Friday, July 23, 2010


Say to the people, it's Over. Yet the virtual is ahistorical - the end is the beginning, S to O.

A social experiment in commune building at Omi: communal living, working, talking. Extracted from their contexts and put together in a contained space, individuals engage in an abbreviated reproduction of their preexisting conditions - names and places of origin locked together, substitutes found for what is missing. Projective space reconfigured.

The lack of currency - of a presence, not a place holder of a studio - has been reconstituted through recording and rendering of the same-same circumstance. Commitment, compromise, omission. Cutting words/works. Be kind, rewind.

Virtual configuration - OhMI - glitched to the circumstantial Omi - remains a still of utility, over and over again.

My work is in working with others. Among all the others, there is One who informed this work. Thank you, O.


Sunday, July 18, 2010

It Is About, It Is About, It Is About to Rolywholyover

There is an urgency to the morning after Irfan's song; before, during, and after the Open Studios, not to mention the impending end of camp. If consolation is needed, it is offered (if OhMI is inconsolable, shethinks the world is, too):

The Art World Home Companion

Attention artists!

This is the only professional development workshop you will ever need!

Performance by Pablo Helguera with special guests Ryan Hill and Larry Krone

On Saturday, July 17, at 3pm, Pablo Helguera will perform a broadcast of The Art World Home Companion. As Helguera states, "The art world has now a friend, a shoulder to cry on, a companion finally not to compete against or sleep with for convenience but just someone to laugh with, to love, learn and share our eccentricities, fears and desires as members of our little town which is the Art World." His performance may include any of the following: special guests, American folk music, art recipes, site-specific travel tips from the Atlas of Art Commonplaces, strange manifestos, a special appearance by performing artist Larry Krone and the centrally important program The Estheticist, where Helguera and artist Ryan Hill will respond to listeners' burning professional questions about their art careers. Don't miss Helguera's only scheduled participatory performance during the exhibition Condensations of the Social.

Please write to The Estheticist!

The Estheticist is a correspondence service that provides free guidance and answers questions about the visual arts profession. Questions may relate to professional dilemmas (how can I approach my curator friend to include me into a show without being pushy?), ethical issues in the art world (should I curate myself into a show?), conflict of interest-scenarios (should I curate my boyfriend into a show?), basic skills questions ( how does one enter into the biennial circuit?) practical matters (should I move to Berlin?) or serious theoretical issues (what is "social practice" and is it good for me?).

Write us with your question to EVERY SINGLE INQUIRY WILL BE ANSWERED. The answers to all questions will be made available at Smack Mellon on July 17, at 3pm, where Pablo Helguera will answer a selection of these questions at the live presentation of The Art World Home Companion. You will be publicly acknowledged for your question, except if you prefer to remain anonymous.

We see this as an urgent service and platform of communication for emerging artists, curators, arts educators, and art writers. We look forward to your inquiries!

The exhibition and accoutrements curated by Sarah Riesman, who visited us at Omi.

Black Light, Communal For Now

caraballo-farman extended an invitation to certain people to enter their room and do something to it, then do something else. Invitations have been revoked occasionally (from yours truly, just think of it), then re-extended. This generous fluctuation in direction by c-f is known to drive those who subscribe to it into a state of controlled madness. Up and down the wall. This up and down event launched the night before the Open Studios day, coming up on OhMI bloG! soon.

Thursday, July 15, 2010

Following a field trip to MASS MoCA to see the exhibition by Sol LeWitt, you may be interested in an exchange with him:

The story of Sol LeWitt's exchanges with other artists is by now widely known. Though most artists engage in this process at one point or another, LeWitt seemed fully committed to it as an artistic code of conduct, a way of life. Eva Hesse, Robert Mangold, Hanna Darboven, and Robert Ryman are just a few of LeWitt's celebrated contemporaries with whom the artist exchanged works. Such exchanges were not limited to well-known artists, however: LeWitt consistently traded works with admirers whom he did not know but who had nevertheless sent their work to him, as well as amateur artists with whom he interacted in his daily life. LeWitt's exchanges—he responded to every work he received by sending back one of his own—fostered an ongoing form of artistic communion and, in some cases, a source of support and patronage. The Sol LeWitt Private Collection retains all of the works he received, as well as a record of what he offered in return.

For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. In addition to encouraging the circulation of artworks through a gift economy that challenged the art world's dominant economic model, LeWitt's exchanges with strangers have the same qualities of generosity, and risk, that characterized his work in general. This kind of exchange was designed to stage an encounter between two minds, outside the familiar confines of friendship.

