I made this little guy for the Southern Exposure auction: Cruciverbalist’s Delight, 2019; Gouache on panel, 16 x 16 inches.
Then the NYT Wordplay Twitter account did this:
And I died.
The wonderful ladies of Beyond the Studio asked me great questions about how to be an artist and critic in the Bay Area, to which I mostly answered: “Renny Pritikin’s ‘Prescription for a Healthy Art Scene.'”
I gave a talk on mythology painting, science fiction and the monstrous feminine for Ad Minoliti’s Feminist School of Painting at KADIST in San Francisco.
Susannah Magers included my work in Political Birthdays, a snazzy group show of radical artists at Dream Farm Commons in Oakland, photographic proof above.
I made a bunch of weirdo push pin sculptures and one replica of a Mayan-inspired tarot card for Celestial Sodapop, a solo mini-exhibition installed on an academic bulletin board (a.k.a. BEST PRACTICE, in San Diego).
Colpa Press published of Sci-Fi Sundays Vol. 6, an all-Alien edition of snarky essays about the greatest hero of all time, Ellen Ripley.
I spent two weeks at This Will Take Time, an extremely generous and freeform residency in Point Arena, CA. While there, I started working on a project about the magazines High Frontiers, Reality Hackers and Mondo 2000. More on this soon.
I contributed a bit of semaphore instruction to Demand Utopian Sports, a booklet considering the intersections of sports, race, gender and class. It was released in tandem with an event at Yerba Buena Center for the Arts, to which I brought flags for real-life semaphore practice, or just all-around cheering.
I moderated a conversation at KADIST called Power Forward, on the occasion of the launch of “Sports,” the latest issue of artist-run publication INCITE: Journal of Experimental Media. The distinguished panelists were Ezekiel Kweku, journalist and politics editor of New York Magazine’s Daily Intelligencer, and Ameer Loggins, writer, scholar and an organizer for Colin Kaepernick’s Know Your Rights Camps.