Artist Interview: DINA KELBERMAN

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DINA KELBERMAN

Intro & Interview by Shanon Weltman

She’s not sure what genre of artist to currently consider herself, but regardless, anything Dina Kelberman artistically creates is worthy of your time. She seems to always be involved in collaborative projects, including being a part of the art/comedy group Wham City, as well as her own independent creative pursuits. You can see her comics in Baltimore’s weekly City Paper, or online. Her astute observations make her a master at wit, and harvesting organized collections of internet images. Even the New Museum agrees. Dina took some time to talk to me about her recent projects, take some time to read about them.

 

SW: So first, what kind of artist do you consider yourself these days?

DK: I don’t know, I don’t really think about it. I’m definitely veering pretty heavily into a pure digital realm. I was focusing on comics for awhile and have kind of gotten less interested in that and just don’t do that as much anymore. I mean… I still have a weekly comic. But I don’t really draw outside of that. I’m addicted to the computer, so I’m pretty digital these days.

SW: The weekly comic, do you post it online or do you do it for yourself?

DK: It’s for the City Paper.

SW: Oh cool! I did see you posted some of those.

 

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DK: I’ve been doing it for awhile. I won the comic contest, like, years ago and they kept me around. It’s actually been like 5 years or something, which is crazy. I don’t long how much longer that’s going to last because every week I’m like ‘Fuck, I gotta do another comic!’ [Laughs]

SW: [Laughs] Cool!

DK: [Laughs]

SW: What were you saying about Adult Swim [earlier]?

DK: We did a thing with them about a year ago. Basically it’s my boyfriend, Alan Resnick, and our friend Ben O’Brien that are kind of the dudes heading up the stuff. They were doing comedy and going on tours and they started talking to a producer over at Adult Swim. We made a pitch for a show, we also pitched kind of a show version of an act Alan had been doing on tour and they picked that up. So, last year we made this one-off fake infomercial that aired at like 4 in the morning for a week. That was cool. Then we pitched another sort of 4am prank thing and we’ve somehow spent another entire year. It takes us 1 year to make a 10 minute thing, that’s our current schedule. We’re about to start to shoot our next 10 minute thing. On Sunday we start the actual shooting process finally, for a week, and it’s going to be crazy. [Laughs]

 

 

SW: Why does it take a year? That’s…

DK: …Because we don’t know what we’re doing. [Laughs] There’s so much back and forth with the network and so many people involved, that it’s like we’re still learning how to push things through and get everything organized. Moving with such a vast web of people that need to talk to each other and get back to each other. Hopefully that will speed up a lot [Laughs].

SW: Is it more like the ‘Red Tape’ kind of stuff versus the actual creative process?

DK: Yeah, the creative stuff, we’re pretty good at banging out. It’s just the administrative getting everything together, getting the network to okay things and then getting back and finding actors, it’s really crazy. I think when we have a bit more experience we’ll be able to make it happen a million times faster.

SW: Yeah, probably. Are you still involved with Wham City? Is there anything cool happening with them or any of the creatives you’re around now you’d like to share?

DK: Yeah, I mean, we don’t really do stuff as a group. This Adult Swim thing is pretty Wham City oriented, but it’s so far such a small thing that not as many people get to be as involved as we like. Hopefully that will expand and we get to include more people. Everyone is really doing their own thing a lot these days. Everyone was like ‘Oh fuck, I’m 30. I gotta have a life!’, it’s a lot less group stuff but we’re all hanging out.

SW: Alan is an artist also?

DK: Yeah, he does a lot of digital stuff. He’s really into 3D special effects, both the real and the behind the scenes aspect of it. The first thing we did for Adult Swim was this thing starring him, where a fake version of him created a digital avatar, a 3D model of his own head that he talks to and is trying to sell to people. But it doesn’t work.

SW: [Laughs]

DK: But he’s also actually building a 3D model of his head, so it’s this weird sort of blurred line with that. Then he does comedy with Ben, there’s a lot of comedy stuff coming up lately that people have been doing.

SW: That’s awesome. I don’t have cable, how can I watch this infomercial?

DK: You can see it online, if you go to AdultSwim.com. The easiest way to find it is probably the Adult Swim YouTube page. The other thing, the new thing we’re doing will be there eventually, too. It’s going to air in December, it should also be online. The 15th is our air date allegedly.

