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David Greg Harth

  • Socially Engaged Art + Participatory
  • Performance
  • Drawings + Prints + Paintings
  • Video + Film + Audio
  • Photography
  • Self-Portraits
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New York Observer

Cover of New York Observer, May 1, 2006 + Pg.3 Clipping

New York Observer
"The Transform; Cold Shoulders"
May 1, 2006
Pg. 3
Author: Amy L. Odell

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The Transform; Cold Shoulders

"Women can always show their shoulders because they never gain weight there," said Donna Karan on April 20 to 400 or so fashion-design students at Parsons, her alma mater. She was explaining her "cold shoulder" dress, named for cutouts at the shoulders. "I thought this was a genius idea," she said of the design, which was first panned by critics then donned by Liza Minelli and Hillary Clinton.

Ms. Karan sat at a square red lacquer table in the corner of a stage in Tishman Auditorium, legs crossed, her arms folded across her lap. Parsons dean Paul Goldberger, who interviewed her on stage, had been glad to announce prior to the lecture Ms. Karan's gift to Parsons: an undisclosed sum of money upward of $2.5 million for a new professorship toward a graduate fashion-design program.

Ms. Karan ruminated on topics like her difficulty learning languages and her annoyance at winter window displays of spring clothes.

"This makes minus, minus, minus, minus sense to me," she said. "Drives. Me. Crazy."

She called her daughter, Gabby, her toughest critic.

"When she goes out and wears Chloé, I get really annoyed," she said.

The floor opened to audience questions and a tall, skinny young man took the mike. He identified himself as a Paul Andrews intern, in collection shoes.

"I don't know if you remember me, Donna," he began.

"I do. How are you?" she replied.

"I'm doing good."

"You did those marvelous leather jackets, didn't you?"

Affirmative! The intern said he had seen a flier for the night's event and wanted to come by to give Ms. Karan some stuff he's made. He brought a brown paper shopping bag up to the stage. Ms. Karan rifled through it.

"Oh, totally cool. Oh, that is so cool," she said and held up black beads strung together in connected loops.

"Did you make this? Oh, where did you get this?" she said. Next was a geometric black sleeveless wrap top. She put it on.

"That is so cool," she said. "There's modernity!"

She quickly removed the garment, realizing it muffled her microphone.

After the lecture a gaggle of designer wannabes surrounded Ms. Karan at the foot of the stage. Parsons graduate and graphic designer David Greg Harth brought his art project: a Bible signed by public figures, including Tony Blair, Muhammad Ali and David Bowie. Mr. Harth started collecting signatures in 1997 and will continue until 2017. He plans to display the pages in an art gallery or museum. Ms. Karan gladly penned her autograph perched on the edge of the stage.

"What a good idea!" she said.

What was Ms. Karan's favorite look for spring? "I'm wearing it," she said, swishing her loose below-the-knee see-through black dress of meshy fabric with oh-so-fashionable side pockets. She wore black tights underneath that ended below the knee–only visible if her dress lifted. She covered her shoulders with a light shrug made of brown suede tied in front with an inoffensive black bow.

For colors, she "loves everything off," like navy with black, black with white, or red with black. And she said sunglasses "have to fit well."

"I personally like sunglasses that are more north-south. Everybody likes east-west, but I don't like the east-west ones that are like goggles," she said. "You know, you want to feel comfortable in the glasses–they have to be a part of you."

Her unpolished toes hanging over well-heeled black platform sandals tied around her ankles with black bands, Ms. Karan said those new super-high heels aren't for her.

"They look great on the runway," she said. "People who can wear them–God bless them."

And unlike the stiffs at Burberry or H&M, Ms. Karan said she would use a model caught on tape snorting lines.

"I think we all go through our challenges in life, and I think facing them and dealing with them is brilliant. I have no judgments," she said.

Copyright 2006 the new york observer, L.P.


back to press
Monday 05.01.06
Posted by David Harth
 

The Villager

Cover of The Villager, April 5-11, 2006, Volume 75, Number 46 + Pg.26

The Villager
"Catching up with Nolita artist David Greg Harth"
April 5-11, 2006
Volume 75, Number 46; Pg. 26
Author: Rachel Fershleiser

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Catching up with Nolita artist David Greg Harth

Artist David Greg Harth is best known for making money. Specifically, the dollar bills he's stamped with statements like I AM NOT TERRORIZED and I AM NOT AFRAID.

He says there are at least a million of these bills currently in circulation, which means some of you may have already received one of these messages of post-9/11, New York pride at the bank, bar, or bodega. More recently, he created a performance piece called Tumbling Thimbles on Trimble, wherein he threw a hundred thimbles on Trimble Place (between Thomas & Duane in Tribeca), and then mimicked their motion with his tumbling body. A fractured clavicle and several surgeries later, Harth is gearing up for a new performance work on April 8th.

When did you move to New York? Why did you choose Nolita?

I've always lived in New York State, but I moved to New York City when I went to school at Parsons in 1994. I knew I wanted to be Downtown and I liked this apartment. The neighborhood is alive all the time, and I like that I'm in the middle of everything, but my block is so quiet.

What kind of role does New York play in the art world?

Well, I still think it's the center. I hear Berlin is happening, but I haven't been there. There's an immense amount of creativity in New York – but I'd still like to see some new artists shake it up.

What are some great things you've seen lately?

I saw the Robert Rauschenberg: Combines exhibit at the Met maybe four times. It's really inspirational. And the Whitney Biennial really is worth checking out.

What are you planning to see next?

I need to see Matthew Barney's new film "Drawing Restraint 9" at IFC. He also has a new exhibit opening soon. I need to go to Brooklyn to see the Wegman exhibit - not that I like the dogs so much. I like his earlier work; he's done video and performance. And I'm planning a trip to Philadelphia to see Wyeth and the Bodies exhibit there.

Do you prefer working in performance or more traditional media?

I'm more involved in performance now, but really my concern is what media best conveys the concept. Whether it's a dollar bill, a photo, a drawing, a painting, I'm more interested in getting my ideas across.

What are your favorite performance pieces?

I really liked Tumbling Thimbles on Trimble. I also liked Mr. Rabbitfuck: Preparing for an Evening at the Embalmer's Estate – that happened a few years ago. I was nude on a stage except for fishnet stockings. Then I got dressed, and there was a woman involved, and a gun.

Who are your influences?

My grandfather, Opa. Way too many artists. Robert Ryman – he made white paintings. His work is nothing like mine. Matthew Barney, Vito Acconci, Bruce Nauman. And Erwin Wurm – he never gets enough press but he's really great. And U2.

Where do you go for inspiration?

All the major art museums, Chelsea, Central Park, my studio. International Center of Photography. But that's why I live in the city – just walk outside and you've got inspiration. I ride the subway, see all the people of different shapes and sizes and colors and languages; it's great.

What are your next projects?

On Saturday April 8th I'm doing a performance at 3pm sharp in the park at 11th Avenue and 23rd Street. It's called Fat Man Rolling, Single Man Jumping. Rain or shine. That's all, I think you just have to see it. I'm doing another piece in May on the D train and I'm hoping to curate an exhibit called Suicide. I want to present artists dealing with that subject matter in different ways. Oh, and I'm working on Mr. Rabbitfuck: The Opera.

Copyright 2006 The Villager - Community Media LLC.


back to press
Wednesday 04.05.06
Posted by David Harth
 

The Village Voice

Cover of The Village Voice, October 12-18, 2005 + Newspaper Clipping

The Village Voice
Best of New York 2005: Characters: "Best Defiler of Legal Tender"
October 12-18, 2005
pg. 87
Author: Rachel Fershleiser

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Best of New York 2005: Characters

"Best Defiler of Legal Tender"

In 2001, Nolita artist DAVID GREG HARTH made an impression with post-9-11 dollar bills stamped "I am not terrorized." Recently he's returned with a far less Bush-approved statement. Harth spends singles marked with a message encouraging removal of "In God We Trust," a daily reminder of our nation's alleged church-state separation. Be on the lookout; the next person to pay for a meal with 37 ones may not be a stripper after all. davidgregharth.com


back to press
Wednesday 10.12.05
Posted by David Harth
 

Playboy

Playboy Magazine, March 2005, pg.58

Playboy Magazine
"Political Currency"
March, 2005
Pg 58
Author: -

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POLITICAL CURRENCY

Looking for a way to get your message across? Money is a flier that no one throws away

Playboy Magazine, March 2005, cover

Playboy Magazine, March 2005, cover

In 1998 Johnny Bitter, owner of Johnny Burrito in Charlotte, North Carolina, started setting aside from the register cash that had been defaced with doodles, slogans or rubber-stamp prints. After collecting about 250 bills, he launched uglymoney.com. “It’s a cost-effective way to get your message seen by many people, who, even if they disagree, are almost forced to pass it along,” he says. And he’s right: The U.S. Bureau of Printing and Engraving says a bill can be folded and unfolded 4,000 times before it’s unusable. A sampling of Bitter’s currency is below, along with a “gay dollar” posted at cruelty.com and a bill stamped by New York City artist David Greg Harth after the 9/11 attacks. It’s illegal to deface bills so they are unfit for use or to place ads on them. That’s what prompted the feds to warn Godoffmoney.com to stop selling rubber stamps with its web address and the words KEEP CHURCH AND STATE SEPARATE.


back to press
Tuesday 03.15.05
Posted by David Harth
 

USA TODAY

Website Screneshot

USA TODAY
"What have artists wrought from 9/11?"
September 3, 2004
Sec 9D, Pg -
Author: Maria Puente

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What have artists wrought from 9/11?

