But Crafter-Hours is also a way to give credit where credit is long overdue. Every art show relies on the labor of many people, including interns, staff, and fabricators. The work depends on far more than just the (usually singular) artist credited with its authorship. Crafter-Hours is one opportunity to trouble the convention of rendering that labor invisible.

—Lisi Raskin, with Roxanne D. Crocker, Kate Fox, Lydia Enriquez, Sean Gerstley, Misha Kahn, Kim Charles Kay, Brittany Mroczek, Lisi Raskin, Jon Rider, Katie Stout, Recuperative Tactics at Art in General through May 31.

Lisi Raskin addresses Invisible Labor through Crafter-Hours


see: Letha Wilson @ Art in General, NYC, through June 30

Letha Wilson, Ghost of a Tree, 2012. Digital print on vinyl, drywall, wood, wood column, 10 × 8 × 14 feet (image size 13 ¾ x 8 feet). Installation view at Bemis Center for Contemporary Art, Omaha, NE.

Letha Wilson, Ghost of a Tree, 2012. Digital print on vinyl, drywall, wood, wood column, 10 × 8 × 14 feet (image size 13 ¾ x 8 feet). Installation view at Bemis Center for Contemporary Art, Omaha, NE.


I work at Art in General as an installer, but I recommend Letha’s show because her work is not only interesting formally in marrying photography and sculptural materials, but beyond that, it helped me come to see her work as interventions, in the context of Land Art. Don’t miss the beautiful book on display too, which elegantly translates her gestures into the printed page. Allow yourself lots of time to look, breathe, and think.

Now through June 30, 2013
Letha Wilson:
Landmarks and Monuments
Art in General
79 Walker Street (off Broadway and Canal), NYC


The Joy of Work

I’m feeling very lucky to work with awesome art organizations.

Yesterday I helped out with Public Art Fund’s art auction. It was the biggest, fanciest nonprofit art auction I’ve eve been to, with lots of great work by big time artists, including performances and live art. I also enjoyed the people watching—lots of amazing style on display, and being slightly starstruck by the number of artists and curators whose work I’ve admired from afar for so long. Everyone at PAF and the rest of the freelance crew was a pleasure to work with, and I’m feeling just really lucky to have been a part of it. Looking forward to their future programs especially Oscár Tuazon in Brooklyn (his architectural installation at the Whitney Biennial is so interesting).

Tonight I attended the Welcome party for new NYC artists, organized by Sally Szwed and Deric Carner. It is always a sweet, joyful party, with people just being friendly, down-to-earth and earnest. Really lovely all around. Nice to see representation from lots of great art orgs: Creative Time, EFA, and Flux Factory (the latter two have current calls for artists BTW!) To boot, it was held at Art in General, where Rob Carter’s stellar exhibition is on display. I was thrilled to help out with that install too, and see the event’s attendees enjoy the show. I hope they spread the word; it’s a great show.

Just wanted to share a little gratitude for such amazing organizations, and the staff, funders, donors, and artists who make it all possible.


get excited: Josephine Meckseper, Josiah McElheny, Rob Carter

This week I’m looking forward to:

Josephine Meckseper The Complete History of Postcontemporary Art, 2005. Courtesy the Artist, New York, and VG Bild-Kunst.

Josephine Meckseper The Complete History of Postcontemporary Art, 2005. Courtesy the Artist, New York, and VG Bild-Kunst. Source:

Monday, April 9, 7PM
Subjective Histories of Sculpture: Josephine Meckseper
44-19 Purves St, Long Island City, Queens

Citing specific works, bodies of work, texts, or even personal anecdotes taken from inside and outside cultural production, and inside and outside art, these subjective, incomplete, partial, or otherwise eclectic histories question assumptions and propose alternative methods for understanding sculpture’s evolving strategies.

