An ongoing archive of stories journalistic and literary, 2014-present. Curated and organized thematically (i.e. obsessively).

Vivid for the moment. Mercury, also syndicated in Providence Journal, 2018. 
A girl shouts into purgatory:  “Yo! How’d you guys get down there?” The response: You swim.



I am my beloved’s, my beloved is mine. Mercury, 2018.
Optimists like to assume that history obeys karma, that time and memory correct injustice. That Madame Bannister ended up poor and institutionalized, long footnoted to her husband’s fame, suggests otherwise.



Magical Boy Manifesto. untethered, Vol 4.1, Spring 2018.
The Magical Boy knows that the body knows things. Against a more typical model of duality, philosopher Elizabeth Grosz argues for a Möbius strip of mind-body. The Magical Boy rides its winding surface.



Impure thoughts. GLASS Quarterly, 2018.
Anjali Srinivasan asks me if I’ve ever seen Indian traffic lights. I shake my head, but later, away from Srinivasan’s desk and sitting at my own, YouTube educates me.



Cupid Halloween Costume. Lost Balloon. 2018.
Two pairs of golden tights, the first of which are too matte. Two pairs of angel wings. A bow and arrow which went unused beyond selfies.



Anna Kunz at PC-G. Big Red & Shiny, 2018.
The goddess’ sine qua non of sexuality emerges in the very architecture: paintings unfurl to the floor, a wall becomes a pool of light, and sheer canvases contort as they try a new position—this kinky thing called ‘sculpture.’



31st Newport Annual: Safety in numbers. Mercury, 2018.
The Newport Annual was one of the first events I reported first-person, thereby unraveling that j-school dictate: Don’t become the story.  This year, trying to think of an exciting frame for coverage of the Annual’s 31st iteration, I decided to enlist two people with a seeming abundance of opinions: My parents.



Being Bunny Harvey. Mercury, 2017.
Harvey somewhat reluctantly reconsidered these aesthetic priorities when her New York gallery advised that Heisenberg’s uncertainty principle or Schrödinger’s cat were not the most readily accessible topics for paintings.



Caleb Cole at the Newport Art Museum. Big Red & Shiny, 2017.
Cole’s characters feel safe enough to whisper, asking to be seen and remembered. The importance of this plea is not in its content, but its volume, its almost begrudging delivery. It is a desire spoken so softly as to be breakable.



Thread Count(ess). GLASS quarterly, No. 148. (Cover story), 2017.
Toots Zynsky’s studio in Providence, Rhode Island, is a minute’s walk from a gay bar, a medical school, and an art gallery. In some admittedly circuitous but unexpectedly accurate way, the symbolic energy of those places is echoed in Zynsky, who hoped to be a dancer, considered becoming a doctor, and is now, totally and devotedly, a sculptor.



Private eye. Mercury, 2017.
Macaroni penguins joined the zoo. A man mistook a body in a pond for someone drowning and jumped in to save it. A castle is scheduled for $6 million in renovations. A dog named Nike went missing. These are a few headlines to recently come out of Central Park, where there is always life, action, something happening.



Magical Boy with Bleeding Guts. Glass Mountain, Volume 18, Spring 2017.
My first smell memory wafted out of the procedure room, where my young body was drugged to sleep and a snaking camera shoved up my intestinal tract.



Hit reset. Mercury, 2017.
A Russian robustness emerged, as did Mondrian’s beat — particularly in the zigzagging motion of “White Sands.07,” its central line undulating like the hottest, brightest song of a Friday night out.



Cabell & Foster at GRIN. Big Red & Shiny, 2017.
The ‘work-life balance’ is prized in neoliberal feminism as a chance for women to ‘have it all’—and yet having it all doesn’t imply any enjoyment of the spoils earned. As the emotional content of work and home life merge, women are asked to do more, perform more, be more. It’s hardly a schematic for contentment, much less liberation.



The Harvest. 20pg zine sold at Van Vessem Gallery, Nov . 2016. Edition of 25.
(Email me for a PDF.)
Summer departs. Darkness lengthens. We don the faces and garb of the demons who would decimate our numbers.



Reunited and it felt so good. Mercury, 2016.
“The drunker you are, the better we sound!'” Bassist Gail Greenwood reminded the audience that a little Bacchanalia is song’s eternal twin. At one point I followed her advice, and choked down a few ghastly sips of the bar’s cheapest whiskey.



 A prince among the angels. Mercury, 2016.
His falsetto pierced the firmament, a cascading shimmer of light and flesh unfolded as bodies moved through time. My phone quietly pinged with texts about his death.