SW: Isn’t that pretty close to your birthday?

DK: Pretty close. You knew my birthday?

SW: I do. [Laughs]

DK: Wow

SW: It looks like, from looking at your website with Alan, you’re working on a bunch of projects? Which is really exciting. I’m just wondering, what inspired the ‘I’m Google’ and the ‘Our Findings’ database series? [Laughs] They’re really weird and I love them.

 

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DK: Oh cool! Well ‘Our Findings’ is like how Alan and I kind of became really good friends and then fell in love over the internet. One of our commonalities was that we were both obsessively watching ‘The Simpsons’ at all times. We started emailing with another friend of ours, Jordan Card, I don’t know if you knew her. She’s in Baltimore too. She was constantly watching ‘The Simpsons’, we were just all emailing each other funny screencaps. Alan and I both got really obsessed with the very abstract ones. We started focusing on that really heavily until we just decided to start collecting them all on this Tumblr. Which we’re still sort of doing, but now we’ve completely lost track of what we’ve already put up there. So, now every time we watch ‘The Simpsons’ we’re like, ‘Do we have that one? I don’t know. Did I get it?’ It’s become a really weird way to watch TV.

SW: [Laughs]

DK: [Laughs] But it’s very fun. ‘I’m Google’ is just the habit of wanting to collect stuff. Like, I have all of these folders of pictures I would find on the internet. I started making these silly Facebook albums of just batches of things and had sort of heard of Tumblr but didn’t know how it worked. I was like, ‘This seems like a good repository for throwing this stuff somewhere. I can transition them into this next thing’. That became the focus and I became obsessed with trying to do that as well as I could. I’ve just been doing that forever now. I still have like a million folders collected of all different stuff. I want to somehow get to these fifty pictures of pieces of squash but I can’t figure out how to get there. So. [Laughs]

 

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SW: Mmhm [Laughs] Have you worked on any part of that series and then discovered, like, the one perfect photo that you forgot about or found later?

DK: Oh God, that’s like my worst nightmare. [Laughs] It hasn’t happened too bad yet actually, surprisingly. I can’t remember. I remember one time I somehow ended up looking up a similar thing or I somehow was like ‘There’s the perfect squiggle of wires and I can’t go back and put it in.’ Sad, [Laughs] but that’s okay, I can move on.

SW: It sounds like you’re working on a lot. What is the most exciting thing happening in your life right now?

 

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DK: I don’t know? I’ve been doing this thing where I bought this Ice Cream truck kind of thing, a step-van like a UPS truck, and I have been converting it into a tiny house to live in/ art thing, which is super-fun. I had this dude that my friend recommended come down from Minneapolis. He cut the roof off and built a pointed roof, so it looks kind of like a Monopoly piece. It’s red. It has windows, I have a lofted bed in there, I’ve got wood floors and I’ve been slowly working on that. I’m basically, actually going to start living in it.

SW: That’s fucking cool!

DK: [Laughs] Yeah, it’s really fun! I’m so addicted to the computer I’ve been like ‘I like to build shit out of wood’, even though I’m not necessarily great at it. But it’s really fun! I’m building all these shelves and figuring out how to cram all my stuff into this little space. What I need and what I don’t need. That’s been the most exciting thing, it’s kind of life encompassing.

SW: Where is it sitting right now?

DK: Alan and Ben and I were all living at the Copycat, slowly building this. It was in the Copycat parking lot until basically yesterday. My friend bought a house a few blocks away from there and I’m going to start living in her backyard. Alan’s living in the house. I have a house I can go take a shit in if I really need to or like take a shower. [Laughs] If it’s getting too crazy in the van. But I’ll basically be out back. [Laughs]

SW: Cool!

DK: Yeah, we’ll see how it goes. It’s like we’re on the block right above North Ave, so I keep being like, ‘Is this insane?’ But it’s a pretty chill block, so I’m not sure how totally crazy this plan is going to end up being.

SW: Yeah… I don’t know, good luck.

DK: [Laughs] North Ave has chilled out a lot. At least over here.

SW: Two more questions. You’re kind of all over the place in a really good way. You said you’re not really sure what kind of artist you are. Who are your artistic influences? Throughout your lifetime, who has really inspired you.

