Leeza Ahmady, independent curator and educator from Central Asia.

Leeza Ahmady is originally from Afghanistan. She is an independent art curator and educator from Central Asia. She is based in New York and, as the director of Asian Contemporary Art Week (ACAW) at Asia Society (2005-present), Ahmady brings together leading New York City museums and galleries to participate in special exhibitions, receptions, lectures, and performances citywide.

Ahmady’s name is directly linked to The Taste of Others project, which began in 2005 and continues to feed her practice to this day.  A performance-based exhibition first launched at Apexart New York, The Taste of Others is an on-going educational program that connects contemporary artists from Central Asia to artists, professionals, and institutions in other parts of the world.

Through Dialogues in Contemporary Art (DCA) in collaboration with Independent Curators International (ICI) and ARTonAIR.org, Ahmady conducts interviews with artists, curators, critics, and experts working across a broad field of contemporary art. The program addresses the role of artists, curators, and other art professionals in an increasingly borderless world, investigating the ways in which artistic practices, curatorial strategies, and critical commentary have been reconfigured by intensified patterns of global circulation.

Most recently through her role as an agent and member of the curatorial team for dOCUMENTA(13), Ahmady  traveled to Kabul in February 2012 to present a series of workshops in anticipation of the exhibitions in Kassel and Kabul Summer 2012.  The workshops covered art theory, perspectives on international contemporary art, and the building of a critical art magazine.

Continue reading »

Sofía Hernández Chong Cuy, Curator of Contemporary Art at Colección Patricia Phelps de Cisneros (CPPC).

Sofía Hernández Chong Cuy is the Curator of Contemporary Art at Colección Patricia Phelps de Cisneros. Between 2009-2010, she served as the director of Museo Tamayo in Mexico City. Before then, she worked as curator at Art in General and earlier at Americas Society, both nonprofit arts organizations in New York City. She has curated independently: Autopsia de lo invisible at MALBA in Buenos Aires, Argentina; Archaeology of Longing at Kadist Art Foundation in Paris, France, where she was in residence for part of 2008; and together with Raimundas Malasauskas and Alexis Vaillant, the IX Baltic Triennial Black Market Worlds (a.k.a. BMW). Hernández Chong Cuy writes regularly for exhibition catalogues and art magazines, as well as for her blog, www.sideshows.org.

Having followed Sofía Hernández Chong Cuy’s curatorial practice for a decade now, I am very pleased to present to you our discussion on contemporary Latin American art and Hernández Chong Cuy’s current projects.

Mariana Castillo Deball. Grabmaske Peruanis Cheskustengebeit, from the series Falschgesichter, 2008. Laser print and fold on couche paper. 29 x 27 cm. Colección Patricia Phelps de Cisneros.

Georgia Kotretsos: You just held a seminar series at the Konshall, Spånga on “What Does an Art Institution Do?”  The inquiring spirit of  that program invites dialogue, so I would like to begin by asking you this very question – since thus far your name has always been closely linked to an art institution. I’d also like you to consider, what do art institutions do for you?

Sofía Hernández Chong Cuy:  I think the title of the program is telling; simple but challenging. It titillates with the not-knowing. It doesn’t exactly invite a naïve albeit possibly-interested public that may want to learn about the role of art institutions, though it may, but rather, it is an invitation to reflect on art institutions’ commitments to a public.  Since “doing” involves affect and effect simultaneously, it collapses motivation and end at once, at least in the title of the program.  There are certainly many kinds of “doings” in the world, and thus many kinds of art institutions. I’ve worked in a variety of cities and institutions, and in each one, these so-called doings—whether you call it art or culture, niceties or politics—and their so-called institutions are very different from each other.

Continue reading »

Nato Thompson is Chief Curator at the New York–based public arts institution Creative Time.

Nato Thompson is an American curator at the New York–based public arts institution Creative Time. He holds a BA in Political Theory from the University of California at Berkeley and an MA in Arts Administration from the School of the Art Institute of Chicago.  Since January 2007, Thompson has organized major projects for Creative Time such as Democracy in America: The National Campaign (2008), Paul Chan’s acclaimed Waiting for Godot in New Orleans (2007) and Mike Nelson’s A Psychic Vacuum. Previous to Creative Time, Thompson worked as Curator at MASS MoCA, where he completed numerous large-scale exhibitions such as The Interventionists: Art in the Social Sphere (2004), a survey of political art of the 1990s, with a catalogue distributed by MIT Press. His writings have appeared in numerous publications including Book Forum, Art Journal, tema celeste, Parkett, Cabinet and The Journal of Aesthetics and Protest.

