ArtSlant https://www.artslant.com/ny/Articles/show en-us 40 Tadasuke Jinno 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/ams/articles/show/47790-under-the-radar-denise-treizman-tadasuke-jinno-am-hanson" 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/480451-tadasuke-jinno" target="_blank">Tadasuke Jinno</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I&rsquo;d like people to doubt whether the things, or the world, they think is real is truly real.</p> <p>I make my artworks with elements causing viewers to have an illusion and to feel a slight discomfort like doubt or incongruity. I started my artistic activity when I moved to New York from Japan. What I realized by pursuing my art is that it was about my own feelings since I came to NY: I was a stranger feeling uncomfortable. When I was in my country, I&#39;d become accustomed to American and European films, TV, and music. However, what I feel after moving to NY is the sense as if I am still watching a fictional movie or TV happening somewhere else. I have been feeling incongruity like it&rsquo;s real but not realistic. To communicate this discomfort, doubt, or incongruity, I try to obscure the boundaries of things like reality and unreality.</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>I think it depends on artists and their situations. I think my responsibility as an artist at the moment is to face my art honestly. I believe that art is extremely free and anyone can be an artist in any way. That&rsquo;s why, without any excuse and exaggeration, you have to keep not lying to your art and yourself. How much I face my art is my responsibility as an artist.</p> <p><strong>Show us the greatest thing you ever made (art or not)?</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170724114401-blackbox2.jpg" /></p> <p align="center"><span style="font-size:12px;"><em>BLACK BOX#2</em>, 2017, Cotton, silk, acrylic and wood</span></p> <p align="center">&nbsp;</p> <p>I made this artwork at an artist-in-residence program at GlogauAIR in Berlin, Germany, in early 2017. This is an installation that people can touch and get in. I just would like to know how it is different from what you imagined when entering inside. It does not mean there is something special in inside such as lights, video, or music. However, you may feel something special when you come in, when you stay, and when you come out simply by experiencing it. And at that time&mdash;when you feel something different&mdash;my installation can exist as art. And I felt it was archived.</p> <p>I started my artistic activities from geometric paintings and have always been searching for a relationship between my artwork and viewers. By changing works in the viewing position and surrounding environment, or changing the installation angle, I have looked for the essential elements of the relationship between my art and its viewers. However, there are invisible walls or gaps in these relationships, such as distance or time lag or so on. The installation at GlogauAIR is the interactive experience where the work and viewers can finally come together.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>If I have something I want to do, then I will try. So I don&rsquo;t think now that I have work that I will never do. However, if I give one, I think it&rsquo;s a collaborative art with a living animal. I like animals and it&rsquo;s interesting if they react to my artwork. However, because I can&rsquo;t make sure of their consent to work with my artwork, I will never do that.</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>Fortunately, I&#39;ve met a lot of wonderful artists and it&rsquo;s hard to narrow them down to three. But if you dare to mention, <a href="http://www.hiromitsukuroo.com/" target="_blank">Hiromitsu Kuroo</a>, <a href="http://www.alessandrodelpero.com/" target="_blank">Alessandro del Pero</a>, and <a href="http://www.jankalab.com/" target="_blank">Jan Kal&aacute;b</a>, these are the three artists I&rsquo;d like you to know. Of course their art works are really fantastic, but also they are very sincere and stoic as artists.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <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: Tadasuke Jinno,&nbsp;<em>White Box</em>, 2017, Silk, wood, and acrylic)</span></p> Mon, 24 Jul 2017 08:32:09 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Joe Sinness | Elisabeth Condon | Jose Delgado Zuniga <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/17165-joe-sinness?utm_source=JoeSinness&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;">Joe Sinness &ndash; Minneapolis</span></span></a></p> <p><a href="https://www.artslant.com/ny/works/show/86322?utm_source=JoeSinness&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/86322/u3azr9/witness.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/ny/works/show/73782?utm_source=JoeSinness&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/73782/y8wnrh/01.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/86331?utm_source=JoeSinness&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/86331/y8wnrh/j_sinness11.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/86325?utm_source=JoeSinness&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/86325/y8wnrh/j_sinnes_Potential_New_Boyfriend.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/34539-elisabeth-condon?utm_source=ElisabethCondon&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Elisabeth Condon &ndash; Tampa &amp; Brooklyn</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1007546?utm_source= ElisabethCondon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1007546/u3azr9/20160915164306-ECondon_BrokenLinks_2016_72dpi.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/ny/works/show/913614?utm_source=ElisabethCondon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/913614/y8wnrh/20150518232304-ECondon_ReflectingPool-web.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/913621?utm_source=ElisabethCondon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/913621/y8wnrh/20150518233428-FlowerInterior_web.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/913616?utm_source=ElisabethCondon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/913616/y8wnrh/20150518232357-EC_FieldandFocus_lowres.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/316676-jose-delgado-zuniga?utm_source=JoseZuniga&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;">Jose Delgado Zuniga &ndash; New York City</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1051342?utm_source=JoseZuniga&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1051342/u3azr9/20170614193222-_DSC0150.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/ny/works/show/1053569?utm_source=JoseZuniga&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1053569/y8wnrh/20170630185822-panther.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1028563?utm_source=JoseZuniga&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1028563/y8wnrh/20170202033733-worldf.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1053570?utm_source=JoseZuniga&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1053570/y8wnrh/20170630190054-Under_The_Moonlight_2017_Oil_oncanvas.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/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" 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> Sun, 23 Jul 2017 06:44:03 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list In “The Times,” Artists Make the Media Their Message <p>With politically conscious art on the rise, a notable number of artists have turned to <em>The New York Times</em> as a vessel to convey social and political turmoil. The Gray Lady recently featured in solo exhibitions of <a href="https://www.artslant.com/ny/events/show/431673-the-new-york-times-paintings-november-december-2015" target="_blank">Wade Guyton</a> and <a href="https://www.artslant.com/ny/articles/show/47584-in-search-of-a-body-ak-burns-ode-to-endurance" target="_blank">A.K. Burns</a>, and this year&rsquo;s Whitney Biennial introduced <a href="http://whitney.org/Exhibitions/2017Biennial%23artists-43">Julien Nguyen&rsquo;s depictions</a> of the paper&rsquo;s front pages as allegorical tableaux and <a href="http://whitney.org/Exhibitions/2017Biennial%23artists-39" target="_blank">Aliza Nisenbaum&rsquo;s soothing paintings</a> of domestic life, including a vignette of a couple reading their copy of the <em>Times</em>.</p> <p>The FLAG Art Foundation&rsquo;s group exhibition <em>The Times</em> takes this surging trend up a notch, investigating mainstream media, and particularly the Paper of Record&rsquo;s role and responsibility in understanding &ldquo;the times.&rdquo; Given <em>these </em>times we&rsquo;re living in, you&rsquo;d be forgiven for assuming the show centers on the emergence of &ldquo;fake news&rdquo; and the vitriol directed toward reporters and media outlets since the 2016 presidential campaign (indeed, the exhibition kicked off with an <a href="http://www.artnews.com/2017/02/24/all-the-art-fit-to-show-and-none-of-it-fake-flag-foundation-plans-a-show-about-the-times/" target="_blank">open call</a> for <em>NYTimes</em>-related artwork back in February). In fact, many of the show&rsquo;s centerpiece artworks predate this political moment, or even the very notion that Donald Trump might ever run for president.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170721145346-OGrady_COTNYT_You_Can_Succeed_4_1977.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Lorraine O&rsquo;Grady, <em>Cutting Out the New York Times, You Can Succeed In Your Own Business</em>, 1977, Toner Ink on adhesive paper</span></p> <p style="text-align: center;">&nbsp;</p> <p>In an ambitiously intergenerational roster featuring works by Ellsworth Kelly, Nancy Chunn, On Kawara, Felix Gonzales-Torres, and Leigh Ledare, a large portion of the checklist dates back to before the 2016 presidential election, reaching as early as 1977 with an artwork by Lorraine O&rsquo;Grady. Nevertheless, each piece gains resonance in the current landscape: O&rsquo;Grady&rsquo;s work, for example, reads, &ldquo;We wrote the book on the danger of blurring fact and fantasy.&rdquo; Fostering a growing ideological divide within the nation, the Trump administration&rsquo;s rhetoric defames mainstream media, openly questioning its credibility. <em>The New York Times</em> has remained at the center of the president&rsquo;s belittlement with catchy slogans&mdash;most notoriously &ldquo;fake news!&rdquo;&mdash;and attempts to impede <a href="https://www.washingtonpost.com/news/the-fix/wp/2017/02/24/white-house-blocks-cnn-new-york-times-from-press-briefing-hours-after-trump-slams-media/?utm_term=.73e01c3223c1">access to press briefings</a> and factual records. As often as the <em>Times </em>reports the story, these days it has frequently <em>become </em>the story: from Trump&rsquo;s highly-discussed visit to its headquarters following the election to the paper&rsquo;s most recent news revealing an email exchange between Russian authorities and Donald Trump Jr. For all the governmental pushback, the paper has been uncompromising in its promise to uphold free speech and report the facts. &ldquo;<a href="https://www.nytimes.com/2016/11/23/opinion/no-trump-we-cant-just-get-along.html">No, Trump, We Can&rsquo;t Just Get Along</a>,&rdquo; was the headline of an op-ed piece by Charles M. Blow in late November.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170721145319-DMcKenzie_Yesterday_s_Newspaper_2007.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Dave Mckenzie, Yesterday&rsquo;s Newspaper, 2007, Walnut pedestal and day-old newspaper. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects. Photo: Dan Kvitka</span></p> <p>&nbsp;</p> <p>In an exhibition about social fragility and political unpredictability, no work could better serve as the opening piece than Dave McKenzie&rsquo;s <em>Yesterday&rsquo;s Newspaper </em>(2007), comprised of a wooden pedestal hosting today&rsquo;s <em>Times</em> whose headline during my visit read &ldquo;A Moscow Insider Trusted With Winning Cases.&rdquo; In contrast, Rirkrit Tiravanija&rsquo;s large-scale wall piece, <em>untitled 2017 (tomorrow is the question, january 21, 2017) </em>(2017), inscribes the phrase &ldquo;Tomorrow Is The Question&rdquo; atop pages of the titular date&rsquo;s paper.</p> <p>Keeping the uncertainty, but offering an introspective escape from the hefty political tone is O&rsquo;Grady&rsquo;s <em>Cutting Out the New York Times, You Can Succeed in Your Own Business </em>(1977&ndash;2010), a series of poems the artist composed using headline cut-outs. In addition to the aforementioned &ldquo;fact and fantasy&rdquo; text, lines such as &ldquo;A Flurry of Change on Fifth-Avenue&rdquo; followed by &ldquo;The Make-Believe World of City Blues&rdquo; range from ambiguous to romantic, urging us to unscramble their source.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170721145247-LS1994-190_New_York_Times_Cartoon__90_direct_scan_descreened_V700_300.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Sean Landers, <em>New York Times Cartoons</em>, 1994, Ink on newspaper, Dimensions variable. Courtesy of Petzel Gallery</span></p> <p>&nbsp;</p> <p>One room is reserved for artists referring to specific historical dates and events through the <em>Times&rsquo;</em> coverage; captured within headlines and columns, collectively traumatic moments&mdash;the 2001 World Trade Center attack or the Long Island plane crash in 1996, for example&mdash;are filtered through the paper&rsquo;s perspective. In these works, the newspaper becomes shorthand for the event itself; history meets historiography. Sean Landers&rsquo; wall-covering <em>New York Times Cartoons </em>(1994) installation transforms dozens of newspaper clippings into whimsical cartoons; images from political reportage and opera reviews are scribbled with comical dialogues. Similarly, the Zimbabwean-British artist Lubaina Himid&rsquo;s series of acrylic paintings substitutes newspaper pages for canvas. She colorfully accentuates each black-and-white articles&rsquo; subject matter using color and form to offer a foreign interpretation of the paper&rsquo;s American agenda. In <em>Bringing a Fire </em>(2017), sports coverage showing images of black athletes is adorned with rising flames in yellow and orange; <em>Mephisto </em>(2017) pairs an article on a Bronx-based Jamaican baker with a painting echoing his hand gesture in his photo.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170721145759-07_FLAG_The_Times_2017_SProbert.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Installation view of <em>The Times</em> at The FLAG Art Foundation, 2017. Photo: Steven Probert</span></p> <p>&nbsp;</p> <p>The second gallery hosts a salon-style presentation of 54 artworks ranging in size, context, and narrative. The works&rsquo; unifying thread is their varied appropriation of <em>The New York Times</em>. Some artists employ the newspaper&rsquo;s materiality, creating elaborate patterns and forms from the printed media on the surface; others totally dismantle the paper&rsquo;s psychic essence utilizing techniques from painting or printmaking. Some of the room&rsquo;s strongest works expand their critical approach to center on advertising and its numbing juxtaposition with news, regardless of its content. Richard Prince&rsquo;s <em>Untitled (Tiffany) </em>(2006) is an inkjet print of political news coverage contrasted by a tone-deaf Tiffany jewelry advertisement announcing &ldquo;Joy to the World.&rdquo; Robert Gober pairs up a photolithographic print of a faux bridal gown ad with a real article with the headline &ldquo;Vatican Condones Discrimination Against Homosexuals.&rdquo;</p> <p>Two works from Laura Fields&rsquo; <em>Front Pages with Pictures of Women </em>painting series cull subtle patterns from <em>Times</em> front pages showing women and girls in extreme agony due to war or famine: a curving breathing tube, a geometric head bandage. Challenging to grasp at first due to the artist&rsquo;s ability to strip these fragments from their original contexts, these abstract forms seem equally mundane and mathematical, catching the viewer off-guard with the way they contain human suffering.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170721145825-10_FLAG_The_Times_2017_SProbert.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Installation view of <em>The Times</em> at The FLAG Art Foundation, 2017. Photo: Steven Probert</span></p> <p>&nbsp;</p> <p>Leaving the gallery, I opened my daily Times briefing&mdash;an online service I recently purchased upon realizing how crucial it is to remain updated and confident in journalism these days&mdash;to encounter headlines about Russian intervention and the struggling health care bill. When the newspaper becomes the news, when it symbolizes&mdash;deliberately or not&mdash;advocacy for free speech and transparency, it is no longer the mediator, but the agent of content. It&rsquo;s little wonder artists in growing numbers utilize <em>The New York Times </em>today, realizing the paper&rsquo;s political potential for simply doing its job at a time when civic unrest and hegemony prevail. Every book burning, website shutting down, and border closing prompts us to comprehend what we could be deprived of.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/216750-osman-can-yerebakan?tab=REVIEWS" target="_blank">Osman Can Yerebakan</a></p> <p><em>Osman Can Yerebakan is a writer and curator based in New York.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Installation view of <em>The Times</em> at The FLAG Art Foundation, 2017. Photo: Steven Probert)</span></p> Fri, 21 Jul 2017 15:00:21 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Apply to The ArtSlant Prize for $5K in Prizes + Get Your Work Seen by These Amazing Jurors! <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;">&nbsp;</p> <p style="text-align: center;"><b style="font-family: helvetica; font-size: large;"><i>Round 6 closes soon! Apply today for your chance at $5k in prizes!</i></b></p> <p style="text-align: center;"><font face="helvetica" size="4"><i>To apply, go to your ArtSlant profile and click <strong>contest entry&nbsp;</strong>or go to the<br /> <strong>Contest tab </strong>of your account page. Check out our amazing Jurors below.</i></font></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><span style="font-family: helvetica; font-size:18px;"><strong><em>ROUND 6 JURORS:</em></strong></span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="ArtSlant_Prize_Jurors_2017" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170721122345-Screen_Shot_2017-07-21_at_14.22.57.png" /></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><font face="helvetica" size="4"><strong>Janet Dees</strong> is the Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art at the <a href="http://www.blockmuseum.northwestern.edu/" style="color: #00cfa6; tex-decoration: none;" target="_blank"><strong>Mary &amp; Leigh Block Museum of Art, Northwestern University</strong></a></font>.</p> <p style="text-align: center;"><font face="helvetica" size="4"><strong>Michelle Levy</strong> is Director of <strong><a href="http://www.projectspace-efanyc.org/" style="color: #00cfa6; tex-decoration: none;" target="_blank">EFA Project Space</a></strong>, a cross-platform contemporary art venue at The Elizabeth Foundation for the Arts.</font></p> <p style="text-align: center;"><font face="helvetica" size="4"><strong>Chris Cook</strong> is the Executive Director of <strong style="color: rgb(0, 207, 166);"><a href="http://www.bemiscenter.org/" style="color: #00cfa6; tex-decoration: none;" target="_blank">Bemis Center for Contemporary Arts</a></strong>.</font></p> <p style="text-align: center;">&nbsp;</p> <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 &nbsp;</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> <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></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: justify;"><span style="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="http://www.amazon.com/gp/node/index.html?ie=UTF8&amp;marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Amazon Art Sales Platform</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, and great exposure&mdash;not to mention cash prizes for selected ArtSlant Prize winners. See below for all the details.