Good Weather

Arhythmic voices and sirens, sounds of buzzing and droning of traffic and power lines, car radios and whistling birds, stereo static and evening insects in rustling bushes, all become registering textures in Amy Garofano’s ongoing cataloging of the coded language within the systems that define subjective experience of place. Her forms— borrowed from design and architecture—scrutinize how those fields encode class and cultural attitudes. Particular to Citrus on Pico is the form of the iron gate: simultaneously acting as a barrier and portal between the private and public spheres. Garofano merges this reference with the subtle shifts of material phenomena: revealing the pattern of the gate through light’s interaction with the directionally perpendicular upholstered velvet. Is your body safe in this place? Are you allowed here? Can you pass through without trouble?

Quack quack quack. Quack. Quack. Quack quack quack quack quack. Quack quack. Quack. Quack quack. 1' 8" Duck (2017) A matter-of-factness sits on the storeroom shelves: a series of wicker woven busts of friends in Dylan Spaysky’s current milieu; each portrait with individualizing facial and cranial details. These substantial visible traits dovetail with an unassuming exploration of commonness shaped through idiosyncrasy. The basket-weavings and foam carvings in 'Wicker and Diapers' take a hobbyist’s approach to the endeavor of sculpture-making and the works magnanimity and craft—by dint of its materials, content, and genuineness—preserve, in a way, a balance between the individual and group. Like the Hopi people, in Spaysky’s practice there is value for giving which fosters community. Sumi’nangwa and Nami’nagwa which mean “to live with mutual concern toward one another.” This way of life is inspired. It is an important generator of hope and sharing that has a social impact which can resolutely address the dub

"What does it mean to make a public? How do publications work within and alongside social movements? How are artists defining, building and protecting the public sphere?" On December 12, 2016 we gathered at the Good Weather gallery in North Little Rock to discuss act of making work for public consumption. "'To Make a Public: Temporary Art Review 2011-2016' is a selected anthology of the first five years of online publication Temporary Art Review and a catalogue of the related exhibition 'Document V' celebrating the same benchmark. Edited by Temporary Art Review founders Sarrita Hunn and James McAnally, 'To Make a Public' offers a singular lens into broader eruptions in artists’ publishing and artistic practice over the past five years. As a primary document of our moment it summarizes the collective research of a group of artists, curators, observers, activists, and critics who test the boundaries of art and other fields—not only to define, defend and expand that space, but to develop, improve, and bring th