This American Life

Here's a look at Savannah artist Marcus Kenney's excellent new show "Midnight in America" currently on view at Marcia Wood Gallery. The painting to the far right is called "War on Terror (Ain't Nothin' But a Party Ya'll)." I feel like this title gets to the heart of the slap stick funny and forebodingly dark tone of the work, taking aim at the current social state and shaky politics of the US of A.

"Young Americans II" mixed media sculpture 2008

The show is primarily two dimensional collaged paintings along with some figures brought into the three dimensional through the same technique of layering paper and objects. Hair made out of cigarette filters and an African American girl wearing a t-shirt emblazoned with the face of George Washington.

"War on Terror (Ain't Nothin' But a Party Ya'll)" 2007 detail

With the high level of detail, each piece warrants and second and third look. Each two dimensional work is a heavy layering of cut paper with paint often added on top.

"War on Terror (Ain't Nothin' But a Party Ya'll)" 2007 detail

The images seem to be gathered from any and every source, from children's illustrations to wall paper patterns, the works are a sort of accumulation of printed detritus, Kenney building up an amusing reflection of our culture using our very own trash - or to be more poetic - stitching together a cautionary tale from the remnants of our discarded social fabric.

"Farewell to Illusions" 2007

While the socially conscious will see the dead canary in the collaged paper, the work remains primarily amusing. This lies partly in the cartoonish style of the imagery and partly in Kenney's choice of using children as the primary subjects in the work.

This focus on kids in discussing the current state of America hints at Kenney's possible anxiety with the future, a fear over what social and political legacy will be left to the coming generation of leaders or perhaps a guilt associated with the franchised culture engulfing these current toddlers.

"Linkin II" 2008

But just as easily, these paintings relish the complexities of our culture, the bumps in the road of our history, and the even deeper pot holes of our current administration. Much like Kenney enjoys an almost chaotically busy tableaux, his intrigue rests in the clash - not disdainful but fascinated by the layers, by an impending explosion.

"The New Communism" 2008

The show is an almost overwhelming visual fest and reviewing my photographs later made it easier to digest. By isolating certain paintings for viewing, the level of extraordinary detail in the each work becomes apparent. These works hold their own individually, as I have seen on Josh's living room wall, at least when his piece isn't being borrowed by the Savannah museum of art.

"Be Careful What You Call Home" 2008

This piece is intense. The food stamps reading like colorful tiles in the background as the African American figure sips her patriotically striped drink, pondering the bleak landscape, laden by a floral print housecoat, and exuding the regal poise of a stately portrait.

While the work is as visually inviting as sweet sweet candy, Kenney gives no easy answers, no place to take shelter, every inch of each panel is shouting it's own contradictory story.

"Defend Boundaries, Establish Validity" 2007


"Lotto" 2008

Someone could write a twenty page essay this painting alone.

"State of Nature" 2007

"State of Nature" 2007 detail

Speaking of writing, Cinque wrote a little gem on this show for Creative Loafing.

"Eye of the Needle" 2007 and "Almanac" 2007

The "Eye of the Needle" was an interest step outside of the insular American issues (such as race, politics, and materialism) to poke fun at the economic ties between America and India.

"Complete Protection From the Hate Advance" 2008

"This is Us (Who R We, What R We, Where R We Going)" 2008

Kenney also broaden the scope of the show with "This is Us," both in scale and in dealing more directly with the manipulation of a historical portraits.

"This is Us (Who R We, What R We, Where R We Going)" 2008 detail

The show "Midnight in America" is up through May 24th 2008. This show is a must see in person to really appreciate it.

Stretch Marks

I left Jay-Tard trying on a pair of my shorts

and headed for the opening of Young Blood's new space.

Ran into Jenn Brown, who is one half of the team responsible for the design of the new boutique space, which looks really great.

It was packed, the space is incredible, not so much a step up from the Grant Park location as an effing leap. This shop could be the Helix Athens transplants have been missing.