A look at all sorts of 9-11 inspired art, from solemn to quirky:

Fleeting art

The artwork that has received the most acclaim is the most ephemeral: Tribute in Light, two massive beacons of light at Ground Zero, restore the Manhattan skyline with ghostly replicas of the fallen twin towers. Conceived by a group of New York artists, the phantom towers resonated with many, perhaps because they were temporary. Plus, they are sophisticated without being abstruse, elegiac without being morbid. (Related story: Definitive art of Sept. 11 is yet to emerge)

"There's something beautiful about its ephemerality – it adds a spiritual dimension," says Terence Riley of MoMA.

Memorial art

Much Sept. 11 art is explicitly memorial. Scores of communities across the USA have commissioned public artworks that use steel recovered from Ground Zero.

In Pennsauken, N.J., sculptor Brian Hanlon was commissioned by town leaders to create a memorial consisting of life-size bronze figures of a police officer, firefighter, emergency medical technician and police dog lending aid to a survivor at Ground Zero, in front of a black granite wall reading "We Shall Never Forget." In Brick Township, N.J., he was commissioned by the widows of nine World Trade Center victims to make Angel in Anguish, a life-size bronze sculpture of a winged angel weeping on a headstone. "These victims were never found, they don't have a headstone, so this is their headstone," he says.

Dallas sculptor John Collier's Sept. 11 commission is expressly religious, aimed not at conveying horror or outrage but Christian concepts of resurrection and hope. He created four bronzes of patron saints – St. Michael for police, St. Joseph for workers, St. Florian for firefighters, Mary Magdalene for resurrection – for St. Peter's Catholic Church in downtown New York, which was damaged on 9/11. They fit in the long tradition of devotional, figurative statuary. "The best religious works are by nature narrative," he says. "It's difficult to tell stories with abstract images, it's hard to get at universal themes."

Abstract art

Public distaste for abstract art is not new, but the desire for literal representations seemed to intensify for Sept. 11-related artworks. Still, some abstract works have gained notice. In Hanover Square near Ground Zero, British expatriates in New York plan to build a memorial garden to honor the 67 British nationals who died on Sept. 11. The centerpiece will be Unity, a large black-granite monolith that will contain a carved-out inner chamber polished to reflect light so that it appears to hold an eternal flame. The piece is by British sculptor Anish Kapoor, an acclaimed artist whose only other work in the USA is Cloud Gate, a monumental abstract sculpture of stainless steel in Chicago's new Millennium Park that has been dubbed the "Jelly Bean."

"We wanted the (British) park to be about renewal and strengthening," says Camilla Hellman, a British New Yorker who conceived the park.

North Carolina sculptor Jim Gallucci has made a 23-foot-high abstract sculpture out of some of the 16 tons of World Trade Center steel beams that he hauled down to his studio in Greensboro soon after Sept. 11. Gallucci would dearly love to donate Gates of Sorrow to New York if only someone would take it. So far, the city isn't interested.

"The gate is a symbol of the end of our innocence, the day when the door opened to what the world is about, when we learned how vulnerable we are," says Gallucci.

Figurative art

Eric Fischl's bronze, Tumbling Woman, depicts a larger-than-life naked woman falling, with arms and legs flailing. When it went on display at Rockefeller Center a year after the attacks, it freaked out some people who were reminded of the victims who jumped or fell from the doomed towers. Just days later, it was taken away.

"It was a way of putting into form the feelings I had about that terrible event, but also it spoke to that disequilibrium that we all shared," says Fischl, who lost a friend in the towers. But "maybe we should have waited a little longer."

Still, an edition of five was made and sold to collectors.

Quirky art

Soon after Sept. 11, a young New York artist named David Greg Harth began stamping dollar bills with the words I AM NOT TERRORIZED and I AM NOT AFRAID. He estimates that he and others around the world have stamped nearly 1 million bills so far.

"The terrorists struck the financial capital of the world – I choose money as my medium to attack back," says Harth, whose studio was a few blocks from the World Trade Center.

Cleveland artist Bob Novak made a 10-foot electric guitar to honor firefighters killed on Sept. 11. The piece, titled All Gave Some, Some Gave All, depicts firefighters raising the flag over Ground Zero, merged with the image of the flag-raising over Iwo Jima. The back lists the nearly 3,000 victims who died in the attacks. The sculpture, now on display at the Rock and Roll Hall of Fame, was commissioned by an insurance company, which plans to auction it for charity in November.

Controversial art

Some art is just this side of kitsch, like the 98-foot-high nickel-and-bronze teardrop that Moscow artist Zurab Tsereteli wants to install on the Jersey City waterfront across from the World Trade Center site. Tsereteli, who calls the piece The Struggle Against World Terrorism,is best known for putting up gigantic statues in Russia, such as a 307-foot-high Peter the Great that opponents once threatened to blow up.

Tsereteli talked the Jersey City mayor into accepting the piece – but then the mayor died. Now a final decision on the sculpture has been delayed, opponents are organizing, and Tsereteli is trying to rally support by running full-page ads in local newspapers.

The piece is a 175-ton bronze monolith with a nickel teardrop suspended within and water running down its face. "People thought it was ugly, insensitive and had sexual overtones," says documentary photographer Leon Yost, who lives near the waterfront. "When you compare it to the 'towers of light,' it makes people here want to throw up."

Tsereteli's New York lawyer, Emily Madoff, dismisses the opposition as small but loud. "But for the mayor dying, this could have been up and ready by the 2004 anniversary."

But there's no way that's going to happen by then, and maybe not by next year either, says Roger Jones, chief of staff to the acting mayor. "It's not a slam-dunk project."

Conceptual art

Xu Bing, a Chinese-born artist living in New York, won a $75,000 European arts prize this year for his installation, Dust, in which he used actual dust from Ground Zero, spread it on the floor of a gallery and traced in it the Chinese characters of a line from a nameless poem: "Where does the dust collect itself?"

"Dust is a very Zen idea," the artist told The New York Times.

Copyright 2004 USA TODAY


back to press
Friday 09.03.04
Posted by David Harth
 

Biscayne Boulevard Times

Newspaper Clipping

Biscayne Boulevard Times
Life After Art Basel: Can It Get Any Better?
January 2004
Pgs. 16-17
Author: Xavier Griffin

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Life After Art Basel: Can It Get Any Better?

Art Basel saw the who's-who of the art world strut their stuff for all to see. Rows of Rolls, bunches of Bentleys, even the elusive Maybach made an appearance (the unexpected highlight of my week - getting a ride in this new super-smooth-stealthy-soft-hi-tech-quick-and-sophisticated $400,000 automotive-masterpiece!).

From Picasso, Pollock, and Picabia paintings hidden in the back rooms, to Dali, Dubuffet, and Damien Hirst works beneath the bright lights of the main floor, the high rollers brought the world's cultural eye squarely to rest, like a hurricane, on Miami.

Most came and left like ghosts in the night, only assuring us they'll haunt this way again (next year and every year thereafter for generations to come). As a Miami native, I was more interested in who stuck around the people that were here to check out our scene, not just let us bask in the glory of theirs.

On Thursday, January 8, the AJ Japour Gallery will present "Urban Art with a View 3," featuring such (art world) household names as Jean-Michel Basquiat and Keith Haring. But what caught my attention is a New York City artist who seems to be finding a second home right here in the sub-tropics.

David Greg Harth is only 28, and a self-admittedly quiet individual, but the impact of his art has already been felt around the world and featured in the New York Times and on CNN. After 9/11 he stamped over a quarter million US dollars with the statement, "I AM NOT TERRORIZED," a message that resonated with his fellow New Yorkers, Americans and freedom-loving people across the globe.

At the Chelsea Hotel on Washington Ave., which hosted "OPEN," a group show by the Szilage Gallery (St. Petesrburg, FL), I enjoyed too many late night beverages as Harth opened my eyes to his work, to his world and to what it was like to see the Twin Towers through your studio window ä no more.

For "Urban Art with a View 3," Harth will be executing his latest 'Wall Drawing' and 'Thinkways', works that have ranged in scale from 3" x 3" to one covering over 450 sq. ft. of wall space. As I viewed the work myself, it drew me in, a conceptual road map to an artist's mind. Since Harth is reticent to speak about his work in public, I turned to several people who know his work intimately to get inside his art, his mind, his vision.

Lance S. Longwell, a young art collector in New York City, recently decided to add another of Harth's work to his collection. Longwell, like many serious collectors, takes his time, often studying an artist's work for many years before making a purchase. Therefore, he knows a great deal about this series.

