ARTLURKER

A Miami based contemporary art newsletter / blog

Evo Love Vs David Rohn

Left: Evo Love as Lil Miss Fortune. Right: David Rohn as The Amazing Ultran.

In the immediate aftermath of this year’s Art Basel Miami Beach, which for those who participated would ideally have been the time to relax and self congratulate, an ominous stirring began on the Facebook page of one Evo Love. The subject was plagiarism, the accused, Miami artist and Artlurker contributor David Rohn. Initially dismissed by staff here, the libelous accusations by Love, at first limited to comments [on Facebook] like “He’s a thief”, “He’s a sham”, and “I am in the process of exposing this fool” were elevated yesterday when the issue was mentioned in an article on artnet.com

The issue raised by Love, who like Rohn is an artist based in Miami, is that Rohn copied her idea of presenting a fortuneteller. On two occasions in 2010, Love had presented her Lil Miss Fortune act – at Stash Gallery, Miami and during the Fountain Art fair in Miami. Rohn presented his version of a fortuneteller, The Amazing Ultran, at SCOPE MIAMI 2011, one year on.

In an email entitled ‘Your Artist David Rohn is a Copy Cat’, the first of four emails sent to Miami gallerist Carol Jazzar on December 8th, Love stated “I know David Rohn […] He was inspired by me… period. He stole it… And it seems kind of odd to me that in his whole career as a performance artist – he decides to do it after he sees me do it… It’s BS. He copied everything down to my booth, the way I performed, costume & make-up, how much I charged, how I wrote the fortunes down…

In a subsequent email she claimed “Last year David passed by Fountain Art Fair 2010 and watched me perform this piece Lil Miss Fortune on the sidelines. […] I actually saw David watching me. Those who know David, know he stands out… He’s quite the Dresser. So I recognized him immediately.

Love says she knows Rohn, Rohn claims not. Love claims that he watched her performing Lil Miss Fortune, Rohn claims not. While there is no tangible proof to substantiate either party’s claims I have to credit the plausibility of Rohn’s denials as I too was previously unaware of Evo Love, her work and/or Stash Gallery (as too was anyone I have bored with this issue). In addition I happened to be present on every day of the Fountain Fair last year documenting WetHeat’s Hot Bed project and while I did see a fortune telling booth (actually outside the fair), not once did I see anyone manning it. So absent in fact was any sense that this was an active fortunetelling event that I was wholly convinced its inertness was an intentional comment or frustrating exercise in absenteeism, a notion reinforced by the presence of an accompanying sign that read “Closed Shit Out Of Luck”. Further more, and this seems to be important considering the accusations at hand, to the best of my knowledge Rohn had not considered developing the character of a fortuneteller until my wife and I asked him to perform as one for the Transit Antenna fundraiser held in Miami’s Design District in April this year. Leading up to the event I worked closely with David to develop his character – Madame Plotsky, a female clairvoyant based on London Esotericist Madame Blavatsky – right down to how he would solicit clients, how much he would charge, and what he would wear. We even loaned him tarot cards and helped him set up his booth.

I obviously know David and am therefore biased and I certainly do not seek to use this website to further my own or anyone’s agendas so there seems little point me defending him as a character witness, however, I do feel justified in stating that that Rohn has consistently, over the course of many years, created archetypes through the medium of performance that actively engage his audiences. Had I not helped him to develop this one, I would say that it was an inevitable progression of a substantial oeuvre.

