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“THE WHITE CUBE” By THOMAS MARQUET #8: Thomas Marquet’s comic strip about life in a gallery. “The White Cube” comics can be read in series in the Big RED & Shiny Collections section. Thomas Marquet is a cartoonist, sculptor, and critic, based in Brooklyn, New York, which is an admittedly unoriginal place to be pursuing any of these things.
By ANONYMOUS ART DEALER Q: When should I increase the prices of my paintings? I just recently got into 3 group shows and a few friends think I am pricing my work too cheaply. Thoughts? A: Wow, a lot of pricing questions…But, another good one. First of all, never listen to your friends, family, or other artists about pricing your work. Ok, maybe if an artist has lots of experience, they can help. But overall, these people are doing their best to show you support but are most likely not thinking about…
By MATTHEW GAMBER This past Thursday, Big RED was one of many press outlets given the opportunity to view the new Diller Scofidio + Renfro building, the new home of the ICA. While workers were continuing to add the finishing touches to facility, we has an opportunity to tour the building with Ricardo Scofidio and Jill Medvedow, who spoke of the conceptualization that went into the to what we were seeing. From the renderings and the preview images we have seen throughout the past year, we were expecting nothing less than the…
By ARTHUR WHITMAN Drawings and “works on paper” are popular these days, not simply as a medium, but also as an artistic, and perhaps more significantly, a curatorial theme. For example, in the winter of 2002 and 2003, the Museum of Modern Art (then out in Queens) put on Drawing Now: Eight Propositions. Organized by Laura Hoptman, that show attempted to bring some provisional order to bear on the diversity of contemporary drawing. The work there was uneven, often featuring lesser work by well-known artists. More significantly, for my purposes here, the…
By CAROLYN FRANKLIN Deb Todd Wheeler’s exhibition at Green Street Gallery is one of those shows that stays with you, nibbling at the edges of your mind, forever asking unanswered questions. It is a show that is part whimsey, part mechanical science, and part utopian dream. Where does one begin to write about a show that requires its gallery to post this request? We need Volunteer energy generators!! Central to the installation is a modified bicycle, which is hooked up to a generator and various rigs, gears and pulleys. By pedaling the…
By PHAEDRA SHANBAUM Animated documentary film is not a new idea. Traditionally animation was used in documentaries and instructional videos as visual portrayals of abstract ideas, or as a representation of an artifact that no longer exists, such as demonstrating a DNA structure, or the re-creating of dinosaurs. The use of animation within a documentary film in the digital age has expanded on the traditional uses, and has taken on a new life creating new genres within the field. By definition, animated films are a fictional product, but when combined with biographical…
By CHRISTIAN HOLLAND Note: This piece is the third and final of a series of interviews by Christian Holland with the four 2006 finalists for the ICA’s James and Audrey Foster prize. Previously he interviewed finalists Kelly Sherman and Jane D. Marsching. Christian Holland: What would the ICA mean for you both as Artists? Or as individuals? Rachel Perry Welty: I haven’t gone there. I’m just trying to get the show up and make the best show that I can and that really is what I’ve been totally focused on. CH: When…
By When Colin Rhys announced that he would be moving Rhys Gallery from his loft on Northampton Street to a plush new space on Harrison, adjacent to the SoWa complex, there were a lot of questions. Would the gallery continue to show the wide range of work it has become known for? Would it succeed commercially? Could it compete in shadow of the SoWa building? Many of these questions, it seemed, would be answered by the bigger question: who would he choose as the director? Lydia Ruby seems to be the ideal…