Joint Custody Project Update & Press
In July I participated in The Joint Custody Project at Found Gallery in Silver Lake. The show was curated by Shana Nys Dambrot and Tad Beck.
Artists were blindly paired and challenged to create artwork together without meeting each other or communicating verbally.
I was partner A - which means I started the work. One curatorial theme of the show was Dualities, so this was perfect since I have been working on a series of diptychs on this very concept before I submitted work - and before they told us what the curatorial theme was.
Here is what I started:
These are 2) 16" x 24" canvas, painted, then placed back to back and shot with a 45 caliber handgun.
My partner was Dominic Quagliozzi Jr. He was partner B - which means he got to do that last thing to the piece and to title it as well...I was super happy, pleasantly surprised and relieved with his final decision to do this:
I was pleasantly surprised because I was preparing myself in advance to have every centimeter of my painting portion to be completely covered up by him. I told Brady the gallery director that I would be perfectly content if he simply left the holes there. And that is exactly what he did, but not in the way I was expecting.
Once I met my partner he explained that his ideal partner would have covered up what he did, so that is what he was doing to me...
Whereas my view of a partnership or collaboration is a side-by-side movement, as opposed to a "tit-for-tat" or "I did this now you do that" kind of thing.
I was relieved, because I honestly thought that these were to 2 ugliest paintings that I had ever worked on and I really didn't want them to be seen in the first place.
In addition, we both wrote a couple of things on the backs -
One thing he wrote was
"Somewhere in it all there is art" and I wrote Vitality/Attrition. I also included lists on the front in type, but those are now hidden inside the painting sandwich.
Quagliozzi ended up titling the piece, "Treadmill"...Where you stand in place and do all of this waling, but you really don't end up going anywhere. Love it!!
There is some recent press on the show...
Excerpts from Shana Nys Dambrot on the JCP blog:
Domenic Quagliozzi bolted his and Leora Lutz's canvases together face to face and we were sure she'd read this as hostile but then she got there and loved it, old school punk rock hottie that she is. Besides, she had taken it to the gun range and peppered it with shrapnel, so I think she respected his gesture. Ashley Tibbits was worried about how the last minute addition of mirrors as frame mounts to her collaboration with Michelle Liu would be installed, but adored (as did I) the hanging curtain installation the gallery came up with, proving that we were all here to help and really looking at the art.
...though the real crowds gathered around Lisa Adams and Saul Gray Hildenbrand’s hand-operated fake television set/altar like they’d never seen such a marvel of technology before, and this from two painters!
READ THE WHOLE SCOOP, AND I DO MEAN SCOOP, DISH AND DRAMA HERE.
Additional thanks go out to Mallory Farrugia of White Hot Magazine, excerpts here:
The potential for escalation and clashing artistic visions that is inherent in this structure is ripe with viewing pleasure for the art goer.
Shana Nys Dambrot admits to having purposefully selected solidly established and “reliable” artists to be paired with some of the younger, more experimental characters, the results being predictably fiery. Two cases in particular illustrate an explosive tension in artist methodology and vision. Both ended peacefully, however.
The first involves the work Treadmill by Leora Lutz [A] and Dominic Quagliozzi [B], ...This creative temperament became severely inflamed by Quagliozzi’s decision in the middle iterations to paint over that which she had already painted- the repercussions of which was that she cut down her efforts to contribute to the piece and threatened to boycott the exhibition’s opening. She did appear, in the spirit of dramatic confrontation, however her reaction to her partner’s terminal iteration of the work was surprisingly, and perhaps disappointingly, positive...
---
A note: I had no intention to Boycott the opening, but had pondered the fear of showing up. Something got lost in the translation there. That's ok - it makes for interesting press and at least I can mention it here.
And I really did ultimately embrace the process - and I did in fact, feel lots of emotions during the process, but remaining angry in the good spirit of creation just feels too depressing to me.
READ THE WHOLE EXCELLENT REVIEW HERE.
Artists were blindly paired and challenged to create artwork together without meeting each other or communicating verbally.
I was partner A - which means I started the work. One curatorial theme of the show was Dualities, so this was perfect since I have been working on a series of diptychs on this very concept before I submitted work - and before they told us what the curatorial theme was.
Here is what I started:
These are 2) 16" x 24" canvas, painted, then placed back to back and shot with a 45 caliber handgun.
My partner was Dominic Quagliozzi Jr. He was partner B - which means he got to do that last thing to the piece and to title it as well...I was super happy, pleasantly surprised and relieved with his final decision to do this:
I was pleasantly surprised because I was preparing myself in advance to have every centimeter of my painting portion to be completely covered up by him. I told Brady the gallery director that I would be perfectly content if he simply left the holes there. And that is exactly what he did, but not in the way I was expecting.
Once I met my partner he explained that his ideal partner would have covered up what he did, so that is what he was doing to me...
Whereas my view of a partnership or collaboration is a side-by-side movement, as opposed to a "tit-for-tat" or "I did this now you do that" kind of thing.
I was relieved, because I honestly thought that these were to 2 ugliest paintings that I had ever worked on and I really didn't want them to be seen in the first place.
In addition, we both wrote a couple of things on the backs -
One thing he wrote was
"Somewhere in it all there is art" and I wrote Vitality/Attrition. I also included lists on the front in type, but those are now hidden inside the painting sandwich.
Quagliozzi ended up titling the piece, "Treadmill"...Where you stand in place and do all of this waling, but you really don't end up going anywhere. Love it!!
There is some recent press on the show...
Excerpts from Shana Nys Dambrot on the JCP blog:
Domenic Quagliozzi bolted his and Leora Lutz's canvases together face to face and we were sure she'd read this as hostile but then she got there and loved it, old school punk rock hottie that she is. Besides, she had taken it to the gun range and peppered it with shrapnel, so I think she respected his gesture. Ashley Tibbits was worried about how the last minute addition of mirrors as frame mounts to her collaboration with Michelle Liu would be installed, but adored (as did I) the hanging curtain installation the gallery came up with, proving that we were all here to help and really looking at the art.
...though the real crowds gathered around Lisa Adams and Saul Gray Hildenbrand’s hand-operated fake television set/altar like they’d never seen such a marvel of technology before, and this from two painters!
READ THE WHOLE SCOOP, AND I DO MEAN SCOOP, DISH AND DRAMA HERE.
Additional thanks go out to Mallory Farrugia of White Hot Magazine, excerpts here:
The potential for escalation and clashing artistic visions that is inherent in this structure is ripe with viewing pleasure for the art goer.
Shana Nys Dambrot admits to having purposefully selected solidly established and “reliable” artists to be paired with some of the younger, more experimental characters, the results being predictably fiery. Two cases in particular illustrate an explosive tension in artist methodology and vision. Both ended peacefully, however.
The first involves the work Treadmill by Leora Lutz [A] and Dominic Quagliozzi [B], ...This creative temperament became severely inflamed by Quagliozzi’s decision in the middle iterations to paint over that which she had already painted- the repercussions of which was that she cut down her efforts to contribute to the piece and threatened to boycott the exhibition’s opening. She did appear, in the spirit of dramatic confrontation, however her reaction to her partner’s terminal iteration of the work was surprisingly, and perhaps disappointingly, positive...
---
A note: I had no intention to Boycott the opening, but had pondered the fear of showing up. Something got lost in the translation there. That's ok - it makes for interesting press and at least I can mention it here.
And I really did ultimately embrace the process - and I did in fact, feel lots of emotions during the process, but remaining angry in the good spirit of creation just feels too depressing to me.
READ THE WHOLE EXCELLENT REVIEW HERE.
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