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Andrew James Paterson on Publishing Decades of Wisdom and Criticism Today

by RM Vaughan on July 26, 2017
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Every city should have an Andrew James Paterson. Pity we cannot clone him.

Since the late 70s, Toronto-based Paterson has produced a mountain’s worth of material in a mountain range long list of disciplines: from seminal New Wave music to Super 8 films, neo-noir novels to ground-breaking critical texts blending art writing and fiction (aka ficto-criticism), diaristic video pieces and digitally sourced art to performed lectures to concrete poems to performance poetry to theatre works. And that’s the short list.

He is arguably one of the most influential figures in Canadian art alive today, and I do not make such statements readily nor lightly. A Toronto without him is unimaginable.

And now, there is even more proof. Collection/Correction, an anthology of Paterson’s critical writings, concrete poems, and film scripts provides a kind of Paterson 101 to new readers and confirms what the rest of us already know – Paterson is an agile and beautifully free thinker, and has always been way ahead of his time. What the hell took this book so long to arrive?

I reached Paterson by email and asked him to “have fun with my questions”. You get what you ask for.

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We Went to the LES: Solo Shows of Chris Burden and Patricia Treib

by Michael Anthony Farley and Patricia Margarita Hernandez on May 12, 2017
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Michael: In the belly of the beast that was Frieze Week, I met up with Patricia Margarita Hernandez, Gallery Director/Assistant Curator of P! to check out some openings in the gallery’s neighborhood. We ended up at two solo shows: Chris Burden at Shin Gallery and Patricia Treib at Bureau.

I liked both of them a lot more than she did. Below, we talk nerdy masculinity, whether abstract paintings have content beyond “decor”, weird curating, and bad lighting.

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Pulp Friction: Deborah Castillo on Her Politically-Charged Fotonovelas

by Michael Anthony Farley on April 21, 2017
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Deborah Castillo wears a lot of hats as an artist. And wigs. Originally from Venezuela, Castillo often blurs the lines between performance, video, photography, publications and even jewelry making. What binds these endeavors together is a sharp, critical wit (usually trained on political institutions) and flair for the dramatic. That might manifest as necklaces in the shape of misogynist slurs in Spanish or over-the-top fictional narratives involving art world kidnappings and embezzlement.

I met Castillo (who now lives in Bushwick) at her book launch at Mexico City’s Aeromoto, an artist-run library of contemporary art and artist books. She was celebrating the release of “La Dama Profunda / Profoundly Yours”, the third installment of her “Dramas Museísticos” series. I was immediately drawn to the format of the publications—they’re fotonovelas, comic-book like novels that use photography instead of illustrations. They were a popular form of mass media in Latin America, but are less known in the US. They’re fun and extremely approachable—even though Spanish is my second language, they’re easy reading, and the third book contains an English version of the story. 

The books follow the soap-opera-like story of Castillo’s alter ego Profunda Mol, an ambitious woman who social climbs through the art world of her native Venezuela. Profunda navigates (often through seduction) a world of corrupt officials, along the way becoming the Venezuelan Minister of Culture, an Ambassador to the United States, and ultimately Donald Trump’s fourth wife.

We talked about fotonovelas, sexuality in the art world, and the crappy political climate.

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We Went To SPRING/BREAK: Who Let the Dogs Out?

by Harrison Curley and Molly Rhinestones on March 2, 2017
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The curator-centric fair fair SPRING/BREAK is back. This time, they’ve moved to a Times Square office building with the theme “Black Mirror.”
That translates to plenty of identity-centric work. Molly Rhinestones and Harrison Curley went to check it out:

Harrison: This booth is an immersion to your favorite dreamgirl room from your favorite princess fantasy…

Molly: There is always a booth I walk in and think “I have a crush on this artist” and Ben Sisto’s was it this year…

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With A Little Help From My Friends: Ellen Cantor’s ‘Pinochet Porn’ At MoMA

by Emily Colucci on November 3, 2016
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It’s quite a surprise that a film titled Pinochet Porn depicts a tender portrait of friendship. Granted, Ellen Cantor’s final film buries that theme under a shocking mélange of spank-heavy sex scenes, depressed clowns, descriptions of rape and torture over vintage Pepsi ads and disturbing archival footage of the Pinochet dictatorship, Hitler and September 11th. But looking beyond its violent and erotic imagery, the film is a celebration of a close-knit avant-garde community.

This became clear at the film’s premiere at MoMA on Monday night, part of the museum’s Modern Mondays film program. Playing to a sold-out theater, the screening also featured a post-film discussion between the Museum’s Chief Curator of Media and Performance Art Stuart Comer, Participant Inc.’s founding director Lia Gangitano, who appears in the film, and filmmaker John Brattin, who acted as Director of Photography. While this is common with MoMA’s screenings, it seemed particularly important on Monday. Firsthand accounts of the film’s production and posthumous completion, provided here by Gangitano and Brattin, seem irrevocably intertwined with any analysis or enjoyment of the film itself.

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Covering The Waterfront: The Dumbo Gallery Round-Up Part 2

by Emily Colucci on October 7, 2016
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Following the first part of my DUMBO gallery round-up, I concluded my waterfront adventure by visiting A.I.R. Gallery and Art In General. More on my trip below:

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We Went to Baltimore Part II: Platform, Springsteen, First Continent

by Michael Anthony Farley and Molly Rhinestones on July 14, 2016
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Artscape, Baltimore’s annual, gigantic public art festival, and the Artist-Run Art Fair launch this week. Yesterday, we posted about a few local galleries ahead of time to scope out what’s on view across town from the main festivities. Today, we’re discussing exhibitions from Melissa Godoy Nieto and Lane Harlan at Platform, Colin Foster at Springsteen, and Michael Assiff at First Continent. 

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