ART AS HISTORY LESSON

by Scarlet Cheng

LARGE EXHIBITIONS REQUIRE STRONG concepts or narratives to drive them. They also need objects that are pleasing to the eye, and displayed in pleasing ways. It may sound shallow, but this is why we go out and see a show, rather than lie on the couch and flip through an art book.

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SYMBOLIC DESTRUCTION

by Alex Schaefer

I AM AN ACCIDENTAL ARTIST. I never showed any exceptional ability or genius as a child but, for some reason, when I turned 18, all I could think about was art. I am a diehard "analog" artist; I love drawing and painting. In 2001, I dropped out of a 10-year video-game art career in exchange for the freedom to paint whatever I felt like, and I've stuck with that plan ever since.

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THAT'S ENTERTAINMENT

by Tulsa Kinney

WHEN I SAW THAT SANDRA BERNHARD was playing at REDCAT in August, I made sure to get down there immediately. I was anxious to take my husband, as he was really unfamiliar with her whole act, and I wanted to show off my good taste.

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DOWN FROM THE MOUNTAIN

by John Tottenham

I'VE NEVER GIVEN ED RUSCHA much thought. But when I heard that he'd produced a series of paintings inspired by On the Road, I was intrigued. As an aspiring young outcast — an English schoolboy at the tender age of 15 — I discovered Jack Kerouac's dangerously romantic novel at exactly the right time.

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Report from the U.K.

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