So what is there left to discuss? Originality in art? Something so fundamentally moot is hardly worth addressing, is it? What seems more pertinent a subject is not that one should or should not feel that they have been ripped off, but how one deals with that feeling. There seems to be no system in place to accurately discern innocence or guilt in such cases and as a result, those who feel wronged often seek the validation of popular opinion, and a media war ensues. And that seems to be what is happening here. Love has clearly chosen to attack Rohn; emailing his associates, rallying support on social networking websites and even possibly soliciting coverage of the dispute. But ultimately, you have to ask yourself “Why?” In this case it seems that neither artist particularly stands to benefit from having the monopoly on fortunetelling in Miami, and I can’t believe that other people subsequently performing as fortunetellers could do much damage to Love’s career in anyway. Nor do I credit the notion that Rohn’s career would stand to benefit inequitably from copying Love. The catalyst for this present, unfortunate circumstance then seems to be hurt pride on Love’s part, and maybe a little hunger for recognition disguised somewhat vainly as a righteous exercise in artistic justice. It must sting to see someone doing your thing a year later, but can the assumption that you have been plagiarized be justified and either way is it good form to shout thief so vehemently? Sure there are obvious, unavoidable parallels between the two ‘works’ but we are not really talking about the works are we? We’re talking about the event, the idea. And despite actually being able to own the rights to an idea, no one can really own an idea, can they? Especially something as culturally rooted and frankly played out as a fortuneteller. I mean you don’t see McDonalds bashing Burger King. But a recipe – ingredients and the way something is prepared – is something different all together, that said, although I saw neither performance, I am sure they each had a unique, if not ‘acquired’ taste[.]

This post was contributed by Thomas Hollingworth.

29 Comments

  • KEVIN ARROW

    I saw Mr. Rohn’s performance, (in fact I went to scope just to see him.) I found it to be an excellent David Rohn work, involving concentration, focus and endurance. I have been a fan and have been following his performance based activities for over a decade. Sadly, I have never heard of Ms. Love or her work until she launched her Wounded Artist campaign of “setting the record straight”. My one question for Ms. Love would be, “Do you feel like YOU are the first person to impersonate a fortune teller in a performance art context?” Because you are not the first, nor the last, nor the best. So give up your wounded campaign of jealousy, channel your energy back into your work, and understand that Imitation is the sincerest form of flattery. Hurry up, because life is short and you are wasting your precious time.

  • Damian Rojo

    …. “He copied everything down to my booth, the way I performed, costume & make-up, how much I charged, how I wrote the fortunes down…”
    Yes, the resemblance is uncanny, why I can barely tell who’s who from the photo– that scoundrel. BTW, I invented Stripes® and now I am seeing Stripes® everywhere. Please stop using Stripes® or I will expose you. Be warned.

  • Skip Van Cel

    If “evo love” truly believes 2 people can not create similar concepts, she needs to Google “evo love”.

  • artguy@gmail.com

    formatting » Resume Editing

    number 10. B. Baxter would rather do a show at a gallery called diet

    number 9 . Bonnie clearwater stopped taking credit for Fred’s artists

    number 8. Showed giant black and white photos of exposed man tits and no one noticed

    number 7. Fred’s idea of a mid career artist is Alice Aycock

    number 6. Bert Rodriguez is moving to Los Angeles

    number 5. Wynwood Food trucks are making more money than Fred

    number 4. Naomi fisher breaks her old record for consecutive days without a shower.

    number 3. Zionist bankers stopped buying art

    number 2. New world talent isn’t what it used to be

    number 1. people keep asking if Fred spitzer is closing

  • artguy@gmail.com

    formatting » Resume Editing
    Top 10 Signs That Fred Snitzer is over

    number 10. B. Baxter would rather do a show at a gallery called diet

    number 9 . Bonnie clearwater stopped taking credit for Fred’s artists

    number 8. Showed giant black and white photos of exposed man tits and no one noticed

    number 7. Fred’s idea of a mid career artist is Alice Aycock

    number 6. Bert Rodriguez is moving to Los Angeles

    number 5. Wynwood Food trucks are making more money than Fred

    number 4. Naomi fisher breaks her old record for consecutive days without a shower.