"Harth's been working on such drawings all his life," says Longwell, "but started executing actual 'Thinkways' drawings in the early 1990's. In spring of 2001, he exhibited large scale 'Wall Drawings' and 'Thinkways' studies at Parsons Gallery in New York City. 'Thinkways' can take as short as 20 minutes and as long as years to complete. At the Parsons Gallery exhibit, where there were multiple 'Wall Drawings,' the largest was about 14 feet high by 30 feet wide. That work took him about 12 hours, non-stop. I heard he was listening to Lionel Hampton as he was drawing. I'll leave it to you to make that connection."

Longwell went on to note that "as Harth draws these ways, he thinks. Hence, 'Thinkways.' Like most artists, he's been drawing his whole life, and his drawings have become more refined, much to the same degree as his explorations of his own mind as he executes them."

Tiffani Szilage, of the Szilage Gallery, has represented David Greg Harth since 1997 and has had the unique opportunity of watching him grow from a young, aspiring artist to the level of "emerging" artist and now to the brink of becoming an established artist.

Szilage says, "All serious art is exciting to Harth. He works in many mediums, often incorporating new technologies like computers and digital video, and bringing seriousness to his work that few artists his age can even envision, much less execute. But 'Thinkways' and 'Wall Drawing's enable him to be more organic and therefore more complete in his expression. The work flows out of his mind and through his finger tips. It's romantic. It's sensual. Not that new technologies aren't, but working with graphite on paper or on a wall is just so tactile, sensuous, and≠you know, it's not a dirty word≠"BEAUTIFUL!". He becomes one with the surface, and for those of us who look, and I mean, REALLY LOOK, so do we."

When asked about a message in his work, Szilage responded, "Harth is always focused on a message, but he's also one of those rare artists who understand that work does not need to deliver an immediate message. This isn't television, and it isn't advertising. Works can grow on viewers, including the artist. The important thing is that he gets the work out of his system, and we let the work into our systems. As gallerists, collectors, curators, and art-lovers at all levels, we must help the artist execute it. Then step back, take a look, and the artist and the viewers will learn its meaning through discovery and consistent observation. There just is no replacement for looking not glancing, but looking deeply until you actually see the work."

As I tilled this fertile artistic ground for deeper revelations, I was stunned to learn of Harth's personal experience with neurological mysteries, a subject I felt might have some bearing on the work. Twice in his life, Harth has been in an extended coma, each time with uncertain prognoses. Although he was understandably reserved about delving too deeply into these ultimately extremely personal experiences, I could easily see the relationship. Some say all art is a self-portrait of the artist who created the work of art and I'm sure such an event in one's life must be an influence in-and-of itself.

As for his future, being in "Urban Art with a View 3" (an invite-only event) certainly can't hurt. While Harth already has an international base of collectors and arts professionals that will be knocking on the door of the AJ Japour Gallery, Harth hopes to find some serious acceptance and support from the minders and keepers of Miami culture.

<p>

In speaking with Dr. Anthony J. Japour, I found out that a precious few of Harth's works are available ($100 - $10,000). Dr. Japour, who works with artists ranging from the aspiring to the established and with collectors at all levels, said, "I doubt the word "emerging" will be attached to Harth's work for much longer. 'Urban Art with a View 3' is intended to span the full scale of recognition. Basquiat and Haring are already known. Steven Logan and Alex Steneck are only just starting out. Harth, Irene Sperber, and Alberto Senior are at various points in the middle. They are all worth looking at and I hope people will take the time to make an appointment and come and see all the work. If I didn't think it was worth your time to look at it, I wouldn't show it."

For more information on David Greg Harth, you can find his web site at www.davidgregharth.com and more of his work at the Szilage Gallery web site at www.szilage.com. For more information on "Urban Art with a View 3" and other AJ Japour Gallery events, you can find their web site at www.ajjapourgallery.com.


Back to press
Monday 01.05.04
Posted by David Harth
 

The Times-Picayune

Newspaper Clipping

The Times-Picayune (New Orleans)
"Message Money"
June 22nd, 2003
Sec E, Pg 1,3
Author: Doug MacCash

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Message Money

Comedy. Politics. History. Religion. Romance. Recipes. It's all there, stamped, scrawled or sketched onto dollar bills that creative spenders have turned into collectible currency.

Johnny Bitter calls it "ugly money." And he really can't explain why he is so attracted to it.

Bitter is the owner of Johnny Burrito, a lunchtime landmark in downtown Charlotte, N.C., jammed with customers from 11 a.m. to 3 p.m., most of whom pay in cash.

About five years ago, as Bitter counted and stacked the money at day's end, he found himself inexplicably drawn to marked bills, some stamped, some written or drawn on, some torn and crudely repaired with tape or -- Bitter's favorite -- staples.

"I don't know why I would pull them out," he said. "I'd say, 'Wow, look at the devil's horns on this one.' I've never drawn on money, never even thought of it. My wife said, 'What are you doing with all this money?' "

Now, Bitter collects bills that come across the lunch counter. He buys choice bills from the tellers in a nearby bank. And since last year, with the help of a friend, he even maintains a Web site, www.uglymoney.com, that displays more than 200 creatively marked bills.

Bitter has merely made a hobby out of something we've all experienced: discovering dollar bills with messages and drawings on them. Maybe it's a greenback with ball-point lettering around the margins that reads: ST. LAZARUS, ANYONE WHO RECEIVES THIS BILL WILL BE BLESSED WITH A LOT OF MONEY IF THEY WRITE THIS MESSAGE ON TEN OTHER BILLS. Maybe it's a fistful of slogans: LEGALIZE POT. DEPORT ALL ILLEGAL ALIENS. GAY MONEY. Maybe it's a dollar bill marked with a mystery: SEE WHERE I'VE BEEN. TRACK WHERE I GO NEXT! WWW.WHERESGEORGE.COM.

No matter what the content of your doctored dollars, it's easy to get hooked on marked money. You can get swept up in the small mysteries, the snippets of personal expression piggy-backed on currency, flowing from cash register to wallet to tip jar to deposit box to bank teller, and on and on, like messages in bottles from unknown cast-aways.

Bill-marking is the child of the graffiti tagging movement of the 1980s. It's the grandchild of the "Kilroy Was Here" markings, which were ubiquitous during World War II. It's the great grandchild of the hobo markings on freight trains during the Great Depression.

You can trace the phenomenon all the way back to cave painting if you want. Yet there are aspects of the money marking phenomenon that tie as neatly into our technologically sophisticated times as eBay or Internet chat rooms. In the end, money marking is a small way to test our liberty on a symbol of that liberty at a time when information technology may be threatening our liberty.

Bitter says he believes the purpose of marked money is the basic human drive to communicate.

"The bills make people think for just a minute," he said. "Money is so basic to our everyday life. A lot of people want to make a statement, get it out to a lot of other people and remain anonymous. It's amazing to me, what you find. The devil is a popular drawn theme, so is any sort of facial hair. I've seen drawings of Homer Simpson and Gene Simmons over Washington's face and a lot of political statements. The Santa Claus dollar is a good one. I've seen George Washington with Indian feathers and small pock marks -- that's a strong political statement. So is the Confederate flag stamped over Lincoln's face."

One of Bitter's favorites is an enraged rant that reads in part: MINIVANS ARE THE PURGATORY OF THE FAMILY ROAD TRIP. THE FAMILY REUNION IS THE EVERLASTING FLAME THAT BURNS YOUR FLESH AND EATS YOUR SOUL.

Most money messages are considerably more mundane. HAPPY BIRTHDAY is perhaps the most common. There are also phone numbers, addresses and columns of arithmetic. And then there was the recently found dollar bill marked with Subway sandwich-making instructions: COLD CUT COMBO, PARMESAN BREAD, LETTUCE, TOMATO, CHEESE, PICKLE, HONEY MUSTARD, SALT AND PEPPER.

But once in a while you find something really intriguing, like a 1995 dollar bill anachronistically stamped: WELCOME HOME VIETNAM VETS . Or a rap-inspired love letter written in red, which reads in part: CONTINUE TO KEEP IT GANGSTA FOR ALL THESE HOES! Or a cryptic plea: DON'T LEAVE ME HAUNTED.

The inscrutability of the bills is a large part of their charm. But it's impossible to come across them without wondering: What do they mean? Who's making them? Where? Why?

In the case of Hank Eskin, marking money grew out of simple curiosity.

"I was going to lunch one day when I saw a dollar bill with a St. Lazarus message on it," the 38-year-old Boston resident said. "I said, 'How did this come to me? Who wrote this?' It was like getting an anonymous chain letter in the mail, but a bill has a serial number, it could be tracked."

So Eskin made it his mission to start tracking the bills himself. He created an information-age parlor game out of a Web site. If you want to play, the process is simple. You mark a few bills with the Web address www.wheresgeorge.com, record their serial numbers on the Web site (it's free), then put the dollars in circulation -- in other words, spend them.

Meanwhile, other wheresgeorge.com players are on the lookout for marked bills. When they find one, they enter its serial number on the Web site. With patience and luck, you can track your marked money by computer as it travels around the country, sometimes from coast to coast. Dedicated players, known as Georgers, send thousands of bills into circulation, mark their success by the number of "hits" their bills receive, and e-mail one another with stories of dollar discoveries. It's a charming union of high-tech communication and caprice.

In the beginning, Eskin's site drew a mere handful of users a day. Now it is a certifiable pop phenomenon, with wheresgeorge T-shirts and other novelties for sale and copycat sites springing up around the world.