 

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DK: Jessica Stockholder is my favorite artist of all time, for sure. Just because I love her use of color and space, formal stuff. I heard her talk a few times, she’s just very matter of fact. She’s just like ‘I love how these blue plastic buckets look and that’s it, that’s why I’m using them.’ I really get frustrated when people have these highfalutin answer reasons for things, I’m just like ‘C’mon you’re doing it because you like it.’ I don’t know much about Contemporary Art these days because I’m, like, in this weird bubble. [Also] James Turrell, Sol LeWitt, and Ed Ruscha.

SW: The last question. I might know the answer to this. If you could only wear one color for the rest of your life, what would it be?

DK: Wait, do you know that I only wear two colors right now? [Laughs]

SW: [Laughs] Yes, but I don’t think all the readers do.

DK: You’re making me pick between red and blue.

SW: Yes. You have to choose, which one? [Laughs]

DK: I guess I’d have to go with red. Blue is what I consider my favorite color, but I appear to like wearing red more for some reason. I’ll go with red. Let me know when I have to start doing it. [Laughs]

SW: No one is going to force you, but if you want to go ahead and do that, [Laughs] it’d be awesome.

DK: Yeah, once two becomes too much to handle. [Laughs]

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Smoking Barrel’s Bushwick Graffiti Criticism Corner

In this weekly series, I, Smoking Barrel/Genna Rivieccio (don’t make me choose an identity) will give you insight into some of the very coked out graffiti that tends to appear specifically in the Bushwick area. I will try to lend some sort of behind-the-scenes thought process to graffiti “artists” who genuinely believed what they were tagging was genius and/or made any sort of sense. At the end of each critique, three of the following grades will be given: Why are you torturing my eyes?, Marginal or I Want to Get What You’re Saying, But I Just Can’t.

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I hate to break it to Jeff or whoeva, but art is, unfortunately, not for everyone. Unless, of course, you’re in Bushwick and you dub the graffiti rantings of aspiring Neck Face types “art.” Furthermore, the only place on earth that truly adheres to the literal meaning of the phrase “Art is for everyone” is the Met, which allows you to see objectively fine works for a pay what you wish price.

As for the more symbolic meaning of “Art is for everyone,” which is to say that everyone can appreciate art, Jeff (who I may be falsely assuming created this graffito) could not be more off the mark, as most people, particularly those of “this generation” would much rather stare at porn on YouPorn than a masterpiece like “Guernica.”

Graffiti Grade: I Want to Get What You’re Saying, But I Just Can’t

Graffiti Location: Cook Street

Artist Interview: LOU PATROU

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LOU PATROU

Intro & Interview by Shanon Weltman

Looking at the artwork of Artist Lou Patrou, you almost wouldn’t believe his larger than life images are actually paintings, not Adobe Creative Suite digital masterpieces. He’s also designed an entire Patrou line of products that is not currently on the market, but hopefully will be soon. His kitsch-inspired art is equally sophisticated and bizarre, with killer craftsmanship. Seriously, I can’t believe some of these aren’t done in Illustrator – see for yourself.


SHANON WELTMAN: First question, what and who are your artistic inspirations?

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Priest

LOU PATROU: I like vintage toys, I like vintage ceramics. I collect a lot of old ceramics like old cookie jars, those kind of things that have a lot of anamorphic shapes to them. I also like old vintage glassware, things that have images printed on them or something. Not just simple glasses. Kitschy, bizarre things I’ve found over the years. I have a whole cabinet filled with that kind of stuff. [Laughs] I guess that has kind of rubbed off on me. If you look at the drawings, Hank and Sylvie, that’s where they kind of sprung from I guess.

SW: Ah yes, that was one of my questions. Who are they?

LP: A lot of the artwork on those old ceramics, the finishes are very, very smooth tones. Very pretty, smooth, rounded out tones. I didn’t know it at the time, but I was kind of [Laughs] really obsessed with a really slow, graduated tone. The black and white tones, which could be in any color. I did those with pencil, black and white. I’m actually doing a lot with Hank and Sylvie. I’m doing something right now, but most of the stuff I’ve done with them now for product applications and other things are all in color, even though the original is in black and white.

SW: How big are the originals?

LP: They’re 50 inches high.

SW: Oh wow.

