Sarah Walko

Post image for The Story of a Mysterious Artist Colony in India and Its Looming Eviction

“Our hope is that our audience gets to see the colony like the many artists in it see it: as a world with no distinction between life and art, where India’s past, present, and future blur together, a home that somehow — impossibly, incomprehensibly — still brims with possibility.”

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A Documentarian of Creative Disruption

by Sarah Walko on March 31, 2015

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Ondi Timoner is the only two-time recipient of Sundance’s Grand Jury Prize for documentaries. She’s also the founder and CEO of Interloper Films, a full-service production company based in Pasadena, California, that continually releases videos through an online video portal, A Total Disruption.

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The Troubled, Creative Lives of Almost Famous Women

by Sarah Walko on February 13, 2015

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Megan Mayhew Bergman’s short-story collection, Almost Famous Women, I admit, would have caught my attention simply by its title, as I have an insatiable fascination with eccentric women in history.

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An Art of Totems and Exorcisms

by Sarah Walko on October 17, 2014

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“Simply put — the church became a dangerous place — I had to leave.”

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Post image for Alejandro Jodorowsky Discusses His First Film in 23 Years

Once he hung up the phone and we were seated, I quickly understood I could have list of questions but Jodorowsky was going to talk about, well, whatever Jodorowksy wanted to talk about. “How to think about my new picture … ” he began.

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For One Night, a City Lights Up with Art

by Sarah Walko on October 25, 2013

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DALLAS — Aurora illuminated the Dallas Arts District last Friday, featuring 90 site-specific light and sound installations covering 19 blocks of downtown from 7 pm until midnight. An estimated 30,000 people gathered and wandered through the city, taking in the transformation that molded buildings, illuminated cathedrals, lit hidden spaces, and made concrete, glass, and steel pulse.

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Sight, Sound, and the Colors of Perception

by Sarah Walko on September 19, 2013

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Many viewers are coming across the work of Norwegian-born, New York–based artist Anne Katrine Senstad at the 55th Venice Bienniale. Senstad’s work is on view in the Officina delle Zattere, as part of the group exhibition Metamorphoses of the Virtual – 100 Years of Art and Freedom. Her work deals with perception — how what we see, including the colors around us, shapes how we feel.

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In Pursuit of the Glittering Point

by Sarah Walko on July 17, 2013

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The title of Shanti Grumbine’s current exhibition at A.I.R. Gallery, The Glittering Point, comes from the phrase “glittering generalities,” which, according to the artist, became popular in the mid-nineteenth century. The term describes propaganda that champions vagueness to evoke positive feelings rather than actually communicating information. Grumbine begins her process with this phrase in mind, as she collects startling imagery of war, scintillating images of luxury items, and both iconic and candid political campaign photos from the New York Times.

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Post image for Gleaning the Fields of Memory to Create Form

Upon entering 287 Spring to see Not Past: Old Toys and Lost Friends, a solo exhibition by artist Brian Fernandes-Halloran. one is confronted with two sculptural re-creations of toys the artist remembers playing with when he was growing up, a truck and a red hammer. Fernandes-Halloran’s work is composed of an array of found discarded objects and wax, and based on his memories as well as the broader concept of recalling and formulating memories.

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Post image for What Is the Economic Monster of Our Time?

When I recently visited the exhibition CR(I)SES AD(JUST)MENTS (COLLAPSED) at Flux Factory, a solo show by French artist Christine Laquet, I was immediately seduced by a white circular platform featuring red high-heeled shoes and imagery projected onto it from the ceiling. The images fluctuated between close-ups of slow-moving jellyfish and blurry snow scenes, and were accompanied by a captivating audio track. Titled “If by love possessed,” the audio is an interview Laquet did with a “Doctor in Monsterology” — a discussion of what, where, and who could be the contemporary monster, read by a teenage girl.

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