The art wasn't quite as exciting.

Jessica Gonacha "Moving Mountains"

Jessica Gonacha had a series of paintings claiming to explore the relationships between people and the environment and themselves. But more accurately they reflected her stated motto "life is not to be taken seriously." Going further, Gonacha recommends you "tenaciously fill your days with satisfaction."

Sometimes it's better not to have an artist statement...

Valerie Taylor Pensworth "Magnified Moments Series: Winter Woes"

Gonacha was shown with the prolific Valerie Taylor Pensworth, whose series "Magnified Moments" paired ink illustrations representing connected memories or contrasting views of arguments within the artist.

Valerie Taylor Pensworth "Magnified Moments Series: S.P."

Valerie Taylor Pensworth "Magnified Moments Series: Love Seat"

This piece made nice use of the format.

Valerie Taylor Pensworth "Biding Time"

Other works were more cursory. The title Biding Time seemed an appropriate name for a show celebrating the frivolity of light hearted paintings

Valerie Taylor Pensworth "Live Wire"

and unfunny jokes.

The gallery began to feel a bit like a continuation of the boutique. Maybe its a telling change that the boutique is now the first room entered in the Highland space whereas it flanked the exhibition space in Grant Park. Marketing ploy perhaps but it sets a tone.

Valerie Taylor Pensworth "Sentimental Secrets"

Pensworth's blue lady pieces were pleasing to the eye

Valerie Taylor Pensworth "Greatest Expectations"

especially this one.

Jessica Gonacha and Valerie Pensworth "In Between the Rain"

The artists collaborated on two larger sculptural pieces cut from mat board and paper.

Tracy trying to focus despite the heat

this gizmo seems to have gone largely neglected...


The pieces were highly detailed and ambitious in craft but remained aloof.

Then again, nestled in the Highlands, this is going to look rad on the nursery wall of some cute blond kid named Dakota.

Go check out the new space and shop in the artist stocked boutique. The show "In Between the Rain" up until May 31st 2008.

Birthday Suits

Exactly one year ago today, I decided to stop complaining about the lack of art blogs dedicated to the lively Atlanta art scene, and start writing one. A good deal of anxiety went along with this, as I am not a writer, not a critic, not all that Internet savvy, and generally disinterested in what I have to say. But I have a habit of carrying a camera around and a great deal of hope and pride for the artists in the city, and so, there you have it.


What surprised me in all of this was how much I actually began to enjoy the blog. It's sort of a ball and chain (though completely self imposed and therefore one gets no sympathy) which forces me to pause a little longer to consider the art I see and through the blog I have gained a greater awareness of, dare I say the much fussed over word, community.

So happy one year to Local E, this gives me great excuse to drin - err - celebrate. And I figure with this post I can upload whatever I please, so here are some pictures of Junior (who obviously grew up with a camera in his face often enough to now enjoy the attention) and Daddy #2.

We went hiking, it started raining (story of my life), we hung out under a fallen tree.

Jay was tired and dozed off.

Video No Input

Here's a quick look at the current "frontiers of art of technology"


Made my way otp to Spruill Gallery for the opening of "Breaking New Ground," a show bringing together artists working with new forms of technology and professors from Georgia Tech who are exploring "methods and advances in technology to create a new and fresh artistic vocabulary."

Kathryn Reffi "Color Recordings: Day 3 and 4" 2006 60"x100" oil on panel

The show is a great experience, part science fair, part design, and part experimental art. True to nature, I was most drawn to the works by professional artists, interested to see how artist's are using technology (digital imaging, projectors, computer software) to either expand the possibilities in their work or use it to reach an idea previously unattainable.

Kathryn Reffi's paintings are jaw-dropping; meticulous, massive, color theory to the ninth degree, the paintings pulse with abstracted life. But what makes them really fascinating, is that each painting, well, actually is worth reading the description in its entirety:


Reffi's paintings greet the visitor at the door of the gallery and set the stage by exemplifying a process in which technology is aiding artists in attaining something previously incomprehensible.

