In the Jenkins Community Gallery at the Arlington Arts Center
June 19 - August 22 2009 | Opening Reception: Friday, June 19, 6-9pm | Artists Talk: Wednesday, July 22, 7-9pm
Curated by Lea-Ann Bigelow and Blair Murphy
Featuring painting, drawing, video, photography, and mixtures thereof by
Deborah Carroll Anzinger, Peter Gordon, Mike Matason, Lisa McCarty, Kathryn McDonnell, Mark Planisek, Karen Joan Topping and Jenny Walton
Upcoming Exhibition at the District of Columbia Arts Center
October 16 - November 15, 2009 | Opening Reception: October 16, 7-9pm
for more information about Sparkplug: www.dcartscenter.org/Sparkplug
Below text by curators Lea-Ann Bigelow and Blair Murphy.
Achieving an overall aesthetic can become a high-risk endeavor when I push the material to its perceived limits. – Kathryn McDonnell
Kathryn McDonnell’s vivid paintings flout determinacy. Likewise, Lisa McCarty’s toy camera vignettes are not static transcriptions of times or of places, but rather suggestive, ranging, image-passages – moments en route – polyvalent vibrations captured through what some might deem a throwaway lens. The aesthetic dynamism of these artists’ work owes much, no doubt, to the fluidity and expansiveness of their respective processes. Both artists are open to finding unexpected elements within their work, and downright welcoming to chance effects that fall (just) outside of their creative control; this openness has proven mutually fecund.
Taking a cue from the Expressionist tradition, McDonnell often begins a piece with a direct pour. This initial chaotic spill serves to activate a sequence of material and formal challenges, resolutions and revelations that stem from the temper and flow of the paint, and coalesce to provide each canvas’s inner logic. McDonnell’s colors tend to the elemental, calling up water, blood, air, sun: the colors of connected life. Simultaneously cosmic and worldly, yet in no way world-weary, her paintings also embed insistent patterns that have in some way piqued the artist’s eye, patterns found in nature, architecture, and information technology.
When McCarty, in a conscious reversion/revision of the snapshot-seeking tourist, heads out on a shoot, she is awake and vulnerable; not bent on treating any subject in particular, but ready for her course to be inflected by genuinely felt, precisely heeded instances. For McCarty, there is wonderment in the chance-driven aspects of her explorations. She also revels in the felicitous distortions - light leaks, blurring, uneven saturation - yielded thanks to the Holga’s endearingly flimsy construction. The artist understands the paradoxical potential of this “low-fidelity” hardware, in its concomitant propensity for double-exposure and atmospheric sensitivity, to convey her experiences with heightened faith and veracity.
I am interested in recording the sensation of environments, seeking to be consumed by the conditions of a moment. – Lisa McCarty
The accumulation of fantasy and imagination, memory and hope, or anxiety for the future, are often complex and entangled and not easily described – though they are keenly felt. - Karen Joan Topping
Deborah Carroll Anzinger and Karen Joan Topping examine the relationship between geographic locations, lived environments and identities. Exploring the impact of shifts in time and space on the construction of subjectivity, both artists question linear narratives of identity formation, suggesting that the relationship between past experiences and present identities evades straightforward explanation.
Topping’s work uses games and other markers of childhood to probe the links between the play we undertake as children and our understanding of the world as adults. In Red Light, Green Light, a voice off-camera inserts the chants of a playground pastime into a commute through suburban gridlock. As the viewer is limited to a disoriented, even helpless perspective, the physical environment of the video - the car interior, anonymous traffic and surrounding buildings - becomes claustrophobic, a tightly knit structure dictating the rules of play. Locked into a system, the driver - and the viewer - find their movements dictated to them. The strictures of the lived environment limit possible movements, constructing the driver and the passenger as players in the game whose rules they both follow and enforce by their own involvement.
Memories, thought of as frozen in time, provide a seemingly stable ground for the formation of our current selves. Challenging this assumption of stasis, Anzinger examines the impact shifts in physical location have on memories. Past experiences may become reinterpreted over time, shifting along with changes in environment as our current surroundings seep into our perceptions of the past. Rather than imagining a single direction of influence, with memories and experiences forming a foundation for the development of the self, Anzinger presents the self as the unstable product of an ongoing negotiation between past experiences and present circumstances.
