Installation, Can I Get a Witness, 2011

Joshua Abelow set out to create a personal, visual archive through his blog, “ART BLOG ART BLOG,” but within a year he was getting up to 900 hits a day from over 125 countries. Less than two years later, the blog has materialized into a physical, artist-run gallery space, ART BLOG ART BLOG, with nine independently curated exhibitions, open through October 29, in a donated space located in Chelsea at 508 West 26^th St, Floor 11.

“ART BLOG ART BLOG” (the blog) emerged in early 2010 as an important way for Abelow to build a community over the web and engage with artists in other cities. Now back in New York, Abelow maintains his blog as a diaristic visual journal, with daily posts including other artists’ work, book and album covers, posters, personal work and photographs, poems and quips, and more. I had a chance to sit down with Abelow, and the curators of the upcoming exhibition, “Can I Get a Witness?” to find out more about the project.

Artcards: How did you start the blog? Where do you find your material for the blog?

Joshua Abelow: I guess I never set out to create a “blog” so much as an archive, a means of keeping a visual journal for myself. I find the blog format interesting because of the immediacy.  Instant contact with a relatively wide audience is the exact opposite of what it’s like to be alone in the studio all day.

I often find out about other artists’ works through the Internet and by sifting through emails. The material I post is a mix of other artists’ work and my own personal contributions. I take a diaristic approach to posting…I see it as a visual radio show and in that sense it is important for me to update the site regularly.  It also gives me something to do when I’m waiting for paint to dry and I don’t feel like sharpening pencils or stretching canvases or whatever.

Do you read other blogs? Also, I find a lot of art-related blogs to be criticism-based; do you read any art criticism?

I look at a few other blogs like, AH HOLE AH HOLE (published, or rather curated by Tisch Abelow and Dakatoh Savage).  It is more like an art project than a blog – I’d love to see it projected on a big wall every morning when I wake up. I also look at ANABA, KCLOG and HKJBLOG regularly.

As for art criticism, I like to read what my peers’ are writing. I enjoy 16 Miles of String (Andrew Russeth) because it’s art criticism from a younger point of view and he covers a lot of stuff that bigger publications overlook.

How did “ART BLOG ART BLOG”, the blog, turn into “ART BLOG ART BLOG,” the gallery?

Ross Bleckner invited me to use his studio space to organize some shows for the summer and fall.  The project is a group effort and I’ve invited several individuals and groups to curate shows in the space.  Jon Lutz (Daily Operation), NUDASHANK, and Regina Rex have all presented exhibitions in the space thus far.  It’s funny and interesting to see a blog go 3D.  The exhibition space is a direct extension of the blog, which is why I gave it the same name.

There’s a lot of hard work going into this and, of course, it would not be possible without Ross’s generosity (thank you Ross!). It would also not be possible without all of the talented people involved. The spirit of the project is one of generosity: the space was a gift from one artist to another, which is a gift to many other artists. It’s exciting to be exhibiting work by both emerging and established artists, unknowns mixed in with bigger names. In a way, this is reflective of the Internet – a weird flattening device that levels the playing field.  This project, both the blog and the gallery, provides me with a chance to examine this moment as we proceed further into the 21^st century.

Artcards: What can we expect from the newest show, “Can I Get A Witness?” How was the show curated between the three of you?

Abelow/Friedrich/Savage: We are exhibiting works by Joshua Abelow, Matt Connolly and Joachim ‘YoYo’ Friedrich. We also have a reading corner featuring artists books by Kevin Gallagher, Lukas Geronimas, The Kingsboro Press, Davida Nemeroff and Eric Veit.

While researching for the show, it became clear that Matt, Joshua, and YoYo’s work cosmically related. We found it interesting that the artists whose work was the strongest together happened to be ‘the men in our life.’ The curatorial process came about only in the most natural way. Including the reading corner is a way for us to support other emerging artists we admire and because punk lives.

“Can I Get a Witness?”curated by Tisch Abelow, Jashin Friedrich, and Dakotah savage, opening on Thursday, July 14, will be the fourth exhibition at ART BLOG ART BLOG.  Up next for Joshua Abelow is a solo exhibition at Tomorrow Gallery in Toronto, Canada, who will also be publishing the book, “Painter’s Journal,” a diaristic journal in six parts about Abelow’s experience as a young artist moving to New York at the turn of the century.

A full version of this interview can be found here.

ART BLOG ART BLOG is located at 508 West 26^th Street, Fl 11. Hours: Wednesday-Saturday, 12-6pm. More info: www.artblogartblog.com.

