Friday, September 17, 2010

Art Lit: interview with Jeff Jahn

photo credit Sarah Henderson

Interview with Jeff Jahn

How did you get involved with the Feldman Gallery and what is your connection to Minus Space?

A couple of years ago, gallery director Mack McFarland invited me to propose some show ideas for the Feldman... and summer programming being somewhat opportunistic we took the opportunity to work with the only space devoted to reductive/perceptual art in the USA, Minus Space. Director Matthew Deleget and I have talked about doing something for years.

My connection to Minus Space goes back many years, we have similar interests like Donald Judd, Ellsworth Kelly and the fact that very distilled work was being made way before the so-called Minimalists and continues to this day with Terry Haggerty, Gerhard Richter and Mark Grotjahn. Every age has a different rationale for removing distracting non essential elements, those reasons are inherently polymorphic, being tied to their times. Highly distilled and refined work will always hold some attraction in an imperfect often cruel world. By not engaging in the polarized moralizing of the age, abstraction can be an inherently peaceful time-out... or in the case of Mussolini it can be twisted to fascist or brutal ends so I'm careful about that sort of thing. Order for order's sake is too fascist for me. I like work that is made with a generous spirit of intent.

The best reductive art resists both a purely detached Epicurean attitude or an autocratic ideology. Neutrality is not easy to achieve but highly reductive or elementally distilled art at least has a shot at it. What's more, distillation helps us focus on what is really important, Americans are wasteful gluttons and reductive work does provide a counterpoint. There is something more intimate about a reductive language.

Reductive art removes non essential information. Here is a parallel thought, if the absence of pain is in itself a kind of pleasure then the absence or reduction of the world's inherent demands and drama has a similar effect. It also gives us perspective on the flawed world we might accept as a given. It's why abstraction has this idealistic connotation. Though my interests are not limited just what some call “minimal art” I do appreciate clarity in the presentation of work, it leaves no margin for error and the risks involved accentuate the lack of hedging in the work. That said Jason Rhoades is the antithesis of these ideas and I was one of the people working to bring him out to Portland when he died tragically.

I want to be clear so people don't misread this string of minimalistic shows I've presented recently... one can't apply one set of aesthetic criteria to all art. I prefer variety but only if it is highly accomplished.
Presenting a widespread so-called minimalistic program that has been; historical, scholarly, contemporary and personal has been my goal in doing the Donald Judd, Vection and now M5 shows.
I wanted to present a level of programattic focus we just don't see much in Portland. Bruce Guenther has been doing a great job of coherent programming with this summer of drawing, linking R. Crumb, Sol LeWitt and Mark Grotjahn as well.
I'm kinda proud of him for busting his ass like this, He has curated more in the last year than in the previous 5 combined. I hope he isn't going to retire too soon.

What was the process of picking the theme, the art and the artists for this exhibit; what goes through a curators mind in the planning stages?

The process changes depending on the show. In a general sense a curator is a caretaker or custodian for the integrity of art. In the case of this show I wanted to present work from both Minus Space and the Northwest that had a certain commonality that will play well together in the Feldman space. Since so many local artists are doing reductive art I felt picking two elder statesmen like Francis Celentano and Mel Katz would have the best effect.
To engage even a small sample of the younger local scene would have required an immense space. Both Celentano and Katz are in a way precedents or father's of what Minus Space does. Celentano is one of the original 60's op-artists and Mel Katz is the former professor of Steve Karlik, one of the first artist's Minus Space ever showed. The point being this is a classic summer group show, a mixer for both Brooklyn and New York. It's a small planet and we should try to be good neighbors and get to know each other.

RS:How did you decide on the way to display the Art pieces and how satisfied are you with the outcome?

Different pieces have certain spatial demands under which to operate properly. For example Patricia Zarate's piece requires a corner and since the Feldman Gallery only has one corner that was where it had to go, though the specifics of how it occupied that corner went through a lot of permutations. Ultimately we felt a purely symmetrical installation was deadening when we were installing it so it's asymmetrical.

Rosanna Martinez's piece is about harnessing the implied energy of separate architectural elements like two walls or columns so we used it to illustrate the opposing structural corners of the room. I love that piece, its a lot like Love or a strong relationship... it's about coming together in a very honest way that allows for integrity on both sides.

Don Voisine's piece was so strong it could hold the largest wall in the room by itself. Sadly, I’m probably the only curator in the Pacific Northwest who would do that... Michael Darling would have done that but he just left SAM. I wish other curators would take a less cluttered approach, but they don't. Every Oregon, Portland and Northwest Biennial I've ever seen was too overcrowded and rambling. This show is a bit of a provocation to my peers, STOP OVERHANGING SHOWS, especially abstraction.
The M5 show looks good, it's subtly bold.

Does each piece tell a story or is it up to the viewer to decide their meaning?

It's always up to the viewer in visual art... if an artist wants to purely tell their story they are in the wrong medium... they should write a novella or make a movie. Linear and or time based media can unfold but a lot of visual art is designed to magnify interpretive potentials rather than focus it like a lot of film or literature does.

How big of an influence is Donald Judd on you and the artists in this exhibit?

You would have to ask them. Some of them like Steve Karlik, Mel Katz or Nacy White have obvious connections as their work is all about the indeterminate relationship of wall and floor... or equalizing and destabilizing all planes in the room if you will. Judd's use of materials is very influential as well. It goes well beyond art and into kitchen counter tops etc. Artists like Don Voisine, probably not as much, he's a painter and unlike Judd (who quit painting) has found a way to make it work for himself. Voisine's work is more related to Malevich, Albers and Mondrian, whom Judd was interested in.
For myself, Judd is without question one of the greatest of artists... he was hypercritical, uncompromising, innovative, yet pragmatic and found a way to make more ideal situations for the art he liked. He supported other artists as well. To be great you have to be generous beyond the execution of your own whims. Judd Helped out John Wesley, Roni Horn and Robert Irwin etc.

"Judd" exhibit

RS: He once said that he is striving for autonomy what does that mean to you?

Judd had such integrity and was almost always better at installing his art better than his collectors or institutions who were more about showing what they had, rather than showing the work to its best advantage. Judd's quest for autonomy was a simple quest for integrity, even after his inevitable death.

Artists today are perhaps too accommodating. I hope that like Judd I'm siding with the integrity of art. People think he had a huge ego but if you take a closer look what he had a much larger super-ego. It's a subtle but importance distinction. It means sacrificing that selfish ego for integrity's sake. It's all about the art.

RS: What is the relevance of abstraction and minimalism in this day and age?

