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Jim Shaw and Michael Krondl

Strange doesn't quite encompass all that is "Jim Shaw: The End is Here." This retrospective spans three floors at the New Museum. I was surprised not only by the amount of work, but also by how much of it was very erotic and religious. The first floor of the show was mainly pieces of Shaw’s “Dream Drawings” and “Dream Objects” series. While I found these interesting, I really enjoyed the newer pieces on the fifth floor. The fifth floor featured “Labyrinth: I Dreamt I was Taller than Jonathan Borofsky (2009),” which was inspired by historical artists and events. I liked how these pieces felt as if they were part of a comic book, or from a movie. I also like the pieces in the stairwell that you would not have seen if you're taking the elevator. However, my favorite work was the video “The Whole: A Study in Oist Integrated Movement.” This video shows women preforming a ritual dance for the religion “Oist” that Shaw created in the 1990s. I actually liked the beginning and the end of the video the best because the film was more abstract. There were highly enlarged and close-up images of the sequins on the members’ costumes twinkling in the light. I found the mixture of fantasy, history, and personal thoughts to be very interesting. I also appreciated the quirky and slightly dark humor throughout Shaw’s artwork.

Michael Krondl is innovative in both culinary and art fields. Krondl is a food writer and has written many books. Originally his culinary career allowed him to afford his art supplies, but he says now his artwork is generating more income. But Krondl says the two do not compete with each other, both careers have been parallel life projects. There is a completely different mindset when approaching culinary writing versus creating his art pieces. For writing, you have to start with an outline and know the expected outcome. Where as for art, most artists start creating first and find the finish piece is a bit of a surprise. Understanding art comes after the process, while understanding baking must comes first. I enjoyed hearing him compare the two, since I went to baking school and can relate. 

I also like learning about how important scale is in his art. Krondl creates many public art installations, such as billboards. He says that his art needs to be large scale to surround the viewer. The installations have to be large enough to block peripheral vision so that the photo engulfs the viewer. Then the brain is almost tricked by the photo into experiencing a physical presence that is not there. A viewer may hear rushing water even though there is none just because of their visual input. I love that Krondl has discovered a way to use photographs to create a bodily experience as well as an emotional one.  

http://www.newmuseum.org/exhibitions/view/jim-shaw-the-end-is-here

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Frank Stella and Marylin Minter

The Whitney Museum is currently exhibition Frank Stella’s retrospective show. It was truly amazing to see how much work the artist has produced over his fifty-seven year career. Frank Stella is particularly interesting since his arts has changed greatly through the years. In the mid 1950s, Stella’s black paintings were symbols of minimalism. From there, his painting became more colorful and optical. In the sixties Stella became an icon for his bright paintings that were made with perfect lines and spirals. Since 1970, Stella has been pushing the boundaries of paintings. He has created paintings that many would describe as more sculptural in nature. I personally prefer these bright, bold 3Dpaintings. My favorite work was one of the 3D paintings that was not as clean as the rest because I liked how the colors blended. Some of the slightly newer pieces felt more spaced age to me, almost like art that belonged in “The Jetsons.” Overall though, I don’t think there was a singular piece I didn’t enjoy. It was very interesting to see how his work has progressed.

After interviewing Betty Tompkins, I was particularly excited to talk to Marilyn Minter. Since both tried making their way as female artist in New York during the sixties, I was curious how similar their experiences would be. Minter said the art world loves “young bad boys and old ladies.” I think this is very true. After hearing about both her and Tompkins trying to make it in New York, it seems that you still have to older if you are a female artist.  Minter described it as the forties being your sweet spot, and your sixties being when you finally get famous. This is probably particularly true if you are working with more controversial subject matter, as these two artists are.

Minter said that she needs to be working with her subjects and can’t be bothered to be worried about what people think. She is interest in the lines, the hairs, the sweat, all the things people like to forget about when they think of women. She says she is selling her truth. I “blur high art and high fashion, photorealism and abstraction.” I think any other subject would not be as striking of effective. I liked hearing about her process as well. Minter takes photos of her models and then decides which will become photos and which will become paintings. For her paintings she is using enamel on metal, with her fingers. I didn’t realize how many layers went into each painting to give it such a sense of light and depth. She has six assistance to help her with the painstaking work, and then she can go in and finish a piece, or say what needs fixing. I really loved how much admiration and respect there was mutually between her and her assistances. Minter was just a delight to talk to with her welcoming personality and plethora of knowledge and opinions.

http://www.marilynminter.net

http://www.nytimes.com/2015/06/28/books/review/marilyn-minter-pretty-dirty.html?_r=0

https://news.artnet.com/people/marilyn-minter-interview-330297

http://whitney.org/Exhibitions/FrankStella

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Jean Tinguey at Gladstone Gallery

Receiving critics pick by Timeout New York, the Jean Tinguely exhibit being shown by the Gladstone Gallery is certainly a hit. Tinguely was a master of metamechanics. He is known most for his sculpture, “Homage to New York” that destroyed itself when shown at the MoMA in 1960.  His kinetic art is from the Dada tradition and it gives his sculptures the feeling of energy. Even the still pieces seem as if they were going to move at any moment. Walking into the Gladstone Gallery, I was mesmerized by the sculptures that made me think of scrapyard Rube Goldberg machines. Tinguely’s art is built from objects you might expect to find in a junkyard as a statement about consumerism. The art satirizes “the mindless overproduction of material goods in advanced industrial society.” Tinguely’s art definitely demonstrate this message, which gives a bit of dark humor to the sculptures. There is a certain industrial darkness integrated in the imaginative pieces. I almost expect to see one of the sculptures come to life in a Tim Burton film. I loved seeing the different objects that make up each sculpture to look like mechanical skeletons. I most enjoyed the bursts of color and unexpected items hidden in different sculptures.  

