This week Dana Bassett and Duncan Mackenzie catch up with the artist Ben Stone. We are joined thanks to Artadia by special guest host (whose name Duncan has been mispronouncing for years and to his shame this continues here) Elysia Borowy-Reeder Executive Director of MOCAD ( Museum of Contemporary Art Detroit).
We catch up with Ben during the intense run up to his solo show at Western exhibitions which is up now through September 16, 2016. In a rich conversation we chat about things work, humor and contemporary art, violence, sports, and the magic of therapy.
Geoffrey Todd Smith,
The Score Sports Talk,
Untitled Art Fair,
Belle and Sebastian,
Your guide to partying for a good cause this Spring.
Nothing says Spring like “Gala,” WTT? couldn’t be more excited to see the ice finally THAW. Speaking of, have you bought tickets for the Links Halls annual spring fling? It’s on April 4th, and really more like a three-storey drunk performance art odyssey than a party. Last year I got an sickening sparkly free mani from Aiden Simon at the Girl Don’t be Dumb salon, went inside of a space photo booth, saw Hope Esser ice skate on soap and watched more burlesque than I’d like to admit. For performance art, it’s not too weird, it’s really fun and it’s not that expensive for how open the bar is, what more could you ask from a Thursday night? And the inclusion of DJ CQQCHIFruit and La Spacer this year? Too much.
Enough gushing. Clearly, this benefit season is going to be huge, but don’t worry, WTT?s got you. Here are some notes on the best auctions and charity bashes around, in my not-so humble opinion. Can not wait to see what everyone looks like without a coat on!
Spotted: Todd King getting his feet did at THAW in 2013. Andrew Mausert-Mooney does his best Jesus in the front.
LVL3’s annual benefit auction is known to bring great names at reasonable prices with all works starting at $30. Past years auctions have featured Jon Rafman and Israel Lund amongst others. This years is no exception. We also love the LVL3 auction because the raffle prizes are copious and always awesome and it doesn’t hurt that each year the event benefits local non-profit, Arts of Life. Learn more about the auction and the organization here on the LVL3 website. Full disclosure: I take no prisoners on the auction floor. The event takes place on March 29th from 6 to 10PM at 1542 N. Milwaukee Ave. Last bid is accepted at 9:30PM so be on time!
Summer Forum : Hosted by TUSK
Sandwiched comfortably in-between the LVL3 and R&C auction is the Summer Forum fundraiser and art auction at everyones favorite bite-sized boutique, TUSK. There are quite a few repeats from both LVL3 and the R&C auction, though it doesn’t look like anyone got the hat trick. E-Dogz will be on hand, serving some serious benefit crossover and unlimited food with the purchase of a ticket ($25 presale or $35 ATD). Advance online bidding begins March 31, and the IRL event starts at 7pm on Saturday, April 5th at TUSK, 3205 W. Armitage Ave.
Roots & Culture 8th Annual Spring Gala
You don’t have to be Hamza Walker to know that Roots & Culture’s Eric May throws some of the best events in Chicago. Did someone say sangria and tapas? The lineup for the auction is pretty impressive too. Britton Bertran wasn’t kidding when he called the night’s auction list an Who’s Who. The List features some of my favorite Chicago art luminaries and at least one Whitney Biennial-er.
oh shit! – @RootsandCulture announced their auction fundraiser for May 3 (always a Chicago's Artist Who's Who aka The List)
Iâ€™d tell you who I’m excited about seeing at the auction, but I want the art all for myself! Find out yourself, the auction takes place May 3, from 7-11PM at 1034 N. Milwaukee Ave.
Spring benefit season is bookended by major heavy hitters with Threewalls rounding out the season. Another reliably good time, this year’s gala is being held in the spacious digs down south at Mana Contemporary. The full lineup hasnâ€™t been revealed but, I’m jazzed on the news that DJ Earl (who you might have read about in the last edition of the T) will be there. The details might still be a little fuzzy but you can already buy tickets on their site. Looking forward to finding out what a Gunnatowski â€œwearableâ€ looks like.
FLASHBACK! Trending artist Jesse Malmed (right) with Trunk Show co-director, Raven Munsell (left) and artist Jason Lazarus (center) at Salvage One last year for Threewalls Spring Gala.
The Weatherman Report
For Chicago IL
Charles Ephraim Burchfield, Early Spring, 1917, Watercolor and graphite on paper, 21 Ã— 28 1/4 inches. James Goodman Gallery.
