Sarah Hromack

Sarah Hromack is a writer living in Brooklyn.








Hello: forwardretreat (at) gmail (dot) com
Formerly: Forward Retreat
Paddy Johnson:
Now that we’ve all expended our monthly allotment of brilliance … + I hope that you made it to at least one Performa event while the rest of us were martyring ourselves for the Internet. I just might rally after all for Mike Kelley’s festival at the Grammercy Theater, Fantastic World Superimposed on Reality: A Select History of Experimental Music. Also tomorrow night, AFC’s Paddy Johnson is competing in the World Series of ‘Tubing, Eyebeam’s Performa bit. They call it a “high-energy, augmented reality game show;” to her, it’s a “hi-tech gong show of YouTube curation.” Who’s the writer here, anyway? + The one-two punch that is Posyttypography swung by the Cooper Union this week to celebrate their new book, Lettering & Type, which was recently published by Princeton Architectural Press. Well played, Bruce; well played, Nolen. + Online newness: Paper Monument published a new set of capsule reviews today. As someone who finds art reviews largely insufferable (including those I’ve written, I might add) I’m glad to see PM keeping a healthy sense of perspective on the form; looking forward to this series’ future. Also, Mary Walling Blackburn has a new piece up in Afterall’s online edition, Everywhere only a touching: Breaking and Entering Richard Serra’s pseudo-Bellamy in the South Bronx. “We wonder what, exactly, can release us from our inviolable faith in the permanence of objects. Can we undo that perception without setting everything afire, without uprising, without turning objects to dust?” One would hope. And also: Covers, Joy Garnett’s paintings made paperback. + Project Projects’ Prem went on record with Artforum to discuss the making of MATRIX/Berkeley: A Changing Exhibition of Contemporary Art, a collaboration between PP and curatrix Liz Thomas published to mark the thirtieth anniversary of the Berkeley Art Museum’s Matrix program. I’ve been hearing about this project for a good, long while now, and after having a quick gander at the finished product a few weeks back, I think that PP/BAM did a rather formidable job of manhandling 229 projects’ worth of printed matter. + Sure, it launched over a month ago and yes, it is still good. Tomorrow, Now, Forever is a time and space-based project by Ex-Corporation, the experimental design practice of Angie Keefer and Aaron Gemmill, that effectively renders geographic displacement by capturing live webcam images of the sun rising around the world and displaying them with geographic and temporal coordinates specific to each user. According to the image above, for instance, it is 23:25 at my house in Brooklyn, and 06:25 in Marsa Alam, Egypt, where the sun is rising 6001 miles away as I type these very words.Now that we’ve all expended our monthly allotment of brilliance … + I hope that you made it to at least one Performa event while the rest of us were martyring ourselves for the Internet. I just might rally after all for Mike Kelley’s festival at the Grammercy Theater, Fantastic World Superimposed on Reality: A Select History of Experimental Music. Also tomorrow night, AFC’s Paddy Johnson is competing in the World Series of ‘Tubing, Eyebeam’s Performa bit. They call it a “high-energy, augmented reality game show;” to her, it’s a “hi-tech gong show of YouTube curation.” Who’s the writer here, anyway? + The one-two punch that is Posyttypography swung by the Cooper Union this week to celebrate their new book, Lettering & Type, which was recently published by Princeton Architectural Press. Well played, Bruce; well played, Nolen. + Online newness: Paper Monument published a new set of capsule reviews today. As someone who finds art reviews largely insufferable (including those I’ve written, I might add) I’m glad to see PM keeping a healthy sense of perspective on the form; looking forward to this series’ future. Also, Mary Walling Blackburn has a new piece up in Afterall’s online edition, Everywhere only a touching: Breaking and Entering Richard Serra’s pseudo-Bellamy in the South Bronx. “We wonder what, exactly, can release us from our inviolable faith in the permanence of objects. Can we undo that perception without setting everything afire, without uprising, without turning objects to dust?” One would hope. And also: Covers, Joy Garnett’s paintings made paperback. + Project Projects’ Prem went on record with Artforum to discuss the making of MATRIX/Berkeley: A Changing Exhibition of Contemporary Art, a collaboration between PP and curatrix Liz Thomas published to mark the thirtieth anniversary of the Berkeley Art Museum’s Matrix program. I’ve been hearing about this project for a good, long while now, and after having a quick gander at the finished product a few weeks back, I think that PP/BAM did a rather formidable job of manhandling 229 projects’ worth of printed matter. + Sure, it launched over a month ago and yes, it is still good. Tomorrow, Now, Forever is a time and space-based project by Ex-Corporation, the experimental design practice of Angie Keefer and Aaron Gemmill, that effectively renders geographic displacement by capturing live webcam images of the sun rising around the world and displaying them with geographic and temporal coordinates specific to each user. According to the image above, for instance, it is 23:25 at my house in Brooklyn, and 06:25 in Marsa Alam, Egypt, where the sun is rising 6001 miles away as I type these very words.

Now that we’ve all expended our monthly allotment of brilliance …

+ I hope that you made it to at least one Performa event while the rest of us were martyring ourselves for the Internet. I just might rally after all for Mike Kelley’s festival at the Grammercy Theater, Fantastic World Superimposed on Reality: A Select History of Experimental Music. Also tomorrow night, AFC’s Paddy Johnson is competing in the World Series of ‘Tubing, Eyebeam’s Performa bit. They call it a “high-energy, augmented reality game show;” to her, it’s a “hi-tech gong show of YouTube curation.” Who’s the writer here, anyway?

