Canary

Lucy Allen’s reverence for history is displayed by her use of materials and techniques such as earth pigments and egg tempera, but with a levity of hand that is decidedly contemporary. Through the inspiration of the old masters, Allen channels a deep appreciation for narratives that signify bold acts of heroism, beauty and tragedy. 

Over the past years, Allen and her husband have struggled with medical complications that have resulted in recurrent miscarriages and fertility treatments. At various points in this time, she continued her painting practice through private reproductions of her experience. Though these works are extremely personal, the artist feels that there is benefit in sharing her paintings of this difficult subject to address her grief, reflect on the female bodily experience, and to express solidarity with others that share the couple’s reality. 

Lucy Kirkman Allen studied painting at the Cooper Union in New York, NY and was a Harriet Hale Woolley Scholar at the Fondation des Etats-Unis, Paris, France. She worked in Dallas, TX, where she and Justin Hunter Allen co-directed the experimental gallery Studio DTFU and were founding members of SCAB, a network of artist-run exhibition spaces. Her work has been covered in national and international press. She and her husband now live in the Tidewater region of Virginia at their farm Long Days. Recent collaborative curatorial and publishing projects include Serendipity: Williams House, #FFFHEX Gallery, and The Airplant Project.

You can View Lucy Allen's show through on our website : basketshopgallery.com
And visit Resolve.org for further information and support for female infertility issues.

In this episode Kelly Kroener interview Jesse Meredith. Jesse is a photographer that has documented a militia group that he joined in 2016. In this interview he discusses his experience of spending time with this group and how he has learned to navigate these ideologies as an artist in an extremely right leaning community. He also speaks to how this community has become more embolden over time due to the election of Donald Trump and the perilous dismissal of White Nationalism and the threat they impose.

On this episode Kelly Kroener speaks with the founders of Ruckus, a self-established arts journal in Louisville, Kentucky. 

L Autumn Gnadinger, Mary Clore and Kevin Warth  of Ruckus describe how they created space for themselves to cover more culturally dynamic topics in their city. They discuss the implementation of their equity plan, how they were able to provide a nexus for artists to find relief funds during the pandemic, the criticalness of gentrification that affects cultural neighborhoods and the importance of small, local journalism in third-tier cities.

It’s an inspiring conversation mired in Midwestern DIY ethos and social responsibility.

Please follow them and support them through their Patreon so they can continue the fine work that they do
https://ruckuslouisville.com/

On this episode we speak with Dr. Michael Corris!
Corris is an artist, critic and historian that has had a long career in conceptual art starting with his participation in the influential collective Art and Language in the 70s. He has since divided his energies between the production of artist's books inspired by typographic design and writing on contemporary art and art theory through lectures and teaching.
He’s contributed to art journals like ArtForum and Art in America… his essays are included in scholarly collections on the subject of Conceptual  Art like MIT Press.
We discuss his latest Typographical text work titled “As We Were Saying…”, how he collaborated with numerous other artists on the project and how he disseminates his artwork through the egalitarian transmission of his online platform Invisible College Conversations. 

On this episode Kelly Kroener speaks with the artist Tracy Featherstone, a tenured professor at Miami University in Oxford Ohio that has recently became the chair of the printmaking department on campus. 

It’s a very interesting conversation that offers insight on the experience of academics as schools open and have to deal with the crisis of a novel pandemic. From the perspective of Tracy as an instructor and faculty head as well as from Kelly who has just started her graduate studies at Cranbrook Academy of Art. 

They talk about quarantine, studio practice and how studio critique is contrived in an environment of social distancing.

BasketShop Gallery owner Kelly Kroener organizes a group of panelists to discuss Internet Citizenship.

Citizenship on the Internet is a very complicated subject for artists as we have realized more and more that the creative rights we enjoy in society don’t necessarily apply to us the same way when we’re online. I’m very happy that Kelly has brought this topic up for attention to shed light on some practices of tech monopolies that actively try to capitalize off of our privacy and offers some solutions for artists to keep in mind while navigating this increasingly pervasive technology.

The panel includes Leo Kaplan: an artist, web developer and founder of influential artist-run spaces such as The Hills Aesthetic Center and Boyfriends Gallery in Chicago. 