The kids are all confused. Mercury, 2016.
Nothing screams ‘uncool’ like a room full of legislators discussing the ‘monetization’ or ‘cost-benefit analysis’ of a psychoactive herb. As I surveyed a sea of navy blazers and tucked shirts, my imagination failed to visualize any of these suits smoking a joint. But bureaucrats and burnouts share something: an ability to discuss cannabis at length.



Besides at GRIN Providence. Big Red & Shiny, 2016.
I approach Villanueva’s guitar and hesitantly feed it a coin. With the plop of a quarter, my attention shrinks to the rumbling motion of the kiddie ride as it lacerates the air with music.



Fugitive Blues. Written for Blauww at Van Vessem Gallery, 2015.
There are many blues, each one with a distinct temperament. Looking at the work here, I see blue as an omen, a scarcity, a rendezvous, an impending storm, a remembered abode, military garb, Promethean flame, poetic decay.



Judith Klausner at New Bedford Art Museum. Big Red & Shiny, 2015.
There’s a persistent social delusion that using a drug to achieve health is ‘faking it.’ A market ruled by blockbuster proprietary drugs means that, authentic or not, feeling good will cost you.

Magical Boy Manifesto. untethered, Vol 4.1, Spring 2018. 
The Magical Boy knows that the body knows things. Against a more typical model of duality, philosopher Elizabeth Grosz argues for a Möbius strip of mind-body. The Magical Boy rides its winding surface.


Cupid Halloween Costume. Lost Balloon. 2018.
Two pairs of golden tights, the first of which are too matte. Two pairs of angel wings. A bow and arrow which went unused beyond selfies.



Magical Boy with Bleeding Guts. Glass Mountain, Volume 18, Spring 2017.
My first smell memory wafted out of the procedure room, where my young body was drugged to sleep and a snaking camera shoved up my intestinal tract.



The Harvest. 20pg zine sold at Van Vessem Gallery, Nov . 2016. Edition of 25. (Email me for a PDF.)
Summer departs. Darkness lengthens. We don the faces and garb of the demons who would decimate our numbers.  

Draw attention: RISD Museum presents 'Lines of Thought.' Mercury, 2017.
The artist Michelangelo was a Catholic ascetic and possibly chaste, but he rendered the male form with impeccable skill, in such tantalizing ways that one can’t help but wonder if he didn’t have a little carnal experience.




+ Salve gallery show probes inherent fragility of home. Mercury, 2017.
+ Cabell & Foster at GRIN. Big Red & Shiny, 2017.
+ Documentation with dignity. Mercury, 2015. 

Techniques

Her purple past. Mercury, 2016. Interview w. Brenda Bennett, member of  Vanity 6
Prince was one milestone in Bennett’s life, motherhood another. Both histories collided that night in Boston, where Walsh glimpsed the feverish cool of his mother’s past.


+ A Rhode Island addition to King Richard's Faire. Providence Journal, 2018.
+ QVC pitchman Cameron Silver to present trunk show at The Newport Show. Mercury, 2018.
An art dealer who dares. Mercury, 2018. (Final story for Mercury in its print weekly form.)
+ Interview with Arthur author Marc Brown. Providence Journal, 2017.
+ Billy Gilman is alive and well. Mercury, 2017.
+ A comic book revolutionary. Mercury, 2016. Interview w. Art Spiegelman.
+ Scott Lawrence in conversation with Alexander Castro. GRIN Providence, 2016.
+ Significant others. Mercury, 2014. Interview w. Kate Bornstein.

Report from Rhode Island Comic Con. Mercury, 2017.
Of the game’s stoic protagonist, Joe said, “He’s one of my favorite characters of all time. The sword was really fun to make. And yeah, I like wearing a wig.”



+ R.I. Comic Con 2016: Cosplay's the thing! Mercury, 2016.
+ To shampoo or not to shampoo. That is the question. Mercury, 2016.
+ Be my guest.  Mercury, 2016.
+ Are you a ‘Bernie Bro?’  Mercury, 2016.

Private eye. Mercury, 2017.
Macaroni penguins joined the zoo. A man mistook a body in a pond for someone drowning and jumped in to save it. A castle is scheduled for $6 million in renovations. A dog named Nike went missing. These are a few headlines to recently come out of Central Park, where there is always life, action, something happening.


+ I am my beloved's, my beloved is mine. Mercury, 2018.
+ Pop love-it. Mercury, 2017.
+ Copy that. Mercury, 2016.

