SELECT PUBLICATIONS
Feature Article, Resurgence Magazine. September/October 2009.
Wrung from the Dark: Natasha Rivett-Carnac recommends “Wild” by Jay Griffiths
It was Griffiths depression that instigated the seven-year journey that was to become Wild. Stranded in the banal urban landscape surrounding her Hackney council flat, Griffiths impulsively took an offer to travel to the Amazon to take ayahuasca, a medicinal herb used by Amazonian shamans and famed for its powerful healing properties. Of ayahuasca Griffiths writes:
Essay, Global Environment Publication (part of The Chartered Institute of
Water and Environmental Management) October 2008.
The Artist’s Role During Climate Change
We are living lives alienated from ourselves, our families, our place and history. The artist can point to our losses and usher us to a wild place, acting as mediator between the natural world and the human world. When we watch a performance or read a book, centres in our minds that have long been dormant, light, connect and sizzle. This experience of encountering beauty is familiar to everyone. Across time, across continents, not a single culture has dared live without it. In a culture like ours, dominated by empirical science in research and expansion in business, art can seem a pestering old friend to whom we’ve rightly hardened.
Feature Article, Resurgence Magazine. March/April 2008.
Body, Being and Place: A Conversation with Antony Gormley
I arrive at a warehouse in North London. A tall metallic gate slowly slides to the left to reveal men and women welding wire figures fore grounded by a courtyard of startlingly life-like sculptures. A young man approaches, and I tell him I’m here to meet the artist. As he goes off to look for him, I inch my face closer to prints, notice a neat stack of dirty dishes by the sink, and inspect the announcements on the pin board for upcoming exhibitions.
Peer-reviewed paper, International Journal of Arts in Society. November 2007.
The Curator as Artist
The work of the curator in constructing art worlds is more boundary-free than ever before. Fore most curators, this is both liberating and disorienting. More and more curators are aligning themselves with artists rather than so-called “gate-keepers”. These type of curators typically call themselves “curator-artists”. The question I would posit then is this: What might some of the pertinent questions be for establishing a curatiorial approach under this model? In other words, how can we maximize the creative potential inherent in such a model, while still maintaining and developing ever evolving standards for the field of contemporary art?
Column, Pulse of the Twin Cities. Monthly Features 2005.
Review, Publishers Group West. Spring 2005.
Review of Crossing Bully Creek by Margaret Erhart
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