In a world where everything is co-opted with some agenda it can be a neutral zone devoted to sensitive contemplation of something other than ourselves. We need big picture thinking and that requires abstract thought. To be an effective abstract thinker it helps to think about abstractions which have very little specific agenda... it reveals our expectations. Understanding our true expectations is the path to understanding human nature.

Is minimalism a trend that returns from time to time or is there an innate need in humans that wants to be expressed through it?

Minimalism doesn’t exist... it was a convenient art historical term applied to a group of artists in the 60's. Anyone who wants to be an minimalist or claims to be minimal is just fetishing the end product... rather than the thought that Judd, Flavin, Martin, Kelly and Tuttle are about.
That said “minimalism” is a misnomer that is definitely here to stay. The term can be used if it is acknowledged as a poor stand in... used in the absence of some better catchphrase.

In this show you are mixing different but similar art styles can you describe the differences between minimalism, perceptual and reductive art and their purpose and place in the bigger picture of art history?

It's about an economy of expression where nothing is unnecessary. Minimalism, doesn’t exist except as a lazy shorthand. The “Perceptual” is a term engaged with how we see the word but in M5's case it is a hyper focused or distilled perceptual notion. Reductive denoted distillation as well. In all cases here the work is comprised of only what is necessary.

Do the artists in your show relate to each other also on a personal level, what I mean is there a community feeling?

You would have to ask them but yes I believe there is commonality here. All of these artists are the real deal, all are very good editors of their work and would immediately recognize that in each other's work beyond some personal connection. Steve Karlik is connected to all of the Minus Space artists and Mel Katz on a personal level.

What about the Portland Art community. How does it fit into the international scene or does it?

Like any interesting art city Portland is comprised of many layers. Many Portland artists are very international in their interests and activities. Yet Portland's scene is different because it would have to be. The attraction is that the artists here like the human scale and ethics of the city. This is expressed in unexpected ways.
For example, there is a lot more empathy in Portand's art but that's not the case for everyone here... just a higher ratio than other US cities.

You had an exhibit titled “Vection” yourself at NAAU. What was it about and how do you feel being on the other side of the equation as the Artist?

You capitalized “Artists” in your question... there's no critic/curator vs. artist or us/them situation all artists should develop their curatorial and critical chops. At this point all of these roles are like breathing for me. Ive been painting since age 6 and doing art deco styled stained glass windows since 8, had my first art gallery representation and sold a bit of art at age 20 while still in college. I'm an accomplished musician but for some reason I've kept that side a bit more private (Im surprisngly shy in odd ways, Im an introvert with a very thick extroverted suit of armor)... but yeah I unserstand the creative process . Vection was about exploring design as mediated by man made materials and nature.

Human beings act just like bacteria... we spread, consume and change space and raw materials. I simply held a mirror up to that activity. Vection was about how we spread, define, waste, consume and influence space. It was very well received, Im very grateful for the accolades but I did it mostly for my own curiousity's sake. After just doing a Judd show it took some balls to make work.

Overall, Im happy that Vection connected, and the response told me I'm probably a little better artist than I thought (someone even considered buying some of the installation work)... still I dont have a careerist attitude about my own work. I always want to be the most relevant curator and critic possible, my art and music are for me and a few close friends. Im a thinker and catalyst first.

Honestly Vection was only slightly different than curation. I essentially curated my self. I determined what the show was about then created work to see if my assumptions would change upon seeing the real thing in comparison to the idea. Technically I'm more of a curator and critic who makes art to keep myself honest. I don't keep up a studio practice so I'm not committed to showing work that I make in any way unless it satisfies the curator and critic in me. Im very restrained and empirical in many ways... it's all a big experiment for the eyes and body while the brain tries to make sense of it all. Additionally, I don't want to be one of those curators or critics who never makes work.

For example, the world's top wine critic, Robert Parker,got into wine-making with his Willamette Valley Winery Beau Freres for the same reason. If you divorce yourself from the active part of the art equation you risk being irrelevant. As a curator and critic I always take great pains to doing something relevant, even if it angers some people. Being provocative is sometime key to being relevant, but their has to be a rigorous rationale behind that provocation or its just an exercise in attention. There has to be an intellectual curiousity fueling the show.

Some artists are convinced they are more relevant than they are, they have this attitude that the world owes them some sort of recognition. It doesn't work that way. I try to give credit to those who make work that transcends their own personal soap operas... I simply shine a light on those who are actively communicating in a more generous way and it makes the work stronger and more useful to all of us.

"Vection" exhibit

You also are the founder of “Port”. How has Port's mission or influence changed since its conception?

When Jenn (Armbrust) and I started PORT it was an off hand side project and at most I thought we might have 10,000 readers per month. Now we have over 135,000 per month, the Whitey Museum provided links to our articles for the 2010 biennial's web page and we are one of the most read art sites on the internet. We dont have big #'s compared to a porn site but for an art site based in Portland Oregon PORT is surprising. There is a lot of interest in Portland's art scene. Portland is more important than we give ourselves credit for. To a degree America's future is related to Portland's present.

For example, on a person level... I find this odd... but Im a legitimate pioneer in internet based arts writing and I enjoy providing a platform for other arts writers. PORT has always been confederacy, Im not a very controlling editor so much as a publisher who empowers others rather than simply assigning projects. Also, we are a trade publication not a generalist one and our audience cares about visual art deeply, which means we can indulge our varying interests and explore ideas with a different kind of depth and rigor than newspapers or the weeklies. We also care about the health of the art scene so we don't just gawk at money or the absurdities of art. That said, we aren't really that similar to most personal blogs either.
There is a sense a sense that we are all local guides and experts sharing info about a very particular part of the world. I only recruit writers who have a worldy outlook.

Let's just say none of us saw PORT's importance coming, we simply felt it was an idea worth pursuing and it took on a life of its own... To be more blunt, I think it is arguable that PORT is the most influential art publication in the history of the Pacific Northwest because our international reach is so generous and in-depth.

PORT is very focused and has been from the outset... it is about visual art and some major architectural projects. We don't do performance, music, fashion or literature. All of our writers have an interest in those things but our focus is very specialized.

Where do you see Portland as an Art city and yourself 10 years from now?

I predicted it but never really expected to be right about Portland becoming as serious an art city as it has become. Our institutions will continue to close the sophistication gap I see between our best artists and their programming. The issue is how sophisticated will the patrons in town become?
That is what is needed for the next step. If the Portland Art Museum has to do car shows in 10 years I'll be disappointed. That said I believe a few very serious patrons will relocate to Portland and change the game institutionally. The artists create an oasis and that in turn makes it attractive to certain types of people... aka adventurous contemporary collectors. All of our collectors are on the conservative side right now but that is to be expected. Someone will take it upon themselves to change that dynamic.