Since it is a curator’s duty to enhance the artist’s vision, I'm curious how a gallery curates a show for an artist is already passed? The gallery manager at Rachel Uffner Gallery, Allison Cooper, said she would work in collaboration to hang a show with the artist. Occasionally the artists already have everything planned out and needed no help organizing the space. Since Jean Tinguely cannot voice his opinions for a show, I wonder who makes the final call how to curate a show? I supposed the gallery owner might be in charge, but it would interesting to know if they use past exhibitions as a springboard for the set up. In the case of Dan Flavin, his son curates any exhibitions of his work. I wonder if there is such an expert for the Tinguely as well, perhaps someone who works at the Museum Tinguely?

http://hyperallergic.com/86637/next-stop-reality-a-sixties-radicalism-revisited/

http://www.tinguely.ch/en/museum_sammlung/jean_tinguely.html

http://artforum.com/picks/id=56346

http://www.gladstonegallery.com/exhibition/10846/installation-view#&panel1-1

http://www.theguardian.com/artanddesign/2014/mar/23/hans-ulrich-obrist-art-curator

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Mixed Greens Gallery

After 16 years in New York City, Mixed Greens Gallery will be closing its doors this December. Like many small galleries, they are feeling the pressure of rising rent costs, and with their lease up for renewal, they have decided its time for change. The rental agreements are based on a ten-year period. While Mixed Greens has only been in Chelsea for ten years, it was actually founded in 1999 by Paige West as an online gallery.  Mixed Greens has been dedicated to promote unrepresented artists. Its mission has always been to be transparent and approachable. It is for this reason that they post the prices online so it is not intimidating for customers. I loved hearing the story behind this decision, when West tried to buy a painting but was turned away. I think the approach is refreshing and wish more galleries were similar.

I was curious what the owner, employees and artists would be doing once Mixed Greens closes. Unlike most galleries, there has not been much turnover at Mixed Greens, and many having been working there since the beginning. In a statement given to The Observer, Ms. West said, “I am not leaving the art world. I’m going back to the pivotal time of Mixed Greens’ launch to do something new, something different.” It was great talking to Heather Darcy Bhandari and hearing what she had planned for the future. She said the closing of the gallery was a very bittersweet time for everyone. While they have all enjoyed being part of Mixed Greens, many are using the opportunity to pursue new careers and projects. Personally, Heather said she would be writing a second edition to her book, Art/Work. I’m excited to see what she has to say in this new edition. She said that she would definitely be addressing social media and technology. She also wants to discuss how veteran artists and emerging artists are facing different challenges, such as how to retire, or how to work while having a life and a family. Heather said she was actually hoping that there would be more change to address in her book then there has been. There is still a sever lack of communication between artists and galleries, and also between other artists. The lack of communication is preventing many artists from moving forward in their careers, and causing legal issues for them. These are issues that she was seeing while working at Mixed Greens that inspired her to write the first edition. Heather said she would also continue teaching at Brown. Once her book is complete, she is interested in consulting for nonprofit organizations.

The gallery is closing is giving many people the opportunity for life changes. The gallery employees will probably be able to get another job easily due to their experience. However, the artists that were represented by Mixed Greens are going to have a more difficult time. Some of the artists are taking this time to reflect on their work. A few have decided not to return to the gallery world, and are instead pursuing public art projects. Others are being recommended to dealers who have had interest in them in the past. And still others are realizing that they got too comfortable at Mixed Greens, and now need to amp up their work to find a new gallery to show their work. Hopefully everyone will find a new place that works well for him or her.

Not only is Mixed Greens busy preparing for the future, they are also working on installing their last exhibition. The last show at Mixed Greens will be Studies for Little Tube House and the Night Sky by Donna Denis. It was amazing to see the behind the scenes of the installation process and to talk to the artist for a little bit. I liked hearing the message behind her work, and how the gouache paintings relate to the final installation. Donna Denis is a very unique artist. She is known for her groundbreaking ideas, as a prominent woman artist who pushed sculpting toward architecture. Not only that, but she is one of the few artist to managed to evade the gallery world almost entirely. Dennis has shown at countless museums and universities, but only a handful of galleries. Her work is of such a grand scale, it does not fit in a gallery space as well as a museum. This is why she is using the exhibition at Mixed Greens as a study. This is a very different approach to a solo show from anything I have heard of before. I think my favorite part was seeing the wall of stars light up.   

http://www.mixedgreens.com

http://observer.com/2015/08/chelsea-gallery-mixed-greens-to-close-after-ten-year-run/

http://mixedgreens.com/exhibitions/upcoming/Donna-Dennis-198.html

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Chelsea Galleries

It was really fascinating seen Leitha Wilson's work hung in the gallery especially her "rabbit ear pass concrete bend." This is the piece that we were able to see revealed from the mold while in her studio. Seeing the piece again, it look brighter and even better hung in the gallery. The color really popped. Knowing the process behind the work made it even more engaging than it would have been. I enjoyed the group show and seeing how the different pieces interact with each other. I can see why these artists are being shown together. I liked the whole show but I still preferred Letha's work the most.

This is the second time visiting the James Cohan Gallery, and I liked this exhibit just as much as the last one. The current show is “Marola” by artist Beartriz Milhazes. I love the brightness of the pieces felt like they informed the paintings. I wonder if the artist painted the sculptures at different points in the day, as the strands turned and the light shown differently on them. Both the paintings and the sculptures were made of beautiful assemblage of layers and forms. I had never seen decal transfer used in painting before, and enjoyed the flaking paint. The decals made the color slightly see-through, yet still bright. It also allowed the artists to achieve near perfect lines and patterns. I think this is a very interesting method, and hope to see other works that utilize it. 

We also paid a second trip to Hauser & Wirth. Previously we saw the Mike Kelly show here, which was my favorite we had seen so far. Mark Bradford “Be Strong Boquan” is being featured at the gallery now. This exhibit was a bit funky but I really enjoyed it. The paintings referenced cellular imagery of the human body. They were a stunning combination of deep, black veins running through layers of paper and paint. I really liked the texture and colors he used. I also liked “Spiderman” and believe it was an effective means of addressing stereotypes, especially those effecting the black community.

