*Art Pulse Critic's Pick*
Check out the upcoming summer edition of Art Pulse Magazine where I was asked to submit 3 reviews of books that have been influential in terms of my curatorial practice.
Here is what I chose:
Gilles Deleuze and Felix Gautari. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1987.
Nicolas Bourriaud. Relational Aesthetics. Lyon: Presses du Réel, 1998.
David Abrams. The Spell of the Sensuous: Perception and Language in a More-Than-Human World. New York: Random House, Vintage Books, 1997.
*Essay published by Ginko Press!*
Very excited to announce that my essay Infinite Reflection on artist Kelsey Brookes was published by Ginko Press (2015). To check a preview of the beautifully printed book Kelsey Brookes: Psychedelic Space click here:
*New American Painting*
Check out my review of Anthoy Palocci's solo show at Lot F Gallery
*Article on Anthony Palocci*
Check out my latest article "Thing-Paintings" on Boston painter Anthony Palocci published in Spirited Magazine!
to buy a magazine digital or print
for more about the artist:
a little preview....
.....There simultaneously exists a production of works of art that are labeled Dystopic. This parallel trajectory is similarly concerned with an imagined and futurist place, but is lacking in social idealism. Instead, the Dystopic is a general vision of discontent with the present situation (like Utopic thought), but instead of an ideal future. Dystopic art and literature imagines a future that is a darker and less pleasant place to live. In this essay, however, I will argue for a different interpretation of the term Dystopic. If Utopia literally means no-place can Dystopic mean some-place? When we define the Utopic as no-place, a site outside of present time, either an imagined past or future, then we can define the Dystopic as place, a site that is not past or not future and not imagined. The Dystopic as a vision of the present and the real.
When we define the Dystopic as the site of a non-utopic present we can begin to see where the most recent series of paintings of vintage appliances and kitchen scenes by Boston painter Anthony Palocci Jr. fit in. So what happens when an artist, and thus by extension also the viewer of his works, is really looking at the objects in front of him? In the case of Palocci, he takes forms that are so familiar to us, that we instantly recognize, and then asks us to reconsider them. In Empty Sink (2012), the artist shows a large-scale empty grey sink with a big black shadow dominating the picture plane. The light is coming from the upper right hand side of the painting just beyond our view. The knobs and faucet are executed in a painterly rather than realistic manner. Each panel of the knob is formed by a rich, luscious daub of paint. The drain looks as if a sketchy snowflake landed on a dark petri-dish with an endearing awkwardness. Between each of the shapes, a bright green color peeks through from the under painting underneath. The bright orange and yellow trim that forms the backsplash adds a somewhat nostalgic mood to the scene.
Presenting at CAA 2012
CAA Museum Committee
Curators in the Spotlight: Dealing with Controversy and the Unexpected in Developing and Presenting Recent Exhibitions
Friday, February 24, 12:30 PM2:00 PM
Concourse Meeting Room 409AB, Level 2, Los Angeles Convention Center
Chairs: Holly Rachel Harrison, Los Angeles County Museum of Art; Nancy Mowll Mathews, Williams College Museum of Art
Art, Politics, and Hitler's Early Years in Vienna: Thoughts on a Controversy
Deborah M. Rothschild, Williams College Museum of Art
Croatia Rising: Repackaging Cultural Patrimony
Laurel Reed Pavic, Oregon College of Art and Craft
From Local to Global: How a Small College Art Gallery Landed on the World Stage
Leonie Bradbury, Montserrat College of Art
Debt to Pleasure catalogue available now!
Inspired by the visual and symbolic richness of the painting practices of the distant past, the artists in A Debt to Pleasure integrate the sensual and the sinister to question meaning making in contemporary art. Featuring Julie Heffernan, David Ording, Shelley Reed, Erik Thor Sandberg, and Anne Siems.
Beyond their flawlessly rendered surfaces, the paintings in A Debt to Pleasure integrate the sensual and the sinister, the vulgar and the mysterious. Each artist explicitly references stylistic techniques and aesthetics of the past to create a provocative body of work that explores meaning making in painting. In a decidedly postmodern manifestation, allegorical realism is employed to investigate symbolism in contemporary art, dissemination of cultural history and the continued obsession with 'everything new'.