Myself, well I've already done things well beyond what people thought were possible. I hate the fact that I end up setting the bar so often but my next projects will once again redefine expectations of excellence in Portland. I'm not boasting, it's just where do you go after Donald Judd? I'm committed to this very special city (which is redefining America's root level expectations BTW) and lately it has been nice to receive a wave of appreciation for it but fact is Portland should find a way to support independent curators and alternative spaces more. Right now there is almost no support. Currently, Portland focuses on community as an abstraction or catch all phrase. Id like to see it support individuals who create community through acts of excellence... That is the next step.

big thank you to Jeff for his insideful and informative interview

Jeff Jahn
contact at
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Monday, July 19, 2010

Interview with Victor Maldonado

Hi Victor thanks

for taking the time to do this interview

How did you get involved with “Blue”?

I was invited by MP5's resident meta-curator TJ Norris.
What does “Blue” mean to you and how does Blue Humor come into the play like
how did you come up with it?

What "Blue" means to me is a state of mind: dark and gloomy.

I used that state of mind to think about the formal space of the hallway as a
site for exhibiting art and how to capitalize on its strengths and
I was interested in using the hallway to create an
experimental, potentially confrontational situation with the installed
work in a way that would counter our conventional expectation of what
constitutes proper art hall etiquette.

Are you a fan of blue humor?

I am now.
How did you pick the artists and what kind of guidelines did they have?

I chose the artists in both versions, Blue Humor and Blue and Black,
mostly from the community of artists I work with at PNCA. Walter Lee,
is a recent PSU MFA graduate that I first met when I was curating the
last version of Portland Modern. The guidelines were to create an
exhibitions around works of art that used comedy and humor in their
content or application.

Did you intend to provoke or expect a reaction from the people living at MP5
or did it surprise you?

My intention was to get people to pay attention in a setting that
wasn't necessarily conducive to slow contemplation.
I wanted to present engaging works that the people living at MP5 could have
interesting interactions with.
I wasn't surprised by some of the residents negative responses but I was surprised by the swift dismissal and move of the shows.

How do you personally expect people to react to dirty, offensive jokes in
Art or otherwise in this day and age after all the times of Lenny Bruce seem
way back now?

I personally expected people to react to the dirty and offensive
joking in whatever manner they felt appropriate. Lenny Bruce does
seem way back now but he really isn't, is he.
Do you think that the complained to move or alter the exhibit was more about
personal taste than about censorship?

I think personal taste based not on the actual works themselves but on
misconceptions led to the works being censored in their original
When we stage offensive Art exhibits do we assert our own power over the
public and to what degree should that happen in a public space/domain?

The theme of Blue Humor was meant to be unconventional so my intention
wasn't to be offensive.
But philosophically speaking staging offensive art in public seems less a way to assert power and more a way to make conflict inevitable.

There seemed to be a conflict in the original space of the hallway as exhibit space. I wanted to use the unconventional nature of the wall and floor works to explore the conflict between the private space and public domain represented by
the hallway.
Much of the content throughout the exhibits also played
up this conflict.
How important is social etiquette to keep a society connected or functioning
as such and what are the dangers from going from one extreme by being to
stifling to become an anarchic slug fest?

Social etiquette is important and it's something each of the works in
both versions of the show use to push towards seeming vulgarity.

Social etiquette can also allow for polite terrorism of class and fear
of the other to persist.
The artist and works in the exhibits were designed to deconstruct humor's role in our societies polite terrorism.

There is this argument that blue humor in comedy is an easy cop out mad by
guys like John Kinde
"Sticks and stones my break my bones but lazy looking really kills me."

At that foul language makes for easy
laughter how does that fit within Art and your approach for this show?

Laughing may be easy but getting at the underlying reasons of why we
laugh is a sobering art. Deconstructing humor is not fun and
deconstructing hate and fear is serious business.

Do you think blue humor has a healing redeeming quality because laughter is
supposedly the best release or does blue humor in Art re-open wounds and
make us feel helpless again?

I think humor of every kind is a ritual release for us.
It seems like a natural response the gas that is popular culture. Thinking about
humor in as open a manner as possible was what I was interested in
with the exhibit.
Sometimes humor helps us but other times it wounds
us deeply.
Art strives to take more and more liberties and complains when it is
reprimanded but doesn't Art also have to take more and more responsibility
for the reaction it solicits?

To be Art there has to be responsibility.
This is not the first show that has been censored and do you think that the
complained about MP5 is fair after all it is not a gallery and many
galleries have been forced to censor their exhibits?

Just recently a photo of Jock Sturges was in question about what is

or like here
> it says : “In a post–Dave Chappelle, post–Chris Rock, post–Eddie Murphy age,
> blacks and whites enjoy jokes about subjects that were taboo in the
> ’60s—interracial sexuality, racism, and the African American family. Humor
> about drug use, hip-hop culture, and white bigotry is marketed to whites
> even more than blacks—that’s why Chappelle’s Show was so popular. To act as
> if these artists are doing anything outré or original is to be stunningly
> naïve about the state of discourse on race in this country.”
Is that a legitimate complaint or does Art not have to be original anymore

I think the criticism that MP5 has received is a mix - some on target
with their thoughtfulness others more flip and hollow in their

I think humor remains a viable form for contemporary art. Even when
it doesn't try - much art is about incongruity, power complexes and
ritual release which are at the core of humor.

Is there a need for new vocabulary for cultural criticism because we are
numbed by the similarity of what artist and critics have thrown our way?

That we are numbed necessitates a re-sensitization to each other. A
new vocabulary is what contemporary art is about. Sometimes that
means creating new words. Other times it means remembering what words
meant in the past.
I thought the piece where your name was tampered with was a good example
although harmless in context to the others, it was hard to understand what
its point was can you elaborate on it?

It was making me the joke and turning the tables on the usual
relationship between artist and curator. That piece was a
collaboration by Sara Johnson and Derek Franklin.

Also what role does have artistic cultural criticism in general in this
moment of time?

Artistic cultural criticism seems an important component of any living
and breathing culture - today's included. Cultural criticism is meant
to clarity perceptions and make visible the underlying conditions of
our shared misery and bounty.

Is it also on time to start respecting a more conservative point of view if
we want to be accepted ourselves making socially irresponsible work?