"Nest" by Carla Diana involves spheres containing LED lights and a unique RIFD tag. When a sphere is placed in one of the three indentions in the white platform, a different ambient sound is created. The viewer is able to interact with the piece and audibly transform the space by interchanging spheres. At one point a guy removed all of the spheres and the room fell very silent, it was an odd sensation, like a life form had been silenced, something kind of disturbing. Someone else quickly added back a sphere to bring life back to the space, or to at least add their own mark upon it.

"Nest" was shown along side Phillip Galanter's pieces dealing with Generative Systems, which seemed fitting since the back lit "light box drawings" implied their own sense of vibrations.

Again, as a common theme in this show, it's actually worth it (and necessary) to read the statement:


Say what? Interesting to place these on light boxes, a bit like viewing something under the microscope.

On my quest to meet the other Atlanta art bloggers, I made the acquaintance of Miss Il Faut Cultiver Notre Jardin, Susannah Darrow, who has a great summary of the show here.

Gil Weinberg's "Robotic Musicianship Project"

"-has digital technology truly innovated and enriched the expressive, emotional, and creative core of the musical experience?"

Tristan Al-Haddad's "iCAVE" was another highlight, although more from an aesthetic or design standpoint for me.

Except that the piece was more about an "exploration into the perception of other formative constructs: spaces of movement, flux, life, and discovery. First spaces of the womb, the cave, the termite nest, the ant colony, the bee hive, or many other such structures are all spaces which create a very different type of spatial cognition for the inhabitant than that of contemporary voided Euclidean space."

I'm not sure space was really turned on its head for me in this installation. Walking through and viewing these hive-shaped forms I felt separated by scale, not viewing the forms as a reconfiguration of the architecture as much as alien forms floating within the still existent euclidean construct - "the box."

Nevertheless, iCAVE, had a strange vibe about it, maybe it was the oddly cushy floor and the bubble wrap walls, but I kept coming back for more.

Danielle Roney's "Fluid Architecture" projection pieces were meditative in their deconstructing and reconstructing of the spaces inside and outside of the gallery.

"Fluid Architecture: Interior Movements" 2008 Site Specific Digital Media Installation

"In the conceptual works of Global Portals, the artist as researcher is a critical role in the creative process between art and technology. As new media redefines the role and power of the individual within the evolution of societal perspectives, the boundaries between art and scientific theory, particularly entanglement, become an increasingly interesting metaphor."

I found the room best experienced in solitude, spending enough time to allow the mind to absorb the projections as visual information, attempting to make sense of it, perhaps altering perception. (hint: the morphing image on the wall is actually of the gallery room ceiling.)

Roney's installation room reminded me of Reffi's work, each artist fully transforming the mood of their space, their art changing the experience for anyone passing through.

Roney in Reffi's room.

Strange thing about tech savvy art, when the show is over, there is a power button to turn it all off.

And later in the night, I don't know, but maybe I finally tracked down the last of the elusive Atlanta art blogging pack, it's Ben from Proclaim it Lost who has the ability to guess age based on the number of items decorating one's key chain.

"Breaking New Ground" is up at Spruill Gallery through June 26th 2008. Go check it, it's worth the drive.

Ker-Plunk

Megan McNeer "Pomegranite"

Went by Opal Gallery to see "Ka-Chunk"

an exhibition of Medium Format Photography. The show was co-curated with SCAD masters candidate, Lee Jones, and included the work of fellow SCAD students along with other photographers who responded to a Call for Entry.

Julie Sims "Light After Dark 3"

There is a disconnect for me in saying a show was curated when there was a Call for Entry involved, which sounds more like a juried show, especially considering the unifying theme was simply the use of a Medium Format Camera, and nothing more conceptual.

