In case you were wondering:
What’s the role of pleasure in art?
How do you gauge sincerity?
Can Pop art transcend radical negative consumerist critique?
You might like to have a gander at the transcript of As Is: Pop & Complicity, the closing dialogue of my solo show, Irrational Exuberance (Asst. Colors) at Sight School, featuring Glen Helfand, Patricia Maloney, and Ginger Wolfe-Suarez.
Some highlights:
The show is like an experiment; it’s a sincere embrace of different things that are supposed to make you happy. She’s taken a lot of objects that supposedly exude a lot of optimism to see what sort of effect they may have. I don’t think the sentiment in the objects is sincere, but the sentiment in her embrace of that possibility is. (Victoria Gannon)
The term that comes to mind in regards to Christine’s work is ‘added value.’ For example, learning what the Banner photographs are made of makes them more exciting to me. They’re cheesy gift bags that have been transformed. Even though they’re working in the language that the materials are intended to be about—the notion of the gift—they become something ghostly. There’s an added layer of what the artist can bring to the materials. (Glen Helfand)
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Also, I’ve just posted some beautiful photographs of The Great Balloon Giveaway shot by Paul Kuroda. Here are some sneak peeks:
The site-specific public project and social sculpture took place at the Camron-Stanford House on Lake Merritt in Oakland a few weekends ago. It was part of a series of projects sited in historic Oakland architecture called Here and Now. A closing reception for Here and Now is scheduled for tomorrow, Saturday, June 26, 8-10pm at Mills Hall, which is also the last chance to see Elaine Buckholtz’ light installation! Prior to that, catch Floor Vahn’s audio installation at Pardee Home Museum.
Full details available at Mills Art Museum or Invisible Venue.
R+D 