(of the curious type)

Mostly art + bits and pieces of my own work and notes www.michelleleewallace.com/

[mentaltimetraveller]

Tania Pérez Córdova, Dropped things are bound to sink  (Man flexing his biceps to show off his strength), 2012-2015

[mlwalla-blog]

Untitled (Universe) - 2014, Glazed ceramic, colour copy - 58 x 38,4 x 1,5 cm

México - 2014 Marble, plastic bottle caps, pot 48,5 x 33 x 19,5 cm

Person B - 2014 Ceramic, sim card 58 x 42,1 x 6 cm

[mlwalla-blog]

There's a fog over the sea, but the sun of hope waits behind the fog. Do you believe in me? Sing, you dream, live, live in the grayness. Hours and dust, sea urchins and leaves, climb my belief. Starting in the bloom of gray August, which builds for a rain-song in the fog, dread beloved, believe in me.

The Trumpets of Jericho Unica Zürn

[coast2coastahc-blog]

Rin Johnson

Various Light Games (America) Views 1-20, 2013 Kaiser Slideviewer and Slide 3 in x 2.5 in x 2 in

STATEMENT There are intersections between our lived experiences and our projected personas—we construct and fabricate, we pull and twist things incorporating that into our daily lives. At play in my work is the exchange between participatory fiction and the created reality that results from such fictions.  In my work, photographs are signifiers of thought not moments in time.  I place rigid aesthetic concepts to critique and extract iconic spaces. Any space can be iconic, from a bedroom to a statue. Our lives are filled with signifiers, but we do not often challenge them. We accept, we digest and we reflect. 

We see a photograph and we participate, we add ideas, we mimic, we become and then we reproduce. Notably, we replicate alone, we mime subconsciously only feeding off one another with our vision.  

We see, we change, we see. 

In the American civilized discourse certainly: we share without confrontation; we share and learn through observation. Experience is merely a matter of looking, thinking, and remembering. We hold whole private but public histories in our minds because we have seen them in photographs. We are Hannah Arendt’s private men; our spaces and lives exist only in our photographically informed memories. Our interpretations of a world we know but do not actually know are lines in light searching to be clad in  flesh and blood. This work is one of my attempts in ending that search.

[michelleleewallace-blog]

Que Sera, 2015

[mlwalla-blog]

But that was just a story. Reality is in the details and even if you can't predict what's going to happen you can't imagine how you'll feel.

Chris Kraus - I Love Dick

[michelleleewallace-blog]

Excited to be participating in this show loophole @ New Boon(e) this upcoming November! 

[mlwalla-blog]

Tonight!

[mlwalla-blog]

We live and act in the present, and yet it is the hardest moment to describe. The present is our ongoing, ever-changing moment of origin; a collage of everything; a multifaceted jewel made up of memory, feeling, thinking and whatever you’re looking at. I want my work to reflect this multiplicity of forces and dimensions, to embody both the immensity of everything and the impossibility of making sense of more than little bits at a time.

Amanda Ross-Ho

[laurel-laurel-deactivated201803]

8:53am - 8:59am / just minutes in between

[mlwalla-blog]

Luisa Lambri-esque

[mlwalla-blog]

[mlwalla-blog]

Scenes from Martine Syms: Vertical Elevated Oblique at Bridgett Donahue the show is up until November 1st.

[mlwalla-blog]

Sadie Barnette at the Studio Museum

[blackcontemporaryart]

Notes on Gesture

Martine Syms

“Everybody wanna be a black woman but nobody wanna be a black woman,” is a joke expanded upon in Martine Syms’s newest exhibition “Vertical Elevated Oblique.” The artist consulted a 17th century text Chriologia: Or the Natural Language of the Hand, in which John Bulwer proclaims: “the art in the hand […] chiefest instrument of eloquence.”

“Notes on Gesture,” investigates archetypal gestures through repetition. We see in the gestures that are repeated an identity being developed in the span of a mere two minutes — revealing the importance of these seemingly insignificant physical movements in identity creation.

Vertical Elevated Oblique Bridget Donahue 09/17/15 – 11/5/15

[crybabydiamond-deactivated20151]

Found myself lol

[mlwalla-blog]

George Trakas with Harry Shunk, János Kender  Untitled from Pier 18 1971 7 gelatin silver prints on board 20 x 26" (50.8 x 66 cm)

Collected here are four photographs by Shunk-Kender of the artist floating in his wooden boat next to the pier and one in which he can be seen far out in the river. Below these is a reproduction of one of Traka’s drawings of the head of the neighboring Pier 17, sketched from his vantage point on the boat. 

[blackcontemporaryart]

Ilana Harris-Babou

Cooking with the Uses of the Erotic, 2015

“In Cooking with the Uses of the Erotic,  Ilana Harris-Babou uses Audre Lourde’s seminal essay as a point of departure for an imaginary cooking show. With the help of her family she creates vignettes that are part painting, part appetizing, and part alchemical. The artist frames visceral, messy, scenes with studio lighting and HD video in order to ask questions about intimacy, violence, and consumption.”

more at ilanahb.com 

[hauntedbystorytelling]

John Fernhout :: Eva Besnyö at Charley Toorop’s place, Bergen,  1933-4

[hotparade]

Eva Besnyö - Selbstportrait, Berlin, 1932