Bad at Sports finally trending.
What’s the TRENDING?
The Equinox is Totes Normcore
Pillows: After being relegated to cameos in the backgrounds of painting and photographic portraits for centuries, pillows are finally stepping out on their own. Last week during the Whitney Biennial/ New Yawk City hullabaloo the internet was plastered with images of the biennial and various fairs, but nothing stood out more than the freaky pillows of Bjarne Melgaard at the #WhiBi. With the help of NY based artist and collaborator Amanda Browder, Bad at Spots finally reached the cutting edge with their Volta bed-in installation and recording booth. As if the original Richard and Duncan aren’t creepy enough on their own, Browder created life-size pillow versions for the Volta booth. Good work, team!
Detail of Norwegian American artist Bjarne Melgaard’s cracked out living room installation. Image by Hyperallergic.
Browder with pillows only a mother could love.
Jesse Malmed: Usually it’s difficult for individual artists to be in enough places at once to qualify as a trend, by that’s no problem for trending artist, Malmed. The co-director of Trunk Show and UIC grad student must not sleep. This past weekend Malmed did double duty at the MCA, as one of The Nightingale programmers on Friday night and then again on Saturday for his own presentation of selections from The Body Electronic: What Television Taught Me about Art, a live televisual lecture performance. Trunk Show also hosted an opening/ 5-act play by artist Brandon Alvendia outside the Multiples fair on Sunday and whatever HALLWALLS2 is had an opening on Monday afternoon. And that’s just over four consecutive days. If you’re interested in getting in on the Malmed Madness, and you clearly should be, the artists’ MFA show at UIC is opening on April 18th. If you feel like waking with the sun tomorrow, he’s also hosting a dawn equinox performance, more info here.
A graphic, editorial overview of art, artists, and visual art events, found in and around Chicago over the course of the preceding month. All artwork copyright original artists; all photography copyright Paul Germanos.
Daniel Shea @ Gallery 400
Above: Daniel Shea with his photography in Gallery 400, as seen on April 13, 2013, at the closing of UIC’s third MFA exhibition.
Above: Christopher Ottinger, background, at the opening reception, his uncovered, kinetic light art seen rotating in the foreground.
April 12 – May 2, 2013
Chicago Artistsâ€™ Coalition
217 N. Carpenter St.
Chicago, IL 60607 http://chicagoartistscoalition.org/
Lossless @ Chicago Artistsâ€™ Coalition
Above: Matthew Schlagbaum’s kinetic light installation visible within its smoked vitrine housing.
April 12 – May 2, 2013
HATCH Projects Residency
Chicago Artistsâ€™ Coalition
217 N. Carpenter St.
Chicago, IL 60607
Curated by MK Meador
Artwork by Jordan Martins, Matthew Schlagbaum and Theodore Darst http://chicagoartistscoalition.org/
The Wail of Silence @ ROOMS Gallery
Above: Alex de Leon lifts her veil in “Ritual No. 4 – Toll of Eyes,” a three-hour performance, 7:00-10:00 PM, March 8, 2013.
Above: “Psychosexual” curator Scott Hunter in the foreground, with artwork, left-to-right, by Nazafarin Lotfi, John Neff, and Peter Otto, visible in the background.
Above: Artwork by Peter Otto, Rachel Niffenegger, and Brenna Youngblood, seen left-to-right in Andrew Rafacz Gallery.
April 6 – May 25, 2013
Andrew Rafacz Gallery
835 W. Washington Blvd.
Chicago IL 60607
Curated by Scott J. Hunter
Artwork by Lutz Bacher, Tom Burr, Edmund Chia, Matthias Dornfeld, Jayson Keeling, Jutta Koether, Nazafarin Lotfi, Jeffry Mitchell, John Neff, Rachel Niffenegger, Peter Otto, Kirsten Stoltmann, and Brenna Youngblood http://www.andrewrafacz.com/
Lauren Edwards & Kera MacKenzie @ ACRE Projects
Above: Lauren Edwards and Kera MacKenzie, participants in UIC’s first MFA exhibition of 2013, seen within their subsequent show at ACRE Projects’ home site in Pilsen.