The paintings present themselves as mental maps of memories dispersed over vague and amorphous environments, where the manner in which the impressions of the past occupy the physical space of the present are as important as their provenance. - Deborah Carroll Anzinger
Within my photographic registration, geometric composition, color and texture correlation, I have a very natural, flowing, process. Look. See. Think. Do. – Mark Planisek
In this digitally-enabled era of the mash-up, the combinatorial tactics of collage would seem to spring straight from the zeitgeist. But in contrast to the electronic manipulations of other visual mix-masters, and in league with their Dada/Futur/Constructiv/Cub-ist forbears, Mark Planisek and Peter Gordon have both embraced materially intensive and tactile (re)assemblage techniques. Both artists cut, layer and paste their visions together, then draw and/or paint on top of these constructed surfaces to extend the imagery further and add dimensionality. Collage is notorious for bringing still-recognizable signifiers – fragments excised from the cultural inventory – together in a kind of semiotic collision. The very act of appropriating and rearranging images shakes up our reception of them by liberating them from expected contexts; their placement in sometimes jarring juxtapositions has the power to reinvigorate these images and coax out meanings and energies that might otherwise have remained latent, or inert.
Planisek’s oeuvre spans many mediums, but photography has always been integral to his artistry. With his latest series of hand-painted photomontage boxes, Planisek follows in the footsteps of Bernd and Hilla Becher in his documentation of unsung and fast-deteriorating industrial architecture. His practice and preoccupation veers from the Bechers’, however, in that it is not clinical, but romantic; Planisek lets his camera alight on stairwells, doorways, rear views, windows grown over with vines, junctures which hint at the former life of buildings yet retain some mystery. And in the painstaking (almost archaeologically so) reconstruction of the environments that initially caught his attention, one senses that Planisek is learning to love these spaces all over again.
Their compositional commotion notwithstanding, Gordon’s Going Green works are no magpie compilations – there is economy and keen intent behind each of his selections. Gordon raids newspaper sales inserts, attracted no doubt by the stark literalness of numbers, then undergirds his pieces with these variegated price-tags, which read at once as the building blocks of his renderings of civilization and the particles that contribute to the gathering storm of inputs and outputs. The deer – one of Gordon’s chief protagonists – immediately conjures associations of nature’s majesty, but also of its imperiled state; the beast is fully in our sights, caught in the headlights. All the while, the artist’s exact political stance remains oblique; he dramatizes the relentless churn of the environmental feedback loop in a manner that avoids sentimentality but packs an emotional charge.
In the sounds and movements of natural forms, such as animals, clouds, landscapes, wind, water and sunlight, I find a living source of contemplation.
I am inspired by the harmony, balance and beauty of nature. – Peter Gordon
Through explorations in science, medicine, and the idea of faith I hope to seduce the viewer with events that are beautiful, horrific, and touch the sublime. - Jenny Walton
Jenny Walton and Michael Matason explore corporeal materiality, presenting the body not as the well-protected fortress we often wish it to be, but rather as a flesh and blood incarnation of the tensions between vulnerability and defense, growth and deterioration. The two artists’ aesthetic exploration of the body’s potential for both beauty and decay reflect these paradoxes, searching for the sublime in bodily permeability and destruction. ะค Walton’s work muses on the body’s ability to evoke, simultaneously, both awe and horror. Exploring a diverse array of processes, from painting and printmaking to light installation and photography, Walton flirts with abstraction, transforming imagery culled from anatomy textbooks to create depictions at once recognizable and strange. In Walton’s monotypes, rich blacks create sharp, aggressive, yet exposed forms; the potential threat looks inward as the body’s own defenses turn on it.
Matason’s photographic work explores the relationship, within portraiture, between the photographer, the subject and the viewer. In recent work, the stark presentation of a specific body part - a single finger - couples an abundance of physical detail with a disorienting lack of context. Methodically displayed for the camera (and consequently the viewer), the luscious pink of the flesh and the shiny hardness of the fingernail draw the eye even as the skin’s ruptures unsettle and repulse. In Matason’s images, the ruptures begin in the space where the hard shell of the nail and the soft flesh of the finger connect: the body’s defensive attribute - the nail - creates the very space at which the skin is most easily breached.
My work comes from trying to find an understanding of my actions/habits, which I feel at times I do not have any control over. The photos are a digital record of my behavior, but also focus me to come face-to-face with my psyche. – Mike Matason
Friday, June 19, 2009
Tuesday, May 19, 2009
mmm mmm. As an artist working in video, this may be tasty just for me, but I thought this was a good place to share. AU's Center for Social Media breaks down fair use into a mash up all its own. Go here for the written guide in simple people words.