Josiah McElheny, Island Universe (installation view), 2009. Courtesy the artist, Donald Young Gallery, Chicago, and Andrea Rosen Gallery,  New York. Photo: Museo Nacional Centro de Arte Reina Sofia, Madrid © Josiah McElheny. Source:

Josiah McElheny, Island Universe (installation view), 2009. Courtesy the artist, Donald Young Gallery, Chicago, and Andrea Rosen Gallery, New York. Photo: Museo Nacional Centro de Arte Reina Sofia, Madrid © Josiah McElheny. Source:

Wednesday, April 11, 6:30pm
Public Art Fund Talks at The New School: Josiah McElheny
The New School, John Tishman Auditorium
66 West 12th Street, between 5th & 6th Avenues, NYC

McElheny is whip-smart and I expect nothing less than to be blown away.

Public Art Fund is pleased to present a talk by Josiah McElheny, an American artist whose multifaceted artistic practice has incorporated decorative and functional traditions of glass, as well as research, writing, and curating to explore materiality and its relationship to the ways in which we see and experience objects. Often using narratives inspired by the histories of art, design, and glass as points of departure, McElheny has created massive sculptures of shining chrome and transparent glass that layer myriad references as diverse as twentieth-century fashion, modernist design, sixteenth-century Italian painting, and even the Big Bang theory.

Rob Carter. Faith in a Seed, 2012. Image courtesy the artist. Source:

Rob Carter. Faith in a Seed, 2012. Image courtesy the artist. Source:

Opening: Friday, April 13, 6-8pm
Exhibition: April 13–June 23, 2012
Rob Carter: Faith in a Seed
Art in General

79 Walker Street (just off Canal and Broadway), NYC

I helped to build out this show, and I’m very excited to see how the installation and videos have come, quite literally, to life.

Faith in A Seed intertwines the languages of science and history into a living sculptural form. Rob Carter’s installation centers on the houses and gardens of three men of the 19th century. Miniature replicas of Charles Darwin’s Down House, Henry David Thoreau’s cabin at Walden, and Sir John Bennet Lawes’ Rothamsted Manor are the centerpieces of a large-scale triangular garden.

Viewers are invited to witness Carter’s controlled but fragile ecosystem in three distinct ways: time-based video projections, peepholes cut into the sides of the garden, as well as from an elevated viewing platform.

Community, News, Sights

Opening 6/16: Re-Covering @ Untitled Gallery (MCR), 6/17: AUDiNT @ Art in General (NYC)


Creativity, Mihaly Csikszentmihalyi, 2011, glitter, neon and gel pen on vellum and paper, glitter foil on board, acetate, paper, ribbon, wood, 4.25 x 7 x 0.75 in / 11 x 18 x 2 cm

Creativity, Mihaly Csikszentmihalyi, 2011, glitter, neon and gel pen on vellum and paper, glitter foil on board, acetate, paper, ribbon, wood, 4.25 x 7 x 0.75 in / 11 x 18 x 2 cm

6/16: Preview for Re-Covering at Untitled Gallery, Manchester, UK
June 17–July 31
Preview: Thursday, June 16, 6-9pm

I re-designed the cover of Mihaly Csizkzentmihalyi’s Creativity—the form doubles as a creativity test—for this group show in Manchester, UK.

Curated by Mike Chavez-Dawson, Re-Covering is an exhibition of works by 40 local and international artists who redesign the cover of an influential book onto a reclaimed piece of oak from school libraries. Displayed on an installation of shelves, the works are standard paperback size (110mm x 178mm x 15mm).