    number 3. Zionist bankers stopped buying art

    number 2. New world talent isn’t what it used to be

    number 1. people keep asking if Fred spitzer is closing

  • ROMAIN GATEAU

    WOW. WHERE TO START? PERHAPS WITH THOMAS HOLLINGWORTH. DAVID ROHN’S GOOD FRIEND AND FELLOW “CONTRIBUTER” TO THIS FINE INTERNET PUBLICATION. YOU SPENT THREE DAYS AT FOUNTAIN LAST YEAR AND MISSED THE POSTER AND ARTIST STATEMENT FOR THE LIL MISS FORTUNE BOOTH? PERHAPS YOU WERE TOO SELF CONSUMED TO CLEARLY SEE WHAT WAS GOING ON BEFORE YOU. FOUNTAIN ART FAIR HAS MANY PERFORMING ARTISTS, AND THEY ACTUALLY PAY ATTENTION TO SCHEDULING. EVO LOVE PERFORMED LIL MISS FORTUNE FROM 7-8, AND 9-10PM FRIDAY NIGHT. AND THOMAS, YOU ARE THE SAME PERSON WHO, AFTER SEEING THE FORTUNE TELLER BOOTH, ASK DAVID TO PERFORM AS A FORTUNE TELLER IN A BOOTH? HHHMMMM. WAS THE BOOTH REALLY OUTSIDE THE FAIR? OR WAS IT IN THE EXTERIOR COURTYARD SURROUNDED BY THE STREET ARTIST INSTALLATIONS? AND I CAN’T FORGET THE ALL KNOWING KEVIN ARROW. WHERE TO BEGIN??? “Sadly, I have never heard of Ms. Love or her work”… DOES THAT MEAN SHE DIDN’T EXECUTE THIS CONCEPT A YEAR AND A HALF EARLIER, OR THAT HER WORK FOR THE PAST 21 YEARS ARE INVALID? ALL BECAUSE KEVIN ARROW NEVER HEARD OF EVO LOVE? EVO LOVE WORKED ON LIL MISS FORTUNE FOR OVER A YEAR RESEARCHING AND MAKING SURE NO ONE FABRICATED A FORTUNE TELLER BOOTH WITH A 60 SECOND VOICEOVER, DIMMABLE LIGHTING AND CUSTOM HANDWRITTEN FORTUNES ALL FOR A DOLLAR. PERHAPS DAVID SHOULD HAVE DONE THE SAME RESEARCH. I FEEL IT IS WEAK AND IN POOR TASTE TO TRY TO EXECUTE SOMETHING THAT HAS ALREADY BEEN DONE A YEAR AGO. THE WHOLE CONCEPT WITH BASEL IS COMING TO THE TABLE WITH SOMETHING NEW AND FRESH. NOW LETS GET TO DAVID ROHN. I HAD A CONVERSATION WITH HIM YESTERDAY NIGHT. I TRIED TO ASK HIM WHEN HIS BOOTH WAS CONSTRUCTED AND HE KEPT RUNNING AROUND THE QUESTION. EVO LOVE IS NOT CLAIMING TO BE THE FIRST OR ONLY FORTUNE TELLER PERFORMANCE ARTIST. SHE WAS MERELY THE FIRST IN MIAMI TO CONSTRUCT A BOOTH THAT HAD AUDIO, LIGHTS AND A LIVE FORTUNE TELLER, GIVING HAND WRITTEN FORTUNES FOR THE TUNE OF A DOLLAR. WHETHER THOMAS AND DAVID “WERE INSPIRED” OR STRAIGHT UP “BIT” THE IDEA IS UP IN THE AIR. I GUESS IT’S ALL A MATTER OF WHAT CIRCLES YOUR IN; IF YOU ROLL WITH THE ELITIST, ASS KISSING CROWD WHO BOWS DOWN TO MUSEUM NOBILITY, OR IF YOU ROLL WITH WORKING ARTISTS, WHO WORK CONSTANTLY NO MATTER WHO KNOWS YOUR NAME. EVERYONE IS ENTITLED TO THEIR OPINION. ALL I KNOW IS THAT EVO LOVE PERFORMED A CONCEPT THAT IS NEAR IDENTICAL TO DAVID’S ONE YEAR AGO AND IT SHOWS ME THAT YOUR BOY, DAVID, LACKS ORIGINALITY. WHETHER ANY OF YOU ELITIST TYPES HAVE HEARD OF HER OR NOT.
    AND IT SEEMS TO ME THAT IF SOMEONE CONFRONTED ME ABOUT STEALING AN IDEA THEY HAD, I WOULDN’T WAIT FOR AN ARTICLE TO APPEAR ON ARTNET BEFORE I CONTACTED THEM OR RESPONDED TO THE ALLEGATIONS. ALL SEEMS A LITTLE SUSPICIOUS TO ME.
    TWO MORE THINGS…
    1).I JUST HAVE TO STATE THAT BEFORE THIS ORDEAL, I HAVE NEVER HEARD OF DAVID ROHN, THOMAS HOLLINWORTH, KEVIN ARROW OR THIS DELIGHTFUL PUBLICATION CALLED ARTLURKER. I FEEL SO PRIVILEGED GETTING TO KNOW ALL YOU ELITEST, ART KNOWING DEMI GODS FROM THIS SMALL POND WE CALL MIAMI.
    2). NO ONE TOLD ME FRED SNITZER’S GALLERY IS CLOSING. BOO-HOO…
    SEE YOU IN THE STREETS.