Wednesday, May 13, 2009
Opening Reception: Friday, June 19, 6 – 9 pm at the Arlington Art Center
clockwise from top left:
Peter Gordon, Going Green: Cap and Trade #1, Mixed Media on Wood Panel, 10x15", 2009; Mark Planisek, 6th and K St. NW, Photo Box Collage, 6-1/2x8-1/2x2-1/2, 2008; Karen Joan Topping, Still - Red Light, Green Light, Digital Video DVD 8 minutes 20seconds, 2008; Deborah Carroll Anzinger, detail - My Sister Had a Pogo Stick, 64x56", oil, resin and sharpie
Sparkplug; NEW WORK
Arlington Arts Center, Jenkins Community Gallery, June 19 – August 22, 2009
Opening Reception: Friday, June 19, 6 – 9 pm
Artists Talk: Wednesday, July 22, 7 – 9 pm
DC Arts Center’s resident arts collective Sparkplug is, at present, a spirited gathering of ten artists and curators who meet twice a month to discuss their work, explore the arts in the nation’s capital, grow their community, and dream up creative engagements in DC and around the globe. In the context of this closely-focused show, Sparkplug’s mission will be to testify to its own mutable now: the now of its production, the now of its collective exchanges, the now of individual stances outside of the collective, the now that will inevitably be then soon. For a collective whose very existence is based on a charter of becoming, of sharing, of transitions, of emergence, of change…the privileging of a specific Sparkplug moment presents a persistent (albeit purposeful) challenge.
Curated by Lea-Ann Bigelow and Blair Murphy, the show will highlight painting, drawing, video, photography, and mixtures thereof by:
Deborah Carroll-Anzinger, Peter Gordon, Lisa McCarty, Kathryn McDonnell, Michael Matason, Mark Planisek, Karen Joan Topping and Jenny Walton.
clockwise from top left:
Peter Gordon, Going Green: Cap and Trade #1, Mixed Media on Wood Panel, 10x15", 2009; Mark Planisek, 6th and K St. NW, Photo Box Collage, 6-1/2x8-1/2x2-1/2, 2008; Karen Joan Topping, Still - Red Light, Green Light, Digital Video DVD 8 minutes 20seconds, 2008; Deborah Carroll Anzinger, detail - My Sister Had a Pogo Stick, 64x56", oil, resin and sharpie
Sparkplug; NEW WORK
Arlington Arts Center, Jenkins Community Gallery, June 19 – August 22, 2009
Opening Reception: Friday, June 19, 6 – 9 pm
Artists Talk: Wednesday, July 22, 7 – 9 pm
DC Arts Center’s resident arts collective Sparkplug is, at present, a spirited gathering of ten artists and curators who meet twice a month to discuss their work, explore the arts in the nation’s capital, grow their community, and dream up creative engagements in DC and around the globe. In the context of this closely-focused show, Sparkplug’s mission will be to testify to its own mutable now: the now of its production, the now of its collective exchanges, the now of individual stances outside of the collective, the now that will inevitably be then soon. For a collective whose very existence is based on a charter of becoming, of sharing, of transitions, of emergence, of change…the privileging of a specific Sparkplug moment presents a persistent (albeit purposeful) challenge.
Curated by Lea-Ann Bigelow and Blair Murphy, the show will highlight painting, drawing, video, photography, and mixtures thereof by:
Deborah Carroll-Anzinger, Peter Gordon, Lisa McCarty, Kathryn McDonnell, Michael Matason, Mark Planisek, Karen Joan Topping and Jenny Walton.
Friday, May 1, 2009
Creative Capital | Warhol Foundation Arts Writers Grant Accepting Applications
holycreamoly - another crazy amazing arts writing grant op - you know who you are -
The Creative Capital | Warhol Foundation Arts Writers Grant provides project grants to individual authors whose work addresses contemporary visual art. The program is spearheaded by the Andy Warhol Foundation for the Visual Arts as part of its broader Arts Writing Initiative and is administered by the Creative Capital Foundation.
The Arts Writers Grant Program issues awards for books, articles, short-form writing, blogs, and new and alternative media projects. The program aims to support the broad spectrum of writing on contemporary visual art from general-audience criticism to academic scholarship.
