Tussle Magazine/Projects

Tussle Magazine/Projects TUSSLE was founded in 2013 by Laura Horne and is currently located in New York City. Tussle is an in

tus·sle
ˈtəsəl'
noun
a vigorous struggle or scuffle, typically in order to obtain or achieve something.
​
TUSSLE was founded in 2013 by Laura Horne and is currently located in New York City. Tussle is an independent artist-run online publication and exhibition project platform. Tussle magazine showcases contemporary art in the form of interviews, studio visits, and exhibition reviews. TussleProjec

ts is an online exhibition and platform for collaborations and projects which came to fruition in 2020 during the global pandemic.

My thoughts on curating a themed open call exhibition BEFORE TIME Lichtundfire New York,  August 5 - 21Out of Time: Cura...
08/17/2026

My thoughts on curating a themed open call exhibition BEFORE TIME Lichtundfire New York,  August 5 - 21

Out of Time: Curation, Myth, and Deep History in BEFORE TIME

The transition from an initial concept to a fully realized exhibition for me is always a study in restraint and discovery. When Priska Juschka (Director of Lichtundfire) and I first began planning for BEFORE TIME, a show that would evoke the planet’s ancient dawn, deep history, forgotten rituals, and primordial ecosystems. One of the questions that I asked myself was, "how am I going to honor the vastness of the past while giving the exhibition a clear, unified voice… "

One of my first thoughts was the title and I liked the deliberate double meaning in the phrase “out of time” could this potentially replace BEFORE TIME?  Because “out of time” on one hand refers to things situated outside our standard human timeline: deep geology, extinct flora, submerged civilizations, and ancient cosmologies which tracks. Then on the other hand, it carries the quiet, ticking urgency of our modern moment: the sense that we are running out of time on a fragile planet. But then after reviewing the submissions with these two ideas in tandem I realized that they are two very opposite distinctions visually. And I came to the understanding that the works could either anchor themselves in the ancient past or speak directly to the present/future. To do both was very difficult visually. 

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Donald Judd, in the early years of Minimalism, would likely have included the works in this exhibition by Bonnie Rychlak...
08/16/2026

Donald Judd, in the early years of Minimalism, would likely have included the works in this exhibition by Bonnie Rychlak at the Bridgehampton Museum within his category of “Specific Objects” (1964): works that were neither painting nor sculpture, but asserted a literal presence in the viewer’s space. Yet the more accessible term Minimalism, which retained painting and sculpture as categories while treating reductivism as a brute fact, came to dominate critical and art-historical discourse in the 1970s, largely displacing both the categorical and conceptual problem of specificity that Judd’s term named. What has not disappeared is the problem of how painting and sculpture remain distinct practices even after the historical criteria that once separated them no longer hold with confidence. This unresolved relation is made especially visible in the present exhibition, which gathers the same works Rychlak previously showed at Catskill Art Space in Livingston Manor, from August 30 to October 25, 2025. Situated within a different architectural and curatorial economy, their relation to scale, sequencing, and the institution’s conditions of display produces another perceptual field. 

Viewers who did not see the earlier exhibition will not register these differences in the same way; for those who did, reinstallation becomes one of the means through which Rychlak’s central concerns are clarified. Unlike works for which a change of venue merely alters reception, Rychlak’s wall works incorporate the conditions of their own display. Their negotiation between wall, surface, projection, and bodily address is not simply the means through which they are exhibited but part of their content. Reinstallation does not impose a new meaning; it becomes another articulation of how these works negotiate the relation between image, object, event, and architectural space.

​Bonnie Rychlak
Saul Ostrow
The Bridgehampton Museum

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Every child who has begged to ride an escalator one more time understands the emotional logic at the center of art histo...
08/16/2026

Every child who has begged to ride an escalator one more time understands the emotional logic at the center of art historian Nozomi Naoi's profusely illustrated new book, The Land of Happiness: How the Japanese Department Store Visualized Modern Life. When Tokyo's Mitsukoshi department store opened its new building in 1914, its escalator became an attraction, particularly for children. The book's title comes from literary scholar Ikeda Yasaburō's recollection of Mitsukoshi as a childhood "land of happiness," where the escalator itself produced excitement, rather than consumption of goods. Naoi's larger argument is that the department store helped produce modern culture as much as it reflected it. Through images, architecture, technology, and ritual, it established what modern life should look like, how citizens should behave, and who might participate in that identity. The Japanese department store manufactured an image of modern life, one poster, rooftop garden, and glass display case at a time. Customers entered not only to buy something, but to encounter a new way of seeing, moving, and behaving in public.


