December 1981</ref>Museum of Something-N-Nothing,<ref name="AbigailEsman" />Museum of Art After Art, Global Museum and Museum Of Everything<ref>Michael Wilson, Feeling the Love New York, ArtForum, October 1985.</ref> Their first unsanctioned public work was a 24’ structure at The People’s Convention in South Bronx in 1980. It consisted of a tower, billboards, canvas and words -‘ People’s Reconstruction.’ The local lumber yard donated lumber. It was situated on what looked like a moon landscape and only lasted a few days because the practical and impoverished locals took it apart, for their own use. It received coverage by Channels 11, 5 and 7, 1980. Soho walls, in the early 80s, were littered with posters hawking the latest novelties<ref>Iko Tanaka, New York Graffiti Calendar, January 1984</ref> Clark-N-Goroshko added their own conceptual posters to the Soho streets.<ref>Kay Larson, New York Magazine, April 1982</ref> . One poster, ‘Sex Sports’ proposed ‘Sex Sports’ for the Moscow Olympics, another, called for ‘Sex Workers of the World Unite” and the third, ‘Woman Wanted For Rape’ caused a minor riot in a local candy store.<ref>Tracy Gray, Liz-N -Val: Signatures On The Wall, New Art International, May-June 1988</ref> They put the ‘Rape’ poster in the window and a lesbian group threatened to vandalize the store unless it was removed. Ironically, the woman in the poster happened to be Liz.<ref>James Fuentes, Open Spaces Liz-N-Val, Zing Magazine, Fall 2000</ref> Later, the couple set up tables on West Broadway, created a public interaction, and passed out questionnaires, used later at Queens College in the class on the Anthropology of Sexuality.<ref>Dorothy Krakowska, Liz-N-Val Legends Of Their Own Making, NY Arts Magazine, June 2000</ref> A Japanese company (Morisawa- Linotype) included two images of walls they had painted in Soho, in their 1984 New York Graffiti Calendar. One day, Liz-N-Val found a large piece of framed plywood leaning next to their door on Mercer Street. They promptly signed and copyrighted it creating a new kind of Art, they called ‘Signature Art.’(1985)<ref>Ronald Haggenberg, East Village, A Guide Summer, 1985</ref>. It received coverage in Art News in an article called “Trash or Treasure” by Eleanor Heartney.<ref>Eleanor Heartney, Vasari Diary, Trash Or Treasure, Art News, April 1988</ref> Concomitantly, they were signing Pepsi, Coke and V8 cans and sold one of the signed artworks to Leo Castelli,<ref> Nicholas Moufferage, East Village, A Guide, Summer 1986</ref> They followed this with an apple sale. They signed some McIntosh apples put them in a bushel basket and took them around Soho in a cart and sold the signed apples for $5.00 and the unsigned for $1.00.
Steven Breslow wrote about their exhibition "Clark and Goroshko Rockin’ 80's," 1981, at White Columns: “Mixing multi-media, sculpture, painting, graffiti, <ref>Barnaby Ruhe, Barnabe Ruhe’s Soho, Art/World, March, April 1984</ref>collage, conceptual language games in Russian and English and even earthworks<ref>Proposal For A Window by Clark and Goroshko Cleaning Co, Downtown Magazine Spring ‘80</ref>, into forceful forms that make gritty political and social statements <ref>Scott Gordon, Art World Diary, East Village Eye, June 1985</ref>, they open a wide door into a complexly ironic and pluralistic mode of art which does not have a name as yet”<ref>Steven Breslow, AR magazine, 1982</ref>.