Only individuals are eligible for a grant. Applicants must be an art historian, artist, critic, curator, journalist, or practitioner in an outside field strongly engaged with the contemporary visual arts. Nominees must also be at least 25 years of age and be a published author (specific publication requirements vary depending on project type).
Applicants are not eligible if applying on behalf of an organization or for a project in which his/her primary involvement will be as an editor. Full-time students in degree-granting programs (with the exception of those students who are simultaneously maintaining professional careers as arts writers) are not eligible.
The program supports approximately twenty to twenty-five projects a year. Grant amounts range from $3,000 to $50,000 each, depending on the scope and complexity of the project.
Visit the program's Web site for project-specific requirements and application procedures.
http://www.artswriters.org/guidelines.php
http://foundationcenter.org/pnd/rfp/rfp_item.jhtml?id=250900025
The Creative Capital | Warhol Foundation Arts Writers Grant provides project grants to individual authors whose work addresses contemporary visual art. The program is spearheaded by the Andy Warhol Foundation for the Visual Arts as part of its broader Arts Writing Initiative and is administered by the Creative Capital Foundation.
The Arts Writers Grant Program issues awards for books, articles, short-form writing, blogs, and new and alternative media projects. The program aims to support the broad spectrum of writing on contemporary visual art from general-audience criticism to academic scholarship.
Only individuals are eligible for a grant. Applicants must be an art historian, artist, critic, curator, journalist, or practitioner in an outside field strongly engaged with the contemporary visual arts. Nominees must also be at least 25 years of age and be a published author (specific publication requirements vary depending on project type).
Applicants are not eligible if applying on behalf of an organization or for a project in which his/her primary involvement will be as an editor. Full-time students in degree-granting programs (with the exception of those students who are simultaneously maintaining professional careers as arts writers) are not eligible.
The program supports approximately twenty to twenty-five projects a year. Grant amounts range from $3,000 to $50,000 each, depending on the scope and complexity of the project.
Visit the program's Web site for project-specific requirements and application procedures.
http://www.artswriters.org/guidelines.php
http://foundationcenter.org/pnd/rfp/rfp_item.jhtml?id=250900025
Wednesday, April 15, 2009
SP Minutes 4/14/09
Attendance: Peter, Kathryn, Karen, Lea-Ann, Blair, Jenny, Deborah, Mike
Lea ruled the day with a smashing agenda and new list of dates
1) “Sparkplug: New Work” is the title that Lea & Blair have chosen for the AAC show – rather than Decay & Development or some riff on that. They still have every intention of addressing that idea and our place relative to Cudlin’s show in the main gallery “Paradox Now” in their message for the show.
2) WED., APRIL 22nd – DCAC newsletter ‘press’ date :( this pertains to the curators and KAREN, MARK, DEBORAH and PETER). Lea’s idea was to create another simple composite image featuring the 4 artists that were not on the April 2008 show card for DCAC- which means that KAREN, MARK, DEBORAH and PETER need to get high-resolution images to Blair -ideally before the 22nd of April so she can try to work a tiny box for us into the DCAC newsletter.
3) MONDAY, MAY 4th - AAC press release info: High-resolution images from EVERYONE of the piece we are putting in the show – including full description title, size, year and material and any other description that is requested.
4) Marketing/Dissemination of Information: Lea started some discussion about a ‘brochure’ instead of a postcard-more specifically a “Broadsheet” – we talked a lot about this – but didn’t come to any hard and fast resolutions. Jenny is going to see if she knows a designer that wants to design it pro-bono or if she can get a printing deal. Kathryn and Mike both seemed to have some interest in doing the design on a brochure once we all submit our info on May 4th. I feel like the general consensus is that we all want to pursue making sure we document this show with something even though we will have to fund doing a brochure for the AAC show on our individual dollars (my past discussions with B lending themselves to DCAC supporting the marketing of shows we have @ DCAC – not necessarily shows we have at other locations). Doing as much work on it as we can ourselves is probably best.
As the show creeps up on us I’d say to anyone that is fielding information or donations of time or design or services report back to us all as you get your info. So that we can get a decision on how we should proceed as soon as possible.
5) AAC Storeroom – we suggested the evening of Thursday - April 30 (even though if you saw my other email - I want to recall my saying that day was OK with me - I want to see Martha Rosler) or Sunday afternoon, May 3rd. Anyway – curators will give us the day that Jeffry decides on to go see the space and see what fixtures the AAC has available. Lea would like as many of us that can make it to try to attend this – even if you think you don’t need fixtures.