Nicole Akstein "Pool, Bradley Beach, New Jersey" 2005 (from North series)

While the hanging of the show was done thoughtfully, eking out connections between the various artists and photographs, the broader theme of the Medium Format Camera itself was left relatively untouched. I was curious to see this show after reading the press release, surprised to hear of a show of nothing but Medium Format work in a time when photographers are turning to digital in rapid numbers or instead sticking with their large format cameras for the pristine detail.

Lee Jones "Village of Yesterday"

To champion the Medium Format camera now, to examine why particular photographers are sticking with an aging tool is interesting, right? But I found no insights into this, instead viewing images that could have just as easily been shot digitally.

Allyson Ross "Folding Table (Part of the Goethe Ave. Series)"

The photographers in the show took a straight documentary approach to shooting, composing quiet observations in the details of the day to day. Photographer Allyson Ross added a needed dimension to the show with her "Goethe Ave." series of miniature interiors.

Allyson Ross "Fridge (Part of the Goethe Ave. Series)"

The photographs reminded me of another SCAD related show and the work of Jessica Dodd, who also photographs domestic scenes created with miniature dollhouse accessories (is this a trend?) but Ross's images push the depth of field to create a surreal, almost abstracted environment surrounding highly detailed pieces of furniture.

Allyson Ross "Chair (Part of the Goethe Ave. Series)"

The three photographs by Ross were placed apart, one on each of the three walls, drawing links to the other interior shots and photographs of domestic details, all embodying a similar loneliness packed with visual clues for the voyeur's interpretation.

Darin Melton "I Sat"

Darin Melton's photograph of a chair brought a nice reality check to the strange dreamworld Ross created with the plaid lay-z-boy. (I also saw Melton's work at the Beep Beep show Plastic Makes Perfect last year)

Gallery owner Constance Lewis was nice enough to talk about the show with me and I was excited to learn that the gallery will be taking advantage of its unique location this summer to show a film projected directly onto the front of the gallery. From what I heard it will definitely be an event worth attending.

The show has been extended an extra week, go check it out and draw your own conclusions on the current state of the Medium Format.

Between Knowing & Remembering (Part III)

I was drawn back to Kiang Gallery once more by the likes of artist duo Bradley McCallum & Jacqueline Tarry. Except this time ACP was hosting the party to announce a public art collaboration between the artists and the photography festival.

The temporary installation will take place on the interior and exterior of the water tower in the Old Fourth Ward. McCallum said the abandoned landmark caught his attention while they were driving towards the Martin Luther King Center in the same neighborhood.


I'm looking forward to seeing what transpires there in October. It's an interesting choice for McCallum and Tarry, because their work is so racially and historically focused, yet they are drawn to work with a structure which has no direct ties to the Civil Rights Movement but is located within an area of Atlanta steeped in its history.

While at the gallery I took the opportunity to watch again the video McCallum and Tarry included in their show, "Another Country."

Standing beside me were two woman who were watching it for the first time and I recognized their winces and squirming as the same reaction I had to seeing the blood and needles. "Is this for real?"

"Yes!" I said.

As a biracial couple, much of McCallum and Tarry's video work deals with the complexity of this relationship within the context of our country's weighty history. But unlike the previous two videos I have seen, this piece was stripped bare of aesthetic artifice, mystery and dramatics peeled away, to reveal something much more raw, more unsettling in its brutal honesty.

Previously at the artists talk, Tarry said the video was inspired by the "One Drop Rule" of the first half of the 20th century. According to this law, anyone of European ancestry with as much as one drop of African blood was considered "black." This was enacted largely to prevent interracial relationships. Tarry said there are dramatic stories from this time of interracial couples pricking their fingers and sharing blood in the very courtroom that had just condemned them to imprisonment for the crime of coupling.

In the video, McCallum and Tarry, through a slow, almost ritualistic practice, use IVs to have a blood transfusion, literally exchanging blood. The video itself became more of an instrument for documentation, while the actual act between the artists was a private performance piece, shared with the viewer through video.

