November 16, 2015


Curated by Julie Torres 
Tiger Strikes Asteroid’s ARTIST-RUN
December 1-6, 2015

ART IN AMERICA assembles a constellation of artwork from across the US featuring one small work per artist, representing every state + Puerto Rico. This installation acts as a literal map of activity, documenting the current conversation of and about art-making taking place across the country.

Participating artists:
Luke Ahern, OH
Audrey Barcio, NV 
Diana Behl, SD 
Michelle Ann Benoit, RI 
John Berry, IN
Mark Brown, NC 
Jordan Buschur, NE 
Matthew Choberka, UT 
Jim Condron, MD 
Mark Creegan, FL
Clark Derbes, VT
Andreana Donahue, AK
Magda Dudziak, IL
Diane Dwyer, NY 
Brian Edmonds, AL
Stephanie Elliott, CA 
Mark Joshua Epstein, DC
Scott Espeseth, WI 
Benjamin Gardner , IA 
Mary Addison Hackett, TN 
MaryEllen Hacket, WY
Todd Hebert, ND 
Justyn Hegreberg, OH 
Eric Huckabee, MS
Annette Kearney, ME
Marketa Klicova, MA
Sam King, AR
Perry Kopchak, WA
Amanda Lechner, NM
Bonny Leibowitz, TX 
Adam Lovitz, PA 
Barbara Marks, CT 
Shawn McNulty, MN 
Lucy Mink, NH 
Angela Mircsov, MO
Ellen Mueller, WV
Juan Alberto Negroni, PR
Daisy Patton, CO 
Ben Pranger, NJ 
Stephanie Sachs, HI 
Angela Saxon, MI
Jacqueline Segura, LA 
Becky Sellinger, VA
Elizabeth Sheppell, GA
Andrew Shuta, AZ 
Ann Stoddard, SC 
Tim Stark, OK
Anna Ura, ID
Ella Watson, MT 
Peter Williams, DE 

Stephen Wright, KY

October 19, 2015

Work in Progress

Stills from Keeper of the Furniture. [video]

When worlds collide. Tomorrow is a big day. 58 boxes of fine goods and several sticks of furniture will leave my presence. I won't bore you with the minutiae. It's been a 5-year struggle. It's not over, but I can see an opening. I have a love/hate relationship with antiques and china, and have pitted my art career against the niceties of life, constantly hedging my bets on which will pay off in the end. I have made mistakes on both accounts, and I am tired. 

Chantal Akerman's life work and recent suicide has stuck with me. Gnawing at me is more like it. I've been reading and re-reading texts about her, her own writings, and I can't get through a paragraph without being inspired. Pages are dog-eared from years of reference as though I was hoping my thumbprint would pick up some of her brilliance. Her films and writings have re-ignited an insistence to make a difference. Damn the status quo and popular consensus. It's a great loss when people you hold the creative torch for take their own lives. I'm grateful for her work and the people who have written about her.

I packed and repacked boxes. When I ran out of boxes, I figured that was a good stopping point. I had hesitated for so long thinking there was more art to be made, ALWAYS more art to be made. Useful props, stories to tell. Stuff and more stuff. But truthfully, it wasn't the stuff, you know. Or at least I hope someone figured that out. You can never tell here.

In a send-off to the furniture, I worked on a video. Pulling together disparate elements I may have figured out  how to unite my writing and art together visually. It feels right.  If so, it's a beautiful thing and I'll be in fertile ground. If not, I'll be happy to keep digging.

October 10, 2015

On Film Editorial and Writing.

Steve Hullfish interviews Pietro Scalia about editing The Martian and how film editorial is very much like writing. Yes. Exactly.

A post about people who think you are don't know what you're doing.

Someone, please, a ticket to pass go. Stat.

I desperately miss being around people who have some sort of cognitive reasoning when presented with something different. It's painful.


October 06, 2015

RIP Chantal Akerman. Thank you for your contributions. You will be missed.

I am saddened by the death of Chantal Akerman. She was an early influence and someone whose films I've refer back to repeatedly throughout my own work as an artist.

Update. It’s been reported that Ackerman committed suicide.
** In the US, the National Suicide Prevention Hotline is 1-800-273-8255. In the UK, the Samaritans can be contacted on 116 123. In Australia, the crisis support service Lifeline is on 13 11 14. Hotlines in other countries can be found here.**

Over on Twitter, I'll be dedicating tweets to links and tributes about her work.