6) AAC hosted Sparkplug Panel: there was no dissention to trying to set up a panel sometime in July at the AAC about Sparkplug. Lea will try to set a date ASAP (by the DCAC press date) so the date of the panel can be in the newsletter.
******While there was no dissention – keep in mind that the PLAN is for ALL of US to be on the panel – if you are going to go to Egypt or something for the whole month of July we need to know NOW*****
Lea & Blair are trying to tap Kathryn Cornelius (http://kathryncornelius.com/) to moderate – but other suggestions would be welcome ASAP.
Some great ideas were throw-around for doing panels in conjunction with the Fall show at DCAC by hosting panels or other reach out events to media, design, music, street art, political art that are very different from us – but identify with the word COLLECTIVE – like DECCA, BeeHive, Code Pink and Kathryn said E32 would be a great resource to tap for NYC collectives
7) Please make sure your membership is update at the Sparkplug level!!!!
8) Take a look at the Flickr group we spent until 10 PM looking at the 2009 Proto AAC show images and tongue-wagging about how cool the show is going to be (for a little show)
ACTION THIS WEEK
****DON’T forget LISA’s opening at AAC this Friday the 17th
****Peter’s open studio this Sunday the 19th at 3 PM – directions under a separate email
IMPORTANT DATES:
Deadline for DCAC press ready artist materials from Peter, Karen, Mark & Deborah-April 22.
AAC Storeroom meeting: TBD (last week of April)
Deadline for AAC press ready artist materials-May 4.
Sparkplug Meeting, Tuesday, May 12 starts between 7 & 730 PM, at DCAC
DCAC GALA: Friday, May 29th
Updates for Sparkplug Binder (resume & general artist statements) to Peter: TBD
Installation at the AAC: Begins Wednesday, June 10 and runs through Thursday, June 18. Your availability on the weekend of June 13 & 14 will be the most critical. Show opening is Friday June 19. Show ends Saturday, August 22.
Sparkplug Panel Discussion at DCAC: date TBD (tentatively July)
Installation at DCAC: Tuesday, October 13 and Wednesday, October 14 (Expect EVENING hours, just like our 2008 installation). Opening is Friday, October 16. Show ends on Sunday, November 15. De-installation is the evening of Sunday, November 15 and all day and evening Monday, November 16, which is also critical.
Lea will email us the AAC’s loan forms, there are 2. One that everyone fills out and one regarding exceptions. They have insurance that covers the exhibit of artist work, with some EXCEPTIONS, like works on paper that are not framed. We will each get this document sometime in the future which spells out the specifics of what is not covered.
Please feel free to add anything I forgot –phew that was a lot.
Attendance: Peter, Kathryn, Karen, Lea-Ann, Blair, Jenny, Deborah, Mike
Lea ruled the day with a smashing agenda and new list of dates
1) “Sparkplug: New Work” is the title that Lea & Blair have chosen for the AAC show – rather than Decay & Development or some riff on that. They still have every intention of addressing that idea and our place relative to Cudlin’s show in the main gallery “Paradox Now” in their message for the show.
2) WED., APRIL 22nd – DCAC newsletter ‘press’ date :( this pertains to the curators and KAREN, MARK, DEBORAH and PETER). Lea’s idea was to create another simple composite image featuring the 4 artists that were not on the April 2008 show card for DCAC- which means that KAREN, MARK, DEBORAH and PETER need to get high-resolution images to Blair -ideally before the 22nd of April so she can try to work a tiny box for us into the DCAC newsletter.
3) MONDAY, MAY 4th - AAC press release info: High-resolution images from EVERYONE of the piece we are putting in the show – including full description title, size, year and material and any other description that is requested.
4) Marketing/Dissemination of Information: Lea started some discussion about a ‘brochure’ instead of a postcard-more specifically a “Broadsheet” – we talked a lot about this – but didn’t come to any hard and fast resolutions. Jenny is going to see if she knows a designer that wants to design it pro-bono or if she can get a printing deal. Kathryn and Mike both seemed to have some interest in doing the design on a brochure once we all submit our info on May 4th. I feel like the general consensus is that we all want to pursue making sure we document this show with something even though we will have to fund doing a brochure for the AAC show on our individual dollars (my past discussions with B lending themselves to DCAC supporting the marketing of shows we have @ DCAC – not necessarily shows we have at other locations). Doing as much work on it as we can ourselves is probably best.