He is the editor of Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism, The Interventionists: A Users’ Manual for the Creative Disruption of Everyday Life, a survey of political art of the 1990s, and Ahistoric Occasion: Artists Making History.

Temporary Services’ Market at the historic Essex Street Market in Manhattan’s Lower East Side during Creative Time’s Living as Form exhibition. Photograph by Sam Horine, courtesy Creative Time.

In 2012, Living as Form: Socially Engaged Art from 1991-2011 edited by Nato Thompson will be published by MIT Press. It surveys more than 100 projects selected by a thirty-person curatorial advisory team.  Some of the artists featured in the book are the Danish collective Superflex, Jeremy Deller, Women of Waves, and Santiago Cirugeda. Living as Form grew out of a major exhibition at Creative Time in New York City.

In Pedro Reyes’ "Palas por Pistolas," 1,527 shovels were made from the melted metal of 1,527 guns collected from residents of Culiacán, and used to plant 1,527 trees in the community. Courtesy Pedro Reyes and LABOR.

Thompson is also the author of Seeing Power and Activism in Age of Cultural Production (published by Melville House), where he highlighting the work of some of the most interesting artists and activists working today.

With a hot-art-potato at hand, I am pleased to present to you Nato Thompson.

Georgia Kotretsos:  Living as Form: Socially Engaged Art from 1991 – 2011: What took place the last 20 years leading to the projects and works discussed in the book?

Living as Form Socially Engaged Art from 1991-2011. Edited by Nato Thompson. Contributing authors Claire Bishop, Carol Becker, Teddy Cruz, Brian Holmes, Shannon Jackson, Maria Lind, Anne Pasternak, Nato Thompson.

Nato Thompson: Well certainly the obvious thing to consider is the post-Cold War landscape. The fall of the Berlin Wall and the implosion of the Kremlin certainly set the stage for a pronounced different political landscape. That said, in activist terms there became an increasing dependence on cultural work as an integral element in forms of resistance over the course of the last twenty years. Culturally produced spectacle as a way of navigating the world became an increasing backdrop to politics and activism alike.

Continue reading »

Abdellah Karroum, Venice, 2011.

Abdellah Karroum is a Moroccan independent art researcher and curator based in Paris, France and Rabat, Morocco. Karroum founded L’appartement 22 in 2002, the first independent experimental space in Rabat, which inspired the formation of a number of artist-run spaces in Morocco. Nationally as well as internationally acclaimed artists, writers, and filmmakers, including Adel Bdessemed, Doa Aly, Hamdi Attia, Fouad Bellamine, Faouzi Laatiris, Cécile Bourne-Farrell and others have left their mark on L’appartment 22. In addition, Radioapartment22, an experimental online radio, provided the space with a platform for hosting equally significant projects over the past decade.

Between 1993 and 1996, Karroum served as the assistant curator at the CAPC Musée d’art contemporain de Bordeaux in France. In 2006 he was appointed associate curator of the DAK’ART Biennial for African Contemporary Art in Senegal; later in 2008 he became co-curator of the Position Papers program for the Gwangju Biennale, and in 2009, the curator of the 3^rd AiM International Biennale in Marrakesh, followed by the curatorial project “Sentences on the Banks and other activities” in Darat Al-Funun in Amman, in 2010.

This past summer, Karroum curated the Working for Change project for the Moroccan Pavilion at the 54^th Venice Biennale. This research and action-based project focused on producing artworks and sharing documents. After a research period in the Rif (Morocco), the project continues in Venice with the aim of proposing and studying connections between artistic production and social contexts. Morocco’s example proved significant here at the artistic and political levels, as seen in each of the proposed artworks. This curatorial project’s “practive” approach–which involves the joining of the practice of art as research to its appearance as active production (practice + active)–seeks to activate projects, including several collaborations in Morocco with feminists and other activists.

