Geoff Tuck: I’ve been thinking about your performance at CWC, and also thinking about the exhibition that exists around your performance. In fact – I’m trying to pin down where one begins and the other ends. My experience of Raised … Continue reading
Geoff Tuck: Your work’s sensibility seems to me very sweet, or maybe – since “sweet” has connotations that go elsewhere than I might intend – I’ll say very human. Emily Mast: I definitely do not like the term “sweet” but … Continue reading
Dear John, Your show, Immediate Horizon, at Weekend is quite wonderful. The cyanotype photograms are like flags, and like paintings, and like curtains – curtains over doorways, perhaps. Remember the movement in 1970s painting that was called Support/Surfaces? Do … Continue reading
There was a book lying near Alice on the table, and she turned over the leaves, to find some part that she could read, “For it’s all in some language I don’t know,” she said to herself. “Ideally, what should … Continue reading
A conversation with Zach Kleyn, Corrie Siegel, Amanda Leigh Evans, Gregory Michael Hernandez, and Geoff Tuck. Geoff Tuck: I remember our conversation Zach, and I appreciated then that you sparked off a fascinating hour. On the subject of religion and … Continue reading
From American Art, Spring 1996 (included among gallery bibliography for Mark Ruwedel): “In the process of decay, and in it alone, the events of history shrivel up and become absorbed in history.” Walter Benjamin1 And then further in the same … Continue reading
It comes from a dark place, this sculpture; not as though its making was sad or depressing, but as though light doesn’t get to where it was created – the place is too deep. This dark object is inscrutable, not … Continue reading
I saw Justin John Greene’s paintings in an open studio event at the Central and 15th Street studios on April 21st. I was struck by their naturalness, by what seemed to me a skilfull but not a fussy way of rendering figures. … Continue reading
John Mills’ paintings employ a minimum of tools to great effect. Looking at them is like listening to the quiet man at a party – at first through the crush of boldly-dressed characters and the hollow din of voices and … Continue reading
Afterword: I think of Dan Finsel’s installation of his new exhibition as a relating to music. Or at least the terms I use to describe the show I draw from my understanding of music, and of opera, and ballet. The first … Continue reading
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