as i consider notions of exhibition and venue i find myself puttering around in and out of the studio. distractions have been welcome because my practice has not allowed them for quite some time, but i also feel a need to formalize a couple of things, especially with 2019 wrapping up. i have been cutting and stacking old pieces again and thinking about where they might live. i started this in 2011 as a way to purge my studio storage. results shifted the work to a space of reusing and gathering old materials. it was a way of looking back while predominately staying present. it feels like this time in the studio is seeking similar clarity.

john ros, the suppression of awareness part 2:3, 2012
ongoing mixed media installation, detail: 44 x 40 x 6 in. | 112 x 101.5 x 15 cm
collection: gabarron foundation

adjacent to this main project of culling, there has been some interest in reworking a digital project i started in 2017. this digital drawings were made and sat dormant. the dust has been blown off … but how might they exist within this space of the current practice.

a final element i have been toying with, but have not yet formalized in any way is considering a way to work with images of war. i think of jacob lawrence’s war series and goya’s disasters of war. there is also nancy spero and leon golub. ha! i know that last link is a shameless, self-promotional plug!

i had played with goya’s series back in the early ‘oughts… with no success.

there are many things mulling. we’ll see what comes out the other side.


i’ve been thinking a bit about manifestos… and their usefulness? not sure, but i always seem to gravitate toward them. in the wider discussion of who is art for? … and the potential transition of exhibiting work from traditional spaces to less traditional spaces, i find this text an interesting place to begin.

Artists not only have the right to dissent, but the duty to do so.

Manifesto on Artists’ Rights, by Tania Bruguera, 06 December 2012

i stumbled upon the book, social medium: artist writing, 2000-2015, edited by jennifer liese and published by paper monument.

image from paper monument

bruguera’s full manifesto can be read on her website here.


the dump. the trash can. the bin. this will be a space where artists tash kahn and john ros will share studio conversations within the realms of the visual and conceptual in order to better understand the moment we occupy. this space is meant to be a private conversation, though others may chime in from time to time when necessary. this space will be archived chronologically and will be meant to act as a place to plop stuff, allow it to percolate and digest. our goals are for this space to serve our practice, with no real sense of audience or tangible result (though the very existence of this space already disproves that). we want this space to lead us — to move us — and to allow us to enter new spaces in our personal and collaborative art practices. contradictions welcome.

tash kahn’s image response sent to john ros via signal: 10 november 2019
john ros’ response to above picture sent via signal: 14 november 2019