Articles | ArtSlant https://www.artslant.com/ny/Articles/show en-us 40 ArtSlant Prize Round 8 Jurors Announced - Apply by Nov. 3rd <p>Round 8 closes November 3rd! Apply today for your chance at $5k in prizes!</p> <p>To apply, sign in to <a href="https://www.artslant.com">artslant.com</a>, click the navicon in top right&nbsp;and select&nbsp;ArtSlant Prize from the menu.</p> <p>The ArtSlant Prize is an annual competition for emerging artists hosted by ArtSlant.com. Up for grabs are cash prizes, an exhibition, and sales opportunities like inclusion in our&nbsp;<a href="http://www.amazon.com/gp/node/index.html?ie=UTF8&amp;marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true">Amazon Art Sales Platform</a>&mdash;not to mention great exposure to thousands of ArtSlant readers and followers throughout the whole process!</p> <p>Check out the latest submissions from the ArtSlant Community on our&nbsp;<a href="http://www.artslant.com/ny/showcases/showcase">Art page</a>.</p> <p>Previous ArtSlant Prize Winners&nbsp;have gone on to secure gallery representation and have been purchased by prominent collectors, museum directors, and personalities.</p> <hr /> <p style="text-align: center;"><span style="font-size:20px;"><strong>ROUND 8 JURORS:</strong></span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171030152204-patton_hindle.png" style="width: 300px; height: 300px; margin-left: 10px; margin-right: 10px; float: left;" /></p> <p style="line-height: 30px;"><font face="georgia" size="4"><strong>Patton Hindle</strong> is the Director of Arts at <a href="https://www.kickstarter.art/" style="color: #00cfa6; tex-decoration: none;">Kickstarter</a> where she oversees the Arts and Performance Arts team, whose specialists works closely with visual and performing artists, arts organizations, museums and cultural institutions around the world to help them realize creative and ambitious ideas through Kickstarter. Hindle was previously the Director of Gallery and Institutional Partnerships at Artspace and is a current partner at Lower East Side gallery, <a href="http://yoursmineandoursgallery.com/" style="color: #00cfa6; tex-decoration: none;" target="_blank">yours mine &amp; ours</a> &mdash; a space she opened September of 2016 with RJ Supa, Courtney Childress, and Nick Rymer. Hindle came to New York as the Director of DODGEgallery, a Lower East Side program which she helped open and run. She was raised in London and attended university in Boston, Massachusetts.</font></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171030152126-The-They-Co-032_R.png" style="width: 300px; height: 300px; float: left; margin-left: 10px; margin-right: 10px;" /></p> <p style="line-height: 30px;"><font face="georgia" size="4"><strong>Ambre Kelly </strong>and<strong> Andrew Gori</strong> are the co-creators of the social experiment art fair <a href="http://www.springbreakartshow.com/" style="color: #00cfa6; text-decoration: none;" target="_blank">SPRING/BREAK Art Show</a>. Styled as a pop-up biennial in the guise of a trade show fair, independent curators are given no-cost exhibition space in underused New York City landmarks to fulfill art themes relevant to overarching social and cultural predicaments. Kelly is a painter, currently fulfilling her latest Current Affairs series and Gori is a filmmaker, currently developing projects with his film company, CAMERA READY. Together they are artistic collaborators on the photographic series SIGHTSEERS, as well as subsequent film and production content through their collaborative company, THE THEY CO.</font></p> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170104153040-ArtSlant_Prize_IX_2017-01.jpg" style="width: 200px; height: 200px;" /></p> <p style="text-align: center;"><span style="font-size:20px;"><strong>Previous ArtSlant Prize Winners</strong></span></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2016+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2016:</a>&nbsp;</strong></span><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" style="font-family: georgia, palatino; font-size: large;" target="_blank">Brigitta Varadi</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" style="font-family: georgia, palatino; font-size: large;" target="_blank">Tiffany Smith</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" style="font-family: georgia, palatino; font-size: large;" target="_blank">Sterling Crispin</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" style="font-family: georgia, palatino; font-size: large;" target="_blank">Bex Ilsley</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" style="font-family: georgia, palatino; font-size: large;" target="_blank">Jinhee Park</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2015:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" style="font-family: georgia, palatino; font-size: large;" target="_blank">Theresa Ganz</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" style="font-family: georgia, palatino; font-size: large;" target="_blank">Tina Tahir</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" style="font-family: georgia, palatino; font-size: large;" target="_blank">Rachel Garrard</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" style="font-family: georgia, palatino; font-size: large;" target="_blank">Bryan Volta</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2014:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" style="font-family: georgia, palatino; font-size: large;" target="_blank">Edra Soto</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" style="font-family: georgia, palatino; font-size: large;" target="_blank">Adam Douglas Thompson</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" style="font-family: georgia, palatino; font-size: large;" target="_blank">Anastasia Samoylova</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" style="font-family: georgia, palatino; font-size: large;" target="_blank">Oren Pinhassi</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2013+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2013:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Robin Kang</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Maureen Meyer</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;&nbsp;</span><a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Alison Pilkington</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Alexis Courtney</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2012+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2012:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce" style="font-family: georgia, palatino; font-size: large;">Veronica Bruce</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" style="font-family: georgia, palatino; font-size: large;" target="_blank">Stephen Vasquez Lopez</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/152389-susan-meyer" style="font-family: georgia, palatino; font-size: large;">Susan Meyer</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" style="font-family: georgia, palatino; font-size: large;" target="_blank">Timothy Gaewsky</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2011+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2011:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" style="font-family: georgia, palatino; font-size: large;" target="_blank">Holly Murkerson</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" style="font-family: georgia, palatino; font-size: large;" target="_blank">Jason Irwin</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" style="font-family: georgia, palatino; font-size: large;" target="_blank">Christine de la Garenne</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2010+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2010:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Chantel Foretich</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Robert Minervini</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2009+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2009:</a>&nbsp;</strong></span><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Michael Zelehoski</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Yo Fukui</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Julie Davidow</a></p> <hr /> <p><span style="font-family: georgia, palatino; font-size: small;">**All participants in the ArtSlant Prize Showcase Series agree to ArtSlant&#39;s&nbsp;&nbsp;<a href="http://www.artslant.com/global/articles/show/5575">Terms &amp; Conditions</a>.</span></p> <p><span style="font-family: georgia, palatino; font-size: small;">**<em>Fees from the Artslant Juried Showcase competitions will be dedicated to the promotion of our prize winners and the administration of the competition.</em></span></p> Wed, 01 Nov 2017 10:04:19 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: Tom Galle <p>Belgian-born, New York-based <a href="http://tomgalle.online/">Tom Galle</a> is the epitome of the contemporary web artist. His work is saturated with the very essence of hyper-digital nowness. He has created an online persona that is at once supremely infatuated with and deeply questioning of the profound impact that the internet has had on all of our bodies and brains.</p> <p>Galle creates art that operates on two distinct levels: it is philosophical and political but also instant and accessible, effortlessly walking the line between academic art and internet meme cultures. In this way, his dark humor-laced practice can be seen as a telling indicator of the nature of successful art in the internet (and post-internet) age.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:57.22222222222222% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BV5jUEKgwgi/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>Christian Petersen: Were you a rebellious kid? </strong></p> <p><strong>Tom Galle:</strong> Funny question, I indeed wasn&rsquo;t the easiest kid. I was very uninterested in school&mdash;everything seemed so boring and I turned to trolling teachers (not in an aggressive way) to find a source of excitement. As a result I was kicked out of a few schools, and ended up in private school by the time I was 16. Through a sort of alternative educational system I ended up getting my high school diploma at 18 and went off to art school. I&#39;ve always felt a bit complex compared to other people since I never had the &ldquo;basic&rdquo; education, but recently I feel like I actually learned trolling back in those days, which I&rsquo;m using often in my work&mdash;so I&#39;m very thankful to all those teachers that made things very boring and never believed in me.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BV0kBPEjrMs/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by </a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: When did you first become aware of the existence of the Internet?</strong></p> <p><strong>TG:</strong> Probably when my parents installed it at home : ) I was still very young but I remember a huge amount of excitement and anticipation around the idea that people now suddenly have access to &ldquo;anything&rdquo;&mdash;all we had to do was search for it. At that time it felt like no one could really grasp the complete idea of it and where it was going. The excitement only grew with chat apps, gaming, and early social media platforms.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:49.907407407407405% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BTFTz6PjhAd/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by </a></p> </div> </blockquote> <p>&nbsp;</p> <p><strong>CP: What did you imagine it to be before you used it?