Visualizador de Stories do Instagram

LANDING SPACE
Toby Hardie Boys @ Right Window
Exhibition Opening / Landing Viewing: Wednesday, March 4, 6-8 pm
ATA 992 Valencia St., San Francisco

Show: March 1st-31st
Landing sightings guaranteed 24/7
Online at: www.landingspace.org

Hudson Hatfield’s SKI COLLECTION is up now thru the end of November at RW

In SKI COLLECTION Hudson Hatfield stages the detritus of the American West as a department-store-window fantasyland. Hatfield employs the language of American myth-making–– cinema, stage, traveling circus, advertisements–– in his ode to the fleeting pleasures and destructive desires of late-capitalist excess. In his imaginary ski lodge, desire is a medium which dissolves boundaries and renders his subjects porous and strange. His disruptions occur on the level of the elemental, creating illusions that intertwine hot, cold, hard, soft, large, small, light, and dark in impossible combinations: dripping, glittery snowdrifts in an eternal state of melt, an Igloo™ cooler slammed shut on the white wig of an unknown figure, a naked ski hunk warmed by a mysterious infrared glow. Hatfield transforms and transposes—a moving dolly upholstered in yeti fur, imbued with a sympathetic magic, calling upon the beast’s strength to move a heap of sparkling white powder. An 80s artifact, the McDonald’s coffee spoon (coke spoon), enlarged to proportions that reflect the intensity of a desire for a high that never ends. By rendering these symbols plastic, mutable, and interchangeable, Hatfield exploits the ever-lingering possibility that we might craft our own life-sustaining fantasies out of the failures and false promises of what we’ve been sold.

This guy was really hot. I hung out with him a couple times and realized he was extremely boring and I didn’t feel good about myself when I was around him. I’m assuming he felt the same way about me, as I didn’t hear from him after awhile. The fact that he didn’t want me made him extremely desirable all of a sudden. I guess we had more in common than I thought. I changed myself ever so slightly, biting my lower lip in my selfies, and he eventually came back around, and I was free to move on.

Hudson Hatfield is a multimedia American artist from Colorado. Hatfield received a BFA from SUNY Purchase in 2014, and is a current MFA candidate in Studio Art at Stanford University. Hud is gay and uses he/him pronouns.

Hudson Hatfield’s SKI COLLECTION is up now thru the end of November at RW

In SKI COLLECTION Hudson Hatfield stages the detritus of the American West as a department-store-window fantasyland. Hatfield employs the language of American myth-making–– cinema, stage, traveling circus, advertisements–– in his ode to the fleeting pleasures and destructive desires of late-capitalist excess. In his imaginary ski lodge, desire is a medium which dissolves boundaries and renders his subjects porous and strange. His disruptions occur on the level of the elemental, creating illusions that intertwine hot, cold, hard, soft, large, small, light, and dark in impossible combinations: dripping, glittery snowdrifts in an eternal state of melt, an Igloo™ cooler slammed shut on the white wig of an unknown figure, a naked ski hunk warmed by a mysterious infrared glow. Hatfield transforms and transposes—a moving dolly upholstered in yeti fur, imbued with a sympathetic magic, calling upon the beast’s strength to move a heap of sparkling white powder. An 80s artifact, the McDonald’s coffee spoon (coke spoon), enlarged to proportions that reflect the intensity of a desire for a high that never ends. By rendering these symbols plastic, mutable, and interchangeable, Hatfield exploits the ever-lingering possibility that we might craft our own life-sustaining fantasies out of the failures and false promises of what we’ve been sold.

This guy was really hot. I hung out with him a couple times and realized he was extremely boring and I didn’t feel good about myself when I was around him. I’m assuming he felt the same way about me, as I didn’t hear from him after awhile. The fact that he didn’t want me made him extremely desirable all of a sudden. I guess we had more in common than I thought. I changed myself ever so slightly, biting my lower lip in my selfies, and he eventually came back around, and I was free to move on.