Despite the fact that wheresgeorge has obviously struck a chord in the collective computer-age psyche, Eskin makes no grand philosophical claims.

"I look at the stories people post all day, every day," he said. "A lot of times someone will say I found a bill in a strip club last night and someone else will say I found it in the collection plate on Sunday morning. Or you can see a bill travel from Kentucky to California and back to the same little town in Kentucky. Those are the anecdotes I tell people about. I just think it's a way to spend quality time online.

"It's just about tracking bills. It's not about making money. Nobody's exploiting the users. It's a safe haven from the big bad Internet world out there."

Ironically, Eskin admits that he's never found a wheresgeorge bill. "I'm still waiting for the magic day when I get one naturally," he said.

What began for Eskin as a lark eventually attracted the attention of the Secret Service, which asked him to stop selling rubber stamps for marking bills.

"Right off the bat they were pretty amicable," he said. "They said, 'Here's our request, you can accept or not.' I think they wanted to (make sure) that what was going on here wasn't more sinister. There's a law that says it's illegal to advertise on money, so they asked me to stop selling stamps for a profit, and I did.

"Banks were complaining. People were getting a stack of 100 dollars, stamping them, then giving them back to the bank. The bank gave them to a customer, who didn't want to take them. Then there's the occasional annoyed citizen who thinks it's blasphemy to mark a dollar and fires off an angry letter."

The law itself is tantalizingly vague. Title 18, Section 333 of the United States Code reads: "Whoever mutilates, cuts, disfigures, perforates, unites or cements together, or does any other thing to any bank bill, draft, note, or other evidence of debt issued by any national banking association, Federal Reserve Bank, or Federal Reserve System, with intent to render such item(s) unfit to be reissued, shall be fined not more than $100 or imprisoned not more than six months, or both."

Lawyers live for words like "intent."

One group of avant-garde artists (whose work can be seen at www.subnote.net) has done an end-run around the question of disfiguring money by stamping their bills with dyes that are only visible in strong ultra-violet light (sunlight, for instance), but remain hidden under other circumstances.

Most stampers, though, probably find the ever-so-slightly outlaw aspect of marking money to be part of the appeal. Marking money has the same sort of playfully subversive quality as placing crank phone calls and carving initials on an oak tree.

There is little incentive for the government to prosecute these small-time money messagers. And that's good news for people like Web site writer Michael Seery, 34, who has been collecting altered cash -- primarily bills with political slogans -- since 1998.

He has found bills labeled: IN GOD WE TRUST. KEEP ABORTION LEGAL AND SAFE. LESBIAN $$$. BISEXUAL MONEY. PAID FOR WITH TRAWLER DOLLARS (commercial fishing advocate?). WHERE IS MY DADDY? HE HAS NO RIGHTS. JEWS FOR CLINTON: ZION POWER RULES. DEO VINDICE (the motto of the Confederacy). IMPEACH BUSH! STOP STARBUCKS. FRANCE NO GOOD/FRENCH GO HOME. JOHN 3:16.

And then there was the bill with a voice balloon emerging from George Washington's lips that read, I GREW HEMP.

"The bill that got me started was the I GREW HEMP dollar," Seery said. "Every once in a while I'd find a rubber-stamp bill, but then I'd spend it. It would be the only dollar in my pocket, but then I'd have a pang of regret. After I saw the third or fourth design, I realized this was some kind of movement. So I started collecting them until I had about 12."

Seery's information-age instinct was to create a Web Site dedicated to marked dollars, which now displays 21 bills. His view of the bill-stamping phenomenon is simple.

"It's grass-roots PR campaigning," he said. "They're probably just people who don't have money to advertise. They know that bills get widely circulated. If people use dollars to spread their ideas, no matter how out-of-touch with the popular media they are and regardless of their socio-economic group, they know they'll be able to reach people randomly."

That theory certainly applies to Jme J, the 28-year-old president of the St. Louis Missouri chapter of the National Organization for the Reform of Marijuana Laws (NORML), an advocacy group promoting the legalization of pot.

J admits that he is one of the many guerrilla stampers across the country who marks dollar bills with the classic I GREW HEMP voice balloon issuing from George Washington's lips, plus a marijuana leaf on the reverse side.

"It's basically me and another person who do it," J said. "We're both pizza delivery men, so we get a lot of clean bills and we stamp them. We've been doing it for three years and we've stamped 5,000 to 6,000 dollar bills per year. It definitely enlightens people. Our founding fathers were very aware of hemp. Washington saw hemp as something good, for fiber and paper and fuel."

J recirculates the bills personally.

"I'll be at the Home Depot and I'll spend a whole stack of stamped dollars," he said. "Most of the time people don't even notice, but I know the next fifteen people in line will get I GREW HEMP bills. Sometimes a person will notice and laugh. I think it makes people more aware. In the back of their minds they might say, 'Hey, this dollar was touched by somebody who smoked marijuana.' "

J is also a Georger. He double stamps 420 bills each month with "wheresgeorge.com" and "I Grew Hemp." Why 420? J explains that 420 is a special number in stoner culture (his words), which may have been derived from the police code for a marijuana arrest, the date when LSD was invented or the optimum afternoon time to smoke.

Not everyone who alters dollar bills makes a secret of it. New York artist David Greg Harth, 27, a graduate of the prestigious Parson's School of Design, e-mails press releases announcing his latest stamping projects, most recently his REGIME CHANGE IN BAGHDAD / REGIME CHANGE IN WASHINGTON slogan, which he began applying to bills in March.

In the past five years Harth has stamped editions of bills with the statements I AM ART, I AM GOD, I AM NOT GOD, I AM TRUST, I AM NOT A DOLLAR and I AM AMERICA. In 2001, soon after the terrorist attack on the World Trade Center, Harth, with the help of several friends, stamped I AM NOT TERRORIZED and I AM NOT AFRAID on what he says were 250,000 bills, which he intended as a defiant balm for the shaky city.

"I'm not this rich artist who has $250,000 laying around," Harth said of his stamping strategy. "I usually stamp 100 singles at a time and spend some or trade them. If I take $1,000 out of the bank and trade them, then I've got another $1,000 I can stamp. I send $1,000 to a friend in Los Angeles. I've also traded with people in London, Tokyo and Berlin.

"I'm not really for or against anything politically," Harth said of his ironic messages, "I just want to spark a dialogue. Usually when you pay for something with one of my bills, it sparks up a conversation. We need this kind of dialogue. A few friends of mine have had trouble spending my bills. People worry if they are really dollar bills. But often people would agree with the message and say, 'Do you have more?'

"There's a bar on my street where I spend money. The owner said, 'I agreed with your I AM NOT TERRORIZED money, but I'm not sure I agree with your REGIME CHANGE bills.' "

Seery, however, says there is one bill reputedly in circulation containing a sentiment with which few people would disagree:

PLEASE RETURN THIS DOLLAR IF FOUND.

Copyright 2003 The Times-Picayune


back to press
Sunday 06.22.03
Posted by David Harth
 

MTV

MTV Music Television Network
MTV News
September 11, 2002
Television Program
Running time: 03:34
Author: -

View on MTV.com

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This interview is about my "I AM NOT TERRORIZED" dollar bill project. Transcript coming soon.


You can watch the video clip below.


back to press
Wednesday 09.11.02
Posted by David Harth
 

MTV.com

Website Screenshot of MTV.com

mtv.com
9.11 Remembered: Portraits of Motivation
September 9, 2002
Online Website
Author: -

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9.11 Remembered: Portraits of Motivation

David Greg Harth: Spending A Message

My name is David Greg Harth. I am an artist here in New York City. My studio is just twenty blocks north of Ground Zero.

On September 11, 2001, I watched from my rooftop as the twin towers went down in smoke. Immediately, I knew the world was changing before my eyes and that I was a witness to war.

I felt angry and helpless. I had to do something. I went from hospital to hospital looking to donate blood. I spent the rest of the week trying to volunteer at various locations throughout the city, but found few opportunities because so many New Yorkers had already come forward to lend a hand.

As I roamed the streets that week, I kept a journal and photographed my journey. I remember telling myself repeatedly, "I am not terrorized" and "I am not afraid."

It didn't take long to realize that the best way I could make a meaningful impact was through artistic expression. Communicating through art became my way of trying to help other Americans heal.

My previous work has employed various mediums including photography, performance, film, and painting, but I also do a lot of conceptual work, employing less conventional outlets for expression.

The terrorists struck lower Manhattan, the financial capital of the world, so I chose actual U.S. currency as my medium to attack back. I began stamping dollar bills in heavy red or black ink with the phrases "I am not terrorized" and "I am not afraid."

To send the bills out into the world, I just spend them. Each time I do, it sends a message. To broaden their circulation, I also trade the dollars with friends and people from all across the world who contact me through my website.

So far, there are over 200,000 stamped bills in circulation in New York, Boston, Los Angeles, Miami, Chicago, Detroit, Denver, Washington D.C., London and Berlin. Clearly, the message is getting out there.

I'm David Greg Harth: artist, American, New Yorker, human. And I will never be afraid and I will never be terrorized.