</strong></p> <p><strong>TG:</strong> I literally had no idea, but the idea of it being such a new, free landscape of opportunities, connections, and obscurities&mdash;it felt overwhelming and exciting at the same time. Like whole a new free world, it had an anarchistic side to it. There were no rules. Obviously that was an entirely different time. We&rsquo;re surfing in a corporate landscape these days.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BNczmbIjanA/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <p>&nbsp;</p> <p><strong>CP: What early experiences of the internet are most memorable to you?</strong></p> <p><strong>TG:</strong> <a href="http://rotten.com/">rotten.com</a>. Connecting with strangers on chat platforms or games. I loved <em>Worms</em>, <em>Command &amp; Conquer</em>, <em>Counterstrike</em>, etc. Connecting to random people for chatting and gaming was one of the first things that blew me away&mdash;things we take for granted now. That general feeling of <em>anything is possible here</em> was very exciting.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BN-Qk1Lj2nL/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: When did you start re-appropriating the common language and aesthetics of the internet into your work?</strong></p> <p><strong>TG:</strong> I started my career in the creative agency/advertising world and was lucky to end up in a forward-thinking agency. That was around 2008, and advertising seemed pretty boring and conservative in my eyes&mdash;a lot of TV ads and stuff. As a counter-reaction I started making internet-focused work. The work was very much focused on speaking the language people speak on the internet to get them engaged. Work that takes part in the culture on the internet. I made a couple of brand projects that worked really well in that regard, and at the same time I was very attracted to the internet art world. I started making side projects such as <em><a href="http://tomgalle.online/Graffiti-Loop" target="_blank">Graffiti Loop</a></em>, the <a href="http://tomgalle.online/1000000-for-iPhone" target="_blank">$1000000 app</a> for iPhone, and these simple one-off websites, things I&rsquo;m still very proud off. I think both practices enforced each other; they&rsquo;re both very conceptual and had a similar approach in taking part in online culture, which is what I still do today.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:57.08333333333333% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BU5GCINDiHZ/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: Do you think the internet has lived up to its initial promise?</strong></p> <p><strong>TG:</strong> I don&rsquo;t think there was any promise. It was just a plain new playground full of opportunity and without many rules. You could say that the way the internet was envisioned by its creators didn&rsquo;t live up to its promise. They envisioned it to stay free&mdash;without state interference or corporate powers overtaking it. That obviously didn&rsquo;t happen, as we all know. I think that&rsquo;s just the world we live in unfortunately. As if state and corporate powers would leave the internet and all its opportunities untouched, lol&mdash;they&#39;re mostly doing with the internet what they do in real life.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BWLo2QDjjZo/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What does &ldquo;trolling&rdquo; mean to you?</strong></p> <p><strong>TG:</strong> Trolling has a very negative connotation on the internet. &ldquo;Real&rdquo; internet trolls are pretty hardcore bullies that get off on hurting people on online platforms. In my work I try to approach it very differently&mdash;it&rsquo;s much more about finding a precise tone of voice that tries to poke fun at touchy subjects without going too far. It challenges people to be somewhat self-deprecating. <em><a href="http://tomgalle.online/Goodbye-Unfollower" target="_blank">Goodbye Unfollower</a></em> is a good example. People got unsolicited tweets about touchy subject like unfollowing; because it is a loaded subject taken out of context, that&rsquo;s what makes it funny.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BC6YqOBkO2s/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: How would you describe your sense of humor? </strong></p> <p><strong>TG:</strong> Dry humor? Satire? Irony? I love to find the humor in the sad things on the internet. Unfollowers, Tweets that don&rsquo;t get attention, negative comments. It&rsquo;s sort of a depressing, self-deprecating tone of voice I guess. A lot of it is also based on meme-humor. Things like <em><a href="http://tomgalle.online/Tinder-VR" target="_blank">Tinder VR</a></em> or the <a href="http://tomgalle.online/Jesus-Christ-Fidget-Spinner" target="_blank">crucified Fidget Spinner</a> try to capture that language and take part in that cycle.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BUzZTM8DIpu/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: You work shows a love/hate relationship (fascination and fear) with the rise of digital culture. Do you&nbsp;think the internet is ultimately a positive influence on humanity? </strong></p> <p><strong>TG:</strong> That fascination and repulsion is exactly how I feel about it. There are a lot of positive aspects to the internet, but at the same time we&rsquo;re accepting weird behavior we never thought we would years ago. Think of an idea like Tinder where you&rsquo;re simply swiping through people in a way to find a potential lover. We accepted all these behaviors at an amazingly fast pace.</p> <p>I love creating surreal scenes that express my feeling about these behaviors and poke fun at them, in an effort to confront people with it and make them feel uncomfortable, intrigued, or even repulsed. It&rsquo;s not unusual for people to get angry about my work. All I want to say to them then is, &ldquo;You&rsquo;re angry at (your) internet behavior. I&rsquo;m just the messenger.&rdquo; None of my work tends to judge or make bold statements about things. It&rsquo;s just a reflection on what we are doing and the way we are consuming the internet.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BXLcTNEDPmc/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: Is the internet&rsquo;s pressure on creative people to constantly produce content healthy? </strong></p> <p><strong>TG:</strong> I think it&rsquo;s a very exciting time for creatives on the internet. We get a constant stream of inspiration and can create and release an idea in a couple of hours and get immediate feedback. It can have a very positive effect. The excitement turns into more ideas and before you know it you&rsquo;re on a streak. I think my work comes to life in that sort of cycle&mdash;which is bordering on the edge of healthy excitement and addictive, obsessive behavior. I remember very overwhelming moments when things go viral and I got carried away by unhealthy behavior, but over time I learned the importance of taking breaks and distancing myself from the internet to keep the work genuine and not purely audience-guided.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BR2Ax2Dj3dr/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: You describe yourself as a &ldquo;meme-artist.&rdquo; When did you first become aware of the term &ldquo;meme&rdquo; and its meaning?</strong></p> <p><strong>TG:</strong> It was actually a friend of mine who coined this term for me. At a dinner I struggled to introduce myself to a group of people and my friend just jumped in and said &ldquo;He&rsquo;s a Meme-Artist.&rdquo;</p> <p>I liked how that sounded; it felt broad enough and I like to roughly define it as &ldquo;work that speaks the language of the internet.&rdquo; Meme language is the commonly spoken language of the internet, transcending culture and language. Not only in imagery but also in the way people talk and behave online. It&rsquo;s incredible how it is completely integrated in almost all aspects of the internet. My work tries to interpret aspects of meme culture and its language, and integrate/transform it into ideas that themselves become memetic and take part in that cycle.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BHFDSw1DX1y/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What do you think the art &ldquo;establishment&rdquo; thinks of internet art? Have you had any interest from that side of things?</strong></p> <p><strong>TG:</strong> I can start feeling an interest from the art world now, but it&rsquo;s very recent. I think the art world always had difficulties with internet art in a gallery context but they had their love story with internet/media art a couple of years ago with Cory Archangel, Petra Cortright, Jon Rafman, and co. Some really interesting artists found their way in and became established artists now, and it seems like their practice is somewhat adjusted to that audience.</p> <p>With the rise of social media and this whole new generation of artists doing such interesting things, it feels like we&rsquo;re way underrepresented in the art world. The art world is probably somewhat scared, and it&rsquo;s not unjustified. Platforms offer a voice to everyone and similar meme-language gets spoken by all users so it all blends into one melting pot.</p> <p>It&rsquo;s probably time to redefine what an &ldquo;artist&rdquo; is these days. It seems like the art world can&rsquo;t find an appropriate way to deal with this generation, and the artists are having too much fun on the internet to even bother.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BS1voF-DVnG/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: When did you first become aware of the concept of corporate culture and its negative effects?</strong></p> <p><strong>TG:</strong> When I moved to the US : ) Europe is somewhat moderate since the government sets some limits to what corporations can do. Here the culture feels so focused around corporate money and power, sold to people under the idea of the American dream. I found it very confrontational and it made me feel isolated and scared. I started thinking of how free we really are, where our opinions come from and how we live in a society of mass compliance to a system that seems doomed to fail, probably not in a good way. It felt like something I wanted to address and my friends and I started thinking and talking about those subjects.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BWbDB2_D8OP/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What inspired your new series of <a href="http://tomgalle.online/Corp-Gear" target="_blank">corporate logos recreated as weapons</a>?</strong></p> <p><strong>TG:</strong> Corporate culture became a common subject amongst me and my friends, and my friend and frequent collaborator Moises Sanabria and I came up with the idea of creating weapons that somewhat represent or visualize the oppressive/aggressive aspects of corporate institutions. The objects at the same time could be symbols for revolt against them, which gave them an interesting tension. We loved the idea and worked with Alyssa Davis from <a href="https://www.instagram.com/crucible.nyc/" target="_blank">@crucible.nyc</a> and Brian Yudin. We designed the weapons and Alyssa and Brian made them in a specialized metal studio. We like to see &ldquo;Corp Gear&rdquo; as a concept that could keep evolving into different things that translate a similar idea, and our friend Devon Halfnight Leflufy was brought into the conversation to also make some sort of <a href="http://tomgalle.online/Devon-SS17-Presentation" target="_blank">fashion line</a> around it. So we&rsquo;re planning on more releases under this umbrella :)</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BYtQ3_QDDcl/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: Your work can be very political but also works as easily digested meme art. How do you create that balance?