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Theadora Walsh

@theadora.tm

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various views and appendages from this summer 🤾🥊 by @theadora.tm

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2 months ago

Please join us at 3 pm, this Sunday, August 16th for an afternoon of poetry readings and the closing party of exhibition Love and Friendship.

Readings by:

Zoe Brezsny
Tilghman Goldsborough
Theadora Walsh

Message us for address. We would love to see you.

Poster designed by @lu_wrld

#ZoeBrezsny
#TilghmanGoldsborough
#TheadoraWalsh
#afternoonprojects
@zbrezsny @human_goldberg @theadora.tm taken in Manhattan, New York by @theadora.tm

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2 months ago

On a late night walk from Bedstuy to Astoria I got to watch the Pulaski bridge slowly split in half and then incrementally raise until the road was at an almost 90 degree angle.

The experience reminded me of one of my favorite videos, “Bedtime Stories,” which Harun Farocki made for Sesame Street. Farocki asks his daughters, lying in bed, to imagine impossible things like “a boat driving over a car” or “a train going under the water” and then intercuts the scene with videos of those transit events happening in real life.

I was so pleased by this that a citi biker offered to take my photo with the bridge. thank you! by @theadora.tm

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3 months ago

A survey of Leslie Bohnenkamp’s 1970s and ’80s work—including playful, imprecise conic paper sculptures he called “the herd”, their materials gathered from belt factory detritus—situates the New York artist as a lesser-known minimalist, writes Theadora Walsh.

Read at the link in bio.

#theadorawalsh #lesliebohnenkamp #donaldryangallery

@theadora.tm @donald_ryan_gallery

Images: [1] Leslie Bohnenkamp, Coiled Form, ca. 1977. [2] Leslie Bohnenkamp, Shell Herd Drawing, ca. 1979. [3] View of Leslie Bohnenkamp’s at “Works from the 1970s and 1980s” at Donald Ryan Gallery, New York, 2026. Courtesy of Donald Ryan Gallery. by @theadora.tm

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7 months ago

A return to seasonal living by @theadora.tm

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a year ago

@efluxeducation feature: Theadora Walsh @theadora.tm visits “Last Art School” at the Hunter College Art Galleries @huntercollegeartgalleries and reflects on the long slow death of the San Francisco Art Institute.

Read it at the link in bio.

Images: [1] The opening reception for *Last Art School*, 205 Hudson Gallery, Hunter College Art, New York, August 27, 2025. Photo: Leo Sano. [2] View of “Last Art School,” 205 Hudson Gallery, Hunter College Art Galleries, New York, 2025. With work from the SFAI Legacy Foundation + Archive. Photo: Argenis Apolinario. [3] View of “Last Art School,” 205 Hudson Gallery, Hunter College Art Galleries, New York, 2025. Photo: Argenis Apolinario. taken in Hunter College Art Galleries by @theadora.tm

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10 months ago

this year lasted 100 years & i have been alive for over 10000 days ! by @theadora.tm

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9 months ago

Art & Language’s short-lived magazine The Fox was a collaborative—and often combative—project. As part of e-flux’s focus on the changing relationship of art and theory, Theadora Walsh admires an exhibition that foregrounds the importance of discourse to the politics and production of art.

Read at the link in bio.

#theadorawalsh #artandlanguage #theempire

@theadora.tm @theempire.biz

Images: views of “FOX and His Friends” at Empire, New York, 2025. Images courtesy of Empire. by @theadora.tm

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a year ago

help i’m addicted to reading this paragraph in The Master and Margarita: “Here the guest’s eyes opened wide, and he continued whispering as he gazed at the moon, ‘She was carrying some hideous, disturbing yellow flowers. The devil only knows what they’re called, but for some reason they’re the first ones to bloom in Moscow. And those flowers stood out very distinctly against her black spring coat. She was carrying yellow flowers! A bad color. She turned off Tverskaya into a side street and then looked back. Do you know Tverskaya? Thousands of people were walking along Tverskaya, but I assure you, she only saw me and she gave me a look that was not merely anxious, but even pained. And I was struck not so much by her beauty as by the extraordinary, incomparable loneliness in her eyes!” by @theadora.tm

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5 months ago

It’s a strange irony that Margaret Kilgallen tagged the word “META” on San Francisco’s street corners, industrial walls, and partitions. Having left this world in 2001, she couldn’t have anticipated the word’s present associations with the umbrella company of “social” networks that remade the city’s public and private spaces through volatile economic interventions. Still, somehow these images look to me like strange harbingers, warnings of an imminent loss to come.

Thanks to @scootersforpeace for sharing this book with me! by @theadora.tm

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a year ago

At Madeline Gins and Arakawa’s reversible destiny house, trying to reverse destiny. by @theadora.tm

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3 years ago

This September a terrible flu had me in bed for a week and a half. Sleeping most of the day and all of the night, I kept strange hours and developed a sonambulent consciousness, having difficulty distinguishing dreams from waking thought.

During this dazed time, I watched Akira Kurosawa’s last film: Dreams (1988), which is made of eight vignettes, said to be cinematic re-makings of Kurosawa’s own recurring dreams. My favorite is the last one, where a hiker enters a beautiful, mountain village without a name. The inhabitants simply called it “The Watermill Village.”

In technicolor, the water looked unreasonably pure and the green grass impossibly verdant. But last week I had the chance to visit the windmills, which the director built on an operating Wasabi farm north of Matsumoto, and found them exactly as represented.

After befriending a kayaker who’d lived for a couple years in San Jose, I was brought out to the center of a river irrigating the farm crops, diverted from an underground spring. The water was so translucent that I kept mistaking the swaying water weeds for the surface’s texture. In the center of the stream, the kayaker submerged an oar to slowly turn the boat. “This is the shot the director took,” he told me as I watched the sliding horizon hide the farm’s operations perfectly behind the constructed windmill.

Travel is strange, now often guided by matching an image on the phone to a small extractive field of vision in a real place. But, honestly, it’s good to be alive. by @theadora.tm

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a year ago