New York’s center of gravity is a place where you can have all or nothing. Ideas, like people, stick to it or are pushed away like two of the same magnetic poles. While the stakes of making art in New York are often governed by this similar idea, generations of artists come to this city to see where they stand in relation to this magnetism. Its surrounding literal and social architecture can be taken in many directions and angles, yet the focus on this center never shifts.
Hercules invited me to select a few artists that are definers of what it means to be making art in New York and some that are making their path in this particular landscape. How do they navigate this community of similar and dissimilar as well as their relationship with the physicality of New York City? What is their vantage point and how do they choose to live here? While in many ways these artists are diverse, all are making interesting work that in one form or another speaks of New York’s current artistic climate.
I presented a few questions to these artists about their relationship to the city they call home. Once a week for the next five weeks Hercules will feature an artist from this group.

Colin Snapp is an artist who lives and works in New York. To view his work please visit his website or stop by his current show at The Journal Gallery up until April 29th.



Rita Ackermann lives and works in NY. Born in Hungary, she studied art at the Academy in Budapest and at the NY Studio School in NYC. Her work has been shown in different galleries, institutions and Museums around the world, with a solo exhibition currently showing at the Ludwig Museum in Budapest and her American museum debut taking place at the MoCA, Miami.  Rizzoli published her work in a monograph in 2011.  Her collaborative work with Harmony Korine, titled Shadow Fux, is published by Swiss Institute, NYC 2011.

How has working in New York influenced your practice? It gave me possibilities that I had to choose from and then learn to narrow… narrow things down to their bare existences to find out the reason to make something where everything is already made or readymade. I am an optimist always full of hope that I find my way that is only my way that is my work.  New York is an extremely dense environment both socially and physically. Which one would you say has a larger impact on your work? One has to become catastrophically sophisticated. A fine, fine line, running for your life type of thing to balance the physical and the social…move like a cat, think like a turtle…my work is inside me still.  How has the location you grew up in affected your process, and does this continue to influence your practice today?  I grew up with no concept of money or competition beside sports… therefore I did sports to learn competition because I knew I wanted to be an artist and we are competitors on the field of arts…each artist’s field ist different though and at the end as a European in America I will always have to be the hardest on my work.  What are you currently working on? Keep working on these paintings above that are currently showing at MoCA, Miami, until May 6th, 2012 with 42 more works of paintings and drawings.