If we consider the process of exchange as another of Sol LeWitt's instructional pieces, then the rational (or irrational) thing to do is to continue to exchange work and ideas, if only symbolically, with him.

—This is a call to those who share an affinity with Sol LeWitt's legacy as a conceptual artist, to those who knew him and those who did not—to anyone who has ever wondered, "What would Sol LeWitt like?"


Your gift to Sol LeWitt can take the form of an image, an object, a piece of music, or a film. Books, ephemera, and other non-perishable items (e.g. wine) are also welcome. Other ideas may be discussed with the curator.

2D contributions should be no larger than 8.5 x 11 inches; 3D contributions should be no larger than 12 x 12 x 12 inches.

All contributions will be exhibited at either Cabinet or MASS MoCA. The curator will notify you of the location of your contribution by 1 December 2010.

Contributions can be dropped off, mailed, emailed, or faxed between September 15th and October 15th:

An Exchange with Sol LeWitt
c/o Cabinet
300 Nevins Street
Brooklyn NY 11217, USA
Fax: + 1 718 222-3700

A publication documenting the contributions will accompany the shows and will be presented at the conclusion of the project to all participants.

Please note that we cannot return your contribution. You can, however, pick it up at the end of the exhibition if prior arrangements have been made.

For further information, please contact Regine Basha at

A two-part exhibition curated by Regine Basha will be presented at

22 January – 31 March 2011
87 Marshall Street
North Adams, MA 01247

20 January – 19 February 2011
300 Nevins Street
Brooklyn, NY 11217

Wednesday, July 14, 2010

Comments fr Dominique Nahas/independent critic and curator and Art Omi Board member:

Well my Oh-Mii experience last Wednesday and Thursday was just as I expected and wanted it to be: warm (yes it w a s really HOT) and engaging. There is nothing like talking about art (that is life and one’s approaches to the questions that one has about it) with really committed and smart and conscious professionals...particularly in such an Edenic (yes, paradisie--like) setting as ArtOmi. It is as if one is given a 3 week suspension from all earthly woes so as to be in the moment with one’s art! Rapture. Rapture. Rapture. (And no, I wasn’t smoking or ingesting anything but the vibes being produced by high energies...) Does it get better than this? I hardlythink so....Comraderie and high spirits, an openness and good-faith and humor that spreads and inspires and blossoms like wildfire (I think I have used/misused several incompatible metaphors just then...but hay, I mean, hey, it’s summer and words and the livin is easy...). I have to say that I always intend on saying hello to everyone everytime I go to ArtOmi for studio visits...the fact is that everyone is fully within his or her power: everyone here is a mature and highly-developed thinker and feeler; to enter each world reveals a universe of thoughts, passions, interests, vitalities...The dream: I would like to have the opportunity to spend a whole day with each person at ArtOmi...a utopic dream...I inevitably leave without having met the “thickness” of being of each artist. Patrick Bancel, Gudrun Barenbrock, caraballo-farman, Anibal Catalan, Cesar Cornejo, Luciano Di Rosa ( you see I am going down my list of yet-to-sees.) ....Patricia Eustaquio, Matteo Fato, Irfan Hassan, Jang Bo-Yun, Maude Leonard-Contant, Anna Lundh, Eduardo Navarro, Park Sungyeon: each of these artists are going to get a look-see from me on Saturday and Sunday during Open weekend; I promise. ‘Je vous jure...!’ I had engaging talks with a number of artist such as Drabo Alassane from Burkina Faso...spoke to him in French and was amazed to see how he and his colleagues are setting up group encounters with kids who are interested in art; I was amazed at how Drabo sees himself, rightly, as a mentor and a example of autonomy and self-respect to young people who are struggling materialistically but who also are looking for role models such as Drabo... I was so very touched knowing how artists around the world just DO the right thing without thoughts of being compensated with honors or money...they do service of the highest kind and I am so proud to know them and be with them... Other high points were my pointed discussion with Dread Scott (the revolution will not be televised but it will be real...), Ernest DUKU (wow can we talk about someone who is eloquent and lucid...), Eckhard Etzold (let me count the ways he references Walter Benjamin/Baudrillard and Lacan’s reflections on the permutations of the real through his thoughtful paintings). Meera Devidayal and I had a long chat about the current conditions for art making on the part of artists...speed of delivery, speed of address, speed of transmittal...and we talked about her subject matter (the migrant worker) and all of the possible ways that content can be drawn from this phenomenon using the most minimal of signifiers; great stuff. Nancy Friedemann was her usual self: deeply related, conscientious, filled with inner-reflected assurance and doubt...quite terrific flower paintings, ...m’dear..and who knew your French was this perfect!!??...Also had a fine time with the wryly self-deprecating Shahar Marcus and his highly telegenic persona...his videos of everyman in search of self are for the ages... I was taken (and taken aback) by Renata Poljak’s deep insights into questions of national identity through her videos and future projects, Deb Sokolov’s pratfalling narratives related thru the voice of an unreliable...paranoic...narrator are of today...thoughtful and frightening and fun... Also had great tete-a-tetes with Tatako Azami, a magician with sumi ink whose references to trees and leaves and air are mesmerizingly evanescent... Experiencing the work of Shona Wilson from Australia (seeing infinity in a grain of sand excursions into the majesty of it all...her mindset reminded me of Flaubert’s comment “there is not a particle of life that does not bear poetry within it” was really satisfying... Also May Tveit’s deep probings on the spectacular and the interface between private and public spheres...apt terminology as she is committed and impassioned by the inflatable sphere (balloons) inscribed with word play or not: this is the question. TOGO aka Tuguldar Yondonjamts from Mongolia (I had never met anyone from Mongolia let alone a brilliant artist as this was enough to put me into outer –space...what a studio visit with a mindful poet whose mind transcends all boundaries... Also terrific to see Ishmael Randall Weeks letting himself roam and roam with pre-judgments...getting into deep mind-space...allowing the suchness of moments and structures be what they are... I am really looking forward to seeing Nisrine Boukhari and having terrific “think-time” with her as I have heard so much about her high energy and mindfulness: Nisrine: you are in my mind...!