+ The one-two punch that is Posyttypography swung by the Cooper Union this week to celebrate their new book, Lettering & Type, which was recently published by Princeton Architectural Press. Well played, Bruce; well played, Nolen.

+ Online newness: Paper Monument published a new set of capsule reviews today. As someone who finds art reviews largely insufferable (including those I’ve written, I might add) I’m glad to see PM keeping a healthy sense of perspective on the form; looking forward to this series’ future. Also, Mary Walling Blackburn has a new piece up in Afterall’s online edition, Everywhere only a touching: Breaking and Entering Richard Serra’s pseudo-Bellamy in the South Bronx. “We wonder what, exactly, can release us from our inviolable faith in the permanence of objects. Can we undo that perception without setting everything afire, without uprising, without turning objects to dust?” One would hope. And also: Covers, Joy Garnett’s paintings made paperback.

+ Project Projects’ Prem went on record with Artforum to discuss the making of MATRIX/Berkeley: A Changing Exhibition of Contemporary Art, a collaboration between PP and curatrix Liz Thomas published to mark the thirtieth anniversary of the Berkeley Art Museum’s Matrix program. I’ve been hearing about this project for a good, long while now, and after having a quick gander at the finished product a few weeks back, I think that PP/BAM did a rather formidable job of manhandling 229 projects’ worth of printed matter.

+ Sure, it launched over a month ago and yes, it is still good. Tomorrow, Now, Forever is a time and space-based project by Ex-Corporation, the experimental design practice of Angie Keefer and Aaron Gemmill, that effectively renders geographic displacement by capturing live webcam images of the sun rising around the world and displaying them with geographic and temporal coordinates specific to each user. According to the image above, for instance, it is 23:25 at my house in Brooklyn, and 06:25 in Marsa Alam, Egypt, where the sun is rising 6001 miles away as I type these very words.

Join me, Paddy Johnson, David Coggins, and others for: THE GLORIFIED DOCENT at the Elizabeth Center for the Arts. The Glorified Docent is an evening of screenings of bootlegged art films, with live color commentary from guest “critics” based on the structure of Mystery Science Theater 3000 (MST3K), the American cult television comedy series that aired from 1988 to 1999. The critics remain anonymous, with only their silhouettes visible as they give their spontaneous “Siskel & Ebert from Hell” take on what they are watching. Guest critics include Art Fag City, David Coggins, Bill Cole, Steve Dumain, the Eh-Team, Sarah Hromack, Lady Rizo, Nathan Shafer, and others. The evening events are organized in conjunction with the current exhibition, Never Late Than Better, where the future and past are irrelevant, and reality is a curator’s whim.Join me, Paddy Johnson, David Coggins, and others for: THE GLORIFIED DOCENT at the Elizabeth Center for the Arts. The Glorified Docent is an evening of screenings of bootlegged art films, with live color commentary from guest “critics” based on the structure of Mystery Science Theater 3000 (MST3K), the American cult television comedy series that aired from 1988 to 1999. The critics remain anonymous, with only their silhouettes visible as they give their spontaneous “Siskel & Ebert from Hell” take on what they are watching. Guest critics include Art Fag City, David Coggins, Bill Cole, Steve Dumain, the Eh-Team, Sarah Hromack, Lady Rizo, Nathan Shafer, and others. The evening events are organized in conjunction with the current exhibition, Never Late Than Better, where the future and past are irrelevant, and reality is a curator’s whim.

Join me, Paddy Johnson, David Coggins, and others for:

THE GLORIFIED DOCENT at the Elizabeth Center for the Arts.

The Glorified Docent is an evening of screenings of bootlegged art films, with live color commentary from guest “critics” based on the structure of Mystery Science Theater 3000 (MST3K), the American cult television comedy series that aired from 1988 to 1999. The critics remain anonymous, with only their silhouettes visible as they give their spontaneous “Siskel & Ebert from Hell” take on what they are watching.

Guest critics include Art Fag City, David Coggins, Bill Cole, Steve Dumain, the Eh-Team, Sarah Hromack, Lady Rizo, Nathan Shafer, and others.

The evening events are organized in conjunction with the current exhibition, Never Late Than Better, where the future and past are irrelevant, and reality is a curator’s whim.

AiA Online Week in Review: 9 - 13 March 2008

Art in America online, week no. 2:

+ Piper Marshall in conversation with Dan Graham

+ Danny Orendorff on Paul Chan’s ‘My Laws are My Whores’ at the Renaissance Society

+ Paddy Johnson on Vanessa Beecroft’s VB64 at Deitch Projects LIC

+ Fay Hirsch on ‘Seeing God in Prints’ at the IPCNY

+ Raul Martinez on Volta, Christie’s and Sotheby’s mid-season auctions, and hopeful sales figures at the fairs.

+ Sarah Hromack (that would be me) on on Trevor Paglen’s ‘Other Night Sky’ at Bellwether

Mazel Mazel to Paddy Johnson and Art Fag City, newly-minted winner of a Creative Capitol | Warhol Foundation Arts Writers Grant.Mazel Mazel to Paddy Johnson and Art Fag City, newly-minted winner of a Creative Capitol | Warhol Foundation Arts Writers Grant.

Mazel Mazel to Paddy Johnson and Art Fag City, newly-minted winner of a Creative Capitol | Warhol Foundation Arts Writers Grant.

In a pointed statement about the conspicuous lack of women presenters at ROFLcon, artist Steve Lambert punked the crowd by unveiling a (fake) Firefox add-on designed to scour the internet clean of “feminine” content. Note the not-so-fresh feeling in the room as Lambert’s deadpan delivery makes the boys squirm.

+ Women Panelists Absent at ROFLcon. Again. (Art Fag City)


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