Continue reading »

Paul C. Ha

Paul Ha is the new director of the List Visual Arts Center, Massachusetts Institute for Technology’s (MIT) contemporary art museum, which focuses on experimental exhibitions and a wide range of educational programs and publications.  Earlier this fall, Ha talked to MIT news about his prospective position and vision for the List:

“What excites me about the List is the arts at MIT are rooted in experimentation, and the List excels at that mandate.  My goal is to try to build on the List’s strong reputation while also expanding its role in the lives of students and the greater MIT community. Just as the MIT Museum explores the foundations and frontiers of science and technology, the List Visual Arts Center explores the foundations and frontiers of the visual arts, serving as a laboratory for forward thinking and experimentation in the art world.”

Previously, Ha served as the inaugural director of the Contemporary Art Museum St. Louis (CAM). He began by overseeing the construction and opening of a new facility designed by Brad Cloepfil of Allied Works Architecture. At the end of his tenure this past November, Ha joined the List Visual Arts Center having produced 92 exhibitions at CAM and having brought more than 220 artists to St. Louis. He offered artists such as Laylah Ali, Un-Fei Ji, David Noonan, Alexander Ross, Aïda Ruilova, and Gedi Sibony their first museum exhibitions; raised more than $40 million for the institution; and established a $5 million endowment–the Museum’s first.

Ha has also served as the deputy director of program and external affairs at the Yale University Art Gallery. Most importantly, Ha was the Executive Director (1996-2001) and Associate Director (1993-1996) at White Columns in New York – a position that was the catalyst of his early career endeavors. We began our talk by discussing this point in his career, because I recognized something familiar in the timbre of his voice while watching a 1999 video by Marc Ostrick that made me think, “I wish I had met Paul Ha then.”

Ha has lectured widely on contemporary art, the emerging art scene, and the importance of not-for-profits.  Also, Ha has served extensively on panels and has been a visiting critic, lecturer and consultant at many institutions, including the National Endowment for the Arts, the Federal Advisory Committee on International Exhibitions, Pew Fellowships in the Arts, the New York State Council on the Arts, and at numerous colleges and universities.

It’s an absolute pleasure to mark this end-of-the-year post with Paul Ha’s new beginning at the List.  On this occasion, I would like to congratulate him and wish him the very best on behalf of Art21 and this column’s readers.

Georgia Kotretsos:  I would like to open our conversation with a video by Marc Ostrick, shot in 1999 at White Columns, New York, during a time when you were making around 900 studio visits per year.

Your drive, energy and commitment clearly reflects a different era, and makes me wonder whether your “kind” is at risk of extinction.  In 2006, you told Jeannette Batz Cooperman that “contemporary art is something that is always being created. If you stop looking now, it’s already old news.” What is the role, responsibility and expectations of the visitor?

Paul Ha: Thanks for your comment, Georgia. I’ll bet there is someone out there right now who is young and who is driven to see as much as they can and to be as current as possible regarding the contemporary art-making scene – just as I was twenty years ago.  I can also say that in 2011, I no longer am making 900 studio visits a year and my interest and curiosity has broadened to include artists other than just those who are emerging [1].

Continue reading »

Storm Janse van Rensburg at the Redcross Hospital Auction, South Africa, September 2011.

Storm Janse van Rensburg is a South African curator and Senior Curator of the Goodman Gallery group currently based in Cape Town (CT), South Africa.  Van Rensburg began his curatorial career straight out of the University of South Africa in 1995.  Until 1999, he served as assistant curator at the Market Theatre Galleries in Johannesburg. It’s important to note that the Market Theatre was founded in 1976 and operated as an independent, non-racial theatre during the apartheid regime.

Later the same year he found himself at the KwaZulu Natal Society of Arts (KZNSA) Gallery in Durban where he was offered his first curatorial position.  During those six years, he established the Young Artists Project, a stepping block for young artists and a program of national significance.  The KZNSA was founded  nearly 108 years ago as a platform where artists could discuss, exhibit and market their work.  The gallery has gone through major transformation over the years and currently is the province’s premier contemporary art gallery.

Since 2009, he holds the position of the Senior Curator at the Goodman Gallery Group. Van  Rensburg has been with the gallery since 2007 where he previously held the curatorial position at Goodman Gallery Cape while establishing the CT branch. The Goodman Gallery’s website notes that “the gallery has a long history in South African art.  It was established by Linda Goodman (now Givon) in 1966 and, from the outset, supported and encouraged artists to exhibit despite the strictures of apartheid.  It was involved in the seminal Art Against Apartheid exhibition in 1985 and held shows that spoke out against the repressive apartheid regime. The gallery is home to forty artists including visual art luminaries such as William Kentridge, Kendell Geers and David Goldblatt.”

