— John Waters (via mrgolightly)
nycARTscene Interview: Tara de la Garza
Arthur Seen recently interviewed artist Tara de la Garza. Her exhibition, Embracing Failure, opens Thursday, August 28th at The Lodge Gallery and runs through August 31st.
1/ Your new show is called Embracing Failure, do you think of yourself as a failure?
I think every artist has an inner critic and it depends on what day as to where you see yourself on the success spectrum. Creating art has been the hardest thing I have ever done. I think most people have this image of an artist in a field with a watercolor palette, happily humming away, creating. In reality, to create something meaningful, that will hopefully forward the dialogue of art, is a struggle. By embracing failure I am open to seeing where an artwork evolves before I discount it. I am revisiting, (uncrumpling!) trashed work and editing, much like a writer or a musician would do. Creating art is a beautiful thing because if allows you time to wander, but that time can also be filled with self doubt. Especially making marks on paper, you can’t hide. You rush in and then backtrack to make it up. It’s the human bloody condition on paper!
2/ The works on paper you are referring to are the LES series which incorporate multiple mediums and themes, can you tell us about them?
Originally I created these for a large scale mural project in the Lower East Side that wasn’t completed (the first failure) but I didn’t want to abandon them, I thought I could rework them and see what happened. I grabbed a big brush and some white paint and liberated them. Each piece is a journey, they are hard to take in all at once, you go down avenues and I think the change in medium helps facilitate that.
I have included lots of vignettes of New York in this work, they are full of stories of the Lower East Side where I lived and had a studio and fell in love. They also include my influences and fellow artists works, for example ABC NO Rio 2 depicts, in part, a street art piece by painter Tom Sanford, who I thought so generous to toil for many days on a transitory work, I wanted to recognize that… I was also tempted to steal one!
3/ How does being Australian inform your work?
What, because I mentioned stealing! One thing I realized about Australians is that it is ingrained in our culture to break rules, we encourage the larrakin, a term that is synonymous with being mischievous. This manifests in my work in numerous ways, one example is in the use of materials such as watercolor. Purists of the medium frown on the use of white paint. So I ‘cheat’ and paint over mistakes, then I regret it and try and make it up. That’s my process, intrigue and deception!. And paper is great, you can’t lie, you see every mark and that is the joy of making and owning art, seeing the hand and shaky heart of the artist.
Also part of the rule breaking is a dialogue I have been having for awhile now with Sol LeWitt. I was in a show at MOCA Massachusetts curated by Regina Basha with a piece called Messing with Sol where I distorted some of his work. I admire artists who have a clear framework, but I also want to tear frameworks down. I came back to his guidelines for this series to help gain some cohesion in the work, or in some ways legitimize it, back to that inner critic!
4/ If not humor, per se, there seems to be a lot of tongue in cheek in your work. Massaging a dead chicken for example…
The funny thing about that piece is that it was picked up by comedy central’s Tosh.0, they made fun of it without somehow realizing that is what I was doing, but hey, it made me ‘internet famous’! I like the idea that subtle change and humor can be more affective than grand gestures. That piece was talking about the practice of selling live chickens in Harlem in a place next door to the space that Chashama made available for the show. Working in a public space is great as you can really have a dialogue with a neighborhood, I confused a lot of people by displaying a chicken being massaged in the window right next door. It was playing with opposites, the antithesis of the life of those chickens, but also ridiculous because it was already dead. It wasn’t a political statement about the plight of the live chickens. None of my work is overtly political, it feels inauthentic to me if I attempt it. I think growing up poor informs you in a different way, I don’t have the guilt of privilege that can lead some artists down a righteous path. I am happy to observe my life and talk about it (even make fun of it) without needing a purpose, that seems very Seinfeld somehow…
I think what is really impactful is changing the way people view things. Technology has done that. It doesn’t dwell on the sociopolitical spectrum. I want to be more like a technologist a or an engineer, not an activist. All I have to contribute are my own thoughts and ideas which aren’t anything controversial or even interesting but there is a curiosity in the mundane, the slightly off kilter, the in-between that fascinates.
5/ Your Projection Paintings use a technique I have never seen before, can you tell us about it?
It’s strange that this technique wasn’t being used in Lumiere’s day, it is actually quite low tech. A movie is projected onto a canvas and the paused movie scene is painted on the canvas. When exhibiting the movie plays and matches up with the canvas, it causes a strange relationship with space, it activates the painting, in a way that a static painting cannot. For the implosion movie this was particularly dramatic when the movie meets the falling building.
6/ Most of the works have some kind of reference materials, images that you cut and paste together to form a narrative. How important is that process and the technology you use?
My first profession was as a graphic designer and the tools available through photoshop are powerful to sketch ideas that would have been difficult to visualize in any other way. Even photographing the work and viewing it from that critical viewpoint is helpful to gain perspective. Working with a facsimile can also be liberating in a way. You can move far away from the original and yet keep coming back to it when you get lost, it acts as a security. Just starting with a blank canvas is terrifying.
Tara de la Garza: taradelagarza.com
The Lodge Gallery: thelodgegallery.com 131 Chrystie St., NYC
— Tyler Kent White (via nyu-tah)
-Pat Levitt, PhD, Simms/Mann Chair in Developmental Neurogenetics at Children’s Hospital Los Angeles.
Finished mixed media piece!
Rendezvous Tattoo. Marquette Michigan. Artist: Chris Shelafoe
Spray-on solar cells take less energy to make and can be put on everything from jeans to cars.
