Gallery/Street, Public/Private, Archival/Ephemeral: Shin Shin’s Seed Pods

As anyone who reads this blog knows, I am particularly interested in art that oscillates between studio and street, high and “low,” and public and private. I find Shin Shin’s work brilliant for this reason: she creates works in ephemeral materials for the street and archival materials for the gallery, all the while documenting the works’ changes and existence in high-resolution photography. Her gallery work is inspired by her street art, and vice versa, and her practice is an interesting cyclical process that considers longevity, ownership, and ephemerality.

At the Satellite Show this fall, I showed two Seed Pod works by Shin Shin. These pieces are printed on archival cotton rag in limited editions of ten. They perfectly held their own on the gallery wall and sold quickly.

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However, this is not the only life these images have had. This spring, the artist printed these designs on a thin newsprint and hung them with wheat paste around Soho. They became embedded in the urban decay at the same time their archival counterparts sat comfortably in a white-walled gallery.



Yesterday, while walking on Thompson Street, I saw the vestiges of one of these pieces. Torn on the sides and bottom, it seems that people have tried, unsuccessfully, to steal the work, to make this inherently public installation a private one. By using newsprint, the artist prevents this, and instead the damaged and weakened work is left to dissolve quietly. It’s still beautiful – the power of decay and change is never lost on a city like New York – and it becomes a conversation about fragility and ephemerality.

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I think an image that can withstand different settings, different purposes, and the ravages of time is the most wonderful kind of art.

9 Delivery Trucks and a Banksy Waterfall: Street Art on Wheels in NYC

During Banksy’s NYC residence last fall, I went in search of his “Mobile Waterfall”: a rainforest-like vista constructed inside a standard white delivery truck that moved around the city. To finally find the piece parked on a small street in Soho was a breath of fresh air:

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Banksy’s “Waterfall” is not the only truck-based art to grace our city. Over the past few months, as we’ve emerged from a terrible winter and into a sticky summer, I’ve increasingly noticed the decorated delivery trucks that speed through NY, serving as little bursts of color and energy in the urban landscape. While these trucks are more about graffiti and less about conceptual art, en masse they form a worthy body of visual culture. Here are 9 of my recent favorites (spotted in Manhattan and Brooklyn over the past few months):

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Images from the Satellite Show

Last week was a wild one for the New York art scene due to Frieze, the Outsider Art Fair, and the many events that pop up around those institutions. I participated in the Satellite Show, which focused on hanging outsider, insider, modern, contemporary, and street art together using visual and thematic connections (without regard for traditional labels).

This was the inaugural Satellite Show, and based on the response we received, we will undoubtedly organize more “Satellite” events in the future. We were mentioned in Hyperallergic (thanks to critic Edward M. Gomez) and the New York Times, and had a steady stream of visitors throughout the weekend.

Below are some photos from our opening party (courtesy James Forsyth). Enjoy!

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Seeing Communities, and Making Art, Through Objects of Everyday Life

This week, I gave a lecture at Temple University on Thornton Dial, Lonnie Holley, and Southern Vernacular Art, so I’ve been thinking about different ways of including everyday objects in artwork. One of the most distinctive elements of Southern Vernacular material is that artists employ the detritus of their communities, reusing garbage and forgotten objects in interesting ways. Instead of drawing or painting the homesteads and industries around Birmingham, Alabama, (and Atlanta, Georgia), Dial and Holley have depicted them through the region’s material culture.

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Thornton Dial / Memory of the Ladies That Gave Us the Good Life / 2004 / Tin, carpet, wood, glove, washbasin, scrub brush, yard ornament, motor oil bottle, paint brush, clothing, wire, enamel, and spray paint on wood / 98.5 x 82 x 10.5 inches / Image courtesy Souls Grown Deep Foundation

While walking the High Line earlier this week, I stumbled upon a piece that employs objects commonly seen in New York City. Artist Josh Kline has capitalized on the cultural meanings of purchased, recognizable things to highlight inherent vices within NYC life. Rather than repurposing objects that provide a sense of everyday life, as Dial and Holley have, Kline is using objects as a parody of themselves and of big city culture.

The strength of Kline’s Skittles (2014) is its slow reveal. Upon approaching the work, it seems to be an advertisement for the  juice bars that have become pervasive in Manhattan.