Tuesday, July 13, 2010

"Everything I said seemed wrong the second after it came out of my mouth" by Domenick Ammirati

attached are three pages from the manuscript of the novel i'm working on. three is a convenient number, variously, and it's also in homage to claudia's and sandra's reflections on the proper number of critics at art omi.

i chose to submit manuscript pages for a variety of reasons. foremost, after you all were so kind as to let me peek into your studios, it seems only fair to let you turn the tables, and sending you something not yet finalized seemed to be in line with what we in the art world all hold to be good and true these days, viz., that we should put process on equal footing with product, or at least encode it in the end results of what we make. the pages are discontinuous because i like fragments, and a sense of mystery, however cheap. and in fact all of the three pages feature things that might well end up being cut from the novel. whether it's ecological or the result of being raised by parents who remember the great depression, i hate waste. if no one else sees these scraps, you will. and finally, it's a small vanity, but i kind of like the way they look.

thanks again for having me up, keep in touch, and good luck to you all.


(Please click on page images below to enlarge)

Monday, July 12, 2010

OhMI, Be Nice!

Sunday night, presentations by Naomi Beckwith, Assistant Curator at the Studio Museum in Harlem, and Priyanka Mathew, Director at the Aicon Gallery, left a hangover of questions served for breakfast the next morning.

Naomi presented the exhibition she curated at the Museum, entitled 30 Seconds Off an Inch, November 12, 2009 – March 14, 2010. (OhMI had seen the show and wasn’t upset by it.) In her presentation, Naomi framed the exhibition in two ways — first, through the use of material (dematerialization, transformation, readymade) and second, through the art-historical references. The first framing, although pedestrian, didn’t hurt the show or the presentation much. While the second framing, not detectible in the exhibition, raised hairs on OhMI’s skin and curled them into question marks during the presentation. Each section of the exhibition was introduced via the figurehead of one of the mainstream post-war Euro-American art movements, from Joseph Kosuth to Joseph Beuys. Selections of contemporary artists of black descent followed, as if they were adopted children of white fathers, without mothers. There was no attempt to differentiate or mix-up the canon. How about Barkley L. Hendricks single-parenting Mickalene Thomas, Yoko Ono (s)mothering Xaviera Simmons, or Mario Montez wet-nursing toothy Kalup Linzy? Naomi agreed, at least on the first count (Barkley and Micky), but only after this possibility has been politely offered to her during Q&A. She agreed that her framing was wrong politically, but right aesthetically. Kalup sings softly into Naomi’s ear, if it don’t fit… make it look nice.

