Sam and I sat in a coffee shop a day before he left from his residency at the University of Texas at Dallas residency program, CentralTrak. His residency produced new paintings and drawings for his solo show, Aran, currently on view at Talley Dunn Gallery. Speaking of his early years in LA, Reveles recalls an integral moment. Beginning from there, Sam and I had a conversation. – Arthur Peña, Dallas Contributor
Filed under: Interview, Seattle | Tags: Amanda Manitach, Roq la Rue Gallery, Stacey Rozich
Stacey Rozich’s Within Without Me opened May 2 at Roq la Rue Gallery in Seattle. The 22 watercolor and gouache paintings on display cast the artist’s trademark colorful, convivial monsters in a new light—or new darkness, rather. The series is about “the light and the shadows of faith, devotion and the power of lies” and illustrates the misadventures of drunkards wielding shotguns, decapitated monsters with demonic masks and spiritual elders hoarding piles of blood money. Blackbirds lurk in many of the images, waiting to devour the dead. For the week leading up to the show, Rozich painted a huge mural on the virgin walls of the gallery’s new space in Pioneer Square (Roq la Rue recently moved from its decade-old location in Belltown). Curious about the origin of this series, I asked Rozich a few questions about the work. - Amanda Manitach, Seattle Contributor
Stacey Rozich | Collection Day At The Shrine, 2013, watercolor and gouache on paper, 11 x 7.5 inches. Image courtesy of Roq la Rue Gallery.
To know Judy, a wonderful and generous artist and teacher, one has to reconcile her kind spirit with her absolutely gruesome work. Body parts, heads (so many heads!) and objects of destruction are rife throughout her recent solo show at Betty Cunningham Gallery. Glantzman’s raw imagery, what Peter Plagens of the Wall Street Journal called “studenty” (a term Glantzman enjoys) is tough to deal with. Addressing her personal relationship to the idea of war while pulling from the works of Goya and Picasso, Glantzman “orchestrated” over 200 pieces for the viewer to work through, a feat for both sides. After mounting her show and while commuting between Providence and New York, Glantzman and I had a conversation. - Arthur Peña, Dallas Contributor
Filed under: Interview | Tags: Albuquerque, Center for Contemporary Arts Sante Fe, CHERYL, Claude Smith, David Leigh, Larry Bob Phillips, The Big Hoot
The Big Hoot is the result of a fruitfully epic collaboration between Albuquerque-based artists David Leigh and Larry Bob Phillips that draws on the persuasive power of comic-inspired renderings to convey themes of nature, violence, death, beauty and the absurd. The floor-to-ceiling fun-house of expertly rendered grotesquery not only serves to overwhelm the viewer with its vast imagery references and chaotic narrative, but it also provided a backdrop for an interactive performance by CHERYL, a four member, semi-anonymous collective based in Brooklyn, NY. Leigh and Philips spent the better part of three months cooped up in their studios working at a frantic pace to create the individual larger-than-life “pendants,” that would eventually fill the 16’ x 75’ exhibition space. Using an approach that could be considered an architect’s answer to large-scale collage making, images were painted on thin plywood veneer, cut out and stacked away in the artists’ studios. During the installation, Leigh and Phillips curated the images from their sizeable pendant archive they felt best fit the criteria of both practical and conceptual considerations. I recently had the opportunity to ask David and Larry Bob about their thoughts and process of preparing for The Big Hoot. – Claude Smith, Albuquerque & Santa Fe contributor
Filed under: Interview, New York | Tags: Arthur Pena, Conversation, Cordy Ryman, Dodge Gallery
I recently saw my first Ryman pieces in person at the Dallas Art Fair. Dodge Gallery had a piece made of 2 x 4’s, painted and hanging on the wall. There was also a corner piece comprised of stacked 2×4’s painted with soft, shiny colors. Upon closer inspection of the corner piece I noticed hand writing that indicated some sort of possible measurement. I couldn’t tell because Ryman had cut the wood off before the information could be fully retained. But the markings were just enough to show his hand. I mean this in both that it injected the work with a very direct connection to the artist in what could otherwise be mistaken to be a minimalist corner sculpture and it also showed his hand in the sense of a “reveal”, exposing the transparency of the process of making that Ryman is so willing to offer. After mounting his first solo show with Dodge Gallery, Adaptive Radiation, and just finishing up a public commission at Michigan State University, Ryman and I had a conversation. - Arthur Peña, Dallas Contributor
Cordy Ryman | Adaptive Radiation, 2013, installation view
Filed under: Interview | Tags: Artbound, Ellen C. Caldwell, Hillary Mushkin, Juan Devis
KCET’s multimedia project Artbound works at many different levels and with many different audiences to report on the cultural affairs of Southern California. First, it is a series of online articles written by artists, journalists, curators, and art-world experts from the Southern California region who focus on a variety of topics and disciplines.
