Category: art

  • AG2023_1055345a or apology for this human world

    AG2023_1055345a

    Cozy Apologia by Rita Dove

    For Fred

    I could pick anything and think of you—

    This lamp, the wind-still rain, the glossy blue

    My pen exudes, drying matte, upon the page.

    I could choose any hero, any cause or age

    And, sure as shooting arrows to the heart,

    Astride a dappled mare, legs braced as far apart

    As standing in silver stirrups will allow—

    There you’ll be, with furrowed brow

    And chain mail glinting, to set me free:

    One eye smiling, the other firm upon the enemy.

    This post-postmodern age is all business: compact disks

    And faxes, a do-it-now-and-take-no-risks

    Event. Today a hurricane is nudging up the coast,

    Oddly male: Big Bad Floyd, who brings a host

    Of daydreams: awkward reminiscences

    Of teenage crushes on worthless boys

    Whose only talent was to kiss you senseless.

    They all had sissy names—Marcel, Percy, Dewey;

    Were thin as licorice and as chewy,

    Sweet with a dark and hollow center. Floyd’s

    Cussing up a storm. You’re bunkered in your

    Aerie, I’m perched in mine

    (Twin desks, computers, hardwood floors):

    We’re content, but fall short of the Divine.

    Still, it’s embarrassing, this happiness—

    Who’s satisfied simply with what’s good for us,

    When has the ordinary ever been news?

    And yet, because nothing else will do

    To keep me from melancholy (call it blues),

    I fill this stolen time with you.


  • Neither rosy nor prim; prefers the chorus to the heap of disturbance

    AG2023_1045245a

    Untitled (Neither rosy nor prim; prefers the chorus to the heap of disturbance) 


    Locust Projects BINGO BASH!, June 9, 2023.


    EVENING PRIMROSE
    Poetically speaking, growing up is mediocrity.
    – NED ROREM

    Neither rosy nor prim,
    not cousin to the cowslip
    nor the extravagant fuchsia,
    I doubt anyone has ever
    picked one for show,
    though the woods must be fringed
    with their lemony effusions.

    Sun blathers its baronial
    endorsement, but they refuse
    to join the ranks. Summer
    brings them in armfuls,
    yet, when the day is large,
    you won’t see them fluttering
    the length of the road.

    They’ll wait until the world’s
    tucked in and the sky’s
    one ceaseless shimmer – then
    lift their saturated eyelids
    and blaze, blaze
    all night long
    for no one.

    Rita Dove (via UVA)
  • Beautiful Night

    Beautiful Night curated by Jude Broughan, featuring artists Karen Azoulay, Adler Guerrier, John Lehr, Reiner Leist, Daminico Lynch, Jasmine Murrell, Beuford Smith, Jenna Westra, and Jess Willa Wheaton.  The show is live on studioarchiveproject.com and runs May 25 – June 25, 2023. 

    Photography is about light (originally sunlight), and sometimes nighttime photography feels unexpected. Neon lights, camera flash, street lights, spot lights, tungsten lamps, high contrast, misty silhouettes. Nighttime is a restful time, when we unwind, hug each other, and look after ourselves, loved ones. Maybe go out and meet up, have some fun. Night is when we sleep and when we grow, our bodies relax and a time for healing. That inky blue twilight, then the star-filled dark night sky, souls gone before, and an as yet unmanifested void of exciting potential.

    Jude Broughan
  • Recently seen while out there

  • AG2023_1044727a or maneuvers to expose an enchanted one

    AG2023_1044727a

    Untitled (FG–maneuvers to expose an enchanted one) i


    A section of Félix González-Torres‘s essay on Roni Horn’s The Gold Field, 1980-1982.


    1990, L.A. The Gold Field. How can I deal with the Gold Field? I don’t quite know. But the Gold Field was there. Ross and I entered the Museum of Contemporary Art, and without knowing the work of Roni Horn we were blown away by the heroic, gentle and horizontal presence of this gift. There it was, in a white room, all by itself, it didn’t need company, it didn’t need anything. Sitting on the floor, ever so lightly. A new landscape, a possible horizon, a place of rest and absolute beauty. Waiting for the right viewer willing and needing to be moved to a place of the imagination. This piece is nothing more than a thin layer of gold. It is everything a good poem by Wallace Stevens is; precise, with no extra baggage, nothing extra. A poem that feels secure and dares to unravel itself, to become naked, to be enjoyed in a tactile manner, but beyond that, in an intellectual way too. Ross and I were lifted. That gesture was all we needed to rest, to think about the possibility of change. This showed the innate ability of an artist proposing to make this place a better place. How truly revolutionary.
    This work was needed. This was an undiscovered ocean for us. It was impossible, yet it was real, we saw this landscape. Like no other landscape. We felt it. We traveled together to countless sunsets. But where did this object come from? Who produced this piece that risked itself by being so fragile, just laying on the floor, no base, no plexiglass box on top of it. How come we didn’t know about her work before, how come we missed so much? Roni’s work has never been the darling of the establishment. Of course not. Some people dismiss Roni’s work as pure formalism, as if such purity were possible after years of knowing that the act of looking at an object, any object, is transfigured by gender, race, socio-economic class, and sexual orientation. We cannot blame them for the emptiness in which they live, for they cannot see the almost perfect emotions and solutions her objects and writings give us. A place to dream, to regain energy, to dare. Ross and I always talked about this work, how much it affected us. After that any sunset became “The Gold Field.” Roni had named something that had always been there. Now we saw it through her eyes, her imagination.

    Roni Horn, Gold Field, 1980-82. 99.99% pure gold foil, annealed, 0.0008 x 49 x 60 inches.


    Félix González-Torres, “1990: L.A., “The Gold Field” first appeared in the catalogue Roni Horn. Earths Grow Thick (Columbus: Wexner Center for the Arts, 1996). The text is reprinted with the kind permission of Roni Horn, the Wexner Centre for the Arts, and The Félix González-Torres Foundation.

  • 1-54 presents : Sparkling Islands, Another Postcard of the Caribbean

    1-54 Contemporary African Art Fair is pleased to announce Sparkling Islands, Another
    Postcard of the Caribbean, a group exhibition of contemporary Caribbean artists presented
    on the occasion of the fair’s 9th New York edition. Curated by Caryl Ivrisse Crochemar &
    [creative renegades society], this exhibition will feature work by April Bey, Jean-Ulrick Désert,
    Roland Dorcély, Adler Guerrier, Deborah Jack, Leasho Johnson, Remy Jungerman,
    Anina Major, Johanna Mirabel, Zak Ové, Nyugen E. Smith, Yoan Sorin
    and Alberta
    Whittle
    .

    High Line Nine
    507 W 27th St, New York, NY 10001

    May 11 through 20, 2023.

  • AG2023_1034271a or beyond constant measure

    AG2023_1034271a

    “more than no more, which seems

    much less than hoped-for

    […]

    a forgotten treasure: to live without scrutiny, beyond constant measure”

    (RD, Lines Composed on the Body Politic: An Accounting)