Priyanka, who runs a gallery in New York devoted to Indian contemporary art, gave us a nice overview of its recent history. She expressed her passion for expanding the gallery’s program into Pakistan (via Omi of course, as last year’s Sana Arjumand just had a solo show there, and this season, we have Irfan to offer). At breakfast, some people, not from India or Pakistan or even MENASA, but from nearby, objected to a gallery program devoted to a specific region, even using the “r-cist” word. These said people maintain that art is not like any other commodity, and should not be branded by its origin, but taken for what it is. These same people, however, took part in shows devoted exclusively to the presentation of their own people to other people, and were OK with it. It seems that in this case, different standards concerning self-determination are applied to different entities of the art world, such as artists, curators, and gallerists. There are many ways to make it right, for example: Francis G. offered a keen observation that there are many more people interested in identity groups than in art, and therefore their interests can be utilized in art marketing to benefit the artists. Comments, anyone, do you read me, OhMI?

Saturday, July 10, 2010

Night Light

Last night, Gudrun Barenbrock turned her projector inside out and threw her videos over the trees at the far end of the barn, with its open doors framing the outdoors like a screen. Moving abstract lines, scrims, and shadows of her landscape-derived imagery were animated by the live backdrop of rustling trees; in turn, the landscape became artificial. Earlier in the afternoon, we talked about how one projects one’s own creations onto what one sees around. Words, when taken literally as objects rather than metaphors, can turn into acts that can change everything.

Instead of the usual soundtrack accompanying Gudrun’s videos, Leonor spun electronic sound, turning the projected trees acid green, as the trusty Dream Machine reliably delivered doses of heightened sensation. Everybody there danced, but not like Abou, who released Snake (c)Harming dance with the sprouting water hose in the projector’s beam. Night moths landed on the black backgrounds of Nancy’s paintings, as Irfan inquired about her qualifications to paint mystical instances. Everything synced in the light of the magic lantern.

Magic or not, artists tend to record it, and OhMI noticed the presence of cameras at the event. If we get the footage, we will show that this was true.


The Director Asks, What the Critic is For?

Claudia Cannizzaro, a.k.a. "the Director" sat down the hard-to-pin-down "Critic," who affectionately and frequently refers to herself as OhMI, and raised the question, which has been hanging in the air for a while now, like a May Tveit's balloon: What the "Critic" (this one, yours truly, in particular) is good for? The balloon popped. Here is the air:

Photo by Ishmael Randall Weeks

This is my third year at Art Omi and now that I can sit comfortably at my desk I have all sort of propositions and ideas swirling in my mind and I want to see what Sandra thinks about some of them.

I had hoped to be good at dutifully typing all of Sandra’s words but in reality I forgot this was supposed to be an “interview” and found myself listening, but not taking notes! Uhm. Well, I am not a journalist, or a writer, so here is the best I can do: relying on what my brain has registered, rather on what my hands have managed to capture…

Sandra (or should I call you Ohmi?), when you were invited to be our 2010 Critic In Residence what was your first reaction to the idea of being here with 30 artists?

Sandra says it is not unusual for her to be with artists; that the number of artists was not an issue, or any different from her usual practice. She is used to be with many artists at any time: it is more a matter of time; the intensity is not very different from what she usually does. She says about her profession: parts we adore, parts we have to do: working with artists is the most pleasant.
Oh yes, that applies to arts administrators, too. Too bad that besides working with artists we have to do fundraising, write reports, file documents and so on and so forth.

Still, I am not sure about our ratio, I am not really sure that 1 critic to 30 artists is wise.
Sandra agrees that this is a problem, though not personal. She prefers to avoid, or circumscribe, hierarchy. My work is collaboration, she says. She does not have a problem being the only critic; the problem is for the artists. Artists benefit most from having different approaches. She draws a great comparison: surgeons! A stomach surgeon cannot operate on the brain. Each critic has their own specialization, while the broadness of practices of the artists in residence at Art Omi represents the widest spectrum of art making possible, I add.

Sandra asked Francis (Greenburger, the founder) about the year we had two critics in residence. The experiment did not work. Sandra points out that having two critics is not of any help, really, as two is not group: you need at least three to make a group, to create diversity. Two is either opposite, or unification. Three is a triangulation, you can move within; there is circulation.

My eyes shines, this is exactly what I came to hear. Wondering if Sandra is reading my mind…
Carried away I spill the beans: open call to critics and curators! Have them send a letter of interest, then meet with them to see if they would really fit into the program.
3 critics for 30 artists, why not. So the critic’s role would be a little less daunting: obligations will be evenly divided by three, and artists would have such great variety of critical perspectives, and practices and methods.