</strong></p> <p><strong>TG:</strong> I&rsquo;m just not into straightforward art that presses specific messages upon you. I think the best art is work that leaves things open for interpretation and doesn&rsquo;t tell you what to think&mdash;at that point you&rsquo;re making communication/advertising work. I think that&rsquo;s what makes it easy to digest. It sets a tone of voice and probably triggers some people, but it doesn&rsquo;t tell you exactly what to think or how to feel. They can fill that in themselves.&nbsp;Another reason could be that my work speaks a language that people are familiar with on the internet.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BXI03z_jTRC/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What else do you have coming up?</strong></p> <p><strong>TG:</strong> My friend Moises and I have our first solo show on December 6 in <a href="https://upforgallery.com/future/" target="_blank">Upfor Gallery</a> in Portland. That&rsquo;s our main focus for now :)</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></p> <p><em>We run an online magazine, so of course, we&#39;re interested in what&#39;s happening with art on the web. We invited online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.</em></p> <p>&nbsp;</p> Tue, 07 Nov 2017 08:58:49 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list The End of Food and the Art World <p>Catastrophic hurricanes, unprecedented flooding, and constant record-breaking highs and lows make it hard to ignore the very real changes occurring as a result of global warming. <a href="http://nymag.com/daily/intelligencer/2017/07/climate-change-earth-too-hot-for-humans.html">David Wallace-Wells&rsquo; popular <em>New York Magazine</em> July cover story</a> details worst-case scenarios that break down exactly how our day-to-day living could be affected. Wallace-Wells claims most of the &ldquo;anxiety about global warming&rdquo; omits the &ldquo;significant adjustment to how billions of humans conduct their lives&rdquo; and goes on to list many examples that go far beyond sea level rise. From the not-so-permanent permafrost melting and releasing methane and prehistoric bacteria into the atmosphere to severe inflight turbulence, the possible outcomes run the gamut. As with all news on climate change, one is left with a disquietude that has absolutely nowhere to go upon finishing the article, echoing only into the vast unknown that is the future.</p> <p>The overwhelming information is austere and wearisome to process, let alone plan for. If you&rsquo;ve never been able to relate to the idiom <em>money is no object</em>, your bewilderment might increase by at least tenfold. If you are an artist who relates to this socioeconomic exponential increase in concern, you might have begun to wonder what your place in the art world will be twenty years from now given such dire circumstances. It&rsquo;s difficult to imagine an art world operating with its current hyper-capitalist metabolism in an environment that promises to kill you. Reading about <a href="https://www.forbes.com/sites/jimdobson/2017/06/10/the-shocking-doomsday-maps-of-the-world-and-the-billionaire-escape-plans/#fa609fb40478">billionaire escape plans</a> might give you some hope. For if the billionaires are out there investing in <a href="http://survivalcondo.com/">luxury underground infrastructure</a> and<a href="https://www.newyorker.com/magazine/2017/01/30/doomsday-prep-for-the-super-rich"> fertile land in Wyoming</a>, then surely your art making might keep your account balance above zero in 2040, as the possibility for exhibiting will remain intact (albeit buried or in the middle of nowhere). Though it might be challenging to maintain a healthy studio practice amidst climate plagues, unbreathable air, or permanent economic collapse.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171030161717-Children_of_Men.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">&ldquo;Couldn&rsquo;t save&nbsp;<em>La Pieta</em>&mdash;smashed up before we got there.&rdquo; Rich people getting by in the end times. Still of &ldquo;The Ark of Art&rdquo; from&nbsp;<em>Children of Men</em>, 2006, Directed by Alfonso Cuar&oacute;n</span></p> <p style="text-align: center;">&nbsp;</p> <p>The joke is that artists who aren&rsquo;t rich or connected through nepotism are already struggling today, often working three times harder for half the triumph&mdash;if they&rsquo;re lucky. <a href="http://theenemyreader.org/money-cubicles-the-beast/">Brad Phillips writes extensively on the problematics of the art fair industrial complex</a> stating it &ldquo;is a bad time for art and for (most) artists...Artists cannot keep up production to match the number of fairs; galleries cannot keep up financially to participate.&rdquo; The essay includes a metaphorical comparison of Art Basel Miami and Larry Gagosian to the ocean and a gigantic whale as he points out that all the &ldquo;smaller galleries and fairs that swim along, eating the scraps, happy to accept the benefits of being cheaper and more accessible than Gagosian, will die from exhaustion.&rdquo; Within the context of climate change this figurative statement functions literally as the ocean is currently inching its way over Miami Beach and accelerating gentrification in the city, &ldquo;<a href="https://www.scientificamerican.com/article/high-ground-is-becoming-hot-property-as-sea-level-rises/">potentially bringing the coastline of South Florida closer to Miami&rsquo;s historically black neighborhoods</a>.&rdquo; If small galleries and artists from lower tax brackets are expected to &ldquo;die from exhaustion&rdquo; today as a result of inaccessible blue chip exclusivity, would they have a place to occupy at all in coming times?&nbsp;When the procurement of food and safety overruns one&rsquo;s faculty for expression, art making becomes compromised.</p> <p style="margin-left: 80px;">First there will be civil unrest. As the water rises and the floods increase in severity and regularity, waterfront and coastal cities will become abandoned. Those who cannot afford to leave will be trapped and those that have been priced out will come flock in. The artists, writers, dancers who fall in this category&mdash;at least those who do not have a trust fund&mdash;will either move to middle America or will be in the thick of this urban decay. The art market by this point would have plummeted and/or potentially collectors may continue to use this free market of ours to move even more money through continents.</p> <p style="margin-left: 80px;">&mdash;Patricia Margarita Hernandez, Miami-born and New York-based independent curator</p> <p>Surely, South Florida will be greatly affected by the sea level rise, flooding, and hurricanes, as will the artists and art fairs located there. However, to say the art world will cease to exist is to say that rich people will too: wealthy people will always be the last ones to go. As long as society exists, plutocracy exists, as does the tension between cultural stewardship and out-of-touch privilege. When asked about the effects of climate change on the art world Todd von Ammon, Gallery Director at New York&rsquo;s Team, reaffirms this supposition:</p> <p style="margin-left: 80px;">I&rsquo;ve been preoccupied recently by Fredric Jameson and his proposal that it&rsquo;s easier to imagine the end of the world than the end of capitalism. The environment as some kind of waste-mold whose ultimate purpose was to cast the figure of capital and then sort of slough off like dead flesh from bone. The history of art + taste, to me, has always resembled a kind of whistling in the dark&mdash;Matisse painting <em>The Piano Lesson </em>a couple hundred miles from the Battle of Verdun&mdash;just completely out of step with the experience of the greatest number. I think the art world is just as aloof now as it was then. It wouldn&rsquo;t be art otherwise.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171030152650-pianolesson.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Henri Matisse, <em>The Piano Lesson</em>, 1916, Oil on canvas. Collection: Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund, &copy; 2017 Succession H. Matisse / Artists Rights Society (ARS), New York</span></p> <p>&nbsp;</p> <p>Historical examples of calamity, such as the First and Second World Wars, can help provide a model for how systemic changes&mdash;be they war or global climate change&mdash;may affect artists from different class strata. Matisse&rsquo;s mother, <a href="http://www.nytimes.com/books/first/s/spurling-matisse.html">Anna G&eacute;rard, was a daughter of a 300-year-long line of well-to-do tanners, his father, a prosperous grain merchant</a>. In spite of completing <em>The Piano Lesson</em>, one of his most famous works, during World War I near Verdun, he did <a href="http://www.henri-matisse.net/biography.html">move to Nice the following year to distance himself from wartime activity</a>. Such a move might prove difficult for non-affluent artists or those who fought in the war. Cubist sculptor Raymond Duchamp-Villon volunteered to fight while his brother, Marcel Duchamp moved to New York City instead. &ldquo;<a href="https://www.theguardian.com/artanddesign/jonathanjonesblog/2014/jul/24/top-10-arists-who-died-during-first-world-war-jonathan-jones">Trench warfare was lethal not just because of shells and machine gun fire but because of deeply unhealthy living conditions</a>,&rdquo; which led to Duchamp-Villon&rsquo;s exposure to typhoid and his death in 1918. The same year, the Spanish flu pandemic further increased the mortality rate in Europe, taking 20 million lives at the end of the war, along with Egon Schiele&rsquo;s, in Vienna, at the age of 28.</p> <p>The unknown artist Nina Baird is included in a memorial at London&rsquo;s Royal Academy, dedicated to art students who died during the war. The memorial &ldquo;represents the uncountable talents lost...before they had a chance to develop. The first world war occurred at one of the most creative moments in the history of art. There must undoubtedly be unknown geniuses among its dead.&rdquo;</p> <p>Times of crisis also see changes in artistic subject matter. During World War II, the British government&rsquo;s WAAC (War Artists Advisory Committee&mdash;not to be confused with the Women&rsquo;s Army Auxiliary Corps during the First World War) had 400 members; 52 of them &ldquo;<a href="http://www.independent.co.uk/arts-entertainment/art/features/women-at-war-the-female-british-artists-who-were-written-out-of-history-2264670.html">were women, the latter receiving fewer and shorter commissions, lower pay and far less publicity</a>.&rdquo; Dame Laura Knight was a member, and although she came from a bankrupt family, she managed to break through many glass ceilings for women in art. However, Knight&rsquo;s known themes of the ballet, the circus, and Gypsies were interrupted by the war. In a thematic shift she began depicting training camps, recruitment posters, women in factories, and other war-related content. Upon her own request, she was commissioned by the WAAC to paint <em>The Nuremberg Trial</em>&nbsp;(image at top), and spent three months in Germany observing the court. Shortly thereafter she returned to her interest in marginalized communities and individuals.