The Thingness of Color, installation, 2011, Dodge Gallery, New York, NY

We’ve made it through the winter, and on a warm spring day I let my gallery-legs thaw and took a stroll to see what LES had in store for me. I am happy to have wandered into a new space that I have noticed before, but looks like it will be a mainstay on Rivington, along with its neighbors, ElevenRivington and Thierry Goldberg. In a large, open space that was formerly a sausage factory, Dodge Gallery opened in September 2010 with a group show, Dramatus Personae, a group show that –aptly titled– presented the gallery’s roster of artists. Their sixth exhibition opens this Saturday with a solo show by Sheila Gallagher downstairs and a group show, The Thingness of Color, upstairs.

Continuing our Featured Gallery series, I was able to ask Founder/Director Kristen Dodge about the past, present and future of the gallery.

As a young gallery, you have already developed an impressive and intriguing roster. What was Dodge Gallery before you had a space on Rivington?
I’ve always known that I would open my own business and in fact, decided that it would be an art gallery before ever working at one. There’s something about the combination of business and art that was extremely appealing to me- addressing the two sides of my brain. But it wasn’t until I spent several years working under the guidance of Abigail Ross and eventually growing into the position of Director and establishing a creative partnership with her at the rotenberg gallery in Boston, when I realized that running a gallery is not only something I want to do, but it’s something I can do. I remember asking Sina Najafi at Cabinet Magazine, my first employer out of college, why he decided to start his own business and he said, “because I don’t want to work for anyone else.” I eventually landed in that same place and became my own boss.

On that same note, what is your background? Did you go to school in Boston? Did you study fine arts?
Boston is my hometown. The Red Sox are my team. I was a double major in English and Art at Brown. I’ve had a love affair with NYC for years, lived there after college, and am very happy to be back.

What are some of the main differences between art galleries in Boston and galleries in New York? Are there certain advantages to New York that brought you here?
There is no question that New York is an international hub for contemporary art and simply has more to offer than Boston. I can probably count the collectors on my hand who have made a serious commitment to supporting art in Boston. That’s not to say that there aren’t great institutions, dealers, and collectors there, but the numbers can’t be counted in New York. It’s an incredibly exciting, inspiring place to be. Yes, larger egos come with the territory, but it’s a cocky business. Actually, there have been a handful of friendly dealers who have openly welcomed us, attended our openings, and offered answers to our occasional questions. I have great collaborative relationships with dealers in Boston and I wasn’t expecting to find the same kind of openness in New York. But signs of a growing gallery population in LES supports the collective affirmation that this is the place to be.

Why did you choose the Lower East Side for the gallery? Did you think about opening in any other neighborhoods?
I knew what I wanted and found it on the exact block that I was gunning for. LES is a great neighborhood- for galleries, restaurants and other small businesses. It’s a fun place to be and writers, collectors, curators, and consultants are starting to make LES a destination. It’s an area that’s relatively new for galleries, but is quickly becoming the hot spot to visit for more adventurous art fanatics. Since opening, we’ve welcomed countless groups lead by astute guides- including academics, consultants, directors and curators- who have recently added LES to their guided route. There’s an air of newness and freshness here that brings people back to an essential experience. That is, sifting out the extraneous bullshit, exploring beyond well-beaten paths, and taking the time to really look because you found it. Nothing can replace that moment of being present with a piece, which requires two things, openness and time, both of which LES inspires.

What was this space before you moved in? The layout is very unique, very much not a white cube.
Our space was formerly a sausage factory, and we spent nearly 4 months stripping it down and building it out to be a gallery. I wanted to retain the character of the building- the brick, the beams, the windows- while creating a functional space for showing art. It was a fine line to navigate- creating a space that is unique and memorable, while not trumping the art. One of the most satisfying experiences has been seeing artists eyes light up when they walk into the space- there is so much they could do here.

Since this isn’t a typical, white cube (usually reserved for 2D work) will there be any new media or video art?
I have an affinity for work that engages three-dimensionality, that is aware of the body and how it relates to objects and context. The rough translation of this is sculpture. I have a soft spot for objects- art that literally declares itself while conceptually extending beyond itself. New media is an important part of the dialogue, and becomes compelling for me when it is utilizing space through a relationship to the present context, objects, and viewer.