Scientists are one step closer to spray-on solar power. Instead of traditional bulky solar cells encased in glass—which can be awkward to put in plac…
Many of my articles here are centered around doing anything to move an idea or project forward.
Why isn’t the focus more on the importance of perfecting an idea or project, rather than the repetitive notion of simply getting started?
The reason I insist that we, as artists and writers…
We hear Ansel felt similarly about the tango.
Grab this wallpaper or share it with a buddy.
Scientists at the University of Warwick have provided the first evidence that the lack of a naturally occurring protein is linked to early signs of dementia.
Published in Nature Communications, the research found that the absence of the protein MK2/3 promotes structural and physiological changes to cells in the nervous system. These changes were shown to have a significant correlation with early signs of dementia, including restricted learning and memory formation capabilities.
An absence of MK2/3, in spite of the brain cells (neurons) having significant structural abnormalities, did not prevent memories being formed, but did prevent these memories from being altered.
The results have led the researchers to call for greater attention to be paid to studying MK2/3.
Lead researcher and author Dr Sonia Corrêa says that “Understanding how the brain functions from the sub-cellular to systems level is vital if we are to be able to develop ways to counteract changes that occur with ageing.
“By demonstrating for the first time that the MK2/3 protein, which is essential for neuron communication, is required to fine-tune memory formation this study provides new insight into how molecular mechanisms regulate cognition”.
Neurons can adapt memories and make them more relevant to current situations by changing the way they communicate with other cells.
Information in the brain is transferred between neurons at synapses using chemicals (neurotransmitters) released from one (presynaptic) neuron which then act on receptors in the next (postsynaptic) neuron in the chain.
MK2/3 regulates the shape of spines in properly functioning postsynaptic neurons. Postsynaptic neurons with MK2/3 feature wider, shorter spines (Fig.1) than those without (Fig2).
The researchers found that change, caused by MK2/3’s absence, in the spine’s shape restricts the ability of neurons to communicate with each other, leading to alterations in the ability to acquire new memories.
“Deterioration of brain function commonly occurs as we get older but, as result of dementia or other neurodegenerative diseases, it can occur earlier in people’s lives”, says Dr Corrêa. “For those who develop the early signs of dementia it becomes more difficult for them to adapt to changes in their life, including performing routine tasks.
“For example, washing the dishes; if you have washed them by hand your whole life and then buy a dishwasher it can be difficult for those people who are older or have dementia to acquire the new memories necessary to learn how to use the machine and mentally replace the old method of washing dishes with the new. The change in shape of the postsynaptic neuron due to absence of MK2/3 is strongly correlated with this inability to acquire the new memories”.
Dr Corrêa argues that “Given their vital role in memory formation, MK2/3 pathways are important potential pharmaceutical targets for the treatment of cognitive deficits associated with ageing and dementia.”
Blood expression levels of genes targeted by the stress hormones called glucocorticoids could be a physical measure, or biomarker, of risk for developing Post-Traumatic Stress Disorder (PTSD), according to a study conducted in rats by researchers at the Icahn School of Medicine at Mount Sinai and published August 11 in Proceedings of the National Academy of Sciences (PNAS). That also makes the steroid hormones’ receptor, the glucocorticoid receptor, a potential target for new drugs.
Post-Traumatic Stress Disorder (PTSD) is triggered by a terrifying event, either witnessed or experienced. Symptoms may include flashbacks, nightmares and severe anxiety, as well as uncontrollable thoughts about the event. Not everyone who experiences trauma develops PTSD, which is why the study aimed to identify biomarkers that could better measure each person’s vulnerability to the disorder.
“Our aim was to determine which genes are differentially expressed in relation to PTSD,” said lead investigator Rachel Yehuda, PhD, Professor of Psychiatry and Neuroscience and Director of the Traumatic Stress Studies Division at the Icahn School of Medicine at Mount Sinai. “We found that most of the genes and pathways that are different in PTSD-like animals compared to resilient animals are related to the glucocorticoid receptor, which suggests we might have identified a therapeutic target for treatment of PTSD,” said Dr. Yehuda, who also heads the Mental Health Patient Care Center and PTSD Research Program at the James J. Peters Veterans Affairs Medical Center in the Bronx.
The research team exposed a group of male and female rats to litter soiled by cat urine, a predatory scent that mimics a life-threatening situation. Most PTSD studies until now have used only male rats. Mount Sinai researchers included female rats in this study since women are more vulnerable than men to developing PTSD. The rats were then categorized based on their behavior one week after exposure to the scent. The authors also examined patterns of gene expression in the blood and in stress-responsive brain regions.
After one week of being exposed to soiled cat litter for 10 minutes, vulnerable rats exhibited higher anxiety and hyperarousal, and showed altered glucocorticoid receptor signaling in all tissues compared with resilient rats. Moreover, some rats were treated with a hormone that activates the glucocorticoid receptor called corticosterone one hour after exposure to the cat urine scent. These rats showed lower levels of anxiety and arousal one week later compared with untreated, trauma-exposed rats.
“PTSD is not just a disorder that affects the brain,” said co-investigator Nikolaos Daskalakis, MD, PhD, Associate Research Scientist in the Department of Psychiatry at the Icahn School of Medicine at Mount Sinai. “It involves the entire body, which is why identifying common regulators is key. The glucocorticoid receptor is the one common regulator that consistently stood out.”