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171030152558-Ruby_Loftus_screwing_a_Breech-ring__1943___Art._IWM_LD_2850_.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Dame Laura Knight, <em>Ruby Loftus Screwing a Breech Ring</em>, 1943, Oil on canvas. Collection: Imperial War Museums &copy; IWM</span></p> <p>&nbsp;</p> <p>In both wars, art exhibitions continued, a handful of careers developed, and collectors collected in the U.S. and Europe as millions of people suffered and died. Despite the art world carrying on, by the end of World War II, many effects and changes were evident in and outside of it. Most notedly, the art capital moving from Europe to the U.S., and the subsequent launch of a new movement, Abstract Expressionism. Not having any battles fought on U.S. soil in the twentieth century has a lot to do with its current status as the world power. Its strategic late entry into the Second World War boosted that favorable outcome and enabled the U.S. to capitalize on its newfound dominance in the arts and otherwise, as Europe, Russia, and Asia rebuilt themselves.</p> <p>Using the two wars as a template, one could safely conjecture that the art world will adjust and adapt to the global effects of climate change no matter how many people suffer. Day-to-day living will be greatly affected, so inevitably, exhibition and art fair culture will be too. Livable land will move with the weather. People who have means will migrate and establish new centers, creating new hubs of commerce and culture. With unbreathable air and extreme weather conditions people may move underground or remain indoors, leaving the house only when necessary. The demand for entertainment media could increase as a result and financially benefit creative industries.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171031154918-The-100-EP-112-The-White-Room-775x435.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">In the teen sci-fi drama,&nbsp;<em>The 100</em>, planet Earth is too toxic to support most life. One group of well-off survivors hoards resources&mdash;and artwork, like&nbsp;<em>The&nbsp;</em><em>Starry Night</em>, apparently&mdash;deep inside a mountain, hermetically sealed off from the rest of the planet and its struggling survivors.</span></p> <p>&nbsp;</p> <p>Should the internet remain intact, people will rely more heavily on socializing online, making the art world even more virtualized than it is today. Current benefits of social media, like non-discriminatory accessibility and visibility, have helped marginalized voices be heard and artists with little means be seen. If, in this hypothetical scenario, the art world predominantly utilizes social media for its viewership, and taking topical intersectional politics and awareness into account, marginalized artists could have a more level playing field. That is, if such artists are able to continue to make work in concert with surviving.</p> <p>It <em>is</em> entertaining to envision possible optimistic effects of climate change: the decentralization of the art world and capitalism; remote exhibitions inside luxury bunkers under scenic pastures in the middle of Wyoming and within Oculus Rift headsets; increased market value in networked and digital art; the complete removal of hierarchical institutional structures with a shift towards virtual providence that includes art from all places regardless of status, where the only connection you need to get in is an internet one. The reality of the situation, however, is most people will not be secure enough to make art. Infrastructure is not ready for dramatic environmental changes, and people in power already have plans in place to maintain it in spite of global and economic crises.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171030152445-perez_art_museum_miami_bayside_view_daniel_azoulay.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">&ldquo;Elevating the Museum 10 feet above storm surge requirements allowed parking below the Museum in an unprecedented design that integrates parking, planting beds, irrigation and storm surge storage. The innovative porous-floored garage, paths and rain gardens capture water, funneling it into the ground, reducing local flooding and runoff into Biscayne Bay, significantly reducing infrastructure expenditures.&rdquo; P&eacute;rez Art Museum Miami, bayside view. Photo: Daniel Azoulay photography</span></p> <p style="text-align: center;">&nbsp;</p> <p>Nevertheless, just as this essay speculates about the future of art on an inhospitable planet, so too are growing numbers of artists, curators, and institutions making and presenting work about climate change, with varying personal stakes. Maria Elena Ortiz, Associate Curator at the Perez Art Museum in Miami, describes how the architecture of the waterfront museum was built with climate change in mind, and how the museum is using artwork to raise these concerns at the very heart of the commercial art world:</p> <p style="margin-left: 80px;">At PAMM, we are very focused on addressing the social issues of our time, including climate change, which for obvious reason...is a topic of debate in our community. During Art Basel week, the museum will present several projects that take on the subject in relation to the architecture of our building, which was built raised-up to withhold rising sea levels...This among other projects will hopefully generate a poignant conversation on this subject. These initiatives&rsquo; essence is not necessarily about taking...a side on climate change, rather acknowledging it and creating a civil space for discussion.</p> <p>PAMM&rsquo;s fortified building evinces the future is here. The time for speculation has caught up with the time for action. It&rsquo;s one thing to plan and construct a well-considered building, it&rsquo;s another to prepare and protect the artists that create the work that fills it. How accountable should a museum be in providing local artists with succor in times of need? If only galleries and institutions could insure an artist&rsquo;s life <a href="http://salvageartinstitute.org/">as strongly as the objects she produces</a>. Artwork becomes artifact as soon as it enters into a collection just as the maker&rsquo;s death becomes its added value. In a capitalist art market, this removes any financial incentive or commodifiable concern for the artist&rsquo;s life.</p> <p>Climate change could shift the capitalist paradigm as survival is dependent on how well communities work together to subsist. &ldquo;Survival mode&rdquo; is often used to describe the state in which a lot of artists find themselves in today. There are not enough jobs, housing is inordinately expensive. Artists are overeducated, underpaid, and in debt. When you take global warming into account, the situation feels bleak and impossible to plan for. Most people don&rsquo;t have the means and are too consumed by present-day struggles. Perhaps, Nichole Caruso, current Director at Marlborough Contemporary and former Director at Wallspace&ndash;&ndash;which suffered extensive physical damage to property and artwork during Hurricane Sandy in 2012 and took four months to get up and running again&ndash;&ndash;best sums up the difficult position many find themselves in:</p> <p style="margin-left: 80px;">It&rsquo;s essential to consider the impact of climate change in advance of disaster, or else, as I experienced after [Hurricane] Sandy, the life blood of a gallery and its artists is cut off completely. Of course, there&rsquo;s a certain amount of preparation that can be done, but relegating resources to this particular issue is almost impossible knowing how limited bandwidth and finances tend to be.</p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/472848-audrey-l-phillips?tab=REVIEWS" target="_blank">Audrey L. Phillips</a></p> <p><em>Audrey Phillips is a Toronto-based writer. She is a regular contributor to AQNB.</em></p> <p>&nbsp;</p> <p><br /> <span style="font-size:12px;">(Image at top: Dame Laura Knight,&nbsp;<em>The Nuremberg Trials</em>, 1946,&nbsp;Oil on canvas. Collection: Imperial War Museums &copy; IWM</span><span style="font-size:12px;"><span style="text-align: center;">)</span></span></p> Tue, 31 Oct 2017 13:04:59 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Kelvin Haizel Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ew/articles/show/48386-under-the-radar-gwen-gerard-keith-o-anderson-sara-hupas" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/421072-kelvin-haizel" target="_blank">Kelvin Haizel</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>My current practice investigates the contemporary condition of the image. The body of work produced over the past two years allows the object-of-an-image to poke through the surface&nbsp;of the picture to assert its equality. And by so doing it rebels against its utilitarian service in the picture/object composite of the image sanctioned by the current norm.&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>To affectively use reason in the public interest.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171030090702-20171023202102-Haizel_Kelvin_6.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Untitled: Spontaneous Memorials, Antwemamena (on the Accra- Kumasi road)</em>, 2016, Digital photograph</span></p> <p>&nbsp;</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p>I made a silent covenant with God when I was 15 and we both honored&nbsp;our end of the bargain. I became an artist consequent&nbsp;to that.&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>I would love to literally connect the four Islands of the Comoros archipelago with a single rope.</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>ka ̢r&icirc;&rsquo;kach&auml; seid&rsquo;ou, <a href="https://dutchartinstitute.eu/page/6193/bernard-akoi-jackson">Bernard Akoi-Jackson</a>, <a href="https://iubeezy.wordpress.com/">Kwasi Ohene-Ayeh (IUB)</a></p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>Untitled for now: Memory, Fiction, Religion&hellip;</em>, 2015, Plaster of Paris casts on construction net, Site-specific installation at the Ussher Fort Prisons that calls into question the basis of religious belief systems as a colonial vestige)</span></p> Mon, 30 Oct 2017 06:08:32 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list The ArtSlant Prize for Emerging Artists | Apply Today for $5k in Prizes <table align="center" border="0" style="width: 100%; float: center;"> <tbody> <tr> <td> <table align="center" border="0" style="line-height: 30px; width: 100%; float: center;"> <tbody> <tr> <td> <p style="text-align: center;">&nbsp;</p> </td> </tr> <tr> <td style="padding: 10px;"> <p style="text-align: center;"><b style="font-family: helvetica; font-size: large;"><i>Round 8 is now open! Apply today for your chance at $5k in prizes!</i></b></p> <p style="text-align: center;"><font face="helvetica" size="4"><i><strong>To apply</strong>, sign in to <a href="https://www.artslant.com">artslant.com</a>, click the menu navicon <img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170906130218-Screen_Shot_2017-09-06_at_9.01.04_AM.png" style="width: 25px;" />&nbsp;and select&nbsp;<strong>ArtSlant Prize</strong>.