The video, while in many ways very separate from the paintings in "Another Country," was a vital element to the show. The video grounded the issues of the Civil Rights Movement within an intimate dialogue, connecting the artists to the subject matter through their own personal story. The video seemed to represent a next chapter to the history which the paintings dealt with, as a sort of rising above, or a breaking down. Watching McCallum and Tarry exchange blood asked the question, are these two still an interracial couple or has McCallum's heritage suddenly changed? Has Tarry's changed? And the superficiality of racial labeling, the ridiculousness of the "One-Drop Rule" come sharply into focus.

"Another Country" has been extended at Kiang Gallery until June 7th 2008. If you haven't seen it yet, take advantage and GO!

Related Posts:

New to the Neighborhood

Loaded

Between Knowing & Remembering (Part I)

Between Knowing & Remembering (Part II)

People Live Here!

Remember when that car ran into my apartment building? And the telephone pole it lodged itself against? How that was such a bizarre, unusual, string of events?


Apparently not so unusual. This guy tried his hardest to drive into my studio but the telephone pole seemed to have gotten in his way. I'm beginning to really appreciate that particular beam of wood but I wonder, how many hits can it withstand?

On the other end of my block, this parked car was a sitting duck.

Luckily, this time Jay-T was far away from the scene of the crime.

He was busy dropping teeth left and right and getting blood all over my clothes. It's only a matter of time before I am no longer his favorite chew toy.

Insistor

Went over to Earl's to see Tapes 'n Tapes give a live performance of what had to be one of the most repeatedly played songs in my car, on my computer, and in my earphones all of last year. Unfortunately, the rest of the show paled in comparison to the little gem Insistor that they saved till the very end.



La Blogotheque has got TNT playing it live on the streets of Paris while simultaneously dodging oncoming traffic and trying to sing above the roar of public transportation.

The surprise of the night was the opening band White Denim, which I found to be far better live than recorded. Their high energy and jollity got the crowd hopping and they took every opportunity to push their instruments and bodies to the sweaty max.

Miracle Dough

A few short days after making the claim that I had just attended the fanciest of reception parties, the bar was raised once more - or perhaps its more accurate to say the bar was raided. I can't say that I have ever seen a party so lavish, or accompanied by so much money, surrounding an art opening.

but really, what better excuse is there for a party? This was the tent (along with a minimalist bamboo jungle) placed outside to celebrate the grand kick off of the Hagedorn Foundation Gallery, a non-profit photography gallery supporting local charities and local photographers.

Paul Hagedorn, the founder,

has his work on permanent display on the first gallery level

Stephanie Dowda "Rehearsal" Color analog prints

and the work of contemporary photographers on the second level. Judging by the premier, the caliber of artists shown is going to be very high, adding another much needed venue for contemporary artists, especially in the Buckhead area of the city - it is, after all, a whole different crowd.

"Gather It" Color analog prints

Stephanie Dowda is showing four large works from her "Time & Time" series which, surprisingly, look incredibly polished when individually framed. Dowda likes to remain vague on the subject matter of particular photographs, but the series as a whole explores "how memory fuses our past and present, affecting our understanding of reality and ourselves. "

"Gather It" detail

Along the lines of recollection, these works deal with color, each piece dominated by a particular hue, intertwining the passage of time, a saturation of color associated moods, small details and larger abstractions of space, into fragmented narrations of memory.

"If Anything" Color analog prints

"Persist" Color analog prints

John Paul and Stephanie, dazed by the flash. I feel as though I am turning into some sort of amateur paparazzi.


I was also lucky enough to run into the infamous Jeremy, of Ghostmap Microwave, who coincidentally likes whiskey doubles (sign of good character) and penned an excellent review of Dowda's show here that everyone ought to read.

Paired with Dowda is Andrea Brown, showing a series of silver gelatin prints that also speak of solitude and intimate details, in the way that memories parcel out a personal history.

"Found Valona V" silver gelatin print

"Found Valona VI" silver gelatin print

I couldn't help but think the work struggled in the presence of Dawda's colorful photographs, as Brown's photographs are as small as Dawda's are large, and placed into a grid that resulted in individual pieces being lost to the overall formation.

