Thursday, November 8, 2007
OPEN STUDIO HERE I COME
First off I'd like to congradulate Akira for being awarded the new york studio space for winter quarter. What a great opportunity this will be for him. CONGRATS BRO. Ok so my open studio is tomorrow and I'm a little nervous but not to bad I've worked really hard this semester and have learned a great deal and met so many wonderful people and have had opportunities that I never thought possible so even if nobody shows up then it will still be totally worth every moment. Started workin on building all my boxes for my art work to be shipped back in tonight with Justin and it's been alot of work but everything should arrive safely back in TN or so I hope. Gonna buy some beer and cheap wine tomorrow and hopefully have a grand evening with new friends and hopefully some artists. Hope all is well wherever you may be and I will let you know in pictures and words how everything went.
Monday, November 5, 2007
MORE REVIEWS OF SHOWS I'VE SEEN AND PEOPLE HAVE REVIEWED
So it has been a little while since I have talked about shows that I have seen and I thought I would atleast highlight two that have gotten reviews in the Brooklyn Rail and a few that I thought were standouts in my adventures. So here goes.
First up we have Dawn Clements solo show at Pierogi. As I have said before I have met this artist on several occasions and she is absolutely amazing. She does both large and small scale works but what I find most compeling are her large scale room sized drawings. I shit you n ot these things are enormous and it's interesting how her process first started. In an interview with Eve Aschheim of the Brooklyn Rail Dawn answers this process quetion by stating " In 2000 when I was a in residence at Middleberry College. I started with A chair. I liked the way it was drawn but didn't like it as a drawing. It seemed like just some dumb little thing. So I thought if I add onto this then maybe I'll draw the whole wall. And then thought, oh, this is interseting, I could do the whole room. After four months I had drawn the entire apartment". Dawn's work is monumental. When you stand infront of one of her pieces it's like standing in front of whatever room she happened to be drawing at that time. However perspective is skewed at times and the way her compositions melt together it's as if you are caught in a memory of what that room was. In a follow-up review of her show in the Brooklyn Rail Cassandra Neyenesch says " Dawn Clements seems to be operating in the expanding realm that Proust chartered, the project of depicting the three deminsional quality of memory". This distorted view of reality doesn't take away from the majesty of her drawings and the intersting way she incorporates folds and wrinkles of the giant sheets of paper that are connected to create her scenes.
Aleksandra Mir's recent show Newsroom 1986-2000 chronicles her perceptions and experiences right up to the tragic events of 2001 while living in NYC. She presented these accounts as large scale black and white ink drawings on paper thaty were roughly the size of a Michael Scoggins drawing. As you entered the gallery it was almost as if you had been transported into a mid-80's newspaper room with a dozen or so of her assistants dutifully filling in Mir's newspaper coverish drawings. Each assistant would have several sharpie markers in hand tediously filling in letters and images whil listening to ipods or trying not to fall asleep againts their table supported arms. It was quite a sigth to behold. Unfortunately this exhibition was taken down before I could get any images. As Jen Schwarting accounts of the show "Mir's drawings recapitulate and resist the press's numbing mechanisms with personalized, messy, comix-style lettering. But her social model is her more significant message, and the collective organizing, colaborating, photo snapping and dialogue that go into it are the strengths of her operation.
First up we have Dawn Clements solo show at Pierogi. As I have said before I have met this artist on several occasions and she is absolutely amazing. She does both large and small scale works but what I find most compeling are her large scale room sized drawings. I shit you n ot these things are enormous and it's interesting how her process first started. In an interview with Eve Aschheim of the Brooklyn Rail Dawn answers this process quetion by stating " In 2000 when I was a in residence at Middleberry College. I started with A chair. I liked the way it was drawn but didn't like it as a drawing. It seemed like just some dumb little thing. So I thought if I add onto this then maybe I'll draw the whole wall. And then thought, oh, this is interseting, I could do the whole room. After four months I had drawn the entire apartment". Dawn's work is monumental. When you stand infront of one of her pieces it's like standing in front of whatever room she happened to be drawing at that time. However perspective is skewed at times and the way her compositions melt together it's as if you are caught in a memory of what that room was. In a follow-up review of her show in the Brooklyn Rail Cassandra Neyenesch says " Dawn Clements seems to be operating in the expanding realm that Proust chartered, the project of depicting the three deminsional quality of memory". This distorted view of reality doesn't take away from the majesty of her drawings and the intersting way she incorporates folds and wrinkles of the giant sheets of paper that are connected to create her scenes.
Aleksandra Mir's recent show Newsroom 1986-2000 chronicles her perceptions and experiences right up to the tragic events of 2001 while living in NYC. She presented these accounts as large scale black and white ink drawings on paper thaty were roughly the size of a Michael Scoggins drawing. As you entered the gallery it was almost as if you had been transported into a mid-80's newspaper room with a dozen or so of her assistants dutifully filling in Mir's newspaper coverish drawings. Each assistant would have several sharpie markers in hand tediously filling in letters and images whil listening to ipods or trying not to fall asleep againts their table supported arms. It was quite a sigth to behold. Unfortunately this exhibition was taken down before I could get any images. As Jen Schwarting accounts of the show "Mir's drawings recapitulate and resist the press's numbing mechanisms with personalized, messy, comix-style lettering. But her social model is her more significant message, and the collective organizing, colaborating, photo snapping and dialogue that go into it are the strengths of her operation.
Sunday, November 4, 2007
Been Gone All Weekend
So I haven't written a blog in a few days b/c I had to fly down to Memphis for a good friends wedding. I was a groomsman so I kinda had to be there. It was a nice break from my hectic life up here and I'm kinda running out of supplies this late in the game anyway so I decided what the hell. It was a beautiful wedding. Back to the NY front. I got my cards printed for my show up here and handed them out to some of my studio mates and left some at Pierogi as well as in the front lobby of the EFA building. A few of the artists that are represented by Pierogi are planning to attend and hopefully a hand full of others as well. Keeping my fingers crossed atleast. I'm going to finish up my last piece tomorrow and then start cleaning this mess that I call my studio up so that its presentable come friday. Hope all is well and I will post agin very soon must try and recover from the shinanigans of this weekend first.
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