Arranging Tangerines presented by Lydian Stater – Details, episodes & analysis

In this week’s episode, we welcome Kris Graves (and his associate Frank Francis) to our gallery and onto the podcast to discuss a multitude of topics including life with a baby, the charm and uniqueness of Queens, the origins of Hip Hop, Graves’ early commissioned work, museums’ and cultural institutions’ feelings about NFTs, Black Lives Matter, the role that race plays in art, history, and society, working day jobs, and how NFTs can be gate keeper resistant, and what is next for Graves. Originally recorded February 13, 2023

Kris Graves (b. 1982 New York, NY) is an artist and publisher based in New York and California. Graves creates artwork that deals with societal problems and aims to use art as a means to inform people about cultural issues. Using a mix of conceptual and documentary practices, Graves photographs the subtleties of societal power and its impact on the built environment. He explores how capitalism and power have shaped countries -- and how that can be seen and experienced in everyday life. Graves also works to elevate the representation of people of color in the fine art canon; and to create opportunities for conversation about race, representation, and urban life. He photographs to preserve memory.

Graves received his BFA in Visual Arts from S.U.N.Y. Purchase College and has been published and exhibited globally, including Museum of Modern Art, New York; Getty Institute, Los Angeles; and National Portrait Gallery in London, England; among others. Permanent collections include the Metropolitan Museum of Art, Getty Institute, Schomburg Center, Whitney Museum, Guggenheim Museum, Museum of Fine Arts, Houston; Brooklyn Museum; and The Wedge Collection, Toronto; amongst others.

Frank Frances (b.1983 Columbia, SC) is a NYC-based artist whose work challenges the everyday perceptions of memories and prejudice with close studies of photography’s materiality and dynamics; he is no stranger to being both voyeur and subject.

He has shown in solo and group exhibitions domestically and internationally at Sasha Wolf Gallery, The Studio Museum of Harlem, Glasshouse, Carriage Trade and Werkstadt Graz to name a few. Reviews and features of their work have appeared in publications such as The New York Times, The New Yorker, Vice, NPR, ArtInfo, Bomblog, and Bloomberg BusinessWeek among others. He received an MFA from the School of Visual Arts. His first book Remember The South is published by Monolith Editions

https://krisgraves.com/

https://www.instagram.com/krisgraves/

https://twitter.com/kgpnyc

https://www.instagram.com/kgpnyc/

http://www.frankfrances.com

https://www.instagram.com/frankfrancesstudio/

In this episode, we talk with artists Matthew Porter and Carlo Van de Roer about how they first met, the acquisition of NFT works by institutions and museums, the ever-changing attitudes of art collectors, the challenges and strengths of working with traditional artists in the NFT space, the idea of hybridity, and what Matthew and Carlo have queued up for the future.

Episode recorded on February 21, 2023.

Mathew Porter and Carlo Van de Roer have formed a dynamic partnership known as Zome, an artist-run collective focused on collaborating with artists in the NFT space. Within this innovative venture, they have successfully launched two captivating projects: "22 Pigeons" in collaboration with renowned photographer Roe Ethridge and "154Ever" alongside the talented visual artist Mariah Robertson.

Matthew Porter has had solo and group shows in a number of international galleries and institutions, including M+B, Los Angeles, Invisible Exports, New York, Anonymous Gallery, Mexico City, Koenig & Clinton, New York, and the Foam Museum in Amsterdam. Porter's curatorial projects include "Seven Summits" at Mount Tremper Arts, "The Crystal Chain" at INVISIBLE-EXPORTS, and "Bedtime for Bonzo" at M+B. He is the co-editor of Blind Spot magazine Issue 45, and his writings and interviews have been featured in a number of publications including ARTFORUM. In 2012 Porter was included in the "After Photoshop" exhibition at the Metropolitan Museum Art, New York.

Carlo Van de Roer (b. 1975) received his BFA from Victoria University, Wellington, New Zealand. His work has been exhibited at venues such as M+B Gallery, Los Angeles; Suite Gallery, Wellington, New Zealand; the MUSAC Museum of Contemporary Art, Léon, Spain; Transformer Station Museum of Art, Cleveland, OH; the Haggerty Museum of Art, Marquette University, Milwaukee; the New Museum, NY; Hyères Photography Festival and the Paris Photo Prize — a number of these institutions hold the artists work in their permanent collections. Damiani published Van de Roer’s first monograph The Portrait Machine with text by Val Williams. Notable press includes The New York Times, The New Yorker and Wired magazine.