</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;&nbsp;</span></span></p> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><span style="font-size:16px;"><span style="font-family: georgia, palatino; 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 style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2016 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" target="_blank">Brigitta Varadi</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" target="_blank">Tiffany Smith</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" target="_blank">Sterling Crispin</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" target="_blank">Bex Ilsley</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" target="_blank">Jinhee Park</a></span></p> <p style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2015 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" target="_blank">Theresa Ganz</a>, <a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" target="_blank">Tina Tahir</a>, <a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" target="_blank">Rachel Garrard</a>, <a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" target="_blank">Bryan Volta</a></span></p> <p style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2014 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" target="_blank">Edra Soto</a>, <a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" target="_blank">Adam Douglas Thompson</a>, <a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" target="_blank">Anastasia Samoylova</a>, <a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" target="_blank">Oren Pinhassi</a></span></p> <p style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2013 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" target="_blank">Robin Kang</a>, <a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" target="_blank">Maureen Meyer</a>,&nbsp;&nbsp;<a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" target="_blank">Alison Pilkington</a>, <a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" target="_blank">Alexis Courtney</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2012 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce">Veronica Bruce</a>, <a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" target="_blank">Stephen Vasquez Lopez</a>, <a href="http://www.artslant.com/global/artists/show/152389-susan-meyer">Susan Meyer</a>, <a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" target="_blank">Timothy Gaewsky</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2011 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" target="_blank">Holly Murkerson</a>, <a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" target="_blank">Jason Irwin</a>, <a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" target="_blank">Christine de la Garenne</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2010 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" target="_blank">Chantel Foretich</a>, <a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" target="_blank">Robert Minervini</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2009 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" target="_blank">Michael Zelehoski</a>, <a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" target="_blank">Yo Fukui</a>, <a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" target="_blank">Julie Davidow</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;&nbsp;</span></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> <p style="text-align: center;">&nbsp;&nbsp;</p> Fri, 21 Jul 2017 09:33:56 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Jim Shaw Transforms a Former Masonic Temple into a Postmodern Hellscape <p>One can&rsquo;t help but think of the current political climate when looking at Jim Shaw&rsquo;s apocalyptic installation <a href="https://www.artslant.com/ew/events/show/450662-the-wig-museum" target="_blank"><em>The Wig Museum</em></a><em>, </em>one of two inaugural exhibitions at the new Marciano Art Foundation in Central LA. The Scottish Rite Freemasons, the previous owners of the building, left behind an eclectic collection of set designs, paintings, wigs, and costumes they used in their rituals. These artifacts were perfect materials for Shaw, whose work has explored religion, the occult, and the esoteric for three decades, often using found materials from thrift stores.</p> <p><em>Jim Shaw: The Wig Museum</em> is the artist&rsquo;s first major solo exhibition in Los Angeles, where he has lived for the last thirty years. Originally coming out of the Detroit-based Destroy All Monsters, an art collective and band formed with Mike Kelley, Ron Asheton, and Niagara, Shaw interrogates pop culture and late capitalism using biblical imagery, particularly from the Book of Revelations. This new immersive installation combines murals, sculptures, and drawings that reverberate his earlier themes, and re-contextualize materials from the Scottish Masonic temple.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170720143845-Jim_Shaw_Wig_Museum_9.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">Jim Shaw,&nbsp;</span><em style="font-size: 12px;">The Wig Museum</em><span style="font-size: 12px;">, 2017, Installation view at Marciano Art Foundation. Photo: Robert Wedemeyer. Courtesy of Marciano Art Foundation</span></p> <p style="text-align: center;">&nbsp;</p> <p><em>The Wig Museum</em> incorporates figures and symbols also featured in Shaw&rsquo;s concurrent LA solo at <a href="https://www.artslant.com/global/events/show/446995-solo-exhibition" target="_blank">Blum &amp; Poe</a>. Many paintings exhibited at the gallery reappear as black-and-white cutouts at <em>The Wig Museum</em> installation. A hairy creature tortures a leonine superhero in <em>Nebuchadnezzar in Abu Ghraib </em>(2017), which references the longest-reigning king of Babylon, as well as the American occupation in Iraq and use of torture. <em>The Wig Museum </em>reflects on an Anglo-Saxon power that is coming to an end, and in appropriating the wigs and using the hairy figure&mdash;a literal walking wig&mdash;as a symbol for that power, Shaw depicts the hairpiece-wearing masonry with an ironic eye. The Queen of England is reimagined as Anima Sola, a &ldquo;lonely soul&rdquo; trapped in purgatory, in one painting&mdash;the Old World elite, rather than the American elite, seem to be more of the target in this series. However, <em>The Wretched Refuse</em> (2017) also depicts Donald Trump amidst a sea of popes wearing alligator heads, taking note of the current &ldquo;wig-wearer&rdquo; in power. Additionally, Blum &amp; Poe features Shaw&rsquo;s more abstract &ldquo;Chaos&rdquo; series, dark drawings of figures tangled in what looks like human hair&mdash;or perhaps a pit of flames.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170720142435-Jim_Shaw_Wig_Museum_20.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Jim Shaw, <em>The Wig Museum</em>, 2017, Installation view at Marciano Art Foundation. Photo: Robert Wedemeyer. Courtesy of Marciano Art Foundation</span></p> <p>&nbsp;</p> <p>Wearing wigs has been a marker of status and wealth in Anglo-Saxon culture for centuries, especially in secret societies. The Scottish Rite Masonry mandated that wigs be worn during all meetings and staged elaborate performances starring the all-male cast donning a variety of ornate headgear. At the Marciano Collection, a small room dedicated to the wigs formerly worn by the Scottish Masonry highlights the performative nature of the act of wig-wearing. They are reimagined in bright, glam-rock styles, with names like <em>Maelstrom</em> and <em>Galaxy</em>, again mixing high and low brow, performativity with the esoteric.</p> <p>There are also distinctive Los Angeles elements to the installation: a film strip cutout frames the main mural&rsquo;s hell pit, Old Hollywood-style signs hover around the &ldquo;Wig Museum,&rdquo; and spotlights color the walls. There is a cinematic layer to the installation, which creates a sense of self-awareness the Masonry lacked in their pageantry. Biblical symbols&mdash;a three-headed snake, an angel, and a devil&mdash; are painted over landscape backdrops, and a colossal waterslide leads to a painting of heaven. The expansive room would dwarf most art installations, but Shaw&rsquo;s immersive dystopia appropriately fills the auditorium that once sat up to 2,000 Freemasons for their operas and plays. In fitting with the mood of the Freemasons, Shaw&rsquo;s exhibition blurs the line between entertainment and ritual in politics and power, exposing the extravagance of the Anglo-Saxon elite while still retaining the mystery in its mythology.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170720142541-Jim_Shaw_Wig_Museum_14.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Jim Shaw, <em>The Wig Museum</em>, 2017, Installation view at Marciano Art Foundation. Photo: Robert Wedemeyer. Courtesy of Marciano Art Foundation</span></p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/452094-sola-agustsson?tab=REVIEWS" target="_blank">Sola Agustsson</a></p> <p><em>S&oacute;la Agustsson is a writer based in New York. She is working toward her MFA in Fiction at Columbia University and has contributed to The Huffington Post, FLAUNT, Bullett, Hyperallergic, Salon, and ArtSlant.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Jim Shaw, <em>The Wig Museum</em>, 2017, Installation view at Marciano Art Foundation. Photo: Robert Wedemeyer. Courtesy of Marciano Art Foundation)</span></p> Thu, 20 Jul 2017 08:14:26 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Round 6 is underway! Apply today for your chance at $5k in prizes! <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="line-height: 30px; width: 100%; float: center;"> <tbody> <tr> <td style="padding: 10px;"> <p style="text-align: center;"><i style="font-family: helvetica; font-size: large;">To apply, go to your ArtSlant profile and click&nbsp;<strong>contest entry&nbsp;</strong>or go to the</i></p> <p style="text-align: center;"><font face="helvetica" size="4"><i><strong>Contest tab&nbsp;</strong>of your account page. <strong>Round 6 closes August 2nd, 2017.</strong></i></font></p> <p style="text-align: center;"><span style="font-size:10px;">Image at top: Round 6 submission,&nbsp;<a href="https://www.artslant.com/global/artists/show/422739-newel-hunter">Newel Hunter</a>, Nick of Time,&nbsp;2017</span></p> </td> </tr> </tbody> </table> </td> </tr> <tr> <td colspan="2"> <p style="text-align: center;"><font face="helvetica" size="4"><i><strong>Our Round 6 Jurors: </strong></i></font></p> <p style="text-align: center;"><font face="helvetica" size="4"><i><strong>Chris Cook, </strong></i>Executive Director of<i> <a href="http://www.bemiscenter.org/" target="_blank">Bemis Art Center</a></i></font></p> <p style="text-align: center;"><font face="helvetica" size="4"><i><strong>Janet Dees,&nbsp;</strong></i>Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art at the<i> <a href="http://www.blockmuseum.northwestern.edu/" target="_blank">Mary &amp; Leigh Block Museum of Art</a></i></font></p> <p style="text-align: center;"><font face="helvetica" size="4"><i><strong>Michelle Levy, </strong></i>Director of the<i> <a href="http://www.projectspace-efanyc.org/" target="_blank">The&nbsp;Elizabeth Foundation for the Arts Project Space</a></i></font></p> </td> </tr> <tr> <td style="padding: 10px;"> <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-family: helvetica; font-size: large;">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 &nbsp;</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></p> <p style="text-align: justify;"><span style="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="http://www.amazon.com/gp/node/index.html?ie=UTF8&amp;marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Amazon Art Sales Platform</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, and great exposure&mdash;not to mention cash prizes for selected ArtSlant Prize winners. See below for all the details.</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;&nbsp;</span></span></p> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;">&nbsp;</p> <table align="center" style="width: 100%;"> <tbody> <tr> <td colspan="3"> <p style="text-align: center;"><span style="font-size:16px;"><span style="font-family: georgia, palatino; 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 style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2016 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" target="_blank">Brigitta Varadi</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" target="_blank">Tiffany Smith</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" target="_blank">Sterling Crispin</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" target="_blank">Bex Ilsley</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" target="_blank">Jinhee Park</a></span></p> <p style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2015 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" target="_blank">Theresa Ganz</a>, <a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" target="_blank">Tina Tahir</a>, <a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" target="_blank">Rachel Garrard</a>, <a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" target="_blank">Bryan Volta</a></span></p> <p style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2014 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" target="_blank">Edra Soto</a>, <a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" target="_blank">Adam Douglas Thompson</a>, <a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" target="_blank">Anastasia Samoylova</a>, <a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" target="_blank">Oren Pinhassi</a></span></p> <p style="text-align: center;"><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, 207, 166);">ArtSlant Prize 2013 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" target="_blank">Robin Kang</a>, <a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" target="_blank">Maureen Meyer</a>,&nbsp;&nbsp;<a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" target="_blank">Alison Pilkington</a>, <a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" target="_blank">Alexis Courtney</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2012 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce">Veronica Bruce</a>, <a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" target="_blank">Stephen Vasquez Lopez</a>, <a href="http://www.artslant.com/global/artists/show/152389-susan-meyer">Susan Meyer</a>, <a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" target="_blank">Timothy Gaewsky</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2011 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" target="_blank">Holly Murkerson</a>, <a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" target="_blank">Jason Irwin</a>, <a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" target="_blank">Christine de la Garenne</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2010 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" target="_blank">Chantel Foretich</a>, <a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" target="_blank">Robert Minervini</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><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, 207, 166);">ArtSlant Prize 2009 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" target="_blank">Michael Zelehoski</a>, <a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" target="_blank">Yo Fukui</a>, <a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" target="_blank">Julie Davidow</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;&nbsp;</span></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> <p style="text-align: center;">&nbsp;&nbsp;</p> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Wed, 19 Jul 2017 11:45:47 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Printing Paris: Exhuming a Modernist Masterpiece <p><em>&ldquo;Printing Paris&rdquo; is the blog of ArtSlant&rsquo;s <a href="https://www.artslant.com/ny/foundation" target="_blank">Georgia Fee Artist-in-Residence</a>, Shoshana Kessler. Kessler will be undertaking a contemporary resetting and retracing of Hope Mirrlees&rsquo; experimental poem, </em>Paris: a Poem<em>&nbsp;(1919), employing a combination of traditional and modern printing techniques. The blog will feature small essays following her research on the poem and Mirrlees more generally.&nbsp;</em></p> <p>&nbsp;</p> <p>On the corner of Boulevard Garibaldi and Rue Jean Daudin is a small caf&eacute;-bar called Zig Zag Caf&eacute;. It has over a thousand likes on Facebook, and no Twitter (not to be confused with @ParisZigZag, a Paris travel/recommendation site). Zig-Zag is a popular cigarette rolling paper brand, developed by brothers Maurice and Jacques Bernstein in the 1890s. It was the first rolling paper packet to be able to dispense a single sheets at a time, interweaving individual leaves. The aesthetic is fairly recognizable: almost all packets show a picture of an unknown &ldquo;Zoave&rdquo; (a French African soldier) credited with using paper to roll the first cigarette after his pipe was destroyed.</p> <p>&ldquo;ZIG-ZAG&rdquo; is also the third line in Hope Mirrlees&rsquo; <em>Paris: A Poem</em>, beginning a tercet of cigarette adverts: advertisements that were ostensibly shown on the metro company &ldquo;NORD-SUD,&rdquo; which is also the poem&rsquo;s second line. Whether the caf&eacute; is consciously using the Zig-Zag branding is unclear (I haven&rsquo;t been in and asked). And whether it&rsquo;s an interesting fact about the longevity and omnipresence of cigarette advertising that warrants further investigation, or simply something I noticed because it&rsquo;s nearby and I&rsquo;m in Paris working on a contemporary re-setting of Mirrlees&rsquo; poem, nearly a century after its publication, is also, as of yet, unclear. One of the most captivating elements of letterpress printing is the ability to get under the skin of a text, so to speak, and as a <a href="http://www.hurststreetpress.co.uk" target="_blank">printer</a>, re-setting and printing a poem with such protean possibilities is compelling.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170713200650-Screen_Shot_2017-07-13_at_21.17.33.png" /></p> <p>&nbsp;</p> <p>Hope Mirrlees (b. 1887) was a modernist writer, poet, and translator. She read Classics at Cambridge, where her family was based. At Cambridge she moved in various circles, her friends including Wittgenstein, T.S. Eliot, Bertrand Russell, and, predictably, the Bloomsbury group. She was the author of three novels (<em>Madeleine</em>, <em>The Counterplot</em>, and <em>Lud-in-the-Mist</em>), <em>Paris: A Poem</em>, and co-translator of 21 Russian short stories (<em>The Book of the Bear</em>) with her partner Jane Harrison. Mirrlees met Harrison&mdash;a highly influential Classicist academic and early feminist&mdash;at Newnham College, and the two were to live and travel together until Harrison&rsquo;s death in 1928. In her later life, Mirrlees published a larger (and more demure) collection of poems, as well as a biography of the antiquary Sir Robert Bruce Cotton. She moved between Cambridge, London, Paris, and Russia, before retiring to Headington in Oxford, where she died in 1978.</p> <table align="left" width="400"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;Obscure, indecent and brilliant&rdquo; was Virginia Woolf&rsquo;s diagnosis of &ldquo;Paris.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>Mirrlees has been alarmingly under-appreciated both in scholarship and a wider reading audience. In many ways she acts as a bridge between French and British experimentalism, her situational nexus alone placing her at the heart of the 1920s avant-garde&mdash;names such as Mallarm&eacute;, Apollinaire, Cocteau, etc., routinely cast into her ring of influences. And it is almost patently clear that (if not a direct influence) <em>Paris: A Poem</em>&nbsp;preempts elements of T.S Eliot&rsquo;s&nbsp;<em>The Waste Land</em><em>.&nbsp;</em>Both poems utilize similar typographic innovation, thematic content, and even the inclusion of explanatory notes.</p> <p>Networks aside, Mirrlees&rsquo; greater writings&mdash;published and unpublished&mdash;reveal a writer deeply fascinated by the use of language, image, and symbol in the creation of art. In her archives there are masses of scribbles devoted to the study of &ldquo;Aestheticism.&rdquo; Keats, in particular, is a common point of reference; a quotation from his &ldquo;Epistle to John Hamilton Reynolds&rdquo; begins one such investigation, exploring the nature of materiality and imagination. In her published work, there are little explicit philosophical ruminations, and aside from a brief manifesto on fiction and literature that begins her novel&nbsp;<em>Madeleine</em>, her theoretical inquiries into art and literature lie tacit. Within her fiction, her ideas are expounded in plot or symbol&mdash;or, as in <em>Paris</em>, upon the page itself.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170713200429-fullsizeoutput_30a8.jpeg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Mirrlees quoting Keats</span></p> <p style="text-align: center;">&nbsp;</p> <p>The poem moves through the city in a single day, beginning in an ambiguous Metro line, passing under the Seine, moving through galleries, Parisian institutions, nightlife, bars, cinema, streets. <em>Paris</em>&nbsp;encompasses years&mdash;it is steeped in the history of France, both contemporary and ancient. The burden of the First World War, in particular, sits heavy upon the poem. Mirrlees interweaves Parisian and French history with snatches of conversation, meandering between English and French. She captures the city&rsquo;s art, both within galleries and on the streets (such as the aforementioned ZIG-ZAG cigarette advertising), creating an archive of a very specific time and place. The structure of the poem is itself opaque: it could start either at the beginning&mdash;&ldquo;I want a holophrase&rdquo;&mdash;or mid-way through the poem, as the narrator, transfixed, stands at the top of a hotel in Rue de Beaune, and watches the city move beneath her.</p> <p>&ldquo;Obscure, indecent and brilliant&rdquo; was Virginia Woolf&rsquo;s diagnosis of <em>Paris</em>. Mirrlees met Woolf under unknown circumstances (likely through her friend Karin Costelloe, who married Woolf&rsquo;s brother, Adrian Stephen). By 1919, however, Woolf&rsquo;s Hogarth Press was undertaking the publication of the poem, and in 1920, 175 copies were published and distributed around London and the Bloomsbury milieu. Due to its formal experimentation,&nbsp;<em>Paris</em>&nbsp;was an exceptionally tricky poem to set. Mirrlees plays with indented spacing and capitalization to visually force pauses in reading; she shifts typographic size, directly representing the advertisements seen on the route. It was perhaps the most laborious task Woolf undertook in her time at the Hogarth Press, having to pencil in small mistakes on many of the copies, and deal with Mirrlees&rsquo; very particular edits and suggestions.</p> <p>The poem is a masterpiece in terms of language play and typographic innovation, and when placed within its period, begs belief as to how it has remained &ldquo;underground&rdquo; for so long. A transcribed version of the poem does now exist, available as part of Julia Brigg&rsquo;s article on Mirrlees in the 2007 publication <em>Gender in Modernism: New Geographies, Complex Intersections</em>. In her commentary, Briggs called for its recreation in its original form, &ldquo;in facsimile, as it was set out in the Hogarth Press edition, typos and all&rdquo; (page 268). Currently, the poem&mdash;set out as such&mdash;is only available as an online <a href="https://www.google.nl/url?sa=t&amp;rct=j&amp;q=&amp;esrc=s&amp;source=web&amp;cd=1&amp;cad=rja&amp;uact=8&amp;ved=0ahUKEwjO07Gp_IbVAhVJbFAKHSrlBUMQFggoMAA&amp;url=http%3A%2F%2Fhopemirrlees.com%2Ftexts%2FParis_Hope_Mirrlees_1920.pdf&amp;usg=AFQjCNE8fTydLs80JKWQUvzX1LIyNhY24A" target="_blank">pdf</a>.