Just like the modernists evaluated the canvas and paint, itself, I began to evaluate and deconstruct the blanket.
Pirates and Farmers largely deals with Hickey's disillusionment with the art world that he helped create. Readers might even consider it a book-length resignation letter, except that it was published a full year after Hickey announced his alleged retirement.
The mural depicts a person in front of a row of shotgun houses, holding a grocery bag and a newspaper that reads “Dare to struggle; eat to win!” The image revises an artwork by Emory Douglas, former Minister of Culture of the Black Panther party.
When Brooke Sinclair of the Houston Food Bank pointed to Mark Menjivar’s photo of a refrigerator stuffed with Styrofoam takeout containers and said, “That’s what my fridge looks like,” I wish somebody had taken a moment to pause and ask, “And what does that say about you, and the society we live in?”
A painting of mine has left on a cargo ship for the North Coast of Africa. When it wishes to arrive it will contain colors and marks made by handless children I grew up with at a younger age.
Chris Cascio is unsane. Chris Cascio will get carpal tunnel. Chris Cascio’s skin is a bluish gray from basking before his computer screen. Chris Cascio is a tall emaciated Smurf Krishna. Chris Cascio blows through more X-acto knives in a week than you will in your lifetime. Chris Cascio will cut you paper dolls but you’ll want the leavings, the negative space, the doll-shaped wholes more than you thought passible.
In the early 19th century, a Frenchman named Alexis de Tocqueville toured the young US and wrote a book called *Democracy in America* which remains pertinent, relevant, and telling to this day. Sometimes it takes an outsider's eyes to show us how we really are.
DEJARTE - NO QUIERO // // LLEVARTE - NO PUEDO
I don’t want to leave you behind, but I can’t take you with me.
A meditation on love
Mixed media: heart, liver, guts, blood, skin, fur.
is famous for not idealizing art and is part of
a movement called "the invisible". This is the artists
first piece in the Biennale
There is a drive by ‘administrators’ to instrumentalize arts practices: to make art serve some kind of utilitarian function — to press aspects of art making into service, whether in engineering, or what have you, whilst ejecting the free thinking that goes along with art practices. There is a drive to make art practical. I wanted to create a living research space — or at least a space for thinking to occur — free from bastardization.