Van Rensburg for many years has been the face of the Goodman Gallery at the Armory Show; Art Dubai; Art Basel Miami Beach; Art Basel Switzerland; Paris Photo; and at the Joburg Art fair. He has worked closely with artists Mikhael Subotzky, Hasan & Husain Essop, Sue Williamson, Hank Willis Thomas, Kudzanai Chiurai, David Goldblatt, Mikhalene Thomas, Moshekwa langa, Ghada Amer, Reza Aramesh, Kader Attia, Nontsikeleelo Veleko and many others, and has curated numerous exhibitions.

Storm Janse van Rensburg is an absolute gentleman and a multifaceted individual with a marvelous art past and an inspiring future, as he will soon venture into the art world independently. It’s my absolute pleasure to present him today.

Georgia Kotretsos:  What role has the studio visit played in your professional life as it has evolved over the passed decade?  Did the different positions you’ve held as a curator define the quality and frequency of your visits? 

Storm Janse van Rensburg: The studio visit is an important aspect of what I do, in fact what any gallerist or curator does. It is literally at the coal face. A couple of things also intersect at this point. It is a moment to see and talk about ideas, to see the progress of an artist’s project, see developments from one visit to the next. It is a moment for suggestions, resolving problems, practical and conceptual. It is a dialogue that I think is really essential to being a practicing curator.

Cat asleep, studio of William Kentridge, Johannesburg. February 2011.

It is not simply a moment to ‘chew the fat’ with an artist. It is about a trust relationship too. I am also careful during a studio visit that my feedback is not to guide or pressure artists into following a particular direction. It is simply coming in with an open mind, to engage with what is in front of you. And, if there are absences, to articulate them.

Continue reading »

Jenny Marketou at her studio in Dumbo, Brooklyn, NY.

Jenny Marketou was born and raised in Athens, Greece and educated in the United States. She lives and works in New York. Marketou earned a BFA from the Corcoran School of Art in Washington DC, and an MFA from Pratt Institute in Brooklyn, New York. She also studied photography with Duane Michaels at the International Center of Photography in New York and has participated in numerous workshops during the summer breaks as well as residency programs in the United States.

One of the most important residencies that gave a new direction to Marketou’s life and work was a three-month program at Banff, Canada in 1998.  That experience fed her practice through continuous collaborations at Banff and with some of the residents through 2002.  At Banff, she had the opportunity to meet and later collaborate with international artists as well as some of the hackers and anarchists who initiated the net art movement–Heath Bunting, Alex Shulgin, the Yes Men, Critical Art Assemble, Vuc Gosic, Natalie Bookchin, Fran Ilich and others under the mentorship of people like Sara Diamond, Sylvère Lotringer, Peter Weibel, Kathleen Hayles, Bruno Latour, Lev Manovich, and Tom Levine. The friendships that developed during that program have had an enormous influence on Marketou’s subsequent practice.

Earlier this month, Paperophanies was commissioned by the Praxis Project Gallery at Atrium Art Museum in Vitoria, in collaboration with local communities, artists, universities, and foundations as well as the Guggenheim in Bilbao. The project was inaugurated in the Basque Country in Spain and was curated by Blanca de la Torre. According to the exhibition description, Paperophanies “offers new kinds of mechanisms to explore collaboration, social relations, identity, fashion, action and the commons. Marketou has transformed the PRAXIS gallery into a fashion atelier where workshops take place daily, which after two months culminates into a public event in the form of a public protest ending in the Plaza de la Virgen Blanca.”

Marketou taught for many years at The Cooper Union School of Art in New York City and has lectured world-wide as a visiting artist at colleges and universities such as Parsons/the New School in New York City; Rutgers, NJ; Harvard, Cambridge; Montclair University; University of South Florida, Tampa, FL, among others. Her work can be found in public and private collections from the National Museum of Contemporary Art in Athens, Greece to Museo Reina Sophia, Madrid, Spain, and has been featured in numerous publications including Flash Art, Art Forum and Spiegel.

