Issue 12  •  Spring 2013


Artists, Amanda Ross-Ho and Kristen Stoltmann, have taken on monumental subject matter in their current exhibition, Vaginal Rejuvenation—domestic and sexual imagery, pop and punk cultures, Robert Rauschenberg, and feminism, to name a few. The title itself implies that there is a reclamation, restoration, or re-appropriation. It is both sexual and inherently artistic. At the same time, there is something very intimate and sweet about the show emphasizing the element of collaboration and friendship between the artists. In many ways though, they haven’t so much collaborated as explored, interpreted, and reclaimed each other’s practices. The installation feels like a dialogue between the two ladies and their audience.

Silent Pictures; Pat Graham

Written by Jonathan Feinstein

Since the early 90's, Pat Graham has been photographing seminal bands of the American underground music scene. You might recognize Pat's modern-classic image of Kathleen Hannah and Tobi Vail splayed out on the stage floor during a Bikini Kill show from the cover of their album, "The CD Version of the First Two Records", their arms and legs trailed by ghosts from off-camera flash, long exposures, and camera movement. This spontaneous and off-the-cuff style is on display throughout Pat's new collection of photographs, Silent Pictures.



Written by Susannah Wexler

Charles Baxter once said that a good writer makes the familiar seem unfamiliar and the unfamiliar seem familiar. If true, this observation clearly explains Marjane Satrapi’s success.

Satrapi’s new film, Persepolis, written and directed with Vincent Paronnaud, begins with a showering of flowers. The camera swirls above an urban cartoon landscape, floating as though mounted to a Tilt-A-Whirl on Theraflu. Donning a red coat, Satrapi’s adult cartoon self orders a ticket to Tehran, sits down, lights a cigarette and reflects on her childhood in Iran. Suddenly, like Dorothy’s Kansas, everything is black and white.


White Magic; Dark Stars

Written by Tami Devine

The first time I heard of White Magic was when Sadie asked me to review them. I was like, "Who?" And then once I got my hands on the CD, I knew exactly the distinctive sound that is White Magic. There was no more who, but rather, "Why only now are we introduced?" I could have used this music in my ultra-moody, dark early-twenties.

There is a sign on the door of Bellwether Gallery warning the viewer that they are about to encounter a steep ramp. This is the introduction to Daphne Fitzpatrick's first solo show, A Roll in the Hay. At the top of the ramp, one's feet are level with the reception desk, and staring back at eye level is Delphinium Trump, a small wooden whale with a gold coin in its mouth. And then you descend into the gallery. There is, at that moment, the great sense that you have exited one space purposefully and decisively, to enter one entirely new.

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