Hillary Mushkin | Incendiary Traces 1, 2013, inspired by 1991 footage of Baghdad. Courtesy of Artbound.
Next, it is an interactive social media hub, wherein readers can interact with, share, and publicize their favorite articles. Based on its reach and shares, the most popular article is paired against an editor’s choice, so the two go out to readers for a vote. Of those two, the winning article is turned into a short documentary that is then published online and in the Artbound TV series. – Ellen C. Caldwell, Los Angeles Contributor
Filed under: Interview, Los Angeles | Tags: Arthur Pena, Austin, Long Plays, Los Angeles, Mark Moore Gallery, Nathan Green, Okay Mountain
I’ll start with a joke: How many artists does it take to satirize contemporary culture, democratize the collaborative process, vandalize notions of the banal while able to emphasize the importance of drawing within the practice of making?…..9. I learned that one while talking to Okay Mountain co-founder, artist, curator and overall swell guy Nathan Green. Currently, Mark Moore Gallery in Los Angeles presents Long Plays (on view through March 16th), the first solo exhibition of works by the Austin-based artist collective. With their razor sharp dry wit, Okay Mountain offers less of an attitude and more of a gentle sucker punch; more like getting a beating with a bag of oranges as opposed to a bag of bricks. The former won’t break bones but you’ll still know whose boss. Green and I had a little chat about the show and the OKMT collective mentality. - Arthur Peña, Dallas Contributor
Filed under: Interview, Q&A | Tags: Arthur Pena, B. Wurtz, Metro Pictures
An afternoon with B. Wurtz is one filled with ruminations on art and life, the relationships between the everyday and the uneventful and your choice between a cheese or hummus sandwich. Wurtz himself is a welcoming spirit with an ever-present eye for the details that make up the world around us. Looking at his work, Wurtz’s meditative hand and delicate nature are overwhelmingly apparent. I can’t help but believe that only Wurtz could have the diligent restraint to caress plastic bags, tin foil pans and other materials that “service/serve us” into objects that challenge the conventions of art history while acting as mirrors to this space/place that we occupy. Sitting with Wurtz at his home in the lower eastside, surrounded by his work, we had a conversation. – Arthur Peña, Dallas Contributor
B. Wurtz | Untitled, 2009, Plastic bags, acrylic paint, string, canvas, 75 x 90 x 1 ½, inches. Photo courtesy of Metro Pictures.
Filed under: Interview | Tags: Ellen C. Caldwell, Interview, Kim Cadmus Owens, Q&A
Kim Cadmus Owens (NAP #78 and #102) creates large oil paintings that are striking in color and subject. Glancing at a work such as “Smoke and Mirrors” or the “Alamo,” you feel as if you are moving with her paintings at the speed of light.
Kim Cadmus Owens | Smoke and Mirrors: coming and going, 2011, acrylic and oil on canvas, 48” x 156” UF (diptych)
Owens found inspiration for her work amidst technology blunders and anomalies, such as frozen, overtaxed computer screens and fragmented desktop patterns. Embedding these within her land- and cityscapes, Owens also places the viewer amidst bright and bold scenes. Many of these locales are reminiscent of old, empty, western wastelands – featuring what appear to be aged or abandoned buildings. However, because she amps up the color and imbues them with such a force of their own, and because she fragments her works with impending lines and fractures, they feel alive, burgeoning, and even hectic. The heightened feeling she creates is amplified by the visually pleasing nature of her oil paint eye candy. Her work makes me want to be on that road trip she is on, but in the meantime as I am speeding on the freeway on my own, her paintings inspire me to see things quite differently and much more brightly. – Ellen C. Caldwell, Los Angeles Contributor
All images courtesy of the artist and Holly Johnson Gallery.
Filed under: Interview | Tags: Alex Ebstein, Brion Nuda Rosch, DCKT Contemporary, Eli Ridgeway
In his second New York solo exhibition with DCKT Contemporary, Brion Nuda Rosch comes at his subject-matter with some self-reflection and a little more grit. Offering up a darker vision of himself as an artist, the show has a wonderful honesty that draws its viewers into the intimacy of the studio process. Guarded with a dark humor, each piece is at once raw and confident, while building up to a larger, important conversation.
I had the chance to talk to Brion about his process, the new show and his darker side. - Alex Ebstein, Baltimore Contributor