Back to press
Monday 09.09.02
Posted by David Harth
 

The Denver Post

Newspaper Clipping

The Denver Post
"Firefighter bracelets seek home: Money Talks"
September 9, 2002
Sec A, Pg 2
Author: Dick Kreck

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Firefighter bracelets seek home: Money Talks

Are we 9/11 saturated? Kelley Horton is beginning to wonder. She founded United We Stand, an Englewood company producing remembrance wrist bands to honor firefighters.

She's tried, without luck, to get a local retail chain, any chain, to carry the bracelets. "Most of them say, 'We can't help you. We've already given."' Missing her point, some bury her in paperwork; others put her off to an unspecified meeting date.

She doesn't want a handout. "After the attacks, like a lot of people I spent two or three days sitting in shock. I gave blood and donated money. But I thought there's got to be more that I can do." Mulling it over, the former owner of a high-tech recruitment company decided that her contribution should reach beyond a 9/11 tribute.

She created a series of commemorative bracelets, similar to the POW/MIA model.

It's not about the money. There is no hidden campaign. "It's all on my own," Horton says. The aluminum bracelets are being sold for $10 with September profits going to the Denver Firefighters Orphans Fund, the Colorado State Fire Chiefs Foundation, the Colorado Professional Firefighters Foundation and the Colorado Fallen Firefighters Foundation.

"It would be great if people could buy them at a store," she says. "People call and ask, 'Isn't there any place I can go pick this up?"' No, there isn't. Horton sells them only by phone at 303-788-0402.

Money talks

Gotten one of those dollar bills marked "I Am Not Terrorized"? I have two.

They're the work of a New York City artist named David Greg Harth, whose studio is in lower Manhattan, not far from the World Trade Center.

He and his friends have stamped more than 100,000 $1 bills with the mottos "I Am Not Terrorized" and "I Am Not Afraid" as his answer to the terrorists. "Communicating through my art became my way of helping myself and other Americans heal," he says. Those dollars are all over the world.

Harth, whose history of stamping bills has appeared in New York magazine and The New York Times and on CNN Headline News, notes that stamping bills does not render them unfit for circulation.

My two bills, brand new, came from Harth himself. I will pass the word, and the bills. Part of the deal is to send him two unstamped bills in exchange.

In all the papers

I don't have the wackiest writing job in Colorado. It's nothing compared to the penned production of John Lynch of AJ Indoor, a Denver-based marketing firm.

Lynch's most recent epic involved writing about Charmin toilet tissue. I was surprised to learn that there is a national ad campaign to "put Charmin in the hands of thousands of needy consumers when they need bathroom tissue most."

AJ Indoor has put up bathroom billboards in 30 area stalls. "We're having a hard time keeping the dispensers filled. We have to fill them twice a day."

Is there some intestinal epidemic I'm not aware of?

Around Denver

Community, school and church groups will take part in radio station KALC-FM's "Freedom Bell" reading of the names of those who died in the 9/11 attacks. The program, which begins at 6:45 a.m. Wednesday, will be broadcast live. ... Last roundup: Long-time Boulder cowboy favorites Dusty Drapes & The Dusters will reunite, probably for the last time, on Oct. 4 for a concert at the Boulder Theater. ... Craig Meis, who helped resurrect the Ski Train to Winter Park in 1987, has departed to be a consultant, elevating the train's longtime general manager Jim Bain to vice president. The train begins its winter runs on Dec. 21. ... Reminder: The Film on the Rocks series at Red Rocks Amphitheater ends tonight with a screening of "Gladiator" after a performance by Opie Gone Bad. It all starts at 7. ... Quotable: "You're either part of the solution or part of the problem." - Eldridge Cleaver.

Copyright 2002 The Denver Post


Back to press
Monday 09.09.02
Posted by David Harth
 

The News-Press

Newspaper Clipping

The News-Press
"Preparing for the unknown"
September 8, 2002
Sec A, Pg 10
Author: Alison Gerber

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Preparing for the unknown

Preparing for the unknown After feelings of doom, gloom, fear steadily fades from Americans' psyche

The sight of two planes slicing into New York City's majestic skyline nearly a year ago plunged a dagger into America's safe bubble of immunity.

America had changed forever, we were told. Things would never be the same.

Anthrax in mailboxes left the nation feeling even more vulnerable, even more skittish and fearful.

Americans imagined a world where they couldn't drink the tap water, where they stashed gas masks and bottles of Cipro, where they had to open the mail wearing plastic gloves.

For a while, some of those things were reality.

Yet a year later, Americans have slid back into their day-to-day routines, with little obvious concern for personal safety.

We visit Disney World and ballparks, we work in skyscrapers, we drink tap water.

We go about our lives, even as CNN plays disturbing videos of terrorists poisoning a trapped dog.

Even as we teeter on the brink of war with Iraq.

Less than a year after the attacks, Americans are consumed with other dramas, real and created – what Rachel of "Friends" named her baby, a roller-coaster stock market, the color of CNN correspondent Ashleigh Banfield's hair, corporate greed scandals.

"There was 9-11 followed by anthrax, and people were terrified," said Robert Butterworth, a clinical psychologist and director of International Trauma Associates, a Los Angeles-based firm.

"Now I get the feeling there's more fear over West Nile virus."

Fort Myers resident Peggy Poulsen, who grew up in New York City, plunged into depression after Sept. 11. She emerged with the help of a doctor and prescription drugs.

She still gets angry when she thinks about Sept. 11, but she says she feel safe.

"My life is still the same – water aerobics, the movies, dinner with friends," said Poulsen, 73.

"What I worry about is my grandchildren. They're the ones I'm fearful for. The world they're growing up in is very fragile."

The year's images confirm that: war-torn Afghanistan, lost American soldiers, a man with a bomb in his shoe and a murdered journalist.

Fear still lurks, even if only deep in people's minds. Apprehension hovers. Our sense of safety may not be shattered, but it is dented.

Many would rather drive than fly, even long distances. Poulsen's daughter pulled out of a trip to Canada to celebrate her parents' 51st wedding anniversary because she was afraid to fly.

A Fort Myers nurse wrote Gov. Jeb Bush demanding access to a smallpox vaccination.

An AirTran pilot on a Fort Myers-to-Atlanta flight told passengers they could use the seatbacks as a flotation device – and also to protect themselves against an attacker.

"Emotionally, people feel touched but behaviorally, a lot of people have blocked it out," Butterworth said.

"I don't know if it's a question of denial or if it's because there have been codes and colors and scares, but nothing else has occurred."

People are most concerned about a threat immediately after a disaster, said Cape Coral Fire Chief Bill Van Helden.

"Right after the attacks people were very aware and very concerned and were saying, ëWhat should we do?' " Van Helden said.

"That's waned."

Some believe Americans are getting too slack.

"So many people slipped into denial without realizing it," said retired Army Col. David Hackworth, the author of "Steel My Soldiers' Heart."

"But the threat still exists. ... The threat is as real now as when we had 50,000 Soviet intercontinental ballistic missiles pointed at us."

Even if that threat has not caused us to change day-to-day behavior, government and law enforcement agencies are preparing for further terrorist attacks.

Van Helden and other emergency officials are creating plans and training workers to deal with biological or chemical weapons.

Southwest Florida health care officials are working on a statewide plan of action in case of a smallpox bioterrorism attack.

Law enforcement officers are on alert.

In July, a plane that made an unscheduled stop in Fort Myers because it needed fuel was greeted by FBI agents and other law enforcement officers.

They hustled to Southwest Florida International Airport fearing the plane had been hijacked.

Air travel is perhaps the No. 1 cause of fear and stress in post-Sept. 11 America.

Traffic at Southwest Florida International Airport fell 11.6 percent in July.

Nationwide, that drop was 10.3 percent., the Air Transport Association reported.

Other Americans are defiant, refusing to cower to terrorists.

Immediately after the attacks, tourists started flocking to the building tours offered by the Chicago Architecture Foundation.

"It was kind of surprising, but people weren't afraid about being in tall buildings, and Chicago is skyscraper city," said Anne Brooks Ranallo of the foundation.

Soon after Sept. 11, New York City artist David Greg Harth started stamping dollar bills with the words, "I AM NOT TERRORIZED" and "I AM NOT AFRAID."

Harth, whose studio is a few blocks from the World Trade Center, said he never considered leaving the city and refused to live in fear.

"I have continued to do what I have always done, go to restaurants, go to work, create art," he said.

"The terrorists struck lower Manhattan, the financial capital of the world. I chose money as my medium to attack back."

He said there are more than 150,000 stamped bills in circulation, from New York to Florida to California.

Fort Myers resident Doris Helveston will board a plane from Fort Myers to New York on Sept. 11.

"I'll step onto that plane with my flag and my patriotic shirt," said Helveston, 68.

"I just want to get into an airplane that day to show some American spirit," said Helveston, who has flown a dozen times since the Sept. 11 attacks.

"I want to make a statement: I will not let those terrorists set my schedule."

A defiant attitude about terrorism doesn't guarantee emotional calm, said Anie Kalayjian, a professor of psychology at Fordham University in New York.

Kalayjian asks: "Are Americans as a whole in fear? No."

But the possibility of another incident or fear of the unknown can cause anxiety, she said. Even if it creeps into the back of a person's mind or burrows into their subconscious, it takes a toll.