</i></font></p> </td> </tr> </tbody> </table> </td> </tr> <tr> <td colspan="2">&nbsp;</td> </tr> <tr> <td style="padding: 10px;"> <p style="text-align: center;"><em style="font-size: large;"><strong><span style="font-family: helvetica;">ARTSLANT PRIZE IX</span></strong></em></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">1st Place: $3000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">2nd Place: $1000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">3rd Place: $1000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">Honorable Mention</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;"><span style="color: #00cfa6;">see below for more details</span></span></p> </td> </tr> <tr> <td colspan="2"> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170320214133-artslant-springbreak.jpg" style="width: 400px; height: 385px;" /></p> <p style="text-align: center;"><span style="font-size:10px;"><a href="https://www.artslant.com/la/articles/show/47340-announcing-the-artslant-prize-2016-winners-and-exhibition-at-springbreak-art-show" target="_blank">ArtSlant Prize 2016 Exhibition</a> at <a href="http://www.springbreakartshow.com/" target="_blank">SPRING/BREAK Art Show</a>, March 2017.</span><br /> <span style="font-size: 10px;">Image at top: ArtSlant Prize Round 8 Submission </span><em style="font-size: 10px;"><a href="https://www.artslant.com/ams/works/show/1056586">The Big Brother</a>&nbsp;</em><span style="font-size: 10px;">by Alexis Avlamis</span></p> <p style="text-align: center;">&nbsp;</p> <table align="center" style="width: 100%;"> <tbody> <tr> <td colspan="2"> <p><span style="text-align: justify; font-family: georgia, palatino; font-size: large; line-height: 30px;">The ArtSlant Prize is an annual competition hosted by ArtSlant.com. Up for grabs are exhibition and sales opportunities including inclusion in our&nbsp;</span><a href="https://www.amazon.com/sp?_encoding=UTF8&amp;asin=&amp;isAmazonFulfilled=&amp;isCBA=&amp;marketplaceID=ATVPDKIKX0DER&amp;orderID=&amp;seller=A2JPU387EQQ9HR&amp;tab=products&amp;vasStoreID=#" style="text-align: justify; font-family: georgia, palatino; font-size: large; line-height: 30px;">Amazon Art Sales Platform</a><span style="text-align: justify; font-family: georgia, palatino; font-size: large; line-height: 30px;">, and great exposure&mdash;not to mention cash prizes for selected ArtSlant Prize winners.&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><span style="line-height: 21px;">Check out the latest submissions from the ArtSlant Community on our&nbsp;</span><a href="http://www.artslant.com/ny/showcases/showcase" style="line-height: 21px;">Art page</a><span style="line-height: 21px;">. &nbsp;</span></span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><span style="line-height: 21px;">Previous ArtSlant Prize winners have gone on to secure gallery representation and have been purchased by prominent collectors, museum directors and personalities.</span></span></p> <p>&nbsp;</p> </td> </tr> <tr> <td> <table align="center"> <tbody> <tr> <td> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2016+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2016:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Brigitta Varadi</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Tiffany Smith</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Sterling Crispin</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Bex Ilsley</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Jinhee Park</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2015:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Theresa Ganz</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Tina Tahir</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Rachel Garrard</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Bryan Volta</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2014:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Edra Soto</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Adam Douglas Thompson</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Anastasia Samoylova</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Oren Pinhassi</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2013+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2013:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Robin Kang</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Maureen Meyer</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;&nbsp;</span><a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Alison Pilkington</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Alexis Courtney</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2012+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2012:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Veronica Bruce</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Stephen Vasquez Lopez</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/152389-susan-meyer" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Susan Meyer</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Timothy Gaewsky</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2011+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2011:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Holly Murkerson</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Jason Irwin</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Christine de la Garenne</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2010+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2010:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Chantel Foretich</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Robert Minervini</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2009+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2009:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Michael Zelehoski</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Yo Fukui</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Julie Davidow</a></p> </td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> </td> </tr> <tr> <td> <hr /> <p><span style="font-family: georgia, palatino; font-size: small;">**All participants in the ArtSlant Prize Showcase Series agree to ArtSlant&#39;s&nbsp;&nbsp;<a href="http://www.artslant.com/global/articles/show/5575">Terms &amp; Conditions</a>.</span></p> <p><span style="font-family: georgia, palatino; font-size: small;">**<em>Fees from the Artslant Juried Showcase competitions will be dedicated to the promotion of our prize winners and the administration of the competition.</em></span></p> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Thu, 26 Oct 2017 13:02:15 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Artist Residency FINAL CALL: Last Chance to Apply for 2 Months Paid in Paris <table align="center" cellpadding="10" style="width: 600;"> <tbody> <tr> <td> <p>It&rsquo;s your last opportunity to apply for the February&ndash;March 2018 Paris residency! The application period closes&nbsp;October 31, 2017. <strong><a href="https://www.artslant.com/par/foundation" target="_blank">Apply here</a>.</strong></p> <p>The Georgia Fee Artist | Writer Residency provides the recipient with:</p> <ul> <li> <p>An apartment/studio in the 15th arrondissement</p> </li> <li> <p>Travel to and from Paris</p> </li> <li> <p>$1000/month stipend&nbsp;</p> </li> </ul> <hr /> <p>The Residency selects artists and writers who critically engage with the city of Paris, its history and its potential. It provides an opportunity for awardees to explore the cultural landscape of the city; to deepen their practice through experimention and research; and to increase exposure of their work to an international audience.</p> <p>Visual artists of all mediums, art writers, and critics, 24 years or older are welcome to apply. Selection is made based on the merit of past work, the potential for future success, the ability to independently develop new work, and the proposed project&rsquo;s relevance to the city of Paris. Recipients will be required to produce a serial, web-based component (blog, visual essay, hypertextual experiment, etc.) which will be hosted on ArtSlant.com.</p> <p>The Georgia Fee Artist | Writer Residency in Paris provides the recipient with lodging for 2 months in an apartment/studio in the 15th arrondissement, travel to and from Paris, and a $1000/month stipend. Residents are expected to secure their own travel documents and visas. Requirements depend on country of origin.&nbsp;</p> <p style="text-align: center;"><strong><a href="https://www.artslant.com/par/foundation">Apply here</a>.</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171024080341-georgia-fee-50-kisses.jpg" /></p> <p style="text-align: center;"><span style="font-size:10px;">Georgia Fee,&nbsp;50 Kisses, 2001.</span></p> <p>&nbsp;</p> <p>The&nbsp;Georgia Fee Artist | Writer Residency&nbsp;was established in memory of&nbsp;<a href="https://www.artslant.com/ew/articles/show/32913">ArtSlant&rsquo;s Founder who passed away December 8, 2012.</a> Georgia was dedicated to supporting and investing in artists and writers, and had a deep connection with the city of Paris.&nbsp;</p> <p><a href="https://www.artslant.com/par/foundation">https://www.artslant.com/par/foundation</a></p> </td> </tr> </tbody> </table> Mon, 30 Oct 2017 05:59:35 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Quantum Natives: Meet the Artist Crew Charting New Digital Terrain <p>It&rsquo;s easy to get lost in the Quantum Natives universe. The global-collective-slash-platform-slash-record-label is tricky to summarize, and even trickier to navigate. Fortunately, though, <a href="http://quantumnatives.com/" target="_blank">there&rsquo;s a map</a>. Inspired by the world-building practices of fantasy and science fiction, this strange, debased Google Map allows the visitor to meander through its wash of dreamy colors and unidentifiable symbols. Each project icon floats ominously above its surface, casting long gothic shadows. This is cartography in flux, a digital d&eacute;rive: click on one icon, and up pops a tweet from <a href="http://www.aqnb.com/2016/01/08/introducing-rosens-portals-a-transmedia-narrative/" target="_blank">transmedia artist Rosen</a>: &ldquo;If u found a portal and couldn&rsquo;t see what was on the other side wud you go in?&rdquo; Some icons bring up CAD drawings, others, SoundCloud clips. Once, although I&rsquo;ve never found it since, I landed in a 3D-rendered art exhibition.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171023143346-Quantum_Natives_map.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">View of the Quantum Natives map, with work by Dane Law</span></p> <p>&nbsp;</p> <p>As co-founder Awe IX&mdash;who also makes music as Yearning Kru&mdash;tells me, the map reflects the lateral and digital nature of Quantum Natives more generally. &ldquo;It doesn&rsquo;t present something as being the most important, compared to a feed or a timeline,&rdquo; he says. &ldquo;It allows you to separate all these artists like little worlds, with their own idiosyncratic practices, but you can still also draw links between them.&rdquo; Awe IX lives in Taipei, several time zones away from fellow co-founder, James Stringer (aka Brood Ma) in London, as well as others who fall into the Quantum Natives sphere. Digital space, then, has become a necessary stand-in for physical space, with conversations often taking place on Facebook or Skype&mdash;spaces in which Quantum Natives are entirely autochthonous. The rhizomatic nature of online space reflects their porous and globally dispersed offshoots. Unapologetically promiscuous, some artists will work on a single project before disappearing, while others will participate for months, even years.