  • Kevin Arrow

    1. Romain Gateau Please stop shouting. The Your CAP LOCK key is on.

    2. I am not an omniscient being, although I am an ARTIST and arts professional with a good and enthusiastic knowledge of our local art community.

    3. My salient point is that Evo Love, Tom Hollingworth and David Rohn are not the First, Last, Best or Worst people to have created or initiated Fortune Teller performances. Timing is not the issue. Just because “EVO LOVE WORKED ON LIL MISS FORTUNE FOR OVER A YEAR RESEARCHING AND MAKING SURE NO ONE FABRICATED A FORTUNE TELLER BOOTH WITH A 60 SECOND VOICEOVER, DIMMABLE LIGHTING AND CUSTOM HANDWRITTEN FORTUNES ALL FOR A DOLLAR” Does not make her project more or less valid. She just sounds bitter and angry.

    4. Artguy, where to begin? You’re not funny. You actually sound bitter, which is totally cool, but perhaps you should lay off the directly offensive material, Unless you are trying to be offensive, If so, try using your real name, that would be truly ballsy. The fake name only proves that you’re a pussy.

    5. I just realized I’ve wasted too much time on this ridiculous post

    Thanks Miami Stay Classy!

  • ROMAIN GATEAU

    GOOD MORNING ARTLURKER ENTHUSIASTS, AKA DAVID ROHN’S FAN CLUB!!!
    -KEVIN ARROW; THANK YOU FOR ALL THE GREAT MATERIAL. I CHOSE TO KEEP THE CAPS ON TO MAKE SURE ALL YOU ELITIST HEAR ME. I NEVER KNEW ALL CAPS MEANT YOU WERE SHOUTING ?!? (MY SHIFT KEYS ARE BROKEN, SO I CHOSE CAPS IN STEAD OF LOWER CASE). FOR THE RECORD; EVO IS ANGRY WITH EVERY RIGHT. THE BOTTOM LINE IS THAT DAVID ROHN BIT THE IDEA OF EVO LOVE’S LIL’ MISS FORTUNE. EVO NEVER ONCE SAID THAT DAVID WAS TALENTLESS OR THAT HE WAS NOT AN ACCOMPLISHED ARTIST. SHE MERELY CALLED HIM OUT WHEN HE PERFORMED THE AMAZING ULTRAN, A PERFORMANCE THAT CLOSELY RESEMBLES LIL’ MISS FORTUNE. THAT’S IT. SHE NEVER FOR A SECOND DISCREDITED HIS CAREER. JUST HIS MOST RECENT PERFORMANCE AS THE AMAZING ULTRAN. AND IT WASN’T UNTIL FRIENDS WHO ATTENDED SCOPE CAME UP TO US SAYING, “SOMEONE AT SCOPE IS BITTING YOUR LIL’ MISS FORTUNE IDEA”, THAT WE LOOKED INTO IT. AGAIN, DAVID NEVER RESPONDED TO THE ALLEGATIONS WHEN THEY ARISED AFTER BASEL. IT TOOK AN ARTICLE ON ARTNET. PERHAPS I SHOULD STARTING IMITATING YOUR WORK, KEVIN ARROW, AND SEE HOW FLATTERED YOU MIGHT BE. THIS WHOLE ORDEAL HAS AFFECTED EVO GREATLY, BUT SHE IS NOT TAKING THIS LYING DOWN. THE MOCA MAFIA MIGHT SEE HER ACTIONS AS BITTER AND ANGRY, BUT THE REST OF WORKING ARTIST OUT THERE SEE THIS AS STANDING UP FOR YOURSELF. DAVID MESSED WITH AN UNDERDOG WHOSE BITE IS AS BIG AS HER BARK.