Susan Bowman
/structure

Brian Alfred’s works have always had an air of anticipation around them. They carry with them an excitement and an energ...
08/16/2026

Brian Alfred’s works have always had an air of anticipation around them. They carry with them an excitement and an energy captured within a place or a subject. The works in his newest exhibition titled Plus Ultra at Miles McEnery Gallery carry that excitement as well. This exhibition is well timed, given the Knicks recent championship win and the World Cup happening locally, New York is definitely electric, and sports are definitely bringing many together with a much needed sense of hope and community. Alfred centers the show on sports imagery as a mode to explore its interpersonal, aesthetic, and emotional role inherent to competition and fandom. He depicts many well known players that greet you in the front room as well as the stadiums we may find ourselves traversing. He gives us many subjects that we know well and gravitate towards.
Miles McEnery Gallery
Brian Alfred
Taylor N. Bielecki

When I first experienced Barber’s paintings during an Artist talk of theirs, I instantly felt an immediacy to them. I fe...
08/16/2026

When I first experienced Barber’s paintings during an Artist talk of theirs, I instantly felt an immediacy to them. I felt as if they were pulling me directly into the scene, into a liminal space, and the works in this exhibition do just that too. It’s as if I’m wandering desolate deserts under a darkened, starlit sky, or I’m stumbling by the roadside, observing an artificially warm glow bathing the side of a streetlight pole which I end up leaning against, watching passersbys judge me, a weary traveler. With this series, Barber remains committed to the observation, material experimentation, and the visceral experience of painting from real life. All the while pulling real life into them. Barber’s work acts as both a reaction and an interaction, both a conversation on current issues and feelings as well as acting as an archive of those moments as seen through her own eyes. The new body of work in the exhibit titled Clay Pigeons includes paintings the artist made during three, month-long, cross-country road trips taken in 2025 and 2026. The pieces are simultaneously dramatic, cinematic, and stoic, as the paintings pull me into them, as if I was standing alongside Barber in real time. 

Izzy Barber Studio | 🗽✨
Charles Moffett
Taylor N. Bielecki

Tussle projects is very excited to share the results of "When an Artwork Disappears" The Unseen Archive: Art, Authorship...
07/18/2026

Tussle projects is very excited to share the results of "When an Artwork Disappears"
The Unseen Archive: Art, Authorship, and Subjective Translation

by Laura Horne

Inspired by Sei Smith’s project The Painting's Journey, I launched this experiment to explore the question: what happens to an artwork when we strip away its visual record?

From the results of an open call, three visual artists sent original pieces to a writer under one strict condition, that their art would never be photographed or publicly shown. Authorship was decentralized.  Three artworks went to three writers each, who lived with the art in their own home for nearly a month. Rather than trying to produce objective criticism, they documented the deep subjectivity of their own gaze: how the object altered their domestic space, mutated under daily observation, and lived alongside them.

Now, the physical artworks have returned to the artists' studios, leaving these texts behind as the sole evidence of their journey. The goal is to challenge the boundary between the material art object and its translation: Can a linguistic description truly replace the physical artwork?

By navigating this archive, you enter a secondary layer of authorship, reconstructing the unseen art entirely through the lens of another's experience. Read their responses, trace the silhouettes of the missing objects, and ask yourself what do you see?