"It's stressful. Sept. 11 has affected everyone's sense of safety and security," she said, whether they realize it or not.

Van Helden, the Cape fire chief, tells people to have an emergency plan in case of terrorism – supplies, phone numbers, an evacuation plan. He also tells them not to panic.

"We face as great a threat every hurricane season as any attacks with weapons of mass destruction," he tells people.

"I tell them to go about their lives but to have a plan. Just in case."

Copyright 2002, The News-Press.


Back to press
Sunday 09.08.02
Posted by David Harth
 

Switzerland’s dimanche Newspaper

Newspaper Clipping

Switzerland’s dimanche Newspaper
Special Manhattan Resurrection Section: "The Artists Between Documentation And Activism"
September 8, 2002
pgs 12-13
Author: -

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The Artists Between Documentation And Activism

English Translation:

In another register but with the same urgency, David Greg Harth, an artist who lives a few blocks from the towers, has printed phrases as declarations to terrorists such as "i am not terrorized" or "i am not afraid" on one-dollar bills that he has exchanged in the street. To this day, more than 200,000 bills are in circulation. "I wanted to act fast, communicate rapidly, what is more rapid than money, especially since the WTC was financial symbol", explains the 27-year-old artist, who realizes the contradiction of using the symbol of the American power as support.

© Dimanche.ch; 2002-09-08; Seite Z12; Nummer 36


Back to press
Sunday 09.08.02
Posted by David Harth
 

Norway’s Nordlys Newspaper

Printed Edition of Nordlys

Norway's Nordlys Newspaper
September 7, 2002
pgs 1, 16-17
Author: Lasse Jangås

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English Translation of the article is below.

Front page:

Illegal art

"I am not afraid" it says, printed on the banknote. Itπs not fake; itπs art, imported from New York. *Culture pages 16-17.

Main article:

Look out – you might have a work of art in your wallet

Norwegian banknotes marked "I am not terrorized" and "I am not afraid" is now circulating in Troms. They are not fake. Itπs art, imported from New York City.

The American performance artist David Greg Harth has a studio just a couple of blocks away from Ground Zero in New York. 11. September last year he was a witness when the World Trade Center collapsed. In anger and despair he decided he had to do something. Now his art has spread itself to Troms.

Protest

Harth was recently interviewed by the TV-station MTV, where he told that he on 9/11 wandered from hospital to hospital offering to give blood and he also volunteered to the work that had to be done in the city.

- I remember I was walking around on Manhattan and told myself: "I am not afraid" and "I am not terrorized". It didn’t take me long before I realized that the best way I could do something meaningful was through an artistic expression.

Because the terrorist attacks in New York was aimed at the financial centre of the world, the artist chose to strike back by using the American currency to express himself. Today there is more than 200.000 dollar bills with Harth's imprint circulating around USA.

And now you can risk getting Norwegian banknotes with the American artists expression on them - on the street in Troms.

- I met David Greg Harth in New York in May, and I immediately felt interested in the project, "Erik" a Troms-guy says.

He doesn’t want his name or picture on print, both cause he fears reprisals from the police - and because he doesn’t want to take any of the honour away from the American artist.

- This is his project, Iπm just spreading the message, the Troms-guy says.

When he suggested that Harth should spread the message in Europe as well, the artist offered to send printing tools to Troms. About a week ago it arrived in Troms, and these days the Troms-guy is labelling all the banknotes he’s got.

- Compared to all the bills in circulation throughout Troms, these amount to a quite modest lot. But I hope people will think twice about the message, he says.

Simple message

- The terrorist attacks made a big impression on me too, I have family in New York as well, he says.

- Of course you have to take the terrorist attacks seriously ≠ the threat is real, but we can't let it ruin our everyday-life. Then we won't get anywhere.

Nobody makes money on the project. The bills are labelled in New York and Troms - and then released into the market as regular bills.

- I'm going to continue doing this until Harth tells me to send the printing tools back.

Article down left:

But is it art?

- The artist uses a different communication-channel for a clear political message, historically he can be linked to a generation, or a tradition, within American art that has it's origin in the 60's and 70's, says steward Jarle Str¯modden (picture) at Troms Kunstforeing (Art association).

- For example the artist Jenny Holzer wrote a bunch of texts quite early in her career, "Inflammatory Essays", which was attached to walls, light poles, trash cans etc. in public. It was just random who read those texts, just as it's random who gets in possession of these bills, Str¯modden says.

- Is it art?

- That's a question that we could go on and on about. The action is carried out by an artist, and as much of performance and newer theatre, this is an inclusive artistical art form. I think that no matter what you answer, you have to say: Why not?

I don't think everything is art; cause in that case nothing would be art. Let me put it like this - something is beautiful because something else is ugly, he says.

Str¯modden has the following answer on the question whether Harth's expression is good art or not:

- My attitude is that all good art is political, while all political art is bad.

Article down right:

The bills will be destroyed

The high circulation-rate on bills in Norway will make it difficult for "Erik" to spread the message. Every time a bank makes a cash-deposit into Norges Bank (Norwegian National Bank) or gets their night-safe emptied by Norsk Kontantservice AS (Norwegian Cash service AS), all the bills and coins goes through a control.

- A 200 NOK bill goes through Norges Bank about 10 times a year on average. If it has any labels, drawings or graffiti etc. the bill will be destroyed, says assistant director Leif Veggum in Norges Bank.

- I recommend people to be careful with accepting bills with labels/prints on them. It can be difficult to control if they're actually real, says Veggum, but stresses that labels/prints won't make a real bill worthless.

In 2001 Norges Bank produced 70 million new bills. To label bills with "I am not afraid" or "I am not terrorized" won't apply any big costs for Norges Bank. One bill costs below one krone (NOK) on average to produce. If "Erik" could afford it, it could be an idea to mark the 1000 NOK bills. They only get checked twice a year on average. On the contrary the message won't reach out to a lot of people.


back to press
Saturday 09.07.02
Posted by David Harth
 

The Journal News

Newspaper Clipping

The Journal News
"Learning to live with loss"
September 6, 2002
Sec E, Pg 1
Author: Georgette Gouveia

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Learning to live with loss

Loss is a gaping hole, an empty sleeve, the "Vacant Chair" of the Civil War song.

It is the biblical backward glance when you know you must move on. It is moving forward when you know you will never really let go.

Loss begs the question "Why?" - the portal to all other questions. Why them and not us? And more softly, ashamedly even, Why us and not them?

It can be measured in degrees. After terrorists destroyed the World Trade Center on Sept. 11, Mount Vernon painter Michael J. Singletary lost the chance to be an artist in residence there, while Somers management consultant Lorin Woolfe lost his job with the American Management Association in Manhattan, as business travel dwindled. But neither would say his loss was comparable to those who lost their lives or their loved ones.

Loss can be measured in numbers, too, even as it remains incalculable. For what mind can grasp, what heart can hold the some 2,800 who died in the Twin Towers' tidal wave of glass, steel and smoke?

The mind that seeks to understand, the heart that truly loves sees the numbered lost as so many multiples of one.

"I didn't feel it was 343 firefighters (who died at the Twin Towers). I always felt it was 343 times one," says former New York City Fire Commissioner Thomas Von Essen, author of the new "Strong of Heart: Life and Death in the Fire Department of New York" (Regan Books). "It was Bill Feehan, it was Pete Ganci. To me, it was always one, and that was what made it so difficult. One (firefighter's widow) told me her husband was 6-foot-one. All they gave her was an ounce of remains. It's terrible to think of a young woman going through that ä One of the reasons I felt I had to leave the department (at the end of last year) was I said to myself, I can't do the funerals, I can't do it next year."

Loss is as concrete as that fireman's remains and the single tooth that looms so large in "Beyond Ground Zero: The Forensic Science of Disaster Recovery," Richard Press' photography exhibit at the New-York Historical Society in Manhattan. And it's as intangible as the dread that wells up inside you when you wake from a nightmare ã or the dream that was your life.

"Sept. 11 revealed my naivete, a loss of innocence in my assumption of how safe we were and the world was," says North Carolina textile artist Marguerite Gignoux, whose "Uncommon Threads" exhibit, commemorating the first anniversary, is at the Katonah Village Library.

The loss of security and solace ã or rather, the loss of their illusion ã creates fear, the parent of resentment, rage and revenge. In the untitled pair of plaster arms that White Plains artist William Becker has sculpted as a possible Sept. 11 memorial, one is raised in a defiant fist. That anger is something photographer Jeffrey R. Hewitt encountered in the days after Sept. 11. Hewitt ã part of the "Surviving 9/11/01: Three Photographers Remember" exhibit at the Historical Society of Rockland County in New City ã had just moved from Hastings-on-Hudson to the East Village, with the end of his marriage. He was not looking forward to Sept. 11: It would've been his 25th wedding anniversary.

"One loss stirs up past losses," he says. "I saw after Sept. 11 in the East Village both the desire for no more war and retaliation times 10, the Achilles syndrome."

Loss is Achilles dragging around Hector's body to avenge the death of his beloved Patroclus. It's Lear howling in the storm for his irretrievable sense of himself as a wise king and adored father. It's Heathcliff begging the ghost of Cathy to hound him for all eternity. "I cannot live without my life," he says. "I cannot live without my soul."