Greene Naftali seems to show strange and slightly awkward videos. Both shows I’ve seen here have had very experimental and contemporary films. I was not as interested in this show by John Knight. I felt there was disconnect between the pieces, even after I read the press release. While I may not have been as enamored by some of the exhibitions as others, as a whole, Chelsea galleries are fascinating and I can't wait for the next round of shows.

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Franklin Evans and Rachel Uffner

Franklin Evans is an artist who creates installation paintings. I have been interested in his work since Katie told us her experience showing with him. During that group show, Evans took pictures of the other artists in the show and incorporated them into his installation. I think this is a very fun idea and found Evans pieces to be fun and engaging overall. In a review by Cate McQuaid, a Boston Globe correspondent, Evan’s installation was described as, “stepping inside a painting. Colors and lines are everywhere: on walls, on the ceiling and floor; in corridors of vertical strips of colored tape.” I also felt such after walking into his studio space. With no singular subject, the bright colors and small details engulf the viewer. I really liked seeing Evans’s process to create his art. There is paint, tape, digital prints, and words that all come together to create a narrative that Evans paints. I was surprised how much of the collage object he paints instead of leaving taped to the canvas. In particular, I thought the sticky notes were actually stuck on, not painted. I also enjoyed seeing the many references to different historical artists, especially Donald Judd and Matisse. I am glad we were able to already see some of Judd’s works, since it seems that his art reappears in multiple places and influences. I think it is interesting how Evans is able to incorporate historical imagery and Internet icons while keeping his work original.

Rachel Uffner Gallery has been hailed as a front-runner of the resurging Lower East Side art scene. The Lower East Side is home to many artists and art galleries, similar to the Chelsea area. However, there is a different crowd of artists in the Lower East Side. Some may describe these artists as more emerging or experimental. While I am not sure if I agree with that statement, there are certainly many interesting artists being shown. I have enjoyed both times I have gone to the Rachel Uffner Gallery. During the first visit, there was an exhibit by Sean Kennedy that received exceedingly positive reviews, including “critiques pick!”  I really liked his installation and I like the current installation upstairs as well. I had been looking forward to seeing the current exhibition by Hilary Harnischfeger. I find her art to be very engaging because there are so many details in each piece. I particularly like the layers in the stone. They are reminiscing of the natural layers that form in rock, but much brighter and more colorful.

I think the exhibitions each fit the space well. Even though the Harnischfeyer show was upstairs, it did not fell overlooked. Having two artists shown was just as effective as having one artist use both spaces. When we talked to Allison Cooper, she explained how they determine how to set up the gallery space. Rachel chooses which artists they show, usually more young and emerging artists. Then the artist will bring in their work and they make the final call how the curate the show. Allison said that artist sometimes make miniature models of the space so they know exactly where they want everything to go. More often than not though, Allison works with the artist to decide where to hang each piece. She said offering her help for curating is actually her favorite part of the job. Some artists also want help choosing which pieces to hang because they bring too many for the space. I liked hearing the responsibilities of her job and some of the aspects of working in a gallery. I didn’t realize how small the gallery team is, and how much they each have to do.

Visiting the JTT Gallery next door, I was taken aback by the video exhibition there. The current exhibition is “Why Don’t I …Pretend To Be Your Dad by artist Glen Fogel. This piece has many of my favorite elements, such as dark lighting, LED lighting, and strange soundtracks. Despite this, there was some disconnect for me and I was not very excited by the piece. I was much more engaged by the exhibition in the Laurel Gitlan Gallery. “Magnesium for Sleep” is currently on show here. I found Eric Sidner’s color palate to be an interesting choice. The colors were both bright and fun, while being mildly repulsive. I felt that I had stepped into an alien spacecraft, where they were conducting experiments on humans. The art felt comical, and yet disgusting. I am still not sure if I truly like the show, but I was definitely left with a strong impression.

http://www.franklinevans.com/works_index.html

https://www.bostonglobe.com/arts/2014/11/18/with-artist-franklin-evans-immersive-experience/8RUtNFAceeA3IfRFtUDq4H/story.html

http://www.racheluffnergallery.com

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Art F City and Erin Shirreff

It was a shame our meeting with Paddy Johnson was cut short, but we were still able to learn a lot about a different part of the art world. Paddy founded and runs the art blog, Art F City. While I personally have no interest in blogging, it was good to learn about blogs since they often review and critique art exhibits. I appreciated Patty’s honesty when she told us the difficulties or running a nonprofit blog. There are several business components that I would not have thought of before. I think it is smart to delegate certain jobs to outside experts. This way you can be sure the job will be done correctly, and it frees you to focus on the parts you enjoy. One of the best pieces of advice Patty said was to pay attention to when you are excited about what you are doing. For her, the excitement came from writing. She had more ideas for blogging than she ever did while making art. I agree that it is important to recognize when you become flooded with ideas because that is what you are most interested in, and should be pursuing.

Erin Shirreff is an artist who works with the interplay between photography, sculpture, and video. She is interested in the illusion of objects. Erin describes it, as a shadow existence to her pieces possess. For instance her sun prints have multiple exposures, leaving a shadow of the first exposure and her sculptures are completed by their shadows. Also, some of her pieces rely on one particular viewpoint. Her sculpture maquettes are also based on this illusion, since the photographs to not show the back of each sculpture, which is often left unfinished. They also do not describe the scale of the sculpture, adding to the illusion of physicality. Erin explained that the maquetts were in part, inspired by mid century sculptures that were meant to be viewed in the round. These sculptures are now mostly seen in photos. Erin is interested in how much information is lost by replacing the bodily experience with technology. I was reminded of 60s and 70s minimalism when looking at her art. Erin said she is inspired by minimalism, but feels her work still maintains a self-conscious quality because it is handmade and the viewer is aware of the illusion in the piece.

