HeyJaredTaliesin Thomas
- Indexed articles, last 90 days
- 7
- Latest publication
- Sep 30, 2026
- Outlet visibility, for Chronogram Magazine
- Top 5M sites
- Earliest in this view
- Jul 4, 2026
Latest articles
Art Review: “On Fire” at TSL: Jim Denney and Dennis Gordon (opens the original)
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In his book The Psychoanalysis of Fire, the French philosopher Gaston Bachelard writes: “Fire suggests the desire to change, to speed up the passage of time, to bring all life to its conclusion, to its hereafter.” When I arrived at Time and Space Limited in Hudson last weekend to see the two-person exhibition “On Fire” (through October 4), I was instantly swept into the electrifying “hereafter” that engulfs the room, and it took my breath away. The expert pairing of paintings by Jim Denney and s
Dear Taylor Mac: A Love Letter from Hudson Hall (opens the original)
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Editor’s Note: Taylor Mac took the stage at Hudson Hall on Saturday night. Our arts writer Taliesin Thomas went in a longtime admirer and came out with a few more reasons to swoon. Here’s her account of the evening, addressed to Mac. You will probably never see this love letter, but the fangirl in me demands that I write it. During your performance at Hudson Hall, you blazed like a crimson hued geisha-medusa for your adoring crowd (this devotee included), and it was a dream-come-true to see you
Seven Artists Throw a “Party in Hell” at Ruthann Gallery in Catskill (opens the original)
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A few weeks ago, I visited Ruthann gallery in Catskill. During the drive over, I listened to a lecture with the late Alan Watts, a self-declared “philosophical entertainer” who ironically spoke of inferno’s anguish in that very podcast: “The threat of hell is too big to think about,” he quipped in his classy British accent (and if you are not familiar with the mighty Watts, this is your moment). His sobering comment—a relevant encapsulation of so many extant horrors—set the tone for my encounter
Ian McMahon’s “IMA at Wolfhouse” in Newburgh (opens the original)
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Describing himself as a “material collaborator and process inventor,” my recent visit with George Ian McMahon (Ian) to see his solo show at Philip Johnson’s Wolfhouse in Newburgh was a highlight of the season. Before meeting in person, I was intrigued by seeing videos of the artist destroying his large-scale installations. He later explained that destruction has been an important aspect of his artistic process of invention through a “shifted relationship with the object.” Upon arrival at the Wol
Last Chance to See Blanche Lazzell's Bold Modernism in Albany (opens the original)
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Writing to a friend about her work in 1944, Blanche Lazzell (1878–1956) promised: “It will be my own or nothing.” Fiercely independent, Lazzell’s candid statement aptly embodies the particular strain of her modernist spirit: ambitious, flourishing, and uncompromising. Featuring over 50 paintings, prints, and works on paper, “Blanche Lazzell: Becoming an American Modernist” at the Albany Institute of History & Art presents the underappreciated achievements of an artist whose work played a key rol
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