LP: [Laughs] When I moved here [NY] from LA, I had more space. I lived in a really cramped garage apartment in LA for 20 years. I did a lot of good artwork there, but I couldn’t… the largest sheet artwork I did there on paper, was probably 24” x 30”. That was the biggest table space I could get in my kitchen there. I have a really large space here, I have two long tables put together. I like to draw on that, paint on that, lean over my work. I don’t know why, maybe it’s getting my face close to it. I never work with it straight up. I have a painting that I finished this weekend and I still haven’t seen it in any way but a flat, down position. I guess that would be weird to some artists. [Laughs]

 

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Hank and Sylvie

 

SW: Do you ever find when you do stand it up that it’s warped, or are you so used to working flat that it comes out the right perspective?

LP: I really figure that out well before I do it, I do a lot of practice drawings. I work from modeled parts and a lot of stenciled pieces for all the parts of the drawings and the paintings. I will take those and hang them on the wall and look at them.

SW: Ahh, that was my next question, to walk us through your process. What’s the next thing you do?

LP: Well, it takes a while to get to that. The whole beginning of it for me is just scribbling on a table. Doing spontaneous drawing and painting. That, for me, is when you just let everything go. You kind of act like your dowsing for water. [Laughs] You know, like those guys with the sticks, who thought they could find water. Just kind of empty their mind and walk around like they’re looking for something. I think most creative people that I’ve known do that same thing. Just kind of let your mind and your drawing follow whatever free flow, just to see what happens. You sort of pick up on that, analyze it and see if you like it or don’t like it, but you follow what your hand is doing and try to take after it. After I get a couple good ideas, I’ll try to see if it would work as a good idea for a finished piece of art. Each piece that I do, there’s probably about a 100 small drawings and then one of them you can see is the derivative. The whole thing came from that one idea. I think it’s the same for most people. See what you’re doing, find a way to scale that whole thing up and then polish it, see if you can make it into a finished beautiful piece.

 

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Delegates

 

SW: How long does it usually take you once you get to the part where you’ve enlarged it? How long does it take to knock out the piece?

LP: That is really slow. One of the reasons is I like to live with it a little bit. I have to watch out that I don’t live with it too long that I get bored with it as a concept and then get on to the next one or something. This painting I just finished, I started the idea about 6 months ago. It takes a long time, I don’t produce in high quantity.

SW: Do you work in oil?

LP: No, all the painting that I do is either watercolor or acrylic.

SW: Oh wow, it’s so smooth!

LP: Yeah, I like it because it dries fast. I can lean over it and I can lay in some color. It takes around, sometimes up to ten coats, opaque.

SW: Have you ever done any of your images as screenprints or any other kind of printing? It looks like it would translate perfectly for printmaking.

LP: I know! Interesting you picked that out, that’s exactly what I want to do with a lot of this stuff. Did you see the series called the “Raves”? That’s a complete step by step explanation of what I’m trying to say.

 

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Raves

 

SW: Ah, very cool! Did you do any of these faces in Illustrator? Is it really just that clean?

LP: No, they’re all [by hand]. If you scroll down, the third picture down is the final concept sketch, where you see the little green face on the left, and then the big stencil on the right. That’s the scaled up stencil for that. Does that make sense?

SW: Yeah!

LP: That little thing on the left, I messed around with that probably around 40-50 ideas like that. Then I came up with the idea of the side faces, those laughing half faces on the cheeks. That’s when a lightbulb went off in my head and I thought, ‘This is what I’m going to do.’

SW: Wow, I am so floored that these are all done in watercolor and acrylic. It’s beyond flat, so amazing!

LP: These are acrylic, the little thing on the left is watercolor. There’s four of them and my whole idea here was… I didn’t know, I was going to do a series when I came up with the first one, but then I said ‘Whoa, there’s too much I want to fool around with’. I wanted to keep the same exact face, but fill it in differently, you know? Like a cool set of barware or something. If you scroll all the way to the bottom you see the four. I can scan those and then punch out the background and then turn these into what you said before. I can turn these into another color process for t-shirts, for huge screen prints or something. Even on glassware, or plates.

SW: Mmhmm

LP: My ideas have kind of merged into like secondary applications to the art, after. My first parameter is to make something that will ultimately be in a gallery somewhere, on a wall. That’s why I don’t make Photoshop drawings or something, I make a real painting on paper.

SW: When did you start working like this? So graphically, with patterns, in this style.

LP: It started happening I guess a few years ago, but I’ve always made either tattoos or patterns on faces, I’ve always done it. For like 35 years or something.

