Ryan Fontaine at Hair and Nails
In Object in Hair Room and Other Arrays there is the beautiful thing, the erotic thing, the perpetuate-the-jouissance (or beings) thing and it’s everywhere diffused. Half-lives and relatives revolve through materials and time. The Object is the largish painting of a white torso with scraped viscera against a base and wall of designer-y sperm, its own shadow and three series of test swaths in grey and white. Behind its neck ascends a sort of time card of a hand going towards a canted frame that matches the settled slanting of the gallery proper. As the object scatters and morphs into alternate scales and textures, it roots with its gallery: Hair and Nails.
Exhibition titles are materials biting their point of origin whose alphabet continues the Object’s growth. Next it, Brown Rustic Shape with Grated Post is Joy, Use and Aftermath done, sewered yet preserved in autumn haze spectrum. Overheard on a sidewalk: “No, the guitarist shreds cheese with the strings”. Black and white sperm defy and create attraction on (sic) polarized terrains called Good Packaging. After a protrusion, Three White Strips on a Field of Black cites the equals sign as possible double satisfaction. On the far wall Object #1 in Red, Blue and White on a Field of Gold reverses the initial torso’s orientation with invisible hand in dulcet Gibson strokes. Below and to the right, Shelving Unit and Object #1 On Blue, In Relief shift the firmament and again reverse the orientation like a flag a flappin’. Their construction razing zones a grody rebirth from such a burnt idea. Picture the treated concrete wall of a “Billionaire” overlaid with that of sea foam green: a future of perfectible hindsight in face of the scarce.
2.0 6. 2015
Eric Frye's series for Midway Contemporary Art on "compositional epistemologies," an erudite survey of the fusion of technology, composition and performance exploring the intersections of time, knowledge, self-hood and sonic space.
The Green Room, Walker Art Center Blog
To spark discussion, the Walker invites local artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, local artist and photographer Sean Smuda shares his perspective on Friday night’s performance of American Power by Erik Friedlander and Mitch Epste
Or, "I Was a Governor's Island Art Fair Exhibitor" — mnartists.org's resident travel writer, Sean Smuda, weighs his experience in the artist-run art fair off the tip of Manhattan during one hurricane-crazed, pre-Occupied week in New York City.
Sean Smuda returns to Art Basel Miami for a third year - read on for an extensive photo essay and his dispatch for mnartists.org on the aesthetics, theory and commercial circus that dominated this year's fairs.
In Heaven, Everything is Fine - Basel, '09
Art and Loathing in Miami
Interzone: The Paintings of Christian Nielsen
Building Something Out of Nothing: Josh Ryther at the Pocket Gallery
Art Review and Preview!, December, 2008
Banksy: Wall and Piece
Rain Taxi Review of Books, Fall, 2007
Born Between Art and This: Jade Townsend
The Alternate Version: Chicago
Beth Dow: Complicated Grey Eyes