Justin Hunter Allen: Artist, Curator, Publisher and internet ne'er-do-well that operates from his home in rural Virginia. 

And Ryder Richards: an artist, educator, critic and web developer from Dallas TX.

BasketShop is a 501c3 non-profit arts organization in Cincinnati OHIO.

Please visit us at http://www.basketshopgallery.com

Special thanks to Andy Marko for editing this podcast

Links:

Leo Kaplan:
severe.solutions

Ryder Richards:
website

Justin Hunter Allen:
website
Mathews, Virginia

This week we speak to Elliot Doughtie who explores the terrains inhabited by the transexual communities. Elliot's show Locker Room, currently scheduled for November, is made possible with the support of the ArtsWave's Pride grant, connection with the ACRE artist residency and the Crossport social support organization. Thank you to these organizations for working with us to share Elliot's work with Cincinnati.  

At the core of Doughtie's work is a desire to form intimate relationships between objects and the body in proximity to the awkwardness of a vulnerable situation. Relating alchemy, queerness, the quotidian and the strange, Doughtie utilizes sculpture and installation in the service of generating new bodily experiences that transcend socially normative expectations or functions. 

Elliot Doughtie's sculptures and installations are metaphors for how he envisions his own body and the bodies of those who are, like himself, transgender. Often within the sculptures, or the sculptures themselves, are tools that would be used specifically as a trans person to push the body to something that is other than its current limits. Currently, he is focusing on the setting of the bathroom, both public and private, using materials and forms commonly found within its' walls. Copper pipes and bathroom plumbing implements molded out of plaster are transformed from their original function to stand in for limbs or strange, exposed genitals, emphasizing the fluidity of identity. 

ArtsWave

Elliot Doughtie

ACRE Artist Residency

Crossport

For our second episode, we hosted an open discussion with Nashville artists Jaime Raybin, R.D. King and Marlos E’van. Last September Raybin and King were detained by TSA at LaGuardia airport when they were returning from the Independent Art Book Fair with copies of E’van’s book Skull Microwave. The book contained visuals from Evan’s art practice that depicts subjects of police brutality, gun violence and criticism of capitalism.

We will discuss their experience, the practice of artist book production and dissemination, as well as the recent buyout of Watkins College of Art in Nashville and how all of it relates to the recent uprising across the country.


Skull Microwave

McGruder Family Resource Center

IG: @marlosevan

Hyperallergic Article

Extended Play Press

Watkins College of Art Buyout NYT

Watkins College of Art Buyout Tennessean

The exhibition's title, 5,712 references the amount of reported cases in the United States of murdered and missing Native women in 2016. It is important to note that this number only reflects the reported cases, and that it is estimated that there could be thousands more of sisters lost, as cases often go unreported. Often times authorities refuse to take these cases seriously and do little, or nothing.

Robbins' work references the misconceptions of Indigenous Peoples, combining the idea of "the noble savage" with actual items found on reservations, pan-Indigeneity and traditional items, unique to her own Navajo culture. A large part of her work also brings elements of humor into the pieces she makes, something many Natives use as a coping mechanism to deal with tough issues those living both off and on reservations deal with on the daily.

Emma Robbins (Diné, b. 1986) lives and works in Los Angeles and on the Navajo Nation. She completed her BFA at the School of the Art Institute of Chicago and studied Contemporary Latin American Art in Argentina. She is the Director of the Navajo Water Project, providing access to clean, running water to communities on the reservation. Robbins has been featured in Nylon, VICE, Got A Girl Crush and Native America Calling, and has lectured at Tufts University, MIT, the School of the Art Institute of Chicago, the Global Climate Action Summit and the Indigenous Peoples March for her art, activism and humanitarian work. Robbins is a current Aspen Institute fellow.

Links:
Indigenous Circle of Wellness
icowellness.com

Greater Cincinnati Native American Coalition
gcnativeamericancoalition.com

Navajo Water Project
navajowaterproject.org

Lakota People's Law Project
lakotalaw.org

Whose Land
whose.land

First Families: A Photographic History of California Indians
heydaybooks.com