3 episodes
Good Weather Good Weather Podcast
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- Arts
Good Weather is a contemporary art gallery located five minutes from downtown Little Rock, Arkansas that has transformed a single-car garage into a participant-guided gallery. The project stems from an investigation of the American suburban garage and its vast flexibility. Often times, garages transcend their original function (i.e. storage for cars) by morphing into domestic galleries indicative of vastly different tastes and socio-economic conditions. This reveals an unpretentious curation of an individual’s ideas and interests: a wood shop, a miniature railroad museum, a cereal box collection, an indoor patio, a makeshift living room, an aviary, and so on. Good Weather follows this phenomenon through the understanding and use of these resources: the economy of space, a curatorial vernacular, and an open structure that allows participants to direct the content and shape of their exhibitions.
The gallery has reciprocal objectives. The first revolves around the gift of space, which serves as a catalyst for artists to develop new work. The second is rooted in exposure, which allows the artist to exhibit this work to a wider audience and in return, the audience is exposed to pertinent and challenging works of art. Both are integral in aiding in the artist’s professional growth. In promoting the reciprocal relationship between maker and audience, Good Weather facilitates a greater awareness of contemporary art, which plays a vital role in defining and challenging our current local and national ethe. Alongside all of these concerns, Good Weather considers the creation of possibility as its principal pursuit, embodying an earnest desire to positively impact the environment in which it lives.
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Amy Garofano 'Citrus on Pico'
Arhythmic voices and sirens, sounds of buzzing and droning of traffic and power lines, car radios and whistling birds, stereo static and evening insects in rustling bushes, all become registering textures in Amy Garofano’s ongoing cataloging of the coded language within the systems that define subjective experience of place. Her forms— borrowed from design and architecture—scrutinize how those fields encode class and cultural attitudes. Particular to Citrus on Pico is the form of the iron gate: simultaneously acting as a barrier and portal between the private and public spheres. Garofano merges this reference with the subtle shifts of material phenomena: revealing the pattern of the gate through light’s interaction with the directionally perpendicular upholstered velvet. Is your body safe in this place? Are you allowed here? Can you pass through without trouble?
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Dylan Spaysky 'Wicker And Diapers'
Quack quack quack. Quack. Quack. Quack quack quack quack quack. Quack quack. Quack. Quack quack.
1' 8" Duck (2017)
A matter-of-factness sits on the storeroom shelves: a series of wicker woven busts of friends in Dylan Spaysky’s current milieu; each portrait with individualizing facial and cranial details. These substantial visible traits dovetail with an unassuming exploration of commonness shaped through idiosyncrasy. The basket-weavings and foam carvings in 'Wicker and Diapers' take a hobbyist’s approach to the endeavor of sculpture-making and the works magnanimity and craft—by dint of its materials, content, and genuineness—preserve, in a way, a balance between the individual and group. Like the Hopi people, in Spaysky’s practice there is value for giving which fosters community. Sumi’nangwa and Nami’nagwa which mean “to live with mutual concern toward one another.” This way of life is inspired. It is an important generator of hope and sharing that has a social impact which can resolutely address the dubious constructs of a post-truth epoch.
Dylan Spaysky is a sculptor that currently lives and works in Hamtramck, Michigan. He earned his BFA from the College for Creative Studies in Detroit in 2007. He has had solo exhibitions at Cleopatra’s (Brooklyn) in 2014; Popps Packing (Detroit) and Clifton Benevento (New York) in 2015; and CUE Arts Foundation (New York) in 2016. He has red hair. He has participated in group exhibitions at Hannah Hoffman (Los Angeles), What Pipeline (Detroit), MOCA Cleveland, nGbK (Berlin), and Susanne Hilberry Gallery (Ferndale, Michigan), among others. Visit www.spayskyfineart.com for more information about the artist and his work. -
Good Weather: To Make a Public w/ Sarrita Hunn
"What does it mean to make a public? How do publications work within and alongside social movements? How are artists defining, building and protecting the public sphere?"
On December 12, 2016 we gathered at the Good Weather gallery in North Little Rock to discuss act of making work for public consumption.
"'To Make a Public: Temporary Art Review 2011-2016' is a selected anthology of the first five years of online publication Temporary Art Review and a catalogue of the related exhibition 'Document V' celebrating the same benchmark. Edited by Temporary Art Review founders Sarrita Hunn and James McAnally, 'To Make a Public' offers a singular lens into broader eruptions in artists’ publishing and artistic practice over the past five years. As a primary document of our moment it summarizes the collective research of a group of artists, curators, observers, activists, and critics who test the boundaries of art and other fields—not only to define, defend and expand that space, but to develop, improve, and bring those methodologies back to the public sphere—to make a public, perhaps, in its accumulation. 'To Make a Public: Temporary Art Review 2011-2016' has been published by Institute for New Connotative Action (INCA) Press and was designed by Haynes Riley."
Music courtesy of S!Bass Cadet:
https://soundcloud.com/cpt-space-cadet\
Goodweathergallery.com/
http://temporaryartreview.com/