Your Feast Has Ended

Galanin Sculpture

Nicholas Galanin. Inert, 2009. Wolf pelts, felt. 72 x 48 x 30 in.
Collection of the Burke Museum of Natural History and Culture, Seattle

Step into the Frye Art Museum for Your Feast Has Ended and you’ll likely feel more than a twinge of guilt. The exhibit features work by Maikoiyo Alley-Barnes (Seattle), Nicholas Galanin (Alaska), and Nep Sidhu (Toronto) who have created works that prompt reflection on cultural power plays, and provide a lesson in how to turn historical hurts into contemporary triumphs. Continue reading

Gareth Lichty: The Warp and Weft of the World

Lichty Sculpture

Gareth Lichty, Hamper, 2011. Wrapped construction fence. 18 foot diameter by 4 foot high, 550cm by 120cm. Photo by: Katrina Jennifer Bedford

Weaving. It’s the stuff of cloth, for the most part. Or perhaps basketry. So, essentially it largely boils down to things that we wear, or something container-like within which we might artfully arrange other stuff. It might lay on the floor as a carpet, or even (more rarely) hang on the wall as, say, a sampler, or (even more rarely) as a tapestry. Continue reading

Marisol: Sculptures and Works on Paper

Marisol Sculpture

Marisol, American (born France, 1930). The Family (detail), 1969

Easily one of the most significant exhibitions within the Memphis this year is Marisol: Sculptures and Works on Paper at the Memphis Brooks Museum of Art. The project, taken on by Chief Curator Marina Pacini over the past nine years, is the first retrospective of Marisol featuring each medium the artist experimented in over four decades of creation. The Family (1969), part of the Brook’s permanent collection, sits prominently in the first room with The Hungarians (1955), Marisol’s earliest work in the exhibition.  Pacini does an outstanding job placing Marisol into an art historical and social context, admitting that the exhibition is a significant attempt to re-establish Marisol as a prominent American, post-World War II artist. Continue reading

Deconstruct Reconstruct


Orpheus Building, Belfast, 2014. Photo taken by author.

Buildings host a potent kind of personal symbolism. As our built environments reflect and shape us, the past associations of space colour any activity around and within.

With their formative purpose and collective experience, this is particularly true of art colleges: the heritage of an art school can make a distinct impression upon its atmosphere. The buzz comes not just only present students but the influence of its past, building upon a legacy’s connection that holds in mental and physical remnants. Continue reading

In the Studio with Ry Rocklen

Ry Rocklen Sculpture

Second to None , 2011. Trophies, trophy parts, wood. 94.5 x 146 x 39 inches

This virtual visit to Rocklen’s two studio spaces in Lincoln Heights, Los Angeles follows my discovering his work at his solo show at Untitled, on New York’s Lower East Side. At Untitled, I saw a basketball bean bag chair titled “The Rock” covered in mosaics and other art pieces resembling familiar objects, such as “Deserted Boots.” Continue reading

Art Marketing – Sell The Sizzle or the Steak?


There is an old sales adage that says “sell the sizzle not the steak”. For most art and creative products there should be a lot of sizzle to talk about. Have you ever noticed that in some restaurants that the kitchen is out in the open or that the waiters walk by the tables with sizzling platters? They do this because the sights, sounds and smells of a tasty dish evoke emotions and spark interest – in essence they are selling the sizzle not the steak and you can too! Continue reading


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