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171023143446-QNICA-YearningKru.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Yearning Kru</span></p> <p>&nbsp;</p> <p>Since its foundation in 2010, around 20 people have been involved to varying degrees. The map allows this milieu of artists to stake a claim to their own aesthetic identities&mdash;whether psychedelic, brutal, industrial, upbeat&mdash;while remaining part of a whole. Although far from cohesive, taken together, they leave you with a creeping sense of disquiet, a dryness in the throat, as though all of the anxieties and contradictions of the present are, quite literally, mapped out in front of you.</p> <p>&ldquo;I mean, obviously I&rsquo;m quite interested in these dystopias,&rdquo; says James, who works under the pseudonym Brood Ma. &ldquo;But I always felt that they were critiques of what I saw as quite a juvenile obsession with the end of the world.&rdquo; Of all the creators associated with Quantum Natives, Brood Ma has perhaps borne the brunt of criticism for his exploration of brutality. Both his visual and aural projects are disheveled, even aggressive; his last album, <em>Daze </em>(released on Tri Angle in 2016), was filled with thunderous crashes and fretful synths. It was met with accusations of poor taste and even worse politics. &ldquo;It was a dark space,&rdquo; he says, &ldquo;and obviously exploring that is tricky.&rdquo; Eager to clarify his position, he later sends me an email. With <em>Daze</em>, he writes, he wanted &ldquo;to explore among other things the absence of morality / empathy within shared digital spaces (particularly games spaces)&mdash;and I used the landscape of Day-Z (an apocalyptic zombie survival horror game) as a way to frame this&mdash;as it is predominantly populated and dominated by juvenile men and teens.&rdquo; Perhaps, however, in a post-Gamergate landscape, and in the face of ascending neofascism, even an ironic, rib-nudging glorification of violence and dystopia misses the beat. For too many people, dystopia is now; it&rsquo;s already here &mdash;&nbsp;just without the sci-fi aesthetic. To use dystopia as a tool for ironic play could, despite the best of intentions, affirm its normalcy.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171023143553-QNICA-BroodMa.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Brood Ma</span></p> <p>&nbsp;</p> <p>Standing amidst broken glass and ruined skyscrapers, both James and Awe IX are eager to leave Quantum Natives&rsquo; dystopian past behind. James is now working with more organic sounds, and spending more time developing immersive Unity game engines, &ldquo;a lot more textural &hellip; audio spaces essentially.&rdquo; Awe IX, whose own music undulates more towards the psychedelic, prefers a quasi-surrealist approach, slipping into unconscious minds to reconfigure the everyday. For him, &ldquo;more abrasive club music&hellip; deliberately tries to be anti-escapist, because it has this very jarring quality to it. It wakes you up. Whereas, I suppose, [my music] lulls you into a trance-like state.&rdquo; Recognizable tropes and pulpy pop culture references, he suggests, prevent this from tumbling into banal escapism. Not so much Lautreamont&rsquo;s chance encounter of sewing machines and umbrellas, but rather Pantene Pro V with a peyote chaser.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171023143625-QNICA-Recsund.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">recsund</span></p> <p>&nbsp;</p> <p>Where the Quantum Natives founders are serious and ruminative, Clifford Sage, or recsund, is unwaveringly cheery and animated. One of Quantum Natives&rsquo; more active members, he began making &ldquo;sound diaries&rdquo; as a teenager, using an incomprehensibly complex system of layering in Windows Sound Recorder. &ldquo;There was a &lsquo;no revert&rsquo; button, but I didn&rsquo;t dare click on it,&rdquo; he says. More recently, however, he&rsquo;s been working on his avatar, ProDance&reg;, a 3D-modeled, Janus-faced avatar who doubles as an intergalactic transmission system. ProDance&reg; began as a joke, a parody of the smooth, clean lines of CAD-sculpted net art, but has since evolved into a fully-fledged character with his own backstory. Clifford is now collaborating with James to integrate ProDance&reg; into a game engine.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/brT09Ye4L8s" width="700"></iframe></p> <p>&nbsp;</p> <p>Like other Quantum Natives artists, he&rsquo;s also interested in world-building, and in its potential for blurring the real and imaginary. Recalling a childhood memory, he says:</p> <p style="margin-left: 80px;">I&rsquo;ll never forget my dad getting annoyed with me because we were on a walk and I&rsquo;d be like, &lsquo;oh my god that building is like something out of [computer game] <em>Riven</em>!&rsquo; He&rsquo;d be like, <em>Riven</em> is out of someone else&rsquo;s imagination! This is real life! I didn&rsquo;t really see what was wrong with someone else&rsquo;s imagination. That it could distract me in reality, even in a beautiful place.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/ezfFMPhskqI" width="700"></iframe></p> <p>&nbsp;</p> <p>At their <em><a href="http://issueprojectroom.org/event/quantum-natives-grace-nexus-brood-ma-yearning-kru-rosen" target="_blank">Grace Nexus</a></em> performance earlier this year, Quantum Natives used a game engine to create a 3D model of the space (Brooklyn&rsquo;s Issue Project Room), which was tweaked and remodeled before being projected back into that same space. The result was an immersive, constantly shifting alien surface on top of the original; it simultaneously diminished and accentuated that which was familiar. In their own literature, they described the night as &ldquo;an act of tourism&rdquo; into the Quantum Natives universe. This kind of project goes beyond conventional world-building, where that other world is only ever an eternal elsewhere. <em>Grace Nexus</em> pulled that other world into our own.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171023151246-Quantum_Natives_map_with_playlist.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">Quantum Natives map with SoundCloud playlist</span></p> <p>&nbsp;</p> <p>This slippage between reality and fantasy is fun, for sure, but it&rsquo;s also a useful exercise. What happens when real space becomes a palimpsest? When you layer new worlds on top of the old? I&rsquo;m wary of overstating the case here, but it does remind me of the quote, variously attributed to Mark Fisher, Frederic Jameson, and Slavoj Zizek, that goes something like, &ldquo;It is easier to imagine an end to the world than an end to capitalism.&rdquo; Maybe we just need the right tools to imagine new worlds.</p> <p>&nbsp;</p> <p>&mdash;Siobhan Leddy</p> <div><em>Siobhan Leddy is a writer and editor based in Berlin.</em></div> <div>&nbsp;</div> <p><span style="font-size:12px;">(All images: Courtesy of Quantum Natives)</span></p> Tue, 24 Oct 2017 07:09:08 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Keith O. Anderson Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ew/articles/show/48386-under-the-radar-gwen-gerard-keith-o-anderson-sara-hupas" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/130651-keith-o-anderson" target="_blank">Keith O. Anderson</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>My attempt is to rewrite these familiar objects with new meaning and currency.</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>To delve inward, outward, on a perilous journey, resurfacing to illuminate all that one has discovered, to solely bring attention to a higher purpose.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171023071201-20170501201116-I_brought_a_Pyramid_from_Egypt_to_our_first_meeting-_Acrylic_paint__cloth_napkins_and_wood-_22_7.8_x_22_in-_20178.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>I brought a Pyramid from Egypt to our first meeting</em>, 2017, Acrylic paint, cotton cloth napkins, china marker and mdf board.&nbsp;</span></p> <p>&nbsp;</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p>Being a father of two boys has been by far my greatest accomplishment.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>I am too busy being a maker of things to ever consider this.</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p><a href="https://en.wikipedia.org/wiki/Nicolas_de_Sta%C3%ABl" target="_blank">Nicolas de Stael</a>, <a href="http://www.adrianpiper.com/" target="_blank">Adrian Piper</a>, <a href="http://sengasenga.com/about.html" target="_blank">Senga Nengudi</a></p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>From the book of Tao</em>, 2016,&nbsp;Archival masking tape, Black wrap aluminum foil and fire residue)</span></p> Mon, 23 Oct 2017 04:43:22 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Ways of Seeing Judy Chicago’s “The Dinner Party” <p>&ldquo;My lifelong goal has been to overcome the erasure that has eclipsed the contributions of so many women,&rdquo; said <a href="http://www.judychicago.com/" target="_blank">Judy Chicago</a> on the occasion of two new exhibitions examining the production of her best-known work, The Dinner Party. These exhibitions, currently at the <a href="https://www.artslant.com/ew/events/show/454760-inside-the-dinner-party-studio" target="_blank">National Museum of Women in the Arts</a> in Washington, D.C., and the <a href="https://www.artslant.com/ams/events/show/454635-roots-of-the-dinner-party-history-in-the-making" target="_blank">Brooklyn Museum</a>, uniquely present the seminal artwork in a now unfamiliar way, recalling the authentic grit of the feminist process, and the inclusive approach of its complete original installation design.</p> <p>Some feminists have argued enough ink has been spilled on Judy Chicago. But her banquet-sized table and the surrounding installations which originally encompassed <em>The Dinner Party</em>&mdash;produced from 1974 and 1979 with more than 400 volunteers&mdash;endure as the subject of exhibitions and scholarship. This season&rsquo;s exhibitions each revisit the origins and development of <em>The Dinner Party</em>, best known, a bit incompletely, for its 39 place settings symbolizing the contributions of women throughout Western history.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171019134536-Process04_ROTDP_ThroughTheFlower_14-2_JCatworkonentrywaybanners.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago Designing the Entry Banners for <em>The Dinner Party,</em>&nbsp;1978. Courtesy of Through the Flower Archive</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Time for (Re)Presentation</strong></p> <p><em>The Dinner Party </em>is often described as a monumental icon to women and feminist art, and sometimes, erroneously, to Chicago herself. Monuments, of course, are contested territory, the terrain on which fiery discussions about representation, history, and memory take place: who is celebrated, and who is left out? Some feminist critiques of monuments balk at the very notion of canonizing individuals, of making &ldquo;heroes.&rdquo; Every one of us has an impact on our world, argue these theorists, and crediting individuals promotes the myth of the patriarchal archetype genius. <em>The Dinner Party</em>, conceived as an exercise in counteracting erasure and rethinking history as written, is often critiqued as doing the very opposite. It is in this light, timed with the new exhibitions looking back to the conception and original execution of the work, that a contextual discussion around the (lingering, but often hushed) controversies surrounding Chicago and <em>The Dinner Party </em>seems particularly warranted.