Lauren Edwards & Kera MacKenzie
“Burden of Proof”
April 14 – 28, 2013
1913 W. 17th St.
Chicago, IL 60608 http://www.acreresidency.org/
Michael Ian Larsen @ PEREGRINEPROGRAM
Michael Ian Larsen
“The Tree, the Gift, and the Amphibian”
March 10 – April 7, 2013
3311 W. Carroll Avenue, #119
Chicago, IL 60624 http://www.peregrineprogram.com/
Tina Tahir @ Gallery 400
Above: Tina Tahir at her closing reception with the installation “41.876503,-87.649666,” an ornamental ‘rug’ made of ash and magnetite mineral, whose title provides its GPS co-ordinates. Intentionally made available to foot traffic throughout the course of the exhibition, said piece is shown disturbed from its original state.
“A strange house in my voice.”
2013 UIC Art MFA Thesis Exhibition 2
April 2 â€“ April 6, 2013
College of Architecture and the Arts
University of Illinois at Chicago
400 S. Peoria St.
Chicago, IL 60607
Artwork by Cameron Gibson, Ben Murray, and Tina Tahir http://www.tinatahir.com/
Laura Wennstrom @ The Peanut Gallery
Above: Gallery patron interacts with Wennstrom’s “Block City” during the opening reception; cameras hang ready to document the action.
Jesse Butcher & Anthony Romero
“Cyclical, Circular. Like Vultures.”
April 6 – 27, 2013
Happy Collaborationists, in partnership with ACRE Residency
1254 N Noble
Chicago IL, 60642 http://happycollaborationists.com/
Michael Robinson @ Carrie Secrist
“Circle Spectre Paper Flame”
April 6 – May 11, 2013
Carrie Secrist Gallery
835 W. Washington Blvd.
Chicago, IL 60607 http://www.secristgallery.com/
Above: A Co-Prosperity School student’s presentation on March 18, 2013.
Above: “The Index for an Encylopedia” by Daniel Rosen
Above: “Smell.RB.MFA 2013” by Maymay Jumsai
University of Chicago MFA Show 1
April 5 – 14, 2013
Logan Center Gallery
915 E. 60th St.
Chicago, IL 60637 http://arts.uchicago.edu/
Christopher Meerdo @ Document
March 15 â€“ April 20, 2013
845 W. Washington Blvd. Suite 3f
Chicago IL 60607 http://christophermeerdo.com/
Juneer Kibria @ The Sub-Mission
Above: Juneer Kibria in his installation, opening night.
March 8 â€“ April 20, 2013
The Mission (The Sub-Mission)
1431 W. Chicago Ave.
Chicago, IL 60642 http://themissionprojects.com/
Rebecca Beachy @ Iceberg Projects
Above: An audience member views “Warm (bed)” through a rectangular aperture just above the floor; 109 dozen factory-farmed eggs, ground, lit by heat lamps, lie within the piece.
Above: Iceberg Projects proprietor Dan Berger within the gallery space on June 23, 2012
March 10 -April 1, 2013
7714 N. Sheridan Road
Chicago, IL 60626
Artwork by Rebecca Beachy and Walker Blackwell http://icebergchicago.com/home.html
Lisa Walcott @ threewalls
“Pretty Good Shape”
Artists in Research – Residency
(Closed on March 21, 2013)
119 N. Peoria #2c
Chicago, IL http://www.three-walls.org/
Paul Germanos: Born November 30, 1967, Cook County, Illinois. Immigrant grandparents, NYC. High school cross country numerals and track letter. Certified by the State of Illinois as a peace officer. Licensed by the City of Chicago as a taxi driver. Attended the School of the Art Institute 1987-1989. Studied the history of political philosophy with the students of Leo Strauss from 2000-2005. Phi Theta Kappa and Phi Kappa Phi. Motorcyclist.
The first time I met Aay, he was was giving a presentation at Version Fest in 2007. Aay, IlanaÂ Percher and Rebecca Grady had just returned from Art Shanty ProjectsÂ on Medicine Lake, where they installed a soft shanty/sculpture called The Soft Shop. They reinstalled this portable, cloth shanty in the Version’s basement, (where all the other art booths stood) and talked about their residency, hosting some of the same fiber workshops they had hosted in its original location in Minnesota. Since that first encounter I have benefited from Aay’s collaborative work in multiple ways. I have been to Chances to dance-dance-dance, a short story of mine was published in an on-line magazine he organizes called Monsters & Dust. I went to No Coast and convinced Aay to make some covers for the Green Lantern Press. I point this out because his work has impacted a wide audience of which I am a part. He creates public, collaborative platforms while producing a concise, independent body of work. Despite having appreciated his work for so long, I have never taken the opportunity to ask him about how these projects relate to one another, and even how he thinks about his own practice. To me, this interview is suited to the beginning of summer. It’s hot outside, the Critical Fierceness Grant is open again (until June 30th) for grant proposals, many artists and faculty alike are facing a new open schedule, and it’s good to remember the alchemical mixture in aesthetics, politics, the body and imagination.