As an inaugural participant in the New Museum’s New Inc program, Van de Roer founded a research and development lab in New York called Satellite Lab, with a focus on new technology for photography and film-making — this has led to the invention and patenting of several new camera and lighting technologies which the artist employs in his work.

Matthew Porter

@_matthewporter_

@archipelagi

Carlo Van de Roer

@carlovanderoer

@Carlo_VandeRoer

zome.art

On this week’s episode, we are joined by artist Carlos Franco. 

Carlos Franco Maldonado is an artist based in Brooklyn, New York. Maldonado holds a bachelor's degree in Philosophy and Visual Art from the University of Puerto Rico and a master’s in New Genres from the San Francisco Art Institute. His works and projects have been presented at the Lab, SOMArt’s Cultural Center, and The Thing Quarterly in San Francisco; at Lvl3 Gallery in Chicago; Nikolaj Kunshal, Copenhagen, DK; Quinta del Sordo, Madrid, SP; and Universidad de Medellín, Medellín, CO among others.

Links:

post industrial digital dysmorphya

InstaLive artist talk about the show 

On this week’s episode, we are joined by Ryan Tanaka, co-founder of Teia Surf, musician, and crypto-historian, to discuss the crypto space and it’s overlap with music and art, the promise Web3, Ethereum’s fallibility, diversity within the crypto ecosystem, the potential of Tezos as a blockchain for art, the challenges the Metaverse faces, and the importance of the intersection between the humanities and technology. 

Closing Track:
The Third Web - Chapter V (Interlude/Transition) by Ryan Tanaka

In a special episode for us this week, we sit down with Brian Alfred, artist and host of the SOUND & VISION podcast, who is a big inspiration on what we do here at Arranging Tangerines. In our discussion, we touch on the curatorial process, the importance of soccer, the gravitas that comes with age and experience, the overlap between music and visual art, Brian’s painting process and trajectory, diving into the world of animation, how collaboration happens within his work, the importance of mentorship, and his thoughts on the now cooling-off NFT craze.

In this week’s episode, we welcome back Anika Todd, our inaugural guest on the podcast. As we talk about what Anika has been up to for the last year, we discuss teaching, the ethical concerns of sunlight access, the transferable nature of air rights in NYC, how a nomadic lifestyle helps emphasize incongruities, balloonery, space travel with a lower case ’s’, and the pros and cons of documentation when it comes to conceptual artwork.

Anika Todd (b.1992, Boston, MA) received her BFA from Massachusetts College of Art and Design, and her MFA from The University of Texas at Austin. Todd is a sculptor/media artist investigating landscape and ownership; Todd’s work functions through acts of trespass -- simultaneously enacting and challenging systems that oppress, compartmentalize, and own in order to control. She has created site-specific installations in the US and abroad. Her work has been presented in solo exhibitions at VisArts Center, Richmond, VA and Co-Lab Gallery, Austin, TX featured in the Washington Post (2018) and Glasstire (2019) respectively. She was the recipient of a City of Austin Cultural Art Council Award (2019) and the Godine Travel Award (2017). She has been selected to participate in numerous residencies including Salem Art Works (2017), Haystack School of Craft and Design (2018), and Skowhegan School of Painting and Sculpture (2019).

In this weeks episode, artist Maria Gabler walks us through her solo exhibition titled 'TRAMA' at PROXYCO Gallery located in Manhattan's Lower East Side. The show runs through July 20th - go see it!

María Gabler (b. 1989) earned her BFA from the Catholic University of Chile and MFA in Visual Arts from the University of Chile. Gabler has exhibited extensively in Chile, including the solo shows “La Ventana” (2022) at Galería Gabriela Mistral, “Anfibia” (2021) at MAM Chiloé, “La Galería” (2017) at Sala de Arte CCU, and “Mirador” (2015) at Galería Tajamar. She has also participated in several group exhibitions in spaces such as Matucana 100, Galería D21, Galería Macchina, Galería Local, and Museo de la Solidaridad, among others. Her work has been recognized with the Sustainable Pavilion Award from the National Council for Culture and the Arts of Chile at ChACO Fair 2011; FONDART 2015, 2017, and 2020; Third Place in 2015 and First Place in 2021 in the CCU Art Fellowship and the Ca.Sa Foundation/Collection Award 2021, among others. In addition, since 2020, she has been part of the National Collection of Contemporary Art of Chile at the NationalCenter of Contemporary Art in Cerrillos.