Artists: David Shrigley, Billy Childish, Harry Hill, Magda Archer, Robert Casselton Clark, Laurence Lane, Mike Chavez-Dawson, Jane Chavez-Dawson, Monica Biagioli, Brian Reed, Lisa Slominski, Mr&Mrs, Andrew Bracey, Lee Machell, Paul Cordwell, Richard Healy, Nick Jordan, John Hyatt, Naomi Kashiwagi, Bren O’Callaghan & Mandy Tolley, Paul Stanley, Kai-Oi Jay Yung, David Alker, Ben Cove, Stratton Barrett & Peter Wankowicz, Cecilia Wee, Jake Geczy, Roisin Byrne, Christine Wong Yap, Ludovica Gioscia, Julie Hammonds & Kit Hammonds, Jason Minsky, Mark Haig & Sarah Perks, Ed Barton, Daniel Staincliffe, Margaret Cahill, Contents May Vary, Elizabeth Leeke, The Centre of Attention, Steve Hawley, Lee Campbell, The Confraternity of Neoflagellants & BABEL Working Group, Nicola Dale.

Concurrent programming includes The Reading, a multiple writers’ residency that will be projected live across multiple screens in Manchester including Cornerhouse, International Anthony Burgess Foundation, CUBE, Chinese Arts Centre, Castlefield Gallery, Manchester Art Gallery, Whitworth Art Gallery, and The Reading Room Collection, MMU Library.

Opening 6/17: AUDiNT’s Dead Record Office @ Art in General, NYC
June 17–July 23

I helped out with the build in this immersive audio installation. Unfortunately I won’t be there for the opening (which is probably going to be Friday night, 6-8pm; double-check first!), but it is shaping up to be a really neat show. If you haven’t been to Art in General, go check them out! I think they have a great space and do really interesting shows, and it’s actually really easy to get there, just off Canal Street.

AUDiNT, short for “Audio Intelligence” is a collaborative, research team comprised of artists and scholars Steve Goodman, Toby Heys and Jon Cohrs. Their upcoming exhibition, Dead Record Office, explores the historical and fictitious relationship between sound and warfare.

MacArthur B Arthur, 4030 Martin Luther King Jr Way, Oakland, CA


San Francisco

Through July 16
Stephanie Syjuco: Raiders!
Catherine Clark Gallery

Through July 30
Ranu Mukherjee: Absorption into the Nomadic and Luminous
Frey Norris Modern & Contemporary

Through June 26
Metric: Dana Hemenway and Anthony Ryan; Curated by Jessica Brier
Park Life Gallery

June 17–July 23
Opening Friday, June 17, 6-8pm
Chromaticism: Elijah Burgher, James Chronister, Richard Kent Howie, Cybele Lyle; Curated by Liz Wing
NOMA Gallery
[Super bummed to miss the last day of Ryan Thayer‘s gadget photograms]

Bay Area

June 18 to September 17
Zombie-Proof House
Anthony Discenza, HalfLifers (Torsten Z. Burns and Anthony Discenza), Suzanne Husky, Inka Hoots (Joshua Short and Joel Dean Stockdill), Packard Jennings, Robin Lasser and Adrienne Pao, Whitney Lynn, Julio Cesar Morales, Lucy Puls, and Carol Selter.
di Rosa, Napa, CA

Through July 1
Steven Barich: Zen with a Kickstand
bayVAN/Branch Gallery
, 455 17th St. Suite 301, Oakland, CA

Art & Development

Ioana Nemes, 1978-2011

While there is time, let’s go out and feel everything.

–Paul Thek, American artist, 1933-1988

It takes a lot of courage to attempt to fulfill one’s potential. Ioana Nemes (1978-2011) pursued her art with commitment and rigor, but her life was cut tragically short this past weekend. Her enormous potential was self-evident, as is the loss to the rest of us now.

Ioana Nemes, Art in General

Ioana Nemes' exhibition at Art in General, NYC.

Ioana was a tremendously talented artist. A Romanian who has exhibited mostly in Europe, her first show in the US opened just a few weeks ago at Art in General. Like much of Nemes’ previous work, the exhibition deals with time. Times Colliding continues through May 7.


Agenda: Lordy Rodriguez @ Hosfelt, Art in General

I’m looking forward to two openings for old and new friends this week.