</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>I&rsquo;m going to make an assumption that most female writers were hoping, at some point, to be read. </em></span></p> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>I also understand that they were hoping to be read for themselves, and not simply reinstated for their sex.</em></span></p> </td> </tr> </tbody> </table> <p>First and foremost this is my aim: to recreate and reassess the poem during my stay in Paris over the next couple of months. There is a growing fascination in finding &ldquo;lost&rdquo; female writers, and bringing them to the fore. In a 1991 <a href="https://www.lrb.co.uk/v13/n23/patricia-beer/very-like-poole-harbour" target="_blank"><em>London Review of Books</em> evaluation</a> of a collected works of the modernist writer Mary Butts, Patricia Beer wrote that &ldquo;[s]he [Mary Butts] is one of the current victims of the fashionable drive to exhume &lsquo;forgotten women writers.&rsquo; The category is dreary. Mary Butts is not.&rdquo;</p> <p>I agree that Mary Butts was fab. I disagree with the rest. &ldquo;Fashionable&rdquo; implies an end, exhumation implies a corpse, and victim implies a perpetrator. I&rsquo;m going to make an assumption that most female writers were hoping, at some point, to be read. I also understand that they were hoping to be read for themselves, and not simply reinstated for their sex. But when their lack of recognition has been part and parcel of a gendered tradition, to rectify this necessitates a certain labeling.&nbsp;</p> <p>There has, is, and will continue to be, such &ldquo;dreary&rdquo; drives. Recent movements in the publishing world (such as the <a href="https://twitter.com/Read_Women?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor" target="_blank">#ReadWomen</a> Twitter campaign, publications from the <a href="https://www.silverpress.org/" target="_blank">Silver Press</a>, the London-based Dead Women&rsquo;s Poets Society, among many others) demonstrate the importance of revealing the rich lineage of female authorship, previously submerged beneath the ink-stains of male pens and pedagogy.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170713200133-HopeandJaneWEB.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Hope Mirrlees and Jane Harrison</span></p> <p style="text-align: center;">&nbsp;</p> <p>Hope Mirrlees has not simply been undervalued because she was a woman. There are many other reasons why <em>Paris</em>&nbsp;failed to achieve wider success. Straddling two experimental worlds can create chasms wider than bridges. Limitations of print culture meant that <em>Paris</em>&nbsp;had little chance of reaching a wide audience. And its obscurity obscures itself: the secret nods to Harrison within the poem create a detachment between narrator and audience, and the classical references (such as the tenth line, which alludes to Aristophanes&rsquo; <em>The Frogs</em>) aren&rsquo;t exactly singing to the masses. But it&rsquo;s not so hard to believe, especially when viewed in comparison to <em>The Waste Land</em>, that, were Mirrlees to have been slightly more male, as opposed to living in her &ldquo;Sapphic flat somewhere&rdquo; (again, commentary by Woolf), the poem may have found its way into classrooms and anthologies, as it justly deserves.</p> <p>More recently, academics and writers have begun to reassess Mirrlees&rsquo; place as a force of early experimentalism. There has been some very good work on the subject. <a>There remains far more to be done.</a></p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/478156-shoshana-kessler" target="_blank">Shoshana Kessler</a></p> <p><em>Shoshana Kessler is a printer and publisher at <a href="https://www.hurststreetpress.co.uk/">Hurst Street Press</a>.</em></p> <p>&nbsp;</p> <div>&nbsp;</div> Fri, 14 Jul 2017 09:23:48 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Dat Vu Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;</em><em>Under the Radar</em><em>, 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/433981-dat-vu" target="_blank">Dat Vu</a>.</em></p> <p><br /> <strong>What are you trying to communicate with your work?</strong></p> <p>Most of the time, it&#39;s about emulating sleepwalking. &nbsp;&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>An artist is responsible for their intention, and the implications of their work, even if the work is personal. Once an artist puts their work out there, be it online or in public spaces, I think it is their responsibility to answer for their work to some extent. &nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170713140506-20150813035647-DSC_0343.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170713141157-20150813033006-Vu_D_2015_04.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Photographs from&nbsp;<em>Glass Closet, Secret Egg</em>, 2014&ndash;2015</span></p> <p>&nbsp;</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p>This is a tough question! The greatest thing I probably ever made is zucchini bread, but at the moment I don&#39;t have any oven to bake and I don&#39;t have any photo evidence! My friends who ate it can testify though.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>Probably an arthouse movie.&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p><a href="http://linzhipeng223.com/" target="_blank">Lin Zhi Peng</a>, <a href="http://www.liekoshiga.com/" target="_blank">Lieko Shiga</a>, and <a href="http://www.alexismoh.com/" target="_blank">Alexis Moh</a>.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <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: Dat Vu, <em>Lola</em>, 2014)</span></p> Mon, 17 Jul 2017 08:11:15 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Nando Alvarez-Perez | Santina Amato | Priya Thoresen <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/482487-nando-alvarez-perez?utm_source=NandoAlvarezPerez&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;">Nando Alvarez-Perez &ndash; Oakland</span></span></a></p> <p><a href="https://www.artslant.com/sf/works/show/1045853?utm_source=NandoAlvarezPerez&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045853/u3azr9/20170510171215-artslant-1.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/sf/works/show/1045854?utm_source=NandoAlvarezPerez&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045854/mf2ji7/20170510171215-artslant-2.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/sf/works/show/1045856?utm_source=NandoAlvarezPerez&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045856/mf2ji7/20170510171219-artslant-4.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/sf/works/show/1045855?utm_source=NandoAlvarezPerez&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045855/mf2ji7/20170510171218-artslant-3.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/222365-santina-amato?utm_source=SantinaAmato&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Santina Amato &ndash; Chicago</span></a></p> <p><a href="https://www.artslant.com/chi/works/show/1051105?utm_source= SantinaAmato&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1051105/u3azr9/20170613202233-Amato_Santina_03_copy.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/chi/works/show/1051108?utm_source=SantinaAmato&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1051108/mf2ji7/20170613203307-FLOWER.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/chi/works/show/1051106?utm_source=SantinaAmato&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1051106/mf2ji7/20170613203053-Flower_2.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/chi/works/show/1051107?utm_source=SantinaAmato&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1051107/mf2ji7/20170613203136-FLower_3_copy.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/478453-priya-thoresen?utm_source=PriyaThoresen&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;">Priya Thoresen &ndash; Phoenix</span></a></p> <p><a href="https://www.artslant.com/ew/works/show/1044310?utm_source=PriyaThoresen&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1044310/u3azr9/20170430015812-show_install_northeast.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/ew/works/show/1044311?utm_source=PriyaThoresen&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1044311/mf2ji7/20170430015833-arch.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1044312?utm_source=PriyaThoresen&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1044312/mf2ji7/20170430015855-pink_green_pedestal.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1044315?utm_source=PriyaThoresen&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1044315/mf2ji7/20170430020010-two_baskets.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/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" 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> Thu, 13 Jul 2017 03:59:43 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Portrait: Tomás Saraceno Wants to Fly While Keeping His Feet on the Ground <p><em>This photo portrait was originally published as a longer interview feature on&nbsp;</em><a href="http://www.freundevonfreunden.com/interviews/tomas-saraceno-wants-to-fly-while-keeping-his-feet-on-the-ground/" target="_blank"><em><u>Freunde von Freunden</u></em></a><em>.</em></p> <p>Art and science are often described as two opposing disciplines. Looking at the practice of the Argentinian artist and trained architect Tom&aacute;s Saraceno, such a differentiation is quickly disproved. Climbing one of his larger-than-life installations feels like becoming part of a scientific speculation about alternative habitats&mdash;one senses the often disregarded correlation of the human body and its environment in a new way. Be it his Cloud Cities, spectacular installations such as <em><a href="http://tomassaraceno.com/projects/in-orbit/" target="_blank">In Orbit</a></em> and <em><a href="http://tomassaraceno.com/projects/on-space-time-foam/" target="_blank">On Space Time Foam</a></em>, or even his experiments around spiderwebs and aerosolar journeys, the common thread in Saraceno&rsquo;s works lies in a life lifted off the ground.</p> <p>When the artist speaks about humans and other life forms, he refers to them as passengers&mdash;with the earth representing the fastest vehicle that ever existed. It moves with a speed of 108,000 kilometers per hour and it will still do so even when we&rsquo;re not here anymore. FvF have visited Saraceno in his Berlin studio to discuss human presence on earth and the possibility of what the artist calls an &ldquo;Aerocene&rdquo; age.</p> <p><em>Read the full interview and find more images of Tom&aacute;s Saraceno and his studio on&nbsp;</em><em><u><a href="http://www.freundevonfreunden.com/interviews/tomas-saraceno-wants-to-fly-while-keeping-his-feet-on-the-ground/" target="_blank">Freunde von Freunden</a></u></em><em>.</em>&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140409-Freunde-von-Freunden-Tomas-Saraceno-9022.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140639-Freunde-von-Freunden-Tomas-Saraceno-8796.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;...space it not just given, it is a construct deriving from human behavior. &rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140534-Freunde-von-Freunden-Tomas-Saraceno-9083.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140601-Freunde-von-Freunden-Tomas-Saraceno-8939.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140753-Freunde-von-Freunden-Tomas-Saraceno-8772.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;...we were looking at webs, their architecture and web-like structures, and then suddenly it was obvious&mdash;what about spiders?&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140814-Freunde-von-Freunden-Tomas-Saraceno-8858.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140915-Freunde-von-Freunden-Tomas-Saraceno-8863.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140937-Freunde-von-Freunden-Tomas-Saraceno-8811.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;[Aerocene] is an excuse for us to think of a new epoch that we would be proud and happy to be part of. So far I&rsquo;m not very happy to be part of the Anthropocene...&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710141131-Freunde-von-Freunden-Tomas-Saraceno-8739.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710141051-Freunde-von-Freunden-Tomas-Saraceno-8789.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710141258-Freunde-von-Freunden-Tomas-Saraceno-8883.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <table align="center" width="650"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;With Aerocene, we are by any means trying to understand how we can stay on board on this planet.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710141020-Freunde-von-Freunden-Tomas-Saraceno-8888.jpg" style="text-align: center;" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710140457-Freunde-von-Freunden-Tomas-Saraceno-9066.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;...nowadays it&rsquo;s not enough to do a painting and believe the world will get better by this.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <p>Adapted from text by: <a href="http://www.freundevonfreunden.com/tag/vanessa-oberin" target="_blank">Vanessa Oberin</a></p> <p>Photography:&nbsp;<a href="http://www.freundevonfreunden.com/tag/daniel-mueller" target="_blank">Daniel M&uuml;ller</a></p> <p>&nbsp;</p> Tue, 11 Jul 2017 06:48:11 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Paul Sunday 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/ny/articles/show/46624-under-the-radar-clay-mahn-paul-sunday-oriane-le-cheminant" 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/463671-paul-sunday" target="_blank">Paul Sunday</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>The unspeakable.</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>To go relentlessly into one&rsquo;s own world, to never stop learning and experimenting.</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p>One of my favorites is this encaustic painting. It resides in a beautiful Long Island home in a room where the only other artwork is a Richard Serra drawing. Serra is one of my heroes, so when I discovered this it felt like an accomplishment.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710111626-Sunday_Encaustic_CrossPainting_PaulSunday.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Paul Sunday, <em>Cross painting</em>, 2010, Wood panel, encaustic</span></p> <p>&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>In childhood, I had a dream that I wrote a book that revealed the entirety of my mind.</p> <p>I woke up in a cold sweat.&nbsp;I&rsquo;ve often thought about writing that book, but it is impossible and unnecessary.</p> <p>Instead, I make mysterious or almost not there images.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170710111841-20160929113249-b_nyplSLCT-5432NEWhero8_12.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Paul Sunday,&nbsp;<em>Face</em>, 2016, Photography, pigment ink print,&nbsp;24 x 32 inches</span></p> <p>&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p><a href="https://www.amazon.com/Today-Wrote-Nothing-Selected-Writings/dp/159020042X/ref=sr_1_1?ie=UTF8&amp;qid=1498488455&amp;sr=8-1&amp;keywords=daniel+kharms" target="_blank">Dahniil Kharms</a>, a writer and master of absurd thought.</p> <p><a href="https://en.wikipedia.org/wiki/Emma_Kunz" target="_blank">Emma Kunz</a>, a Swiss telepathic healer and abstract painter.</p> <p><a href="http://www.pruestent.com/untitled-gallery" target="_blank">Prue Stent</a>, a brilliant, young Australian photographer.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <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: Paul Sunday, <em>Photograph</em>, 2016, Photography, pigment ink print,&nbsp;24 x 32 inches)</span></p> Mon, 10 Jul 2017 04:24:07 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Ventiko | Mitchell Winthorpe | Kelly Kristin Jones <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/200540-ventiko?tab=PROFILE?utm_source=Ventiko&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;">Ventiko &ndash; Brooklyn</span></span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1000937?utm_source=Ventiko&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1000937/u3azr9/20160729182258-unnamed.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/ny/works/show/406022?utm_source=Ventiko&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/406022/y8wnrh/20110128215905-TheCaptureandFreeingofMe2010.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/710526?utm_source=Ventiko&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/710526/y8wnrh/20130624184643-Ventiko_The_Other_Wolrd_II.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/406018?utm_source=Ventiko&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/406018/y8wnrh/20110128215430-Judith.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/471616-mitchell-winthorpe?tab=PROFILE?utm_source=MitchellWinthrope&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Mitchell Winthorpe &ndash; London</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1039370?utm_source= MitchellWinthrope&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1039370/u3azr9/20170523140504-_Interlude__Mitchell_Winthorpe.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/ny/works/show/1050676?utm_source=MitchellWinthrope&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1050676/y8wnrh/20170611091857-_Interlude__Mitchell_Winthorpe_.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1053728?utm_source=MitchellWinthrope&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1053728/mf2ji7/20170702105909-HOT-GHOST-WANTED_1340_c.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1053727?utm_source=MitchellWinthrope&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1053727/y8wnrh/20170702105906-vghjhvjvj.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/356675-kelly-kristin-jones?utm_source=KellyKristenJones&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;">Kelly Kristin Jones &ndash; Atlanta</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/995355?utm_source=KellyKristenJones&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/995355/u3azr9/20160622161142-Jones13.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/ny/works/show/995356?utm_source=KellyKristenJones&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/995356/y8wnrh/20160622161144-Jones12.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1032442?utm_source=KellyKristenJones&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1032442/y8wnrh/20170224222940-KKJ_6388_copy.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/995344?utm_source=KellyKristenJones&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/995344/y8wnrh/20160622161058-Jones01.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/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" 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, 07 Jul 2017 05:18:01 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Greg Ito Offers a Pictorial Language for Our Dreams <p>Using icons and imagery from childhood fairytales, anime, and classical western art, Greg Ito paints unique moments that form a larger narrative around psychology, love, and life. Each economical vignette evokes a sense of wonder, magic, loneliness, and an underlying darkness characteristic of the contemporary human condition. With diagrammatic precision, Ito gives form to the intangibility of affect as it relates to the lived and imagined worlds we experience when we inevitably fall into his paintings and environments. Nothing is static. Nothing is definitive. Everything is in the distilled experience.</p> <p>Ito&rsquo;s solo show, <em><a href="https://www.artslant.com/global/events/show/448604-lullaby" target="_blank">Lullaby</a></em>, is currently installed at Andrew Rafacz Gallery in Chicago, and he was included in the recent group exhibition <em><a href="https://www.artslant.com/global/events/show/449151-broken-language" target="_blank">Broken Language</a> </em>at Shulamit Nazarian in Los Angeles. I caught up with the artist last month at <a href="https://www.artslant.com/sf/articles/show/48103-artist-migrations-from-sf-to-la-are-shaping-west-coast-aesthetics-and-identity" target="_blank">his LA studio</a>.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706140426-20170524-1L6A2335.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Installation view of <em>Broken Language</em> at Shulamit Nazarian, 2017. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p style="text-align: center;">&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;I think about going on a vacation and having a plane crash.&rdquo; &mdash;Greg Ito</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p><strong>Alex Anderson: I&rsquo;ve never seen paintings like this that draw from established systems of representation, but are purely and uniquely of themselves. Could you speak to the development of your aesthetic?</strong></p> <p><strong>Greg Ito: </strong>My art-making career began in school and I was interested in spiritual geometries and old altar works. I was really into celestial patterns like calendars, free masonry drawings, and anything that was diagrammatic. Moving forward, because of my Japanese American background, I always had a relationship with anime and manga. I wasn&rsquo;t obsessed with it, but it was always around me: Dragon Ball Z, Totoro&mdash;these very iconic Japanese cartoons. So, looking at these works, I like to think of them as diagrammatic systems where I&rsquo;ve given myself boundaries or rules. The rules are: it has a hand gesture and a symbol and a setting, or a combination of these things. The way they&rsquo;re composed is similar to a storyboard or a mood board that shows a series of vignettes.