The kids are all confused. Mercury, 2016.
Nothing screams ‘uncool’ like a room full of legislators discussing the ‘monetization’ or ‘cost-benefit analysis’ of a psychoactive herb. As I surveyed a sea of navy blazers and tucked shirts, my imagination failed to visualize any of these suits smoking a joint. But bureaucrats and burnouts share something: an ability to discuss cannabis at length.

Cabell & Foster at GRIN. Big Red & Shiny, 2017.
Taylor Clough at Occam Projects. Big Red & Shiny, 2017.
+ The Harvest. 20pg zine sold at Van Vessem Gallery, Nov . 2016. Edition of 25. (Email me for a PDF.)
Linda Leslie Brown at Kingston Gallery. Big Red & Shiny, 2016.


Ideas

Naked truth. Mercury, 2018.
The luckless ghosts of another time, boys and men whose physiques have faded past the mylar stage curtain of eternity, might or might not live on in Santi’s photos. But somewhere the party probably continues, right?


+ Woman up. Mercury, 2018.
Poli-psych. Mercury, 2018.
+ Caleb Cole at the Newport Art Museum. Big Red & Shiny, 2017.
+ Risque business. Mercury, 2017.
+ A prince among the angels. Mercury, 2016.
+ Private Eyes. Mercury, 2016.
+ Significant others. Mercury, 2014. Interview w. Kate Bornstein.

The Volvo Ocean Race is here. Send in the marine art. Mercury, 2018.
Still left unanswered is the wider question of the sailing genre’s appeal, especially in its more traditional, perfectionist variant. How do these paintings command price tags high enough to buy cars?


+ New exhibit recalls Woonsocket’s mill history. Providence Journal, 2017.
+ Cabell & Foster at GRIN. Big Red & Shiny, 2017.
+ Documentary: Big houses not better for coastal communities. Mercury, 2017.
+ Deborah Baronas: Grace & Gravity. Art New England, 2016.

Judith Klausner at New Bedford Art Museum. Big Red & Shiny, 2015.
There’s a persistent social delusion that using a drug to achieve health is ‘faking it.’ A market ruled by blockbuster proprietary drugs means that, authentic or not, feeling good will cost you.


+ Able to make just so much. Mercury, 2017.
+ Project 3.8 raises awareness of pediatric cancers. Mercury, 2016.
+ Linda Leslie Brown at Kingston Gallery. Big Red & Shiny, 2016.
+ The kids are all confused. Mercury, 2016.


Art by medium

Impure thoughts. GLASS Quarterly, 2018.
Anjali Srinivasan asks me if I’ve ever seen Indian traffic lights. I shake my head, but later, away from Srinivasan’s desk and sitting at my own, YouTube educates me.



+ Sarah Meyers Brent: In the Garden. Art New England, 2018.
+ Live wire. Mercury, 2018.
+ Passion and polyester. Mercury, 2017.
+ Allison Paschke at AS220. Big Red & Shiny, 2017.
+ Anna Shapiro at AS220. Big Red & Shiny, 2016.
+ Linda Leslie Brown at Kingston Gallery. Big Red & Shiny, 2016.
+ Judith Klausner at New Bedford Art Museum. Big Red & Shiny, 2015.
+ The Bluffs by Joseph Leroux. Art New England, 2015.

Being Bunny Harvey. Mercury, 2017.
Harvey somewhat reluctantly reconsidered these aesthetic priorities when her New York gallery advised that Heisenberg’s uncertainty principle or Schrödinger’s cat were not the most readily accessible topics for paintings.


+ Anna Kunz at PC-G. Big Red & Shiny, 2018.
+ Sense in the shadow. Mercury, 2017.
+ Stuart Diamond at RIC. Big Red & Shiny, 2017.
+ Hit reset. Mercury, 2017.
+ Robert Paasch: Reality Duality. Art New England, 2017.
+ 'Honest to Bristol.' Mercury, 2016.
+ Barbara Owen at Hunter Gallery. Big Red & Shiny, 2015.
+ Intent to perceive. Mercury, 2015.

Girls, interpreted. Mercury, 2018.
Matar presents us the “interior castles” of girlhood, to borrow a pretty phrase from Saint Teresa. From within these cloisters, against the brutality and randomness of the outside world, girls can be girls — and decide, exactly, what that word means to them.


+ Pushing the possibilities of photography at Jamestown Arts Center. Newport Daily News/Mercury, 2018.
+ The Woodstock photographer who preserved Dylan's grin. Mercury, 2017.
+ Private eye. Mercury, 2017.
+ Feel the music. Mercury, 2017.
+ In search of.... Mercury, 2017.
+ Frances F. Denny: Pink Crush. Art New England, 2016.
+ Shutter to think. Mercury, 2016.
+ Documentation with dignity. Mercury, 2015.


