recently organized yelling at the sun at Well Well Projects in Portland.
#jeremylegrand

Liza Roberts recently wrote (in Walter) about this Clemmons-based painter returned to his craft after a 30-year career in advertising.
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#frankcampion

In the (continuing) spirit of embracing one-word blog titles and contradictions, I call your attention to a word which means one’s sense of worth and which we also collectively use to point at an inflated feeling of pride in relation to others.
The word is on my mind because my internal sense of worth has been whip sawed a bit lately. I shared great news in my last post, in which I also mentioned that I’ve been in the process of searching for, but not yet acheiving, full time employment in my other profession (clean energy). While the reality is that input on my value from outside (either acceptance or rejection) does not change my worth full stop, and, is a pretty reductive binary anyway, the input certainly can and has bent my perception of the value I can provide. I feel privileged to be in a safe enough space in my life to recognize that a) while a choice between my work product and another’s is a binary, the reality of my relative value is almost certainly quite different, b) critical feedback presents an opportunity to grow and c) it is important to my wellbeing to remember “the wins” and invest in giving them attention at least equal to the time spent on b). As all of this relates to the Arts, I suggest you head over to Level Up Artists and check out their Artist Comparison Trap episode (#184).
For a lot of us the outcomes from November 5th are the 800 lb animal in the room lately. It’s not hard for me to imagine most of you, being Artists and Art lovers, lean (pretty far) to the left and view the outcome as a referendum on the worth of certain ideas and likely on those of us in this quadrant of the socio/political spectrum as individuals and groups. Ego gut-punch. I include myself in this while recognizing that I was not the target of the majority of the vitriol exhibited by the reactionaries among us. I also doubt I’d be the first person in your world to note that I’ve heard, read and seen evidence that the sense of worth felt by those leveling this valuation on a plurality, if not a majority, of their neighbors feel some feelings themselves about the worth they perceive they are being assigned in our society in 2024.
I’m dancing a bit with the intention of being objective about feelings (which aren’t usually based in reason) and definitely not making excuses for anyone. It’s probably too soon to talk about giving people grace for (I would say “rash”) decisions made from a place of fear. It’s not clear to me how to establish the trust needed for deep conversations when all of us- all. of.us.- are feeling so deeply wounded in our egos. I am trying to accept that the brashness and incivility (over-inflated outward projection of ego) is a sign of fear stemming from egos that are actually wounded, without internalizing said negative valuations as actually indicative of my worth. I’m dancing a little again, in my attempt to avoid diminishing anyone else’s right to feel how they feel (including rejecting grace and understanding entirely). The caustic version of all of this is it’s a fucking tragedy of the highest order that it seems like everyone is thinking “how dare you think you’re worth more than me.”
As I often do, I’ll end on the note that I didn’t intend this blog to be an answer or hypothesis. I’m stirring the pot by putting my thoughts down to collect them in one place in relation to each other, and hopefully make them work for me, and perhaps you, whoever you are- You. Have. Worth.
is an artist working in Boston and a Fine Arts Assistant Professor at Brandeis University. A through-line in her practice is the artist’s investigation into the ways that language is learned, shared, and adapted through processes of fragmentation and multiplicity. She was recently in Between Pixel and Pigment with Jacqueline and others.
#soniaalmeida

Meksin is a New York-based interdisciplinary artist working in painting, installation, public art and multiples. Born in the former Soviet Union, she immigrated to the United States with her family in 1989. Her work investigates parallels between the gendered conventions of painting, architecture and our bodies.
#leezameksin

is in Keep Feeling Fascination at High Noon Gallery with Tom and Ryan and Will and others.
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#jilllevine

Gallery C recently brought our attention (posthumously) to North Carolina Artist Anne Wall Thomas, a Southern artist with a Bauhaus Heart.
#annewallthomas

Michael Brennan at Two Coats notes Tappeto Volante Gallery’s retrospective of Bascha’s painting, selected and arranged by the artist herself.
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#baschamons

Below is “Ocean Panel (12/7/23-8/17/24 Marshallberg, NC)” in a really terrible photo which I took at Queen Street Magic Boat (where it was part of Death Planted a Garden). It is part of an ongoing project where Elsa bolts sheets of new steel onto a seawall at the North Carolina coast. The panels are submerged then revealed by tidal waters; the water, salt and air transforms the industrial surface; the metal becomes a clock, a landscape and map or graph of time passing in all its beauty and inevitable decay. According to their statement for the show catalog l, Elsa sees their role in this project as a curator or choreographer; setting a stage and parameters to capture the visual translation of a period of time; this project is a practice in embracing precious moments and also ritualistically letting them go.
#elsahoffman

Talia Shiroma at Two Coats of Paint thinks beauty has become an incidental quality in visual art over the last century, taking a back seat to, among other things, art’s expanded range of aesthetic values, its social and political dimensions, and capacity for novelty, and that Teak makes a case for beauty.
#teakramos

I imagine a lot of you are following me on Instagram, for anyone who isn’t or is just popping in for the first time, look for me there as well, please. It is different content from what I publish here, in particular I like to pretend I am the local beat writer, and regularly do fairly extensive posts about the exhibits that I have seen in my local area. Also, for those of you who don’t know where that is, I live in the Triangle area of Central North Carolina. What you have heard is true- it does, in fact, rule.
At the moment, I am spending a lot of my energy looking for another full-time job. Thanks to all of you who have asked about my search when you run into me. Also and, I am privileged and excited to get to work in clean energy and decarbonization!

It’s been great to have my practice to help sustain me during this time. Thanks (also) to those who have made time for studio visits to look at new ideas – I have moved in a new direction with my painting. I could probably have made 100 more paintings utilizing cubes, but not learned any more from it* (and- of course- I have learned so much). While this new body of work is still taking shape, the small piece above, “through”, (which is in the group show “12×12” at Artspacenc atm) is indicative. Yes, it is an homage to Albers, and also to the Light and Space artists. I think it will more clearly point audiences at looking, by being more directly about color. I hope it will allow me to more successfully foreground contradictions, and engage audiences in thinking about the many places in our life where holding two truths at the same time can be crucial for us moving “through.”
I am looking forward to a number of things as well ( did I mention my practice is sustaining me?). *I will get to put a “period” on a body of work that sustained me for 7 years next summer. Also and, I will be getting the chance to do some more curating in 2025, both of which will be group shows and located locally. The artists that have said yes to working with me are fantastic creators, and I can’t wait for all of us to share our vision with you. And in case you thought I couldn’t possibly be any more vague, I will be programming something with Tiger Strikes Asteroid in Greenville, South Carolina in the September-October timeframe. I will also have a piece in a show in Texas in December for anyone in Austin. More details to come – the kids call this a teaser, I think. Hope you’re looking forward to looking at the shows!