The artists together established new forms of Art,<ref name="AbigailEsman">Abigail Esman, Biting The Hand that Feeds Them?, Egret Guide - Documentary, 1987</ref> including ‘Signature Art’<ref>Dan Cameron, Seven Types of Ambiguity, Arts, Summer 1987</ref>, ‘Abstractrealism’,<ref>Grady Turner, Liz-n-Val, Feted-n-Validated", Flash Art, January-February 2000</ref> and ‘Talking Disco’. As a conceptual enterprise, they also created numerous Museums<ref>Clark*Goroshko: Liz-N-Val, Juliet Art Magazine, October 1981</ref>: Museum Of Abstractrealism<ref>Michael Kimmelman, Diversity of Lower Broadway Galleries, New York Times, June 1988</ref>, Museum of Truth-N-Beauty<ref>Doreen Simpson, Talking Heads; I’m Dreaming of A White Christmas, Village Voice, Center Fold, December 1981</ref>, Museum of Something-N-Nothing<ref name="AbigailEsman" />, Museum of Art After Art, Global Museum and Museum Of Everything<ref>Michael Wilson, Feeling the Love New York, ArtForum, October 1985</ref>.
⚫
In 1985, they were involved in a law suit with Steven Spielberg.<ref>Rosemary Grillo, Icon Con, Cover Magazine, October, 1992</ref>&nbsp; At the time they were creating huge illicit heads on buildings all over Soho and the East Village. Spielberg was making a film ''Batteries Not Included'' in the East Village and decided to include one of their heads in his film. The catch was that he paid some one else to paint it and even appropriated their name, Liz-N-Val. Against everyone’s advice, they sued him and won.<ref>Max Estinger, Flower Children Invade Soho, Coagula Journal, Summer 1993</ref>


Their first public work, funded by the Bronx Council for the Arts, was a 24’ structure at The People’s Convention in South Bronx in 1980. It consisted of a tower, billboards, canvas and painted words: ''People’s Reconstruction.'' The local lumber yard donated lumber for the project. It was situated on what looked like a moonscape and only lasted a few days because the practical and impoverished local people took it apart and used the materials for themselves. The event received coverage by Channels 5, 7 and 11.
Val Goroshko did an action with music called “Talking Disco” in front of MOMA with Kosalapov and Bakhchenyan proposing a disco floor at the Museum. They were interviewed by a black radio station and an article followed in the Village Voice. Rap emerged four years later. Liz-N-Val participated uninvited in the 1993 Venice Biennial and exhibited their 1st Portable Global Museum.<ref>Flash Art News, A Case of David and Goliath, Fall, 1993</ref> They had an Art project called ‘Woof - they dragged a 6” X 8” canvas attached to a leash around the streets, face down. It didn’t have a name, until a little boy walking behind them asked his mother what they were doing. His mother told him that they were probably taking their pet for a walk. And that’s how WOOF was born in 2002.<ref>Lily Faust, Liz-N-Val at the Monk Gallery, New York Art World, Summer 2002</ref>&nbsp;
John Gibson is the owner of an early ‘Woof’ piece. It was exhibited in the smallest museum in the world - Museum of Contemporary Art, Pontiac, Michigan.


Soho walls, in the early 80s, were littered with posters hawking the latest novelties<ref>Iko Tanaka, New York Graffiti Calendar, January 1984</ref> Clark-N-Goroshko added their own conceptual posters to the neighborhood.<ref>Kay Larson, New York Magazine, April 1982</ref> . One poster, ''Sex Sports'' proposed ‘Sex Sports’ for the Moscow Olympics and another ''Sex Workers of the World Unite''. ''Woman Wanted For Rape'' caused a minor riot in a local candy store.<ref>Tracy Gray, Liz-N -Val: Signatures On The Wall, New Art International, May-June 1988</ref> The owner put the ‘Rape’ poster in the store window; soon a lesbian group threatened to vandalize the store unless it was removed. Ironically, the woman in the poster happened to be one of the artists, Liz<ref>James Fuentes, Open Spaces Liz-N-Val, Zing Magazine, Fall 2000</ref>. Later, the couple set up tables on West Broadway, where they created a public interaction using the poster and passing out questionnaires; these materials were later used at Queens College in a class called “The Anthropology of Sexuality”<ref>Dorothy Krakowska, Liz-N-Val Legends Of Their Own Making, NY Arts Magazine, June 2000</ref>
⚫
They did a number of interactive street events. Dressed as aliens carrying signs saying “Seeking Truth and Beauty”, they got a big response from truckers who shouted "you won't find any of that here".<ref>Grady T. Turner, Report From U.A.E., Art in America, September 2003</ref> Sometimes they would put small canvases around their necks, as breast plates to go to openings. One had the painted words: "Seeking Creative Supporters", another had a knife sticking out(2005 -2006).