  • StopMiamiDanny

    Romain-You are not doing Evo any good. As I told her, and you, whether or not Rohn or anyone else was influenced by her work, is a moot point. She says yes, he says no. Perhaps she could have pointed out the similarities in their work, and then let the public make their own decisions. Instead we get hysterical rants and personal attacks that do not prove anything either way. Perhaps she could have made the case that her work had permeated the Miami art scene, and that Rohn was drawing on influences that might have been subconscious. Perhaps she could have viewed David’s work as an homage. In short, she, and you, could have taken the high road. If she had, I believe the reaction in Miami might have been a lot different, perhaps even supportive. The Miami working artist scene is very inclusive, and everyone who deserves a shot seems to get at least one. Maybe it’s time to aim high-hopefully the passion Evo has for her work will translate into great work in the future.

  • lechuga

    had to repost under another name because someone has booted me from commenting.

    hello danny brody,
    good to hear from you again. i am using all lowercase this time to spice things up.
    here are the similarities of the two works in question:
    -fortune teller booth accompanied with live performance inside.
    -one dollar gets you a hand written fortune.
    -inspired from automated fortune tellers.
    i find it interesting how thomas hollingworth spent three days at fountain art fair 2010 in front of the lil miss fortune booth and then asked david to perform a fortune teller four months later.
    we have asked for examples of performance artists that are doing this type of work. we have received none.
    the miami working artists scene is segregated. everyone who is a product of some art school, or schmoozes in the right circles get their shot. plenty of working miami artists do not get the credit they deserve and are forced to make things happen for themselves…i.e. addonis parker, bayunga kialeuka, heleine weiss, joe strasser, juan quevez herreda, george gwiz viera, the list goes on. david rohn answered the so called hysterical rants and personal accusations with more hysterical rants and personal accusations.along with his friends kevin arrow and thomas hollingworth. glad to see they has no problem “stooping down to our level”. we have always been outsider artists in miami and therefore could care less about the moca mafia’s opinion. you think we enjoy all this back and forth? we are at our wits end we try to contact david immediately after the scope event and received no reply.
    evo’s success as an internationally collected artist can be attributed to her hard work. there has been no leg up from any body in this miami art scene.
    thanks richard haden for the single pic of a modular fortune teller that gives no hand written fortune for a dollar. had she been in a stand alone booth giving hand written fortunes for a dollar in miami, you might have something. keep hunting.
    thanks miami, stay shady!

  • David Kesting

    So Tom, you were 1. at our Fountain show all last year, 2. didnt see the lil’miss forture teller booth that performed nightly and then 3. came up with the idea of a fortune teller which you then gave to your friend Mr Rohn.