Hudson Hatfield is a multimedia American artist from Colorado. Hatfield received a BFA from SUNY Purchase in 2014, and is a current MFA candidate in Studio Art at Stanford University. Hud is gay and uses he/him pronouns.

Hudson Hatfield’s SKI COLLECTION is up now thru the end of November at RW

In SKI COLLECTION Hudson Hatfield stages the detritus of the American West as a department-store-window fantasyland. Hatfield employs the language of American myth-making–– cinema, stage, traveling circus, advertisements–– in his ode to the fleeting pleasures and destructive desires of late-capitalist excess. In his imaginary ski lodge, desire is a medium which dissolves boundaries and renders his subjects porous and strange. His disruptions occur on the level of the elemental, creating illusions that intertwine hot, cold, hard, soft, large, small, light, and dark in impossible combinations: dripping, glittery snowdrifts in an eternal state of melt, an Igloo™ cooler slammed shut on the white wig of an unknown figure, a naked ski hunk warmed by a mysterious infrared glow. Hatfield transforms and transposes—a moving dolly upholstered in yeti fur, imbued with a sympathetic magic, calling upon the beast’s strength to move a heap of sparkling white powder. An 80s artifact, the McDonald’s coffee spoon (coke spoon), enlarged to proportions that reflect the intensity of a desire for a high that never ends. By rendering these symbols plastic, mutable, and interchangeable, Hatfield exploits the ever-lingering possibility that we might craft our own life-sustaining fantasies out of the failures and false promises of what we’ve been sold.

This guy was really hot. I hung out with him a couple times and realized he was extremely boring and I didn’t feel good about myself when I was around him. I’m assuming he felt the same way about me, as I didn’t hear from him after awhile. The fact that he didn’t want me made him extremely desirable all of a sudden. I guess we had more in common than I thought. I changed myself ever so slightly, biting my lower lip in my selfies, and he eventually came back around, and I was free to move on.

Hudson Hatfield is a multimedia American artist from Colorado. Hatfield received a BFA from SUNY Purchase in 2014, and is a current MFA candidate in Studio Art at Stanford University. Hud is gay and uses he/him pronouns.

Hudson Hatfield’s SKI COLLECTION is up now thru the end of November at RW

In SKI COLLECTION Hudson Hatfield stages the detritus of the American West as a department-store-window fantasyland. Hatfield employs the language of American myth-making–– cinema, stage, traveling circus, advertisements–– in his ode to the fleeting pleasures and destructive desires of late-capitalist excess. In his imaginary ski lodge, desire is a medium which dissolves boundaries and renders his subjects porous and strange. His disruptions occur on the level of the elemental, creating illusions that intertwine hot, cold, hard, soft, large, small, light, and dark in impossible combinations: dripping, glittery snowdrifts in an eternal state of melt, an Igloo™ cooler slammed shut on the white wig of an unknown figure, a naked ski hunk warmed by a mysterious infrared glow. Hatfield transforms and transposes—a moving dolly upholstered in yeti fur, imbued with a sympathetic magic, calling upon the beast’s strength to move a heap of sparkling white powder. An 80s artifact, the McDonald’s coffee spoon (coke spoon), enlarged to proportions that reflect the intensity of a desire for a high that never ends. By rendering these symbols plastic, mutable, and interchangeable, Hatfield exploits the ever-lingering possibility that we might craft our own life-sustaining fantasies out of the failures and false promises of what we’ve been sold.

This guy was really hot. I hung out with him a couple times and realized he was extremely boring and I didn’t feel good about myself when I was around him. I’m assuming he felt the same way about me, as I didn’t hear from him after awhile. The fact that he didn’t want me made him extremely desirable all of a sudden. I guess we had more in common than I thought. I changed myself ever so slightly, biting my lower lip in my selfies, and he eventually came back around, and I was free to move on.