Erin does not think of herself as a photographer because she uses photos more as a means to an end. Even her photos she thinks of as sculptures. She instead prefers to think of herself as an artist, rather than any specific category. She says there's no need to be labeled a sculptor or photographer when there's so many ways to be an artist. She leaves us with these parting words, “do what you want for better or for worse.” Seeing how well that has succeeded for her, I'm inclined to follow her advice! 

http://artfcity.com

http://www.erinshirreff.com

http://canadianart.ca/features/erin-shirreff-videos/

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Michael Findlay

Talking to Michael Findlay was the most rewarding experience I’ve had so far. The renowned art dealer has seen decades of art rise and fall. Findlay recalled how different the art market was in the 1960s when he started in a small gallery. SoHo then was mostly cheap studios spaces full of emerging artists. The original gallery goers were suburban women on their way to a show, or serious collectors. Findlay calls them serious collectors because they were buying art they enjoyed even though there was no "gain" since the artists were unheard of. Buying art for the purpose of the joint it is the mindset all collector should have. Finley says art should add value to your life not to your bank account. He talks more about how to buy, look at, and enjoy art in his book "The Value of Art."

On this point I could not agree more. The current trend is for art collectors to buy based on price and prestige. Many buy with the purpose of reselling for profit without any appreciation for the art. They determine the quality of the art based on monetary value. For this reason, Findlay says the trends in art are controlled by money. Critics used to hold the most power in the art world, but now the wealthy do. Whichever pieces are deemed the next “big thing” by investors, are going to sell the quickest and for the most money. Marketing and advertising cause rapid overturn in the art market, which is now being treated more like the stock market.

Even abroad, the international market has become more and more about making profits. The Middle East is building “island museums” to draw in tourists. They are also hosting more art fairs, which are designed to entice rich collectors. The goal of these corporations is to draw in money. The goal of the galleries is to form relationships with potential collectors, regardless if they spend money. The rising emphasis on money in the art world not only is affecting the galleries but also the artists. With living prices an all-time high, many can no longer afford to stay New York City. Artists used to be able to shift to poor areas in New York, but now have to shift away from New York altogether. Unlike fashion and even film, Findlay says New York City simply is not support the fine arts. Even though there are many foundations offering residencies and grants for artists, there is definitely still a concern for the growing expense of being in the art world.  

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Letha Wilson and Erika Ranee

I felt very excited, and rather honored, to have been present for the reveal of Letha Wilson’s newest piece. Letha Wilson is the first artist I’ve seen combine photography and sculpting. The large piece she unveiled for us I felt was a bit more photography then some of her other works, such as the stick. I like how she is concerned with how to show her work and sometimes chooses to use unconventional methods to hang them. The newest work is more concerned with concrete and the strength of the photograph. This is very interesting concept that works especially well into for smaller pieces that held the concrete in the center with the photo being pulled under its weight. I also was very interested in the transfer process she developed. The photos that transferred onto the concrete were often distorted in color and not full prints. I like it there was this element surprise not knowing how the concrete would set, or how the print would transfer. Wilson said she'd like to embrace the mistakes and thought they contributed to her overall concept.

Wilson takes photos and alters them through cutting, folding, adding metal and more recently, concrete. She said she is also curious how changing the photos can ruin the preciousness that is associated with photography. She uses these unconventional materials to alter the photos in order to re-create the moment in which they were taken. Wilson is influenced by her childhood in Colorado and takes landscape photos. Through her work she explores the balance between man and nature. Often the question arises, which is more important; the picture of nature or the alteration of the piece by her own hands? I liked hearing her talk about this duality of man and nature. Wilson's work I found to be unique and engaging especially for the physicality of the work. Having spoken to the artist I now find her art even more interesting because I understand the intention behind it.

I also found Erika's Ranee's art to be more interesting after talking to her. Erika is an abstract painter, who has recently started doing drawings as well. She originally created paintings depicting black stereotypes. Eventually her subject became too depressing for her, and she now is exploring with abstraction. I like that she is continually exploring by layering paint and other materials, such as shellac and tape. I found her art to be more engaging in person because you can see the layers, texture, and brightness of the colors better. Her work now feels that it has its own energy. I liked that her paintings have an emotional concept, in addition to the visual experience. Erika begins her paintings by writing words, phrases, and song lyrics that she has heard. Some are simply thoughts of daily conversation, while others she is inspired by. These words then become a hidden message under the layers of paint and color. Erica describes her paintings as a time capsule on canvas. I really like how she uses text as a narrative for her art, but does so abstractly. Even without being able to read the words, or know the original concept, her art still holds an emotional and visual intensity.

http://www.lethaprojects.com

http://www.erikaranee.com

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Samara Golden Review Analysis

Upon entering CANADA Gallery, the viewer becomes absorbed into the world of Samara Golden’s “A Fall of Corners.” Viewers walk onto an elevated catwalk, ending in a pile of stuffed dolls. Each of the walls has furniture and decorations, setting a scene. There seems to be a reception hall, a restaurant, a lobby, and an apartment. It is hard to tell where each scene begins or ends. Perhaps these scenes are all part on one hotel, or they could be separate spaces.

The catwalk is overlooking a floor of mirrors which virtually double the space. A projection of clouds lights the floor and then reflects back on to the ceiling. There is a vertigo effect from the multiple reflections in the mirror floor. In a New York Art Beat article reviewing the show, the mirrors are described to cause the room to “fall apart into a kaleidoscope of views and points of view.” I too felt that the mirrors create a kaleidoscope effect that magnify the space. The result is the viewer feeling that they have entered the scenes as a fly on the wall. It feels as if there is zero gravity, the way to space is built almost upside down from where a viewer enters. All the furniture, the table cloths, even the silverware seemed as if they're being pulled toward the walls, not the floor. There's a certain disconnect between your eyes and your mind. This disconnect reminds the author of the NY Art Beats article of the later Matta Clark work where there is a lack of the sense of orientation. For me walking into the space, I agree that the lack of gravity created a disorienting illusion.