From the NYT

PARIS — Chantal Akerman, the Belgian filmmaker whose ruminative, meticulous observation of women’s everyday and inner lives, often using long, protracted takes, made her a pioneer in feminist and experimental filmmaking and influenced generations of directors, has died in Paris. She was 65.


Chantal Akerman, From Here (2010)
Role: Herself

The State of the World (2007)
Role: Director

Demain on Demenage (2004)
Role: Screenplay, Director

From the Other Side (2002)
Role: Director, Cinematographer, Screenplay

The Captive (2000)
Role: Screenplay, Director

South (1999)
Role: Director

Chantal Akerman by Chantal Akerman (1996)
Role: Director, Screenplay, Producer, Actor

A Couch in New York (1996)
Role: Director, Screenplay

Portrait of a Young Girl at the End of the 1960s in Brussels (1994)
Role: Director, Screenplay

D'est (1993)
Role: Screenplay, Director

Moving in (1992)
Role: Director

Nuit et jour (1991)
Role: Director, Screenplay

Contre l'oubli (1991)
Role: Director

Histoires d'Amerique (1989)
Role: Director, Screenplay

Seven Women - Seven Sins (1987)
Role: Screenplay, Director

Letters Home (1986)
Role: Director

Golden Eighties (1986)
Role: Screenplay, Director, Theme Lyrics

Paris Seen By... 20 Years Later (1984)
Role: Director, Screenplay

Elle a passe tant d'heures sous les Sunlights (1984)
Role: Actor

L' Homme a la valise (1983)
Role: Director, Screenplay, Actor

Les Annees 80 (1983)
Role: Screenplay, Theme Lyrics, Director

Toute une nuit (1982)
Role: Director, Screenplay

Dis-Moi (1980)
Role: Director

5% de Risque (1980)
Role: Actor

Les Rendez-Vous d'Anna (1978)
Role: Director, Writer (dialogue), Screenplay

News From Home (1976)
Role: Narrator, Screenplay, Other, Director

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975)
Role: Voice, Screenplay, Director

Je tu il Elle (1974)
Role: Screenplay, Actor, Producer, Director

Le 15/8 (1973)
Role: Director

La Chambre (1972)
Role: Screenplay, Actor, Director

Hotel Monterey (1972)
Role: Screenplay, Director

Almayer's Folly
Role: Director, Producer, Screenplay

October 04, 2015

L cuts and dado cuts all in the same day, d'oh

...and I removed wallpaper and painted a room last month, officially saying goodbye to the last vestige of the room formerly known as Dining. There's still a chandelier in the center. There are two chairs and it makes a nice place to sit and look at art. That's the main purpose of the room and it's perfect. I painted the walls white. Alabaster, based on a recommendation. I wasn't sure about it at first, but golly, it works. I'm still partial to Dover in the office. Softer.

I don't think "finding balance" means divvying up work tasks evenly throughout the day, though I am beginning to find a rhythm between wood shop, paint studio, office, edit suite, and home maintenance— and in a way this makes everything feel less urgent. Like right now I'm at the espresso bar after cutting corners—seriously, I cut triangles this morning for the stretchers. I'm in the middle of re-stretching a canvas, building another stretcher and sorting through old handkerchiefs while conceiving the technical side of a new body of work in my head. This evening, I commence editing a video for a public arts proposal, and the proposal writing itself.

And so it goes. Hello October.

September 29, 2015

Installment #3 of the Studio Visit series: Meg Madison and her recent cyanotypes.

Thanks again to the Nashville Scene for giving some love to my micro-docs.
Great conversation with artist Meg Madison in Los Angeles. Click the link to view.

Behind the scenes in the editing process.
This one took much longer. I tend to think I can do it all on the fly and nail everything on the first pass. I'm learning not to rush myself as I shoot these, and I'm totally cool with asking for more elements when I need them. Meg generously provided me with additional stills so I could make the doc a little longer than the usual 3 minutes. She was prepping for two shows, so my timing was fortuitous, but I still needed some cutaways to make it less claustrophobic. After the fine cut was done, I opened it up for feedback. There were a few subtle changes after the rough cut— swapping out some conversation for clarity, tightening or loosening a scene for pace, and I lost a self-refererential bit in the middle, but I lived. And finally, the music thing. If I could have one person on my wishlist right now, it would be a sound person to record audio and a sound designer/mixer in post. Okay, two people, but a mixer would def streamline the process.

Gearing up for the 4th one, but had to divert some attention to office and studio work. It's my not so subtle cry for an assistant.

September 14, 2015

One timeline to rule them all.