Sheila Gallagher, Blue Flocked Virgin Mary Bank, 2011, courtesy of Dodge Gallery

One of the upcoming shows will feature Sarah Cain, Franklin Evans, Matthew Rich, and Cordy Ryman. Did you curate this show? If so, how did you bring these artists together? Can you tell me about little bit about The Thingness of Color?
Sometimes, I like to challenge myself to engage things that I am not entirely comfortable with, or don’t personally subscribe to in my daily life. This includes color. It therefore seemed fitting to curate a show about color, and angle the conversation towards the conceptual drive of the gallery- objecthood. I’m very excited to be working with the artists I’ve selected for The Thingness of Color, representing New York, Boston and LA. And importantly, the artists are excited to be showing with each other. Some of them have been on each other’s radars for a while. The show will be bold, active, and yes, colorful.

I notice that a good majority of the artists on the roster hale from MFA programs on the East Coast. Obviously, proximity must have drawn you to these artists initially, but what is it about their work that founded Dodge Gallery? Are there any formal, conceptual, or possibly social, characteristics that draw them together?
People used to marry their neighbors and cousins because they didn’t have planes, trains, and automobiles. Maybe I’m provincial. That’s not to say that I married my cousin, but I did marry artists who studied on the east coast for the most part. However, they hail from all over the US including New Orleans, New Hampshire, Atlanta, Michigan, New Jersey, Idaho, Boston, and New York. In terms of what ties them together, I suppose that would be me. Aside from pursuing three-dimensionality directly or conceptually, they have a fantastic combination of a serious commitment to their practice, a developed voice in their work, and a sometimes irreverent sense of humor.

Also looking at your roster, can you tell us about Environmental Services?
Environmental Services is Doug Weathersby, Owner/Operator. It’s a business through which Doug operates his art making, including everything from performing cleaning tasks for paying clients to making ephemeral site-specific installations for institutions and collections. For Doug, there is no separation between labor and creativity, work and life. I’ve tracked Doug’s work since he won the Foster Prize and had a show at the ICA in Boston that caught me off guard. I walked past the gallery and was surprised that the museum hadn’t bothered to clean up their janitor equipment during business hours. Then I realized that the dust in the room had been carefully swept into the contours of the bucket and broom’s shadow. It was gorgeous, moving, humbling, and so unexpected. Basically, he had me at hello.

Since it’s officially spring, I am of course already impatient for the summer solstice. What does Dodge Gallery have planned for the summer?
In July, we’ll hang a group exhibition of artists on the roster and by special invitation. This show will bookend our first year of business with our inaugural exhibition DRAMATIS PERSONAE. And then maybe I’ll take a week off.

Pam Lins, installation 2010

If you’ve been on an LES art crawl in the past few years, chances are you’ve been down Orchard Street. Galleries on this stretch include On Stellar Rays, Miguel Abreu, and Lisa Cooley, as well as recent neighbors like Untitled, who relocated from around the corner. It’s no secret that the LES gallery scene has been growing exponentially in the past five years. In fact, the neighborhood has produced a number of groundbreaking, must-see shows  featuring emerging and established artists alike.

Rachel Uffner Gallery has been a mainstay at 47 Orchard Street since 2008, after taking over the space formerly occupied by cooperative gallery Orchard. I appreciate the gallery’s curatorial program and am enthused by the range of artists and media represented. Opening with a solo exhibition by painter Roger White on September 20, 2008, Rachel Uffner Gallery celebrates a second solo exhibition by the same artist, on view through December 19, 2010.

Roger White, installation view

I visit this gallery every month because every time I go there is a show that actually makes me want to stay, one that challenges my gaze. However, what I think draws me most to the gallery is what Uffner would describe as an “ambiguity of materials.”  Sam Moyer’s show, Shape Shifters, in early 2010 included encaustic drenched Ikea rugs, India ink on paper, collage covers of Structuralist novels, and Xerox-covered plywood sculptures.  Barb Choit documents the effects of various beauty enhancing and/or salon products when placed onto the fine art posters of Patrick Nagel, producing faded, blotched, and distorted adaptations. Hilary Harnischfeger produces the illusion of solid chunks of luxurious stones with mostly paper and plaster (as well as small portions of mica or quartz), and Anya Kieler creates wall-mounted and other theatrical sculptures using sand, gloves, hair, cardboard, and egg trays.  No exhibition is ever just painting, just drawing, or anything of the sort. Each artist hovers somewhere outside and in-between, offering the viewer an opportunity to really think about what they’re looking at.

I was able to sit down with Rachel Uffner to talk about the past, present, and future of the gallery.

Where was Rachel Uffner before starting her own gallery in 2008?