Golden’s art was also compared to the art of Mike Kelly, Yayoi Kusmama, and even Christopher Nolan’s movie “Inception.” I can understand why these connections were made, since there is a sense of entering a new reality. I do not thin she is quite as otherworldly as the art by Mike Kelly, since her art is not as haunting. However, there is definitely a sci-fi quality, enhanced by the music throughout. I believe Samara Golden is in a category all her own as an interdimensional artist. The NY Art Beat article mentions feeling moments where you lose yourself, feeling a, “monstrous group hallucination leaving one asking Where am I? Are you seeing this? Am I having a migraine or did someone slip something in my drink?” When I entered the space, I had similar thoughts while trying to understand what was going on around me. There is confusion and bemusement as you try to take it all in. Described as, “immersive as a cave and as personal as an underwear drawer” by the NY Art Beat article, there definitely is a feeling of intruding on private scene, again as a fly on the wall.

The NY Art Beat article also discusses feeling an echo location, as if you had been there before. I believe these were the sensations Golden was hoping to achieve based off her concept of the sixth dimension. Samara Golden is interested in having her pieces explore the locations between dimensions, of the sixth dimension. The fourth would be linear time, and the fifth would be time travel. Golden’s idea of the sixth dimension is where millions of possible other lives are happening simultaneously. Her work attempts to give the audience the feeling of the other dimensions. Perhaps this is why so many feel as if they have entered a dream or another world when looking at her art.  

In Seph Rodney’s review of the show, he is not in alinement with Golden’s idea of the sixth dimension. While at first enchanted, Seph Rodney disliked many of the more technical aspects of the installation. He is critical of the strings and wires are visible. Rodney claims that being able to see the hardware prevents the illusion of anti-gravity for him. He also believed many of the props looked fake, “the buffet bar containing synthetic food that looks to have congealed into painted vinyl are even more obviously simulated.” He believes are the elements are present to complete each scene’s narrative, but was disappointed that it was easy for him to see the mechanics that made the scenes possible.  

I would disagree with Seph Rodney, and say that being able to see the mechanics did not destroy the illusion of gravity for the viewer. I was amazed by the gravity defying furniture, even after seeing the hinges and wires that kept them in place. I think it is still quite a feat to have every tablecloth drape toward the wall, and every detail in place. The concept of this space was not diminished by the mechanics for me.  Rodney was unable to suspend his disbelief, and be fully be absorbed by the exhibit. After seeing the mechanics he no longer felt that the space was a stage for actors. In his review he commented that Golden’s exhibit “does not describe spaces meant to be inhabited.” Again I am more in alignment with the NY Art Beat article. I felt that the space could be lived in, that I could walk on the walls right in to the scenes.

Despite his critiques, Seph Rodney does admit that Samara Golden’s “work is mesmerizing,” and there we are in agreement. Whether a dream or another dimension, everyone seems to feel that Golden’s art is abstraction at its best, and we are all just along for the ride.

http://www.nyartbeat.com/event/2015/4CFE

http://hyperallergic.com/239181/the-eerie-abandoned-dreams-of-samara-golden/

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BAM

The Brooklyn Academy of Music, BAM, is truly an impressive multilayered organization. I was not aware how large is for how varied the programs offered are. I loved touring the three buildings, each beautiful in their own unique way. I like the Harvey Theater in particular because of the design choice to maintain and mimic the decay throughout the theater.

The private tour was very interesting but talking to Sarah, Neil, and Holly was even more so. They all had a lot of very insightful career advice. Neil Kutner is the Director of Production, and Sara Danielson is the Associate General Manager. They both suggested networking by never turning down a job. Different jobs help you learn multiple skills that are important because they may be useful in unexpected ways. If you are wiling to take any job, it also helps you be more invaluable. People remember if you are a hard worker and may call on you again. In Neil’s case, he got his job because someone remembered and recommended him. Sara also was able to use the network she developed while working. I think they both made a really good point about making and keeping connections to people.

I appreciated hearing which steps each took after undergraduate to developed their connections. Personally, I learn best through practice rather than instruction. I was reassured to learn that Neil did not attend graduate school and does not believe it is essential. I am hoping to gain experience and skills by working, and not attending graduate school. I do agree with Sara though, that internships can be incredibly helpful for developing skills and discovering possibilities. I have done internships and think it is a good way to determine if a career path is right for me. Narrowing down your interests was one of the pieces of advice that stuck with me. Sara talked about how she changed her career path from producing to presenting work. BAM is interesting since it is in essence, a “touring house.” BAM presents work created elsewhere, not specifically made for BAM. By working at BAM presenting work, Sara and Neil support art, without necessarily creating it themselves.

I was most interested to hear about Holly’s position and how she also supports other artists. Holly Shen is the curator of visual arts at BAM. She is currently in a department of two. Holly started by fundraising for the New Wave festival. Her job has grown since she has instituted exhibition programs for art. Holly is in charge of organizing and curating public programs around exhibitions.  Originally these programs were developed to give a platform for Brooklyn artists, but they have now grown to include even international artists. Her current project it developing three sites for public art. I found it interesting to hear how curating at BAM differed from curating at a museum or gallery. Galleries have an aggressive commercial agenda. This need to profit, causes a more competitive market, and prevents galleries from supporting more developing artists. On the other had, BAM is able to support smaller companies and developing artists. However, BAM tends not to show more controversial work since it is curated for theatre patrons, not for gallery attendees. I think both are important distinctions that set BAM apart from other show places.

http://www.bam.org

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Sharpe-Walentas and NYFA

The Sharpe-Walentas Studio Program grants artists with a free studio space for a year. I think its great there are programs like this to help support artists trying to make it in an increasingly competitive art world. Even with grants and residencies however, it is still very difficult to make a living as an artist, especially in New York City. When we talked to Randy Wray from Sharpe-Walentas Studio, he discussed his own experiences as a “struggling artists.” I think a lot of people felt very disheartened after talking to him. Personally, I felt that he told me nothing I didn’t already know, and I appreciated his honesty. It is important to keep in mind his experiences is just one of many. Some artists become famous right out of undergraduate school, and we have met many successful artists already. People are going to have their own struggles and I think it is important to be realistic of that, but also to stay positive.