"Pgs. Collection" detail - silver gelatin print

But upon further inspection there were some very nice photographs laying within the gridwork.

"Pgs. Collection" detail

Formal connections being made along with snippets of implied narrative.

Overall, it's a really sharp show in the upstairs of the Hagedorn - I highly recommend you check it out. Show up until May 31st 2008.

Fancy the South

Headed out of the city on a quest for art.

All the way to Madison, GA for the "Madison National 2008."

Larry Estes, "Hey Whitney" - pen on paper

It's a juried show, the juror being Sylvie Fortin of Art Papers.

Jody Fausett had a nice spread.

Wild cats and wilder furniture.

Jody also won a prestigious "Best in Show" (and really enjoyed the attention)

Trish Ramsey "Squink" sewing nylon, wool

as did Trish Ramsey from Columbus, GA who created these interesting three dimensional drawings using steel and nylon.

Trish Ramsey "Day Dreaming" steel, nylon

This one was especially cool. Fortin gave a short talk during the opening to explain her mindset while jurying the show. She said that she wanted the show to serve as an "index" of the contemporary art practices happening in this region. Each work selected represents a larger movement.

"Day Dreaming" detail

Fortin also said she was surprised by the large number of submissions relating to drawing or photography and decided to focus on these media, selecting artists who are expounding upon these practices. Hence Ramsey's drawings, which for me, summed up the scope of the show.

Ashley Nason "Observatory" drawing, collage

One of the best aspects of this exhibition was seeing such a sharp collection of contemporary works housed within the Madison-Morgan Cultural Center (the building is amazing, check out the link). Originally a school, the beautiful old building sits in the middle of quaint Madison, drawing in a friendly crowd, and giving an interesting context to the show, merging the antique and the new in an excellent way.

This water fountain was great

and classrooms back in the day look incredibly uncomfortable

and they had such small chalk to work with, I pity the kid with meaty fingers.

The show was hung very well, each piece relating to the next, drawing connections between the quilting of graphite on paper and the abstraction of basket weaving.

Barb Bondy, Opelika, AL "RW" Graphite on paper

This piece was intense, unassuming until viewed close enough to see the infinite number of graphite markings cover the 360" long roll of paper.

Peggy Wyman "Swoop in Glide" Fiber sculpture

I could not help but notice this was the only piece in the large show which had been marked with a red dot. Nevertheless, I withhold making any sweeping generalizations or coming to any sort of critical conclusion.

Jon Davis, Miami FL, "Lady With a Fan" mixed media

This was an slick light box sculpture which Joyce said reminded her of the box sculptures of Duchamp and his crowd.

"Intelligent Design" color pencil on paper

This is a great drawing by Alanta artist Philip Carpenter.

"A Self Study" photography

And a pair of great photographs by Atlanta artist Maria Watts, who I met and doesn't resemble either one of the people photographed.

In group exhibitions the placement of your artwork is always the fear, its the one thing the artists don't always have control over and the wrong context can unintentionally change the interpretation of the work. I was very pleased to find my photograph in the exhibition room with a "Warning: Exhibition Contains Nudity" sign by the door, and in the company of Watt's naked self studies. Like I said, the time and thought spent by the Madison-Morgan crew in laying out the show was apparent and well worth it.

The installation "Battleships, Battle at Sea" by Corrina Mensoff and Hartmut Koenitz occupied a third room.

Interesting to imagine that this use to a be a classroom.

After the opening was the fanciest private reception party I have ever attended and the hosts had an impressive collection of lighting sculptures and custom furniture.

And most importantly, the champagne was freely flowing. Shana and Alex made the trip, brought a little glamour with them.

Sylvie Fortin and Susan Bridges.

Jody regretting the decision to be the driver of the caravan.

If you happen to be anywhere near Madison, GA between now and June 30th, it's worth the detour to check out the show and spend some time cruising around town.

