nov 29

November 29, 2007 commencing 5:44:41am (rush hour”):How do you do Cockle-doodle-do? Sept 2007 - March 2008

Hand painted on a discarded stockade styled fence panel referencing Colonialists practice of claiming land from Native Americans by fencing “in” domestic farm animals such as the chicken (reference “Creatures of Empire How Domestic Animals Transformed Early America by Virginia DeJohn Anderson”). On lands once roamed freely by Native Americans alongside bear, fox, deer and chickens as far back as 14,000 years.

inspired by the spontaneous cock-a-doodling-do’s of passerby's in response to the calls of Rooster Shinnecock and first born sons. Sandrow placed the artwork, where she’d followed him across to Gissa Bu (2006), to “exhibit the relationship of daily life to art for those passing by.

“Tolls”, “green house gases” and “commuting” vastly different contexts than the words "freedom, "romantic" and "adventurous" describing the landscape Kerouac's hero yearned to explore in the book of the same title.” ON THE ROAD at this time: traffic jams, fender-benders to multi-vehicle accidents at this intersection tested commuters patience during years of the Bush Administration (2001 - 2009 included contested elections, 911, war with Iraq and Afghanistan, gasoline shortages, Katrina).

“We all know things are bad -- worse than bad -- they're crazy. It’s like everything everywhere is going crazy, Well, I'm not going to leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot. I don't want you to write to your Congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street.All I know is that first, you've got to get mad.You've gotta say, "I'm a human being, goddammit! My life has value!"So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out and yell,"I'm as mad as hell, and I'm not going to take this anymore!!"

Neighboring property owner Fran Panesci complaint - of the artwork, the hand painted stockade panel along the road as pictured - to code enforcement resulted in a summons to remove the art work, concluding the project.

Update: Panesci accepted a sign made by the artist collective Auto Body installed (2017 ongoing) on her front lawn as part of Parrish Art Museum Roadshow.

This performative work aimed to engage “everyman/woman”. Including “the silent majority “ amongst drivers and passengers hidden behind windows they might roll down, and call out as Howard Beale, in the film Network (1976) encouraged: