Artworks
Criticism
2014
Criticism
2013
essay
2011
Interview
2003
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2013

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  • The Soap Factory’s Bleed&Burn: Catalytic Flag Making shows a crossroads of activism, where the momentum of art for social change is pinned between symbolic revolts and literal, even legislative, advocacy. This gap is hard to see. Organizers Alexa Horochowski and Crystal Quinn refer to Bleed&Burn as an “exhibition/action” — an unusual description, emphasizing the two deeds, protest in symbol or in action, as both partners and opposites. Like the relationship of squares and rectang…
  • The Soap Factory’s Bleed&Burn: Catalytic Flag Making shows a crossroads of activism, where the momentum of art for social change is pinned between symbolic revolts and literal, even legislative, advocacy. This gap is hard to see. Organizers Alexa Horochowski and Crystal Quinn refer to Bleed&Burn as an “exhibition/action” — an unusual description, emphasizing the two deeds, protest in symbol or in action, as both partners and opposites. Like the relationship of squares and rectang…
  • The Soap Factory’s Bleed&Burn: Catalytic Flag Making shows a crossroads of activism, where the momentum of art for social change is pinned between symbolic revolts and literal, even legislative, advocacy. This gap is hard to see. Organizers Alexa Horochowski and Crystal Quinn refer to Bleed&Burn as an “exhibition/action” — an unusual description, emphasizing the two deeds, protest in symbol or in action, as both partners and opposites. Like the relationship of squares and rectang…
  • Art, like games, is a translator of experience. What we have already felt or seen in one situation we are suddenly given in a new kind of material. Games, likewise, shift familiar experience into new forms, giving the bleak and the blear side of things sudden luminosity.             – Marshall McLuhan, Understanding Media The arcade at the Ridgedale Mall in the mid-90s was called, I think, “Arcade,” and it was tucked into one of the far corners of the building, out of sight fr…
  • Art, like games, is a translator of experience. What we have already felt or seen in one situation we are suddenly given in a new kind of material. Games, likewise, shift familiar experience into new forms, giving the bleak and the blear side of things sudden luminosity.             – Marshall McLuhan, Understanding Media The arcade at the Ridgedale Mall in the mid-90s was called, I think, “Arcade,” and it was tucked into one of the far corners of the building, out of sight fr…
  • Dancing together naked in public — that's what artists and critics do, according to Jerry Saltz. As soon as art enters into conversation with an audience, something is revealed about the work, its maker, and, of course, the people willing to respond. But while art audiences may choose to keep quiet, critics respond in public, for all to see. With each word and gesture, they reveal what they value: materiality, ideas, an abstract standard of excellence the work has to live up to, or context and…
  • Dancing together naked in public — that's what artists and critics do, according to Jerry Saltz. As soon as art enters into conversation with an audience, something is revealed about the work, its maker, and, of course, the people willing to respond. But while art audiences may choose to keep quiet, critics respond in public, for all to see. With each word and gesture, they reveal what they value: materiality, ideas, an abstract standard of excellence the work has to live up to, or context and…
  • I’ve been a videographer for performance in the Twin Cities for more than a decade, documenting dance and theater at almost every non-union venue in town. The Walker Art Center’s McGuire Theater has its own in-house video people, but occasionally I shoot a show there, particularly when a choreographer wants more documentation than the Walker offers – more cameras and/or more nights of a run. Karen Sherman hired me and another videographer, my colleague Ben, to shoot two additional performa…
  • I’ve been a videographer for performance in the Twin Cities for more than a decade, documenting dance and theater at almost every non-union venue in town. The Walker Art Center’s McGuire Theater has its own in-house video people, but occasionally I shoot a show there, particularly when a choreographer wants more documentation than the Walker offers – more cameras and/or more nights of a run. Karen Sherman hired me and another videographer, my colleague Ben, to shoot two additional performa…
  • I’ve been a videographer for performance in the Twin Cities for more than a decade, documenting dance and theater at almost every non-union venue in town. The Walker Art Center’s McGuire Theater has its own in-house video people, but occasionally I shoot a show there, particularly when a choreographer wants more documentation than the Walker offers – more cameras and/or more nights of a run. Karen Sherman hired me and another videographer, my colleague Ben, to shoot two additional performa…