48. Unlike most of life, when it comes to art-making it’s
perfectly ok to not know what you’re doing...
49. That is, when I’m stuck or bored, I will often
just try to skip back to the fun part.
50. Instead, I developed a fourth-floor curriculum that presents
identifiable themes, generalities even, that are currently
established in the textures of contemporary aesthetic, political, and
economic realities. Within this curriculum, contours can be drawn
around three overlapping priorities: contemporary abstract
painting by women; materiality and affect theory; and art as
strategy—in other words, conceptual practices oriented toward
criticality.
Just don’t lie about your motivations. Or else you
are stuck with sentences like this.
Notas del editor
I began adding more text into the drawings, even though they still didn’t tell a traditional narrative. More interested in fragments of thoughts.
Small drawings.
I liked having the restriction of the floorplan. And I found the experience of museum-going fascinating, from a psychological perspective...
The original Holstee Manifesto, that I wanted to rewrite.