And it's still under 6 min. 
I was excited, but I'll have to wait a day or two. 

September 03, 2015

Shorthand: Insight Outta Site talk with Austin Thomas at Nashville Public Library

From My iPhone Notes, With Autocorrect Turned Off Which Means I Stopped And Corrected Everything As I Typed.

  The gist of the talk was premised as "whether an art practice necessitates a studio, and whether a work or concept may have an audience outside the gallery context."

  • Post studio practice. Liberating. Relational aesthetics. Perches. Indoor perches. Perspective led to open up art spaces. Sketchbook daily practice. Happy accidents.  
  • **When you're an artist the same hand builds everything.****
  • Placemaking new word. Code for gentrification. Plug for Sharon's [Louden's] book. 
  • New space in Newark. Being a steward is important. Bushwick. Showing artists who live there. 
  • Dispelling myth of lone genius. Saying yes. Plug for Art and Fear book * (I still own my copy that was recommended on the down low in grad school, so I second this.)
  • Artist taking risks. World as Material. 
  • Artsy. Pinterest. for keeping up to date [editor note: no. no no. ok, maybe Artsy, whatever.]
  • Failing upwards. Questioning success. Casting a silhouette. 
  • Concentrating on the shadow will have an impact. Rather than building a statue. 
  • Jerry Saltz how to be successful. 
  • Running a gallery. Family money, loans, owning real estate. Essentially listening to money. Personal Loan in exchange for having a show. [editor's note: lost me around here.] 
  • As a gallerist you really wrap yourself around the artist. You create their shadow.

✍           ✍          ✍

I briefly met Austin when I was in NY a few years ago visiting with Sharon Butler. I thought of her perches this summer when I was in LA cleaning out my storage unit because she had orchestrated a project of gifting a few perches on  a cross-country drive. The story stuck with me and I, for a brief moment had been inspired to do the same. Drastically different though- she gifted 4 perches. I had about a 100 works and a plane ticket. But still, I was inspired by that act and we chatted for a few minutes after the talk. And if you're just tuning in, I destroyed my work instead of cheerfully donating it, so we also talked a little about destruction and lightness and how that related to a post studio practice.

Hearing another artist talk about not having a studio was great. I've had my studio at home for 5 years now. As much as I'd like the luxury of a going somewhere totally separate to tune out and make art, I'm siding with the the "World as Material" view currently. I also keep going back to the phrase, "casting a silhouette."

Everything that we see is a shadow cast by that which we do not see.  
- Martin Luther King, Jr.

Came home, hit send on my thesis-length residency app and fucked off by looking for MORE things to apply for since I'm on a roll. Still need to finish Meg's cut. Premiere is open, willing, and ready. 

Coming up for air

When the kind people at Trader Joe's ask me if I have big plans for the weekend, it's a gentle reminder that I have no sense of time. In other words, I always feel like I just started my work week. Possibly something about the blurring of Monday night into Thursday morning and my internal clock telling me I must brave the sunlight and forage for food.

I applied for 2 residencies this week, or was it last? The first one was a wash. The deadline slipped up on me while I was out of town and I had all of 3 hours to apply. I was serious about applying for it, but after being on the road 2 days in a row, crafting a cohesive proposal was not to be. I turned something in because I had been thinking about it, but writing and thinking are not the same when it come down to it. About 6 hours after I turned in 4 or 5 hard-earned sentences, falling a few thousand words shy of the allotted maximum, did my idea start to gel. Several hours later in the middle of a second proposal I started hitting my stride, or so I thought.

I had the foresight to ask a trusted friend/artist/writer to proof my proposal. It was an eye-opener.  Some great general advice, a few spins on current wording and boom. I revised the first draft and onward. I think most people would have sounded fine because it did sound fine for a boilerplate proposal, but I'm better than that. I know it and my friend knew it. Most helpful piece of editing I've ever had.

Of course that wasn't all. No, there were 2 mores essays, and a trick question that involved seeing how well you could turn a 10-page resume into a 1-page summary. They already had me list that stuff in a bio, and again in accomplishments, so for the 3rd request I'm certain it was a test to see how creative you could be with formatting. Should I keep all the solo shows and list 2 honors? List all the honors followed by 4 solo shows? One item from each category? Can I just draw a bunny and call it a day? What happened to the good ole days when I had to double-space my ressie and I could play with EMPTY SPACE?

Oh, yeah, and that's not counting front row seats for the Parade of Angst While Selecting and Resizing Images.

The good news is I hit the send button earlier today.