But he does. And we do. Loss is the negative space that outlines the positive. The measure of its pain is the measure of the possibility of gain.

"If anything, I think I gained more than I lost," says David Greg Harth. "I've gained so much strength, whether it's doing more as an artist or spending more time with my family or appreciating a butterfly."

Harth - who grew up in New City but lives in Manhattan - went to St. Vincent's hospital to volunteer after the Sept. 11 attack. There was already a waiting list ã an indication perhaps that a city so brutally ravaged nonetheless contained everything and everyone it needed to heal itself. Soon Harth ã whose art consists of stamping U.S. paper currency in different denominations with patriotic phrases ã was trading more than 150,000 bills that say "I am not terrorized" and "I am not afraid," via his Web site.

"When I was in Washington Square Park (after Sept. 11), I saw a sign that said, 'Like the apple bitten that has not fallen from the tree,' '' says Harth, who donates blood every 56 days and bolsters his friends. "I'm sticking around, because this is my city."

What is cherished is never lost as long as you hold fast. "Death ends a life," playwright Robert Anderson writes in "I Never Sang For My Father." "But it does not end a relationship, which struggles on in the survivor's mind toward some resolution, which it may never find."

"Each time you tell the story (of loss), you integrate it into the narrative of your memory," says Hewitt, who volunteers at the Bereavement Center of Westchester in Tuckhoe. "In doing that, you move forward."

Loss, then, is about moving forward by looking back and holding on by letting go. The raised hand in Becker's untitled sculpture may be clenched, but the other lies open in acceptance.

"You have to let go at some point and accept," says Gignoux, who grew up in Bedford. In her textile work "Tuesday's Sky," richly patterned stars float on a blue background. They represent the individuals vaporized in the Twin Towers.

"People were snatched out of the air," she says. "I felt I had to help the souls go. You no longer have your body, so how do you cope with that? ä I felt I could somehow show how beautiful they were, the same and yet different, all locked in that world."

Loss is colored by how you lose. The people who died on Sept. 11 were taken by a horrifically willful act of malice in which their countrymen were forced to be either terrified participants or helpless witnesses. That will always haunt.

The places in which that loss occurred ã a quiet Pennsylvania cornfield, a citadel of military power, the towers of global industry ã are forever tethered to tragedy, like Gettysburg, Chernobyl and that grassy knoll in Dallas.

"It's impossible to separate human relationships from the places where they occur," says painter Michelle Mackey.

On Sept. 11, she stood on the roof of her Brooklyn apartment building with 19 other people after the Twin Towers were hit. In her painting "Knowing," on view at Paul Sharpe Contemporary Art in Manhattan as part of "Art: 911," an abstract of the Towers' grille-like skin seems to waft above water.

The Towers.

Amid all the missing posters in Union Square and Grand Central Terminal in Manhattan were those for the "lost Twins." Ultimately, the loss is about the buildings, too, isn't it? It was there that Mackey, as a newly minted New Yorker, went swing dancing at the Windows on the World restaurant. It was there that Michael Singletary would pick up his wife Michelle, also a painter, who worked across the street. And it was in the shadows of the Twin Towers that photographer Camilo Jose Vergara would capture his children playing. You can see those photographs in his book "Twin Towers Remembered" (Princeton Architectural Press) and the accompanying exhibit at the New-York Historical Society.

"There were lots of great things down in that community ã arts, music, people congregating, different types of people," Singletary recalls. "That whole scene is lost."

Loss is what was and what might've been.

"I lost the sense of the infinite future," says Jeri Riggs, a quilter from Dobbs Ferry who's part of the "America From the Heart: Quilters Remember September 11" exhibit at the Hudson River Museum in Yonkers. "Looking at the skyline, I feel very sad. It's a jarring dislocation."

In loss, you lose your moorings. The Twin Towers were like the double mast of a ship-shaped Manhattan, says Camilo Jose Vergara, who came to New York in 1970, when the World Trade Center was still under construction:

"The Towers were full of contradictions. Up close, it was the raw power of how tall they were. On top, everything human looked so small. At a distance, they were evanescent, with this tremendous reflective power ä There was that brutality. We want to awe you. But then, they were so gentle, too."

Loss is what was and what still is, in the mind. In death, the lost beloved is no longer part of the past but of a never-ending present, in which all phases of life are contemporary. Older Elvis coexists with young Elvis. The Jackie of Camelot with Jackie O. In Vergara's exhibit, the Twin Towers rise, fall and rise again.

And yet in their timelessness, the lost are of their time.

"I find I look at movies, and all of a sudden they are historic, periodic, because they have the Twin Towers in them," says architectural historian Barry Lewis.

Similarly, he says, you can never see an image of the Twin Towers now without knowing their end. So you gaze at a Vergara photo of the Towers in sunset, and you shiver in recognition, for it and they have become metaphors for the sunset of an era.

In loss, the lost are transformed, but so are those who've lost. Lewis, a lifelong New Yorker who co-hosts PBS' walking-tours series, never liked the Twin Towers. And yet he remembers coming back from Europe after a six-week trip, spotting them from the plane and knowing he was home.

"The Towers are an emotional symbol," he says, "like certain people in your life: You didn't realize what they meant to you until they were gone, and then you realized you missed them."

In Henry James' novel "The Wings of the Dove" ã the expatriate New Yorker's valentine to the city of his youth ã British journalist Merton Densher romances a dying New York heiress, Milly Theale, solely for her money. She dies leaving him her fortune. But he no longer wants it. All he can think of is her.

The Towers are our Milly. And in their loss, we are likely to remain under the shadow of their wings.

For in truth, we loved them so.

Copyright 2002 The Journal News, a Gannett Co. Inc.


back to press
Friday 09.06.02
Posted by David Harth
 

Las Vegas Weekly

Las Vegas Weekly, September 5-12, 2002, Pg.4, Cover & Clipping

Las Vegas Weekly
Letters: "The fallout from horror"
September 5-12, 2002
Pg 4
Author: -

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The fallout from horror

I am a young artist living and working in New York City and my studio is in lower Manhattan, just a few blocks from the World Trade Center.

Like so many people, I felt so helpless and wanted to do something. Communicating through my art became my way of helping myself and other Americans heal. I created a project where I stamp dollar bills with the phrases, "I am not terrorized" and "I am not afraid." The terrorists struck lower Manhattan, the financial capital of the world. I chose money as my medium to attack back.

I spent the stamped bills and put them in circulation, and I also trade the dollars. There are over 200,000 stamped bills in circulation, including such places as New York, Boston, Los Angeles, Miami, Chicago, Detroit, Denver, Washington D.C., London and Berlin.

-David Greg Harth


back to press
Thursday 09.05.02
Posted by David Harth
 

Time Out New York Magazine

Time Out New York Magazine, September 5-12, 2002; Issue 362, Pg.6, Clipping

Time Out New York Magazine
"What's up with that?"
September 5-12, 2002
Issue 362 Pg 6
Author: -

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What's up with that?

Q:

What's up with those dollar bills stamped with the pronouncements "I am not terrorized" and "I am not afraid"?

A:

Time Out New York Magazine, September 5-12, 2002; Issue 362

David Greg Harth, a 27-year old New York-based artist, began stamping these statements on dollar bills a few days after the September 11 attacks. Harth witnessed the destruction from his Nolita studio that morning, and like so many New Yorkers, he felt a desperate urge to help in some way. After being turned away from overcrowded blood banks and volunteer centers, Harth decided to create a rubber stamp that spelled out his reaction to the situation.

"I was angry that the terrorists targeted New York City - my backyard - and I wanted to encourage people not to be afraid, and not to alter their lives, letting the terrorists win," he explains. To circulate his message, he chose a medium that quickly travels far and wide: cash. "I could tell you, 'Hey, I am not terrorized,' but put it on a dollar bill and hundreds of thousands of people will get that message," he says. In order to get as many bills out there as possible, he sent duplicate stamps to friends in other cities. He estimates that about 200,000 bills are currently in circulation.

This isn't the first time Harth has used money to communicate with the masses. In 1998, he stamped one-dollar bills with the words I AM AMERICA. The year 2000 inspired I AM NOT A DOLLAR, and the following year: "I AM TRUST". People who find the patriotic intention at odds with the defacement of government property need not fear: What's illegal is rendering currency unfit to be reissued. "Obviously, I don't intend to make the bill unusable," Harth says, "The government should be happy that I'm doing this."


back to press
Thursday 09.05.02
Posted by David Harth
 

Senior Citizen Magazine

Senior Citizen Magazine, September 2002, Volume 3, Issue 9

Senior Citizen Magazine
"The New York State of Mind"
September, 2002
Volume 3, Issue 9, pgs 21-22
Author: Maria Esposito

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The New York State of Mind

I am a life-long New Yorker. I am used to seeing my city in the center of the media glare. And if the truth were known, I've actually come to expect the constant scrutiny; it's the price you pay for living in the city that has been called the crossroads of the world.

Lately, however, I've started wishing that all of the media would go away. Since the attacks on September 11th, being in the limelight feels like being watched at a wake. You want to scream and cry over your loss, but you really can't let go while the company is still here.

