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'rak'rüm (noun);
the back room of an art gallery
where artists and art lovers hang
20120603085411-woolfblister
untitled (from series Heavenly Father I\'m A Soldier), Dana DeGiulioDana DeGiulio,
untitled (from series Heavenly Father I'm A Soldier),
2012, oil, ink, spraypaint on paper, 24 x 18"
© Dana DeGiulio
untitled (from series Heavenly Father I\'m A Soldier), Dana DeGiulioDana DeGiulio,
untitled (from series Heavenly Father I'm A Soldier),
2012, oil, ink, spraypaint on paper, 24 x 18"
© Dana DeGiulio
untitled (from series Heavenly Father I\'m A Soldier) , Dana DeGiulioDana DeGiulio,
untitled (from series Heavenly Father I'm A Soldier) ,
2012, oil, ink, spraypaint on paper, 24 x 18"
© Dana DeGiulio
  untitled (from series Heavenly Father I\'m A Soldier), Dana DeGiulioDana DeGiulio,
untitled (from series Heavenly Father I'm A Soldier),
2012, oil, ink, spraypaint on paper, 24 x 18"
© Dana DeGiulio
, untitled (from series Heavenly Father I\'m A Soldier) , Dana DeGiulioDana DeGiulio,
, untitled (from series Heavenly Father I'm A Soldier) ,
2012, oil, ink, spraypaint on paper, 24 x 18"
© Dana DeGiulio
untitled (from series Heavenly Father I\'m A Soldier) , Dana DeGiulioDana DeGiulio,
untitled (from series Heavenly Father I'm A Soldier) ,
2012, oil, ink, spraypaint on paper, 24 x 18"
© Dana DeGiulio
Holes , Dana DeGiulioDana DeGiulio, Holes ,
2009, Oil and latex on canvas, 18 x 22"
© Dana DeGiulio
Sad Clown, Dana DeGiulioDana DeGiulio, Sad Clown,
2010, Latex and book, approx 12" tall
© Dana DeGiulio
Pool, Dana DeGiulioDana DeGiulio, Pool,
2011, Spray-paint + enamel on canvas, 28 x 22"
© Dana DeGiulio
Agoniste, Dana DeGiulioDana DeGiulio, Agoniste,
2010, Ink & spray paint on paper, 17 x 14"
© Dana DeGiulio
We Had Faces! , Dana DeGiulioDana DeGiulio, We Had Faces! ,
2009, oil on canvas, 8 x 6"
© Dana DeGiulio
What was lodestar now is feet , Dana DeGiulioDana DeGiulio, What was lodestar now is feet ,
2010
© Dana DeGiulio
, Dana DeGiulioDana DeGiulio
© Dana DeGiulio
, Dana DeGiulioDana DeGiulio
© Dana DeGiulio
, Dana DeGiulioDana DeGiulio
© Dana DeGiulio
, Dana DeGiulioDana DeGiulio
© Dana DeGiulio
, Dana DeGiulioDana DeGiulio
© courtesy of the artist and Carrie Secrist Gallery
, Dana DeGiulioDana DeGiulio
© Courtesy of the artist and Iceberg Projects
workbook page: Drawing Primer, Dana DeGiulioDana DeGiulio, workbook page: Drawing Primer,
2013, digital drawing, 11 x 8.5"
© Dana DeGiulio
Window, Dana DeGiulioDana DeGiulio, Window,
2013, oil + acrylic on canvas., 24 x 18"
© Dana DeGiulio
Throat, Dana DeGiulioDana DeGiulio, Throat,
2013, oil + spraypaint on canvas., 57 x 47"
© Dana DeGiulio
., Dana DeGiulioDana DeGiulio, .,
2013, ink on paper, 24 x 18"
© Dana DeGiulio
building, Dana DeGiulioDana DeGiulio, building,
2013, ink on paper., 24 x 18"
© Dana DeGiulio
Boxer, Dana DeGiulioDana DeGiulio, Boxer,
2012-13, oil + acrylic on canvas., 50 x 38"
© Dana DeGiulio
ave ave, Dana DeGiulioDana DeGiulio, ave ave,
2013, ink on paper., 24 x 18"
© Dana DeGiulio
Flag, Dana DeGiulioDana DeGiulio, Flag,
2010, oil on canvas., 40 x 32"
© Dana DeGiulio
agon a go go, Dana DeGiulioDana DeGiulio, agon a go go,
2012, letterpress, 14 x 11"
© Dana DeGiulio
mouth, tongue, Dana DeGiulioDana DeGiulio, mouth, tongue,
2012, ink on paper., 14 x 11"
© Dana DeGiulio
text + flower, Dana DeGiulioDana DeGiulio, text + flower,
2013, oil on canvas, oil on panel, variable
© Dana DeGiulio
scales, Dana DeGiulioDana DeGiulio, scales,
2013, flashe on inkjet print, 11 x 17"
© Dana DeGiulio
Sor Juana, Dana DeGiulioDana DeGiulio, Sor Juana,
2012, ink on paper., 24 x 18"
© Dana DeGiulio
Eyechart, Dana DeGiulioDana DeGiulio, Eyechart,
2013, oil + acrylic on canvas., huge
© Dana DeGiulio
text ptg 2, Dana DeGiulioDana DeGiulio, text ptg 2,
2013, oil + spraypaint on canvas., 24 x 18"
© Dana DeGiulio
gift 7, Dana DeGiulioDana DeGiulio, gift 7, 2013
sweetheart come, Dana DeGiulioDana DeGiulio, sweetheart come, 2013
© Dana DeGiulio
The Very Sad Day, Dana DeGiulioDana DeGiulio, The Very Sad Day, 2013
drawing, Dana DeGiulioDana DeGiulio, drawing, 2012
, Dana DeGiulioDana DeGiulio
crop, Dana DeGiulioDana DeGiulio, crop, 2012
Touch Anything With Tenderness for too long And It Becomes Disgusting, Dana DeGiulioDana DeGiulio,
Touch Anything With Tenderness for too long And It Becomes Disgusting,
2012
Torso 1 (Marsyas,for T), Dana DeGiulioDana DeGiulio, Torso 1 (Marsyas,for T),
2013
Virginia Woolf, Dana DeGiulioDana DeGiulio, Virginia Woolf, 2013
Nowhere Without No, Dana DeGiulioDana DeGiulio, Nowhere Without No, 2013
verso, Dana DeGiulioDana DeGiulio, verso, 2013
© Dana DeGiulio
Young Storm, Dana DeGiulioDana DeGiulio, Young Storm, 2013
, Dana DeGiulioDana DeGiulio
© Dana DeGiulio
, Dana DeGiulioDana DeGiulio
© Courtesy of the artist and The Suburban
http://danadegiulio.com[more]


