Critical Distance

The Decor Project: White on White: Hadley Howes and Maxwell Stephens
June 7 – July 5, 2003

a response to the exhibition by Risa Horowitz

It is an odd experience, inviting visitors to my home. When the visit is over, I sometimes find myself wandering through the space wondering how it might appear to an outsider, being accustomed as I am to myself and my ways and unaccustomed as I am to newcomer socializing. This experience has been turned on its head by Hadley and Maxwell’s takeover of my dining room, the necessary prelude to their gallery exhibition The Décor Project: White on White.
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patiently shocking the real

Supplies: Jennifer Stillwell
April 12 – May 10, 2003

a response to the exhibition by Doug Lewis

It’s been a somewhat difficult beginning – trying to put pen to paper and write some intelligent thoughts on Jennifer Stillwell’s new work…which I have yet to see. Her most recent installation at aceartinc., entitled Supplies, 2002/2003, has remained ellusive up and untill the opening. The reason is due in part to how Jennifer makes artwork. Her process is one of situation, beginning with efforts grounded in the practice of neo-reductionist methods and followed up with a combination of stubbornness, grit and the sheer action of doing. Jennifer Stillwell prefers the challenge of the site-specific installation (that can be an artform in and of itself). As site specific installations go, each, of course, is different from the next and most certainly differing from the last. After considering various possibilities, I thought that my response to Supplies had to somehow reflect the kind of effort and respect to method that Jennifer puts into her work.
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Critical Distance

Machination: by Jo-Anne Balcaen
April 12 – May 10, 2003

a response to the exhibition by Daniel Barrow

Jo-Anne Balcaen’s installation begins in the tawny, wood-paneled stairwell of 280 McDermot. It’s an attractive space with high ceilings and a noble, oversized banister. It has become a point of character at aceartinc., and has attracted other installations in the past. In “Machination”, Balcaen shrewdly uses this space to preface the body of her installation which waits at the top of the stairs. Continue reading

patiently shocking the real

Scale: Erika Lincoln
February 1 – March 1, 2003

a response to the exhibition by Reva Stone

Perception = awareness, discernment, observations, reading (view, opinion, picture, slant, assessment, experience
(knowledge, occurrence, feel))

How do we represent this fundamentally participatory mode of experience?

We become aware of thinking only in those kinesthetic moments when we actively bind the sights, savors, sounds, tastes and textures swirling around us to our inmost, feeling flesh.1
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