Thank you artists, Sono Kuwayama
justin orvis steimer
Jasmine McGlade
And thank you writers, Taylor N. Bielecki Joanna Seifter Jason Carey-Sheppard jonah james romm lindsey_poremba Kun Sok Carl Watson-Wood Bowery Bob Ian C
Inspired by Sei Smith

The first few notes I took while witnessing Linda Montano perform her Blindfold Window Peace at Public Trust in Philadel...
07/17/2026

The first few notes I took while witnessing Linda Montano perform her Blindfold Window Peace at Public Trust in Philadelphia: breath as performance / rest as performance / sound as gesture / caretaking, chanting, the un-and-re-crossing of legs / a belly that moves / up and down/ air flows in and out of lungs

Montano lay in the window blindfolded, with what appeared to be surgical bandaging, felt squares representing the chakras layered on her chest. Chanting into a microphone, meandering through low hums, sonic “aaahhs,” and windy sighs, her voice passed through her body and out into the street, carried by an outdoor speaker. I saw my reflection in the glass window, my gaze moved between my own reflection and Montano, who was at once aware and unaware of her own visibility. A site for reciprocal looking. The window’s glass collapsed the distinction between performer and observer, my own reflection folded into the performance, implicating me within its field of attention.

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Article y

Public Trust

Apply by July 24 via the link in the bio!!BEFORE TIMECurators: Laura Horne | Artist, Curator, Editor of TUSSLE Magazine...
07/12/2026

Apply by July 24 via the link in the bio!!

BEFORE TIME

Curators: Laura Horne | Artist, Curator, Editor of TUSSLE Magazine and  Priska Juschka | Curator, Director Lichtundfire

Concept: Priska Juschka

Exhibition Dates: August 5 - August 21

Opening Reception: Wednesday, August 5 | 6-8 PM

EXHIBITION CONCEPT: 

BEFORE TIME brings together work in various media, from abstraction to conceptual representation, that addresses and evokes the planet's ancient history: extinct animals, long-gone forests and vegetation, fossils, sediments, dissipated or subsided waters, submerged cities, forgotten cultures, former settlements, earlier humans, analog cultures, ancient rituals, bygone eras, and tribal societies. 

The exhibition emphasizes mythology, astrology, storytelling, astronomy, ancient science, alchemy, earth and plant-based work, environmental work, organic mediums, minerals, process work, assemblage, collage, and recycled/upcycled work.

WHERE: LICHTUNDFIRE, 175 Rivington Street, NY NY 10002

There is a distinct, inescapable gravity to the surrealist legacy of Leonora Carrington (1917–2011).  Decades after she ...
07/12/2026

There is a distinct, inescapable gravity to the surrealist legacy of Leonora Carrington (1917–2011).  Decades after she retreated into the mystical landscapes of Mexico, the British-born artist is exerting a magnetic pull over New York City. “Shape of Dreams”  currently on view at L'SPACE Gallery in Chelsea, opens up Carrington’s universe as an active, urgent blueprint for modern creation and psychological survival. Featuring monumental sculptures that were finalized around 2011, right before Leonora passed away at age 94, they feel thousands of years old, as if they were dug up from an archaeological site rather than cast in the 21st century. By 2011, Carrington was battling severe arthritis and failing vision, requiring assistance to realize these massive scales.

Lili Almog, the director of L'SPACE, approaches curation as an artist not necessarily as an art dealer. Almog’s own latest body of work focuses deeply on women, religion, and the politics of visibility, specifically a series of shrouded female figures placed in settings where art history traditionally demands the passive female n**e. Almog saw Carrington’s work for the first time during Zona MACO, an art fair in Mexico City in the early months of 2025. A selection of Carrington's tapestries, puppets, and tarot cards, Almog immediately recognized them as rare artifacts and sparked the idea for this exhibition.

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L’SPACE
Lili Almog
Article by Laura Horne
Leonora Carrington

A special pop-up show at the Stanford University Department of Global Ecology, VESSEL: An Exhibition on Sustainability, ...
07/12/2026

A special pop-up show at the Stanford University Department of Global Ecology, VESSEL: An Exhibition on Sustainability, Community, and Our Shared Future, curated by Yilin (Rebecca) Sun, offers a gentle and relational perspective on sustainability. Rather than viewing sustainability only as a solution to environmental issues, Sun views it as a vessel to connect people and bring people together. She views sustainability not as a result we need to achieve or a destination we need to arrive at, but as a shared practice we carry with us. It becomes something that connects us while we collectively imagine and work toward building a better future.

This show includes works that are either contemplative reflections on time, how our past impacts the current status quo and how it may shape our future, or works that invite nuanced observations on sustainability in our daily life. These two different angles challenge us to review how we handle the very broad subject and word “sustainability.” It is a term that sometimes feels overused and numbingly flat, as if it has lost part of its meaning.



Stanford University

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