</p> <p>Also, Rothko. The way he created emotional tension through the color fields was my number one inspiration. Everything else is a backstory, but his compositions started these paintings.</p> <p><strong>AA: What do you mean by the backstory? </strong></p> <p><strong>GI:</strong> The Rothko paintings are just color fields with blurry edges. It&rsquo;s very basic. But I&rsquo;m trying to elaborate on the diagrammatic aspect of the work to tell a story. It&rsquo;s a fusion between something that has an operation like a calendar, but then has set boundaries, and evokes emotional tensions like a Rothko.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706140511-Casual_Encounter_Greg_Ito_Shulamit_Nazarian40.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito, <em>Casual Encounter</em>, 2017, Acrylic on canvas, 62 x 48 inches. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p>&nbsp;</p> <p><strong>AA: Hands and hand gestures are a constant throughout the work. What does this element mean to you, and whose hands are these?</strong></p> <p><strong>GI: </strong>The hands are really important to me. I have found the hand as a gateway. It&rsquo;s the first section of the painting I decide on. The hands are the beginning point. They allow me to put subjects in a room or situation. Without the hands there, I can&rsquo;t create a story, because I want the viewer to connect with something. The hands are not supposed to be specific to race or gender. It&rsquo;s more of a gesture, like a performance. What is the gesture of this hand picking up a mushroom? What is that gesture with relation to the other images in that work?</p> <p>There&rsquo;s a painting titled <em>Casual Encounter</em> where the two hands are holding each other and it&rsquo;s very passionate, which sets the tone for this story. For me, this painting is about a one-night-stand and the snake in the corner has a lurking, darker quality, which is something I always like to have in the work. Everything has this melancholy or dark aspect, which also appears in the color choices.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706140622-1.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito,&nbsp;<em>Lullaby</em>, 2017, Installation view at Andrew Rafacz Gallery. Courtesy of the artist and Andrew Rafacz Gallery. Photo: Heather Halbert</span></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong>AA: There seems to be a feeling of unspoken and unspecified longing, tragedy, nostalgia, darkness, and perhaps even desperation. Are these feelings something you are actively processing through the work, or do these images and this affect speak to a larger observation on the human condition?</strong></p> <p><strong>GI:</strong> I think it&rsquo;s natural for artists to reflect on their relationship with the world and their relationship with themselves. I always felt that in the time we&rsquo;re in today, fear is a very real thing and it&rsquo;s been real for many generations, but now, with the direction things are moving in, it&rsquo;s even more real for our generation, which never really had many hardships. So I think about going on a vacation and having a plane crash.</p> <table align="right" width="400"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;I&rsquo;m trying to use symbols and images that people can connect with.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>Loneliness and companionship are very important threads in the work because a lot of the paintings are very romantically charged, and our relationships with other people dictate how we live our lives. That&rsquo;s why a lot of these paintings draw from childhood stories and old books. I have a show at Andrew Rafacz called <em><a href="https://www.artslant.com/global/events/show/448604-lullaby" target="_blank">Lullaby</a></em>, which is kind of an &ldquo;Ito version&rdquo; of the dwellings of Rapunzel. The room was carpeted and we painted all the walls and there was an eerie red light in the room with a painting of a window wide open, as though she had escaped. I feel like as we&rsquo;re growing up, we&rsquo;re told all these stories about love and romance and happy endings and that really creates an imprint on your mind of what you&rsquo;re looking for in life: romance, freedom, a nice house. I&rsquo;m trying to use symbols and images that people can connect with. Through these paintings, I&rsquo;m giving them an offering. The images create a narrative and people put themselves or people they know into the painting. It&rsquo;s important for the work to be accessible.</p> <p>The accessibility and format of these images gives an experience that places them on a clean, flat plane and all the extraneous baggage gets stripped from it and we&rsquo;re left with only the real content of that image and how it relates to everything else in the plane.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706140700-2.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito,&nbsp;<em>Lullaby</em>, 2017, Installation view at Andrew Rafacz Gallery.&nbsp;Courtesy of the artist and Andrew Rafacz Gallery. Photo: Heather Halbert</span></p> <p>&nbsp;</p> <p><strong>AA: Your work uses signifiers of familiar narratives like <em>Alice&rsquo;s Adventures in Wonderland</em> and the journey of a message in a bottle, which to me are access points that allow us to begin a larger conversation about experience via emotion captured by icons. What is the role of the whimsical and fantastical in your work?</strong></p> <p><strong>GI: </strong>The whimsical&hellip;hmm&hellip;I want to say magical, because in such a rigid world, where we have to have school degrees and all this stuff, there&rsquo;s still a sense of magic in how things work in the world. Of course, a lot of terrible things happen, but a lot of beautiful things happen too and I feel like these moments are very magical. Everyone wants these things in life. Fall in love, go on a honeymoon. It&rsquo;s all very fairytale and dreamlike. People need to have an escape, so even though some of these escapes can become obsessions&mdash;which is again the darker side of it&mdash;I feel like it&rsquo;s important to the work to have this magical, playful quality. You want to be able to step into a room regardless of age, race, or culture and immediately connect with these images through what we see everyday.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706140901-The_Seeker_detail_Greg_Ito_Shulamit_Nazarian29.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito, <em>The Seeker&nbsp;</em>(detail), 2017, Acrylic on canvas, 38 x 48.25 inches. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p>&nbsp;</p> <p><strong>AA: You mentioned that these paintings represent what everyone wants in life. Could you tell me more about that?</strong></p> <p><strong>GI: </strong>There&rsquo;s one thing that always stays in my mind when I&rsquo;m making the work, and that&rsquo;s this word &ldquo;desire.&rdquo; I think about the desire to have and experience things. Maybe it&rsquo;s a new phone, or your dream car, or your dream girlfriend or boyfriend. It&rsquo;s very connected to desire and the way the world is structured today. Having a career and a family and a homestead are all very common desires, but desire can go beyond that and become a dream. A dream can be to be famous, or to be whisked away by someone. Having wants and wishes and dreams is something I want to allow people to continue. It&rsquo;s an offering to be part of something larger.</p> <p>Everyone has wants and desires. The most basic ones are domestic partnership and family, but it doesn&rsquo;t just end there and I feel like it&rsquo;s a very basic need for humans to want something, to obtain it, and to be a part of something. That&rsquo;s normal. That&rsquo;s something that makes us human.</p> <p>The work is playful, and people can take it however they want.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706140943-The_Watcher_Greg_Ito_Shulamit_Nazarian37.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito, <em>The Watcher</em>, 2017, Acrylic on canvas, 38 x 48.25 inches. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p>&nbsp;</p> <p><strong>AA: I showed your work to one of my friends and after a moment of consideration, the first thing she said was, &ldquo;these make me sad, but I can&rsquo;t stop looking at them.&rdquo; What do you think about this reaction? </strong></p> <table align="right" width="400"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;The line between joy and sadness is where all the interesting things happen&mdash;at the transitions.</em></span></p> </td> </tr> </tbody> </table> <p><strong>GI:&nbsp;</strong>That&rsquo;s exactly what it does to me. Her reaction sounds very sincere. The paintings are not supposed to make you feel over-the-top happy. It&rsquo;s not a happy ending always and the images that I&rsquo;m offering to viewers don&rsquo;t have a specific ending. It&rsquo;s always been a challenge to locate and maintain a happy life. Everyone has their own hardships, but to be able to acknowledge a sense of sadness is a strength. To be able to offer that sadness in conjunction with other images shows that the world goes both ways.</p> <p>There&rsquo;s something about desire and passion and romance&hellip;I think all those things are on the edge of sadness. It&rsquo;s that fine line between joy and sadness and that&rsquo;s where all the interesting things happen&mdash;at the transitions. I like that little grey area in the middle.</p> <p><strong>AA: Is art an offering?</strong></p> <p><strong>GI: </strong>Totally. My relationship with art has gone in so many directions. I&rsquo;ve loved it and hated it, disowned it, and come back to it. It all came down to what made me happy as an artist, and that was just to make art. The more art, the more offerings. Art is a bigger, more beautiful thing than the art world. Art operates on all levels and it&rsquo;s not just the level at the top of the pedestal. Art exists everywhere beyond that. In looking at a lot of art, I&rsquo;ve received a lot of offerings, and this is my way to continue that. &nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706141012-The_Passageway_Greg_Ito_Shulamit_Nazarian32.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito, <em>The Passageway</em>, 2017, Acrylic on canvas, 38 x 48.25 inches. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p>&nbsp;</p> <p><strong>AA: The use of charged imagery like candles, snakes, smoke, castles, and once again, hands, invites a conversation about symbols from 16th-century vanitas paintings, the Renaissance, and western religious artworks. Is the work about reinterpreting the classical western art historical cannon through your lens?</strong></p> <p><strong>GI: </strong>Those are definitely influences, but it&rsquo;s not about that. The symbols and allegories in art have always been interesting to me. I&rsquo;m not a very religious person, but the way paintings have an underlying operation within them is something I want to use in my practice. It&rsquo;s not about the time in which art was made; it&rsquo;s about accessing visual language to communicate with the viewer. Time is important in the works and showing that time is continuing in the static plane is important. For a sentimental person like myself, I always think about the past and how that dictates the future. It&rsquo;s this constant push of time we can never control.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706141044-The_Journey_Greg_Ito_Shulamit_Nazarian_1.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito, <em>The Journey</em>, 2017, Acrylic on canvas, 62 x 48 inches. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p>&nbsp;</p> <table align="center" width="700"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;The symbols and allegories in art have always been interesting to me... it&rsquo;s about accessing visual language to communicate with the viewer.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p><strong>AA: Many of the works have titles that refer to what I assume are people, events, or destinations. For example, <em>The Seeker, The Journey, The Passageway</em>. Can you tell us more about how these titles manifest?</strong></p> <p><strong>GI: </strong>The titles are the last thing I do, but they act as gateways into the paintings. I was doing one painting recently and the first title was <em>The Warrior</em>, but that felt too violent, so I changed it to <em>The Guardian</em>&mdash;because who doesn&rsquo;t want to be saved from a terrible situation?</p> <p><strong>AA: The idea of a destination seems especially salient to understanding you and the work. What are these images trying to find or reach? </strong></p> <p><strong>GI: </strong>The most recent paintings all have a tropical scene with smoke in the distance. Everyone has this romantic relationship with the idea of an island vacation no matter where you&rsquo;re from. I think that location is a stand in for your soul mate: that one person you want to get to. Those two go <em>hand in hand</em>. Ha.</p> <p><strong>AA: Is there a destination?</strong></p> <p><strong>GI: </strong>Always.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706141119-The_Watcher_detail_Greg_Ito_Shulamit_Nazarian38.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito, <em>The Watcher </em>(detail), 2017, Acrylic on canvas, 38 x 48.25 inches. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p>&nbsp;</p> <p><strong>AA: I&rsquo;m not asking you what the meaning of life is, because that&rsquo;s annoying, but you seem to explore life through a reflection on impactful moments. With that in mind, based on your observations and the life you have lived so far, what <em>is</em> life from your perspective?</strong></p> <p><strong>GI: </strong>Life is just one long, amazing journey that will keep going on forever. It&rsquo;s just a journey and a lot of these works are journeys within themselves.</p> <p><strong>AA: What should we know about your work in the current show at Shulamit Nazarian in Los Angeles, <em><a href="https://www.artslant.com/global/events/show/449151-broken-language" target="_blank">Broken Language</a></em>?</strong></p> <p><strong>GI: </strong>These are my most recent series of vignette paintings with the use of a new black background. The previous series used skin tones as backgrounds as a nod to the collective consciousness of people and it says these story lines are enveloped by skin tone and that they&rsquo;re being embodied by somebody. Moving to the new black background allowed for the symbols, images, and colors to be enriched with contrast. All these works have a specific set of symbols, gestures, and settings from a lexicon I&rsquo;ve created over the years. Each one has a separate story, but it also shows how the works can operate as a chapters. I feel the work is fully activated in a scene where it includes, paintings, installation, and objects, but this show demonstrates how the paintings work on their own.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170706141211-20170524-1L6A2333.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Installation view of <em>Broken Language</em> at Shulamit Nazarian, 2017. Courtesy of the artist and Shulamit Nazarian, Los Angeles</span></p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/428290-alex-anderson?tab=REVIEWS">Alex Anderson</a></p> <p><em><a href="http://www.alexanderson.us/">Alex Anderson</a>&nbsp;is a Los Angeles-based artist, an MFA candidate at University of California, Los Angeles, and a former resident artist at the China Academy of Art as a Fulbright Scholar. He completed his undergraduate studies at Swarthmore College.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Greg Ito, <em>The Seeker</em>, 2017, Acrylic on canvas, 38 x 48.25 inches. Courtesy of the artist and Shulamit Nazarian, Los Angeles)</span></p> Fri, 07 Jul 2017 06:30:46 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: Monia Ben Hamouda <p>Milan-based artist <a href="http://moniabenhamouda.tumblr.com/" target="_blank">Monia Ben Hamouda</a> may not seem like a &ldquo;web artist&rdquo; in the traditional sense because her work isn&rsquo;t primarily about or made to be specifically displayed online. But it&rsquo;s also true that what constitutes a net, web, or new media artist today is increasingly hard to define. Ben Hamouda&rsquo;s work has an almost intangible quality that evokes similar feelings to art more traditionally deemed &ldquo;internet art.&rdquo; While much of her work could be considered sculptural in the strict, traditional sense, its inspiration and origins can often be traced back to a deep fascination with the internet, its meaning, and the real emotions it can inspire. As the artist says herself: &ldquo;Internet is inspiring for me, as much as reality is.&rdquo;</p> <p>Ben Hamouda creates a deep sense of post-digital unease through her perfectly curated combinations of organic and synthetic materials. In the collision of these contrasting elements, Ben Hamouda skillfully exposes us to the persistent strangeness and complex symbolism of human existence today.</p> <p><em>Note: The artist&rsquo;s original formatting has been retained.</em></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192301-Monia-Ben-Hamouda--I-can_t-even-reply-you-_but-we-were-in-love_-2017--Pig-Tails_-water_-travel-sachet.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">Monia Ben Hamouda,<em>&nbsp;I can&rsquo;t even reply you (but we were in love)</em>, 2017, Pig tails, water, travel sachet</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Christian Petersen: Were you a creative child?</strong></p> <p><strong>Monia Ben Hamouda:</strong> Definitely. Since I was very young I was interested in doing art, painting mostly.</p> <p>I had the fortune to grow up in an environment that understood my propensity and encouraged it.</p> <p>It was clear what I was going to be.</p> <p><strong>CP: How did your education affect the art you make now?</strong></p> <p><strong>MBH:</strong> I studied photography and graphic design in high school, and sculpture in university. I think that changed and defined the way that I see spaces. Emptiness. What is inside and what is outside. Making decisions.</p> <p><strong>CP: 
What are your earliest memories of interacting with digital media?</strong></p> <p><strong>MBH:</strong> I was born in 1991, so digital media is something that I always had at home. My father was very passionate about computers and graphic design, and the first time I saw Adobe Photoshop I was five years old. I had my first personal laptop at 13. I had a blog and started to work with photography and videos using a cheap digital Fujifilm camera, and I almost abandoned paint. This encouraged me to do graphics and photography in high school.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192336--Michele-Gabriele---OJ-.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">Monia Ben Hamouda,&nbsp;<em>Sad Music Playing Subtitle</em>, 2017, Glass, plastic bag, earring, water,&nbsp;Installation view of&nbsp;</span><em style="font-size: 12px;">It Won&rsquo;t Only Kill You, it will Hurt the Whole Time You&rsquo;re Dying</em><span style="font-size: 12px;">, Double Solo show with Michele Gabriele, OJ, Istanbul</span></p> <p>&nbsp;</p> <p><strong>CP: What influence does the internet have on your work?</strong></p> <p><strong>MBH: </strong>Internet is inspiring for me, as much as reality is. I&#39;m sort of obsessed with the idea of exploiting reality for my purposes, using it like a plastic material inside my sculptures. I see reality like a material. Environments, stories, people. They are not just hosting my piece: they often become the main characteristic of the work.</p> <p>I&rsquo;m trying to create objects related to experiencing love through the internet. To bring the emotions that you can feel when you receive a text from your lover, almost at the end of your story, almost broken: &ldquo;please do not blacklist me. I love you. I care about you.&rdquo;</p> <p>You can experience these kinds of emotions just through an internet device. You can see how much space the conversation with this person occupies on your phone: 500kb. How can I feel this hurt for such a small thing?</p> <p>Images like those are the strong narration filter inside my whole practice.</p> <p>Broken hearts always have painful memories inside their iPhones.</p> <p>This is what my pieces are talking about. Feeling exhausted, almost dead after some strong events of life.</p> <p>Also, <em><a href="http://moniabenhamouda.tumblr.com/image/156058762644" target="_blank">Nur Xyderiv</a></em> (a series of work made by using a font that I created) is stirctly related to the idea of using reality inside the work. Often, the texts are comments that I saw on YouTube. Or recreating the song lyrics videos that you can find there.</p> <p>Some of my sculpture, like <em>Sad Music Playing Subtitle</em> or <em>Please Wake Up Subtitle</em>, are the materialization of movies subtitles.</p> <p>Sometimes you can find in those subtitles advice for what kind of emotion you have to feel in that moment. Words like &ldquo;sad&rdquo; or &ldquo;melancholic.&rdquo; It is like a caption of a caption.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192354-Monia-Ben-Hamouda-I_m-Just-Trying-to-be-Pretty-_Racoon_---Installation-view-from--H-O-P-E-_--Curated-by-New-Scenario---Technical-University-Dresden-and-ALTANAGalerie_-Dresden_-DE.--UNIVERSITA_TSSAMMLUNGEN-KUNST-_-TECHNIK-in-der-ALTANAGale.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Monia Ben Hamouda, <em>I&rsquo;m Just Trying to be Pretty (Racoon),&nbsp;</em>Installation view of <em>H O P E</em>, Curated by New Scenario, Technical University Dresden and ALTANAGalerie, Dresden</span></p> <p>&nbsp;</p> <p><strong>CP: You moved from making videos to sculpture. What prompted that change?