Glory Glory

Possibly the most prolific artist in Atlanta, Michi's work seems to be on constant display in one gallery space or another, often partnering up with John Tindel as TindelMichi or recently with Dosa Kim for a show at Beep Beep or in a team of six at Whitespace. But despite the quick succession of works, Michi new solo show, "Comfort Kills Pursuit: Fight!", in Eyedrum's Small Gallery is something altogether new and challenging, electing to focus more on sculptural installation than painting.

In some ways this show is a continuation of Michi's work, expounding on the use of the same tar-like black paint seen in the "Br'er" show, except that this work breaks from of the wood panel surface, breaks from the limitations of more commodified artwork, gets dirtier, drips paint down the walls, and incorporates the exhibition space fully into the work.

There is an interesting dichotomy of purpose in Michi's work that seems particularly at play in this show. The work is not literal (despite using text) and is not easily decipherable but this is because Michi's work speaks to many different plights and many histories at once. Michi deals with the history of racial tensions between white and blacks, "I am fighting for liberation from a history of images that portray black males as strange fruit, machinery, and property." while also existing in this world as a quest-driven artist, and questioning this throughout his work "...have I become comfortable with the idea of art as consumer products and tailored my statements to fit the criteria for success in a commercial gallery society?" After seeing this show, my answer would be "no" and for anyone planning to see this show, or even viewing these pictures, Michi's statement is worth a read.

This piece is fantastic. The gloves representing racial tensions, the legacy of boxing, "The Great White Hope", golden like a bronze trophy of supremacy, but painted, referencing the painter and artistic ambitions.

Statement: "In creative thought, The Great White Hope is the gallery. It is the stage set by its four white corners mimicking the boxing ring. It is an opponent that has eluded many of fighters or artists. We all believe in its mythical power and its collectors’ ringside seats to elevate and hype our careers to the next level just by hanging there."

Perhaps getting further at this idea of "strange fruit," is the amorphous pear/boxing bag that is torn and leaking cotton. There are some more thoughts on the show and an interesting text message interview here.

I left the show still chewing on the idea of artwork that directly references the artist's struggle for success. While this show straddles more difficult issues than just that, Michi views the Small Gallery as a boxing ring in which many different goals and ideologies are being fought for, including the artist's daunting tasks of being recognized and valued. The work serves as a battle cry for artists, an attack on lethargy, which is an essential stance artists must assume, but is the artwork itself the proper platform for the voicing of this? Is this self reflexive subject too insular to function as provoking art? Something to think about anyway.

Show comes down April 26th 2008, go see it while you still can! It's worth the gas money!

While I Wait

My little bear cubs are really hittin' the big time.



Here's footage of Grizzly Bear performing their new song "While You Wait For the Others" which is pretty incredible and was performed on Conan O'Brian earlier this week. They were originally set to play this in January but the writer's strike led to a postponement. GBear's new work sounds as good as ever and word has it they will be touring with Radiohead this spring, i.e. their tickets just got a lot more expensive.

Devil May Hare

Up to the minute as ever, this show actually came down (got painted over?) this past weekend

Sarah Emerson and Jesse Cregar

Curated by Susannah Darrow, artists were invited to draw/paint directly onto the gallery walls of Eyedrum. A show like this could go one of two ways, artists could be selected to respond to the space and to the very process of drawing (in public, with other artists, under observation, through interaction) or, as with this show, artists were chosen to work independently, given the opportunity to explore working on a different format (a wall) and to react to the challenge of producing a large scale drawing within a limited time frame of 24 hours. It's the type of challenge that few public spaces afford artists and Eyedrum, with their devil may care attitude, is an ideal space for it.


Mario Schambor's use of the wall was reminiscent of cave paintings, swapping out line-drawn animals for stencils

And Maxwell Sebastian, supplying the hunters of the game, brought his drawing off the wall (reminiscent of a pop-up book) with cut outs of chainsaw toting hunters - one of which apparently went missing during the exhibition.