After discussing life as an artist and how the Sharpe-Walentas Studio works, we were able to see Wray’s own studio in the program. I liked that his sculptures reminded me of nature. Both the found objects and the paper texture gave the sculptures an organic feeling. The bright colors were made from the paper in the sculpture, and made me think of coral. I thought his sculpture pieces were interesting and they appealed to me more than the paintings.

I also really enjoyed Jessica Segall’s work. She also ties nature into her pieces, exploring how the natural world can survive in a domestic space. I was fascinated by her newest project, a beehive bed. She intends for the bed to become a functional beehive for mobile pollination. I thought it was interesting how she is conscious about the environment with her art, especially as art can be very wasteful. I enjoyed the practicality in her pieces. Segall also created large solar panels pieces, one of which was a functional Ouija board. The other panel had powerful regenerative text on it. There is a sense of life and rejuvenation throughout her art, including drawings of alchemy books.

After hearing first hand accounts from artists, we were able to speak to two members of NYFA. The New York Foundation for the Arts is a wonderful foundation that helps artists discover the many opportunities available to them. I was amazed to hear how many grants, residencies, internships, and other opportunities are offered. I was happy to hear them address some of the issues that face artists in New York today. While there are more artists, and therefore more competition, there are still plenty of jobs if you are willing to be a bit flexible. Not every artist will make it big right away, but that does not mean they never will. It also does not mean they have to stop creating art. I felt that NYFA had a realistic, but much more positive outlook on being an artist.

NYFA Website: https://www.nyfa.org

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Sculpture Center and PS1

In 1928, artist Dorothea Denslow founded “The Clay Club.” This nonprofit museum acted as a shared studio space to work and learn about sculpting. In 1930, “The Clay Club” moved and started hosting solo, group, and traveling exhibitions, while still teaching classes and artist space. It was renamed in 1950 to the “Sculpture Center,” and now resides in a former trolley repair shop.  This nontraditional space is very interesting, and I enjoyed seeing how different artists chose to be inspired by it. The center defines sculpture as a loose term. They are more concerned with contemporary art through the lens of sculpting, and how the work deals with the space and the viewer. Some of the artists they show use the opportunity to experiment with new technology, materials, or space. The Sculpture Center does not have any permanent collection. It shows ten to twelve exhibitions per year, of both solo projects and group shows. They have an In Practice program, which is open call so artists can submit proposals to use the basement space.

The basement space is unique because it contains several arches and long hallways. The current exhibit is “Numbers in a Room” by Columbian artist, Gabriele Serra. Serra’s installation is site-specific. He responded to the arches in the space by creating smaller passageways through each arch.  With such rich material in the space, it could be easy to let the room take over. I think Serra created a good balance interacting with the space. There are also suggestions of video signage throughout the exhibit that are easy to look over. I almost missed the moving exit sign all together. Serra’s installation reminded me of the Bruce Nauman exhibit in Dia: Beacon. There is a similar feeling to the space, a mix of entertainment and confusion.

I was interested to learn about the job of an art producer. I never realized there were people who helped bring an art vision to life based on the designs of an artist. Producers must understand the material, the space, the artist, and their objectives. They act as an in-between artist and curating. Not only is a producer part of the fabrication process, they also are responsible for creating the design within budget. I believe being a producer would be a fascinating job, one that I would have never considered before. 

I could have spent days enjoying MoMA PS1’s “Greater New York.” This show featured 158 artists, ranging from 20 to 80 years old, and few artists that are dead. The exhibition series runs every five years and helps give opportunities to artists who have been overlooked or are just emerging. The range of artists demonstrates that an emerging artist does not have to be young.  It also proves that art can still be powerful even if it is no longer current. I found many of the photography and paintings that addressed the AIDs epidemic powerful and provoking. While the AIDs crisis really broke out in the 80s, it is still a revenant subject and the art is still filled with raw emotion.   I also was captivated by Charles Atlas’s video “Here She Is.” At first I found the video to be too ridiculous to watch, but even so was drawn in. Once I started really listening, I agreed with many of the points Lady Bunny was saying. I would have loved to be able to see the exhibit with both videos. “The Waning of Justice” is an exhibit composed of two video works, synchronized together. When shown in Luhring Augustine, the first room projected a cycle of sunsets and a clock counting down in real time. “Here She Is” was projected in the second room, just slightly visible from the first. Atlas synched the videos to begin and end at the same time. He also included moments of silence for both videos, muting Lady Bunny for certain words. It was in these moments of silence that I thought more about what she was saying, and remembered how ridiculous she appeared. I would love to be able to see the entire body of work, but am still struck by just the one video alone.

My favorite piece in the show was the Kiosk Archive. When you entered there was an overwhelming display of knickknacks on shelves stacked in a maze through the room. There were bird noises playing in the background and neon lights illuminating the space throughout. The space created a sort of childish joy and wonder from seeing all the little collectables. I truly enjoyed the novelty aspect. After reading the flyer, I immediately called the number and listened to the descriptions as I walked around. As I listened, I could feel my smile growing with each item. I found this interactive piece to be a unique and fun idea. It felt as if I had entered my own personal museum of stories from around the world. Overall, the show was excellent, though a bit overwhelming. I am sure I went into every room, but not sure I was able to see every piece. It was a great show, packed with great art. Showcasing many new and exciting artists.