I thought that perhaps I was the only one who needed to find my own way to release all these pent-up emotions, but after doing some searching, I discovered that I wasn't alone. There are many people involved in finding a personal way of making sense of it all.

Of course, in times like these, artists have always been leaders in finding a form for expression. I discovered one such artist, David Greg Harth; who lives and works in New York City.

As a matter of fact, his studio is located in lower Manhattan, just a few blocks from the World Trade Center.

Like so many people, he felt so helpless after the attacks and he needed to do something. Communicating through his art became a way of healing himself and others. He created a project in which he stamps dollar bills with the phrases "I AM NOT TERRORIZED" and "I AM NOT AFRAID." To him, money represented the ideal medium for his symbolic attack on terrorism because the terrorists struck lower Manhattan, the financial capital of the world.

David started stamping bills right after the September 11th attacks. He spends the stamped bills so that they are circulated. He also trades stamped dollars with people from all across the world who have contacted him through his website. Currently, there are over 150,000 stamped bills in circulation in New York, Boston, Los Angeles, Miami, Chicago, Detroit, Denver, Washington DC, London and Berlin.

Finding comfort in the healing artwork and images that were created by ordinary people right after the tragedy is a special project underway at Stevens Institute of Technology in Hoboken, New Jersey. Cass Bruton-Ward, the Director of University Relations reminded me that Hoboken lost people in the attacks too, which is why this project is so important to them

This art of the common folk was displayed on the streets of the city, yet most people have never seen them. Stevens Institute has documented hundreds of the best and they plan to present them to the public on September 7, 2002 in documentary format with live music and guest voiceovers.

Another documentary in the works is a joint project between the American Psychological Association and Discovery Health. The film, entitled Aftermath: The Road to Resilience, presents profiles in resilience from people of diverse ages in dealing with the events of September 11th as well as other hardships that we all experience.

The individuals profiled in this documentary all live or work within the same block in Brooklyn, just outside of Manhattan. They talk about recovery, healing and moving beyond.

And finally, no observance of the anniversary of this horrible event would be complete without some overt manifestation of our pride in our city and our country. That is why the tradition of flying service flags will be revived.

The service flag tradition began during World War I. As they watched their sons and husbands being sent overseas, women would hand-sew red, white and blue flags to hang in their front window to honor their loved ones. The flags were white with red edging and had blue stars to signify each member of the family serving in the war. When a family member died in battle, a gold star replaced a blue one to honor the solider who was killed. These flags have flown whenever America has been at war, Steve Rupp, a business owner in St. Louis wanted to bring back this tradition and he obtained authorization from the U.S. Department of Defense to do so. In addition to the military service flag, Steve has developed a version to honor firefighters that has a red Maltese shield and one to honor police officers that has a silver badge.

There will be many more outpourings of our collective emotions in this great city. No matter what form they may take, all them will have one thing in common. Each and every one of them will be saying that just like the loved ones whom we honor, we are proud to live in the city that has been called the crossroads of the world.

Copyright 2002, Senior Citizens Magazine.


back to press
Sunday 09.01.02
Posted by David Harth
 

Chicago Tribune

Newspaper Clipping

Chicago Tribune
"Art: Signs of struggle and understanding"
August 25, 2002
Section - Pg -
Author: Alan G Artner

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Art: Signs of struggle and understanding

SEPTEMBER 11, 2001/2002.

At 8:45 p.m. on a Friday in July, spotlights for a film being shot in front of the Metropolitan Museum of Art illuminated a scene that proved deceptively gratifying. At first notice that the museum soon would close, visitors began exiting in a stream that did not significantly abate until well after the hour.

All those people in a museum at the start of a weekend in the middle of summer! At the Centre Georges Pompidou in Paris that would be a matter of course. But such reaffirmation of the drawing power of art in Manhattan, 10 months after the terrorist attacks? Surely everything was back to normal.

Well, no, it isn't. Since Sept. 11, attendance has been down at the Met by 1 million visitors, and only by cost-cutting in every department has a projected $20 million deficit been reduced to $7.5 million. This has been quite a change at America's largest art museum.

Outside New York, results varied. The Art Institute of Chicago's "Van Gogh and Gauguin: The Studio of the South," the blockbuster exhibition that opened less than a fortnight after the attacks, attracted just under 700,000 visitors, 100,000 fewer than projections. But annual attendance at the Museum of Contemporary Art was up by 12,000, and May saw the highest number of visitors since the building opened.

Tourism has, of course, been down, but it has proved impossible to separate the impact of 9/11 from the general state of the economy. Representatives of the Travel Industry Association of America say no one knows when foreign tourists are coming back to the United States. TV host Otto Deppe -- known as the Walter Cronkite of Germany -- told a staff member at the Institute that, despite terrorists, everybody would be back as soon as the Euro tops the dollar.

For the first three months after the attacks, transporting art from museum to museum became more difficult because of changed airline schedules, but travel is again easier. On the other hand, borrowing works of art for public exhibitions is expected to become more difficult. And even if no one wants to predict the increased risks of art traveling, insurance rates certainly will be higher.

The nature of art museums has not, however, changed.

"A museum is a stabilizing institution in a community because of what it does," says Institute Director James Wood. "A great and broad art museum fosters interest in and toleration of other cultures; it can transcend the immediate political reasons for learning about those cultures and, in fact, help us understand their complexity."

But what of other institutions?

Early this year the Illinois Arts Alliance asked state arts organizations to report their fiscal health and outlook after Sept. 11. Forty percent said foundation and corporate giving was down from last year while at the same time constituents were asking for an increase in programs.

"Our research tells us that since Sept. 11, people have been drawn to the arts in greater numbers," says Alliance director Alene Valkanas. "Corporate and foundation giving may be down due to declining assets, but arts organizations are reaching out through special appeals to individuals who value what they offer. And they are optimistic they'll be successful, more so than other non-profit organizations polled in a similar survey."

Such institutions, large and small, already have shown art shaped by 9/11. The best of it, such as "Time Left," a video installation by Michal Rovner at the Whitney Museum of American Art, is not "about" the attacks yet indicates a changed awareness. "Everything around us affects us," says Rovner. In her case, the degree of suffering she saw from her home near Houston Street was abstracted and transmuted into a piece of universal import.

"I have not observed a notable shift in artists' practices in response to this event," says Elizabeth Smith, chief curator of the Museum of Contemporary Art. "But a couple of works stand out to me that manifest effective and appropriate responses. One is a print by Tony Fitzpatrick [commissioned by the MCA and sold in its store]; the other is the drawing installation by Raymond Pettibon at this year's Documenta [in Germany] that mirrors the inchoate frustration and anxiety so many of us have felt."

To combat that anxiety, New York artist David Greg Harth has stamped dollar bills with the phrases "I am not terrorized" and "I am not afraid" before putting them back in circulation. He has written, "The terrorists struck lower Manhattan, the financial capital of the world. I choose money as my medium to attack back."

For many artists, though, there has been another, less noticed response.

"Joel Meyerowitz is a friend," says Wood. "As a photographer and a New Yorker, he immediately felt he had to exercise his craft. So he used his art to record the events of last September but did not use those events to make art. That, I think, happened a lot. It is still a period where you have to digest."

Copyright 2002 Chicago Tribune


back to press
Sunday 08.25.02
Posted by David Harth
 

RubberStampMadness Magazine

Cover of RuberStampMadness Magazine, July/August 2002, Issue 124

RubberStampMadness Magazine
"Have no fear..."
July/August 2002
Issue 124, Pgs 120-121
Author: -

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Have no fear…

In New York City, folks are still dealing with the aftermath of September 11. Susan Smpadian returned to rubber stamping after a long hiatus. She says stamping helped take her mind off the tragedy.

New York artist/stamper David Greg Harth says he won’t be terrorized anymore. And he means it, putting his money where his mouth is by stamping U.S. currency with appropriate slogans.

Harth has been stamping on currency since 1998, but the terrorist attacks gave new urgency to his art-making.

"I have an ongoing art project in which I stamp U.S. currency with various phrases," he says. "The first one I did was 'I AM AMERICA.' I started that in July of 1998 and stamped over 100,000 bills and put them in circulation. Then I released 'I AM NOT A DOLLAR' in July 2000 and 'I AM TRUST' in July 2001.

With the attacks on the World Trade Center, I have released two new phrases and four new stamps [in varying formats], 'I AM NOT AFRAID' and 'I AM NOT TERRORIZED.' I stamp anywhere on the bill, in red or black ink—on the front, back, upside down, or right-side up."

This artist has been profiled in The New York Times and featured on CNN, among other media outlets.

Visit him on the Internet at www.davidgregharth.com.


back to press
Thursday 07.25.02
Posted by David Harth
 

The New York Sun

The New York Sun, June 6, 2002, Style Section, Pg.12

The New York Sun
"Who Needs the Bryant Park Tents?"
June 06, 2002
Style Section p.12
Author: Nicole Graev

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Full transcription coming soon.

“...In the fine art category, David Greg Harth's multi-media tableaux feature below-the-belt iconography that's not exactly suitable to describe in a family newspaper ($160-$6,000).”


back to press
Thursday 06.06.02
Posted by David Harth
 
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