Hudson Hatfield is a multimedia American artist from Colorado. Hatfield received a BFA from SUNY Purchase in 2014, and is a current MFA candidate in Studio Art at Stanford University. Hud is gay and uses he/him pronouns.

We did it y’all! A #progress photo from our afternoon at ATA. We set up many QR codes from the community to support the very same community today

We are grateful!! Thank you to all who participated. Keep sending us the goods. More #installations to come for the rest of the month. All free to participate and witness

Check it out at the Artist Television Access’ Right View Window on 992 Valencia St. ATA is an incredible #nonprofit that supports local and community art. Keep it on your radar

¡Aguas!Looking Out For You From The Parallel Universe of the Caca Colectiva.@rightwindow

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

My show’s run its course & is coming down. So many gifts along the way. Deep bow to Brett Goodroad for believing this work should be shown in public in San Francisco’s most beautiful street. Thanks to all who swung by, gazing into ‘The Pupils of Desire’ from the street & guessing at what’s inside,—& thanks to all who came over for a tour of the show. Thank you, Pasha, for saying my inks should be worn on bodies as T-shirt prints, & thank you, Amy, for suggesting the broad strokes of how the drawings might grow in the future. Thank you to Lev’s young son, Petya, who read the line ‘tongue touches tongue — with a tongue’ and asked if the picture above it had been drawn with a tongue, & thank you, John, for discovering a human face in the same chaos of a drawing. ‘AND NIGHT TOOK NIGHT AND ILLUMINED THE NIGHT’ was my love letter to the Bay & there couldn’t have been a better context to present it. Thank you to Aaron who read the work & taught me what it is: ‘a poem of obsession’. Thank you to those who had been in the poem from the get-go but couldn’t make it to the reading (Matt, Marg, Jonas) & thank you to those who attended it & lent their presence to being hosted by the poem (Joseph, David, Sarah). The closing was such a special moment. Sarah Menefee weaving very new work and very old work into her ‘dowsing’ act. Brian Ng reading to a drone piece he had composed based on a ‘constellation’ among my drawings. Steve Orth ripping the audience to pieces with his coprophilic hatemail to Mike Pence from 2016. & Liam Herb with the ethereal chimes & throbbing howls of his porcelain figurines skating on magnetic waves. Faces, voices, hugs to remember; the children, the animals, the languages in the room. I am grateful to Right Window for this opportunity & to ATA for hosting us so generously. Closing off with my new poem I stole from an email from Brett—a fortune-cookie line that feels just right for the present moment:



things on walls falling off the walls

@brettgoodroad @sarah.menefee46 @sindarknave @notwilliamcarloswilliams

I’m excited to share that some of my works are now on view in the Right Window at ATA! Join me on Friday, May 9th from 6-8pm. @rightwindow
ATA, 992 Valencia St, SF
May 9 l 6-8PM

#artopening #atawindowgallery #atawindow #fiberartist #sanfranciscoart #textileart #contemparyart #windowexhibition

I’m excited to share that some of my works are now on view in the Right Window at ATA! Join me on Friday, May 9th from 6-8pm. @rightwindow
ATA, 992 Valencia St, SF
May 9 l 6-8PM

#artopening #atawindowgallery #atawindow #fiberartist #sanfranciscoart #textileart #contemparyart #windowexhibition

I’m excited to share that some of my works are now on view in the Right Window at ATA! Join me on Friday, May 9th from 6-8pm. @rightwindow
ATA, 992 Valencia St, SF
May 9 l 6-8PM

#artopening #atawindowgallery #atawindow #fiberartist #sanfranciscoart #textileart #contemparyart #windowexhibition

I’m excited to share that some of my works are now on view in the Right Window at ATA! Join me on Friday, May 9th from 6-8pm. @rightwindow
ATA, 992 Valencia St, SF
May 9 l 6-8PM

#artopening #atawindowgallery #atawindow #fiberartist #sanfranciscoart #textileart #contemparyart #windowexhibition

I’m excited to share that some of my works are now on view in the Right Window at ATA! Join me on Friday, May 9th from 6-8pm. @rightwindow
ATA, 992 Valencia St, SF
May 9 l 6-8PM

#artopening #atawindowgallery #atawindow #fiberartist #sanfranciscoart #textileart #contemparyart #windowexhibition

If you haven't had a chance to see "Maybe I'll Come Home in the Spring" in the Right Window at ATA (992 Valencia), Anne Slater and Gary Fembot will be at the gallery this Sunday and next from 2-5 so come on by!