March 25 – April 30, 2011
Lordy Rodriguez: The Map Is Not the Territory
Reception: Thursday March 24, 4-6pm
Hosfelt Gallery, 531 W 36th Street (b/10 & 11th), New York, NY 10018
A · C · E · 1 · 2 · 3 · 7 · 9

In “The Map Is Not the Territory,” Filipino-American artist Lordy Rodriguez presents three bodies of new work, comprised of more than 400 drawings. This, his fourth exhibition with Hosfelt Gallery and his first one-person show in Hosfelt Gallery’s New York space, is the most ambitious exhibition of his career.

I know Lordy from the San Francisco art scene. He’s hilarious and giving, and his drawings are wonderfully colorful and beautifully executed. His shows are often dense with pattern and sheer production. Have a look.

March 25 – May 7, 2011
Emily Roysdon: Positions
Ioana Nemes: Times Colliding
Marie Jager: l’heure bleue

Opening: March 25, 6-8pm
Art in General, 79 Walker Street (just off Canal @ Broadway), New York, NY 10013
A · C · E · N · R · Q · J · Z · 1 · 6

I’ve been helping out with these shows the past few weeks, and I’m really impressed with Art in General and the artists’ forthcoming exhibitions. First, Art in General is dedicated to exhibiting and commissioning new work, so they’re a non-profit alternative art space that functions much like an ICA. And as I’ve been seeing the galleries come together, the shows look really interesting and clean and thought-provoking. The first-floor project space will house publications and more by a Swedish design team that collaborates with Roysdon and other artists. In the elevator will be a audio-visual project about birdsong and silence. The sixth floor galleries will feature solo exhibitions by Emily Roysdon (who recently exhibited at the Berkeley Art Museum’s MATRIX Program, and was interviewed by Patricia Maloney for Bad at Sports), and Ioanna Nemes, whose works feature diaristic, psychological snapshots that I’m really interested in. I’m completely onboard with the fantastic curatorial work of Andrea Hickey and Courtenay Finn.

Please come by and see for yourself.

Art & Development

Why I do art technician work

On occasion, I work as an art technician. The job involves handling, installing, and sometimes fabricating artwork, and all the physical aspects of transitioning galleries between exhibitions.

The work is not for the faint-hearted (think: carrying lumber and sheet goods up stairs) or status-minded (the art world can be very classist), but I find it rewarding and educational. Technician work requires multiple abilities: skills of facture, art materials knowledge, problem-solving, and communicating with artists. Art schools don’t teach how to build crates, pack artwork, make pedestals, light galleries and so on. You also need to be able to switch gears: to throw it into high gear when it’s time to jam, and slow down for details and delicate work. It is wonderful work when you can manage this as well as maintain a good attitude and a sense of camaraderie with your team.

I’ve been helping out with exhibitions at Art in General, a non-profit alternative art space dedicated to producing and presenting new work. Their mission reflects the ethos of the art world I’d like to participate in.

I’m proud of the work I’ve done there—this week involved framing things on odd angles, sheetrock, 15 pedestals, 72 linear feet of guttered shelves. Ticking off what seemed to be an impossible checklist is very satisfying. As are the moments when a tool becomes an extension of your consciousness. While I love doing graphic design work, it can mean sitting at a screen all day, increasing my appreciation of the physicality and immediacy of technician work (which, in turn, can increase my appreciation for design work).

Best of all is doing this work alongside good-natured, problem-solving co-workers. I need enthusiasm no less than skills; the “let’s do it” attitude whether the job is re-doing a detail that’s 1/8″ off, or rip-cutting a lot of plywood first thing in the morning.

There are pitfalls to the work—for artists, disillusionment; and in an oft-male-dominated field, confidence becoming arrogance. But I’ve been very lucky to get my on-the-job training from experienced individuals who share knowledge generously and patiently, and who are communicative and team-oriented. And in inviting new members of a team now, I know that I owe my comfort with tools and confidence in my skills to those mentors. In gratitude, I look forward to sharing my modest abilities, and hopefully, my enthusiasm, with those who are hungry to learn.