Cynthia’s Technicolor Dream

December 10th, 2013

Process Video, by Cynthia Stanchak


My encounter with Cynthia Stanchak was a long time coming. We’d had some near misses with emails and friends recommending that we connect. Finally, in October 2013, we sat together in the 38|39 gallery space, which was filled with a collection of her paintings, both new and old.

Cynthia’s painting process was formatively developed around a collaboration with freelance photographer, Bill Daniels, on his farm property in Iowa. Their relationship was one of easy attraction. Their process naturally flowed from Cynthia’s artistic vision, balanced with Bill’s photographic know-how, and the physical inspiration at their fingertips. (Namely, a panoply of rusted metal tools and scraps.)


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“Plethora” Collaboration @Soapbox

August 21st, 2013

image-3PLETHORA is a collaborative performance work by three female artists: New York-based performance artist Lia Chavez; and Los Angeles-based painter Linnea Spransy and sculptor Maggie Hazen. “During the course of Plethora, vacant space will become a complex installation art piece via small repetitions, endurance performance and hidden activity.” The cumulative exhibit is on view August 15- 30, at Soapbox Gallery in Brooklyn. 

Plethora brings together the presence of three complex women and their artistic production. Throughout the duration of the exhibit objects will be added, illustrations will grow, and all three artists will spend significant time within the white cube and interior gallery space. Mingled together, the result of intertwined efforts is something akin to a fairy-tale pop-up book, a battle ground, and a kind of vigil.

I was so honored, this week, by the opportunity to glimpse their physical (and thoughtful) processes.

Like many women, their paths have been informed by the presence (and absence) of other women. Their models range from canonical artists, teachers, authors, philosophers, and bold political figures. Lia, Linnea, and Maggie have developed distinct practices through personal moments of curiosity, creative prowess, and through collaborative interactivity, such as Plethora.

Below are some of their own words. EXPAND POST

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Art, Curating, and Thoughts with Cecelia Stucker

June 19th, 2013

Cecelia StuckerI first met Cecelia on the last evening of the Spring/Break Show,a curator-driven art fair at the Old School (a NoLIta schoolhouse turned venue.) Though we had just met, in typical New York fashion, it did not take us long as our conversation almost instantly led to our exchange of thoughts about art and artist circles. Because the night was rather short, we decided to meet again on a sunny day afternoon, the first sunny day of spring.

Cecelia Stucker  is an independent curator and the director of CC: Curating & Collections, traveling back and forth between New York and Los Angeles while curating shows in the United States and Europe. Wearing several hats in the art world, she has a background in art conservation, art business, and art history. Cecelia is a hybrid or  jack of all trades – but in her case, a master of all. Let us step into the world of visual art, curating, and thinking through Cecelia’s lens, where life and curating meet.


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Loving Rebecca Chamberlain + the “living” space

March 13th, 2013

Right before I started my first year in college for art history, someone told me that the best way to learn about an artist is to think of him / her as someone who you would fall in love with. Looking back, it is ironic and rather cliché that I first came cross Rebecca Chamberlain’s work by coincidence on a rainy day. I was wandering around the lower east side and just like other love stories, there must have been a series of unlikely circumstances which brought me to meet her (work). As an art history student, all my love was devoted to portraiture both in sculpture and paint. However architecture slide lectures were the most challenging to get through while staying awake. The gallery representative triggered the curious bug in me as I complimented the space, (which used to be a sausage factory.) It was after our interaction that I walked down the black spiraling metal staircase and officially met face-to-face with the Homatorium I exhibition. EXPAND POST

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