Hello Fellow Humpers!
In honor of this unique day, Leap Day, which happens but every four years, on February 29th, we are honored to reblog our very first Hump Day Q&A with Steve Daly.
We too have some praises, by our Tumblr followers, reaching 99! So, for you first timers, welcome and enjoy the first Hump Day Q&A and to the old-timers, we hope you re-enjoy! Happy Leap Year Celebration !
1. Who are you?
2. What do you do?
Generally speaking, I wander around with a very large, outmoded camera looking forthings in the external world that spark some kind of dialogue with what’s going on in my interior world. Sometimes it’s the other way around.
3. When/Where/How did you get your start?
I am a recovering journalist and television producer. I realized my life was an ever-expanding black hole of despair, drift and boredom. It seemed to make some sense toharness that.
4. How long have you been at it?
In a live-eat-breathe-it way, about five years.
5. What is the most important thing we should know about you?
6. Is there anyone else in your field who you particularly admire?
Thomas Struth makes my heart sing.
7. What types of art are you into?
The good kind. I like it all: painting and film, especially, and printmaking.
8. You got any crazy hobbies or unique talents?
Being in the right place at the right time. It’s seriously fucking weird how many times that’s happened.
9. What’s your favourite vice?
Kodak Portra 160.
10. What is your most prized possession?
An anxious mind. A Linhof Technika III, manufactured sometime between 1956 and 1972 in West Germany. The support of others.
11. You eat food? What kind? Like to cook?
YES! As a recent transplant to Amsterdam, I’ve developed an unhealthy obsession withmussels, and buying whatever weird Dutch cheese is on sale at the supermarket (note:Dutch cheese with cumin = yuck), along with bizarre cured meats, like ossenwurst. Myother favorite things to cook these days are various ethnic soups and stews because theyare cheap, healthy and last a few days (and always taste better the second day). But I’llpretty much eat anything you put in front of me. Except tripe: We don’t have to use thewhole animal. Though I do like tripe as an adjective.
12. Truth or Dare? Elaborate.
What’s truth? Dare to wear women’s deodorant. Dare to experiment, and to make processintegral to practice. Dare to embrace the work of others in pursuit of yours rather than just react against it.
13. How do you make it over the hump on Wednesday?
Did you get this question from the side of a cereal box?
(Steve Daly is a photographer and all-around-good-guy living in Amsterdam. He is a graduate of the School of the Art Institute of Chicago MFA program and a 2011 recipient of the Leonore Annenberg Fellowship for the Arts. His work is on view through 2/18 in “Second City Psychasthenia” at the Andrea Meislin Gallery, 526 W. 26th Street, #214, NY, NY)
Welcome to Quinn vs. Quinn, your review source for arts, culture, and whatever else we both deem acceptable to bring to your attention! Penned by Erica (Quinn) and (Quinn) Daly.
Tamara Gyer’s “The Final Contraction”, closing this week at Smack Mellon of Brooklyn.
We spent a windswept sunshine afternoon in Brooklyn’s DUMBO neighborhood, catching up on the art therein and wishing we don’t live where we do. Here are our findings. Part 2.
QD: The Josh Alexander stuff at G.P.G. was interesting, because at first I was like “Heh, whatever”, but after like five minutes I was more “Haha, cool!” His pieces made me think of Ralph Steadman and Dr. Seuss havin’ a couple beers and tellin’ good-natured dirty jokes in a bar.
EQ: In terms of whimsicality, I thought it made a great companion to the nearby Smack Mellon shows— a room-sized chaotic ‘sketch’ in BLACK TAPE, quilts made from scrap paper, and windows covered in colorful vinyl.
QD: Yeah! The stuff there was great! Maybe it’s because I was in such a good mood, but I really liked all the pieces. My first impression when I see anything huge is “Oh, big for big’s sake. WHAT A NEW IDEA.” However, after I had a second to look at things, I thought it was really solid. Same with the quilts and the window installation. Some people might wince when you call something “fun”, but those people are generally dicks and fuck them. This stuff was fun.
EQ: And interesting, unexpected. The materials at Smack Mellon were surprising: see the huge wall sketch, it’s actually tape, see the beautiful patchwork quilt, it’s actually made of envelopes. The vinyl window piece functions as newfangled stained glass. And you’re right, The Alexander pieces were interesting in the same way— simple at first, but the longer you look, the longer the forms sort of anthropomorphize.
QD: I’ll sum that one up by simply saying that I’m glad I saw it, which is pretty much what the game is about, right? Both of my thumbs, here.
QvQ gives all the thumbs to both Smack Mellon’s current shows (Tamara Gayer’s “The Final Contraction”, Stephen Sollins’ “Piecework”, Heeseop Yoon’s “Still Life #11”) and Giacobetti Paul Gallery's exhibition of Josh Alexander's “Inward”.
