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COLLECT | Summer 2014: Editor’s Letter

Sometimes in life the most radically subversive thing you can do is just simply be yourself. No proclamations. No manifestos. Often you don’t even know you are being radical until someone points out to you that just you being you is radical. Sometimes it’s pointed out in order to silence you or make you stumble via self-consciousness. Sometimes it says more about the other person’s limited world view than it does about your intentions. Often it is just about you taking matters into your own hands because if you don’t, then who will.

COLLECT | Summer 2014In the case of John O’Reilly this takes on an almost literal bravado. One can almost imagine a bored 1960s teen strolling through a gallery of old world masters wondering what it all has to do with today, and then impulsively ripping pages from a physique magazine and pasting them on the works, instantly making them more relatable.

More quietly, the evolution of the object in art over time has been almost Darwinian.

In her staged recreations of historic events, Eleanor Antin does nothing to hide her own hand in interpreting the scenes rather than duplicating them, apologetically celebrating the raconteur’s slant in information sharing.

Recounting her experiences establishing women’s art collectives, Clarity Haynes points out that nobody really feels the need to label anything “straight white male art”, reminding us all that simply missing one piece of that trifecta of establishment labels us radical by default.

Embracing this differentness can be empowering, so if you’re going to take over the art world, you might as well be honest about it upfront and name your gallery Yellow Peril. Continue Reading →

Nafis White


The RI ART ARCHIVE PROJECT is a four-part documentary film series integrating different perspectives in the Rhode Island arts community, ranging from the visual artists, curators, museum directors, gallery owners, art historians and art collectors.  It explores a moment in time here in Rhode Island while documenting the state’s cultural importance.  COLLECT Editor-in-Chief Robert P. Stack interviews Curator / Producer / Director Holly Gaboriault about the recently completed third series, which focuses on women artists. Continue Reading →

Clarity Haynes, AnnMarie. Oil on linen, 58x76, 2010

MAAAAW! My Involvement with Women’s Art Collectives


When I was in college in Philadelphia, studying liberal arts and feeling isolated from other artists, I started my first women’s art collective. It was called AYWAKE – Alliance of Young Women Artists Kreating Empowerment.

Then, later in the ‘90s, friends and I started The House of Maw. It was a raucous group – at every meeting we’d take a group selfie, lying in a pile on the floor and roaring, “MAAAAWWWW!” Continue Reading →


Multiple Occupancy: Eleanor Antin’s “Selves”


Last year marked the 150th anniversary of the Battle of Gettysburg.  A massive reenactment of the conflict was staged, involving thousands of participants who dressed, ate, spoke, and moved like nineteenth century soldiers.  Commemorative coins were minted and books were published, and the event served as a de facto convention for history buffs that aren’t satisfied with reading. Continue Reading →

Isa Genzken: Empire/Vampire III, 9 (2004) metal, wood, plastic, fabric, nuts, shell, paper, lacquer, 230 x 47 x 86 cm (Courtesy Galerie Buchholz, Berlin/Cologne)

Creation of a Category: The Autonomy of the Art Object


Better writers than I have discussed Marcel Duchamp’s seminal piece, Urinal, 1917, but to not discuss it here would be remiss. As the most famous readymade, it stands to symbolize the beginning of the art Object as separate from sculpture or painting, assemblage or installation. Before this piece artists had often not had a hand in actually making the work that they designed, but this piece’s fame comes because Duchamp didn’t design it either, rather he took an already existing object and designated it as art. As such, this piece begins the category of the art Object. Continue Reading →