“I think my art lands in a gray zone and still remains confusing to people, because it doesn’t have all the watchwords of conceptualism and does not exactly fit into any particular movement. I’m just slightly outside it all—my performances are not performances, my Conceptual Art is not Conceptual Art, and my paintings are not paintings. You can’t recognize any of it, so it can’t be placed anywhere, which is either a major blessing or a curse.”
— Jeffery Vallance, interview with Damon Willick, "In the Valley with Jeffrey Vallance," East of Borneo, December 03, 2013

correspondence to myself (and occasionally others): an ongoing impulse to archive moments, reminders, observations, failures, anomalies, and unintentional poetry. 

“Guggenheim Retrospective: retrospection involves memory. Old Works are borrowed, some I haven’t seen for thirty years. Dusty artifacts. I cannot replace a screw without permission from the the owner. The dust of language covers the works. Their identities give way to the balance of how this one looks against that in a given space. … Memory vanishes”
— Robert Morris in conversation with W.J.T. Mitchell, Artforum, vol. 32, no 8 (April 1994)

Following the Prescribed Path is on the horizon! I am ecstatic and flattered to be exhibiting and joining the conversation alongside incredible artists that have been mentors and inspiring voices.

The exhibition presents the work of seven intergenerational artists that spans six decades and showcases unique approaches in contemporary art practices by highlighting work rooted in experiences of walking—whether following others’ footsteps, investigating historical trauma, pursuing a hero’s journey, or making a pilgrimage.

Laband Art Gallery
Loyola Marymount University
Los Angeles, CA
September 13 – November 23, 2014

Kim Abeles, Vito Acconci, Bas Jan Ader, Gabrielle Ferrer, Erin Mallea, Diane Meyer, and Mark Ruwedel

above, from top to bottom:

  1. Diane MeyerFormer Guard Tower off Puschkinallee, 2013
  2. Bas Jan AderStudies for In Search of the Miraculous (One Night In LA), 1973

David Dunlap. Plus a good read written by Melissa Tuckman about his work at CUE Art Foundation in New York.

Details from my culminating self portrait created at Anderson Ranch Art Center earlier this month. 

Colorado bound! Looking forward to taking a course with artists Ryan Burghard and Ben Buswell at Anderson Ranch Arts Center.

From top to bottom:

  1. Ryan Burghard, Man | Women, 2008
  2. Ryan Burghard, Marriage Studies, 2014
    Dial bottle containing 7.5 FL OZ (221 mL) of Ultra Palmolive concentrated dish liquid. Palmolive bottle containing 10.FL OZ (295mL) of Dial gold hand soap with moisturizer.
  3. Ben Buswell, Horizon No. 2, 2013
  4. Ben Buswell, Event No. 1, 2014

Issue 1 of my book series, auto / bio, will be exhibited at Artists’ Books and Cookies III at 356 Mission this weekend!

June 28–29
Ooga Twooga / 356 S. Mission Rd., Los Angeles
Hosted by Fundacion Alumnos47, Ooga Booga and ForYourArt

correspondence to myself (and occasionally others): an ongoing impulse to archive moments, reminders, observations, failures, anomalies, and unintentional poetry.

Headed to Anderson Ranch Arts Center in Snowmass, CO in July to participate in a workshop with artists Ryan Burghard and Ben Buswell. Thank you Anderson Ranch for the generous student scholarship making my attendance possible!

“… because what it captures is less the object per se than the unrepeatable instant when the object stood in front to the camera’s lens, photography heightens our awareness of the very uniqueness it simultaneously undermines. The medium raises the stakes to encompass the passage of time, and as a result, the object is not lost just once, as it were, in the shift from reality to representation; it is lost endlessly … the moment is lost (along with the object) with every fresh act of perception.”
— Margaret Sundell, “Uta Barth” Artforum, vol. 38, no. 5

correspondence to myself (and occasionally others): an ongoing impulse to archive moments, reminders, observations, failures, anomalies, and unintentional poetry.

Banana Belt & Arboreal Anomalies. Portland palm searching and making the unfamiliar familiar.  A sneak peak of one of many evolving and intertwined projects.

i find myself collecting
an impulse
a haphazard history
often for no one but myself
and the ritual of it i suppose


Complete with the first issue of auto / bio, a series quarterly artist’s book mailings. Issue 1 has been mailed and is out in the world.

“… Today I possess what resembles an archive, or let’s say I possess a real archive that relates to only me: a kind of added memory that occupies different corners of my domestic space despite the fact that I do not actually need it. It is an invented memory that is exhausting me, and which I cannot liberate myself from. For this reason, I will uncover some parts of my archive, hoping that - by making it public - I can get rid of its weight. This will be my attempt to destroy a memory that doesn’t know how to erase itself.”
— Rabih Mroué, excerpt from the text for the performance, Make Me Stop Smoking (2006).