Going Into 2015

2014 was a big bold year, full of extremes and some real pops and sizzle. I haven’t tried to put a year down in words in a long time, but now seems as good as any to try to modestly organize the chaos of the last 365 days. Or at least to plot a few (good) points of my year. Obviously the year was pretty rotten in the truly important ways, like war, politics, culture wars, etc. However…

The year started out with the final group show of Eyebeam artists in our Chelsea space, the 2014 Annual Showcase. It was huge, featuring 22 artists. It felt like a perfect closing residency event for our time in Chelsea, and the artists got fantastic coverage in the press. The one-on-one conversations that I organized turned out well, that time-tested BOMB magazine style of duo artist conversation is tough to beat. Ingrid Burrington and James Bridle, together, were a particular highlight.

I was really happy that I could pull in a composer I very much admire, and who was one of my teachers back at Mills College, to do a show in our space. Pauline Oliveros and her group realized a fantastic improvisatory set in March that re-ignited my love for that specific type of AI electro-acoustic sound performance.

In July, Joon and I did a “micro-residency” at ACE Hotel as part of their artists in residence program. Any flak they’ve gotten from the Ryder Ripps fiasco (remember?) is mostly undeserved, they do try to make the residency initiative meaningful for participating artists. And, they are a hotel after all, not an artists support organization. Ryder was an awkward choice, though I’m sure the resulting buzz didn’t hurt either party. And it was kind of amusing to see everyone get so up in arms about it. 

I spent a lot of the rest of summer 2014 preparing for a show I put together, called Slipped Gears. I have actually done a lot of curating over the last dozen years, but somehow the act of calling myself a curator has eluded me, for reasons I’ll save for another time. But at some point, it became clear that the word can be a functional interface with the world, and it allows me to present artists that I believe in. The show opened at Bennington College in October. I’ve never been so happy with a project, it was a pleasure to put together and it looked great.

Nick Hornby, Vanity Working on a Weak Head Produces Every Sort of Mischief, 2014

But the best part of 2014 is that I got to continue to work with amazing artists and brilliantly creative people on a daily basis through my job at Eyebeam. And I got to meet some lovely new people: 

–> It’s been such a pleasure getting to know the work of Matias Viegener throughout last year.

–> I’m so happy I was able to put McKenzie Wark into an event, his writing is on fire these days.

–> I am beyond excited to have begun a project with Theo Downes-LeGuin (Upfor Gallery, Portland).

–> It was great to work with Robert Ransick in putting together Slipped Gears, he is a ninja when it comes to making an exhibition happen.

–> I don’t know how it took so long to finally do something with Rosa Menkman.

–> Nancy Nowacek and Torkwase Dyson are rocking my world at Eyebeam every day.

–> Arjun Srivatsa was the first (and so far best!) “best boy” at our office.

–> And it was great to learn more about the work Robert Crouch and Terry LeMoncheck do at Pasadena Arts Council.

And of course, any year I get to spend with my partner Joon is a good one.


Ok… coordinates set for 2015, see you there!!!

Published by Roderick Schrock

director @eyebeamnyc, instructor SVA Curatorial Practice