===Middle Period===
⚫
In the early 90s, they started doing crumpled wall pieces with New York Times printing plates and other materials followed till the present time.<ref>Darrin Crane, Liz-N-Val, Fashion Moda, Cover Magazine, January 1992</ref> Also, they proposed a number of monuments<ref>Stephen Maine, Dateline Broooklyn, Artnet 2004</ref>: ‘Sinsational’, a living sculpture of Liz-N-Val in the form of a photograph with text; a monument to Manzoni (2006) called “Manzoni’s Shit”- a giant rock pile with a small golden box on top with the logo - ‘MANZONI’S SHIT.’<ref>Natalie Hegert, Liz-N-Val On Sale, ArtSlant May 2010</ref> Another proto-monument was called ‘Crime Path,’ consisting of a road made of large aluminum plates covered with black footprints, leading into the distance. ‘Jesus Slept Here’, another Art project was a bed made from separate aluminum plates and an aluminum cushion. The latest monumental project (2012) by Liz-N-Val was ‘Global Museum Presents Abstractrealism: illegal - unsanctified - interactions - occupations - transgressions monetary-market relational esthetics’, in the form of a natural canvas with multi-colored letters.
In the mid-80’s the artists decided to sign their work using their first names and became Liz-N-Val. One day, Liz-N-Val found a large piece of framed plywood leaning next to their door on Mercer Street. They promptly signed and copyrighted it with their name, creating a new kind of Art called ‘Signature Art’(1985)<ref>Ronald Haggenberg, East Village, A Guide Summer, 1985</ref>. It received coverage in Art News in an article called “Trash or Treasure” by Eleanor Heartney<ref>Eleanor Heartney, Vasari Diary, Trash Or Treasure, Art News, April 1988</ref>. They began signing Pepsi, Coke and V8 cans, one of which was bought by Leo Castelli <ref>Nicholas Moufferage, East Village, A Guide, Summer 1986</ref>. They followed this with a Portable Museum in a shopping cart, which traveled around Soho, showing and selling Macintosh apples. The Portable Museum sold signed apples for $5.00 and unsigned ones for $1.00.

⚫
In 1985, when they were doing ‘Street Art’, they became involved in a law suit with Steven Spielberg<ref>Rosemary Grillo, Icon Con, Cover Magazine, October, 1992</ref>. At the time they were painting huge illicit heads on buildings all over New York. Spielberg was making a film called ''Batteries Not Included'' in the East Village and decided to include one of their heads in his film. Unfortunately, he paid some one else to copy it and even appropriated their name, Liz-N-Val in the image. Against everyone’s advice, Liz-N-Val sued him and won<ref>Max Estinger, Flower Children Invade Soho, Coagula Journal, Summer 1993</ref>. Around this time they did a billboard and were challenged by the owners. The billboard was left unfinished and the artists fled. Morisawa- Linotype, a Japanese company included two images of walls they had painted in Soho, in their 1984 New York Graffiti Calendar<ref>New York Graffiti Calendar 1984, two street images, Morisawa Linotype</ref>.

Liz-N-Val did a series of interactive street events, starting with ''Talking Disco'', a rap performance proposing a disco floor for MOMA, in collaboration with Kosalapov and Bakhchenyan. The group was interviewed by a black radio station and an article followed in the Village Voice. Later Liz-N-Val appeared at the 1993 Venice Biennial and exhibited their 1st Portable Global Museum<ref>Flash Art News, A Case of David and Goliath, Fall, 1993</ref>.

''Woof'' was born in 2002: the artists dragged a 6” X 8” canvas attached to a leash around the Soho streets, face down. The piece was nameless until a little boy walking behind them asked his mother what they were doing. She told him that they were probably taking their pet for a walk. And that’s how the name ''Woof'' came into being<ref>Lily Faust, Liz-N-Val at the Monk Gallery, New York Art World, Summer 2002</ref>. John Gibson is the owner of an early ''Woof'' piece. Later it was exhibited in the smallest museum in the world - the Museum of Contemporary Art in Pontiac, Michigan.