PROXYCO presents the works of emerging and mid-career artists from Latin America.

Through exhibitions with artists that we represent as well as collaborations with galleries from Latin America and beyond, we aim to advance the understanding of work by artists of Latin American descent in an international art context. For PROXYCO, the term “Latin American” is not an essentializing classifier, but rather a fluid framework to value and engage with art that is informed by both a distinct cultural heritage and an ever-widening global perspective.

Located in Manhattan’s Lower East Side, PROXYCO was founded by Alexandra Morris (b. Mexico City) and Laura Saenz (b. Bogota).

Links:

Maria Gabler

PROXYCO Gallery

In our second episode with the amazing Laura Splan, we talk about the rewards of providing exhibition opportunities for others, the promise of the NFT as a viable distribution model for long format video art, transfiguration!, the roll of magic in art, how our relationship to science, technology and medicine emerges in our daily lives, the beauty industry’s deliberate misuse of the language of spirituality & science in the service of marketing, the enchanted language of spam email and the use of blood as a medium and a metaphor. 

Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. Her research-driven projects connect hidden artifacts of biotechnology to everyday lives through embodied interactions and sensory engagement. Her artworks exploring biomedical imaginaries have been commissioned by the Centers for Disease Control Foundation and the Triënnale Brugge. Her work has been exhibited at the Museum of Arts & Design, Pioneer Works, and New York Hall of Science and is represented in the collections of the Thoma Art Foundation, the Chan Zuckerberg Initiative, NYU’s Langone Art Collection, and the Berkeley Art Museum. 

Her recent exhibitions featuring molecular animations and material artifacts of laboratory animals include her large-scale immersive installation in the Brooklyn Army Terminal at BioBAT Art Space. She is currently developing a new series of collaborative artworks with theoretical biophysicist Adam Lamson for a project supported by the Simons Foundation. Her research as a member of the New Museum’s NEW INC Creative Science incubator included collaborations with scientists to interrogate interspecies entanglements in the contemporary biotechnological landscape. She is now a NEW INC Artist-in-Residence at EY where she is collaborating with the Cognitive Human Enterprise at EY on projects and research exploring the implications of virtual technologies. Splan often creates public engagement with her projects to make concepts and techniques behind her work accessible to audiences with programming including everything from all ages bacterial transformation workshops to remote textiles collaborations.

In our first episode with Laura Splan, we talk about her Syndemic Sublime project, coopting scientific tools and processes in the service of art making, driving dynamic visualizations with unexpected data sets, utilizing software in unintended ways, NFTs as just another outlet or platform to explore, the possibilities of custom smart contracts and how they are the most material aspect of the NFT, the conventions of metadata and how exhibition opportunities and access to spaces influences her work.

Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. Her research-driven projects connect hidden artifacts of biotechnology to everyday lives through embodied interactions and sensory engagement. Her artworks exploring biomedical imaginaries have been commissioned by the Centers for Disease Control Foundation and the Triënnale Brugge. Her work has been exhibited at the Museum of Arts & Design, Pioneer Works, and New York Hall of Science and is represented in the collections of the Thoma Art Foundation, the Chan Zuckerberg Initiative, NYU’s Langone Art Collection, and the Berkeley Art Museum. 

Her recent exhibitions featuring molecular animations and material artifacts of laboratory animals include her large-scale immersive installation in the Brooklyn Army Terminal at BioBAT Art Space. She is currently developing a new series of collaborative artworks with theoretical biophysicist Adam Lamson for a project supported by the Simons Foundation. Her research as a member of the New Museum’s NEW INC Creative Science incubator included collaborations with scientists to interrogate interspecies entanglements in the contemporary biotechnological landscape. She is now a NEW INC Artist-in-Residence at EY where she is collaborating with the Cognitive Human Enterprise at EY on projects and research exploring the implications of virtual technologies. Splan often creates public engagement with her projects to make concepts and techniques behind her work accessible to audiences with programming including everything from all ages bacterial transformation workshops to remote textiles collaborations.

Peter Rostovsky joins us this week to talk shop including discussions around his role in the NFT project The Inside World, the promising aspects of the blockchain for artists, his transition into working digitally, how the Occupy Wall Street movement affected his practice, the magic of books, the comparison of NFT technology to the advent of photography, his new graphic novel, and the way that painting is foundational to his work.