Blue Humor was my attempt at looking seriously, in as conservative a
manner as I could, at artists and works that were not getting
attention or that had been redacted.
Why have the white cube galleries become a lightening rod?

When weren't they?
Should or can this energy be harnessed to start building bridges instead of
tearing bigger pieces out of the cultural divide?

In a city full of bridges no one should go around setting fires. All
this energy is being harnessed. Artist were afforded a short
opportunity to engage the public with their works and a community was
given the opportunity to assert their wishes into the exhibition
policies in their halls.
If everyone would decide to become a menace to society would there still be
a society left and is this menagerie of insults just used like a finger
pointing gimmick to get the attention without having to actually come up
with productive solutions to our problems?

Mutual respect is necessary in any learning environment. In this case
it was all mimetic and abstract. Except for the joking use of my name
no one was specifically made a target.
How do you feel about the altered/ moved show now?

The altered show in room 208 represents the pressures brought to bear
on a creative community by the will of assertive, organized and vocal
residents. It is both a compromise and reaction to being censored and
swept under the rug.
Do you feel wounded or you think its funny in a blue humor way
and what does the show stand for now?

I'm apologetic to those residents that the works I gathered offended
and I am wounded by lazy looking but I am heartened to know that this
exhibition spurred the residents of MP5 to write policy that suits
their needs and wants.
How can we overcome our phobias and how can Art help in that process?

Overcoming our fears is difficult. Art can help by amplifying life
through mediated form but in the end it is our ability to create
discourse and knowledge around the contours of our phobias. Fear
usually is strengthened by unknowing so maybe art can help by bringing
light to the unkown.
Thanks Victor for you enlightened insight

for more info
folow the discussion at

Sunday, January 10, 2010

PDX Art Lit: interview with Eva Lake

What's your process of finding or deciding on a venue?

Prudence Roberts invited me to show at this gallery at PCC Rock Creek where she curates. Where Prudence leads I will follow.

What can we expect as a layout for "Targets"?

It’s a perfect smallish rectangle of a space with three nice walls and 21 framed photomontages. The comment I get over and over again is that they are larger than people expect.

What is your source material and where do you find it?

I just collect and look. Sometimes things come to me but generally I have to scrounge. I’ve collected old magazines since I was kid. Everything I cut I read first, usually in bed - every article, every advertisement. Over the years I’ve had different interests and thus, different images I wanted to use. There is a personal relationship with the images.

The title is "Targets" and I assume it has only woman images in it. How do you perceive the role of women in our days and how has it changed?

It’s called just “Targets” because that was the word I used the most as I wrote or talked about it. It just felt the most comfortable. As to how women are perceived, things have not changed enough but everyday I still learn exactly what that means. I can’t speak for other women – though they have certainly divulged a lot to me.

You are incorporating images from old magazines to create a collage of them with a re-vamped meaning. What is your intellectual expectation for the new pieces?

Now that the work has been made, I have personal expectations of course – but when I started out, I had NO expectations. My previous show incorporated over 40 small paintings and I needed relief from painting. Expectations of others and how they see the work, that’s something I try not to have.

Most of the collages deal with glamour and movie stars but they are put in a less glamorous context. Do you try to criticize their choices or our perception of glamour?

I am observer and a participant more than a critic. I grew up around art and lipstick and sometimes they were quite interchangeable. The word art is in artifice and it’s not a terrible thing to me. But beauty and glamour, whether it is in art or in a woman, can sometimes be threatening or misunderstood. We tend to get all swept up by the surface and forget about the substance, but they are united. It’s not a choice between the two. Once I interviewed an artist who had some pieces of clothing in an exhibition. This artist very stridently claimed that these pieces had absolutely nothing to do with fashion or style but were about “transformative power” - as if style and fashion were not about transformative power! It’s not as separate as some may think.

The choices women make I don’t wish to criticize because I relate. The typical profile is someone who gets the biggest props for being the Babe while developing great talent and a complex character, often in difficult circumstances.

On one hand they seem vulnerable but on the other they entice with lots of fleshy poses.

Can you tell me a bit the power dynamic and manipulation about them?

Well of course the individuals were being sold. It’s a campaign of sorts, a propaganda which launches women. As a young girl you look at those articles and think of the Goddess Whore you might become, just like them, provided you’ve got the equipment. It’s interesting to me how little I have to do to them as images. All the beauty and tragedy was ready, waiting. The pieces are pretty reductive. A lot of photomontage has so much in it, so many details and bits and pieces, but this work didn’t need that. From the start I visualized something that would not need bits and pieces.

Do you try to glorify your women or is their a hidden warning incorporated?

She’s already been glorified and has earned her place. She’s also got a power beyond her fuckability that she probably fought tooth and nail for. I don’t think I glorify her anymore than she hasn’t already received.

The target symbol in it self is very loaded. What inspired you to use it and what does it mean to you?

As a teenager I used to go to the Ashland Police rifle range late at night and steal the targets and use them for montage. It was this kind of risky and romantic thing a teenager would do, but different to going to a keggar. I did it with another Andy Warhol fanatic who especially loved Jasper Johns. This was the early 70s. This friend also introduced to me the first Interview magazines, which back then were all about film, about movie stars and nostalgia. So you see these two things – targets and movie stars – have been in my head for almost 40 years. I’ve played around with the target in photomontage forever. It’s a long story, too long to tell.

But the upshot was that in 2007, when I was I looking to write a story about women artists in the 80s, I came across the idea of targets. One of the art projects I had dreamed up for a character was women in targets and I wrote about it so much that I thought, wow, I should do this. And as I wrote I could tell that the project was vaguely in my head for many years, sort of like this obvious thing I never did. What was odd too was that as I wrote about it, I saw it – visualized the work before it was ever made. And the work I imagined, it was cleaner and more graphic than what I generally produced in the 80s. It was something that I at 51 was now ready to make.

I remember a conversation that had started on your blog that man would prefer not to see the woman's faces. Why do you think that was?

Well what the men said was that they wanted to see anonymous faces. Not known women, but just anonymous women. And actually I’ve done a few like that. But they tell a different story.

One man said he didn’t like certain subjects I had used, certain women he personally did not like. But I then wondered – was this a bad thing? Why do we have to like the women? Why do they always have to please? It’s assumed that she looks good because she wants to please you, to serve. That may be far from the case.

But I also think that when a beautiful woman is known and has this big story, she has a power beyond the fact that a bunch of people want to fuck her when she walks into the room. Her story and stamina get in the way of the fantasy. Jane Fonda was almost too powerful to be used because she had been the object alright - but had then had such a public ordeal to not just be that.

