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I Too Want Representation: Written for SOUP 2.0
I was sitting at one of the long wooden tables at the Fales archives in front of a pile of forgotten bills, birthday cards, and letters when I found the envelope addressed to 101 Stanton. For a decade, I’d endured unreliable heat and potentially murderous landlords at 101 stanton. So it seemed had Zoe Leonard…
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Space for Being: a Conversation with Alannah Farrell
When I drop by Alannah Farrell’s studio space, in the upper reaches of 4 World Trade Center, after spending 45 minutes getting lost in the financial district, I have to show a government issued ID to the security guard downstairs. In a lot of ways the space, donated for artists to use by Silverstein Properties…
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Between the Lines at Lyles and King
The glazed stoneware rosettes forming the frame surrounding Stephanie Temma Hier’s painting Her Psychology Today resemble frosting more than anything else. They have the same wooden, stiff, painted-on presence that a thick sugary can of Pillsbury would. The unusual frame would stand out in most white-walled Soho gallery spaces, but in the front room of…
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Retelling Mythology
“[S]tereotypes are the west’s stunning sexual personae, the vehicles of art’s assault against nature. The moment there is imagination, there is myth. We may have to accept an ethical cleavage between art and reality, tolerating horrors, rapes, and mutilations in art that we would not tolerate in society. For art is our message from the…
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“Women’s Work” and Why Labels Matter
OLEK, Frances Goodman and Ruby Neri In an former ironworks in Avesta Sweden, visitors to Verket walked over and inside of a partially decayed two room structure completely covered in crocheted flowers, glittering rhinestones, and references to feminine allure spelled out in infinite intricate stitches—a piece by the artist known as OLEK. In New York…