Making Museums Matter
CAA Conference 2011, New York
Making Museums Matter: Integrating Collection and Exhibition Programs with College Curriculum
University and college associates will provide examples of innovative or interdisciplinary models in which an academic museum or gallery has been able to deepen its integration into the parent institutions curriculum and mission and has become an active leader in helping to support and define the academic life and culture of campus.
Wednesday, February 09, 9:30 AM12:00 PM
Trianon Ballroom, 3rd Floor, Hilton New York
Neysa Page-Lieberman, Columbia College Chicago; Leonie Bradbury, Montserrat College of Art Galleries
"Dispatches: On Engaging Art and Engineers" by Ronald R. Bernier, Wentworth Institute of Technology
"McKissick Museum at the Core of the University of South Carolinas Curriculum" by Lana A. Burgess, McKissick Museum, University of South Carolina
"Reframing the Art in Liberal Arts: Curricular Integration at the Allen Memorial Art Museum, Oberlin College" by Colette Crossman, Blanton Museum of Art, University of Texas at Austin
"Points of Departure: Strategies for Faculty Engagement in Campus Museums and Galleries" by Carin Jacobs, Graduate Theological Union
NEMA Workshop 2010
College & University Museums PAG
Getting Your Show on the Road
Thursday, June 24, 2010, 10:00 am - 4:00 pm
Tufts University Art Gallery, Medford, MA
Registration Deadline: June 10, 2010
Registration Fee (including lunch): $50 NEMA members / $60 non-members
Registration Fee (bring your own lunch): $40 NEMA members / $50 non-members
All staff from Institutional and Corporate members are eligible for the member rate.
Not sure if your organization is a member? Just call NEMA, 781-641-0013, to find out.
All of us have wanted for an amazing exhibition to live on beyond its days. But how do you turn a successful temporary exhibition into a profitable traveling one? Especially when you have limited resources and staff? Three experts of the trade will provide concrete advice on the dos and donts of creating a traveling exhibition. Topics to be addressed in the morning presentations include: best operating practice, crating, insurance, shipping costs, checklists, marketing, facilities reports, security, loan agreements, and contracts. The afternoon program will consist of a workshop on the safe handling and shipping of artworks and artifacts.
9:30 am Registration and Coffee
10:00 am Welcome and Introductions
PAG Chair Leonie Bradbury, Director & Curator, Montserrat College of Art Galleries, MA
10:30 am California Dreamin: Lets Get The Show on the Road
Judith Hoos Fox, Independent Curator, CuratorSquared, MA
Ms. Fox has worked with several academic institutions to both create and host her traveling exhibitions. Topics: When does it make sense for an exhibition to tour? How to make it happen and smoothly? Pros and cons, for curator, artist, organizer.
11:30 am American Chronicles: The Art of Norman Rockwell
Russel Horton, Exhibitions Manager, Norman Rockwell Museum, MA
The Norman Rockwell Museum put Rockwell on the road again last Fall. American Chronicles: The Art of Norman Rockwell, the museums national traveling exhibition, was recently packed for transit and accompanied by curatorial staff to warmer environs for its recent opening at the Museum of Art, Fort Lauderdale. Multiple venues nationally traveling. All aspects of the traveling exhibition process will be covered. Handouts will be provided.
12:00 pm Lunch in the Sculpture Court
1:30 pm Not just a box or a crate... there is a lot in between
The afternoon workshop will be held at the Artex facility in Somerville. The workshop is interactive, hands-on and geared towards museum and other professionals concerned with the safe handling of artworks and artifacts. Areas of focus included: The basics of handling practices in regard to installations, packing and storage; handling requirements of objects on loan with emphasis on technical and material requirements of each topical area.
Registration is limited
Directions to the Tufts University Art Gallery will be emailed with your registration confirmation two weeks prior to the workshop. The Artex facility is located conveniently close to the Tufts Gallery. Attendees will be given detailed directions at the workshop.
Questions? Call NEMA, 781-641-0013 or Leonie Bradbury, 978-921-4242 ext. 1223 or email@example.com.
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Last Updated: March 17, 2010
March 17, 2010