Visceral Logic

Combining the artworks of Erika Keck and the performance of artist Genevieve White and Zefrey Throwell (THROWHITE) into Visceral Logic, this exhibition displayed the stretching of boundaries (and lack thereof) with materials and social interactions. Through vulnerability, strength, and the act of simple play, intellectual visceral expression met  physics and poetry.  All three of these artist brought a  light hearted,  yet hardy, energy  full of thought and  generosity.

The licking, biting, holding,  twisting, and turning of White and Throwell during their performance of Tongue Slap was a test of will and willingness.  Mid performance, while sticky of sugar and saliva, Genevieve extends her arm to the audience,  a gentle invitation to participate. Two enthusiastic participants join in the sweetness. It was casual and quiet, sans the crunching and occasional laughter.  No matter the interaction with the viewers, watching Genevieve and Zeffrey with their own very individualized styles and definition of performance art, was like witnessing the process of two  choreographers creating a slow dance- questioning each move, as it’s success was rewarded with a sweet treat.

Erika’s work brought the same desires and visual evidence, as if it had been played and danced with, questioned, and rewarded.  This exhibit was fun to bring together and view.  Working with these three artist was simply… a wonderful experience.  It always felt right.

Ace of Spades

Ace of Spades came together pretty smoothly.  Just a small snag in the beginning stages of the curating, but it caused no delays and the final outcome was worth it.  Like scissors I snipped it in the bud.    I  had selected Hilda Shen’s work early on. Shortly after, I knew I had to combine the eerily playful images of Alexander Binder to Hilda’s “elbow/palm/finger/hand made”, seemingly-like-landscapes monotype prints.    The snag:  I had chosen a third artist a month earlier and later, close to the install date for the exhibit, decided otherwise.  It was not easy telling this artist I no longer felt it was the best fit. And because I did not want to compromise my vision, I went looking further.  Enjoying the thought of Hilda’s and Alex’s works together I still felt the need for a more refined explanation into this theme: Rich in Black… Black as night. Black as depth. Black as void. Black as light. Black as humor. And last, but not least, Black as the ace of spades.  This sent me to the artworks of an artist who had been on the back burner of my mind for a while.  The artwork of Vincent Como.  The nail in the coffin.

Ace of Spades received two wonderful, thoughtful, intelligent,  reviews so I don’t feel the need to write my own. Between the two they sum up my visceral intentions and intellectual vision:

Brooklyn Rail, Ace of Spades by Charles Schultz

Wag Mag, Ace of Spades by Enrico Gomez

 

 

Just before and in between

During the press release process of Ace of Spades, I submitted my information to Artcat, “The Opinionated Guide to New York Art.”  On their “about” page: ArtCat’s primary focus is underknown galleries and artists.

The conversation as it unfolded between myself and Artcat:

I submit: “Rich in the color black, Ace of Spades takes you on a ride to a dark side, through stormy, yet eerily tranquil, silent landscapes.”

Artcat listed the following: “SUGAR presents Ace of Spaces, a group exhibition of works in the color black.”

Not only did Artcat rewrite and dilute my press release,  the title of the exhibit was listed incorrectly.

Here is their explanation after I submitted a request for correction:  ”The submissions for ArtCat are all subject to review and editing to fit a uniform standard for listings.”

Here is my reply:  ”I have read other listings by other venues and find your explanation “fit a uniform standard for listings” a bit confusing, let alone quite rigid for a site geared for the arts. Re-titling the exhibit, and the byline is simply unprofessional and not the job of Artcat, and it is not stated anywhere on your website that you will do so (change titles and descriptions as you see fit without even seeing the exhibit).

Please remove my listing soon.

Best, Gwendolyn”

Following the above email, the listing was corrected, posted exactly, word for word as I submitted.  It’s all good now. But the bottom line is, rigidity, unless conceptual, and censorship, do not belong in the same bed as art.

I no longer submit to Artcat.