A warm rainbow of colors–red, yellow, orange, beige, white–vibrate around Til Will and I as we sit in the studio of Colleen RJC Bratton in Seattle, Washington. Sculptural paintings hang on the walls, composed of paint, wood, fabric, thread. Important details of the space inform us that Bratton’s studio is an installation in itself. In addition to the works hanging on the walls, ceiling tiles are replaced with colorful swatches, a large storage cabinet echoes the warm color palette, and little notes and swatches of colored fabric balance in curious places around the room. The backs of a few of the works are brightly painted, allowing a glow to extend onto the wall behind them, further blending the structures themselves into the studio space. Continue reading “Colleen RJC Bratton: The Public Rainbow”→
“A screen, a bench, a table, a mirror, a vessel, a key, a flower,” artist and curator Michael Childress writes in his intriguingly abstractpress release for “The Small Exceeds,” a thoughtfully sparse exhibit that took place at the appropriately minimal Chinatown hole-in-the-wall, New Release Gallery. These ambiguous motifs are traced throughout the show, compelling expanded consideration. Childress’ immersive installation rejects spectacle, thereby inviting a more careful observation, a refreshing break from a typical in-and-out exhibit. The title, “The Small Exceeds,” is drawn from Hexagram 62 of the I Ching, which commends a “preponderance of the small” and a consideration for detail in the pursuit of mindfulness. Childress along with the eight other artists in the exhibition present work that encourages shared meditation.
Images that seem to be evoking specific narratives cover the walls of Kcirred Reswob’s studio as I sit across from him discussing his work. Road Runner, Wile E. Coyote, a cow behind a fence, Seaworld, a littered landscape, among others. On the table, next to one of his cats, is a stack of sketchbooks. As Reswob describes growing up on a farm in Pennsylvania listening to Limbaugh, Dr. Laura, and the other conservative classics, I begin to understand the genesis for much of the narrative I am seeing.
Through his explorations of the coyote, borders, humans, animals and their environments, discrete or cartoonish narratives appear that seem to also reflect a deeper socio-political sensibility. The result is a world that can at times seem both comically mundane and deeply prophetic. The common image of a barbed wire fence begins to seem like something I’ve never really looked at before. As Reswob and I discuss the coyote and his research into the attempted removal of it from parts of the midwestern United States, I begin to wonder why I, like countless other children, took pleasure in watching the many creative deaths of the immortal Wile E. A simple act of looking, or re-looking at what we already know is there, transports Reswob’s narratives into symbols of humanity, that are both fascinating and disturbing. Continue reading “Kcirred Reswob: The Immortal Wile E.”→
Led down an industrial alley in South Slope, BK, in the noisy shadow of the Gowanus Expressway, we found ourselves at the door to Nick Schutzenhofer‘s studio. Sickeningly sweet air wafted down the hall from the neighboring Shaheen candy distribution. We were surprised to discover the most immense painting practice we have seen in NY to date, and a distinctive surface quality developed using the ancient medium of egg tempera.
Art Is Not Exceptional was contributed by Christian Lawrence St. Denis in the month of March for our Northwest special feature. Dakota Gallery is located in Bellingham, WA. Having originally started as a DIY Gallery in the Pacific Northwest, Open House continues to be excited by the artwork coming out of the region. It is our intention to create dialogue between the ambitious emerging art scene in the Northwest and New York City. Stay tuned for future special features in April!
By Christian Lawrence St. Denis
Dakota Gallery, Bellingham: three white walls, a glass and black metal facade, a white pillar, black floors. The installation is called I Am Sorry Please Forgive Me. The artist is Hannah Zoe.
Debbi Kenote interviews artists at the “A Day Without A Women” march and strike in Washington Square this Wednesday. Q & A featured inquiries into sign material, reasons for participating and most importantly, what role do artists play today?
As the 2017 Armory Week art fairs in NYC come to an end, I reflect on the hundreds and hundreds of pieces of work on view. It was a lot to digest, booth after booth, gallery after gallery, work that was polished, new, old, fresh, tired, bright, flashy, sculptural, political, humorous. You name it and it was at one of the many fairs. Overall the displays were impressive. Here’s my run down of some unforgettable work.
A dark room, a cavern upholstered with black plastic garbage bags is home to a ten minute video created by artist Taja Lindley, at the 2017 SPRING/BREAK Art Show. “The Bag Lady” a goddess like figure dressed in a garbage bag dress, a mix of costume and homemade high fashion, ritualistically dances, shouts, and conjures up the trash bags and black balloons surrounding her. “DON’T SHOOT!”, rings out at the height of the performance. This Ain’t A Eulogy: A Ritual For Re-Membering, is Lindley’s reaction to the, “non-indictments of the police officers responsible for the deaths of Eric Garner and Michael Brown.” An emotionally driven and provoking piece, Lindley talks with Open House about her process of performing, the conversion of the work from performance into film, and the garbage bag as a symbol.
It’s Armory Week in New York City. With many art fairs to see, Open House has been making the rounds. Here I focus on SPRING/BREAK Art Show 2017, taking on the task of viewing the spaces of over 150 Curators and 350 artists. Taking place in the former Condé Nast Building in Times Square, politically charged work made a big dent in the fair this year. While there was plenty of the experimental, playful atmosphere that SPRING/BREAK has come to be known for, it was clear that there has been a shift from previous years. The current political climate brought an influx of profound, contemporary work to this year’s event, themed “Black Mirror“. With so much to take in, and an incredible line up of work this year, it was hard to pick just a few to talk about. Below is a peek into three wonderful curations from this year’s event.