</strong></p> <p><strong>MBH:</strong> I think this was not really a change for me; it is just something about time, about where my research needs to go.</p> <p>I&rsquo;m interested in narration. Considering that, I think I&rsquo;m still making videos.</p> <p>I&rsquo;m trying to create a story using objects and not shots anymore.</p> <p>For example, in my pieces&rsquo; titles, you can see explicit narration purposes, and if you put them together maybe you can see a storyline...</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192752--Michele-Gabriel.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Monia Ben Hamouda, <em>Holding Hands as a Cup</em>, 2017, Venetian tent, silicone, clay, plaster, water,&nbsp;Installation view of&nbsp;<em style="font-size: 12px;">It Won&rsquo;t Only Kill You, it will Hurt the Whole Time You&rsquo;re Dying</em>, Double Solo show with Michele Gabriele, OJ, Istanbul</span></p> <p>&nbsp;</p> <p><strong>CP: How does cinema/video influence you sculptural work?</strong></p> <p><strong>MBH:</strong> Cinema is the most influential thing for me. Is like a goal for my work.</p> <p>I want to reach people in the same way a movie or a tv show can do. I want to bring emotions out of people.</p> <p>I want to make them cry.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192532-Monia-Ben-Hamouda--I-can_t-even-reply-you-_new_--2017--Pig-Tails_-water_-polymethyl-methacrylate_-plastic-band.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Monia Ben Hamouda,<em> I can&rsquo;t even reply you </em>(new), 2017, Pig tails, water, polymethyl-methacrylate, plastic band</span></p> <p>&nbsp;</p> <p><strong>CP: When and why did you start using animal parts in your work?</strong></p> <p><strong>MBH:</strong> I started to use meat for my&nbsp;<em><a href="https://www.youtube.com/watch?v=t2LEtMCEh74" target="_blank">I can&rsquo;t even reply you</a></em> series in 2017.</p> <p>I do not see those elements like animal parts.</p> <p>They have alimentary purposes, and they interest me because they are part of reality, but somehow they are not easily recognizable.</p> <p><strong>CP: How would you describe the relationship between the organic and synthetic in your work?</strong></p> <p><strong>MBH:</strong> One is the extension of the other.</p> <p>Is really important for me to create a sort of &ldquo;democracy&rdquo; among the piece&rsquo;s materials.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192432--Michele-Gabriele---OJ-_-Istanbul-TR.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">Monia Ben Hamouda,&nbsp;<em>Still-Broken</em>, 2017, Volleyball, bone, Installation view of&nbsp;<em>It Won&rsquo;t Only Kill You, it will Hurt the Whole Time You&rsquo;re Dying</em>, Double Solo show with Michele Gabriele, OJ, Istanbul</span></p> <p>&nbsp;</p> <p><strong>CP: The flesh and bone you use leave the viewer unsure whether it is human, animal or &ldquo;other,&rdquo; which (for me) creates a feeling of discomfort or unease. What draws you to playing with those kinds of emotions?</strong></p> <p><strong>MBH:</strong> It is not really my intent to discomfort the viewer; I just had to use those elements because my research needed them.</p> <p>The decision to use this medium derived from the need to formalize an image that could contain the strength&nbsp;of amulets. I started reasoning about Symbolization and about the tendency of human beings to use other living beings&rsquo; amputations as amulets and therefore acts as symbols.
</p> <p>The pigtail is a banal image, but also almost unrecognizable. In the collective memory it doesn&rsquo;t practically&nbsp;exist, therefore it could symbolize, but in an ambiguous sense, a strange symbol of strength, alien and familiar at the same time.</p> <p>The emotions that I can feel when I see those pieces are complex, because for me meat (and in particular pig meat) is a symbol: my family is half Muslim. It always was interesting for me to see how much layers of meaning are inside those images.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192216--Michele-Gabriele---OJ-_-Istanbu.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Monia Ben Hamouda,&nbsp;<em>Hunter I</em>, 2017, Water, plastic bag, cables, dog&rsquo;s salame,&nbsp;<span style="text-align: center;">Installation view of&nbsp;</span><em style="font-size: 12px; text-align: center;">It Won&rsquo;t Only Kill You, it will Hurt the Whole Time You&rsquo;re Dying</em><span style="text-align: center;">, Double Solo show with Michele Gabriele, OJ, Istanbul</span></span></p> <p>&nbsp;</p> <p><strong>CP: How would you describe your relationship with water (which is a regular medium in your work)</strong><strong>?&nbsp;</strong></p> <p><strong>MBH:</strong> Passional. At some point of the formalizing process water arrives and I really don&rsquo;t have choice. It&rsquo;s brutal.</p> <p>Like tsunamis.</p> <p>Like love.</p> <p>I strongly believe that water and emotions are connected. Cinema is full of this element. It is so melodramatic.</p> <p>Think about lovers looking each other under rain: they are wet, they can kiss each other, they can cry.</p> <p>It is almost the end. And they stare at each other, completely wet.
 Water is an empowerment and a dramatic way to show images. Sometimes I look at things&nbsp;trying to imagine them differently: water allows this change even though it maintains the objects unchanged. It&rsquo;s plasticity. It&rsquo;s sculpture.</p> <p>See, liquid allows bodies to be sculpturally &ldquo;full,&rdquo; but in a passive way, like it&rsquo;s been left on the floor.</p> <p>It takes the shape that welcomes it, and that &ldquo;leaves&rdquo; it to be shaped by &ldquo;others.&rdquo;</p> <p>They existed and then died. They were strong, but not any more. Maybe they will be strong again, like a dead shark on the beach. We have to be careful.</p> <p>Also, I have a strong drive to work with this material since the beginning of my practice. It is something really natural to me.</p> <p>I lived six months upon two lakes, in Lapland, in 2015, during the polar night. I was alone in the dark for so long&hellip; Water was literally everything that I had around me. I think it was an important experience for my work.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192639--Michele-Gabriele---OJ-_-Istanbul-TR.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><span style="text-align: center;">Monia Ben Hamouda,&nbsp;</span><i>Dog I</i>, 2017, Fur, muzzle,&nbsp;Installation view of&nbsp;<em style="font-size: 12px;">It Won&rsquo;t Only Kill You, it will Hurt the Whole Time You&rsquo;re Dying</em>, Double Solo show with Michele Gabriele, OJ, Istanbul</span></p> <div>&nbsp;</div> <p><strong>CP: What distracts you from your work?</strong></p> <p><strong>MBH:</strong> Nothing, never. I&rsquo;m obsessed, really.</p> <p><strong>CP: What bores you?</strong></p> <p><strong>MBH:</strong> Openings.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192151--Michele-Gab.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px; text-align: center;">Monia Ben Hamouda, <em>Sad Music Playing Subtitle </em>(detail), 2017, Glass, plastic bag, earring, water, Installation view of&nbsp;</span><em style="font-size: 12px; text-align: center;">It Won&rsquo;t Only Kill You, it will Hurt the Whole Time You&rsquo;re Dying</em><span style="font-size: 12px; text-align: center;">, Double Solo show with Michele Gabriele, OJ, Istanbul</span></p> <p>&nbsp;</p> <p><strong>CP: I also read that you &ldquo;owe so much to snakes, those &lsquo;eaten too much&rsquo; images.&rdquo; Please explain.</strong></p> <p><strong>MBH:</strong> As I told you before, reality is like a sculptural material for me, and my latest practice directly derives from some images of predators in particular circumstances that I saw.</p> <p>Images like cut snakes, with the chest open and a deer coming out of it.</p> <p>Somehow they are multiple things simultaneously: they are passive forms, drooping down on themselves, but also they are the perfect symbols of strength. Or better: loss of strength.</p> <p>They are dead, but we are so afraid of them. We know their past. We know what they could do.</p> <p>We can&rsquo;t touch them.</p> <p>Those kind of &ldquo;passive- aggressive&rdquo; images interest me for their ambiguity:&nbsp;dead but ready to attack you. Both in the same moment. It&rsquo;s a behavior that expresses anger and hostility, but in indirect form, through the passivity.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705191857--Michele-Gabriele---OJ-_-Istanbul-TR-_.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Monia Ben Hamouda, <em>Still-Broken</em>, 2017, Volleyball, bone, Installation view of <em>It Won&rsquo;t Only Kill You, it will Hurt the Whole Time You&rsquo;re Dying</em>, Double Solo show with Michele Gabriele, OJ, Istanbul</span></p> <p>&nbsp;</p> <p><strong>CP: Do you have to deal with the decay of the organic matter in you work. Is the decay itself part of the work?</strong></p> <p><strong>MBH:</strong> I don&rsquo;t think so. I used materials which have this property but this is not the point.</p> <p>The point is the failure of symbolization. Animal parts, amulets.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/217698119?title=0&amp;byline=0&amp;portrait=0" webkitallowfullscreen="" width="640"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;"><a href="https://vimeo.com/217698119" target="_blank"><em>It Won&rsquo;t Only Kill You, It Will Hurt the Whole Time You&rsquo;re Dying</em>, Monia Ben Hamouda &amp; Michele Gabriele @ OJ</a></span></p> <p>&nbsp;</p> <p><strong>CP: Your have recently collaborated with&nbsp;<a href="http://michelegabriele.tumblr.com/" target="_blank">Michele Gabriele</a>. Tell us a little about that.</strong></p> <p><strong>MBH:</strong> We&rsquo;d met each other just before the group show that he curated (Y<em>ou would like that we were not here. But we are too emotionally absorbed by the homesickness of places that we&rsquo;ll see only from the windows of our Bentleys</em>, Milan, 2017) and we realized that we were both interested in this same idea of keeping the documentation as part of the art process. He invited me to collaborate, and since then we never stopped to work together. We are sharing a studio, and I can say that Michele&rsquo;s work is a daily source of inspiration for me.</p> <p>We strongly agree on visions and concepts.&nbsp;Even if our research is different, somehow they collide, creating important scenarios for both.</p> <p>That&rsquo;s the reason why we decided to work on a double solo (<em><a href="https://vimeo.com/217698119" target="_blank">It won&#39;t only kill you, it will hurt the whole time you&#39;re dying</a></em> (Istanbul, 2017): we had so many things to say together.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705191736-miranda.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px; text-align: center; font-family: Karla; background-color: rgb(255, 255, 255);">Monia Ben Hamouda,&nbsp;<em>Survive, Adapt and Protect (Just Breath)</em></span><em style="text-align: center; box-sizing: border-box; font-family: Karla; font-size: 17.28px; background-color: rgb(255, 255, 255);">&nbsp;</em><span style="font-size: 12px; text-align: center; font-family: Karla; background-color: rgb(255, 255, 255);">(detail), 2017,&nbsp;</span><span style="font-size: 12px; text-align: center;">Plastic band, clay, silicone, water, plastic bottles, fur, Installation view of Miranda,&nbsp;curated by PANE Project, Milan Italy</span></p> <p>&nbsp;</p> <p><strong>CP: You did a show in a working butcher&rsquo;s shop (<em><a href="http://www.ofluxo.net/miranda-a-solo-show-by-monia-ben-hamouda-curated-by-pane-project/" target="_blank">Miranda</a></em>). How was that experience? How was it received by the customers?</strong></p> <p><strong>MBH:</strong> I took it very seriously.</p> <p>Miranda was my first solo show, and I was very excited and anxious about it.</p> <p>I used all my energy, heart, and mind to build that show. I had the chance to show my research and I didn&rsquo;t want to waste it.</p> <p>I was so lucky to work with <a href="http://www.lucialeuci.it/" target="_blank">Lucia Leuci</a>. She is very professional and sensitive. She truly believed in my work since we first met.</p> <p>I felt at home, even if we used a butcher shop as location for the show. In the beginning of the setting up I was a little bit intimidated&nbsp;by the customers. It was tough for me. Some people were a little bit scared; they just wanted to buy meat and run away. Sometimes I wanted to run away too.</p> <p>But Lucia and Antonio Miranda, the owner of the shop, treated me like family. I think it was tough for him as well. He was really sick at that moment, but very curious.</p> <p>It was really important to me to use his name as title of the exhibition.</p> <p>I was thinking that dramatic stories are often told by changing names. Here I kept the name and changed the story, exploiting Miranda&rsquo;s identity to my purposes. Now I see the exhibition halfway between a love letter and an obituary. Between teen lovers and widowed&nbsp;old people.</p> <p>It was strong for me.&nbsp;</p> <p>He died few weeks ago.</p> <p>&nbsp;</p> <p style="text-align: center;"><span style="font-size:12px;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170705192706-Monia-Ben-Hamouda--Survive_-Adapt-and-Protect-_Just-Breath_-2017--Plastic-band_-clay_-silicone_-water_-plastic-bottles_-fur--Exhibition-view-from-MIRANDA_-Monia-Ben-Hamouda_s-solo-show-curated-by-PANE-Project_-Milan-Italy-__-detail.jpg" /></span></p> <p style="text-align: center;"><span style="font-size:12px;"><span style="font-family: Karla; text-align: center; background-color: rgb(255, 255, 255);">Monia Ben Hamouda,&nbsp;<em>Survive, Adapt and Protect (Just Breath)</em></span><em style="text-align: center; box-sizing: border-box; font-family: Karla; font-size: 17.28px; background-color: rgb(255, 255, 255);">&nbsp;</em><span style="font-family: Karla; text-align: center; background-color: rgb(255, 255, 255);">(detail), 2017,&nbsp;</span>Plastic band, clay, silicone, water, plastic bottles, fur, Installation view of Miranda,&nbsp;curated by PANE Project, Milan Italy</span></p> <p>&nbsp;</p> <p><strong>CP: What do you have coming up?</strong></p> <p><strong>MBH:</strong> The next season I will present an ambitious project built on episodes, like a tv show.</p> <p>Half Sculpture, half Cinema. You will see!</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> <p><span style="font-size:12px;">(Image at top: Monia Ben Hamouda, <em>Survive, Adapt and Protect (You&rsquo;ll Never be Missed)</em>, 2017, Plastic band, clay, silicone, water, Michele Gabriele&rsquo;s <em>The Missing Link</em>,&nbsp;</span><span style="font-size: 12px; text-align: center;">Installation view of <em>Miranda</em>,&nbsp;curated by PANE Project, Milan Italy.</span><span style="font-size:12px;">&nbsp;All images: Courtesy of the artist)</span></p> Thu, 06 Jul 2017 05:15:02 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list The ArtSlant Prize IX: Announcing the Round 5 Juried Winners! <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;"><font face="helvetica" size="4"><b><i>Check out the&nbsp;<a href="https://www.artslant.com/ny/showcases/showcase?listtype=showcase&amp;sublist=62%5Ejuried+winners" style="color: #00cfa6; text-decoration: none;" target="_blank">Round 5 Juried Winners</a>&nbsp;below! </i></b></font></p> <p style="text-align: center;"><em><font face="helvetica" size="4">Special thanks to this round&#39;s amazing jurors! &lt;3</font></em></p> <p style="text-align: center;"><font face="helvetica" size="4"><b><i>Round 5 is now open! Apply today for your chance at $5k in prizes! </i></b></font></p> <p style="text-align: center;"><font face="helvetica" size="4"><i><strong>To apply</strong>, go to your ArtSlant profile and click <strong>enter contest</strong>.</i></font></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><span style="font-family: helvetica; font-size:18px;"><strong><em>ROUND 5 JURORS:</em></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/32120/1dkh/20170705152302-Screen_Shot_2017-06-21_at_14.03.41.png" /></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><font face="helvetica" size="4"><strong>Alex Paik</strong> is an artist, director of <a href="http://www.tigerstrikesasteroid.com/" style="color: #00cfa6; tex-decoration: none;" target="_blank">Tiger Strikes Asteroid</a> and curator of <a href="http://satellite-show.com/" style="color: #00cfa6; tex-decoration: none;" target="_blank">Satellite Art Show</a> in Miami.</font></p> <p style="text-align: center;"><font face="helvetica" size="4"><strong>Will Hutnick</strong> is an artist and curator. He is the co-director of <a href="http://oygprojects.com/" style="color: #00cfa6; tex-decoration: none;" target="_blank">Ortega y Gasset Projects</a> and the Residency Director of <a href="http://wassaicartistresidency.org/" style="color: #00cfa6; tex-decoration: none;" target="_blank">The Wassaic Project</a>.</font></p> <p style="text-align: center;"><font face="helvetica" size="4"><strong>Polina Stroganova</strong> is the Director of <a href="http://proyectosmonclova.com/" style="color: #00cfa6; tex-decoration: none;" target="_blank">Proyectos Monclova</a> in Mexico City.</font></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; background-color: #00cfa6; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none;">Round 5 Juried Winners:</span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><a href="https://www.artslant.com/ny/works/show/1051371"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1051371/u3azr9/20170614204728-jz1.jpg" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">PAINTING:</span>&nbsp;&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/316676-jose-delgado-zuniga" style="color: #000000;">Jose Delgado Zuniga, <i>More American Than Gringos</i>, 2017</a></span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ny/works/show/1045982"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045982/u3azr9/20170511113629-DSC_0086-001.JPG" style="display: block; margin-left: auto; margin-right: auto; text-align: center;" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">ABSTRACT:</span>&nbsp;&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/454119-guntis-lauzums" style="color: #000000;">Guntis Lauzums, <i>Untitled Abstract 2</i>, 2017</a></span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ny/works/show/1050890"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1050890/u3azr9/20170613011127-TransmittingUndertheguiseofhalluci17.jpg" style="display: block; margin-left: auto; margin-right: auto; text-align: center;" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">DRAWING:</span>&nbsp;&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/74231-david-rios-ferreira" style="color: #000000;">David Rios Ferreira, <i>Transmitting under the guise of hallucination</i>, 2017</a></span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ny/works/show/1052551"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1052551/u3azr9/20170622151406-DSC_6620__1_.jpeg" style="display: block; margin-left: auto; margin-right: auto; text-align: center;" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">INSTALLATION:</span>&nbsp;&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/312083-denise-treizman" style="color: #000000;">Denise Treizman, <i>Pent up</i>, 2017</a></span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ny/works/show/974849"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/974849/mf2ji7/20160306173614-Hahn_REGAL1.jpg" style="display: block; margin-left: auto; margin-right: auto; text-align: center;" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-size: large;"><span style="font-family: helvetica; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">NEW-MEDIA:</span>&nbsp;</span>&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/428955-karissa-hahn" style="color: #000000;">Karissa Hahn, <i>REGAL</i>, 2015</a></span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ny/works/show/1049795"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1049795/u3azr9/20170605203634-KRAUTLAW_29_x_18_x_20.JPG" style="display: block; margin-left: auto; margin-right: auto; text-align: center;" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">SCULPTURE:</span>&nbsp;</p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/371074-david-isakson" style="color: #000000;">David Isakson, <i>krautlaw</i>, 2017</a></span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ny/works/show/1009275"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1009275/u3azr9/20160929113249-b_nyplSLCT-5432NEWhero8_12.jpg" style="display: block; margin-left: auto; margin-right: auto; text-align: center;" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">PHOTOGRAPHY:</span>&nbsp;&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="ç" style="color: #000000;">Paul Sunday, <i>Face</i>, 2016</a></span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ny/works/show/1052718"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1052718/u3azr9/20170623040543-juhks.4_side.3.jpg" style="display: block; margin-left: auto; margin-right: auto; text-align: center;" width="100%" /></a></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">MIXED-MEDIA:</span>&nbsp;&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/168409-christopher-tavares-silva" style="color: #000000;">Ben Rosecrans, <i>juhks.4</i>, 2016</a></span></p> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><span style="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="http://www.amazon.com/gp/node/index.html?ie=UTF8&amp;marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Amazon Art Sales Platform</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, and great exposure&mdash;not to mention cash prizes for selected ArtSlant Prize winners. See below for all the details.