She is the epitome of a “busy-bee,” with the energy and critical insight that today’s art world requires.  Marketou’s studio is located in DUMBO, Brooklyn, by the East River between Manhattan and Brooklyn Bridge. I have followed her work since 2005, yet I rarely have the opportunity to indulge in a good art conversation with her due to the ocean that separates us. When we do talk, Marketou makes every word and every minute count. I’ve made a job out of hunting down good art conversations, and it’s not often that I come across an artist who can play art ping-pong with words, without necessarily referring to their work or mine. I am a devoted fan of artists who can think and speak about issues taking place outside of the limits of their studio walls. Marketou is certainly one of them.

Continue reading »

Terike Haapoja.

Terike Haapoja is a Finnish visual artist based in Helsinki. She has a Master’s degree from the Theater Academy of Finland (Department of Performance Art and Theory) and from the Academy of Fine Arts in Finland (Department of Time- and Space-based Arts). Haapoja’s work explores the connections between new technology in contemporary art, natural scientific worldviews, and environmental ethics. She has a background in activism, and takes part in the discourse concerning art’s relationship to sustainability and environmental issues. Haapoja is a member of the Finnish Bioart Society, and has founded the Ecology, Ethics and Art program at the Academy of Fine Arts in Finland.

Haapoja’s work consists of videos, installations and stage projects that are characterized by an innovative use of new media and new technology. She also works extensively with professionals from the natural sciences and from different fields of art. Her work has been exhibited widely in solo and group exhibitions and festivals both nationally and internationally. Haapoja has also received numerous grants, prizes and awards. She was honored with the Finnish Art Association’s Dukaatti prize in 2008, the Finland Festivals’ Young Artist of  the Year prize in 2007, and received a SÄDE prize for best visual design in theater in 2010.  In 2011, Haapoja was nominated for the Ars Fennica Award. She has received numerous project and working grants form the Finnish State Art Fund and private foundations, and her articles and essays have been published in art journals in Finland as well as internationally.

Haapoja’s latest installation opened August 19 at the Amos Anderson Art Museum in Helsinki. Titled Edge of the World, it is a work that tests and challenges the limitations of our world as we know and accept it. Haapoja is represented by Gallery Kalhama & Piippo Contemporary in Helsinki, Finland.

For this interview, I met with Terike just around the corner from the Amos Museum, where she was installing her work, accompanied by her beloved dog Lieska.

Terike Haapoja. "Eden," 2007. Courtesy the artist and Kluuvi Gallery, Helsinki.

Georgia Kotretsos: You’re currently working on an artistic research PhD at the Academy of Fine Arts in Helsinki.  The umbrella research title for both your studio and theoretical work is Technologies of Encounter. What exactly is put under the microscope here, and how does this inquiry manifest in your studio work as well as your writing?

Terike Haapoja: I started to work on the PhD because I have always liked to write about art and to think about the theoretical and philosophical context of the work. I have published in Finnish and international art journals, mostly essays and also more academic texts. I think that the PhD program is a good way to be connected to the discussions happening in art and also outside of my own field of practice.

My research question comes from my way of working with new technology and scientific technologies. While working on art projects, I have thought of the ways in which media shapes our attitudes towards the object of our investigation. As the subject or the “motif” of my work is often related to nature, and as I often use scientific technologies, I look at this question of “mediatization” especially in terms of human/nature relationships. The approach is eco-criticism, so I try to see how the ideologies of domination or control over nature are embedded in artistic practices, as well as in my own practices.

I am now focusing on my art, but I will concentrate on the writing part for the next few years and hope to get the PhD completed by 2014.

Continue reading »

Siemon Allen, "better," detail, 2009. Bank Gallery, Durban, South Africa

Siemon Allen is a South African artist who currently lives and works in the United States. He received his MFA from Natal Technikon (now Durban Institute of Technology) and was a founding member of FLAT gallery, an artist’s initiative in Durban, South Africa. In 2010, he was invited by the gordonschachatcollection as the featured artist at the Johannesburg Art Fair. That same year, he presented Imaging South Africa, a survey of work from the last ten years at the Anderson Gallery in Richmond, Virginia. Allen’s concurrent solo exhibitions took place at The Durban Art Gallery and Bank Gallery in 2009. His work has also been shown at Artists Space, The Whitney Museum, and Momenta in New York City, The Contemporary Art Museum in St. Louis, The Renaissance Society in Chicago, and the Johannesburg Art Gallery. His work was included in the 2^nd Johannesburg Biennale at the South African National Gallery in Cape Town. Allen is a visiting artist and adjunct professor in the Department of Sculpture and Extended Media at Virginia Commonwealth University in Richmond. His most recent project is an ongoing web-based visual archive of South African audio.