Only pitfall of having three critics is that they take spots usually allotted to artists.

Sandra does feel she has obligations to fulfill: she has to meet with every artist, regardless of her own interests, and her own “specialty”. My own work is not priority here, she says. In fact she is a bit of a liaison between the artists and the organization; the artists and the visitors; the artists and the world out there, at least for these three weeks.

I am wondering if this is the best format or shall we try to make this a residency for the critic, too. Shall we avoid hierarchy and treat the critic as the artists? Let them apply rather than invite them? Let them do their work and look at what would spontaneously happen? As it is now is the critic more staff than resident?
Artists visit and collaborate with each other, even though they are on equal footing; shall we not imagine the same would happen if we had three critics in residence? That the very nature of their profession would take them to have interesting discussions with the artists, to be curios about their processes, and discuss their work?

Asking one critic to cover such a variety of practices is not realistic, Sandra says, and maybe a little draining, too, I think. In fact the previous critics I have worked with during the previous two sessions agree that is more work than it seems. Sandra says: I don’t have answers for everyone. Are you a mentor figure here? I teasingly ask. Sandra wisely reminds me: mentors are chosen, not given.

Claudia Cannizzaro

Wednesday, July 7, 2010

Reflections on Omi (July 7, 2010) by Robert C. Morgan

Art Omi International Artists Workshop had its initial summer residency eighteen years ago. Since then, its popularity has grown beyond the wildest dreams and expectations of its instigator, New York entrepreneur and art aficionado, Francis Greenburger. At this moment, more than thirty artists – chosen from literally hundreds of applicants – arrive in upstate New York from six continents representing a wide range of aesthetic interests and approaches. The duration of the workshop is three weeks wherein some extraordinary work is made and exhibited on the final Open Day. (This year that day will be July 18th). In addition to the vital presence of the Program Director, Claudia Cannizzaro, each year a critic in resident is elected by members of the Board as the aesthetic overseer of an impressive community of artists. This year’s choice was New York critic Sandra Skuvida, who in addition to her energetic optimism and inspired criticism is an important scholar of late modern and contemporary transglobal art.

As one of the early board members of Art Omi, and its first critic in residence (1992), I was asked to participate this past weekend in a series of critiques with a selection of the new artist residents. Nisrine Boukhari is from Syria and is abstract figurative sculptor who works both with singular forms and within an installation context. Being an artist from the Middle East often involves political as well as aesthetic issues. Ms. Boukhari is working from a woman’s perspective on life in Syria as her three-dimensional figures make clear. There is an expressionist aspect to the work that is both intimate and universal. In her case, the two are not contradictory but exist as complements of one another. In either case, the expressionist force of these figures is undeniable.

Nisrine Boukhari, Them-Me, 2006, video still

Jang Bo-yun is a South Korean artist who works with fictional narratives derived from older found photographs in which she researches people she never knew by going to the exact locations in which the photographs were taken. Ms. Jang’s specific interest is in memories she believes are instilled within these photographs. She will blow-up the original images and alter the correspondence between memory and reality as associated with the photographs. The question is in how Ms. Jang communicates her intention with viewers who encounter her work for the first time. While artists may often be concerned with details and specific points not visible in the work, viewers are more interested in grasping the general idea of the artist and then gradually working into the details once the initial direction of the work becomes clear.

Jang Bo-yun, Unipaired World, 2009. Ink-jet print

In addition I had lengthy and important discussions with Peruvian-born sculptor Ishmael Randall Weeks, who works with the material realities of the underclass based on recent experiences in Lima through a series of brilliantly constructed metaphorical vehicles; Chicago-born artist, Dread Scott, who investigates the significance and history of revolutionary movements from the outset of Modernism through the use of news images and provocative, often beautiful collages; and finally, the large drawings of Mongolian artist, Tuguldur Yondonjamts, whose enormous, actual-size shark with severed fins is transformed into a talisman of man’s tragic relationship to nature. There are other artists, of course, some further along than others, whose commitment is clearly there and, with a few exceptions, avoid conforming to the exterior signs of art market proliferation. In conclusion, one of the striking presences at Omi 2010 is the burgeoning large ink drawings of Takako Azami – focused, controlled, interior, and resonating with intense clarity and energy of mind.