I personally am not that interested in the anonymous woman. Too many contributions were already anonymously done. So I say, go get the credit Girlfriend, even if the credit is for a bad deed. Just get the credit.

An easy last one.
Why are men still so threatened by powerful women in this day and age?

It’s not just men. We are all complicit to some degree.

Tuesday, December 22, 2009

Art Lit: Interview with Gabe Flores

Can you tell me a bit about your art practice and what drives you to create Art?

Art helps in my process of letting my guard down. I enjoy how art enables me to be vulnerable. I think my vulnerability helps the audience to be ok with vulnerable themselves.

What labels are you comfortable with if any and if not why?

I guess I’m working on becoming comfortable with labels. I am a person of more color and people freely put me into categories. I wear t-shirts that say hyphenated-american because it allows for a pause before a category can be used.

I often wonder if being gay, an atheist, a person of more color is more important of a label than being a gardener, artist, or dog lover. I know the narrative of oppression tells me that of course the history of being brown, gay, and poor means that it recognizes the struggles, but I’m not always thinking about the struggle. Maybe I’m just selfish.

With ideas of diversity you can see all people as people one in the same or you can say that they all have differences that need to be acknowledged. The minute you decide either of them you are oppressing because both honor and both oppress.

You cannot free yourself from that label.

I came across an interesting quote from your blog stating
“therapy is expensive blogs are free”
Do you think that most of us repackage our inner chaos and present it as fresh fodder and do you consider Art as form of therapy?

I definitely think of art as a form of therapy because it allows me to process and concentrate on ideas that puzzle me. The majority of my work deals with being an oppressor and how there is no escaping that, so instead with my work I focus on how I can accept that I oppress and I can honor myself in not hiding that from myself.

How would you describe your experience of “Manor of Art” in retrospect?

I had a great time at the Manor. I had taken a bit of a break from participating in shows and putting myself out there. I am really thankful for being given the freedom to really do whatever I wanted. I met a ton of people and had fantastic conversations. I hadn’t felt that high in I don’t know when.

What is the role of the art critic in your opinion?

Their role is to keep the conversation going. Hopefully they act as navigators and give language to ideas the audience may only feel.

Do you feel your installation was worth the effort and what happened with your piece?

I would totally do it again. I loved my room. Because it was an installation piece a couple of folks were curious about how much something like my work would cost to have it in a home to purchase. I told them a round about number and then told them they could only have it for 10 days and then I would have to take it down. I love the idea of it being temporary because it reminds me how wonderful an experience can be even if it’s just momentary. I wanted to create the most comfortable room I could and I think was.

Did you leave part of it there or is going to have an afterlife?

I do need to go and pry a couple of pin nails out, that’s all that is left in the room. I might use the materials again, I mean I sanded and stained 350 mahogany tiles so I hope I’ll use them again.

Do you believe in a concept of after life?

Nope. I think that a concept in any life besides the one you’re participating is really not so important.
Several years ago I had a psychotic break and began hearing, seeing, and tactilely feeling things other people couldn’t and my psychiatrist thinks it was because of stress and judgments growing up closeted as a Jehovah’s Witness.
The voices were all about how others were judging me. The scenario was that all of this is virtual reality and that my “real” body is someplace in the future hooked up to machines and I would eventually go back to my older body after 7 years had passed.
Well, it’s been 6 years and I have finally become ok that maybe the scenario isn’t real, or rather isn’t so important. Maybe me concerning myself with this life hooked up to a virtual reality sort of gizmo is making me distant to whatever life this is that I’m currently in.
That is how I think about the belief in an after life, maybe we all have had minor psychotic breaks because we’re terrified of being fully present in the life that we have here and now, so we make up a life in a different world that wouldn’t be as bad is this one.
There is a lot hope though in the belief and you can never take away someone’s hope.

That brings me to ’’Greener than who, Greener Than You?”
What does it refer to is like meant as a survival strategy?

The ideology of Green is an idea where we find comfort even though we have unease at the same time.
Ideology is always based on the fantasy of the ideal, of course making it impossible.
To be fully Green is death.
We can only see parts of this ideology and hope to find satisfaction in the part we know. Or we choose to ignore parts because it’s just too much to be sometimes. It becomes a comfortable yet contentious part of us.
We think of being Green as our own and forget the systemic nature of how it has become something to be. Our ideologies are usually places where we find comfort, enjoy being, and can congratulate ourselves for getting it even if we sometimes don’t. I guess that’s why we maintain them.

I guess the survival strategy is to try your best, but don’t be too hard on yourself when you can’t.
We oppress each other with our ideologies and we oppress ourselves in the process because we are distancing ourselves from each other and end up playing a very silly “At least I’m not” game.

What would your ideal world look like and how can artists help to shape it?

People being really present and not afraid to show their supposed ugly parts.

I would like it if people shared their stories of struggle and perseverance because the real is somewhere in there.
I think artists need to be willing to get a little dirty and start point the finger at themselves first and be more willing to get dirty and be vulnerable.

Do you agree with the statement “imperfection is the new perfect”

Perfect is that ideal type that is part of the unattainable desire-based fantasy.
Ownership is the new perfect.
It’s hard because I would hate to see the new perfect become a confessional.

And what is satisfaction in your mind set?

Being ok with the idea that I’m going to be here for a while. That means planting bulbs in the fall and getting annuals in the spring so I can enjoy them all summer.

Because I thought I was going to be going back to the future I stopped planning ahead, even for bulbs and annuals. For me satisfaction is realizing that this is my life and I need to start enjoying it and stop being so hard on others and myself. I’m working on acceptance.

What can you tell me about the show?

There are no gimmicks in this show. I created the work with extremely limited resources. In 2008 I spent 9 weeks in a Native American based rehab for alcohol abuse and this work is my process of trying to navigate my identity and my efforts to find a connected form of treatment.
I’m a gay atheist who was raised as a Jehovah’s Witness, so I am immediately distrusting of groupthink and lack of questioning that sometimes happens in rehab. Going to the 17 acres near St. Helens was my white flag. It hasn’t been the easiest path since leaving residential treatment, but I think I’ve found a rhythm that works well for me.

I am very satisfied with the work. There are eight pieces that are reflections that I was trying to process, although I think of them as one piece because they all necessitate each other.

more info about Gabe

Sunday, November 22, 2009

Artlit interview with Gary Wiseman

Hi Gary thanks for the interview

What is you back round and your inspiration in Art?

I started drawing when I was three.

Who or what motivated you to become and artist?


You did a piece awhile ago called "A CONVERSATION PIECE".

