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.”→
Taxidermy, once limited to the realms of hunting and seedy antique stores, has made its way into common art practices. The ethical gray area of cutting open and displaying a dead animal is equally foggy when used for artistic or symbolic purposes, like in the eerily flashy work of Damien Hirst or more recently Anicka Yi’s hardware-lined taxidermy coyote. Contemporary artists using taxidermy as a critique of modern society can be easily construed as insensitive, and can just as easily reinforce the sensationalist culture they’re trying to condemn. New York City based emerging artist Selva Aparicio employed taxidermy with sensitivity and subtlety to honor dead animals and criticize our society’s disregard for them during her one-night pop-up show, curated by Ara Cho, at Space 776.
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.
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.
From Taos, to Bellingham, to Richmond to New York City, Open House corralled some of the most interesting contemporary emerging artists of 2017. They were kind enough to share with us some of their secrets to navigating the powerful social media path and their insights on how they use social media. Along the way they put some of our mounting suspicions to rest, discussing the make-or-break reaction to likes, and what kind of benefits they are really seeking–and getting–from Instagram, Twitter and Facebook.It is safe to say a few things are certain and that while not everyone needs the help of the internet to survive in the art world, it does seem that most believe it is a valuable tool. From researching artists to posting homemade cat gifs, these artists are not only creative with their posting, but also personal. In the age of social media, where all images, as Jake Reller says “are not fit for mass consumption,” perhaps it is this personal touch that keeps us interested in what these photos on small screens have to offer.
WHAT MEDIUM DO YOU WORK IN AND WHERE DO YOU LIVE?
ON AVERAGE, HOW OFTEN DO YOU POST IMAGE OF YOUR WORK OR PROCESS O SOCIAL MEDIA? DO YOU PREFER INSTAGRAM, TWITTER, OR FACEBOOK?
WHAT DO YOU DO TO ACTIVELY ENGAGE OR INCLUDE YOUR FOLLOWERS, OR DO YOUR POSTS FUNCTION MORE AS GLIMPSES INTO YOUR ART PRACTICE?
DO YOU USE SOCIAL MEDIA FOR RESEARCH PURPOSES, OR TO MEET/ LEARN ABOUT OTHER ARTISTS? ARE THERE PEOPLE IN YOUR LIFE YOU WOULDN’T HAVE MET WITHOUT SOCIAL MEDIA? HAS SOCIAL MEDIA EVER LED TO A SALE OR OTHER OPPORTUNITY?
DO RECEIVED ‘LIKES’ AFFECT HOW YOU FEEL ABOUT THE CONTENT YOU POST?HOW DO YOU THINK THE ONLINE RESPONSE AFFECTS YOUR WORK?
CAN ARTISTS COUNT ON PEOPLE SEEING THEIR WORK WITHOUT USING SOCIAL MEDIA? DO YOU KNOW AN ARTIST WHO DOESN’T USE SOCIAL MEDIA?