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JACKROAD: An Artist Blog
I am intending JACKROAD to be a platform for written and visual essays about art and the artworld as they intersect with our broader society. Its name is an offshoot of my first extensive writing project, MILEMARKER, a collection of essays emanating from a job I had in 1982-87 as a solo coast-to-coast truck driver for an art shipping company. Descriptions from those years morphed over time into fiction, and the results found their way into my various artworks. But today, surrounded by the internet and social media and the vast plethora of images from around the globe, I am hoping to reach, in some substantive way, down into the usual surf of publications that surround my armchair come morning, and offer you some shell to which you can hold your ear come night.
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| READING
AT CLAMP, NEW YORK CITY, WITH SPECIAL GUEST DUANE MICHALS SATURDAY JANUARY 13, 2024 WATCH ON YOUTUBE |
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The ads here appear in various
2015-2022 issues of Art Forum (and one in Art In America). This
occasional series is a natural outgrowth of my ongoing interest
in magazine advertising and "visibility" in the large
aesthetic, commercial and political landscape known as the "art
world."
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THE
WALL, NOGALES -- (LA PARED)
Crossing the US-Mexico border
at Nogales, Sonora, |
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BRUCE
WHITE: A LOVE LETTER,
An essay on sculptor Bruce White |
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SHELF LIFE:
December 4, 2015 |
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| VIDEO
INTERVIEW FROM EGO GALLERY, BARCELONA (on YouTube) |
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A four-minute interview in Balas's European solo debut at Ego Gallery in Barcelona, Spain, in 2009. |
| TROY'S PLACE |
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October 29, 2015 |
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In this ArtBeat
podcast that aired live at noon on |
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July 13, 2013
"I read with great interest."
"You are a good writer." |
A look at the subtleties of female vs. male erotic image representation in contemporary art-- a feast and famine, respectively-- not only in museums and galleries, but especially among the pages of the art world's chief ambassadors, the hard-copy magazines. In a broader society where the terms "post-black" and "post feminist" can be considered de rigueur, "homo-erotic" makes questionable assumptions about the viewer and is used to sequester male-themed work into a polite, p.c. and invisible pigeon hole where even gays (and the LGBT community as a whole) start to wonder if we actually exist. Beyond issues of parity, however, the author calls for male-image visibility for the sake of a reality beyond the material, one that is in fact constructed by the brain and nurtured by the images promulgated by artists, and one that helps allow all of us to thus construct our own being. Where IS the beef? We've met him. And he is us. :
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ongoing |
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October 31, 2012 |
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