I haven’t posted in a long time… but I started reading this. It lays out how artists are exploring the dark side of technology, through geospatial, critical theory, and poetics.

NEA GRANT TERMINATION TRACKER

*please repost or forward* Here’s a sheet where arts orgs can record information about their NEA grant termination. Annie Dorsen is collecting this info as a first step towards coordinating a response docs.google.com/spreadsheets...

If you are a visual artist whose NEA grant was terminated today, I want to talk to you for ARTnews. You can contact me on Signal at karenkho.45. I can grant anonymity if necessary.

Okay! She was WILDLY dense… but! There is a breakthrough topic in this book, and it’s that graphic design interfaces often are treated and designed like print syntax. And it poses the “what if?” possibilities of new visual language when breaking that mold.

She’s dense but I’m learning so much about data visualization.

A Group of Friends Walks Into a Mall, and Stays for Four Years Was it a crime? A prank? A work of art? A new documentary unveils the full story of an artist collective’s secret mall apartment, and other ephemeral actions.

In 2003, a group of artists secretly moved into a 750-square-foot space in a large mall in downtown Providence, Rhode Island. They didn’t expect to stay more than a day, a week at most. But they stayed for four years.

It was incredible to be showing work alongside peers in the Tactical Communications portfolio, that will be exhibited this year at SGCI Puerto Rico.

This research I’m doing with the Philadelphia AIDS Library Archives is really showing how much information is weaponized in climate and sustainability focused initiatives. The world is wild man!

The hardest part of archive researching, is the mental toll it takes to spend four hours reading articles and looking at images of people who have died from the aids crisis. I feel like I need a beer after each research session this week.

Research say with the Philly AIDS Library archive at temple university.

Philadelphia is incredible.

I leave for Philly tomorrow to do a big pate de verre casting at my alma mater tyler. I’ve been researching the crisis hickory nut gorge green salamanders are facing from silica mining in Appalachia. This image will be screen printed with glass powders and fused in the casting

How are artists centering pleasure in their practice? What are the ways that love and joy in the studio become pivotal to the work you make?

I swear, I will never understand how to work with the algorithm on photo socials like Instagram

You right!

I wish Cy Twombly was still alive 💕

Something I always struggle with with my studio practice, is boredom. And in turn, I start 12 bodies of work at once

I’m doing new work on the archives of Our Own Press, a community LGBTQ+ newspaper, by printing and drawing on trashed signage material. I can’t wait to share this work with the world and to continue dumpster diving for more materials.

That’s a great way of stating. Sometimes art needs to be put in drag, other times it just needs to wear new balances and solid colored tee.

Like there are totally different stakes making a print 8” by 10” verses 22” by 30” verses 10ft by 10ft, with their own material limitations AND conceptual undertakings. Teaching is hard man…

Totally, and I do that too. Sometimes they are just like “I like working small” and when I ask them what the choice to do a work small does the work conceptually, they are dumbfounded. So I’m more curious into the ways that size can interweave concept.

Educators: what are some of the ways you are introducing discourse on scale and size to your students? I’m finding it challenging to get students to do things larger, so I’m curious what sorts of readings or exercises you do to have them conceptually consider size with their work?

It was in my universities library!

I read Gregg Bordowitz text in General Idea’s “Imagevirus” the iconic design that has been used in countless iterations. This text was fantastic, and brought a new lens for considering how poetry, and art history informed this work.

Snow day in the print shop

This was so good. I will never look at Olive Garden the same way again!

How do you manage the unreasonable expectation of participating in 5+ group shows a year when you have an impending solo exhibition that requires tons of research and energy?

Love Stephanie Syjuco!!!

I didn’t realize your first year of teaching is full of so many growing pains.

Most weeks are great, but this is one of those teaching weeks where things are just not coming together in line - students aren’t reading project sheets or coming to class prepared. This is so hard in the foundation level courses because there is so much to cover!