Anne Slater & Gary Fembot
"Maybe I'll Come Home in the Spring" @Right Window, ATA, 992 Valencia, SF

Opening Event: Sunday, March 16, 2-5 pm
Featuring musical guests Prune Cup & Cave Babe
Painting in the window by Anne Slater
and short films by Gary Fembot

Thanks to everyone who came to the artist talk last night. Lovely to see you all get scammed out of your time to hear me talk about ideas. Or maybe you scammed me into thinking I had something important to say? Who knows? All I know is that Art is a Scam and it will continue to be if we keep falling for it.

Cause what good is it to synthesize the ills of the world if you are not actively working to change them?

📸 @clautopias

Art: profound act or elaborate hustle? Necessary work or cultural currency? Join me as we challenge its purpose, its power, and whether we’re demanding too much—or not enough—from those who create it and consume it.

Talk begins at 8pm.

Come for the scam. Stay for the drinks.
#artisascam

📸 by @ebtiebtiebti

Please welcome our February artist in the window!

Javier Roberto Carlos (Guatemalan, b. 1981)
Untitled (or, The Price of Belief), 2023
Plastic, neon tubing, transformer, electrical wiring. Neon construction by Rebel Neon.

A declaration?
A confession?
Four words, one phrase, collapse critique, irony, and complicity into one luminous object. It is both an indictment of the art market’s machinations and an acknowledgment that art itself—whether as labor, as myth, or as object—cannot escape its economic entanglements within a capitalist system.
The art world thrives on obfuscation (!). Value is conjured, prestige is manufactured, prices are inflated, meaning is extracted and exaggerated. “Art” is a site of speculative finance, a trophy for the ruling class, a language of power disguised as cultural production. And yet, this piece does not simply point fingers outward—it also implicates the artist, the viewer, the entire apparatus of “contemporary art.” Who is running the scam? Who is falling for it?
By rendering critique in a bright bold neon sign, the work stages its own paradox: is this a rejection of commodification, or its embrace?
I invite you to laugh, to think and to get curious. Is art a sacred pursuit or a rigged game? A site of radical possibility or an engine of wealth consolidation?

And—have I just scammed you out of minutes of your life to read this?

Please welcome our February artist in the window!

Javier Roberto Carlos (Guatemalan, b. 1981)
Untitled (or, The Price of Belief), 2023
Plastic, neon tubing, transformer, electrical wiring. Neon construction by Rebel Neon.

A declaration?
A confession?
Four words, one phrase, collapse critique, irony, and complicity into one luminous object. It is both an indictment of the art market’s machinations and an acknowledgment that art itself—whether as labor, as myth, or as object—cannot escape its economic entanglements within a capitalist system.
The art world thrives on obfuscation (!). Value is conjured, prestige is manufactured, prices are inflated, meaning is extracted and exaggerated. “Art” is a site of speculative finance, a trophy for the ruling class, a language of power disguised as cultural production. And yet, this piece does not simply point fingers outward—it also implicates the artist, the viewer, the entire apparatus of “contemporary art.” Who is running the scam? Who is falling for it?
By rendering critique in a bright bold neon sign, the work stages its own paradox: is this a rejection of commodification, or its embrace?
I invite you to laugh, to think and to get curious. Is art a sacred pursuit or a rigged game? A site of radical possibility or an engine of wealth consolidation?

And—have I just scammed you out of minutes of your life to read this?