</p> <p>In 2007, <em>The Dinner Party</em> became a permanent installation at <a href="https://www.brooklynmuseum.org/eascfa/" target="_blank">The Elizabeth A. Sackler Center for Feminist Art</a> (EASCFA) inside the Brooklyn Museum. Chicago&rsquo;s other work has also been acquired by major institutions in recent years. To some, this institutional recognition throws Chicago&rsquo;s feminism into question, as their goal is to stay outside such hallowed spaces; to others, Chicago has now &ldquo;made it&rdquo; and is thus unworthy of more discussion (despite the fact that it took decades to achieve a permanent home for <em>The Dinner Party</em>). Thus, the complete work remains largely overlooked by feminist and art historical documentation, and highly misunderstood and under-recognized by academia&mdash;despite its popularity with museumgoers. Chicago&rsquo;s oeuvre and legacy are worthy of further discussion, not only for the sake of the artist and <em>The Dinner Party</em>, but in service of fully researching and contextualizing other work by women.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171019135049-Process03_ROTDP_ThroughTheFlower_Runners2.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>The Dinner Party</em> Needlework Loft, 1977. Courtesy of Through the Flower Archive</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Lingering Discontent from a Controversial Tour</strong></p> <p>Chicago may now be seen as museum-approved, though she works outside it. <em>The Dinner Party</em>, too, was created by institutional outsiders, and designed to challenge the traditional, white-walled, &ldquo;solitary genius&rdquo; (typically white male) framing of art history.</p> <p>When <em>The Dinner Party </em>first went on tour from 1979&ndash;1988, controversies around the artwork were well known in mass media and academia. Some major institutions would not even temporarily display the contentious piece&mdash;even <a href="https://www.c-span.org/video/?c4045143/floor-action-dinner-party" target="_blank">The House of Representatives discussed the &ldquo;provocative&rdquo; nature</a>, debating its artistic integrity versus its purported pornography in its liberal (yet abstract) representation of vulvas.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171019134711-EL157.036_ROTDP_JudyChicago_10645-Study-for-Herschel-Anthony-Blackwell-Smyth-Plates.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago (American, born 1939). Study for C. Herschel, S. Anthony, E. Blackwell, and E. Smyth plates from T<em>he Dinner Party</em>, 1978, Ink and collage on paper, 23 x 35 in. Courtesy of the artist. &copy; 2017 Judy Chicago/Artists Rights Society (ARS), New York. (Photo &copy; Donald Woodman)</span></p> <p>&nbsp;</p> <p>While conservative critics had problems with its so-called sexual nature, feminists argue the repeated use of the vulva throughout the 39 table settings, essentializes women by reducing them to their biology alone. For second wave feminists like Chicago, the use of feminine iconography celebrated and broadened the discussion of women. At the time, artists were using imagery like the vulva to critique <em>society&rsquo;s </em>reduction of women to their biology&mdash;not the other way around. The essentialist argument today, though not without merit, is truly an argument expressed in hindsight.</p> <p>Despite venue cancellations and widespread <a href="http://people.com/archive/sassy-judy-chicago-throws-a-dinner-party-but-the-art-world-mostly-sends-regrets-vol-14-no-23/" target="_blank">criticisms</a>, <em>The Dinner Party</em> was immensely popular during its international grassroots tour, causing lines lasting hours, breaking attendance and fundraising records. (To note, <em>The Dinner Party, </em>though fragmented from its entire original exhibition installation<em>,</em> is the most popular piece at the Brooklyn Museum.)</p> <p>&nbsp;</p> <p><strong>What (and Who) We&rsquo;re Not Seeing Today</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171019134809-2002.10_Donald_Woodman_photograph.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago, <em>The Dinner Party</em>, 1974‒79, Ceramic, porcelain, textile, 576 x 576 in. Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10. &copy; 2017 Judy Chicago / Artists Rights Society (ARS), New York. Photo &copy; Donald Woodman</span></p> <p>&nbsp;</p> <p>The entirety of the original installation of <em>The Dinner Party</em> included displaying Heritage Banners (in a hallway leading up to the table), the artwork table and Heritage Floor tiles, Heritage Panels (a collage contextualizing the 1,038 women featured in the place settings and Heritage Floor), Documentary Panels (showing volunteers working on the piece), Acknowledgement panels (listing volunteers who worked on it), Donor Panels, and, after the first exhibition, portions of <a href="http://louisville.edu/art/facilities-resources/international-honor-quilt" target="_blank">The International Honor Quilt</a>.<a href="#_ftn1" name="_ftnref1" title="">[1]</a> Often, installations would be complemented by a group exhibition of china painters to give context and credit to those who worked on the place settings. The exhibitions were also complemented by local events, exhibits, courses, and other projects which added to the regional context of each tour stop. Some venues could not house all of these elements (or did not want to due to the educational/non fine art aspects). Tellingly, when regarded in documentation today, these elements seem to not exist, ironically leaving behind crucial parts of an installation that was meant to honor those left out of history. That early attention focused on the table likely impacted its permanent installation at the Brooklyn Museum as just the table and Heritage Banners. Art historians today largely recognize it as these elements alone.</p> <p>The International Honor Quilt counters another criticism of <em>The Dinner Party</em>: that it excludes many women by focusing on Western societies and mainly white women of royal status.<a href="#_ftn2" name="_ftnref2" title="">[2]</a> This remains a pertinent critique of <em>The Dinner Party, </em>though it disregards Chicago and her team&rsquo;s research process and intent. Starting from ground zero they considered some 3,000 women in detail, without computers. They were bound to the limited resources about women&rsquo;s history available in the 1970s. Chicago maintains the project is a <em>symbol</em> of the history of women in Western civilizations, not a history in entirety. Still, Chicago heard the critique and responded with The International Honor Quilt. Artists and non-artists alike were invited to contribute a triangle quilt patch honoring the women that made an impact on them. The initiative amounted to hundreds of quilts and added another layer to the expansive artwork.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171019134927-Process01_ROTDP_ThroughTheFlower_J-WorkingonceramictilesfortheHeritageFloor.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>The Dinner Party</em> Workers Painting Names on the Heritage Floor Tiles, 1978. Courtesy of Through the Flower Archive</span></p> <p>&nbsp;</p> <p><em>The Dinner Party, </em>thus<em>, </em>is bigger than Chicago&mdash;although she was the leader and designer. The <em>understanding</em> of this tremendous work over time morphed, in some feminist circles, into a perceived aggrandizing monument to the artist. When it is mentioned in textbooks, the collaborative process is occasionally mentioned, but the focus is on the table, craft, its historical intent, criticism for whom it excludes, and Chicago&rsquo;s name itself. The inclusive elements of the original exhibition are scarcely recognized.</p> <p>Today, the permanent installation at The Brooklyn Museum includes just the Heritage Banners and the table artwork; aside from her tiny signature, unlit on the floor, and the museum&rsquo;s wall text, it does not glorify Chicago. Nevertheless, the simplified display overlooks the various people and contextual aspects that originally showcased the monumental work in a multilayered light. This is perhaps due to a slow shift from the original comprehensive environment&mdash;the collaborative studio&mdash;to an institutionalized, canonized display, something that, again, ironically <em>The Dinner Party</em> was fighting against.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171019135002-Process02_ROTDP_ThroughTheFlower_10-NeedleworkLoft.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago and Others Working in <em>The Dinner Party</em>&nbsp;Needlework Loft, 1978. Courtesy of Through the Flower Archive</span></p> <p>&nbsp;</p> <p><strong>Inside <em>The Dinner Party </em>Studio</strong></p> <p>Readings of artworks can change with context and curatorial decisions&mdash;this is not necessarily unique to this installation&mdash;but <em>The Dinner Party</em> perhaps epitomizes this impact. However, viewers now have a truly unique opportunity to see the story behind the collaborative making of the artwork, the situational context behind its design, and the historical information about the women featured.</p> <p>To celebrate the Judy Chicago Visual Archive at the <a href="https://nmwa.org/" target="_blank">National Museum of Women in the Arts</a>&rsquo; Betty Boyd Dettre Library and Research Center, NMWA presents <em>Inside &ldquo;The Dinner Party&rdquo; Studio</em>, an exhibition about the work&rsquo;s creation using archival documentation and film. Curated by Library Director Sarah Osborne Bender, the exhibition is up to the task of interpreting the multi-layered, materials-based project.</p> <p><em>Inside &ldquo;The Dinner Party&rdquo; Studio</em> focuses on the studio space and community led by Chicago, bringing together selected preparatory objects, illustrated letters and drawings, Documentary Panels, contact sheets and photographs, ephemera, and Johanna Demetrakas&rsquo; film, <em>Right Out of History </em>(1980), which documented the making of the artwork. Of note is a sketchbook which includes Chicago&rsquo;s plans for <em>The Dinner Party</em> and peripheral projects like <em>The Dinner Party: A Symbol of Our History </em>(1979), a book chronicling the history of the women featured in the piece and the story of the installation&rsquo;s creation. This exhibition catalogue, available throughout the original tour, was updated in 2007 with <em>The Dinner Party: Restoring Women to History</em>, which included a history of the tour itself. Also telling are Chicago&rsquo;s original plans for the permanent housing for the installation. Contrary to critiques about the work&rsquo;s museum recognition, permanent housing was one of the original goals&mdash;to ensure these women&rsquo;s histories are not lost again.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171020081129-EL157.002_ROTDP_NMWA_2001.3_transp.