What does conversation include for you?

That piece was for the 2007 Reed Arts Week. I was thinking about the camera focusing exclusively on my face while I engaged in intimate conversations with people I didn't know very well but wanted to be friends with.

I let the subject lead the conversation so the piece didn't really have anything to do with my thoughts about conversation. The subject led the conversation and talked about whatever was on their mind. The improvisational collaborative process of casual conversation is compelling to me. Nobody knows what is going to happen. People are so unpredictable.

We see endless scripted conversations on the screen. A lot of energy is expended attempting to make these conversations look like real life. "Why not just record real life?" I thought to myself, "it is far more interesting than what I could make up by myself". This collaborative attitude has informed much of my practice.

I was also wondering what happens when the camera focuses exclusively on the listener rather than cutting back and forth between speakers which is what usually happens. We focus on the linearity of the conversation.

What developed in the piece was a sense that I was interacting with a disembodied voice that could have been in my imagination. May be I was hearing "Voices". There was no visual information to connect the voice to. It could have been a person speaking but the viewer is forced to collaborate in developing an image for the other speaker based on the limited information available to them. When one watches the video the other voice gains more clarity because there is no visual distraction. Its almost like watching a radio and a TV talk to each other.

You can see it all here

How would you label your work?


What is the importance of Art in your opinion?

I don't know. They say its good for business.

Does it always have to include an audience?


You built an elaborate installation for Manor of Art,

What was it all about and has a piece like this an afterlife?

There are some nice pictures of Palace Of Ashes. online. Sam Adams interviewed me inside of it because you said he should. He made a nice little video about it for his web site sam's video.

The Manor piece is still there actually. I have yet to kill it, if in fact it was alive. It was mostly made up of dead trees, paint, mirrors and dirt. The living part was the people who saw it. I suppose it lives in their memory. May be I will make a memorial for it. Will you come to the funeral?

Palace also lives on my resume. Hopefully it will get me more work.

Currently you are exhibiting at Appendix project Space.

What can you tell us about it?

I spent three days digging rock infested dirt for Inside, Outside. I sweated profusely. I have been enjoying the process of making. The physical WORK it takes to make it. Inside, Outside was certainly a departure for me and builds on what we did with Palace. I have been working almost exclusively with objects, materials and built environments. My origins are in material based work. The last five years have been a rigorous investigation into a participatory performance model of work. It seems I am returning to materials.

I have always been intrigued by relationships - between people, between objects, between people and objects...the list goes on. I did one project a long time ago in Australia called Decadence. It involved digging a grave that I buried a bunch of meat in. I made little sculptures out of the meat. They began to rot so I conducted a funeral for them.

You can see documentation of Inside, Outside on my blog if you are willing to look at other stuff too. I have a lot of work on there. I wish more people would look at it

Gar'y Blog

You also work in tandem with your partner.

Tell us about those dynamics?

My collaborations with Meredith are a natural extension of our partnership. We talk about everything. Some of our most connected moments are when we

are disc using theoretical frameworks and concepts. We have a very balanced relationship. We try to keep it fair. That is why I always acknowledge her as a collaborator even when she doesn't do much of the physical work. Most of the recent work wouldn't have happened without our discussions. We both have our roles. We compliment each other and work as a unit. A team. It is a very privileged position to be in I know. It is something I have always wanted. A life partner I could collaborate with. It keeps me interested. I have a very short attention span and get into trouble when I am not occupied. This is why I pretty much work all the time. I am easily bored. I need someone who understands this and will play with me. That is what art is for me may be. Playing. Imagining. Making stuff up. Experimenting. Seeing what happens.

What are your interest besides Art?

I like my friends.

And what is next for you and how do you decide on a project and its location?

Matthew Stadler is publishing some books made by Portland artists. He is taking them to the Amsterdam Biennial. I made one of the books. I am quite pleased with it. My book is called I Love Urban Outfitters And Urban Outfitters Loves Me. It is comprised of three Urban Outfitters catalogs and one Anthropologie catalog.

I have made some...lets say alterations. Its too bad that not very many people will see it in Portland. I started working on it awhile ago when I found out that the guy who owns Urban Outfitters, Anthropologie and Free People, Richard Hayne made some pretty significant campaign contributions to Rick Santorum. I thought that it was pretty funny and sneaky to take money from young hip liberals and give it to the King of the Neo-Cons.
Its like reverse Robin Hood or something. I also wanted to think about how I am simultaneously attracted to, flabbergasted and repulsed by the content of those publications.

The locations of projects are chosen in two ways:

1. I am invited to do something somewhere. An example of this is the materials based installation work which is generally more of a response to a given environment, such as the Appendix Space piece. I love to be presented with a framework of problems and limitations. I feel these two are the best friends of my creative process. Therefore, I get really excited when someone approaches me about a project and says, "do something here and don't use nails and you have to use this pile of cow shit and it has to be done in three days on one foot".

2. I am from Portland. Many of my recent projects are about growing up here, leaving for Australia, coming back 9 years later and the changes I have encountered since returning. The locations for the performance work are intentionally geographically placed and specific to my narrative experience in this curious place that is Portland.
This was the case with work like Tea Project (Esp. the TBA series), SIXSIXSIX (With the Cooley Gallery) and Coffee Break (at MP5).


Artlit interview with Molly Dilworth

Variation (City)
From the perspective of the satellite, the urban rooftop landscape looks like a quarantine site: apparently unchanging, contained and secure. As with any system existing in an environment of flux, there are (literally) cracks in the surface, the boundary between the inhabited and off-limit space is constantly breached by water, plant, animal and human life.


The primary concern in my work is the relevance of painting in contemporary society. For me, this includes the interaction of paint and the digital world, specifically satellite technology using the Google Earth interface. My goal is to work with experts from various disciplines (solar-reflective paint engineers, green building engineers), and use real problems in the world today – like the waste stream from industry – as a starting point for projects.

Molly Dilworth is a painter who lives and works in Brooklyn, New York. Since earning her MFA from NYU in 2003 Dilworth has exhibited and performed nationally and internationally.
In 2008 Dilworth exhibited and performed painting as part of SUDDENLY: WHERE WE LIVE NOW, an ongoing set of visual art exhibitions, a reader, and a series of public programs (Portland 2008, Pomona College Museum of Art 2009, Seattle 2009). She has collaborated with Marina Zurkow to create the installation Psychaedelis Domesticus (Istanbul, Turkey, 2007). With MK Guth Dilworth performed Red Shoe Delivery Service (Australia, England, USA, 2003-2006). In June 2008, her work was featured in an article by Stephanie Snyder in Art Lies Magazine. In the fall of 2008 she was a visiting artist and professor at the Pacific Northwest College of art in Portland, Oregon. The 2009 exhibition Molly Dilworth: Dispersion in the Feldman Gallery at PNCA featured paintings made during her residency there. In September 2009 she will create a rooftop painting for Google Earth Brooklyn Suite (Poured Paintings V2/Rooftop) for the D.U.M.B.O Art Under the Bridge Festival.

