Many thanks to curator Thomas Lax for bringing this to my attention. I met him at the awesome panel organized by artist Larissa Bates titled “Macho Man, Mother Man: Rethinking Masculinity” at Monya Rowe Gallery last month.
AB Soto is a gay LA-based hip-hop artist, and did the styling for the video. You can follow his musings on his blog and Twitter.
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Barnaby Whitfield, Cute Overload II (thanks Michael-Anne Rauback!), 2008, Pastel on Paper, 22.5 by 30 inches, Pastel On Paper
Sad news from one of my favorite galleries: 31 Grand is closing and is having a final one-day show on Saturday, December 20th.
Megan Bush continues to work as an independent stylist while chasing after Polly the chihuahua and 4-year-old Henry. Heather Stephens continues to art direct at the Wall Street Journal and is joining Black & White Gallery in Chelsea.
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Shane Hope
Yes, it’s one of the more baffling shows up in Chelsea right now, in a good way. Ed Halter does a nice job of writing about the project on Rhizome. Here is a post by James about our studio visit last year.
[image via Winkleman Gallery
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Foxy Production is moving to a larger space on their same block on West 27th Street: the old Clementine space. Their next show (Jimmy Baker) opens there on October 17.
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Documentation of Nancy Hwang’s participation in Free Show, September 2007
This essay related to Nancy’s February 2008 show at the Kemper Museum in Kansas City is the best thing I’ve ever read about her work. James and I are big fans, and really enjoyed reading it. We met her at the bar mentioned in the first paragraph, but she let us have two stools so we could be there together.
A lot of important art starts off as a rumor. Nancy Hwang’s career offers the example of an artist whom many people actually haven’t heard of, but when you describe a couple of her pieces to them, they suddenly realize they have heard about it before, or at least they think they have. However, because no new objects come into being in the process of Hwang’s art, it somehow seems less necessary to pinpoint the precise identity of the artist who created the bar with a single stool, or set up the manicurist station where one’s hands are worked on by somebody whose face one never sees. In fact, people who have never experienced her work directly sometimes feel free to embellish what they do know about it with small details of their own. By operating so explicitly outside the conventional boundaries of what constitutes artistic practice, Nancy Hwang now has an entire genre practically all to herself: the artist who creates the piece by being herself in a specified place and time, and who leaves people talking about her after she’s gone.
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