Monthly Archives: June 2013

On Making

Articulate: Call for Submissions


Articulate is a series of exhibitions-in-print organized by myself and artist Emily Smith. Please consider submitting work for our next limited edition book and pass this call on to any creatives you think may be interested. Thank you!


In her essay “Art Objects” Jeanette Winterson makes the comparison between experiencing a powerful work of art and falling in love:

Art, when it happens to us, challenges the ‘I’ that we are. A love-parallel would be just; falling in love challenges the reality to which we lay claim, part of the pleasure of love and part of its terror, is the world turned upside down.

That art challenges us to see the world from another’s perspective and to risk our own fixed understanding of reality is just one of the ways that the intangible and slippery concepts of art and love overlap. For this issue of Articulate, we want to explore this relationship further: where, how, and why do love and art intersect?

This question could be interpreted in any number of ways. How would you articulate this great intangible? What emotional risks are you willing to take in your practice? How, if at all, does love drive your work? Would you liken your art-making process to flirty foreplay, making love or a committed marriage? How does care and closeness play into your understanding of craft? Who or what is your muse? How can love distort or enhance perception? Have you ever just wanted to make the visual equivalent of a love song? This is your chance! Whether detached, bitter, longing, tender, bewitching, ugly, or banal, show us how you perceive the experience of love (and love the experience of perceiving). We are interested in artworks that take an honest and critical look at some aspect of love, whether the word, the experience, or the fantasy.

In addition to addressing the idea of love, all submissions should actively engage the book format. This will be a limited edition publication (we currently plan to produce 200 copies) and we encourage submissions that have handmade or online elements or that otherwise expand and explore the boundaries of a book. Text based pieces are also encouraged, but we ask that you consider the design aspects of the page. Please submit proposals to by July 30th. Accepted artwork will be due September 15th. Please contact us in advance with any questions.

Proposals should include a brief description (200 words max, could also include a jpeg) of the proposed artwork and an articulation of how this work engages the theme of love (200 words max). If your submission will involve a handmade element, please include an approximate budget for the materials needed for 200 copies. Please also submit a link to your website or one or two jpegs of previous work.

Articulate is a series of exhibitions-in-print organized by artists Alex C Moore and Emily Smith. The online components from the last edition can be seen on our vimeo channel.

New York On Viewing

Freelancers & Farm Animals

Lydia by Hope Gangloff

Lydia by Hope Gangloff by Hope Gangloff

I have not posted here for almost two months. This has not been for a lack of art viewing, but perhaps the opposite: the sheer volume of visual information I ingested in New York temporarily overwhelmed my mind’s receptors. I was exposed to a whole mess of contemplative puzzles that are still milling around my brain, waiting to be carefully extracted and examined. So while my analytic brain is recovering, I want to joyously wallow in the sensory pleasure of some pretty and brooding paintings.

That is not to say that Hope Gangloff‘s paintings are unintelligent–they are eloquent and articulate portraits of not just the individuals they portray but of a particular slice of life in the northeast that is furnished with outdoor showers and Adirondack chairs, and populated by freelancers and farm animals–but unlike much contemporary art, they require no further narrative or explanation. The pleasure in these paintings is immediate and unfolding.

Study of Olga Alexandrovskaya by Hope Gangloff

Study of Olga Alexandrovskaya by Hope Gangloff

Hope’s paintings are a little too hip–her subjects are beautiful thirty-somethings, living in rustic Americana, surrounded by delicate patterns and vintage clothing–but I don’t begrudge them that. The paint sings and pulses on her canvases. She creates whole individuals, teasing out their quirks and their inner life, noticing the little details that make a moment or a person specific.

According to the New York Times article, Why Music Makes Our Brain Sing, when listening to music our brain anticipates chords and climaxes based on our previous musical experiences. This sense of anticipation adds to the pleasure of listening, and our brain rewards us further for recognizing patterns and making accurate predictions. Is a similar mechanism at play when we view paintings…Is the brain rewarding us for successfully building a cohesive image out of a field of abstracts dabs? Is our mind so in love with patterns that the mere presence of a well painted stripped skirt sets off reward systems? I imagine that there must be an evolutionary advantage to being able to look at a human and hypothesize on their interior state of being, but why the hypnotic pleasure of staring at blue and pink snow?

I will research the neuroscience of  visual pleasure another day. For now, I just want to enjoy it.

May-December Romance

May-December Romance by Hope Gangloff