if you're in Mississippi...

...check out Vitus Shell's MFA thesis show at the Southside Gallery in Oxford, MS.

image of the week

Felix Gonzalez-Torres, "Untitled" (Perfect Lovers)

all the cool kids are going

I have always admired artists for the courage it takes to commit an idea to paper, or canvas, or what have you and then present that to the world. And after taking studio art classes, a very recent development despite my now longterm love affair with art, I admire them even more. I quickly discovered that I should stick to the curatorial path that I have taken because I found myself at a complete loss as to how to begin to make art. I could not seem to translate my ideas into an object or drawing, and quickly became frustrated and hopeless. And so I began to pester my art friends with questions about how to get art out of you, how to begin, how to express oneself and it be understandable to others. I still don't really have answers to these questions and I probably won't, but in talking to them about all of this, I found that simply having the conversation helped me to figure things out in my own 'work.' In trying to understand their processes, I started to figure out my own.

And it is in this spirit of understanding through an open dialogue that I have decided to host a Drawing Symposium, this Saturday at Rhodes College as part of an art project for Hamlett Dobbins' Alternative Methods course. I have invited several artists from the community to speak about their work and will then open the conversation up to all those attending, to spark a round table discussion about different interpretations of drawing and how drawing can live outside of pen on paper. Please see invitation below and feel free to contact about more info:

You have been cordially invited to a

Drawing Symposium

to take place April 19^th, 2008 at one o’clock in the Orgill Room in Clough at Rhodes College (the reception room by the gallery)

the afternoon will include discussions with artists Terri Jones, David Evans and Joel Hilgenberg

hosted by Lauren Kennedy, with the assistance of the Center for Outreach in the Development of the Arts and the great Hamlett Dobbins

Note: This event has been organized in order to create a dialogue between various members of the artistic community about the different interpretations and methods of drawing, with the hope of forging potential collaborations and continuous conversation. The afternoon will be an informal get-together with refreshments, good people, and enjoyable arts talk. Be there or be square. but don't be square.

take one

Two weeks ago was my very first foray into the madness that is the Armory Show, the major contemporary art fair held annually in the Big Apple. Walking towards the Chelsea Pier, I really had no idea what was in store for me, though I had been assured repeatedly that I was going to be completely overwhelmed. And I was. Booths, after booths, after booths, after booths of satellite galleries from around the world filled to the brim with paintings, photographs, light installations, huge sculptural works, and trendy tables and chairs for the gallerists to cool their very expensively clad heels. And just when you thought you had seen a good bit of the show, you realize you've only just begun and have to stop at one of the many lounges and have either a cocktail or coffee, depending on personal vices. (no judgements here) This is not to say that I did not enjoy myself, because I could not help but to be slightly enchanted by it all... but when you really think about it, the whole event is really just a trade show on mescaline. And the sheer expansiveness of it all made it difficult to absorb anything meaningfully or take the time to investigate an interesting piece, because you had to keep pushing on. But as the quick-witted George Shaw pointed out, it's not so much about the art as it is about the people and making all the right connections. And for those of you reading this who are well versed in the contemporary art world, I do apologize for my naivety, but I still care more about the art (I'm also very poor and currently an unemployed, graduate student, but there you have it...).

... Which is probably why I enjoyed the much smaller, more intimate Volta fair. The Volta art fair was set up in an office building on the eleventh floor I believe, right in front of the Empire State Building. There were considerably less galleries present, and more importantly one artist per space with the exception of maybe two booths. And while this may seem to be a rather trivial point to make, the signs above each booth displayed the artist's name much more prominently than the gallery's... allowing the art to really be the focus of the event. I liked that very much. I didn't feel insanely rushed and was able to spend some time with a few artists' work that really moved me (see images below). Volta also had really great sandwiches... just a side note.


So I'm obviously still getting my feet wet in the contemporary gallery scene and have much learning to do, but I very much appreciate this initial experience and am trying not to feel completely overwhelmed...




can you see how far it stretches?


amazing sculptural installation at Armory, unsure of artist now... proves my point?


trendy lounge


video installation by Peter Sarkisian at Volta


probably my new favorite contemporary artist, Corinne Marchetti at Volta

art and fashion blur

I suppose it says a good deal about me when I confess that the inspiration for this entry came from the March edition of Elle magazine... But in scanning through the coverage from major fashion shows and new trends, I found that recurring artistic references and inspirations were in abundance. Prada, Gaultier, and Escada's new lines draw on the colors and patterns of art nouveau in fin-de-siècle Paris, while Marc Jacobs and Miu Miu reference the surrealist movement with their fantastical and slightly bizarre new concoctions. For those of you who are decidedly less invested in the new spring lines, I understand that this may seem completely ridiculous and inconsequential, but bear with me... Because in thinking about how these designers are obviously incorporating art historical movements, I began to think about how much fashion and art actually overlap.
We invest in name brands or designers in much the same way as artists and galleries, generally giving preference to the more established and respected of those (such as Chanel, Damien Hirst, the Gagosian galleries...). These names carry significant social and cultural meaning and one's association with them indicates social and even intellectual status. People are prepared to pay exorbitant sums for an original or limited edition work of art, just as some are for a couture dress. In fact, couture fashion is the highest artistic expression of the fashion industry. The potential influence and social impact of both industries is also substantial. In fashion, key fashion houses dictate a season's latest trends which are most fully expressed in their couture creations and then translated into a ready-to-wear lines, and eventually the structure and patterns are recreated by stores such as Forever 21 and Target and become the latest trend available to just about everyone. Similarly, major artistic trends are integrated into broader social currents and affect contemporary aesthetics. Important artists and designers even collaborate at times, further manifesting the connection between fashion and art. Examples include photographer Jurgen Teller shooting Marc Jacobs advertisements, Richard Prince working with Louis Vuitton, and renowned architect Frank Gehry designing a line of jewelry for Tiffany.
And to quote the reality show, The Real Housewives of New York City, "fashion is wearable art." As much as I hate to reference the show, I do like the quote...

Prada, spring 2008 (I covet...)




Jurgen Teller shooting Dakota Fanning for Marc Jacobs







Richard Prince and Louis Vuitton

image of the week

Marcel Duchamp, The Fountain, 1917

aesthetic differences

I find the development of different cultural aesthetics endlessly interesting. This fascination was recently renewed by my glorious trip Central America last week (my life is oh so difficult, I know). While visiting these beautiful places, I could not help but to notice the different styles and crafts that are so particular to the region. The bright, unabashed colors and intricate patterns were often intoxicating to me. I was constantly distracted by new things at each market place, which wore on my companions' nerves...

But after reveling in the Caribbean aesthetic for days on end, I begin to wonder what is the American aesthetic? Do we have one? Does Polo count? I'm sure that I'm not being fair, but I don't suppose that one has to be while writing on a blog. I do believe it is very important to think about these things because whether we like it or not we are very much informed by our own cultural aesthetic and standards of beauty or desirability- though whether we wholly subscribe to them or not is a very different matter.


Some touristy shots that actually have nothing to do with what I just talked about...






Jealous? Should be...