In the Studio: Beatriz Santiago Muñoz: A Universe of Fragile Mirrors: Experiencing the Materiality

Marché Salomon: Beatriz Santiago Muñoz, Marché Salomon, 2015. Courtesy the artista and Galería Agustina Ferreyra

Marché Salomon: Beatriz Santiago Muñoz, Marché Salomon, 2015. Courtesy the artista and Galería Agustina Ferreyra

Beatriz Santiago Muñoz is gifted at researching, performing, and filming alternative narratives of Caribbean cultures that incorporate anthropology, cosmology, and spiritual beliefs while also paying attention to the ways that politics and government may alter/distort/interfere with those cultural traditions. Muñoz’s solo exhibition at El Museo del Barrio on view through April 30, 2017 has traveled to New York from the Perez Art Museum, Miami and was curated by PAMM Curator Maria Elena Ortiz. El Museo has invited Muñoz to curate her selections from its collection as well, starting with the Taino objects at the opening of her exhibition. Continue reading

Analia Segal – Secretos de Interiores

Analia Segal sculpture

Hanna (detalle). instalacion: 180 x 180 cm, detalle: 15 x 15 cm. ceramic esmaltada. 2016.

Analía Segal, artista visual y diseñadora gráfica nacida en Rosario, Argentina. Habiendo vivido en varios países de Europa junto a su familia en la época de la dictadura militar, su trabajo se nutrió de esa experiencia y dejó una marca con un profundo sentido de identidad y pertenencia, especialmente tras su mudanza en 1999 a NYC para estudiar. Esa búsqueda de conexión con el “hogar” propio, entre culturas, le dio una perspectiva particular a toda su obra la cual se destaca por una serie de características de un estilo personal: la arquitectura, los espacios interiores, lo cotidiano contenido entre las paredes, la puesta en escena, la cerámica, el yeso, las alfombras, los patrones geométricos, el dialogo y complementariedad entre las instalaciones y los videos, la importancia del color, los relatos infantiles, la memoria, la palabra. Factores que se van afianzando con cada trabajo a través de los años, como una suerte de operatoria que le permite reinterpretar nuestros cambiantes entornos inmediatos. Continue reading

Greetings from B56 at MANA BSM


The past four weeks in the studio have served as a season of conceptual transition and preparation. This week I finished editing and formatting my Meme’s memoir for publishing and I am expecting the first proof of her book any day now. Elidia Gray Velez’s experience growing up on the Rio Grande and her eventual crossing of the border has played an integral role in my identity and creative practice. Continue reading

Flicker and Border Blur

Jennifer Angus Sculpture

Jennifer Angus, Black wings

Like a lot of people, I suspect, I’m fascinated and utterly engaged by that in the world which I’ll call the “neither/nor”. That is, I’m taken by things – primarily works of art, but also literature, film, theater and even the more mind-boggling realities revealed by science – that are not tidily assigned to very specific categories, things that don’t fit into convenient intellectual or aesthetic boxes, that aren’t amenable to easy labeling and categorization. I’m talking about the equivalents, I suppose, of littoral zones, those ecological areas that straddle the meeting of land and sea – areas that are really neither/nor – and which are, intererestingly, fecund with life. Nature, it seems, often prefers such areas; hedgerows in farmed areas, the edges of forests – all are extremely amenable to the creative process that is life. Continue reading

Making Your Life as an Artist: Making Workbook

Making Workbook inside cover.

Making Workbook inside cover.

In a previous blog post I reviewed the book and digital download Making Your Life as an Artist by Andrew Simonet, a considered insight into the role of art and methods for working efficiently with an art-based skill-set. This matter-of-fact publication has unsurprisingly expanded into an even further practicable format in the Making Workbook. Continue reading

Responding to Suggestions


Mark Hopkins, a sculptor in Loveland, Colorado, was offered a commission by the director of the Creation Museum in Petersburg, Kentucky, but the proposed subject was a bit odd. “He wanted me to do a sculpture of Noah’s Ark, including a dinosaur or two,” he said. (The Creation Museum “brings the pages of the Bible to life,” according to its Web site.) “I thought, ‘that’s ridiculous.’ I told him, ‘it will look like Dinotopia.’ It just wouldn’t make any sense, so I rejected the idea.” But he said it nicely, diplomatically, “something like, ‘Let me think about that for a while,’ because you don’t want to hurt someone’s feelings.” Continue reading