Tuesday Edition: Sarah McKenzie

Greetings, collectors near and far, on this most lovely of Tuesdays. NYC is bright and breezy today, which is quite a relief after a Monday on which I considered it might be time to build an ark. With that project back-burnered for the moment, I can focus on the buildings of others. Or the paintings of buildings of others. Or is it the prints created from the paintings of buildings of others? Yes, that one! Let's get on with it shall we?

Today's print edition is Site, by Colorado-based painter Sarah McKenzie. I am particularly proud, excited and pleased with this edition as it's the result of my museum-related edition scouting. I first saw Sarah's work in February, when I was in Minneapolis and attended the opening for Worlds Away: New Suburban Landscapes at The Walker. (Incidentally, I am totally nuts for both that show specifically and the museum in general . Highly recommended!)

Since the advent of 20x200, I wander through galleries, museums and art fairs jotting down the names of artists I like in my Moleskine. I am convinced that pretty much every artist should do an edition with us, every artist I like at least, and given the opportunity I will ask accordingly. I'm not afraid of "No", nor am I inclined to accept it as an answer. See how hard I work for you people?

During my Walker wanderings, I saw Sarah's amazing painting and her name and the painting were jotted down in my notebook with high hopes.* Flash forward to a few months later, and here I am presenting you fine people an edition from Ms. McKenzie! A museum piece, no less! (Thanks to the Walker for accommodating us to shoot the piece.)

Site got to be in the museum for a reason - Sarah wields a paint paintbrush deftly, giving us a fresh view of the banality of suburbia. I shift through different impressions each time I look at it. At first glance it seemed photorealistic, in part because it reminds me of the ground well-trod by many of my favorite fine art photographers. But look closely and it's clearly not quite real -there is a flatness in both her paint and perspective that has the primitive feeling of folk art. Take that flatness in and allow yourself to focus on the lines, angles and grids of her work; suddenly you're fully immersed in geometric abstraction, a la the 20th century Modernists. The familiarity of the subject matter allows me to travel through these genres with ease, unencumbered by that uptight "Do I really get it?" feeling. Of course I get it! I've been driving past it my entire life, as have many of you, I'd imagine.

I've always found that being able to move through something with ease can lead to a deeper understanding of a subject. If I can shed the weight of what I don't know, I learn more. (Insecurity and uncertainty are a drag.) Sarah's paintings have instant appeal and familiarity, so they're immediately engaging. Once engaged, I look closer at everything: the subject, how she paints it and the history she's building on. What I don't know is more interesting, and less intimidating; it helps me enjoy what I do know even more by giving me greater insight and connecting my experience to a larger world. So, thanks Sarah, for giving me a fresh perspective and making my world bigger. I hope that she does the same for you.

I'll be back tomorrow with some boundary-broadening photographic work from an artist who's been evolving and growing before my very eyes. We've also got a special bonus edition coming on Thursday, so: Mark your calendars! We'll be introducing an edition to benefit SFJAZZ on the eve of their 25th Anniversary Gala honoring jazz great Wayne Shorter.

I've never wished I could be in more than one place at once more than I am wishing it this week. I am missing the gala, which I'd love to attend for sentimental reasons having to do with both jazz and San Francisco. I just couldn't get away, however, since New York City is positively jumping with The New York Photo Festival and its attendant parties, exhibitions and events.

On Friday evening, as part of Apeture Presents at the NY Photo Fest, I'm on a panel called Curating 2.0 with Laurel Ptak of i heart photograph and Tim Barber of tinyvices.com.

Another not-to-be-missed event this week: the annual benefit for Rhizome supporter, lover and uniter of art and technology.

Lots to do!

* I actually wrote down a lot of names from that show because, like I said, it's a great one and it's full of amazing contemporary artists many of whom I was unfamiliar with until I saw the exhibition. So much 20x200 goodness is in store, yesiree!

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