Some of the items found in the Kiosk Archive:

1096 bitters 1003 wire 1356 pinball 1199 food 1343 sheep 2120 piano 1628 limonenpilzbrut 1161 candy apple 1977 stove 2180 yellow hat 1485 kaol pearls

Information number: +1 646-693-3590

http://momaps1.org/exhibitions/view/403

http://www.sculpture-center.org/home.htm

http://www.sculpture-center.org/home.htm

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Andrew Brischler and Caitlin Cherry

Andrew Brischler creates paintings using acrylic and color pencil. I was hocked to see the scale and detail he was able to produce using such small strokes of a pencil. Andrew said he enjoys the aesthetic of color pencil, how it has that waxy finish. The amount of detail and precision in his work is stunning. I particularly liked the planned imperfections in his pieces, which give a nice balance between messy and perfection. Andrew creates his paintings by projecting his image on the painting. By creating the image first on the computer, he already knows how the final product will look. He does not want to simply create a pint of the image though because he likes the idea of creating something handmade in the wrong way. “My work is really about that human impulse to re-create something that you love because you need to make it yours.” I think he does this very effectively by taking common abstractions such as spirals, stripes, and splatter and painting them perfect. By creating the “perfect splatter,” Andrew destroys the romantic notion of flinging paint on canvas organically. But, by not printing the image, he still maintains the organic handmade quality.

Along with his process, it was interesting to hear about how Andrew works as an artist to develop his art. Andrew suggested looking at your full body of work to sort through your message. Looking at all your work as a whole you might realize you have been “tackling one thing aesthetically or conceptually over and over in different ways, the work is figuring out what that thing is.” When he did this himself, he realized that his works still had themes of being homosexual as his first pieces did.  His first work was clearly about homosexual experiences he had had. He found that this explicit approach was not interesting to critics, and completely switched to pure abstraction. However, when he looked back on all his work he realized throughout he was still addressing homosexuality by abstracting himself, and concealing truths in his new paintings. Andrew says he now likes the idea of a collector “owning a gay piece and not realizing it.” He is constantly revaluating his work and looking at other work and what he is drawn to. Artists like Keith Herring, Jasper Johns, and Jim Hodges influence Andrew. I thought this new approach to evaluating your work was very helpful, as I am searching for the meaning in my own work. I also liked his parting advice, to constantly be in the studio. Andrew said once you have the momentum to create, do not stop. He spends every day in the studio, even if he is not actually making anything. This way he continues to fuel his creative energy and doesn’t stop working. 

Caitlin Cherry also talked about maintaining momentum in her art. Caitlin is a hybrid artist who combines her paintings with sculpture installations that interact with each other. Her paintings are messy and bright. She turns her paintings into objects so that they are not just pictorial space, but almost a performance piece. She is interested in the space around and dialogue with space giving a greater narrative to her paintings. Her paintings “Alien” and “Predator” are shown within a laser beam security system. I was most drawn to these pieces that relate to the institutional value of art. Caitlin explained that the inspiration behind these pieces was how art is valued in relation to power, money, and war. She posed the question, “as a museum what would you go to war with? “ The answer being, art. By putting art behind a security system, she places art on the same level as both luxury items, and dangerous items. The danger aspect is why she choose to use paintings depicting an alien and a predator.

I was fascinated by the new technology incorporated in her work. Caitlin is breaking away from typical form and viewing style of paintings. In her security system, the paintings seem to be “hovering,” making the painting appear more powerful that it is. She pushes the limits of preconceived notions of art. Her newest piece features a painting built on mechanical stretchers that close when they sense approaching viewers. This relates back to security since it is the natural defense of some flowers to close. It is almost an ironic concept, since the closer a viewer gets, the less they will be able to see. I am very excited to see this new piece, and have never heard of anything similar to it. I think it is really interesting how Caitlin combines her love of art with her attraction to technology.

http://andrewbrischler.com/

http://www.blouinartinfo.com/news/story/1037449/andrew-brischler-humiliates-his-imagery

http://caitlincherry.com/

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E. J. Hill and Picasso

Only a few weeks ago, artists E. J. Hill moved to New York for the Studio Museum in Harlem. E. J. Hill is performance artist that was located in Las Angles. His newest works were actually very detailed roller coaster drawings. He told us how he used to draw roller coaters on all his notes when he was a child. Some of his performance art is also based on childhood memories. He talked to us about his experiences in middle school, when he spent many days playing alone. Most of his friends at the time were female, and they were becoming more interested in boys then playing. This memory inspired his piece in 2014, “The Fence Mechanisms.” In this piece E. J. Hill tied one end of a jump rope to a chain link fence and held the other side in his hand. He used the fence as a segregate for a friend and jumped rope for almost two hours, until his legs gave out beneath him.  He said this exercise helped release the loneliness in his memories, and it was very therapeutic.

Being a performance artist, there is a balance between making work for you and for your audience. E. J. Hill said he is not preforming for validation, but rather to give himself and others fulfillment. He says, “What you put out is what you get back.” When he is preforming, he says there is an energy transfer with the audience. Most of his performances are unrehearsed, meaning E. J. Hill is just as surprised with the results as anyone else. He likes this aspect of experiencing with the audience. His body is the medium, but the experience is his art. I would also say the feeling or energy you get from watching his performance is the art.

I really enjoy his work and am impressed by the way he is able to expose himself in his performances. His work makes him vulnerable to a point, but that contributes to what makes the work relatable. Watching his performance is a very authentic experience, where each bead of sweat is very real. In a sense, E. J. Hill produces endurance art. He said his art is endurance in way that we all endure life. There is a release of energy in his art that can only be compared with the energy of truly living. I loved talking to E. J. Hill and seeing his enthusiasm for his work.

http://ejhill.info

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Raymond Saa Stein

The Ben Shahn Center for Visual Arts, located at William Paterson University, is dedicated to the memory of the prominent New Jersey based artist, Ben Shahn. The Center for Visual Arts holds solo and thematic exhibits throughout the year. They engage with University and the surrounding communities to respond to significant trends in contemporary art. Recently exhibited in the Court Gallery, was artist Raymond Saá Stein.