Mess Hall's interior, just before the opening of Celebrate! Celebrate? The Politics and Tactics of Visualizing a People's History, organized by Nicolas Lampert of Justseeds (January 2010)
Caroline Picard: Youâ€™ve been in Chicago for a number of years and have continued to work with different organizationsâ€”I was thinking as far back as Diamonds/Texas Ballroom for instance, No Coast of course and many othersâ€”I was wondering if you could talk about your participation in those different organizations; how your role has varied? Do you feel like your participation in different communal structures has impacted your visual work?
Aay Preston-Myint: Well, Diamonds and Texas were two iterations/sections of the same artists collective in warehouse space in Bridgeport, back in the day. We all did our share of programming and running events, mostly art shows and music, and let’s not forget parties. No Coast was a similar collective/consensus structure but centered around the concept and physical space of a bookstore, shared studio space, in addition to an open community workshop. When I look at these and other organizations I’ve been involved with (the online curatorial project Monsters and Dust, the experimental cultural center Mess Hall, and the microgrant/queer dance party called Chances), the difference is not so much in work or ‘roles,’ but the content of each project itself. These are ventures that have all been run by consensus to serve a specific audience or community. As such, roles can shift depending on interest, ability, and the needs of our contingents. I think the impact on my own work has been that I have a desire to engage, entertain, and encourage dialogue through my practice. I enjoy using color, a richness in materials, humor, mystery/seduction, and participation to engage the viewer. Creating a gravitational pull, drawing people into an active space â€” that’s what all the organizations I work with have done.
CP: Do you categorize different aspects of your art practice?
APM: In a way those divisions (solo work, collaborations, and design/commissions) are often a matter of convenience â€” an easy way of categorizing, but the nature of the work is different too. I think my solo work has more of a clear narrative, using conceptual, material, and stylistic threads that weave in and out of the work. Collaborations of course deal with similar concepts and interests. However that work tends to take on forms, processes, or issues that I don’t always deal with on my own because of the influence of my partners â€” each collaboration tends to stand apart. The design work, while perhaps more aesthetically my own, is a whole other beast, often because it’s not used in an art context, and also because the content is decided by the client and maybe even pushed to the background. I think each category exhibits a different kind of development over time, and it can be interesting to compare how they are disparate but also influence one another. From the subject matter of my solo work, to the clients I choose to design for: there are connections that become apparent when you zoom out.
“Untitled (Habitat) rope, neon lights, oak, enamel and latex paint, satin, sports mesh, thread, flies, shellac, wig-infused rumÂ 10′ x 14′ x 5′
CP: Will you talk a little bit about your relationship to materials?
APM: Responding to materials have always been a key part of my work. For a while when I drew it was almost like I had an issue with attention span; I needed something to respond or anchor myself to, a fabric, wallpaper, a photograph â€” I disliked drawing on a blank surfaces. Now it’s more about responding to the social, historical, or affective associations with an object or material â€” rope, a flag, hair, light, even scent. I think in a body of work like mine â€” which is so about embodiment â€” the choice of materials is really key when interpreting form.
CP: Iâ€™m also really curious about your Hybrid Moments Projectâ€”can you talk about that a little?
APM: Hmm, yes â€” as you can tell from the text banner series that I made a couple years ago, I like to use pop songs as titles and content sometimes. After I made the first series of screen prints, Hybrid Moments seemed to be the right phrase to contain my work at the time â€” I think of the title more as a container than the name of a single “project.” I think it still works for the prints and maybe some of the discrete/smaller sculptures, but not so much for the larger sculptures anymore. But in general, it’s the body of work I’m engaged with now. The works make propositions of what mutating, unpredictable forms that community, identity, and the environmentâ€”both built and natural â€” may take on in an unspecified future moment â€” all through the lens of a critical queerness.
CP: Do you have a static, projected future point that your work is speaking to? Or does that future-vision shift, depending on what your working on?
APM: The future I depict is definitely mutable and unpredictable, that’s kind of the crux of my whole viewpoint. I think part of the criticality of my work is that our projections of the future never match up to what we imagine â€” I use mutation as a metaphor or allegory for that unpredictability. As soon as one struggle is overcome, new power relations form in place of old ones. Often abuses and rivalries emerge instead of coalitions. The future I imagine is always out of reach.