Rachel Uffner worked at D’Amelio Terras for five years, starting at the front desk, and eventually becoming the director. From there, she was able to start curating and bringing new artists into the gallery. It was through these experiences that Uffner remembered her original goal to be an artist to make things. She soon realized that she wanted to open up her own gallery in order to stay creative, work with people directly, and through curating, make and realize her own projects.

Why did she decide to open up the gallery in the Lower East Side?

When surveying New York for the best neighborhood to open up her own gallery, Uffner knew that she did not want to be in Chelsea. She describes it as “not wanting to be too close to Mom and Dad.” The owners of D’Amelio Terras were very supportive of her decision to open a new gallery, and Uffner credits a lot of inspiration, motivation, and support to them. That being said, Uffner was ready to move on and try things on her own downtown. The space she found on Orchard Street was perfect because it had previously been used as a gallery and exhibition space by the collaboratively organized Orchard gallery. After re-doing the walls, the floors, and a recent upgrade to the ceiling, 47 Orchard is a sufficient exhibition space, ready to house shows in most media.

Book Launch for Sara Greenberger Rafferty's "Double Issue" November 12, 2010

Aside for her independent address, the gallery is located in a neighborhood that fosters a fully supportive arts community. Although they share different address, Uffner feels as though the other galleries are her colleagues. There are dozens of galleries in the Lower East Side, and the number is only growing.

What kind of artists and media are exhibited at Rachel Uffner gallery?

The gallery currently represents eight artists, most of who live or work in the greater New York area. Uffner shows artists who have developed their creative, conceptual, and technical skills, who are far along in their practice, however, may not yet have been introduced in New York. Uffner likes working with artists who are based in New York, as she enjoys conducting studio visits often. She considers the artists her peers, and effortlessly maintains personal friendships with each of them.

Recently, the gallery has been producing small catalogues and publications for its artists, and you recently had a book launch for Sara Greenberger Rafferty’s self-published zine, “Double Issue.” Even though publications can be costly, why are they important for the gallery?

The gallery has been publishing small books that include images and information about the works in a particular exhibition. It is a good idea in general to have these small books, as people like to have and to hold images in their hand. Some people want the material object, rather than just a jpeg image. They are an easy way to carry a lot of information, and much easier to give out than hefty artist binders.

Roger White, Untitled, 60"x40", oil on canvas, 2010

Why have I never seen video art at the gallery?

Although a wide array of materials and types of exhibition have been shown (performance-based work, publications, mixed media, etc), they have not yet included any video-based work. Although none of the current artists work in video, Uffner says she would not be surprised if one of them decided to explore this media. Uffner as well is open to the medium, and hopes to come across an opportunity to include it soon.

What can we expect to see in Miami this month?

Rachel Uffner gallery will present work by Anya Kieler, Pam Lins, Sara Greenberger Rafferty, and Roger White at the NADA Art Fair Miami Beach.

Why are art fairs beneficial to galleries and to artists? Why does the gallery participate in these events?

Uffner says that fairs are ultimately important for exposure, both for the gallery and its artists. Art fairs bring artists, curators, and curators from all over the world together for face-to-face conversation about the work. New York is a great place to exhibit new artwork, but art fairs provide an extended audience.

What does the gallery have in store in the future?

Rachel Uffner seems cool and calm throughout the entire meeting with her. Not once do I detect a sense of apprehension or doubt about the background of the gallery or of its future. It’s as if Uffner is so confident in her artists’ trajectories that the gallery could run itself. She is focused on the gallery’s projects, and doesn’t worry about pushing it further than needed. She noted that it is important that a gallery does not overextend oneself, that if a gallerist focuses on their artists, then they will produce good shows. Quality over quantity…. in my own analogy, sometimes Vermont Cheddar is just as good on a salad as is imported Brie. Good ingredients make good sandwiches, and bigger doesn’t always mean better.

That being said, Uffner does not rule out the possibility of expanding the gallery, both in square footage and in its roster. She is open and optimistic towards moving towards a larger space, exploring new media like video, showing international artists, as well as exhibiting at International art fairs. The gallery will also be participating in the VIP Contemporary Art Fair in January 2011, an international contemporary art fair being held exclusively online for one week.

For the time being, we can look forward to more shows by artists who have been with the gallery from the beginning. Pam Lins and Roger White (currently on view) are having their second shows with the gallery, and we can look forward to a new work by Anya Kieler and Sara Greenberger Rafferty at the NADA Art Fair Miami Beach in early December.