"Scott Holmquist's chronic freedom series: cannabis growing for the future alien peasant," Humboldt Cannabis Magazine, spring 2018
..."when I viewed these volumes... it felt a bit as though a social revolutionary with the Situationist International had traveled forward in time, juking improbably from Paris 1968 to Garberville 2010, producing a radical archive in codex form along the way."
"Trevor Paglen: Impossible Objects at Altman Siegel," Art Practical, May 8, 2018
"When Orbital Reflector speeds across the sky, observers will see a point drawing a bright line that continually erases itself, mimicking the progress of a small comet."
"Cynthia Hooper's current show, Cultivated Ecologies at Humboldt State University Third Street Gallery, is part art, part educational initiative, and part environmental broadsheet. Hooper uses videos, maps, and graphics to chart the epically scaled works of 20th-century engineering that reconfigured California’s waterways, upending the state’s ecological balance in the process."
“This is “nature” stretched thin to the point of transparency: a monoculture product, grass selected across generations for toughness and uniformity, spooled on a reel for convenience.”
“The sculptures hang suspended from the chapel ceiling. At close range, it becomes possible to see that their steel surfaces are covered with intricate embossed designs. Passages of Arabic calligraphy alternate with intricate patterning that figures nature with images of twisting foliage and vines—images of organic plenitude that are somehow genuinely shocking to encounter in this context.”
“Like the adjacent sculptures, the videos proposed a model of existence as depthless surface. Plastic sheeting has no interior and no exterior, no front and no back. The marks an artist makes upon its surface are reversible. Likewise, a stage prop is valued for its surface appearance. Its interiority—or lack thereof—is unimportant. Façade is key.”
“The focus of my inquiries is a passage at the center of the video that incorporates a reversed video clip, creating the impression of reversed time. This clip is incorporated into a narrative sequence in which the reversal of time is presented as a fantasy solution that undoes the devastation of war.”
‘Harriet Hosmer and the Feminine Sublime’ argues that the mid-nineteenth century American sculptor Harriet Hosmer's sculptures contradict the Pygmalion ideal that guided the creation of much contemporaneous sculpture – namely, the wish to bring the inert block to life. Instead, in her portrait of historical heroines such as Zenobia (1859), Hosmer endeavoured to make the woman's body signify as the thick stone mass of marble from which it is carved.”