As the show creeps up on us I’d say to anyone that is fielding information or donations of time or design or services report back to us all as you get your info. So that we can get a decision on how we should proceed as soon as possible.
5) AAC Storeroom – we suggested the evening of Thursday - April 30 (even though if you saw my other email - I want to recall my saying that day was OK with me - I want to see Martha Rosler) or Sunday afternoon, May 3rd. Anyway – curators will give us the day that Jeffry decides on to go see the space and see what fixtures the AAC has available. Lea would like as many of us that can make it to try to attend this – even if you think you don’t need fixtures.
6) AAC hosted Sparkplug Panel: there was no dissention to trying to set up a panel sometime in July at the AAC about Sparkplug. Lea will try to set a date ASAP (by the DCAC press date) so the date of the panel can be in the newsletter.
******While there was no dissention – keep in mind that the PLAN is for ALL of US to be on the panel – if you are going to go to Egypt or something for the whole month of July we need to know NOW*****
Lea & Blair are trying to tap Kathryn Cornelius (http://kathryncornelius.com/) to moderate – but other suggestions would be welcome ASAP.
Some great ideas were throw-around for doing panels in conjunction with the Fall show at DCAC by hosting panels or other reach out events to media, design, music, street art, political art that are very different from us – but identify with the word COLLECTIVE – like DECCA, BeeHive, Code Pink and Kathryn said E32 would be a great resource to tap for NYC collectives
7) Please make sure your membership is update at the Sparkplug level!!!!
8) Take a look at the Flickr group we spent until 10 PM looking at the 2009 Proto AAC show images and tongue-wagging about how cool the show is going to be (for a little show)
ACTION THIS WEEK
****DON’T forget LISA’s opening at AAC this Friday the 17th
****Peter’s open studio this Sunday the 19th at 3 PM – directions under a separate email
IMPORTANT DATES:
Deadline for DCAC press ready artist materials from Peter, Karen, Mark & Deborah-April 22.
AAC Storeroom meeting: TBD (last week of April)
Deadline for AAC press ready artist materials-May 4.
Sparkplug Meeting, Tuesday, May 12 starts between 7 & 730 PM, at DCAC
DCAC GALA: Friday, May 29th
Updates for Sparkplug Binder (resume & general artist statements) to Peter: TBD
Installation at the AAC: Begins Wednesday, June 10 and runs through Thursday, June 18. Your availability on the weekend of June 13 & 14 will be the most critical. Show opening is Friday June 19. Show ends Saturday, August 22.
Sparkplug Panel Discussion at DCAC: date TBD (tentatively July)
Installation at DCAC: Tuesday, October 13 and Wednesday, October 14 (Expect EVENING hours, just like our 2008 installation). Opening is Friday, October 16. Show ends on Sunday, November 15. De-installation is the evening of Sunday, November 15 and all day and evening Monday, November 16, which is also critical.
Lea will email us the AAC’s loan forms, there are 2. One that everyone fills out and one regarding exceptions. They have insurance that covers the exhibit of artist work, with some EXCEPTIONS, like works on paper that are not framed. We will each get this document sometime in the future which spells out the specifics of what is not covered.
Please feel free to add anything I forgot –phew that was a lot.
As much as possible given the time and space allotted. from Galerie Leonard & Bina Ellen on Vimeo.
OK - I seriously do not know what to think about this...as someone who has worked behind the scenes in museums, (like about 1/3 of us in Sparkplug) I have seen 'the stacks' and know the beautiful collisions that can happen on those racks where items are put together solely based on available space-like a little Daumier painting ending up next to a big Bonnard, where proximity creates affinity. Dollars to donuts that's the kind of thing you'd have to travel through space and time to actually see hung up in a museum - unlikely matches happen, but rarely.
It also struck me that this show looks a lot like the proverbial mid-century SOHO painters loft (Alice Neel's is infamously described in my circle of education) where finished paintings line every available space not needed for walking or working. This kind of chaos is often where us 'art professionals' work - why not drive that point home to the pedestrian public?
Well frankly, because when I see it on 'tv' I realize how freaking insane it looks - how does clearness of message arise out of this horror vacui?
Well brother - it just does. Contemplate that.
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