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December 2009
By Scott Andrews
"I'm investigating my motives. My photography has never been straight forward. I've always done a lot of post-production in my work, it's very informed by manipulation..."
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December 2009
By Scott Andrews
Video projections, and a sand painting made of coal, ash and salt will also be constructed alongside a sweat lodge, which will, however, be closed to the public. The sweat lodge is, according to Twist, “a sacred space that has been commodified by non-Native people for inappropriate purposes,” its dark, hulking mass “a kind of mourning.”
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November 2009
By Scott Andrews
Mayme Kratz’ sculpture is made of remnants, fallen bits from the desert floor. Her plaques and columns made of birds’ nests, broken quail eggs, bones and seed-pods suspended in resin are ossuaries and memory boxes, and have arguably become the best known Art-ifacts of the Marshall Way gallery world..
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November 2009
By Merilyn Jackson
Dance is about defining space. But dance is also movement, choreography, emotional expressiveness, narrative, drama, rhythm. For the past two decades, Elizabeth Streb’s take on dance and space adds danger, experimentation and a fascination with things mechanical that can propel the body beyond what it can achieve on its own.
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September 2009
By Scott Andrews
Scottsdale Museum of Contemporary Art has built a reputation for adventurous fashion shows, but none of the finery seen on their catwalk is comparable to Nick Cave’s Soundsuits, on view in Meet Me at the Center of the Earth.
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July 2009
By Susan M. Skrzycki
Perhaps Novaballet will become instrumental in shaping whatever 21st Century Dance is yet to become; the group is emerging at an opportune time to bring classically based dance into new territory for a new century. Fortunately for us as an audience, this talented and diverse group makes Phoenix their home.
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July 2009
By Scott Andrews
"In 1972 Harry Gamboa, Jr. and two other members of the art collective Asco (Spanish for nausea) tagged the outside wall of the Los Angeles County Museum of Art after a run in with a curator who, as a perhaps apocryphal story tells it, claimed that Chicano artists were only good for graffiti and gang-banging. Unable to get into the museum, they “signed” the building as an artwork, and claimed all it’s contents and traditions as their own. It was the first piece of Chicano Conceptualism."
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June 2009
By Ted G. Decker
“Entering and passing through the exhibition space, one feels a floating, disorienting sensation while embarking on an exploratory voyage to discover Lopes’ own life cube…both inside and out…in the gallery he has transformed into a virtual multi-dimensional sketch book and studio. A voyeuristic feeling is evoked by the opportunity to gaze at intimate evidence of drawings, exploratory ideas, landscapes of triumph and loss, and fresh aspirations.."
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June 2009
By Gregory Sale
“Because temporary public art is nimble, it can accommodate grounding projects in rapidly changing social consciousness. The fact that it is temporary both challenges and underscores our notions of sustainability: It is not the art piece itself that persists, but the content."
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June 2009
By Scott Andrews
“Dicochea is a trickster, like Coyote, and not unaware of the beneficial effect of a bad example, nor averse to using sleight of hand for shock effect. The Anglo/Latino pairings in his painting may tempt you to fall back on stereotypes of privilege and poverty, but look again carefully—he’s having none of it."
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April 2009
By Scott Andrews
“The paintings form scenes, but if you look closely, the tableaux are not seen from a stable point of view—not only the objects, but parts of rooms and scenery have been joined together on the journal pages, and from there, to the canvas."
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January 2009
By Scott Andrews
“The massive light and sound installation Beautiful Light, composed of a seventy-six wide bar of girders suspended by crane over the canal at South Bridge, housed the 4 Letter Word Machine, four sixteen foot square alphanumeric quartz lamp complexes that blasted 300,000 kilowatts of white light hourly in patterns that formed discernable words and a chaos of seemingly random shapes that included semaphore, Braille and references to DNA. "
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December 2008
By Scott Andrews
"A big rig bicycle pulled in front of Deck Park by the Hearsight office late one early November afternoon. Crammed with gear on an over-laden trailer of the sort used by the pedal cab taxis in downtown Phoenix, it was the biggest street freighter I had ever seen..."
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November 2008
By AJ Sabatini
Will the arts in America change after the election of Barack Obama?
Quick answer: not that much...
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