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On closer inspection, the subversive humor of his project comes out (in the form of ingredient lists):

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While Kline’s work lacks the nuance, sophistication, and power of much Southern Vernacular material, it provides a humorous, welcomed moment in a public Manhattan space. It implores city dwellers to take the trappings of modern life a little less seriously. 

Follow up: Ann Hamilton’s ONEEVERYONE prints

In a previous post on The Art Show 2014, I wrote about Ann Hamilton’s ONEEVERYONE series. For this project, Hamilton photographed fair attendees and printed their images for display in Carl Solway Gallery’s booth:

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I had my picture taken, in part because I got to pose for Ann Hamilton and in part because each sitter would be mailed a print of someone else who participated in the experience. I received my photo last week:

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Because Hamilton photographed subjects standing behind a membrane, many individual details are intentionally out of focus. But those that remain pressed up to the surface–his nose, a lock of hair–are hauntingly present.

Update: I’d love to know whose photo this is. Please share this post with anyone who might help me identify him! 

Food as art, art as food, and the luxury of eating beauty

I have long viewed the world as an aesthetic wonderland. I love Art (with a capital A), but one of my great joys is finding beautiful and challenging things amidst activities of everyday life. Seeing art in a museum is always a joy, but to me, seeing defaced posters on a scaffold on the way to the subway is often more exhilarating, because it makes my routine just a bit more memorable.

I went to Japan for the first time last year and noticed, immediately, that aesthetics permeated everyday space in wonderfully delicate and subtle and seductive ways. The packaging for even the smallest purchase was perfectly folded, beautifully designed, and elegantly presented upon completed sale. The fruit in specialty stores was rich in color, rounded, and plump, shown as luscious objects whose looks could be rivaled only by implied flavor. The chocolates looked more like Donald Judd sculpture than confections:


The food has stuck with me, perhaps more than anything else. The idea of consuming beauty was not new to me: every time I look at a painting, I consume with my eyes. But digesting in an actual sense–imbibing and chewing and swallowing–gives the absorption another sort of richness. This became clearest for me during a meal at Narisawa exactly one year ago. The pictures can speak for themselves:


“Essence of the Forest”


“Chiayu, Sweet fish”


“”Ash 2009″ Scene of the seashore”


On The Art Show 2014

Last week, I wrote about the Armory Show and its ability to overwhelm me annually. Today’s post is about another fair that took place that same weekend in early March: The Art Show. With a smaller-scale format (a tighter space, fewer galleries, and generally smaller artworks) than the Armory Show, The Art Show is sometimes overshadowed. I, however, found this fair to be worth my visit in every way. Congrats to Sanford Smith and Associates (and fair director Emily Christensen!) for a job well done.

Where the Armory Show exhausted, The Art Show invigorated.

Here are a few of the artists, artworks, and ideas that stood out:

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Sean Kelly Gallery’s display of Kehinde Wiley’s work immediately caught my eye. The opulent gold leaf and bright red booth walls drew me in. The stunning execution of works themselves, which present contemporary figures in formats borrowed from Russian icons, kept me there.

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Kehinde Wiley, St. Gregory Palamas, 2014, 22k gold leaf and oil on wood panel, 40 x 24 x 2 in.

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Having worked on multiple exhibitions featuring art by James Castle, a well known American self-taught artist, I had a soft spot for the selection of his constructions, books, and soot-and-spit drawings on view at Peter Freeman, Inc.. I was particularly impressed by the gallery’s display, as they borrowed installation ideas from Castle shows at the Philadelphia Museum of Art and Museo Reina Sofia.

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Whilst the Wiley and Castle displays held such impact because of their “solo show” approach, there were some wonderful individual pieces visible within group displays also. One of my personal favorites was this etching from 2000 by Lucian Freud, on view at Matthew Marks Gallery.

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And finally, I was most impacted by Ann Hamilton’s photographic work-in-progress at Carl Solway Gallery. Hamilton was in residence throughout the fair, photographing attendees as part of her ongoing ONEEVERYONE series. Pictures were printed on newsprint and displayed in the booth (seen above). As part of this project, each sitter will be mailed one of these photographs of someone else who participated in the experience.

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Here’s a photo of me having my photo taken for this project. As you can see, Hamilton shot participants behind a hazy membrane so as to distort features not pressed directly against the surface. The dreamlike effect creates a unity amongst the sitters, removing many specifics of each person and creating connections between all. I will write another blog post about this project–in more detail–when I receive an image of another participant in the mail!