Hi Molly here it goes

What’s your background in Art?

I was really restless from age 16 to 23, I moved all over the place to study painting, glassblowing and weaving in Albuquerque, Detroit and Seattle. I’ve always restlessly made things my whole life but it’s taken a long time to focus my hands and mind in the same direction.

What is your connection to Portland and how did you end up in NY?

I moved to NYC from Seattle in 2001 to attend grad school at NYU. There were two Portland artists in the program -MK Guth and Cris Moss – the three of us worked on Red Shoe Delivery Service together after finishing school, I got a great introduction to the Portland art world through those two. I’ve always loved Portland and feel honored to be an itinerant citizen in the city.

What moves you as an artist?

Anything I can really feel.

What labels are you comfortable with like are you satisfied being a painter?

For a long time I fought everything about being a painter, I believed that everyone is trained in drawing and painting then eventually graduates to become Laurie Anderson, or John Cage. A few years ago I gave up my materials and my studio, and started curating and performing. It was time to use my brain –not just my hands - and move out into the world instead of working alone in the studio. I found out while walking through the Met while interviewing an artist for a show that all the paintings were as interesting as today’s headlines to me. I had to concede that I was a painter, like it or not.
I just spent 8 days, 10-12 hours a day working on a black roof – really physical, dirty work - it made me think about how artists in the 70’s called themselves workers rather than dancers, painters or defining themselves by a discipline.
It’s from another era, but I can really understand that through the work I’m making now.
I do find the conversation (or lack of) around painting really frustrating. Good friends of mine who are in the trenches of contemporary art have often told me they don’t know how to talk about painting. After having this conversation about a thousand times I was motivated to make work that could be talked about by someone who didn’t want to talk about painting. I prefer to talk to everyone, and have real conversations, and do an end-run around non-starters like ‘watercolor or oil? Landscape or figure?’

How do you develop your themes?

When I discovered that I really was a painter I was embarrassed to find that after painting for more than a decade I still didn’t know what I was doing. At all. So I set up a series of experiments or systems to address all the problems and questions I had about painting.
For example, if a painting wasn’t working I always had a series of color combinations which would ‘fix’ the work. The painting wasn’t any good, it was just sort of limping along with lots of bandages. So I made a rule about my palette: I couldn’t choose it.
I was working for a handmade wallpaper company in Queens at the time, and we threw out literally tons of Golden acrylics. I started using only that paint for my palette. It was difficult since most of the paint was mid-tones: beige, grey. Suddenly I had an interesting problem to work on, instead of pulling the same old tricks out of my sleeve.
It was a lot more fun, and I learned a lot of new tricks!
It turns out I’ve always loved things that have been used before they’re in my hands. I always feel a bit blank when I’m looking at a new canvas bought from the art store. I know the material has had life before me but that life is masked by packaging, and that makes me uncomfortable. I find it easier to use materials that have an obvious previous history, so using materials from the waste stream – another one of my rules – is something that has always worked for me.

What is the civic psyche and how can Art influence it?

Humans just need art, I can’t think of any other reason that we still make it. Attendance at museums went up sharply in New York after September 11th. As a culture we’re not trained to think about art so we think it’s elitist, which is unfortunate since we’re apparently programmed to need it. I’m not a neurobiologist, so I can’t explain why, but I know art (and music, literature and sport for that matter) is good for the civic psyche.

How has the relevance of Art changed over the last 50 years or so?

I take the long view. American art has a large voice that was much smaller a half-century ago, and it’s an industry now – not just galleries and museums but educational institutions, shippers and publishers. – but in the end people have always made art and fought about what it means.

They say “Nothing” doesn’t exist do you agree?

To me, nothing is a zero point from which everything grows. I think resetting to nothing is generative, the opposite of having an attachment to a particular outcome for a project. Nothing is like the perfect pop song in its artlessness and satisfaction.

“Mapping” has become a new code word, what does it mean to you and how do you incorporate it into your art pieces?

Oh, well – we need maps like we need art – just for different purposes. I made a map (except I think of it as a plan) of the rooftop painting before I started it. Of course, I didn’t follow it exactly – sometimes you get more lost when you follow the map religiously.

Do you collaborate with other artists from different disciplines?

Yes, and non-artists too.

What does “Waste” mean to you?

America! We’re professional wasters.

Can you tell me about the project you are working on right now and how can people follow your progress?

I’m currently making paintings on rooftops for Google Earth, I just finished the first one in Brooklyn this September, and plan on making a lot more. I spend a lot of time thinking about how the digital-virtual world affects us psychically and physically, this painting is the first large-scale public manifestation of that physical-virtual marriage. I post all my work regularly to my flickr page. ( I’m also embarrassingly active on facebook, but I try to keep it mostly professional, no breakfast-menu updates!

You have started to include the On-line world as a platform to present your concepts.
How has that influenced or expanded the way you see what is an appropriate back drop for Art and who is the targeted audience?

A few years ago I worked in Chelsea and had a hard time seeing the shows, since the galleries all keep the same schedule. I saw most shows – even the ones on my block – online. It’s not the same as seeing the work in person but it’s an incredible second choice. I mentioned that I want to have an interesting conversation with everyone, the internet is good for that.

Can you tell me a little about “The Naked City”?

Today we’re so comfortable with the International Style that we forget it ever faced opposition. After WWII, all of Europe had to be rebuilt and The Situations viewed the International plan as top-down, inhumane and dictatorial - a continuation of the ideology that caused all the devastation.

The Naked City can be seen as a predecessor to the traffic calming or slow/local food movement – essentially a preference for the accident and chance present in daily life if aimless wandering is allowed. A modern equivalent is the farmer’s market – I can have real conversations, learn things and get recipes – whereas at Safeway I just get the stuff, and maybe an empty feeling.
Just the other day I went out for groceries and ran into a Richard Serra sculpture in the middle of my street.
Of course, I immediately posted it to facebook. But if I hadn’t gone out in the world, I wouldn’t have anything to share on facebook. Nor could I find Serra’s warehouse any other way, I looked it up online when I got home and I only found one blog posting of someone else who had accidentally witnessed the last time the pieces were moved.
The Situationists were advocates of the happy accident provoked by the dérive, or drift. Guy Debord named his famous psychogeographical map “The Naked City” (1957), it was a visualization of these Situationist ideas.