RackRoom
The Universe and Other Dog Stars: An "Interview" with Dana DeGiulio

Chicago, Jun 2012: I have been reading a lot of artist interviews as of late. The construction of call and response can be meaningful, but more often than not, I am drawn to the intangible. I read Italian art critic Achille Bonito Olivia’s Encyclopaedia of the Word: artist dialogues, 1968-2008. Reading his interviews with endless artists in succession was exhausting and revealed the idiosyncrasies of time and place. Most conversations were mere pages, and I thoroughly enjoyed Google’s inability to clarify the obscure references to particular artworks, exhibitions, and publications mentioned in passing.

I also came across a book in a series titled Between Artists. My particular book detailed a visual conversation briefly annotated over email between John Baldessari and Barbara Bloom. I think I’ve flipped through it about thirty times. On the surface it’s an exchange about chairs. Questions are posed through images and while there are threads that address visits to each other’s exhibitions; “art-making” and “art-process” are rarely discussed, at least through text. It inspired me to rethink how artists use images to quote, annotate, and develop their ideas.

After considering these two varied approaches I wondered if there was a way to pose a more chaotic conversation. One that might reveal how artists’ interviews have operated and if there was an opportunity to have a conversation with an artist that wasn’t so formulaic. I timidly broached the subject with Dana DeGiulio. With no exception she is one of the biggest thinkers I know. I am actually afraid to go to her studio. I am convinced I would stand wholly unprepared for articulating what she does—which for the sake of understated gravity I will reduce to painting, teaching, and writing. She is also incredibly generous with her words and her time. I thank her for indulging me in this “artist interview.”

Online platforms enable the ability to inundate and annotate at the same time. There is a freedom in this: to pose a question through image, video, or to have one word open up to a massive tome. However, there are glitches. Content can be removed, or replaced. Links are broken, or more rapidly, inaccessible for copyright law that has not evolved out of its analog state. I like to embrace this inconsistency; it reminds me to consider manufactured histories and how the origin of the word and/or image cannot be trusted, and that sometimes it’s enough to see its confounded meaning sputter and unfold.

So here it is: questions about the universe and other dog stars with Dana DeGiulio.

From the artist's studio.


Courtney R. Thompson: Proposition one:

Toward a shakable understanding of the universe, or is it just a suspicion of the speed of representation?

Dana DeGiulio: Yes.

CRT: Proposition two:

as per attachment                                                                  

and then perhaps

whom

where

(by Dana DeGiulio)?

DDG: No.

CRT: Proposition three:

Wolf Vostell once told Italian art critic Achille Bonito Olivia that Charlie Chaplin was Happenings and Buster Keaton Conceptual art. Can painting for you have this structure of classification, and if so, who is painting for you?


Dana DeGiulio, untitled (from series Heavenly Father I'm A Soldier), 2012, oil, ink, spraypaint on paper, 24 x 18"; Courtesy of the artist

DDG: Yes.

CRT: Proposition four:

In the group exhibition “Just Pathetic” Ralph Rugoff claimed that to turn away from ambition is a position. Yet isn’t it still one that operates within a considered structure?

Does this imply that every dog has her day, or can there be a lone wolf?

DDG:  Yes.

CRT: Proposition(s) five: Choices, tactics, and/or alternatives, or the pithy potential of images to quote(s)

Her (Ree Morton)

or

“Not thinking, planning, scheming is a discipline. Not caring or striving is a discipline … Defeated you will stand at the door of your house and welcome the unknown, putting behind you all that is known. Defeated, having no place to go you will perhaps wait and be overtaken. As in the night. To penetrate the night is one thing. But to be penetrated by the night that is to be overtaken.” -- Agnes Martin 

DDG: Yes.

CRT: Incidentally, what is it with those bell jars? Is self-preservation a tactic to keep things in or out, or is it just suffocation on display?

DDG: 8 inches.


Courtney Thompson


ArtSlant would like to thank Dana DeGiulio for her assistance in making this interview possible.

FORMER RACKROOMERS

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