SW: Where are you originally from?

LP: I was born in Rochester, NY. A long time ago.

SW: Cool! You just mentioned galleries and I see you’ve been in a few, what kind of advice would you give to other artists breaking into the gallery scene?

LP: I’m still breaking. For the first 30 years, I was never interested in promoting my stuff. I just kept it kind of secret. You know those stories you read about some guy who has done photography for 25 years and then he died, and they open up his apartment and they find 500 boxes of pictures and negatives? That’s me with my artwork. For the first 30 years, I never thought about being in a gallery, I didn’t want to promote myself, I thought I’d end up being a jackass if I tried to say hey look at me, or look at my stuff. [Laughs] I was too passionate about the whole thing.

 

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SW: What was the turning point?

LP: When I moved from LA I just started. I have a lot of age on my face at this point, I don’t know how many decades left I would have, I just want to start. I want to make it as a full-time career and I want as many people to see my stuff as I can. That thing, whatever that bug is where you want to self-promote, it just takes over. You see it on Facebook and Linkedin, people constantly posting their stuff — that’s what I do now. I didn’t even get anything into a show until 2006, so I am way behind these other artists that have been out there for decades. Selling and doing everything just to be able to build their resume. You know these long long resumes, thousands of shows. I don’t have that. I have the work! But I don’t have the shows on the resume.

SW: But it sounds like as soon as you did make the effort you started seeing results. Like you’re saying, it was just what you were putting in, in terms of your output. Because if you’re still making the work…

LP: I’m still doing it. And the weird thing is, or the good thing is, I have all the artwork. All those other artists, they don’t have any of their artwork. They pretty much just sold it off for nothing, in exchange for putting another gallery name on the resume. That’s what a lot of them do. There’s a catch 22 in this business of getting to where you’re an established artist, getting a lot of money. I only know a few living artists that really make enough money to make a living like that. Ron English, people like that, Kenny Sharp, who get $125,000 for a painting. You know, before the gallery takes their cut. Those are the guys that have made it like movie stars make it. I see these other artists out there, I see it everyday. They’re really incredible talents and they’re selling off these things, it just depresses me how low they have to sell them. These galleries, they don’t care, all they want to do is get a big name in there. Get foot traffic in the gallery and then try to make something, which is totally understandable. They have to make something. If the guy comes in there who has work it’s so awful it can’t sell, they don’t want to use that guy. If another guy at the other end of the spectrum, another guy comes in and says I want ‘X’ amount of money for these paintings, the gallery says, ‘We’ll never be able to sell it for that’. You can’t use that guy. That lower ground is where all the artists end up going. It’s really depressing to me. I don’t see a future in it. These galleries, I get calls from them. They want me to work up an incredible piece, but I can’t just whip out quantity like an abstract artist, or spray artist. I can’t just make fast crap and just ship it out. ‘Just give me $500 or $1500.’ I can’t do that. I live with these pieces like this is my family, these are my weekends, these are my best times. I spend months and months on one piece.

SW: That makes sense, that you would want your stuff to also be on products. It seems like the last thing you just said, seems more important to you. Like, things being around, in your home.

LP: Getting the image out there.

SW: Exactly.

LP: What I’ve figured out, in this game of publicity and press is, the artist who makes the most press can win. He can still win, because his name is out there. It’s getting your name out there. I could get my name out there if I had a lot of money, I would just buy a publicist and I would just buy a gallery in every city in every month and just have my own shows. I would just pay people to put my name on stuff. Sooner or later it just sticks, it’s like Angeline out in California. If you put enough billboards of yourself out there, sooner or later you’re famous for that. You’re something.

SW: Right. Your stuff, it makes me think you could be another Marimekko kind of brand.

 

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Watch Samples

 

LP: Everybody tells me those kinds of things. Here’s another idea, here’s some other stuff. Did you ever look at my product ideas?

SW: Yeah! The watches are amazing. I’d love one.

LP: I know, there are a lot of people who want to buy them. They email me, they want to order one.

SW: Do you have access to get those made?

LP: For me, it just comes down to money. Do I want to be a watch company or a t-shirt company? Do I want to have boxes of palates of t-shirts in different sizes in my room?

SW: Right.

LP: That’s what it comes down to, when you decide you want to be a manufacturer, then you’ve got to deal with returns, you’re a store. You’ve also got to market and distribute and fulfill that, that’s a whole business too.