I think of the Naked City circa 2009 as the physical world without a digital overlay – anything we experience with our bodies. A moonlight bike ride, the smell of fall, a car crash, a first kiss – nothing virtual about any of that! Not that I’m in any way anti-technology, I’m making paintings for satellites, after all.

What is the potential for Virtual space and how will it affect the future of the human race?

We’re all going to have carpal tunnel! Start working on ‘prayer pose’ now. I recently heard about a community who are building exercise machines to power their electronic devices. They want to fight the dangerous leisure that our machines have given us. I do think it’s fundamentally changing our language and behavior, as all new technology does. But we’re still animals, after all.

What is on the Art horizon for you and can we expect to see one of your projects being realized here in Portland?

I have another 12 rooftops to finish in Brooklyn before the winter sets in, that’s keeping me pretty busy right now.
I’d love to make some rooftop paintings in Portland, I have a few places in mind but if anyone wants me to make one, please contact me. The night I finished the first painting in Brooklyn everyone said ‘oh it would be so great to have a cluster of these on rooftops all around!’ Marking a territory in this way is very interesting to me. I want to work with others, roofing contractors and choreographers for example, to expand what I can do visually and conceptually.

thanks Molly

All the documentation of my first rooftop painting for Google Earth (finished last Sunday!) can be seen here.

contact Molly Dilworth at

Molly Dilworth
158 Norman #1, Brooklyn, NY 11222 646.515.5161

Wednesday, November 4, 2009

Interview with Leah Stuhltrager about the East West Project

Interview with Leah Stuhltrager about the East West Project

Hi Leah thanks for doing this

Tell me a bit about your gallery
Since when does it exist, who runs it and what kind of Art is exhibited there?

Dam, Stuhltrager has existed for over a decade, but it transformed from a project space to a professional gallery about four years ago. The gallery is recognized for the new media and installation artists. The gallery represents Mark Andreas, Brose Partington, Ryan Wolfe, Mark Esper, Ruth Marshall, Anna Frants and Cris Dam.

As a general rule, I am attracted to artists/artworks that pack more than a knock knock joke's punchline. I'm interested in learning more about what a piece is conveying when it exudes independence in thought and voice. I respect artwork that speaks eloquently for itself and isn't reliant on a trend or accompanying catalog. Generally, I am drawn to artists who redefine the medium they work with so that the medium may work specifically with them.

What is the mission of Art and what can we learn from Art History?

I had a conversation with one of my artists today about what it means to be an artist. It climaxed in him telling me, "Making art doesn't always make me happy. Its just what I was born to do."

If open, inquisitive and patient, one can learn all he/she needs to know from Art History... But it is Art History's philosophical conundrums that keeps someone creating. There's still answers to be conceived through Art and that's a sufficient enough reason for a true artist to donate their life to trying to communicating them.

What is your connection to Berlin and how did you come up with the idea to open an annex in Berlin?

Over the past few years, my gallery has developed very sincere and rewarding long term ties to the international art communities in St Petersburg/Russia, Istanbul/Turkey, Madrid/Spain and Basel/Switzerland. We’ve been lucky to be a part of an unifying international circuit of galleries who are in business not for the money but primarily for the love of art. Gaining the experience, exposure and absorbing the culture throughout the greater "Art World" gives my artists the tools and knowledge to communicate more universally through their work.

Stepping out of your own front yard is important to any career but learning from the experiences/people met along the way is more important. It is the knowledge gained that informs the art/curation, not the notches in the resume. The contemporary art communities in Berlin and Shanghai were places my artists and I felt great admiration for and energy pulsating from. This September, we opened up EAST/WEST (a six month project) in Berlin and created three installations for an exhibit at Oriental Pearl Tower in Shanghai.

What do you think of Berlin as an Art capital comparison to NY?

They are very different in every way and are defined by the characteristics that make them so unalike. Thank goodness for that.

How did you get in touch with Gallery Homeland and Portland Artists and how does it feel working with a Guest curator?

I've known Paul Middendorf from Gallery Homeland for several years. The gallery curation is fairly straightforward, East Coast artists are selected by me, West Coast artists are selected by Paul. Interestingly enough, the Brooklyn artists I selected for EAST/WEST tend to create works that emanate nature as a theme in one way or another while Paul selected Portland artists who are generally inspired by urban landscapes and issues.

Each exhibit at EAST/WEST includes at least one Berlin artist (and often their gallery). In the past, I have found working with other galleries (guest curating artists) has led to relationships that I am honored to hold close long after the exhibition closes. It is my goal and hope that this is true of the professional and personal relationships begun in Berlin over the next few months.

What is the premise of "the East West Project", how is it financed and what are the expectations for it?

EAST/WEST Berlin is the pilot for a 6 month project that everyone involved foresees/is working towards building into a continuing program. It currently is being financed equally by me and by Gallery Homeland. The next incarnation of EAST/WEST is positioned to have space donated and more private sponsorship.

What kind of issues are addressed by your artists?

My artists address issues that are current, timeless and clearly articulated within their art. I support causes and artists I feel contribute meaningful discourse to the advancement of art. My attention is dedicated to those who are saying things no one else has completely said, who's places in art history are not accessory, who have a contribution that is only theirs to offer.

For how long will the project run and how has it been received in the Berlin art scene and what are the art trends there?

EAST/WEST Berlin runs from Sept 19, '09 thru April 1, '10. We have had our doors open for six days so it is impossible to discuss how we've been received just yet. Likewise, as a newbie just immersed here in Berlin as of last week, I'm among the last among the crowd to have a viable or insightful opinion on trends this early in my tenure here.

Can we expect a project in Portland by Dam Stuhltrager?

All is possible if it is wanted enough.

How has the new economy influenced the international Art world?

Artists should be and are inspired by other things than the market.

What is in next for your gallery?

Beyond our homebase in Brooklyn and EAST/WEST in Berlin, my gallery currently has artists exhibiting or installing at The Oriental Pearl Tower in Shanghai, The Moscow Biennial, The Mills Building in San Francisco and The Hunterdon Museum in New Jersey.

Anything else you’d like to share?

The EAST/WEST Project is online

As well, we have a facebook page heavy with photos so its easy to virtually visit our exhibits in Germany from America


Dam, Stuhltrager Gallery
38 Marcy Avenue
Brooklyn, NY 11211