⚫
Dressed as aliens carrying signs saying ''Seeking Truth and Beauty'', they got a big response from truckers who shouted out their windows, "you won't find any of that here"<ref>Grady T. Turner, Report From U.A.E., Art in America, September 2003</ref>. Sometimes they would put small canvases around their necks, as breast plates and go to art openings. One had the painted words, ''Seeking Creative Supporters''; another had a knife sticking out of it.

===Latest Work===
⚫
Liz-N-Val started doing crumpled wall pieces with New York Times aluminum printing plates in 1993, and continued crumpling other materials (paper, canvas, metal) up until 2012 <ref>Darrin Crane, Liz-N-Val, Fashion Moda, Cover Magazine, January 1992</ref>. They proposed a number of monuments<ref>Stephen Maine, Dateline Broooklyn, Artnet 2004</ref>: one in homage to Manzoni - a giant rock pile with a small golden box on top with the logo: ''Manzoni’s Shit'' (2006)<ref>Natalie Hegert, Liz-N-Val On Sale, ArtSlant May 2010</ref>. Another proposed monument, ''Crime Path'', consisted of a road made of large aluminum plates, covered with painted black footprints going into the distance. ''Jesus Slept Here'', was designed as a bed with a cushion made from aluminum plates. The most recent monumental project by Liz-N-Val is ''Global Museum Presents Abstractrealism'' (2012): a natural piece of canvas painted with multi-colored words: ''illegal - unsanctified - interactions - occupations - transgressions - monetary-market-relational-esthetics''.


==References==
==References==
{{Reflist|2}}
{{Reflist|2}}


==External Links==
* [http://www.nyartbeat.com/nyablog/2012/03/liz-val_interview-joyful_journey_through_creative_exploration/ NY Art Beat, video interview of Liz-N-Val by Lesny, ''Joyful Journey Through Creative Exploration''], March 13, 2010
* [http://www.liz-n-val.net www.liz-n-val.net]
* Alan Moore and Marc Miller,eds., [http://98bowery.com/returntothebowery/abcnorio-the-book.php ABCNoRio: The Story of a Lower East Side Gallery] (Collaborative Projects), 1985


==TV and Film Coverage==
* Channels 5, 7, and 11, coverage of Alternate Convention, South Bronx, 1980
* McNeil/Lehrer News Hour. February 1985, Culture and Poverty -featured head/mural
* Chud (Film) featured Liz-N-Val head/mural 1986
* Spielberg’s, ''Batteries Not Included 1988 film has credits and copy of street mural''.


[[Category:Art duos]]
[[Category:Art duos]]

Revision as of 03:22, 25 September 2012

LIZ-N-VAL: Portable Museum Apple Sale in 1985.
Liz-N-Val, "Portable Museum Apple Sale", 1985.
LIZ-N-VAL: Walking Woof, 2002.
Liz-N-Val, "Walking Woof", 2002.
LIZ-N-VAL: Woman wanted for Rape, 1980.
Liz-N-Val, "Woman Wanted for Rape", 1980.
LIZ-N-VAL: Spielberg Head, 1980.
Liz-N-Val, "Spielberg Head", 1980.

Liz-N-Val is the moniker of the Eastern European art team Elizabeth Clark and Valentine Goroshko.

Biographies

Elizabeth Clark was born in 1931 in Warsaw, Poland. Valentin Goroshko was born in 1944 in Minsk, Belarus.[1] Elizabeth Clark and Valentine Goroshko met in the late seventies and started a collaboration, producing art, events and transgressions[2] in both private and public space [3].

Work

Early Work

Steven Breslow wrote about their exhibition "Clark and Goroshko Rockin’ 80's," 1981, at White Columns: “Mixing multi-media, sculpture, painting, graffiti, [4]collage, conceptual language games in Russian and English and even earthworks[5], into forceful forms that make gritty political and social statements [6], they open a wide door into a complexly ironic and pluralistic mode of art which does not have a name as yet”[7].

