by Gabriella Radujko
on March 31st, 2013
Han Bing and friends, Art Basel, Miami, 2006/photographer unknown
I wrote my first poem after participating in poetry as a “good audience member” by attending the performances of friends who were poets. I was sharpening my ear for a style of poetry writing I prefer–work written to be performed rather than for the page. In celebration of National Poetry Month for this month’s Artcards Review, I returned to earlier work which was inspired by interdisciplinary approaches to life, living, and learning–Expatriate Recommends Diaspora and the accompanying photograph is the result of those forces–transcribing an interview about its subject, Anthony Xavier Edwards, for artist Nathalie Latham, whom I met at Paris Photo in 2006 formed the content for the poem. Later that year, I arrived at Art Basel, Miami, met artist Han Bing and his wife Maya Kovskaya (right of Han) pictured above, learned about his performance piece which become part of the movement “walking the cabbage”, and also learned of their friendship with Nathalie. Poetry creates community and rewards minds with the imagination to see that everything signifies and that everything connects.
Expatriate Recommends Diaspora
Now Tony, dear, what do you call yourself?
Enthused, confused, stunned, besotted…and a designer Continue Reading More »
by Gabriella Radujko
on March 12th, 2013
Photo: Gabriella Radujko; reproduction of content on retired Edward Ruscha business card
There is no School of Edward Ruscha, but if there were, prerequisites would include an embrace of ambiguity and the spirit world–its students paraphrasing quotes such as these from his recent talk with Paul Holdengräber at the New York Public Library on March 6, 2013:
I have a deep need to make a book.
It doesn’t matter what it is about.
The idea for a book comes first.
As book artist, Ruscha challenged his interviewer and the audience. There was puzzlement among the literati, perhaps, because as book readers, according to Walter J. Ong, we humans are so literate that it is “difficult for us to conceive of an oral universe of communication or thought except as a variant of a literate universe”. Continue Reading More »
by Gabriella Radujko
on November 3rd, 2012
In a city made quiet due to power outages south of the thirties, it was an interesting choice to have sought out films exploring noise. “A Cinema of Industrial Noise”, a series of four films shown at MOMA on Halloween included the twelve minute, 1929 film, NYC Street Scenes and Noises, which slowed time down so appreciably, it seemed twice as long. Continue Reading More »
by Gabriella Radujko
on September 29th, 2012
photography © courtesy Sam Davol
Pop-ups–boutique, market or museum have entered the psyche of hip New Yorkers, but if you are really lucky, you will have experienced the pop-up library known as the Uni Project.
Part-library, part-performance space, the Uni Project, a portable library kiosk with curated cubes, popped up on a stretch of waterfront at the Gantry State Park in Long Island City, Queens on the first day of fall. The blustery weather wrestled with the portable bookshelves and seats, but passersby, especially the short, cute variety with parents hovering close by, intuitively browsed, read and celebrated books, played games and explored portable worm bins for indoor composting. Continue Reading More »
by Peter Neofotis
on September 19th, 2012
Untitled (Self-Portrait), 2006-12 © Sally Mann courtesy Edwynn Houk Gallery, New York
In the past, Sally Mann, named America’s best photographer (Time Magazine, 2001), has chosen young girls (At Twelve), her three children (Immediate Family), The South and Civil War Battlefields (Deep South and Last Measure), decaying human bodies (What Remains), and her husband (Proud Flesh) as her subjects. But in Upon Reflection, she has at long last turned her camera toward herself. The results are eerie, beautiful, horrifying and brave. Continue Reading More »
by Aaron Harbour
on August 1st, 2012
Installation view of Hugh Scott-Douglas "A cashed cheque, a canceled stamp"
Jessica Silverman is the owner and director of Jessica Silverman Gallery, located at 804 Sutter Street (between Jones and Leavenworth) in San Francisco. Currently installed is Dashiell Manley’s exhibition of double-sided objects and animated videos whose unique aesthetics and conceptual complexity echoes the entirety of Silverman’s roster.
AH: Do you consider yourself as a gallerist, curator or a dealer?
JS: When I first opened the gallery, I saw myself as a dealer and as a curator. But as the gallery has grown, my role has evolved and I have had to readjust my position. At the moment when people ask me for a title I say, owner and director.
That being said, I curated our recent group show Erogenous Zones. During installation of this and other shows I am committed to resolving curatorial aspects of the exhibition. I see my role as continuously shifting from working with the artist but also taking care of the collectors, the museums and the institutions. They are in the end equally as responsible for our growth as are the artists. Continue Reading More »
by Brent Birnbaum
on July 17th, 2012
I just returned from a road-trip to Oregon. Before I climbed in the 26-foot U-Haul my friend was moving his life with, I asked around for some Portland gallery recommendations. Fourteen30 was what I got. I checked their roster and emailed the artist I was most impressed with – Jesse Sugarmann. Jesse just moved to California, but I got his insiders guide to spaces and artists. I saw almost everything he recommended, and was very impressed.
Glen Fogel at PICA
My first art stop was the Portland Institute for Contemporary Art. I felt disappointed as I entered, learning the show was a New York artist. My skepticism quickly vanished. Glen Fogel’s installation of spinning projected wedding rings was perfect here. I knew the work from seeing it at PARTICIPANT in New York. His Lower East Side installation was strong, but this was the ideal setting. Amongst a turned-off fan floor sculpture and an outdoor vinyl work, there were paintings of letters on another floor. Perhaps it was all the Stumptown coffee or because of all the things I wanted to see in just a few days, but I couldn’t be bothered to read them. I was intimidated by their length and now know I missed out on some good art. Continue Reading More »