</span></p> <p style="text-align: center;"><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;&nbsp;</span></span></p> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;">&nbsp;</p> <table align="center" style="width: 100%;"> <tbody> <tr> <td colspan="3"> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">Previous ArtSlant Prize winners have gone on to secure gallery representation and have been purchased by prominent collectors, museum directors and personalities.</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">Past winners include:</span></p> <p style="text-align: center;"><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: none; color: #00cfa6;">ArtSlant Prize 2016 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" target="_blank">Brigitta Varadi</a>, <a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" target="_blank">Tiffany Smith</a>, <a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" target="_blank">Sterling Crispin</a>, <a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" target="_blank">Bex Ilsley</a>, <a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" target="_blank">Jinhee Park</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2015+Winners" style="text-decoration: none; color: #00cfa6;">ArtSlant Prize 2015 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" target="_blank">Theresa Ganz</a>, <a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" target="_blank">Tina Tahir</a>, <a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" target="_blank">Rachel Garrard</a>, <a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" target="_blank">Bryan Volta</a></span></p> <p style="text-align: center;"><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: none; color: #00cfa6;">ArtSlant Prize 2014 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" target="_blank">Edra Soto</a>, <a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" target="_blank">Adam Douglas Thompson</a>, <a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" target="_blank">Anastasia Samoylova</a>, <a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" target="_blank">Oren Pinhassi</a></span></p> <p style="text-align: center;"><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: none; color: #00cfa6;">ArtSlant Prize 2013 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" target="_blank">Robin Kang</a>, <a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" target="_blank">Maureen Meyer</a>,&nbsp;&nbsp;<a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" target="_blank">Alison Pilkington</a>, <a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" target="_blank">Alexis Courtney</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><strong style="font-family: georgia, palatino; font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2012+Winners" style="text-decoration: none; color: #00cfa6;">ArtSlant Prize 2012 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce">Veronica Bruce</a>, <a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" target="_blank">Stephen Vasquez Lopez</a>, <a href="http://www.artslant.com/global/artists/show/152389-susan-meyer">Susan Meyer</a>, <a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" target="_blank">Timothy Gaewsky</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><strong style="font-family: georgia, palatino; font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2011+Winners" style="text-decoration: none; color: #00cfa6;">ArtSlant Prize 2011 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" target="_blank">Holly Murkerson</a>, <a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" target="_blank">Jason Irwin</a>, <a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" target="_blank">Christine de la Garenne</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><strong style="font-family: georgia, palatino; font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2010+Winners" style="text-decoration: none; color: #00cfa6;">ArtSlant Prize 2010 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" target="_blank">Chantel Foretich</a>, <a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" target="_blank">Robert Minervini</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><strong style="font-family: georgia, palatino; font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2009+Winners" style="text-decoration: none; color: #00cfa6;">ArtSlant Prize 2009 Winners</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" target="_blank">Michael Zelehoski</a>, <a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" target="_blank">Yo Fukui</a>, <a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" target="_blank">Julie Davidow</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;&nbsp;</span></p> <hr /> <p style="text-align: center;"><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 style="text-align: center;"><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> <p style="text-align: center;">&nbsp;&nbsp;</p> </td> </tr> </tbody> </table> Wed, 05 Jul 2017 14:56:42 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Ella Goerner 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/ams/articles/show/47193-under-the-radar-ella-goerner-matthew-penkala-ben-pederson" 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/474870-ella-goerner" target="_blank">Ella Goerner</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>Geophilia.&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>No other than everybody else&rsquo;s.&nbsp;</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p>To contribute to meditations on the inhuman:&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170702204840-Ella_Goerner_RVF1662_Fotografie_Robert_Vanis_Nugget_sis_Fr_em.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Nuggets</em>, 2016, UV-print on wood</span></p> <p>&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong><br /> To write a novel through which we can gain great empathy with stones.&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t? </strong></p> <p>There are so many I&#39;d love to insert here, but let&rsquo;s stick with <a href="http://www.documenta14.de/en/artists/13502/otobong-nkanga" target="_blank">Otobong Nkanga</a>, <a href="http://leoxuprojects.com/?page_id=262" target="_blank">Cui Jie</a>, and <a href="http://www.wolfrobertoschimpf.de" target="_blank">Wolf-Roberto Schimpf</a> for now.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <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>&nbsp;</p> Sun, 02 Jul 2017 13:50:20 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Sophie Kahn | Christopher T Wood | Richard Silvaggio <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/53159-sophie-kahn?utm_source=SophieKahn&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;">Sophie Kahn &ndash; New York City</span></span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1029203?utm_source=SophieKahn&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1029203/u3azr9/20170206180002-KAHN_Sophie_Reclining_Figure_of_a_Woman.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/ny/works/show/1029220?utm_source=SophieKahn&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1029220/mf2ji7/20170206180219-PeriodeDesAttitudesPassionelles.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1029202?utm_source=SophieKahn&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1029202/mf2ji7/20170206175919-KAHN_Sophie_Triple_Portrait_of_E.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1029207?utm_source=SophieKahn&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1029207/mf2ji7/20170206180031-KAHN_Sophie_Torso_of_a_Woman_Shards.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/49505-christopher-t-wood?utm_source=ChristopherTWood&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Christopher T Wood &ndash; Philadelphia</span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1005515?utm_source= ChristopherTWood&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1005515/u3azr9/20160831230229-2016-08-18_sm.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/314567?utm_source=ChristopherTWood&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/314567/mf2ji7/Milk9sm.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/314564?utm_source=ChristopherTWood&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/314564/mf2ji7/Milk6sm.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/314563?utm_source=ChristopherTWood&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/314563/mf2ji7/Milk4sm.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/469167-richard-silvaggio?utm_source=RichardSilvaggio&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;">Richard Silvaggio &ndash; Carrara, Italy</span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1011557?utm_source=RichardSilvaggio&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1011557/u3azr9/20161012111948-...behind_every_lie.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/1011558?utm_source=RichardSilvaggio&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1011558/mf2ji7/20161012111953-I_lie.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1011562?utm_source=RichardSilvaggio&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1011562/mf2ji7/20161012112042-No_one_knows_what_happened.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1011560?utm_source=RichardSilvaggio&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1011560/mf2ji7/20161012112021-Is_anybody_out_there.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/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" 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> Thu, 29 Jun 2017 14:17:36 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Portrait: Kuwaiti artist Monira al Qadiri on Japanese cartoons and the body as art <p><em>This photo portrait was originally published as a longer feature on&nbsp;<a href="http://www.freundevonfreunden.com/interviews/kuwaiti-artist-monira-al-qadiri-on-japanese-cartoons-and-the-body-as-art/">Freunde von Freunden</a>.</em></p> <p>&nbsp;</p> <p>&ldquo;A lot of my work is about becoming your art,&rdquo; says Monira al Qadiri. &ldquo;I&rsquo;ve had that ever since I was a child. If I really like something, I want to become like it.&rdquo; Giant noodle bowls and fried shrimp add an extra dash of absurdity to the whole thing, as do molded replicas of her own face. In bringing these cartoons to life she has exaggerated the strangeness and artificiality of their forms.</p> <p>The artist, who is currently based in Amsterdam as a resident at the prestigious Rijksakademie, grew up in the Gulf state of Kuwait where, between 1990-1991, the Gulf War found its nexus. For Monira and her older sister, musician and artist Fatima al Qadiri, these long months were spent indoors, playing video games and watching dubbed Japanese cartoons. The wild colors, simple stories, and playful personalities felt far removed from the brutal realities of conflict. Outside, Kuwait&rsquo;s oil fields burned apocalyptically, but inside, on a frequently-played VHS tape, Kabamaru and his friends provided more otherworldly narratives.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131205-Freunde-von-Freunden-Monira-Al-Qadiri-055.jpeg" /></p> <p style="text-align: center;">&nbsp;</p> <p>Monira&rsquo;s return to childhood vignettes is more concerned with the shape of the present&mdash;perhaps inescapable when you have a biography like hers. &ldquo;Most of my work is about reflection, always from the present moment,&rdquo; says the artist. &ldquo;When I went to Japan, I started to reflect on my life in Kuwait. When I left Japan, I started to reflect on my life in Japan.&rdquo; It was only when the final plane had been taken that she was ready to begin the project.</p> <p>A series of photographs taken by Monira&rsquo;s sister, Fatima, shows the former, aged 14, in full masculine drag. Clad in her father&rsquo;s oversized suits and a neatly penciled mustache, the photographs are an insight into Monira&rsquo;s early fascination with gender performance. But she is also keen to distance these acts of drag from the contemporary discourse surrounding gender queerness and fluidity. For her, drag was something very different: &ldquo;It [was] about power, and for me, it was also kind of narcissistic. There was a visual element to it, too. I wanted to look like them very much. I don&rsquo;t like to think about it as gender. Really it&rsquo;s about power.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131417-Freunde-von-Freunden-Monira-Al-Qadiri-185.jpeg" /></p> <p>&nbsp;</p> <p>Over time, however, Monira&rsquo;s relationship with drag has changed. What may have once been a tactic for individual survival under deeply patriarchal conditions, she now sees as a wider project for collective liberation. &ldquo;I think if we create more and more categories, we lose the plot. What emancipates people is to have no categories of person&mdash;gender, race, and so on. It&rsquo;s like nation-states, you know? [We&rsquo;re creating] more and more borders, which is counter-productive. I&rsquo;m just over that!&rdquo;</p> <p><em>Read the full profile and find more images of Monira al Qadiri on<a href="http://www.freundevonfreunden.com/interviews/kuwaiti-artist-monira-al-qadiri-on-japanese-cartoons-and-the-body-as-art/"> Freunde von Freunden</a>.</em>&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131446-Freunde-von-Freunden-Monira-Al-Qadiri-118.jpeg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131504-Freunde-von-Freunden-Monira-Al-Qadiri-176-801x1200.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131519-Freunde-von-Freunden-Monira-Al-Qadiri-086-801x1200.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131535-Freunde-von-Freunden-Monira-Al-Qadiri-259-462x692.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131549-Freunde-von-Freunden-Monira-Al-Qadiri-260.jpeg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131609-Freunde-von-Freunden-Monira-Al-Qadiri-208.jpeg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170627131633-Freunde-von-Freunden-Monira-Al-Qadiri-137.jpeg" /></p> <p>&nbsp;</p> <p>Photography: <a href="http://www.freundevonfreunden.com/tag/robert-rieger">Robert Rieger</a><br /> Adapted from text by: <a href="http://www.freundevonfreunden.com/tag/siobhan-leddy">Siobhan Leddy</a></p> <p>&nbsp;</p> Tue, 27 Jun 2017 06:59:49 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Eugene Macki 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/ams/articles/show/47816-under-the-radar-eugene-macki-krista-svalbonas-steven-randall" 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/277007-eugene-macki" target="_blank">Eugene Macki</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I am trying to project the thing(s) that excites me. For example, I am very interested in materials, what it means to exist, and the length of space between multiple points. My entire oeuvre begins with the desire to learn. I am not trying to teach the audience anything. I am simply having a conversation with myself, and the medium I work with.</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>Every artist will have a different answer because it depends on various factors. As a human being, my responsibility is to contribute to society. As an artist, my duty is with art, and my aim is to expand the language.</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p>This work is called&nbsp;<em>Repetition and Variation</em>:</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/183539022" webkitallowfullscreen="" width="640"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;"><em><a href="https://vimeo.com/183539022" target="_blank">Repetition and Variation</a></em></span></p> <p>&nbsp;</p> <p>It is impossible for me to say what is the greatest &ldquo;thing&rdquo; I have ever made because each work was influenced by a particular moment or circumstance. However, the reason why I decided to put forward this video is because it makes me happy.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>The reason why I became an artist is to make things. To describe a work I want to make but never will contradicts with my reason for being an artist.</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>Painter: Rasmus Nilausen&mdash;<a href="http://www.rasmusnilausen.dk/" target="_blank">www.rasmusnilausen.dk</a>&nbsp;(Denmark/Spain)</p> <p>Performance Artist:&nbsp;Hyemin Park&mdash;<a href="http://www.hparkart.com/" target="_blank">www.hparkart.com</a>&nbsp;(Korea)</p> <p>Sculptor: Emma Hunter&mdash;<a href="http://www.emmahuntersculpture.com/" target="_blank">www.emmahuntersculpture.com</a>&nbsp;(UK)</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <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">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">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747">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">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">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Eugene Macki, <em>Flamenco Sketches</em>, 2017,&nbsp;Wood, screws, filler, paint,141 x 202 x 5 cm)</span></p> Mon, 26 Jun 2017 05:28:35 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Artist Migrations from SF to LA Are Shaping West Coast Aesthetics and Identity <p>On this particular Saturday in May, it&rsquo;s unusually quiet in the Tenderloin as I walk from BART up Larkin Street. The San Francisco neighborhood is known for its seedy characteristics, its history of vice, homelessness, happy ending massage parlors, strip clubs, dive bars, single occupancy hotels, and social service centers. Today it feels like a level of caring has taken place, with some new businesses now occupying previously vacant storefronts&mdash;the rawness is still there, it just doesn&rsquo;t feel as bedraggled and dangerous.&nbsp;Maybe it&rsquo;s the heat&mdash;a blazing 65 degrees that feels like 80 by our SF standards.</p> <p><em>I left LA in 2011 to escape the heat.</em></p> <p>I am on my way to see the exhibition <em><a href="https://www.artslant.com/ew/events/show/449149-expat">EXPAT</a></em> at R/SF projects. The show interested me because I am myself a Los Angeles transplant, and the show features artists who all moved to LA from SF. In fact, two of the artists, Greg Ito and Matt Lipps, lived in LA, moved to SF, and then returned south in the last couple of years. For <em>EXPAT</em>, R/SF wanted to bring the artists back to San Francisco to establish a cross-pollinated identity for the two cities, and to create a stronger contemporary art presence encompassing the entire West Coast.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170622151650-3._RSFprojects_EXPAT_11.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>EXPAT</em>, installation view at R/SF projects, 2017. Courtesy of the gallery</span></p> <p>&nbsp;</p> <p>Artist and R/SF project co-founder Anička Vr&aacute;na-Godwin briefly moved to Los Angeles to take advantage of the city&rsquo;s opportunities, but returned recently after becoming homesick for the project space she had co-founded. &ldquo;I missed the energy here,&rdquo; she said, and the atmosphere of the Tenderloin.<a href="#_edn1" name="_ednref1" title="">[1]</a> There really isn&rsquo;t anything like the Tenderloin in LA.</p> <p>San Francisco, in comparison to LA, is a very small town, which suits those who welcome a slower pace, the compact &ldquo;big city feel,&rdquo; historical architecture, and cooler weather&mdash;not to mention its reputation as a safe-haven for innovators, intellectuals, the LGBTQ+ community, and anarchists alike. But there&rsquo;s an elephant in the room: the rise in population over the last five years, driven by masses of tech companies, their workers (or those hoping to be), and those taking advantage of this new population in need of culture and living spaces. The resulting real estate greed of almost criminal proportions has out-priced many low-income people, working class families, and artists from their shops, studios, and homes.</p> <p>&nbsp;</p> <p style="text-align: center;"><span style="font-size:12px;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170622151612-4._PeterWu_Helene_XII_2017.jpg" /></span></p> <p style="text-align: center;"><span style="font-size:12px;">Peter Wu, <em>Helene XII</em>, 2017, Archival pigment transfer on perforated projection screen, 25 x 18 inches. Courtesy of the artist</span></p> <p>&nbsp;</p> <p>For many artists in <em>EXPAT</em>, the move to Los Angeles was a practical one: it&rsquo;s cheaper to live there, there is more available studio space, and there are more galleries, artists, and opportunities.<a href="#_edn2" name="_ednref2" title="">[2]</a> For others, it&rsquo;s the city&rsquo;s energy. Peter Wu shared a story via email:</p> <p style="margin-left: 80px;"><span style="font-size:16px;">After graduating from SFAI, me and two classmates (Aaron Garber-Maikovska and Jason Hwang) moved out to LA. We were some of the first which turned into a mass exodus to this city. We realized that the rent was too high in SF but we also wanted to be near our art school heroes like Mike Kelley, Paul McCarthy, and Jim Shaw.</span></p> <p style="margin-left: 80px;"><span style="font-size:16px;">Upon moving here to LA, I started working at Patrick Painter Inc. This was a crazy moment for me. I had so many romantic ideas of the art world which were quickly crushed by being exposed to its inner workings (good and bad). I chose to work there as this is where our heroes were showing. Later on I was fortunate to have the opportunity to show with the gallery&mdash;a momentary dream come true.</span></p> <p style="margin-left: 80px;"><span style="font-size:16px;">Los Angeles has an energy to it where you feel like you have to get things done. Maybe it was just me, but in SF I felt content with just getting by. Maybe we were afraid of the saturation of artists in New York but there is a slow burning fire here. Not aggressive but, at the [same] time, the potential to become a real threat. We like that space, it&rsquo;s just our pace.