The artists together established new forms of Art,[8] including ‘Signature Art’[9], ‘Abstractrealism’,[10] and ‘Talking Disco’. As a conceptual enterprise, they also created numerous Museums[11]: Museum Of Abstractrealism[12], Museum of Truth-N-Beauty[13], Museum of Something-N-Nothing[8], Museum of Art After Art, Global Museum and Museum Of Everything[14].

Their first public work, funded by the Bronx Council for the Arts, was a 24’ structure at The People’s Convention in South Bronx in 1980. It consisted of a tower, billboards, canvas and painted words: People’s Reconstruction. The local lumber yard donated lumber for the project. It was situated on what looked like a moonscape and only lasted a few days because the practical and impoverished local people took it apart and used the materials for themselves. The event received coverage by Channels 5, 7 and 11.

Soho walls, in the early 80s, were littered with posters hawking the latest novelties[15] Clark-N-Goroshko added their own conceptual posters to the neighborhood.[16] . One poster, Sex Sports proposed ‘Sex Sports’ for the Moscow Olympics and another Sex Workers of the World Unite. Woman Wanted For Rape caused a minor riot in a local candy store.[17] The owner put the ‘Rape’ poster in the store window; soon a lesbian group threatened to vandalize the store unless it was removed. Ironically, the woman in the poster happened to be one of the artists, Liz[18]. Later, the couple set up tables on West Broadway, where they created a public interaction using the poster and passing out questionnaires; these materials were later used at Queens College in a class called “The Anthropology of Sexuality”[19]

Middle Period

In the mid-80’s the artists decided to sign their work using their first names and became Liz-N-Val. One day, Liz-N-Val found a large piece of framed plywood leaning next to their door on Mercer Street. They promptly signed and copyrighted it with their name, creating a new kind of Art called ‘Signature Art’(1985)[20]. It received coverage in Art News in an article called “Trash or Treasure” by Eleanor Heartney[21]. They began signing Pepsi, Coke and V8 cans, one of which was bought by Leo Castelli [22]. They followed this with a Portable Museum in a shopping cart, which traveled around Soho, showing and selling Macintosh apples. The Portable Museum sold signed apples for $5.00 and unsigned ones for $1.00.

In 1985, when they were doing ‘Street Art’, they became involved in a law suit with Steven Spielberg[23]. At the time they were painting huge illicit heads on buildings all over New York. Spielberg was making a film called Batteries Not Included in the East Village and decided to include one of their heads in his film. Unfortunately, he paid some one else to copy it and even appropriated their name, Liz-N-Val in the image. Against everyone’s advice, Liz-N-Val sued him and won[24]. Around this time they did a billboard and were challenged by the owners. The billboard was left unfinished and the artists fled. Morisawa- Linotype, a Japanese company included two images of walls they had painted in Soho, in their 1984 New York Graffiti Calendar[25].

Liz-N-Val did a series of interactive street events, starting with Talking Disco, a rap performance proposing a disco floor for MOMA, in collaboration with Kosalapov and Bakhchenyan. The group was interviewed by a black radio station and an article followed in the Village Voice. Later Liz-N-Val appeared at the 1993 Venice Biennial and exhibited their 1st Portable Global Museum[26].

Woof was born in 2002: the artists dragged a 6” X 8” canvas attached to a leash around the Soho streets, face down. The piece was nameless until a little boy walking behind them asked his mother what they were doing. She told him that they were probably taking their pet for a walk. And that’s how the name Woof came into being[27]. John Gibson is the owner of an early Woof piece. Later it was exhibited in the smallest museum in the world - the Museum of Contemporary Art in Pontiac, Michigan.

Dressed as aliens carrying signs saying Seeking Truth and Beauty, they got a big response from truckers who shouted out their windows, "you won't find any of that here"[28]. Sometimes they would put small canvases around their necks, as breast plates and go to art openings. One had the painted words, Seeking Creative Supporters; another had a knife sticking out of it.