    Look the fact that one artist takes from another isnt a big deal, its the doing it badly and then denying all of it later thats a sham.

    “bad artists copy, good artist steal outright” – Pablo Picasso

    Get over it, Evo did a great job with her performance, its inspiring to see great art and when you lift work from other people give credit.

  • Kevin Arrow

    I really have no opinion about this entire situation, I shouldn’t have gotten involved and I apologize for commenting. It seemed like comedy to me at the moment I wrote, but it appears that this is a VERY sore topic for those involved.
    Evo Love, David Rohn, Roman Gateau, Tom, and the Art Guy, I hope you can find a way to continue working and not suffer as a result of this situation. Good Luck and Happy Holidays. Stay Classy Miami!

  • david Rohn

    About Artnet: I m told they ve posted unfounded derogatory things about at least 1 other artist I know, perhaps unintentionally, or just sloppily.
    Of course we re going to have art world gossip and some of it s going to be negative and destructive .
    I don t give much credence to people who traffic in it and I didn t intend to respond to the people attacking me until Artnet decided to post their accusations; at which point I felt I should defend myself against the prospect of people who don t know me or my work, reading negative and untrue things about me.
    In an earlier post on Artnet a writer made fun of my Piece at Scope saying that charging a dollar for a fortune was a poor business model.
    Fair enough.
    I did slightly under 500 people’s fortunes over the six 8-hour days I performed, but never expected the stream of $1 bills to even pay for the materials and costume expenses. I charged a dollar because it was important for the piece: to be a fortune vending machine occupied by an automaton and to validate the page I wrote on each participant, without making it into something people might hesitate to participate in because of the cost.
    The fairs are fundamentally commercial, not cultural events and for me the fortune vending machine was an attempt to respond to that; and to participate in a way that responded to art fairs as ‘fairs’ replete with spectacles, attractions, and hokum. I didn t want to criticize the fairs but to have fun with it all in a way that would be parallel to what it fundamentally is: a fair.
    And the interactions were very stimulating, revealing and fun for me; everyone else will have t draw their own conclusions.
    Maybe the problem here has to do with examining art in the context of money first: it s a hideously narrow way to consider art and in most cases has little to do with art’s purpose or the intentions of the people making it.
    but I suppose it s the raison d’etre of Artnet and I guess that s why I never went there before and probably never will again: or at least not with any expectations of reading something about art or it’s more fundamental significance.

  • sergio coyote

    heres what i cant figure out. if the great ultran’s psychic abilities are so well honed that he can copy every thing about evo’s performance(1 year later and 2 blocks away) without ever having seen or herd about it. how then could he not forsee getting caught? and exposed before GOD and everyone as one of the most vile theives in human history. (more or less)

  • Richard Haden

    it’s amazing to me that anyone would claim to own the creative rights to anything resembling a fortune teller booth (either live or resembling an automated coin operated machine). I can remember many movies where a mechanical fortune teller booth is part of the narrative… I can also remember going, years ago, to such places like Coney Island, state fairs, etc where there were both live or mechanical fortune teller booths. Years ago the only way to pay an automated booth was with coins and 1 dollar was not an unusual amount to be rolled into the coin slot for a fortune. Today you can still find these booths in carnival sideshows or where ever. For Evo Love to claim any kind of authentic rights belonging to her regarding the reuse of an old school performance is absurd and shows the lack of debt owed to cultural history.

    Where did this cultural display begin? Probably in the Roma cultural history, hundreds of years ago. Evo Love has obviously become Evo Hate. Get over it …as well, the boyfriend who defends her here should learn to not read like a pathetic Tea Party complainer, by over using the anachronistic term, “Elitist”…what is with people who alienate themselves by using abstract terms like elite. Leave it alone or stay outside the booth of intelligence?

    In conclusion: there is no comparison between either Rohn’s booth performance and Evo Loves. Rohn’s performance is well within his usual uncanny scary character or in this case a character study of a mechanical archetype… Love’s is what… a pretty face behind glass with a booth decorated with gimcracks from the dollar store.