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago, Study for Emily Dickinson from The Dinner Party, 1977, Ink, photo, and collage on paper, 23 1/8 x 35 in. National Museum of Women in the Arts, Washington, D.C., Purchase, Members&rsquo; Acquisition Fund, 2001.3. &copy; 2017 Judy Chicago / Artists Rights Society (ARS), New York. Photo: Lee Stalsworth</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong>&ldquo;The Messiness of How It Really Got Done&rdquo;</strong></p> <p>On October 20, the Brooklyn Museum opens <a href="https://www.brooklynmuseum.org/exhibitions/roots_of_the_dinner_party" target="_blank"><em>The Roots of &ldquo;The Dinner Party&rdquo;: History in the Making</em></a>, the final exhibition in the acclaimed <em>A Year of Yes: Reimagining Feminism at the Brooklyn Museum</em>. The Museum calls it &ldquo;the first museum exhibition to examine the formal, material, and conceptual development&rdquo; of <em>The Dinner Party</em>. Including never-before-exhibited objects, the show focuses on the installation&rsquo;s development, its model of collaborative art-making, and how it remains &ldquo;a testament to the power of revising Western history to include women.&rdquo;</p> <p>The exhibition includes test plates, research documents, notebooks, and preparatory drawings from 1971 through 1979, with sections on Chicago&rsquo;s vision and material studies, research documents from Chicago&rsquo;s workshop, and ephemera from the worldwide tour. The exhibit adds depth and context to the visitor&rsquo;s experience of <em>The Dinner Party</em> while &ldquo;unpacking some of the misperceptions surrounding this controversial artwork and its critical reception.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171020080323-EL157.006_ROTDP_JudyChicago_ttf1000-Testing-the-Mound.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago, Testing the Mound for The Dinner Party, 1977, Porcelain and China paint, diameter: 14 in. Courtesy of the artist. &copy; 2017 Judy Chicago / Artists Rights Society (ARS), New York. Photo &copy; Donald Woodman</span></p> <p>&nbsp;</p> <p>This reflexive focus implies a unique acknowledgement of limitations of and by the Brooklyn Museum, and recognizing that, without additional context, perhaps misconceptions have been easily perpetuated.</p> <p>&ldquo;People might be accustomed to seeing the image of [<em>The Dinner Party</em> table], and part of her project has been aggrandized,&rdquo; EASCFA Curator Carmen Hermo, who curated the exhibition, told me recently. &ldquo;Now, people can see some of the messiness of how it really got done.&rdquo;</p> <p>Of note are displays representing the artists&rsquo; complex experimentation with mediums, containing, for example, broken plates; the evolution of the plates&rsquo; vulva / butterfly designs and the ensuing controversy; and the intense, detailed process the studio underwent to select the women to feature, including original cards listing information on over 3,000 women considered. The exhibition lends perspective into the authentic struggle to bring this idea to fruition; the complexity of feminist issues <em>The Dinner Party </em>brings to the fore; and also how it is interpreted and displayed by the EASFA today.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171020080530-82.165_PS1.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago, Sojourner Truth #2 Test Plate from The Dinner Party, circa 1978. Porcelain and China paint, diameter: 14 in. Brooklyn Museum, gift of Judy Chicago, 82.165. &copy; 2017 Judy Chicago / Artists Rights Society (ARS), New York. &copy; 2017 Judy Chicago / Artists Rights Society (ARS), New York. Photo: Sarah DeSantis, Brooklyn Museum</span></p> <p>&nbsp;</p> <p>Chicago and her original exhibition liaison, Diane Gelon, were both available for questions regarding items or details for the exhibitions. They worked with NMWA to try to identify the original volunteers presented in the Documentary Panels. This grounded readiness points to the continuing presence and interest of Chicago and her team in relation to this work. <em>The Dinner Party</em> remains a distinctive monument to women who remain at the margins of history pages, major institutions, and art gallery walls.</p> <p>After <em>The Roots of &ldquo;The Dinner Party&rdquo;</em> comes down, the surfeit of context will also come down. A printed handout and an interactive tablet will give historical context about the women featured; the Heritage Banners will remain as the &ldquo;hallway of respite&rdquo; before entering <em>The Dinner Party</em> gallery; the table will remain as a provocative centerpiece of the EASFA, contextualizing the feminist exhibitions around it in the Sackler Center, and curatorially encouraging critical thought for feminism and art past and present. Probably it will remain the most popular permanent artwork at the Brooklyn Museum, and aptly so, as women and minority artists remain under- and misrepresented; <em>The Dinner Party </em>reminds us of this, remaining a beautiful testament to overlooked populations.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171020080648-EL157.053_ROTDP_Salon94_Cartoon_10092.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Judy Chicago, Cartoon for Entryway Banner #2&mdash;And She Made for Them a Sign to See from The Dinner Party, 1978, Acrylic on paper, 38 x 60 in. Courtesy the artist and Salon 94, New York. &copy; 2017 Judy Chicago / Artists Rights Society (ARS), New York</span></p> <p>&nbsp;</p> <p>Other exhibitions are building on Chicago&rsquo;s artistic impact, such as <em>Judy Chicago&rsquo;s Pussies </em>at the <a href="http://jessicasilvermangallery.com/" target="_blank">Jessica Silverman Gallery</a> in San Francisco, on view through October 28, 2017, and <em>Womenhouse</em> at La Monnaie de Paris from October 20, 2017&ndash;January 28, 2018, which will continue on to the NMWA in the Spring 2018. As Chicago&rsquo;s work gains broader and more contextual repute (let&rsquo;s face it, many people outside art circles can hardly name a woman artist), so will that of other women&mdash;and, if anything, its critics and detractors will hopefully inspire others to take what Chicago started and build on its sentiments, grow it, make it better and even more just. There will always remain room for critique and praise: <em>The Dinner Party </em>can be both imperfect <em>and</em> feminist, an unfinished exercise in representing an incomplete history of women. But let it be accepted for its complexity, for its problems and its achievements&mdash;a simplified narrative, no matter who&rsquo;s doing the oversimplification, just isn&rsquo;t feminist.</p> <p><em><a href="https://www.artslant.com/ew/events/show/454760-inside-the-dinner-party-studio" target="_blank">Inside the Dinner Party Studio</a>&nbsp;runs from September 17, 2017&ndash;January 5, 2018 at the National Museum of Women in the Arts in Washington, D.C.</em></p> <p><em><a href="http://www.artslant.com/ams/events/show/454635-roots-of-the-dinner-party-history-in-the-making" target="_blank">Roots of &ldquo;The Dinner Party&rdquo;: History in the Making</a>, run from October 20, 2017&ndash;March 4, 2018 at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum in New York.</em></p> <p>&nbsp;</p> <p>&mdash;Sally Deskins</p> <p><em>Sally Deskins is a writer, artist and curator focusing on women and feminist issues. She blogs at&nbsp;</em><em><a href="http://femmesfollesnebraska.tumblr.com/" target="_blank">femmesfollesnebraska.tumblr.com</a></em><em>.</em></p> <p>&nbsp;</p> <div> <hr align="left" size="1" width="33%" /> <div id="ftn1"> <p><span style="font-size:14px;"><a href="#_ftnref1" name="_ftn1" title="">[1]</a> Sally Deskins, &ldquo;Revealing Judy Chicago&#39;s &lsquo;The Dinner Party&rsquo;: An Analysis of the Curatorial Context,&rdquo; thesis, West Virginia University, 2016, 197 p.; 10110160.</span></p> </div> <div id="ftn2"> <p><span style="font-size:14px;"><a href="#_ftnref2" name="_ftn2" title="">[2]</a> For example in Hilary Robinson, &ldquo;Reframing Women,&rdquo; <em>Circa, 72</em> (1995): 18-23.</span></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top:&nbsp;</span><span style="font-size: 12px; text-align: center;">&ldquo;The Dinner Party studio,&rdquo; 1978. Judy Chicago addresses a gathering of volunteers in the Dinner Party studio. Courtesy of National Museum of Women in the Arts. Photo: Amy Meadow)</span></p> </div> </div> Fri, 20 Oct 2017 07:33:50 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Ryan Kearney | Jesse Chun | Aggie Toppins <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/468969-ryan-kearney?utm_source=RyanKearney&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Ryan Kearney &ndash; London</span></span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1016454?utm_source=RyanKearney&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1016454/u3azr9/20161111102840-5.Ryan_Kearney-Martyrdom_of_St_Sebastian_2016.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1016455?utm_source=RyanKearney&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1016455/mf2ji7/20161111102845-Ryan_Kearney_Blades_2016.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1016463?utm_source=RyanKearney&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1016463/mf2ji7/20161111102928-Ryan_Kearney_Untitled_Chemical_etching_on_copper_2016.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1016461?utm_source=RyanKearney&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1016461/mf2ji7/20161111102918-Ryan_Kearney_Rocks_2016.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/492730-jessechun?utm_source=JesseChun&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Jesse Chun &ndash; Brooklyn</span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1067588?utm_source= JesseChun&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067588/u3azr9/20171010034609-R2018_Chun_Worksample04.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1067595?utm_source=JesseChun&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067595/mf2ji7/20171010034611-R2018_Chun_Worksample10.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1067593?utm_source=JesseChun&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067593/mf2ji7/20171010034610-R2018_Chun_Worksample08.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1067590?utm_source=JesseChun&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067590/mf2ji7/20171010034610-R2018_Chun_Worksample06.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/492725-aggie-toppins?utm_source=AggieToppins&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Aggie Toppins &ndash; Chattanooga, TN</span></a></p> <p><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067528/u3azr9/20171009213231-toppins_sendingscatalog_spread2_web.jpg" style="display: block; margin-left: auto; margin-right: auto; width: 100%;" /></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1067724?utm_source=AggieToppins&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067724/u3azr9/20171010230324-toppins_sipapu6_web.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1067525?utm_source=AggieToppins&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067525/u3azr9/20171009213230-toppins_sendings_spread7_web.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1067521?utm_source=AggieToppins&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067521/u3azr9/20171009213149-toppins_ctcv1_1web.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170213165906-ArtSlant_Prize_IX_2017-01.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/foundation?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.amazon.com/sp?_encoding=UTF8&amp;asin=&amp;isAmazonFulfilled=&amp;isCBA=&amp;marketplaceID=ATVPDKIKX0DER&amp;orderID=&amp;seller=A2JPU387EQQ9HR&amp;tab=products&amp;vasStoreID=#" style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182634-sales-room-200-logo.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Fri, 20 Oct 2017 04:45:52 -0300 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list