Salvaged: The Mysterious Beauty of Brad Bunkers’ Paintings
Bunkers’ work defies the obvious and requires a careful eye. You have to spend time with his brushstrokes, with his choices. He’s been painting since he was very young, and his brushstrokes display all the improvisational aplomb of a jazz musician, as well as the accomplishment required to achieve such improvisation.
Delirium of Imagination: Raymond Roussel and the Large Glass
One of Roussel’s biggest admirers, Duchamp credited Roussel for his Large Glass, The Bride Stripped Bare by Her Bachelours, Even. Duchamp admitted…
Instrumentation of Being
I firmly believe the role of the artist is not to answer questions, serving up beauty on a silver platter, but to pose the questions. I’m interested in engaging the viewer on some emotional or intellectual level.
Transference: Exchanges in Pigment and Ink
“If anything, I try to confuse people and misdirect them,” he laughed. He prefers not to tell people what they should think or feel about a work. Bunkers thinks art should be a conversation. He likes to watch people viewing his work and interacting with it.
Mitchell McInnis: Poet, Friend, Arts Advocate
A brilliant poet, Mitchell McInnis had the tenacity of a cheetah and the heart of a kitten. On the surface he could sometimes come across as brash, but under all of the bravado he had a curious spirit coupled with a tender goodness so rare in this world. Mitch also had a playful exuberance — imagine a bright-eyed, big-ass grin followed by an animated jig resulting in laughter all around.
Dada Hammer: Laughing After all These Years
In 1917, Marcel Duchamp’s Fountain, a factory-made urinal, was rejected as being unoriginal and outlandish. After almost ninety years, Duchamp is still shocking the globe—from the National Gallery of Art’s Dada exhibition in Washington, D.C. to Pierre Pinoncelli’s hammer…