For the past ten years, Siemon Allen has been exploring the image of South Africa through a series of collection projects.

In his own words he tells me:

Ironically, most of my work is the result of my being in the United States, where I find myself looking at the image of South Africa as I might reconstruct it—through historical artifacts (stamps), through current media (newspapers) or through received audio (sampled sound works). To some extent, it speaks to what I feel is a kind of separation from the source, and leads me to consider how much of this work is, at its core, an investigation into notions of branding and identity through displacement.

He is currently showing two works at the South African Pavilion at the 54th Venice Biennial.

The most current collection, an archive of South African audio, is made up of over 2500 items, including 650 rare shellac discs. Records is a series of twelve large format prints (78” x 78” x 3”) on Hahnemühle Museum etching paper selected and scanned from the larger audio collection. Allen is presenting five prints from the series for the South African pavilion at the 54^th Venice Biennale—these include Better, His Master’s Voice, Rave, Tempo, and Zonophone. The scans of the records produce remarkable detail capturing not only the grooves but also the accumulated historic traces of scratches and damage that speak to the memory of the object. It is significant that though these prints are considered by Allen to be part of his audio collection and speak to the primacy of music in South African cultural history, they are silent.

Continue reading »

Serkan Özkaya at this studio in Istanbul, Turkey. Photo: Baris Ozcetin.

Serkan Özkaya is a contemporary conceptual artist based in Istanbul, Turkey, and New York City. His work deals with topics of appropriation and reproduction and it typically operates outside of traditional art spaces. He holds an M.F.A. from Bard College, New York, and a Ph.D in German Language and Literature from Istanbul University, where he also earned his B.A. and M.A. Özkaya has been an artist-in-residence at the École Régionale des Beaux Arts de Nantes (2000–2001), Rooseum in Malmo with the IASPIS grant (2002), Platform Garanti Contemporary Art Center in Istanbul (2003–2004), and at Kunstlerhaus Bethanien, Berlin (2006). He has also been a fellow of the MacDowell Colony in New Hampshire. His work is represented by Slag Gallery, New York and Galeri Nev, Istanbul.

Serkan Özkaya, "Today Could Be The Day Of Historical Importance," 2010. (The artist collaborated with newspapers across the globe to hand-draw the text and images of pages of their papers after they were laid out by the newspaper’s editors. The drawings were printed in place of the typeset pages, resulting in accessible, affordable, and unexpected works of art that were distributed to millions of people. The book includes discussions, interviews, and articles on the project, in addition to hundreds of color reproductions of all of Özkaya’s newspaper pages and photographs documenting his working process).

Here is artist, writer, and friend, Serkan Özkaya.

Serkan Özkaya, "Sudden Gust of Wind, Paper and threat," Bilsar, Istanbul, Turkey, 2009. Dimensions variable. Photo: Baris Ozcetin.

Georgia Kotretsos: I’ve often wondered about the internal process of artmaking, hoping to comprehend the force behind it. Is it a need ‘to make,’ to ‘share’ and ‘communicate,’ and so on and so forth? For sure, there isn’t a fixed answer and for that reason I would like to ask you why, for what reason, and for whom do you make art?

Serkan Özkaya, "Spaghetti Chair," 2009. Spaghetti sticks and glue. Photo: Baris Ozcetin.

Serkan Özkaya: You know what, so have I! Most of the time, the case is that we have dinner and drinks with my friends and the conversation develops and everybody becomes tipsy and this or that idea comes up and I won’t even know if it’s me or somebody else who brought it up, but the next day nobody else has a recollection of it but me.

As a matter of fact, I do think that only the person you’re talking to can utter your very ideas.

I sometimes think that ideas are like butterflies, as Feyerabend calls them. They circle around in the air and anyone with a seeing eye can see them and it’s just a matter of choice to decide to take the responsibility to execute and go for them. And then the artist is mostly an exhibitionist who wants to share or actually show them to others.

As for who those others are, I don’t have a clue. I’d say, “Me, myself, and a couple of friends,” and/or the whole world. I don’t know, really.

Continue reading »