</span></p> <p>Many of the artists in<em> EXPAT</em> were able to find work spaces up to five times the size for the same price they were paying in SF. They found more freedom to explore scale and materials, to make messes and to step back from the work and see it clearly, without the walls &ldquo;caving in.&rdquo; In addition, some artists described the psychological relief of not having to worry about the cost of living, which allowed for more mental creative space.</p> <table align="right" width="400"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;There is a slow burning fire here...We like that space, it&rsquo;s just our pace.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>Furthermore, some described how the sheer volume of galleries&nbsp;expands opportunities&nbsp;for building relationships and becoming part of an ambitious and globally recognized contemporary art circuit. <em>EXPAT </em>artist Jake Ziemann participated in a group show at LA-based Shulamit Nazarian in 2016. In an email he described the decision to move south&nbsp;after that show: &ldquo;[It] felt like the logical next step in my career to extend my community, expand my practice, and to be in more immediate contact geographically with an art scene that both felt foreign to me and in which I had already begun to participate.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170622151339-5._MattLipps_Curtain.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Matt Lipps, <em>Untitled (Curtain)</em>, 2010, C-print, ed. 5/5, 44 x 33 inches. &copy; Matt Lipps. Courtesy of the artist and Jessica Silverman Gallery</span></p> <p style="text-align: center;">&nbsp;</p> <p>Photo-based artist Matt Lipps moved from LA to the Bay Area a few years ago to take a full-time academic appointment. Lipps exhibits his work regularly at Jessica Silverman Gallery in SF and at Marc Selwyn in LA. He recently moved back to LA; he realized that his 17 years&rsquo; worth of relationships with colleagues and peers there was &ldquo;home.&rdquo; He described via email how, upon returning, he was able to find a space &ldquo;I can&nbsp;<em>grow into,&rdquo;</em>&nbsp;rather than a space to merely &ldquo;fit&rdquo; into. Thematically his work changed, too.</p> <table align="center" width="650"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;Not only did I have space and time to slow down and breathe, but I think that feeling is reflected in the work.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&ldquo;The first show I completed back in LA, <a href="http://www.mattlipps.com/Looking-Through-Pictures-2016" target="_blank"><em>Looking Through Pictures</em></a>, was much more contemplative&mdash;not only did I have space and time to slow down and breathe, but I think that feeling is reflected in the work as well.&rdquo; The piece he showed in <em>EXPAT</em>, <em>Untitled (Curtain)</em>, is from 2010, and was created while he was still in SF. It&rsquo;s part of a series titled <em>Horizon/s</em>, after the 1950s magazine of the same title. The series, as had a majority of his work since 2004, used cut-out and propped up &ldquo;paper dolls&rdquo; arranged in theatrical dioramas. The new work is more self-reflexive, using the negative space that remained from previous cut-out works such as <em>Untitled (Curtain).</em></p> <p>A week after visiting R/SF projects, I took a trip to LA. While there, I stopped by <a href="http://www.hilde.co/" target="_blank">HILDE</a>, whose Director Hilde Helphenstein recently relocated from SF to open her gallery on Washington Blvd., a quick jaunt east of the gallery cluster in Culver City. On view through July 17 is <em><a href="https://www.artslant.com/ew/events/show/449150-hydrogenesis" target="_blank">HYDROGENESIS</a></em>, an exhibition by artist duo <a href="http://ohl-dc.com/" target="_blank">Ohlsson/Dit-Cilinn</a>, who were my classmates at California College of the Arts. While at their show, I happened upon Jake Ziemann and Julie Henson, who were both included in <em>EXPAT</em>, and who now share a huge studio in Boyle Heights. I dropped by the space to talk about their work and relocation.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170622151208-7._JakeZiemann_Medium_standing_here_until_you_make_me_move_Front.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Jake Ziemann, <em>standing here until you make me move</em>, 2016, Spray paint, acrylic, and gouache on ceramic, wood, cardboard, plaster, and graphite powder, 28 x 8 x 7 inches. Courtesy of the artist and Shulamit Nazarian</span></p> <p>&nbsp;</p> <table align="left" width="400"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;My move to Los Angeles has made me realize how connected my personal state is to my work.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>When I showed up, Ziemann was working outside in a roomy tool shop with saws and worktables. Since moving into his new studio, he has been making work that hangs in mobile-like configurations from the ceiling, emphasizing notions of precariousness and instability. &ldquo;I believe my move to Los Angeles from San Francisco has made me realize how connected my personal state is to my work,&rdquo; he said. Elaborately knotted ropes bind small ceramic clumps to long wooden poles; they&nbsp;entwine a ceramic arch-shape. The knots restrict and support the pieces in these suspended states. One particularly alluring piece consists of an old painting sewn into tube shapes, filled with concrete, then tightly bound and left to dry. The ropes were later removed, leaving behind the remnants of the squeezing process frozen in time.</p> <p>The studio&rsquo;s huge main room provides a perfect spot for photographing work, staging studio visits, or hosting gatherings. Henson had just deinstalled her solo exhibition at Anat Ebgi, and the work was set up in the main room. Of the artists in <em>EXPAT</em>, Henson&rsquo;s work is the most overtly socio-political. She juxtaposes silhouettes of women athletes with images of women from fashion magazines. Using mirror, acrylic, and plywood, her materials reiterate &ldquo;the cold language of advertising,&rdquo; she said.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170622151129-6._JulieHenson_Triumphant_Return_2.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Julie Henson, <em>The Triumphant Return</em>, 2016, Inkjet print and flocking on plywood, 34 x 22.5 x 37.5 inches</span></p> <p>&nbsp;</p> <table align="right" width="400"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;I don&rsquo;t feel &lsquo;comfortable&rsquo; here.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&ldquo;I don&rsquo;t feel &lsquo;comfortable&rsquo; here,&rdquo; Henson says. Meaning, she doesn&rsquo;t feel that sense of comfort, or perhaps boredom and stagnation, that one feels when they are settled in a spot. Here she is always working on her art. Since moving to LA, her work became more sculptural. Still using images from magazines &ldquo;and turning them back into solids,&rdquo; she is now taking things a step further. The bodies are now three-dimensional, slotted like segmented building toys, and then repositioned as teetering and awkward giant amulets, jewels, or trophies. They seem to signify the way that female bodies are glorified and commodified in the media, yet oftentimes seen only as parts. &nbsp;</p> <p>Henson is married to Seth Curcio, who was using an unoccupied space at their studio as an office. He is the previous co-founder and publisher of <em>Daily Serving</em>, and is now the Senior Director of Shulamit Nazarian Gallery where he has just curated his first show, <a href="https://www.artslant.com/ew/events/show/449151-broken-language"><em>Broken Language</em></a>, which includes Josh Faught, an SF textile artist, and Greg Ito, whose work is also in <em>EXPAT</em>. Since moving to LA, Ito has been working on several bodies of new paintings using multiple narrative vignettes on single canvases. These are based on the story of his grandparents who were interned together in a camp during WWII, where they managed to find love despite the harrowing times. In the paintings, two hands posing in a variety of gestures are featured adjacent to imagery common in children&rsquo;s fantasy stories. The narratives reiterate uncertain outcomes in the face of danger or the midst of deceit. Lone boats float on a calm sea with smoke in the distance; a lick of flames curls out of a second story bedroom window.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170622151101-7GregIto_Soothsayer.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Greg Ito, <em>Soothsayer</em>, 2017, Acrylic on canvas, 31.5 x 23.75 inches. Courtesy of the artist</span></p> <p>&nbsp;</p> <p>Throughout the work in <em>EXPAT</em> there seems to be a subtle darkness looming, despite the hopeful promise of Los Angeles, whether Ito&rsquo;s bittersweet love stories, Ziemann&rsquo;s sculptural existentialism, or Hansen highlighting the enduring social exploitation of female bodies. In contrast, Petra Cortright mines digital data in her practice, and her video work in <em>EXPAT</em> includes herself as subject. Her post-digital-selfie cinematic pieces seem very LA. Bailey Hikawa&rsquo;s <em>Refrigerator Feelings</em> is another exception. She painted her first stand-alone painting after moving to LA, replete with washy soft colors and abstract shapes playfully floating on an almost nude canvas.</p> <p>Perhaps <em>EXPAT</em>&rsquo;s darkness is a case of &ldquo;no matter where you go, there you are.&rdquo; In some ways the question &ldquo;Does location matter?&rdquo; seems simply answered by the fact that every artist bio or press release states the city where an artist works and lives; people may even confer &ldquo;zip code cred&rdquo; to a given location. But is it to be expected that an artist would make a sudden and radical shift, drastically changing their work after moving to a new location?&nbsp;If the goal&mdash;as seems to be the case with <em>EXPAT</em>&mdash;is to create or identify a West Coast artistic relationship between LA and SF, one that acknowledges the ever shifting back and forth of ideas and bodies, what will the new place-identifying moniker be? &ldquo;LA/SF&rdquo;? Is it even important? With <em>EXPAT</em>, the subjects and conceptual concerns ultimately remain true to the artists&rsquo; ongoing practices, no matter where they lay down roots.</p> <p>I drive back to SF through the heartland on the 5. It&rsquo;s 95 degrees, and the air conditioner (that I don&rsquo;t need in the Bay Area) is not working. I finally arrive home in Oakland, to the cool ocean breeze, and a bright pink sunset. It is after all, still California.</p> <p><em><a href="https://www.artslant.com/ew/events/show/449149-expat" target="_blank">EXPAT</a> ran May 14&ndash;June 4 at R/SF projects, San Francisco.</em></p> <p><em><a href="https://www.artslant.com/ew/events/show/449151-broken-language" target="_blank">Broken Language</a> continues through July 1 at Shulamit Nazarian, Los Angeles.</em></p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/1872-leora-lutz?tab=REVIEWS" target="_blank">Leora Lutz</a></p> <div>&nbsp; <hr align="left" size="1" width="33%" /> <div id="edn1"> <p><span style="font-size:14px;"><a href="#_ednref1" name="_edn1" title="">[1]</a> R/SF has some safety in numbers with <a href="http://jessicasilvermangallery.com/" target="_blank">Jessica Silverman Gallery</a> and the <a href="http://www.tenderloinmuseum.org/" target="_blank">Tenderloin Museum</a>&nbsp;as nearby neighbors.</span></p> </div> <div id="edn2"> <p><span style="font-size:14px;"><a href="#_ednref2" name="_edn2" title="">[2]</a> Los Angeles is the second largest city in the United States, with more than 18 million inhabitants sprawled across over 4,800 square miles of the total Greater LA region. About ten years ago I did a casual count of active galleries and museums in the Greater Los Angeles region that were listed in a locally distributed comprehensive gallery guide. The total exceeded 400&mdash;from the Inland Empire to the edge of the water in Santa Monica, from the southern edge of Orange County to the top of the Palisades&mdash;and those are just the ones listed in the guide. Today, the number exceeds 800. In comparison, a recent quick tally of an SF-based gallery guide listed only about 70 venues for a city with 850+ thousand inhabitants spanning 48 square miles, or 7+ million people spanning 6,900 square miles for the entire Bay Area region.</span>&nbsp;</p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top:&nbsp;<em>EXPAT</em>, installation view at R/SF projects, 2017. Courtesy of the gallery)</span></p> </div> </div> Fri, 23 Jun 2017 01:03:10 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: Milos Rajkovic aka Sholim <p>Milos Rajkovic aka <a href="http://sholim.com/" target="_blank">Sholim</a> is a Belgrade-based gif artist and &ldquo;digital surrealist&rdquo; who creates wonderfully mind-bending visual puzzles. Behind Rajkovic&rsquo;s visual wit is a subversive sense of humor that he puts to work tackling diverse socio-political topics like corporate culture, religion, and our dependence on technology. His meticulously constructed tableaux are often created from manipulated vintage found footage giving them an uncanny quality that defies time and space.</p> <p>Welcome to the strange and wonderful world of Milos Rajkovic.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/3o6ZsWcC4xlQ3TrZCw" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>Christian Petersen: What were you like as a kid?</strong></p> <p><strong>Milos Rajkovic:</strong> As a kid in the 90s I really enjoyed that era&rsquo;s MTV music videos.</p> <p><strong>CP: What was your first experiences with a computer like?</strong></p> <p><strong>MR:</strong> I think it was 1990 or 1991 when my father bought his first PC 286 with a black and white screen. My first memory about some sort of &ldquo;animation&rdquo; is from that period. I drew simple objects in AutoCad then I moved it with the mouse to different positions on screen. Then by clicking the undo and redo buttons they magically moved. I was 5 years old.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/l2QZY6AxfQIIwWIj6" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>CP: How would you describe your personality?</strong></p> <p><strong>MR:</strong> Passionately patient.</p> <p><strong>CP: When did you first start experimenting with gifs? </strong></p> <p><strong>MR:</strong> During the MySpace era I started to experiment with gifs as form of art and promotion. I really loved MySpace because it allowed you to create your page full of gifs but the internet back then was too slow for it and that&rsquo;s why everything with that site fell apart. A couple of years later, when the internet became faster and gifs became larger (over 1 or 2 megabytes), Tumblr was a place where whole gif art story began.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/3oz8xG6LrP4ziY8sr6" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>CP: How did growing up in Serbia influence the art you now make?</strong></p> <p><strong>MR:</strong> It influenced me a lot. Serbia is a small and sometimes off the radar country in Europe and I realized that if I want to be noticed I&rsquo;d need to work twice as much as somebody from France on something that is five times more authentic than something someone from England can create.</p> <p><strong>CP: How would you describe your relationship with social media?</strong></p> <p><strong>MR:</strong> I love it a lot because it&rsquo;s almost free and it&rsquo;s the best tool for promotion art and inspiring other people.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/l41Yz18qKoSmESS6A" width="480"></iframe></p> <p style="text-align: center;">&nbsp;</p> <p><strong>CP: In your view, how has the internet changed creativity in general?&nbsp;</strong></p> <p><strong>MR:</strong> It changed it in a way that I don&rsquo;t like very much. Now creativity entertains people instead of being inspirational.</p> <p><strong>CP: Your work is very political. What issues do you feel most strongly about?</strong></p> <p><strong>MR:</strong> I am from a part of Europe where a lot of political shit happened in last 25 years. Because of that it feels very relevant to create something about it.</p> <p><strong>CP: Most net/gif artists try and avoid being so directly political. Why do you think that is?</strong></p> <p><strong>MR:</strong> Because they don&#39;t have a clear attitude about it.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/l3q2sGeZz7DDcMf4I" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>CP: You say that people have an &ldquo;unhealthy dependence on technology.&rdquo; How will that change humanity?</strong></p> <p><strong>MR:</strong> This is a great question but I don&#39;t want to go deep into it. I just want say that I hope that it won&#39;t change humanity in negative way.</p> <p><strong>CP: Do you think there&nbsp;will ever be a significant reaction against it?&nbsp;</strong></p> <p><strong>MR:</strong> Since the industrial revolution art is constant reaction against it and it should always be.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/xT1XGw4KikKyVKfYSQ" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>CP: Your work is very modern but also often has a vintage aesthetic.</strong></p> <p><strong>MR:</strong> I don&#39;t like 3D or VR because it&rsquo;s synthetic/unnatural. That&rsquo;s why I use recorded footage or interesting segments from old movies. Also I want to pay respect and create homages to the times that pass away. For me that&rsquo;s a natural flow of creativity in art.</p> <p><strong>CP: Why is humor important in your work?</strong></p> <p><strong>MR:</strong> Humor is essentially needed in art&mdash;especially if you have a serious message to share. It creates balance and it&rsquo;s like a brake for not being extreme. That&#39;s most important. Just imagine Public Enemy without&nbsp;Flavor Flav: it would be a really, really, really serious band.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/l41YoxIiomxXvYQ5a" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>CP: Do you begin with a fixed idea for your gifs?</strong></p> <p><strong>MR:</strong> Sometimes it&#39;s a fixed idea and sometimes the footage that I found or shot dictates the flow of finding the idea.</p> <p><strong>CP: How much experimentation is involved?</strong></p> <p><strong>MR:</strong> Maybe 90 percent!!!! I go into experimentation because it always pushes me away from the safe zone and that&rsquo;s the place where real magic happens.</p> <p><strong>CP: How long, on average, does it take to make one gif?</strong></p> <p><strong>MR:</strong> I never measure time. The only thing that is important to me is that I am happy with the work I create.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/xTiTnkMSBP4efjmtTq" width="320"></iframe></p> <p>&nbsp;</p> <p><strong>CP: Do you feel like you are part of a global gif art scene or net art scene?</strong></p> <p><strong>MR:</strong> I feel like I am part of a community of creative people who use the internet to unselfishly share art with the rest of the world.</p> <p><strong>CP: Would you describe yourself as a surrealist? </strong></p> <p><strong>MR:</strong> I would like to describe myself as a digital surrealist. I&rsquo;m a big fan of lowbrow or pop surrealism painters and that&rsquo;s something that influences me the most.</p> <p><strong>CP: What has the reaction been like in Belgrade/Serbia to your art?</strong></p> <p><strong>MR:</strong> When I explain to someone that you can live and have a career by doing this kind of stuff the reactions are positive. But if I don&#39;t have the will to explain then people think that I am bored AF and that&rsquo;s why I have a lot time for doing this. Haha, it&rsquo;s funny.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/xUPGcEliPvaZxoJuKI" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>CP: What are your thoughts on the monetization of net/digital art?</strong></p> <p><strong>MR:</strong> My work is an ad that circulates online and I have a lot of requests (sometimes annoyingly a lot) for working on some projects but as long as your ad is quality there&rsquo;s no worries.</p> <p><strong>CP: What do you do besides making art?</strong></p> <p><strong>MR:</strong> Live my life.</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> <p><span style="font-size:12px;">(All images: Courtesy of the artist)</span></p> Thu, 22 Jun 2017 05:35:10 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list What Can We Learn from Art Boycotts Today? <p>When Manifesta, the roving biennial of European contemporary art, based its 10th iteration in Saint Petersburg, Russia, it sparked a wildfire of protests. This was 2014, and opposition to the relationship between the biennial and the cultural core of Russia was robust and complicated. Protesters objected to an administrative body responsible for repressive laws, enacted by Putin, that criminalized the LGBT community, the suppression of activists and dissenters, the annexation of Crimea, and so on. Maria Kulikovska was among the artists who withdrew from the biennial, and would later stage a <a href="http://www.mariakulikovska.com/254/" target="_blank">protest action</a> where she lay, wrapped in a Ukrainian flag, on the Hermitage steps. She proclaimed in an open letter: &ldquo;As an artist and a citizen of Crimea, Ukraine, I cannot take money from the hand that brought trouble to my family, forcing them to flee from our home. I do not know what else I can do except hope that our boycott, our silence, which can sometimes be amongst the loudest cries of the world, can stop this war and only then proceed to the &lsquo;production&rsquo; of art.