The Court Gallery is a large, open space with high cleanings and a glass roof. The glass ceiling created a humid environment, much like that of a greenhouse. The space allowed a large amount of natural light, which created patterns of shadows on the walls and installation. For me, the light and heat actually contributed to the work and the overall botanical feel. Raymond said he knew he had found the perfect space for his idea, and I completely agree.

This was a site-specific installation. The large four walls in the center of the gallery each had openings on the corners to allow the viewer to enter the space. Raymond hung a painting on each side of the four walls. I like how he organized the work to be black and white on the outside walls, and color on the inner walls. I found the opposite colors created more vibrancy and made the installation more reminiscent of tropical botanic gardens.

Raymond linked his art to his childhood growing up in Florida. His installation combines aspects of nature and man-made objects. I found his installations to be instantly reminiscent of jungle life. Large pieces of cardboard from deconstruction boxes have been painted and sewn together. The paintings have stripes and circles in organic shapes and patterns. The patterns reminded me of Raymond’s show at the Korn Gallery I had seen previously. I also thought of a video he showed us four years ago while it was being edited. The video depicted Raymond repainting one of his garage walls over and over again. The similar patterns and forms he painted there had felt tropical too, even without color.

In this installation, the shapes reflect plant life and the cardboard pieces act as leaves, overlapping each other in irregular layers. I enjoyed the random holes in the cardboard that allowed you to see the layers below. Raymond used cardboard from fruit boxes. I thought the cardboard was an interesting choice given it was made from trees and then made to represent trees. In his press release Raymond said, “I am very influenced by the resilience yet delicacy of botanical subjects particularly when it comes in direct conflict with urbanity. There is something inevitable but equally magical about a tender vine pushing its way through tarmacadam and enveloping a man-made structure.” In his installation, Raymond has certainly captured this balance of urban and nature.

http://www.wpunj.edu/news/detail.dot?id=7174aea5-a7a3-409f-8bb5-0a665532265f

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Lower East Side and Regina Rex

The Lower East Side has many contemporary galleries, but more spread out than the Chelsea galleries. The Jack Hanley Gallery has an exhibition by Alicia McCarthy currently on display. These large mixed-media works each have an indication of the artist’s hand. On one there was a coffee ring, while others had extra marks, doodles, or simply drippings from the paint. There is a purposeful messiness that seems to be trending in many contemporary work. This “messy” style was also popular some years back and is now making a return. We also saw some more of this style in the “gloppy” ceramics in the Chelsea galleries.

My favorite stop of the day was when we were allowed a sneak peak into Canada Gallery. This gallery is currently preparing for a new show, but allowed us to see the Samara Golden installation in the back. Samara Golden is a rising artist, who seems to be influenced by other Los Angeles artists’ work. In particular, her work has been said to hint at the art of Mike Kelley, Chris Burden, and Paul McCarthy. Seeing her exhibit, “A Fall of Corners,” I could see why  these artists have been linked together. There is a surreal feel to her installations that seem to defy gravity.

We walked onto a bridge that was above a floor of mirrors. A film of clouds was projected onto the floor, and then reflected onto the ceiling. The walls each had a scene where all the furniture was firmly mounted to the wall, and it seemed as if gravity was working from the sides as well. The cloth on the table and the shirts on hangers, all fell toward the walls, not the actual floor. It was disorienting, and the sci-fi music gave the whole work an otherworldly feel. In an interview with Samara Golden, she explained that her art is exploring the sixth dimension. The fourth dimension is linear time, and the fifth is time travel. Golden, however, is interested in the idea that “there are a million possible pasts, presents, and futures all happening simultaneously in one location… all at the same time and all in the same physical place.” I have never heard of this idea before and am intrigued how she developed it. After seeing the installation though, I begin to understand being “in a moment,” between two realities. I am realizing that I tend to favor these eerie, more otherworldly art works, and hope to see more of Golden’s work in the future.

In the southern tip of Manhattan, there is the Regina Rex gallery. Regina Rex is actually run by a group of artists, who volunteer their time and money to showcasing other artists’ work. It is very rare to see galleries in NYC run by actual artists. It is even more rare to fine one that is run by 12 collaborators! We met today with one of the original founders of the gallery, Angelina Gualdoni. She told us this gallery begun as a volunteer passion project, and still really is. Each of the members pays dues or gallery sits in order to keep the gallery running. Thankfully, now the gallery is selling enough to pay the rent. Most galleries have another source of income besides the sales. The members of Regina Rex have questioned whether they should file as nonprofit, or stay commercial since they do not have another income.

The gallery has also debated if they should stick to group theme shows, or start represent artists. Currently Regina Rex is representing four artists. As they have a small collector list they cannot offer as much as some other galleries, but it is still a good platform for artists to begin to get press and relations. Regina Rex was started to give under recognized artists a chance to showcase their work. They present shows every six weeks, and do art events as well. Through these shows artists can gain recognition and connections.

All the decisions are made as a group, including which artists to promote. Angelina told us that they mainly find artists through other artists, or through gallery openings. They try not to choose art based on their own personal preferences, as they are all artists as well. There has been some recent turnover in the group. This is in part because the gallery moved, in part because some of the members want to focus on their own art careers after dedicating five years to Regina Rex. Angelina is one of the original members that have figured out a way to make and promote her own art, while continuing at Regina Rex. Angelina told us that the members of Regina Rex have done group shows together at other galleries. Most also have their own work shown at other galleries in the City. Angelina is actually on sabbatical from teaching in Boston, allowing her to focus on creating work for her upcoming exhibit. I was able to learn so much about curating and the business side of the art world today. Hopefully I will be able to see this exhibit in March and meet Angelina again.

Interview with Samara Golden

http://www.interviewmagazine.com/art/samara-golden-the-fireplace#_

Interview with Regina Rex http://www.wmagazine.com/people/insiders/2015/04/regina-rex-art/

Regina Rex http://reginarex.org/DEFAULT.ASP