"It Gets Worse," open edition of digital/offset prints dimensions variable 2011-ongoing
CP: It makes me want to ask the same question about your lens. Is your lens of critical queerness also static? Do you apply that lens to the present as well? Or is it solely intended as a future-looking tool?
APM: Going off my last answer, the lens definitely applies to the present. Our current struggles are direct results of what we desire or imagine our future to be. I think the It Gets Worse series points to those connections/disconnections. Is marriage a queer issue? Or are supermax prisons and police states a queer issue? Both? Is one more urgent than the other? Why? The national discourse is really far behind with regard to what’s actually being said, thought, and done in queer communities across class, race, and trans/gender lines. How can we make the definition of queer issues â€” and following that, queer identity â€” more fluid and open in order to more successfully meet the challenges of the future?
CP: And your SMILE series tooâ€”that struck me, partly, because of the element of performance required. I was thinking about it because in Hybrid Moments you seem to be interested in gestures and the significance of those gestures, but then in that instance (am I right?) the resulting work is divorced from living people….
APM: That’s a great question because I think over time those two projects have influenced each other in ways I hadnâ€™t anticipated and, at least in my mind, they aren’t differentiated anymore. The first iteration of SMILE was, I think, the first iteration of my continuing and relatively “mature” body of work. However at that time it was still lacking a specific goal or agenda in terms of content, despite having established the visual style and material concerns. I started Hybrid Moments soon after this, and through those works I began to lock down the kinds of gestures, characters, and ideas I am interested in. Queerness, futurity, power relations, color theory/theories, toxicity and mutation to name a few. So when I did SMILE a second time (at SFCamerawork in September 2010), it became folded into what had become my practice. Some objects that were previously presented as sculptures became props for SMILE â€” because all these works now inhabited the same world. I was delighted to see some of the situations in my drawings accidentally re-enacted in performance, and in turn, I’ve used the gestures and actions performed in SMILE to create new drawings (e.g. “Totem Ascending”, which was included in this year’s threewalls CSA). The SMILE performances have also helped me to rethink the concepts of figure, site, and the object/viewer relationship in my sculptural work.
"SMILE II," installation/performance stills 2010
CP: Can you talk more about how you experienced your practice coalescing? Itâ€™s interesting to me, because it sounds so evident to your process â€” like the way you differentiate a â€œmatureâ€ body of work and then that you talk about figuring out your material/styalistic concerns before realizing the ideas you were honing in onâ€¦like, how did you discover queerness, futurity, power relations, color theory/theories, toxicity and mutation as a central series of threads?
APM: For me, this happens in two ways. I think the first was the development of a certain intuition, in conjunction with a recognizable imprint or style. When I work, I start with a specific idea, and I gather the materials I need to make the object real, but at a certain point in the execution it seems almost like alchemy, like spinning a solid substance out of air. The work begins to outpace my thought, which is a good thing. After a while, you make enough things and you can kind of sit back and look at what makes them all tick. Almost everything I was making had some connection with the body or a body-to-be (figure-based drawings, costumes, stages/arenas), and it made sense to go from there. Futurity and mutation â€” bodies as agents of change, and subject to change. Power relations â€”â€š how our physical bodies place us in a hierarchy arranged around gender, color, etc. Queerness â€” an embodiment of difference or otherness. There comes this juncture, this arrival, where you are able to say, this is it, this is what I’m talking about.
The second part has to do with the research elements of my practice â€” looking, reading, writing. As I was working on my written thesis I was isolating these core concepts (embodiment, utopia, queerness, etc). The commonalities between the different works I make, and the works of others that I am influenced by. I started making lists, thought maps, and diagrams which would explode these concepts and then bring them back together in different configurations. With the encouragement of friends and teachers, these sketches and diagrams eventually became works in their own right.
CP: Do you draw a connection between power relations and color theory? Like how certain colors will dominate others; there is an inborn, albeit relative hierarchy. Is your list of conceptual concerns similarly linked? Or do you see that list as a body of distinct, non-relating concepts?
