The fan is recognised as the ultimate symbol of femininity. Geishas use fans as instruments of concealment, artistry and allure. Elvis Presley, however, used fans to elevate his masculinity. In my new series of self-portraiture, I have created a gender-bending, genre-mashing character who is one-part Elvis and one-part Geisha. In a short performance video piece, I use the fan, instead of brushes, as my tool for painting my canvases, symbolising both feminine and masculine ideals.

It's blue.

It's is actually light shinning around the closed door to Regan's bedroom.

Hair Brush (2006)

The knife makes me a bit uneasy, but thanks for asking.

BOFFO, a 501-c3 dedicated to supporting and creating public art, presented The Brandon Show, a performance art piece by Los Angeles-based artist Brandon Herman, last night at Hotel Americano. The piece is a talk show of sorts (think The View) that addressed audience-generated questions, in between incessant coffee drinking and impromptu dance parties. During the performance, Herman's co-hosts, Shannon Coffey, Jonjon Battles, and Evan Hoyt Thompson called upon Amanda Bynes' spirit at which point things got crazy.

Dylan Forsberg ran away from his hometown, Portsmouth, NH, when he was 18. His bike trip from there to North Carolina, with a couple of bucks in his pocket and a tarp, was the beginning of an eight-year adventure that he is still on.

The Judd Foundation recently dropped $23 million to renovate and open artist Donald Judd's former live/work space, 101 Spring Street, to the public. The home-turned-museum houses a small selection of Judd's personal art collection, which includes Manifest Destiny (1986) by Carl Andre, one of the most expensive stacks of bricks on the face of the Earth. Semi-private tours of the space are available three times a week.

The Lincoln Center's Out of Doors series opened its five day celebration of the Kronos Quartet's 40th anniversary yesterday afternoon with the Mark Dendy Dance & Theater Projects company bathing in the Paul Milstein Pool. If you are interested in seeing dancers in wet white costumes, be at the Hearst Plaza tonight at 6 P.M. If you are lucky, the bottle-collecting homeless woman will be in attendance again tonight with an encore performance of her 'death.' Details on other free performances at The Lincoln Center are here.

The Lincoln Center Festival is presenting a three night run of Karlheinz Stockhausen's Michaels Reise um die Erde. Marco Blaauw, in the titular role of Michael, flies upside down, slams into the World Trade Center, and goes to Japan all while playing the trumpet.

Last night Phillips Auction House had an opening for its annual Staff Art Show. This piece by Mark Ferkul was the only one that made me laugh.

If you like Kink, head down to 175 Mott Street in SOHO to Anthem Wares' most recent pop-up for an exhibition of titilating self-portraits by the sultry Andrea Mary Marshall.

Regardless of what 'the newspaper of record' says, the Brooklyn Academy of Music (BAM), in Fort Greene, not Williamsburg, is the hottest place in Brooklyn (or at least it was last night).

Here, Former Representative Frank walks us through the symbology of his recently unveiled portrait. Below is a list of objects that he points out:

Yesterday afternoon, a portrait of former United States Representative (D-MA) and Chairman of the House Financial Services Committee (2007-2011), Barney Frank, was unveiled in room 2128 of the Rayburn building on Captiol Hill.

PHILLIPS [formerly Phillip de Pury & Company] has had an interesting couple of years. They decided to move their Meatpacking District offices to a scary building in midtown, their former chairman, and one of reality TV's best and brightest, Simon de Pury, stepped down, and there have been endless rumblings about self inflicted mercurialism within the organization [we, of course, can not verify the latter because the art market is effectively unregulated, totally opaque, and entirely relationship driven—and that is the way they like it].

Susan and Michael Hort have been scooping up cutting edge artists before they become household names since the mid 1980's. The Horts were two of John Currin's first supporters, they count Kehinde Wiley among their friends, and they probably got the Elizabeth Peyton painting that hangs in their bedroom in exchange for a cheese sandwich when Peyton was first starting out. The Horts know how to find talent early, to collect deep, and hold until it is time to get out.