&rdquo;</p> <p>High-profile boycotts such as Manifesta 10&rsquo;s rekindle the long-standing dispute about the efficacy of acts of non-compliance, particularly ones uniquely situated within the art world. Boycotters who demand voice and agency are criticized by skeptics who demand a clear end-game for the commotion. The latter are often quick to deny the potential for boycotts to strike a blow to broader economic and political systems, or even effect any substantial change within the art sphere itself. Further, these debates recurringly circumambulate a set of questions: How can a boycott&rsquo;s success be measured? Is it a meaningful action of solidarity with broader struggles? Is withdrawal less conducive to transformation than engagement? Is it a pointless and self-defeating pursuit, an attention-seeking antic?</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170619143518-Screen_Shot_2017-06-19_at_15.51.59.png" /></p> <p>&nbsp;</p> <p>Perhaps wanting the last word on the matter, Manifesta 10&rsquo;s head of public programs, Joanna Warsza, assembled and edited a reader on boycotts and contemporary art called <em><a href="http://www.sternberg-press.com/?pageId=1711" target="_blank">I Can&rsquo;t Work Like This</a></em>, published by Sternberg Press this January. While the book&rsquo;s essays are split into sections related to specific protests (boycotts of the 13th Istanbul Biennial, Manifesta 10, 19th Biennale of Sydney, and 31st Bienal de S&atilde;o Paulo), the parameters of &ldquo;art boycott&rdquo; shifts depending on the particular writer. Some stick to withdrawals by artists; others group boycotts with strikes, protests, and further acts of non-compliance that include institutional critique and exhibitions with dissenting content. In 2017, art boycotts are an ever-present part of the cultural and political landscape. The <a href="https://j20artstrike.org/" target="_blank">#J20 Art Strike</a> in January, which called for the halting of work on Inauguration Day, counted over a thousand artists and institutions as signatories. Amidst broader conversations about the possibilities and limits of individual or group acts of refusal against cultural and political regimes, it seems an especially opportune moment to reflect on the discourse surrounding art boycotts and general boycotts, and focus on the political and cultural shifts that changed public attitudes toward artists&rsquo; transformative potential on politics.</p> <p>Boris Buden, in the essay &ldquo;Fetish of the Boycott,&rdquo; declares boycotts &ldquo;a mechanism of exercising superiority.&rdquo; They have &ldquo;no real impact,&rdquo; he goes on, citing the Manifesta 10 boycotts as lacking a &ldquo;real influence on Russian politics.&rdquo; The protest actions around the biennale included Kulikovska&rsquo;s aforementioned performance and a <a href="https://www.change.org/p/hedwig-fijen-we-ask-that-manifesta-2014-reconsider-st-petersburg-as-their-next-location">petition</a> launched by artist Noel Kelly, whose demand to suspend Manifesta 10 &ldquo;until Russian troops are withdrawn from the Ukraine&rdquo; garnered over 2,000 supporters. Later came the <a href="https://chtodelat.org/b9-texts-2/vilensky/chto-delat-withdraws-from-manifesta-10/" target="_blank">public withdrawal</a> of the artist collective Chto Delat, followed by the withdrawal of artist Pawel Althamer. To Buden, although the boycotts involved dozens&mdash;thousands if you count the petition cosigners&mdash;policies and institutions remain unbudging, rendering these actions futile. Not only futile, he claims, but hypocritical, as artists are inherently complicit in matrices of subjugation by way of the art world&rsquo;s unequal relationships to other industries and the state (for example, <a href="http://brooklynrail.org/2016/03/artseen/cameron-rowland-91020000" target="_blank">art institutions&rsquo; entanglement in the prison labor system</a>, as Cameron Rowland demonstrated in the work <a href="http://artistsspace.org/exhibitions/cameron-rowland" target="_blank"><em>91020000</em></a>). Boycotts, argues Buden, are a &ldquo;fetish&rdquo; action &ldquo;to calm tensions that arise from contradictions.&rdquo;</p> <p>In his essay &ldquo;Notes on the Art Boycott,&rdquo; Dave Beech articulates a similar, albeit less patronizing, analysis of art boycotts as a symbolic gesture. Beech differentiates between the industrial strike and the art boycott, noting that the latter&rsquo;s withdrawal of labor typically doesn&rsquo;t have the direct impact on productivity and profit of mass organized workers&rsquo; strikes. He links the lineage of art boycotts instead to consumer boycotts, &ldquo;dependent on the aggregation of individual acts&rdquo; of ethical consumption, and the &rsquo;70&rsquo;s movement of institutional critique, which reasserted political activism into art. Practices such as institutional critique, and later social practice art, attempt to make visible the underlying forces of art institutions and systems, approaching art as a conspicuous platform for ethical, moral, and civil ideas.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170619143649-Untitled.png" /></p> <p style="text-align: center;"><span style="font-size: 12px; text-align: center;">Joanna Warsza and &Aacute;gnes B&aacute;sthy, from&nbsp;</span><em style="font-size: 12px; text-align: center;">I Can&#39;t Work like This: A Reader on Recent Boycotts and Contemporary Art</em><span style="font-size: 12px; text-align: center;">. Sternberg Press, 2017</span></p> <p>&nbsp;</p> <p>The criticism of art boycotts as a conspicuous and even aestheticized gesture of political action is similar to the enduring criticisms of institutional critique, relational aesthetics, and social practice, all subsumed under the umbrella of overtly socially and politically engaged art. In <a href="http://isreview.org/issue/90/critique-social-practice-art" target="_blank">a critique of social practice art</a>, critic Ben Davis claims that artistic practices that are posited as politics tend to emphasize individual efforts over collective organizing, overshadowing the politics at hand. Circling back to Beech&rsquo;s distinction between art boycotts and general worker boycotts, unlike workers who strike to negotiate with a long-term workplace, artists often have less investment in maintaining their relationships with the institutions they&rsquo;re boycotting.</p> <table align="right" width="400"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;How can we reinvoke the history of art boycotts as acts of political solidarity?&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>In this formulation, boycotts are only deemed fruitful if they can deliver their demands&mdash;of halting a biennial, or forcing troops to end their occupation&mdash;and are otherwise considered self-serving. Arguments like these, preoccupied with rigid parameters of effectiveness, foreclose the possibilities of dissent. But history reveals rich and abiding relationships between art and politics, and Gregory Sholette&rsquo;s essay in<em> I Can&rsquo;t Work Like This </em>lays forth a compelling counterargument for the claims that the two are mutually exclusive. Instead of focusing on the influences of institutional critique, his essay &ldquo;Art Out of Joint: Artists&rsquo; Activism Before and After the Cultural Turn&rdquo; traces the catalyzing moments for art and politics in the &rsquo;60s, when &ldquo;loosely organized coalitions brought cultural producers together with student protesters, striking workers, and civil rights activists in acts of political solidarity.&rdquo; As examples, Sholette lists <a href="http://www.as-ap.org/content/artists-and-writers-protest-against-war-vietnam-or-artists-protest" target="_blank">Artists and Writers Protest Against the War in Vietnam</a>, citing it as the first overtly politicized postwar artists&rsquo; collective; the militant tactics of the anarchist collective <a href="http://www.halfletterpress.com/black-mask-up-against-the-wall-motherfucker/" target="_blank">Black Mask/Up Against the Wall Motherfuckers</a> of &rsquo;66; and Situationist International&rsquo;s affiliation with striking university students in France in &rsquo;68. These actions were integrated with broader struggles, in support of the anti-war movement and striking workers.</p> <p>Sholette notes that artists&rsquo; engagement in direct protest considerably narrowed by the &rsquo;80s, as &ldquo;tradition-bound cultural institutions and art world patrons pushed back against this dangerous blurring of categories.&rdquo; While art boycotts grew again in popularity, their value had diminished as the art world backed away from &ldquo;notions of wholesale social and political confrontations and change,&rdquo; and many became disillusioned by artists&rsquo; muddled interpretations of the political, which conflated collective resistance with daily individual decision-making, aesthetic experimentation with political organizing.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170619143724-black_mask.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">Black Mask group on their way to Lincoln Center. Via&nbsp;<a href="https://www.joaap.org/issue9/mindelartstrike.htm" target="_blank">Journal of Aesthetics &amp; Protest</a></span></p> <p>&nbsp;</p> <p>The tensions and contradictions within the profusions of &ldquo;resistance art&rdquo; are encapsulated in the boycotts of Creative Time&rsquo;s 2011 exhibition <a href="http://creativetime.org/programs/archive/2011/livingasform/about.htm" target="_blank"><em>Living As Form</em></a>, which focused on&nbsp;socially engaged art. Creative Time&rsquo;s artistic director Nato Thompson wrote of the exhibition that &ldquo;[living] itself exists in forms that must be questioned, rearranged, mobilized, and undone.&rdquo; The boycotts protested the show&rsquo;s tour stops in Israel, drawing attention to the hypocrisy that a show of politically engaged art <a href="https://news.artnet.com/exhibitions/creative-time-defends-living-as-form-tour-stop-in-israel-40327" target="_blank">was</a> &ldquo;appearing at Israeli venues including Technion, a university with ties to the Israeli military.&rdquo; Artist groups such as Decolonizing Architecture and Allora &amp; Calzadilla eventually pulled out. For certain audiences, the controversy pinpointed the loss of faith in art to engage in political resistance in material ways. While relational art, and even social practice, was developed to form constructive opposition and restitch the disconnections between people and their communities, these intentions had been subsumed by the art world as a new category, the political entr&eacute;e in the aesthetic menu.</p> <p><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170619143802-I-cant-work-like-this_cover_364.jpg" style="margin: 20px; float: left;" />How can we reinvoke the history of art boycotts as acts of political solidarity? It&rsquo;s a question that isn&rsquo;t as lofty as it is dire. Boycotts are among the only forms of direct action that many artists can access in these situations. To revisit the words of Manifesta 10 boycotter Maria Kulikovska: &ldquo;I do not know what else I can do.&rdquo; Boycotts, it can&rsquo;t be understated, are often last-resort courses of action for artists, primarily marginalized artists, to push back against the oppression, appropriation, and tokenization that impact their lives and communities. This point is starkly absent from the criticisms of boycotts as self-serving. In recent history, we recall acts of refusal such as Adrian Piper&rsquo;s <a href="http://www.artnews.com/2013/10/25/piper-pulls-out-of-black-performance-art-show/">withdrawal</a> from the exhibition <em>Radical Presence</em>, and the YAMS&rsquo; <a href="http://www.complex.com/style/2014/05/the-yams-collective-has-withdrawn-from-the-whitney-biennial-because-of-objections-to-joe-scanlans-work">withdrawal</a> from the 2014 Whitney Biennial, both confronting racism in the curatorial decisions surrounding the exhibitions. These actions, some of the best-known instances in the arts in recent memory, asserted the power in refusal, as well as demonstrated the power of the symbolic gesture. They made clear that accountability wasn&rsquo;t a backdoor bureaucratic process, but could be demanded instantly and materially.</p> <p>Regarding the future of art boycotts, Sholette recommends that &ldquo;the task is not to wield [them] solely for cultural producers or their elite audiences, but instead to turn it outwards towards whole populations that are increasingly caught in the cruel cycle of precarity.&rdquo; At this moment, when the political potency of art is widely deemed depleted, when artists and institutions are experiencing a crisis of faith in their ability to respond to and challenge the socio-political contexts in which they find themselves, may these histories provide a compass, or at least the compass&rsquo; wind rose.</p> <p>&nbsp;</p> <p>&mdash;Minh Nguyen</p> <p><em>Minh Nguyen is a writer and organizer of exhibitions and programs based in Seattle.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Maria Kulikovska, <em>254</em>, Unauthorized protest action during Manifesta 10. <a href="http://www.mariakulikovska.com/">Photo: Dana Kosmina. Courtesy of the artist.</a>)</span></p> Tue, 20 Jun 2017 04:39:14 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Girl on Girl: The New Book Exploring the Female Gaze in Photography <p>What does it mean for a woman to pick up a camera and point it at herself, or at another woman? Is there something unique to be found behind the lens, in the gaze of the female photographer?</p> <p><a href="https://www.amazon.com/Girl-Age-Female-Gaze/dp/1780679556" target="_blank"><em>Girl on Girl: Art and Photography in the Age of the Female Gaze</em></a> is an ambitious new book that sets out, if not to resolve this question, then to open it up, to unfold it through the exercise of prolonged looking. Over a year and a half, arts journalist Charlotte Jansen (who is, full disclosure, a former editor of this publication) interviewed 40 female artists from 17 countries who are making photographs of women today.</p> <p>With works largely spanning the last five years, <em>Girl on Girl</em> is not an exhaustive or historical anthology. Instead, it&rsquo;s a contemporary register of a unique moment and image economy, one in which we are seeing&mdash;or at least liking, commenting on, sharing, or swiping past&mdash;more images than ever before. And more than ever before, these images have been made by women.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170413140912-9781780679556._Main.png" /></p> <p>&nbsp;</p> <p>In her candid introduction, Jansen writes about &ldquo;learning to look at women&rdquo; at a time when the images we typically see of women are much more complicated than the circumstances in which we view them: ads, magazine covers, social media. She writes:</p> <p style="margin-left: 80px;">Photographs taken by women do not only exist as a counterpoint to the male narrative. A photograph is an impulse&mdash;and challenge&mdash;to enquire, not a representation of truth. More often than not, I find that the photographs of women by women I see point me back to my own prejudice and misconceptions. Thanks to the generosity of the photographers on these pages, I had the chance to question my viewing habits and dig below the spectacle of surface.</p> <p>Over nearly 200 well-illustrated pages, Jansen asks us to consider a broad catalogue of photography: we find selfies and self-portraits; works that embrace overt feminism (and #feminism), and others that eschew it entirely; there&rsquo;s fashion, glam, and beauty; there are formal exercises, post-internet investigations, conceptual and documentary undertakings; there&rsquo;s humor, even horror! What Jansen&rsquo;s book smartly makes clear is that there is no singular female gaze. And it would be unfair to assume there were: why would the photographic output of 40 women be anything other than 40 unique practices?</p> <p>&ldquo;<em>Girl on Girl</em>,&rdquo; writes Jansen, &ldquo;is ultimately a meditation on the agency women are taking over the images that are made of them.&rdquo;</p> <p>In anticipation of the <a href="https://www.amazon.com/Girl-Age-Female-Gaze/dp/1780679556">U.S. book launch on April 18th</a>, we&rsquo;re sharing the first interview in <em>Girl on Girl</em>. For South African photographer Zanele Muholi, the stakes of visibility and representation of women&mdash;particularly black, lesbian, queer, and transgender women&mdash;are high. From Muholi&rsquo;s gaze to ours, the art of photography, and the art of looking itself, can be a life-affirming act.</p> <p>&nbsp;</p> <p><strong>ZANELE MUHOLI: A LIVING ARCHIVE</strong></p> <p style="text-align: center;"><span style="font-size:22px;"><em>&ldquo;It&rsquo;s about claiming the spaces, taking back power, owning our voices and our selves and our bodies, without fear of being judged.&rdquo;</em></span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170413141229-ZANELE_MUHOLI_Katlego_Mashiloane_and_Noshipo_Lavuta_Ext._2_Lakeside_Johannesburg_2007.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Zanele Muholi,<em> Katlego mashiloane and Noshipo Lavuta, Ext. 2, Lakeside, Johannesburg</em>, 2007</span></p> <p>&nbsp;</p> <p>In autumn 2016, I was walking around the exhibition <em>Zanele Muholi: Isibonelo/Evidence</em> at the Brooklyn Museum, New York, the most significant museum survey of the award-winning artist&rsquo;s work to date. A young boy was there visiting with his mother. I watched him put the headphones on and stare up at the screen that was showing Muholi&rsquo;s 2012 video <em>Being Scene</em>, depicting blurry footage of bodies&mdash;lesbian couples, including Muholi and her long-term girlfriend&mdash;making love. I looked at his mother, who shrugged and laughed. The was probably the boy&rsquo;s first encounter with sex, and it was an interracial, lesbian couple. It was a rare moment in which I realized how art can shift our perceptions of gender, sexuality and identity. &ldquo;I am hoping to break down those notions around what is to be seen and what is not,&rdquo; said Muholi in an interview about the exhibition at the time. &ldquo;I want to encourage young artists to think of photography as a possibility, as work&mdash;to think of art for consciousness, and in turn, museums as spaces where we can carve a new dialogue that favours us.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170413141518-ZANELE_MUHOLI_Beloved_I_2005.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Zanele Muholi,<em> Beloved 1</em>, 2005</span></p> <p>&nbsp;</p> <p>Photography in South Africa has long been intertwined with its political turbulence, and Muholi, the first black, gay, South African photographer to make a significant space in the country&rsquo;s cultural history with her work, is part of a legacy of photographers who have challenged their reality from the inside, from South Africa&rsquo;s first black photographer, Ernest Cole, to David Goldblatt, George Hallett and Peter Maguabane. In post-apartheid South Africa, however, inequalities persist.</p> <p>With a background in journalism and activism for women&rsquo;s empowerment, in 2006 Muholi embarked on her best-known work to date, the ongoing project <em>Faces and Phases</em>, photographing members of the LGBTI community she belongs to, in townships of South Africa and the African diaspora. As an active, involved member of this community, Muholi is not distanced from her subjects: over the years, Muholi has returned to shoot follow-ups of them&mdash;an affirmation in a place where black lesbian, gay, bisexual, transgender and intersex people are persecuted.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170413141552-ZANELE_MUHOLI_Xana_Nyilenda_Los_Angeles_2013.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Zanele Muholi,<em> Xana Nyilenda, Los Angeles</em>, 2013</span></p> <p style="text-align: center;">&nbsp;</p> <p>To the outsider, what is striking about <em>Faces and Phases</em>, made up of more than 250 portraits, is not only the content of the images but also their quantity: this living archive of women has a powerful presence that contradicts the pandemic belief that being gay is un-African. Muholi explains: &ldquo;It&rsquo;s about claiming the spaces, taking back power, owning our voices and our selves and our bodies, without fear of being judged. Saying that we are here, without fear of being displaced.&rdquo;</p> <p>South African constitutionally has the most liberal attitude towards homosexuality on the African continent&mdash;same-sex marriage is legal, and anti-discrimination laws exist&mdash;yet brutal violence, corrective rape and murder are a daily reality for LGBTI people, and Muholi raises these tragic failures against her people through her work. Each portrait represents a different story&mdash;a struggle and a triumph&mdash;but together they are part of a powerful collective force. Muholi&rsquo;s work is firmly rooted in the local, and her perspective of the situation she is living in, here and now. Yet a portrait in itself does not tell us the complexity of its subject&rsquo;s story. What we see first, and foremost, in Muholi&rsquo;s work, is the humanity common to all women, irrespective of their sexuality, gender or race. For Muholi, as a visual activist, photographs can change our world.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170413141339-ZANELE_MUHOLI_ZaVa_III._Paris_2013.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Zanele Muholi,<em> ZaVa III, Paris</em>, 2013</span></p> <p>&nbsp;</p> <p><strong>Charlotte Jansen is an arts and culture journalist and editor-at-large at <em>Elephant</em> magazine. </strong></p> <p><em>From </em>Girl on Girl: Art and Photography in the Age of the Female Gaze<em> (April 2017). Reprinted with permission of Laurence King Publishing. </em></p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Zanele Muholi,<em> Zinzi and Tozama II Mowbray</em>, 2010. All images:&nbsp;From <em>Girl on Girl: Art and Photography in the Age of the Female Gaze</em> (2017) by Charlotte Jansen.&nbsp;&copy; Zanele Muholi, courtesy of Stevenson Cape Town and Johannesburg.)</span></p> Fri, 07 Jul 2017 04:19:31 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list