  • Romain gateau

    This probably won’t work because I have been banned from this forum. If you all were not elitist, you would not be blocking someone from posting. I use that term because you all think that you’re shut does not stink. When someone says,”well who is Evo Love and Stash Gallery, I never heard of them’” that is an elitist. When Someone thinks that they are not valid or Important simply because that person has not “heard” of them. What part of the following do you not understand Richard:
    -Evo never once declared to be the only fortune teller out there. The portrails of fortune teller machines like in the film Big is just that, a machine. Same with the machines that are at coney island or any boardwalks. Those are machines. Fortune tellers that you might see at an event or birthday party are people who dress up, usually use a table, a crystal ball and TELL your fortune.
    Through her research, Evo was the first in Miami to produce a fortune teller booth that had VoiceOver, dimmable lighting and a customized hand written fortune. Thomas hollingworth spent three days at the fountain art fair staring at this booth and asked David to perform a fortune teller four months later for a benefit. How is that not ripping off an idea???
    David’s rebuttal is a joke. He did this performance piece at scope to bring more of a true “fair” component? It’s plain and simple: David Rohn performed an almost identical piece to evo’s Lil’Miss Fortune on the suggestion of Thomas hollingworth who was at fountain art fair 2010. It’s that simple.

  • Richard Haden

    No Romain you are not banned from artlurker… you just ban yourself from engaging in relevant discourse by making absurd statements…. If you are too stupid to comprehend the difference between Rohn’s camp performance and Evo’s typical Miami Kitch then you are forever lost and destined to call everyone elitist who speak over your ignorance.

  • Romain gateau

    Richard,
    You have enlightened me so much. Thank you for showing me the way. My ignorance couldn’t let me see the deep complexity of david’s performance. And I am so happy you were able to see evo’s lil’ miss fortune to comment on it. Thank the lord for people like Richard Haden. Truly a visionary. A saint leading all the lost toward the light. It’s people like you that make Miami what it is today. Bravo.

  • Richard Haden

    I saw Evo kitch fortune stand at the Fountain art fair. It wasn’t interesting like the rest of her work.

  • Thomas Hollingworth

    Sorry everyone, I just got around to reading all these comments… just wanted to make it clear that I asked David to perform as a fortuneteller for a CARNIVAL THEMED fundraiser. For the event we finally had siamese twins, a strong man, a bearded lady, a tattooed man, a fortuneteller etc etc. My wife and I met with artists prior to the event and we worked with them to choose roles they would enjoy. We had artists in mind for certain roles, the role we had in mind for David was that of a fortuneteller. We were happy he was into it. Finally in response to a few of Romain Gataeau’s points: I did not note any scheduling for Lil Miss Fortune at Fountain. Yes the booth was outside the building, but within the fair and if you have had difficulty posting comments to this post it was not because you were inadvertently or deliberately barred from doing so, however, in emptying my spam filter just now, I did find two identical comments from ‘lechuga’, one of which I have now approved. Thanks to everyone for reading and posting.

  • Greg Haberny

    I have one solution……Little Miss Fortune VS The Amazing Voltran……Celebrity steel cage death match…. Art Basel 2012(main Fair) One dollar a head (all proceeds go to charity… Of course!!!!)For three days Evo and David
    are locked into a steel cage with quaaludes, water, and a bucket of chicken. Over that three day period they fight to the death in a bare knuckle throw down to absolute destruction. Then and only then will the real “OG” Fortune teller exist in Miami.
    Both must be in costume and each has to use the others fortune booth as their toilet……NOBODY GETS OUT ALIVE!!!! It would be the best thing I personally EVER saw in Miami……hahaha!!!!!(hehehe)
    Oh…. and all kids under 10…. Get In FREE!!!
    Doesn’t get any better than that…..