Art by theme

Dreamers documented. Mercury, 2017.
Pink and orange conspire to grab our attention. Look at these lights, this life fast expiring. The four lonesome matchsticks left behind.


+ Risk assessment. Mercury, 2017.
+ 'Crossing Borders' exhibit touches on immigration issues. Providence Journal, 2017.
+ Close encounters at Bristol Art Museum. Mercury, 2017.
+ Whites of their eyes. Mercury, 2016.
+ Dead Animals at David Winton Bell Gallery. Art New England, 2016.
+ Besides at GRIN Providence. Big Red & Shiny, 2016.

Live wire. Mercury, 2018.
A confession: Arts journalism is as much an exercise in clairvoyance as it is in looking.


Impure thoughts. GLASS Quarterly, 2018.
+ Valuable lessons in repetition. Mercury, 2016.

Fugitive Blues. Written for Blauww at Van Vessem Gallery, 2015.
There are many blues, each one with a distinct temperament. Looking at the work here, I see blue as an omen, a scarcity, a rendezvous, an impending storm, a remembered abode, military garb, Promethean flame, poetic decay.


+ Anna Kunz at PC-G. Big Red & Shiny, 2018.
+ Taylor Clough at Occam Projects. Big Red & Shiny, 2017.
+ Whites of their eyes. Mercury, 2016.

Hit reset. Mercury, 2017.
A Russian robustness emerged, as did Mondrian’s beat -- particularly in the zigzagging motion of “White Sands.07,” its central line undulating like the hottest, brightest song of a Friday night out.


+ Robert Paasch: Reality Duality. Art New England, 2017.
+ Barbara Owen at Hunter Gallery. Big Red & Shiny, 2015.


Art by city

+ Anna Kunz at PC-G. Big Red & Shiny, 2018.
+ Draw attention: RISD Museum presents ‘Lines of Thought.’ Mercury, 2017.
‘Crossing Borders’ exhibit touches on immigration issues. Providence Journal, 2017.
+ Thread Count(ess). GLASS quarterly, No. 148. (Cover story), 2017.
Stuart Diamond at RIC. Big Red & Shiny, 2017.
Allison Paschke at AS220. Big Red & Shiny, 2017.
Cabell & Foster at GRIN. Big Red & Shiny, 2017.
+ Taylor Clough at Occam Projects. Big Red & Shiny, 2017.
+ Robert Paasch: Reality Duality. Art New England, 2017.
+ Jessica Rosner at Yellow Peril. Big Red & Shiny, 2016.
Scott Lawrence in conversation with Alexander Castro. GRIN Providence, 2016.
Anna Shapiro at AS220. Big Red & Shiny, 2016.
Besides at GRIN Providence. Big Red & Shiny, 2016.
Dead Animals at David Winton Bell Gallery. Art New England, 2016.
The Bluffs by Joseph Leroux. Art New England, 2015.

+ The Volvo Ocean Race is here. Send in the marine art. Mercury, 2018.
An art dealer who dares. Mercury, 2018.
+ Naked truth. Mercury, 2018.
Sense in the shadow. Mercury, 2017.
+ Being Bunny Harvey. Mercury, 2017.
Salve gallery show probes inherent fragility of home. Mercury, 2017.
The Woodstock photographer who preserved Dylan’s grin. Mercury, 2017.
Private eye. Mercury, 2017.
Valuable lessons in repetition. Mercury, 2016.
Copy that. Mercury, 2016.
Frances F. Denny: Pink Crush. Art New England, 2016.
Documentation with dignity. Mercury, 2015.

Art by venue

+ Vivid for the moment. Mercury, also syndicated in Providence Journal, 2018.
+ Girls, interpreted. Mercury, 2018.
+ 31st Newport Annual: Safety in numbers. Mercury, 2018.
+ Poli-psych. Mercury, 2018.
+ Go to the expanse. Mercury, 2017.
+ Caleb Cole at the Newport Art Museum. Big Red & Shiny, 2017.
+ Feel the music. Mercury, 2017.
+ In search of.... Mercury, 2017.
+ Newport Art Museum's new curator unpacks. Mercury, 2016.

Live wire. Mercury, 2018.
Passion and polyester. Mercury, 2017.
Shutter to think. Mercury, 2016.
Barbara Owen at Hunter Gallery. Big Red & Shiny, 2015.