The following article was originally published by The Seen in September, 2015.
The idea of Black Mountain College has baited my imagination since it first emerged into my experience—an accidental and auxiliary reference—from the otherwise vast sea of culture. The college came up periodically thereafter, breaching conversations as a peripheral point of reference, its significance intuited rather... +
The following essay was published in a catalogue for Jeremy Bolen's 2015 exhibition, Sensors for the Unsound.
In Undark/Ottawa #1, one and a half electric clocks shine in the dark. The clock on the left is complete. It reads one thirty-five with a minute hand that has just hit the ten second mark. The second half-clock on the right appears ever so slightly in the past: while still one thirty-five, its minute hand is barely shy of the ten second marker. Both clocks bare the... +
Having recently relocated to Southern California, Edie Fake returns to Chicago with “Grey Area,” a solo exhibition of ten ink and gouache drawings on paper. Each work describes a... +
