Writing

RON BARON: Beyond, Beyond
For the Brooklyn Rail

Unlike the chillingly vast hall of shoes belonging to victims of the Holocaust at the United States Holocaust Memorial Museum in Washington D. C., or Ai WeiWei’s Laundromat, an installation of clothes and shoes collected from a Greek refugee camp and displayed at Deitch Projects in 2016, Baron’s objects are not the evidence of human-made tragedy, but the embodiment of our efforts to cope with loss.

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LIZA BUZYTSKY and KAWITA VATANAJYANKUR: Stamina
For the Brooklyn Rail

Women’s labor, its traditionally hidden and undervalued status, and its relationship to women’s bodies are central and unifying themes. The title of the show refers to the endurance required of women in our ongoing struggle for wages, security, and recognition. For both artists, materials provide a key reference to the sphere of femininity and cultural identity.

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Garden Dwellers - Regina Rex
For the Brooklyn Rail

Described as “an Eden in the city,” the exhibition has little time for the shame of a disobedient Eve—nor the perpetuation of the Cartesian split between mind and body used by Western thought to subjugate women, colonized peoples, and nature. Instead, it leaps unabashedly into a radical jouissance, the French term for orgasm or bliss that Hélène Cixous, by way of Jacques Lacan uses as a rallying cry for abundant, effervescent, female creativity. 

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Kate Harding: Uphill Downhill Conversation, (Sister)
For the Brooklyn Rail

I ducked off Canal Street, climbed three flights of stairs of a modest commercial building, and dipped my feet in the rain-swollen waters of Whiskey Creek. This is the state of mind and body imparted by Kate Harding’s Uphill Downhill Conversation, (Sister) (2017)at Chinatown’s 3A Gallery. Harding’s work is about the spirit of things, and the ways that things and beings communicate amongst each other in the spaces between and beyond language...

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Boxing with Szilard Gaspar / Zorzini Gallery at Volta Art Fair, NYC
For Performance is Alive

...The intimacy of these actions was heightened by the art fair setting, where everyone’s gaze is trained to the external world of images, objects, opportunities for social networking, sales. The spectacle of the person changing from one activity to another, dressing and undressing, took on the importance that Mr. Rogers so aptly demonstrated in his children's show, where the ritual of the daily change of clothes, from outdoor jacket to cardigan, dress shoes to sneakers became a stabilizing routine and a marker of a boundary from one place and one kind of activity to the next... 

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Performing Our Reality / Dreaming Our Escape: Notes from Satellite 2.0
For Performance is Alive

The fantasy of the self-sustaining art-pod was particularly poignant in the days immediately following the presidential election. The final dissolution of the myth of American exceptionalism calls for action, and the temporary world-building represented by repurposing a hotel for a few days of art viewing (even as it participates in the commercial crush of Miami art week), can be seen as a utopic gesture, perhaps even an act of love towards a world that has revealed itself as a more troubled place than we had imagined.

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Robin Winters: Free Standing Sentence
For the Brooklyn Rail

Recent neurophysiological research suggests that comprehension of metaphors is grounded in sensory perception. Robin Winters’ Free Standing Sentence, now on view at Present Company in Bushwick, supports this idea. A daydream incarnate, this collection of words, pictures, and objects is an illustrated poem that is engaged by the walking viewer...

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Wild Torus at The Pharmacy (Miami Art Week)
For Performance Is Alive

Bushwick-based Wild Torus’ baccanale at The Pharmacy (one of Satellite Art Fair’s 2015 Miami art week locations and an actual former pharmacy) culminated in 5-7 naked performers writhing and wrestling (lube, paint and flour-covered) on a square dance floor covered in garbage bag-like plastic tarp. Viewer-participants (participation is encouraged at Wild Torus happenings) were offered black trash bags to cover their art-fair finery so that they could stand at close range without being completely dusted by flour or splattered with paint and lube, which was being doled out in plastic wine glasses by two young men with shaved heads. Full Article >>

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The Brooklyn Rail: Calidonia Curry Five Stories with SWOON
Curry is often cited for capturing an essential quality or core being of her subjects. However, as Five Stories revealed, Curry’s work facilitates a more dynamic form of portraiture, one authored by both the artist and her subject. Five Stories withSWOON was not an artist’s talk per se, but a performance of radical self-portraiture.

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Radical Maintenance: How Things Are People, Too
A proposal for “radical maintenance”,
or the rigorous use of trash (both physical and ideological) as a wellspring of artistic production and a [dangerously] utopic approach to contemporary life.

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ESSAYS IN COME TOGETHER: SURVIVING SANDY
Reviews of the historic show one year later

Marlene McCarty: Hearth 2
Nari Ward: We the People
Margrit Lewczuk & Bill Jensen: Connie’s Drum; Passions According to Andrei
Suzanne Joelson: Rhymes with Orange

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Bushwick Decorating Service
The goal of the project is to investigate the relationship between lived aesthetics and values or meanings, whether conscious or unconscious. It is about the dialogue between the material and the immaterial, the style and the substance.

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Notes From The Land of The Perpetual Present
Published in KAPSULA Magazine, March 2014

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The Aura of Walter Benjamin As Experienced in
San Francisco, October 2013

Alexandra Hammond wrote the following entry for the session on Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction,” for Thyrza Goodeve’s “Foundations of Criticism” course. As this essay is assigned again and again in graduate programs, it is of particular interest how the meaning of the essay changes with each reading. Here Alex discusses the difference between her first reading of the essay and her reading for the AP course. She ties her reactions to the very concept of “aura” that is so crucial to Benjamin’s argument. She also discusses Benjamin’s "On Hashish in Marseilles" 


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