  • Anna Ariel

    Good one Greg H. Please note Mr Gateau that Mr Haberny is utilizing humor to make a statement. I can’t tell if he champions one or the other but…debate is the art of persuasion, you are doing Ms Love no favor with your histrionic rants as no one is listening. Speak of her victories, only then will anyone hear.
    Anger distorts our expression, I pray that it’s that anger that makes you and Ms Love’s (very) few supporters sound like insolent miscreants. Behave little man.

  • Onajide Shabaka

    Thomas, thank you for your well articulated article. It’s sad that this is even an issue and reading some of the comments. And name calling us artists elitist is laughable. No, I am laughing. Perhaps the new year will bring us a breath of fresh air as well. :-)

  • Karma Krishna

    @Mr. Kesting. It is natural that you defend a client (Love) who has invested thousands of dollars over the past couple of years in renting exhibition space at your fair. However, I believe that eventually you’ll become unintentionally involved in some ugly controversy designed by Yvonne Grams. Furthermore, I guarantee that eventually you’ll find yourself at the receiving end of her pathetic rants. Something tells me this is not the first time Mrs. Grams (Love) has created such (non)controversy out of her seeming pathological paranoia and extreme sense of low self esteem.

  • Karma Krishna

    @Mr. Gateau. As others have pointed out, you are not doing any favors to Evo Love with the comments you have posted in this forum or in Facebook. Artlurker is a pretty well regarded visual arts publication in Miami. I’m surprised Mrs. Grams has never heard of it, being that she seems to be up in EVERYONE’s business. Regardless, those influential in the art scene down here have heard of this publication, as Artlurker have published interviews with internationally recognized art players. Perhaps the reason you didn’t get a righteous response from David Rohn, Scope and the galleries, is because your rants make you guys sound like a couple of methhead lunatics who are out for a quick pay out or some misguided need for attention. Both of you sound like ignorant, ridiculous, annoying, bullying pathetic losers, and worst of all, the posts you have been writing all around FB and this forum make you seem like envious assholes of epic proportions. All of the previous characteristics are a big turnoff in the overwhelmingly competitive local and international art market. Perhaps you guys don’t take anything stronger than green tea and the unfavorable impression created by your incoherent and difficult to read communications is simply the result of a lack of basic writing skills or a formal education. Not that I’m Hemingway myself, but if you are going to publicly fling accusations such as these towards another equally hard working artist, at least have a more literate acquaintance help you out with the construction of the writings you present to the public. In regards to your accusations of elitism to those who haven’t heard of Evo Love or Stash gallery. Isn’t having the privilege of owning a vanity art gallery in Miami the very epitome of “elitist”? Isn’t presuming that someone stole your idea for a performance when you probably “borrowed” the idea from other artists in the first place the very definition of arrogance? See, Mr. Gateau, you may be able to bully some people into taking your side, but not those who are influential in the art world and neither those who have a more sophisticated sense knowledge of contemporary art nor those who have an ounce of common sense. As for Mr. Rohn, perhaps the reason he has been able to perform at Scope and have the support of the “elite” in this matter is because he happens to be a nice guy. I don’t personally know him, but an artist who has the support of the “Moca Mafia” (are you serious with these moniker?) and the “elites” in Miami usually do so by being cool, nice and courteous, and by making people want to be around them and support their talent. Not by idiotically alienating them as you have effectively done. Stay Klassy Mrs. Grams and Mr. Gateau.

  • Analyst 8

    its a cheezy act this fortune teller thing, not even worth discussing. I thought Evo was interesting until this childish behavior sprang out.

  • Romain gateau

    Dear KARMA KRISHNA,
    Love your work.
    Thank everyone for stooping down to my level. Made things so much easier to
    Understand.
    Glad everyone is using their real names and not hiding behind alias.
    Happy Hanukkah, merry Christmas, joyous Kwanzaa, happy festivus…
    Much love and many blessings,

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Evo Love Vs David Rohn