The artists in Subversive Complicity borrow from the aesthetics and methodologies of disciplines outside the fine arts (e.g., engineering, political activism, architecture/urban planning, etc.) to create hybrid visual and theoretical languages. While much of the work in Subversive Complicity entails documentation of the process through which the piece was made or of the life cycle of the piece itself, the most interesting pieces probe the intersection of process, product, and community. Following the curators' interdisciplinary query, the exhibition itself resembles a trade show where the individual artists have displays to show their products, documentation, and to allow for some degree... Read More

The reductive cleanliness of a logo, stacks of business cards and stickers, meetings with potential investors, the yearly annual report, employee self-evaluations, products named using acronyms, consumer surveys. This list belongs to a language spoken primarily in skyscrapers and office parks yet is also familiar outside these ghettos of big business. Since the Fifties and Pop Art, these signifiers have been borrowed and often mangled by artists in wildly divergent ways. As suggestive of a general strategy, they have been used to both package artist projects and practices within a market friendly domain as much as they have been... Read More

Encouraging Art (What I do is a bit different...) It's been only recently that I heard SECA, liberated from its acronymic form, sounded out in all its mouth-filling glory; Society for the Encouragement of Contemporary Art. Upon recovering from a private moment of taking the phrase literally (imagining physical pieces of artworks being given a pep talk), I realized SECA is actually a misnomer that means to say, "Society for the Encouragement of Contemporary Art Production." But, in keeping with my initial, prima facie notion of SECA actually encouraging art objects, I thought I'd take it upon myself to do... Read More

According to Lauren Davies, Fabulandia's curator, this first of a two-part exhibition (Fauna opens in January 2006) presents six artists' speculations on "the world of the future…an overloaded world that meshes the natural with the artificial in a landscape filled with sleek urban-scapes, extraordinary gardens and terrains of the impossible…where low-tech and high-tech collide in a hybridized vision of the future."... Read More