What’s Missing? / Yale Interviews and Resources for Artists - Your Weekly Digest
Published: Sun, 09/15/24
Updated: Tue, 09/17/24
Your Weekly Digest from Praxis Center for Aesthetic Studies
Sep 15, 2024
What’s Missing?
by Brainard Carey
Louise P. Sloane Patrician Blue, 1999 Signed, titled, and dated on the verso Acrylic paint and paste on panel 32 x 32 inches.
“The more you leave out, the more you
highlight what you leave in.” -Henry Green
Do you curate your life – perhaps without even consciously realizing it? For the most part, we all do this, selecting those things that make sense to us and leaving out the rest. And while the substance of what’s there carries meaning, equally significant – perhaps even more so – is what’s missing. Absences and omissions can
speak volumes. They can offer insight into many facets of our personalities and preferences, and they can even be a window into what we fear and keep at a distance. Taking stock of what isn’t there can be a great way to bolster your self-awareness.
GIDEONSSON/LONDRÉ joined us back in 2020 to talk about their collaborative work. They spoke to us from a small farming community in Sweden nestled in a mountain range near the Norwegian border. They had lived there for
five years at the time, making the conscious choice to live there rather than in a city. At the time, they were preparing work for a show dealing with aspects of immortality. Their contribution for this dealt with themes of conservation, including the subject of bog bodies. To learn more, listen to the complete interview.
Louise P. Sloane spoke to us recently about her exhibit, Back to the Future: The Paintings of Louise P. Sloane, on view at Spanierman Modern until October 26. The retrospective show encompasses work from 1976 through 2022. Early in her career, Sloane used beeswax as an inexpensive binder for her paints, creating a melted mixture into which she would pour her pigments. She applied this to canvas stretched over mason board, or, when she was feeling impatient, she would paint directly on the mason board. These
earlier works are represented among others in her current show. To learn more, listen to the complete interview.
Katherine C. M. Adams is a writer and curator based in New York. She is currently Associate Curator, Time-Based Visual Art, at the Curtis R. Priem Experimental Media and Performing Arts
Center (EMPAC) at Rensselaer Polytechnic Institute. At EMPAC she works on commissions across time-based visual arts and performance, curates public programs, and produces discursive projects that engage critical perspectives on technological conditions of contemporary art.
Truth can be tricky, especially these days. We live in an era of deep fakes, AI, competing narratives that can leave you feeling confused about who – and what – to believe. Where does art come in? Is it still a relevant part of the conversation? Absolutely. Art has a place at the table, whether as an escape from the chaos of
our age or as a vehicle of truth itself. Create boldly and get your work into the world. Here are a few upcoming opportunities to do just that.
These are positive and / or negative reviews of galleries, art fairs, consultants, writers, online pay to play
offers, residencies and more – all written by artists so that other artists can beware of situations where institutions treat artists badly, or that end up costing the artist money or are outright scams.