APM: Oh yes, there is definitely a connection. However, in my research I don’t talk so much about the optical domination of one color over the other, as much as looking at the social constructs and hierarchies around color. Â I’m interested in how colors carry associations with certain emotions, objects, situations, and even social and political movements and attitudes. I’ve been especially invested in mixed colors, day-glo colors, and pastel colors â€” my written thesis was titled “Who’s Afraid of Pink, Purple and Brown?” in contrast to Barnett Newman’s “Who’s Afraid of Red, Yellow and Blue?” I’ve done an artist talk solely on the color pink. It’s a pretty amazing color, not enough people take it seriously. Transgression, difference, queerness, sex, repulsion, obsession, fantasy….it’s all there in that one color.
CP: How has the graduate school structure impacted your process?
APM: I think that grad school has been really invaluable to my process….until now I’ve never been able to totally commit myself to developing an artistic stance or worldview, and turn that into a cohesive body of work over time. I can really reflect on how one piece relates to the next, and engage in intense and productive critique from myself and others at a level previously unreached. As hinted at above, I’ve also been able to take advantage of scale and material in a way I hadnâ€™t had the time or financial backing to do before. I’ve been really fortunate to attend a program (UIC) that fosters community, improvisation, self-critique, and collaboration, due to its size, and in particular, the awesomeness and warmth of my cohort. In that way, it really hasn’t been too much different than my DIY experiences. I think my class in particular has truly been like family.
CP: What are you working on right now?
APM: Interesting that you say that â€” well, the fact is, I’ve just graduated and am looking forward to a lot of travel this summer, and not really sure what kind of work awaits in the fall (residency? teaching? design? working at a bar? these are all options). This means that for the time being, I’m not going to have the large scale modes of production, storage, and display available to me during graduate school â€” so I unfortunately might have to put the brakes on the large sculptural work for now. It’s strange how time, place, and life situations can have as much, if not more, impact on the work you do as your own concept/process. That said, I’m focusing on prints, drawings and the web at the moment â€” things I can do at home and at my shared studio at Roxaboxen in Pilsen. Mostly developing the imagery in the Hybrid Moments prints and the It Gets Worse Series â€” my long-time No Coast collaborator Alex Valentine and I will be taking these and other print/book projects to the Tokyo Art Book fair in July. Also, I can finally put my nose to the grindstone on Monsters and Dust â€” which you yourself have also made an awesome contribution to. Our next issue is way overdue. But as soon as I get enough space I think I’d like to start working on a “living vomitorium” idea that has been at the back of my head for a while.
Bottomless Loop, wire, polyester, cotton, false flowers, plexiglas, poured enamel 10' x 12 ' x 2' 2011
CP: How do you determine if a show with your work is successful?
APM: I guess there are a few ways. Of course people might just like the whole thing, which feels great, but I’m often excited when people respond to the work that I’ve had the most doubts about, or the piece that I almost didn’t include. It reminds me to continue thinking outside of myself and to trust other people’s input. If the work motivates people to ask challenging questions rather than just congratulate, that’s great too. I also think a work is successful when people ask funny questions or give things names – “Is that a gloryhole?” or “I like this hair donut,” or “This one is the great birth mother, right?” or “What’s that smell?”
You can see more of Aay’s work by visiting his website.
In my book, this is a must-see. NY avant-gallerists Triple Candie lecture at Gallery 400 tonight! Here are the details:
Triple Candie ” For Teaching Porpoises Only: A Lecture Demonstration”
September 13, 5-7:30 pm
Gallery 400 Lecture Room
Shelly Bancroft and Peter Nesbett co-founded and have served as co-directors of Triple Candie, a not-for-profit contemporary art venue in Harlem, since 2001. Triple Candie is a place-based, research-oriented gallery that produces exhibitions about art but largely devoid of it. A typical exhibition consists of reproductions, surrogates, models, stage-sets, or common objects that are displayed using a combination of rhetorical devices. Given their ephemeral nature, frequent use of historical subjects, and lack of any obvious artist-agent, Triple Candieâ€™s exhibitions have often been referred to as â€œcuratorial performances.â€ Bancroft and Nesbett live in New York City. Triple Candie was highlighted as one of twenty-five worldwide trendsetters in the September 2007 issue of ARTnews. They were co-publishers of the award-winning Art on Paper magazine until 2004. Bancroft holds a masterâ€™s degree in contemporary art history from the University of Washington, Seattle and a bachelorâ€™s degree in painting from Michigan State University. Nesbett holds a post-masterâ€™s certificate from the Institute for Not-for- Profit Management at Columbia University, a masterâ€™s degree in art history from University of Washington, Seattle, and a bachelorâ€™s degree in visual studies from Cornell University.