Smack Mellon can be found at 92 Plymouth Street, Brooklyn NY. Giacobetti Paul Gallery is located at 111 Front Street, Suite #220, Brooklyn, NY. Both shows close this week, so get there— quick!
(Quinn Daly is a retired horse trainer, writer, and photographer. He enjoys cocktails, food, and “art, in general.”)
Mike Shea’s B-Reel is a preview for movies long forgotten in the annals of film, time and perhaps your movie queue. Like Indiana Jones, Shea will explore the film crypt to find hidden gems and discover the good, the bad and the ugly. This week: Caged Fury.
Caged Fury - Original Illustration by Mike Shea
Caged Fury is a 1990 Bill Milling joint starring Erik Estrada, Roxanna Michaels, Richard Barathy’s Roundhouse Kicks, and Honeywell Prison— a rough lesbian sex slave palace. Roxanna Michaels plays Kat, an ambitious 20-something hoping to achieve fame and fortune as an actress in LA. Kat’s best friend in the film is a street-smart hitchhiker named Rhonda who has all the right moves. Unfortunately, these moves end up sending them to sex jail.
1. The girls get scammed into going to Honeywell Prison under dubious circumstances
2. The prison inmates take lots of showers
3. Richard Barathy’s Roundhouse Kicks kick the bejeezus out of everything in sight
4. Erik Estrada gets shot in the arm
5. Secret Sex Slave Trafficking Plan (SSSTP) is revealed
6. Prison break/fork in the eye/motorcycles/sunset/the end
(Erik Estrada is hustled into an ambulance after getting shot in the arm while he and Richard Barathy’s Roundhouse kicks were beating people up for information)
EE: It’s nothing, I’ll be out of here in a couple of hours.
RBRK: We don’t have a couple of hours, I know where they are and I’m going in.
RBRK: My favorite way to fly.
Note: it is not revealed to the viewer how they found out where Honeywell is.
Erik Estrada and Richard Barathy’s Roundhouse Kicks (dressed in chest-open karate threads) hang out at some outdoor temple thing smashing stacks of concrete blocks and riding motorcycles
I kind of love that Erik Estrada is not the hero of this film because A) it’s a nice bit of (unintentionally post-modern?) narrative deceit and B) his brand of roundhouse kicks would have gotten them all killed during his attempted rescue because he is not Richard Barathy. Roxanna Michaels is actually a pretty good actress and it really seems like she’s trying to make this role into something meaningful. It’s a shame that these efforts resulted in her appearance in Bikini Sessions 2 (straight to video) but it was worth a shot I guess. Overall this film is not nearly as exciting as Women in Cages, The Big Bird Cage, or Caged Heat, and it also doesn’t have the added value of allowing all the female characters to rescue themselves. Richard Barathy’s Roundhouse Kicks’ kicks are excellent but not everyone has access to them in real world situations and the female characters in Caged Fury are left looking like defenseless pawns awaiting rescue from their mustachioed and/or turtle-necked male saviors. If Pam Grier was in this movie she would’ve shot Richard Barathy’s Roundhouse Kicks with a Kalashnikov and then saved everyone herself. The “women in prison” subgenre of exploitation film is not something that I’m interested in defending really, but at least those other films have sort of a roundabout feminism going for them.
As Art: D-
As Entertainment: C+
(Mike Shea is a freelance graphic designer/illustrator/cool guy living in Brooklyn with two cats and an esteemed lady-friend. He earned his BFA at Maryland Institute College of Art and is available for hire, but only if you want a really great end-product.)
I’m writing this as the first sloppy days of March are being ushered in, and you know what that means….
WOMEN’S HISTORY MONTH!
Because discussing the history of women in art is kind of the best, I’ve decided to start March off correctly with an homage to some of my biggest art girl-crushes. The rich legacy of the ladies who have come before me has been instrumental in influencing my own artistic practice (read: lots of boys with silks and feathers, as a retort to Ingres), and shaping my sensitive and deeply-considered worldview. So. Without further ado— some of my favorite pieces, by some of my favorite women. In chronological order. (You will notice my bias towards 20th C. art.)
Romaine Brooks, Una, Lady Troubridge, (1924)
Georgia O’Keeffe, Radiator Building— Night, New York, (1927)
Diane Arbus, A Family on their Lawn One Sunday in Westchester, (1968)
Eva Hesse, Accession II, (1969)
Sylvia Sleigh, The Turkish Baths, (1973)
Helen Frankenthaler, The Spiritualist, (1973)
Cindy Sherman, Untitled #93, (1981)
Yayoi Kusama, Repetitive Vision, (1996)
Dayum, girl. Go forth and make something.