Takako Azami, Trees 0903, 2009. Ink, pigment on hemp paper, 45" x 59"

The Founder Speaks to the Critic

Photo by caraballo-farman

There was nothing to blog about the 4th of July party, but the music. Rather than wax her ears, OhMI decided to consolidate her media monopoly, and asked for an afterparty interview with the host and Omi founder Francis Greenburger. The exclusive and unrestricted interview was graciously granted on the spot, and scheduled for the next day, 5th July.

We met after lunch under the tents. Francis arrived dressed in his usual attire, trim beard, khaki shorts, powder blue polo, and red Mass MoCA basecap (he is on the board there too); his legs are bitten by insects like everybody’s else. First, he sat down for a business meeting with Ruth, while OhMI pretended to be invisible at the nearby table, so she could snoop while furiously typing up her questions:

1. How did OMI come about?

Francis Greenburger had been involved in another artists’ residency first, entitled Triangle Workshop and Residency, which was founded by the British sculptor (Sir) Anthony Caro and a London-based collector and businessman Robert Loder in 1982. Its mission appears to be quite similar to that of Art Omi — to provide artists with studios and community; and yet, despite OhMI’s great worldliness, she did not know about the Triangle, now located in Dumbo, Brooklyn, and therefore she deems it unimportant. Over time, Francis grew uncomfortable with the Triangle’s direction. Coincidentally, he had heard about the barns up for sale, cheap, near his house. He bought the barns, called his loyal friend from the Triangle, the painter Sandy Slone (she was visiting Omi on the day of the interview), and said, let’s start our own artists’ residency.

Francis maintains that it is very important for a non-profit organization to own property, in order to ensure continuity. He implements this real-estate based planning at Omi, which expanded to about 400 acres of surrounding land, as well as at other non-profit organizations where he is on the board of directors, including the Lower Manhattan Cultural Council, located in an office condo tower 125 Maiden Lane, developed by Time Equities, from which LMCC purchased its office space with grant money from the September 11 Fund. Among its other programs, LMCC runs a studio program in vacant spaces donated for periods of time by owners, including Francis. Next application deadline is spring 2011; some Omis participated in this studio program — ask Anna; OhMI, too, knows it well and deems it important. (Disclaimer: OhMI does not imply a special access between the two residencies, and does not publicly subscribe to conspiracy theories.)

2. What is your personal relationship to art?

It appears to be personal — Francis’s father was a literary agent, his mother painted, and he purchased his first painting at the age fourteen from his girlfriend’s brother-in-law. The painting now hangs in his NYC office, and he still likes it very much. (OhMI will do her very best to get an image of it for you.) The most recent artwork in the personal collection has been acquired in Paris, from a woman painter who lost her legs and an arm on the subway rails after an attempted suicide caused by post-partum depression. There are also more famous names in the collection, of course (OhMI had heard Franz West is one).

The personal collection is separate from the Art Omi collection, which is comprised of works donated by artists following their residencies. These works are displayed at the Company’s offices at 55 Fifth Avenue, as well as the 125 Maiden Lane lobby. Some increased in value tremendously, and can be sold to raise funds for Omi programs, also to lower storage and insurance costs, but in practice, not much has been sold. From OhMI point of view, this strategy is similar to the excellent concept by the late founder of The New Museum, Marcia Tucker, who devised the Changing Collection for her museum — works by emerging artists bought at low prices to be sold when the artists emerge, to buy more works by emerging artists. This way, a collection becomes an income generator for artists rather than a dead asset.

3. Wouldn’t it be beneficial to have more than one critic/curator in residence, along with the artists?

(This question is very h.o.t. for OhMI; as you may remember, she conceived of this interview in order to consolidate her media monopoly and to gain more power.) OhMI can now follow DJ mama’s advise and relax, there seems to be no competition. However, this idea has been put into practice a few years ago, and it did not work — the two critics united, and the artists suffered even more. There got to be only one C.

btw, Francis says that the Critic in Residence is encouraged to do her own work, since everyone comes here on an equal basis. That’s in theory; in practice, great power comes with great responsibility. Yes, Irfan, I am here for you (to worship).

4. What are the aspects of the program that you find successful, and what, in your view, needs improvement or change?

Francis really likes the directors of all Omi programs, staff, and family (so do we); he doesn’t like how the visitor center is working. Everybody else thinks that the smell of tap water and the Internet speed could use some improvement or change. Everybody likes the food!

5. What is in the future of Art Omi?

The land, which is vast, will be turned into earthworks. Organic farming by artists from Brooklyn?

As you see, OhMI turned a bit self-reflective towards the end, since her laptop run out of power, so she thanked Francis and returned to the pool.