Latest Work

Liz-N-Val started doing crumpled wall pieces with New York Times aluminum printing plates in 1993, and continued crumpling other materials (paper, canvas, metal) up until 2012 [29]. They proposed a number of monuments[30]: one in homage to Manzoni - a giant rock pile with a small golden box on top with the logo: Manzoni’s Shit (2006)[31]. Another proposed monument, Crime Path, consisted of a road made of large aluminum plates, covered with painted black footprints going into the distance. Jesus Slept Here, was designed as a bed with a cushion made from aluminum plates. The most recent monumental project by Liz-N-Val is Global Museum Presents Abstractrealism (2012): a natural piece of canvas painted with multi-colored words: illegal - unsanctified - interactions - occupations - transgressions - monetary-market-relational-esthetics.

References

  1. ^ Peter Grass, What Is It?, ArtForum, December 1984
  2. ^ Judith A. Hoffberg. Who’s Where, What’s What, Art Express, December, 1980
  3. ^ Janet Harnik, Samizdat At Franklin Furnace curated by Gerlovin, Villager, Spring 1980
  4. ^ Barnaby Ruhe, Barnabe Ruhe’s Soho, Art/World, March, April 1984
  5. ^ Proposal For A Window by Clark and Goroshko Cleaning Co, Downtown Magazine Spring ‘80
  6. ^ Scott Gordon, Art World Diary, East Village Eye, June 1985
  7. ^ Steven Breslow, AR magazine, 1982
  8. ^ a b Abigail Esman, Biting The Hand that Feeds Them?, Egret Guide - Documentary, 1987
  9. ^ Dan Cameron, Seven Types of Ambiguity, Arts, Summer 1987
  10. ^ Grady Turner, Liz-n-Val, Feted-n-Validated", Flash Art, January-February 2000
  11. ^ Clark*Goroshko: Liz-N-Val, Juliet Art Magazine, October 1981
  12. ^ Michael Kimmelman, Diversity of Lower Broadway Galleries, New York Times, June 1988
  13. ^ Doreen Simpson, Talking Heads; I’m Dreaming of A White Christmas, Village Voice, Center Fold, December 1981
  14. ^ Michael Wilson, Feeling the Love New York, ArtForum, October 1985
  15. ^ Iko Tanaka, New York Graffiti Calendar, January 1984
  16. ^ Kay Larson, New York Magazine, April 1982
  17. ^ Tracy Gray, Liz-N -Val: Signatures On The Wall, New Art International, May-June 1988
  18. ^ James Fuentes, Open Spaces Liz-N-Val, Zing Magazine, Fall 2000
  19. ^ Dorothy Krakowska, Liz-N-Val Legends Of Their Own Making, NY Arts Magazine, June 2000
  20. ^ Ronald Haggenberg, East Village, A Guide Summer, 1985
  21. ^ Eleanor Heartney, Vasari Diary, Trash Or Treasure, Art News, April 1988
  22. ^ Nicholas Moufferage, East Village, A Guide, Summer 1986
  23. ^ Rosemary Grillo, Icon Con, Cover Magazine, October, 1992
  24. ^ Max Estinger, Flower Children Invade Soho, Coagula Journal, Summer 1993
  25. ^ New York Graffiti Calendar 1984, two street images, Morisawa Linotype
  26. ^ Flash Art News, A Case of David and Goliath, Fall, 1993
  27. ^ Lily Faust, Liz-N-Val at the Monk Gallery, New York Art World, Summer 2002
  28. ^ Grady T. Turner, Report From U.A.E., Art in America, September 2003
  29. ^ Darrin Crane, Liz-N-Val, Fashion Moda, Cover Magazine, January 1992
  30. ^ Stephen Maine, Dateline Broooklyn, Artnet 2004
  31. ^ Natalie Hegert, Liz-N-Val On Sale, ArtSlant May 2010


TV and Film Coverage

  • Channels 5, 7, and 11, coverage of Alternate Convention, South Bronx, 1980
  • McNeil/Lehrer News Hour. February 1985, Culture and Poverty -featured head/mural
  • Chud (Film) featured Liz-N-Val head/mural 1986
  • Spielberg’s, Batteries Not Included 1988 film has credits and copy of street mural.
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