MARC SWANSON At First Sight
BELLWETHER GALLERY | 2001</
A harsh terrain of primordial forces—a far-off land of fantastic trophies and paralyzing loss, a place where love alchemically becomes living memory—is where Marc Swanson explores our universal precepts. Through iconic fabrication, he keeps an alternative universe alive by integrating it with his own sense of self-preservation. The show’s title, At First Sight, defines the tone of absence, by leaving out the main idea—the word “Love.” Sometimes what’s not there is more powerful than what is.
On the gallery windows, “Dreamcatcher Curtains” enshrined the space, declaring “no dreams allowed in or out.” In the first room, an elegant rhinestone-encrusted deer head glittered like a disco ball. In this piece, as throughout, Swanson has refined and juxtaposed two central elements of his life. His upbringing as the son of an ex-Marine hunter supplies much of the survivalist and primitive aspects that come across so powerfully. The other dominant strain is the “fabulous” aspect of gay culture. The unifying flag is quoted in Community. A dead rabbit (symbolizing lost love) is laid out on top of a rind of seemingly supportive rainbow colored feathers. Pallbearers, they hold up their fallen comrade. A hierarchical, counter-impulse is also formed by the feathers which read, at least in part, as a headdress—with no one to wear it—a crown with no subject.
In the next room, Swanson provided a subject—a white fur-covered stooping creature, a primitive Yeti, or Sasquatch—carrying some rabbits he’s snared. Using castings of his own face and hands, this self-portrait as the Abominable Snowman propels the artist into a subconscious realm of possibility where time itself seems frozen. Under a blue light, “Killing Moon” could almost be at the Natural History Museum, lending the campy atmosphere an uncanny authority. Antlers, festooned in dazzling ruby crystals, litter the ground—relics, last season’s romantic embers still glowing. Like a department store window in the uninhabited Arctic, this chilling vision is attractive and remote, a ghostly manikin for us to drape our dreams upon.
ContributorJeffrey Cyphers Wright
Fritz Vogt Drawings: A Sense of PlaceBy Lyle Rexer
SEPT 2021 | ArtSeen
Fritz Vogt, an itinerant renderer who worked in five counties west of Albany, left behind hundreds of drawings in graphite and colored pencil that give a glimpse of a world that no longer exists, when towns were growing and farming was prosperous.
Arcmanoro Niles: You Know I used to Love You but Now I Dont Think I Can: There Aint No Right Way to Say Goodbye AgainBy Tennae Maki
DEC 22–JAN 23 | ArtSeen
Arcmanoro Niles begins each work of art with a problem he wants to solve. His skill as a painter is technical, his intention deeply personal. In his exhibition, You Know I Used to Love You but Now I Dont Think I Can: There Aint No Right Way to Say Goodbye Again, he presents his ongoing investigation into what might seem like a forgone question: how can one articulate feeling in place of meaning?
Aneta Bartos: Monotropa TerrainBy Alex A. Jones
FEB 2023 | ArtSeen
In an erotic view of nature, the body is a psychedelic concept. That is to say, its a matter of altered perception. The body can swell to replace the scientific and colonial terms that typically delineate nature: an ecosystem is a body; the land is a body. It is the mutability of the bodyand the eros of its constant becoming and unbecomingthat Aneta Bartos touches with her video-based exhibition Monotropa Terrain.
Tariku Shiferaw: It’s a love thang, it’s a joy thangBy Charles Moore
MAY 2021 | ArtSeen
Tariku Shiferaws Its a love thang, its a joy thang embodies Black joybut not in the sense that people might think. In his latest exhibition, the artist pays homage to quotidian pleasures: those often referenced in the jazz era, a time when the greats sang about their daily lives.