SW: Oh I know. [Laughs] We also sell stuff, it sometimes takes a lot away from the artwork itself.

LP: And then you can make yourself look like a small timer too! Like you’re just a guy running an Etsy store too. I don’t want to do that. Plus, I don’t like selling. I like giving stuff away, I don’t like selling. I just don’t like it.

SW: I’ve got two more questions for you, they’re kind of unrelated to everything else. One, I was just wondering, what is your birthday?

LP: I’ll tell you the year, how about that? And month. It’s July, 1954. I keep the date just for identity theft…

SW: Are you a Cancer or a Leo?

LP: Leo!

SW: You seem like a Leo, from your art. Very fun, loud and colorful. Here’s the last question, on a super random note, also about a fellow Leo artist. What is your favorite Alfred Hitchcock movie?

LP: That’s a difficult question.

SW: [Laughs]

LP: The first one that popped in my head was “The Birds”. I don’t know how much it’s a favorite, I’d have to sit there and analyze myself over it. Know what I mean? [Laughs]

SW: I saw that when I was eight and it terrified me.

LP: Those movies! I don’t know how old you are, but when I was growing up and there were only three channels on TV, that stuff was big. Same with the “Twilight Zone” and “The Outer Limits”. You probably don’t remember those shows, right?

SW: I do! I do.

LP: Ah! [Laughs]

SW: I don’t remember them because I wasn’t alive when they were originally on the air, but I know them. I’ve watched them.

LP: “The Outer Limits” and Alfred Hitchcock, they were just pure quality. The whole family would just sit around and say nothing, just watch that stuff. It was good.

SW: Do you think you enjoyed his movies more or his tv show more? Hitchcock.

LP: Well, I think of his films… well they’re history makers. I worked in the film business for 20 years, I worked out in Hollywood. This guy is a history maker.

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Swooning Over Swoon’s Submerged Motherlands

by Genna Rivieccio

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Caledonia Dance Curry, whose equally unfathomable stage name, Swoon, was drawn to street art for the chance it provides to make an immediate and impactful change. As an alumna of the Pratt Institute before it was made a bit scarier for white people by Spike Lee’s rant about gentrification, Swoon understood all too well the pressures of being boxed in by the traditional timeline of most Brooklyn artists: get famous, have only rich as fuck people be able to afford your art and watch your talent atrophy as you try to appeal to buyers. None too interested in being a part of that whole scene, Swoon took to the streets.

 

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After establishing herself through the medium of wheat pasting, she took her career trajectory up a notch with 2009’s Swimming Cities of Serenissima a.k.a. she and a crew of thirty people infiltrated the Venice Biennale art exhibition with boats made primarily out of NYC-grade trash. The spectacle caused a delighted stir, and apparently elevated her to a high enough level of fame to secure an exhibition at Brooklyn Museum, which ended on August 24th. The theme of the show, Submerged Motherlands, focuses on the effects of climate change and how it directly interacts with populations on a daily basis.

 

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Using the same techniques for the boats from Swimming Cities of Serenissima, Swoon transforms the fifth floor of the Brooklyn Museum into a living, breathing ecosystem, chock full of her own signature prints and wall pastings, with some cut paper foliage thrown in for good measure. At the center of it all is an immense, hypnotic tree, with leaves that are also made from cut paper. The perfect focal point for tying together the rest of the pieces in the rotunda of the gallery, one could easily stare up at that tree for two minutes (which equals about twenty minutes in museum time).

 

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The delicate assemblage of materials is an homage to the wreckage caused by Hurricane Sandy in 2012, a storm that especially affected Red Hook. In many respects, viewing the exhibition is like witnessing the aftermath of the hurricane in real time. It’s as though Swoon has frozen that moment of calm chaos in the wake of the storm just for the rest of us to revisit or see for the first time.

 

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It is strange that such destruction can look so mesmeric, beautiful even. The to the point nature of the exhibit leaves you hoping for more, but knowing that this is all you’re going to get. A lot like the New York government’s financial aid for repairing the damage post-Sandy.

 

Genna Rivieccio is a Taurus, and therefore loves decadence. Tragically, writing is her passion, a job that pays very little and cannot accommodate her luxury needs. She has written for The Toast, The Airship, Culled Culture, The Burning Bush, Missing a Dick and Behind the Hype.