Colleen RJC Bratton: The Public Rainbow

By Debbi Kenote and Til Will

The Trick About Getting Comfortable
Colleen RJC Bratton, The Trick About Getting Comfortable, 2016, Found fabric, acrylic on panel, 24 x 10 x .5 inches

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”

Colleen RJC Bratton: The Public Rainbow

Small Moments Revered: The Small Exceeds

by Julia Gray

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“A screen, a bench, a table, a mirror, a vessel, a key, a flower,” artist and curator Michael Childress writes in his intriguingly abstract press 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.

Continue reading “Small Moments Revered: The Small Exceeds”

Small Moments Revered: The Small Exceeds

Kcirred Reswob: The Immortal Wile E.

By Debbi Kenote

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Kcirred Reswob, Untitled Sketchbook Page

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.”

Kcirred Reswob: The Immortal Wile E.

Nick Schutzenhofer: Egg Contempera

By Debbi Kenote and Til Will

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Nick Schutzenhofer, Untitled (rose geranium 3), 24×20,” rabbit skin glue, pigment, egg tempera and oil on paper on linen over panel, 2017

Full audio interview: 

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.  

Continue reading “Nick Schutzenhofer: Egg Contempera”

Nick Schutzenhofer: Egg Contempera

Art Is Not Exceptional: Hannah Zoe

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

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(Movement three) Hannah Zoe, glass, ash. Image courtesy of Dakota Gallery and the artist
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.

Continue reading “Art Is Not Exceptional: Hannah Zoe”

Art Is Not Exceptional: Hannah Zoe

A Day Without A Woman (Artist)

By Debbi Kenote

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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?

Continue reading “A Day Without A Woman (Artist)”

A Day Without A Woman (Artist)

Days Later, I Reflect: NYC Armory Week

By Alyssa McClenaghan

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.

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Ancient Future: A Visual Poem in Three Stanzas, Film Still, Robert Hodge (Image Courtesy of Freight + Volume)

Continue reading “Days Later, I Reflect: NYC Armory Week”

Days Later, I Reflect: NYC Armory Week