This page is an active (nonlinear, nonchronological) collection space of inspiration, research, and references for my future curatorial and artistic endeavors. Take a look! Get your gears turning :)
Hazel Meyer, Muscle Panic (detail), 2019. Installed as a part of Take Care, La Ferme du Buisson, France. Scaffold, hand-made and found objects, dimensions variable. Image courtesy of the artist. Photo: Emile Ouroumov. © Hazel Meyer
Zoë Buckman, the flowers that write me back, 2021. Boxing gloves, vintage linen, and chain, 20 x 20 x 41 inches. Collection of Mike Donavanik. Image courtesy Pippy Houldsworth Gallery, London © Zoë Buckman
These pieces were part of the show "She's a Knockout: Sport, Gender, and the Body in Contemporary Art" at the University of Miami's Lowe Art Museum. Here is Lowe's description of the exhibition:
"This exhibition features works by eleven contemporary artists from around the globe to explore how these individuals engage with topics such as resilience, strength, labor, women’s rights, and queer aesthetics through athletic imagery. It also queries preconceived notions of femininity through a range of conceptual approaches, be they celebratory, humorous, or critical."
Here's a link to a review by Douglas Markowitz from Artburst Miami that has some good install photos and interpretations :)
Monica Kim Garza, Basketbol #1, 2017. Acrylic on canvas, 48 x 36 inches
Some of Monica Kim Garza's works were featured in "She's a Knockout". These are two of her works (which weren't, I believe, in that show) that really resonated with me. The vibrancy and cheekiness remind me of some of the work I've done in the past that I want to continue exploring in the future.
Unfortunately, neither of these works are credited on the Westmoreland's webpage for their yearly exhibition "Art in Bloom". However, the concept of the exhibition helped me form a more concrete idea for one of my potential thesis ideas. Each year, the Westmoreland invites several floral arrangement artists to "compete" in creating floral compositions inspired by pieces in the museum's collection. These are two of the entries from the 2024 Art in Bloom event.
On the Tate's website, there's a section called "Pet Corner" on their Animals in Art page. These two photographs made me really emotional looking at them. Here are two cats who both must have been very loved by their people. There's something so poignant about how these cats' photographs have made their way into the collection of a very large, famous museum. Did they know what the Tate is? Do they even care about museums and art? Who's to say. I snap photos daily of my cat (my camera roll is probably 70% Chester at this point), and it's comforting in a weird way to know that his likeness at least is immortalized in those photos. Will some of these photos be acquired by a museum in the future? (probably not, but I think Chester would be quite proud if they were)
I was scrolling on Instagram and came across a reel showing photographer Mathieu Stern developing these photos of a cat (and kitten and dog!). In the caption, I learned that these were from film he had discovered in a 120 year-old time capsule. Similarly to the two cat photos in the Tate's Pet Corner, I got a little emotional thinking about how someone over a century ago had gone through all the effort to take photos of these cats. What were these animals' names? Who was their family? Did the original photographer ever believe that 120 years later, someone would find these photos, develop them, then share them with countless people on the internet (Would they have even anticpated that something like the internet would ever exist)? I wonder what these animals' personalities were.
Over the Thanksgiving break, my family and I went to DC to visit the Hirshhorn (and the Spy Museum for my boy cousins). Our original intent was to see the BANKSY x Basquiat exhibition, but it ended up just being two rooms in the basement by the giftshop that felt very much like an afterthought cash grab. There was no one in line so we zoomed through that section, but the really engaging art was on the first and seond floors. This installation by Jessica Diamond was on the second floor inner circle. I loved how meditative it was to circumambulate (I love any excuse to get to use that word) and reflect on each text piece. I was especially in love with the piece on the left, titled "Cat Tongue". It really captured how it feels to me when I am cuddling with my cat and he's giving himself a bath: peace, calm, love, etc. I also like the "Cool Cat" graphic on the right because the Hirshhorn has turned it into a sort of QR code through their website, so if you open the camera section on their website and put the Cool Cat in the frame, it makes a little AR display. This is something I would like to incorporate into my pracice in the future because it moves away from the bulky obtrusive QR codes that are so pervasive now.
While we were exploring the rest of the museum, we saw the entrance to this special exhibition. It was a ticketed exhibition which sucked, but it was so so worth it. This ended up being way better than pretty much anything else we saw that day. This was a retrospective on the artist due (and twin brothers!) known as "OSGEMEOS". They originally started their artists career as B-boys, graffitti artists, and DJs. As their name became more and more renowned, they moved into "fine" art and immersive installations (we can unpack later why I think it's stupid to label it as fine art when the grafitti art they were making originally was just as fine to me. But I digress). Curatorially, I was THRILLED to see another exhibition demonstrating the power of what I call "The Pink Wall Theory": in my opinion, anything looks more vibrant, more engaging, and more alive when shown against a pink wall. I spent easily two hours just in this one exhibition. It opened with a video and timeline component, which caused a bit of a bottleneck, so I opted to skip ahead to the next space, which consisted of 6-8 loooong display cases showing sketches and sketchbooks, trinkets and tokens, and other memorabilia showing the process behind OSGEMEOS' work. The exhibition did an amazing job visually demonstrating the chronological progression of their work, with each new era occuring in a different room. The whole experience was vivid and comforting. This exhibition further solidified my goals to incorporate color and density into whatever curatorial projects I tackle in the future.
These are two photos I've taken this year, one in DC and the other here in Baltimore, of two instances of pawprints left behind in sidewalk pavement. Looking at these photos, I couldn't stop thinking about how the animals that left behind these pawprints most certainly will leave or have left the same permanent marks on the lives of their people. As I reflected on this, I realized that that could be a good working title for my potential thesis idea: The Pawprint Project.
On a related note, I recently lost this pendant (one of my cat's lower canines extracted during a dental surgery). I was understandably devastated, since it is an irreplaceable memento. When I eventually found the pendant (it's a long story, magic is involved), it further reinforced my throught process behind my working title. This is a permanent reminder my cat has left with me that will outlive both him and me.