Interview with Eileen O’Kane Kornreich: “Emotionally Charged Color is My Grammar”

An Interview between Audra Lambert and Eileen O’Kane Kornreich

Our current dual American crises of pandemic outbreak and social inequality are both eerily present in this visceral body of work I encountered by artist Eileen O’Kane Kornreich, “Mortality Path.” The series is open to viewer interpretation as the artist depicts the site of Washington Square Park, a space that has served various functions over the years: a place for organized protest, leisurely strolls, farmland, and a burial ground. Kornreich presents scenes from this locale not with realistic details but charged with facets of the various histories that compose the elements of the site itself.

I first became aware of this series a few months ago, when I met with the artist after encountering her current body of work, “Creatures,” which explores concepts related to the “Gilgamesh” epic. The artist’s powerful dual approaches contrasting the historical realm of Myth against the personal myths we build around our own lives intrigued me, enticing me to learn more about her past body of work. Encountering “Mortality Path,” it became clear that Kornreich invested significant time in researching the purpose of this site throughout New York City’s nearly 400-year history, particularly as it relates to the settlement of Manhattan as it spanned northward from its origins in the current Financial District. The artist charts her engagement with the site from a personal level as someone who frequented the park, diving into its secrets and hidden history in the wake of poignant personal grief she was experiencing during the time period that this series emerged. Kornreich observes rather than comments: she views the psychological aspects of the park’s trajectory, tracing the multi-layered history informing the experience of walking paths along the northwest corner of the park. I sat down with Kornreich for this somber and reflective journey through grief, contemplation, and the intractable pall that past histories indelibly cast on our experience of the present moment.

(Above–>Below) Before Rose, Eileen O’Kane Kornreich (2019) Acrylic, pastel, crayon and pencil on paper, 30×44″ | Her Park Path No Memory, Eileen O’Kane Kornreich (2019) Acrylic, pastel, crayon and pencil on paper, 30×44″

Park Path 7, Eileen O’Kane Kornreich (2019) Acrylic, pastel, crayon and pencil on paper, 30×44″

ANTE mag. Walk us through the origin of “Mortality Path” and your early foray into capturing the vistas of Washington Square Park, how did this space first attract your attention and inspire you to begin work on this series?

Eileen O’Kane Kornreich. After my husband died early 2015, I had been thinking of our mortality and how we humans manipulate the natural world and ritualize our deaths. Death of a beloved brings one down memory lane, and I found myself digging out work from forty years earlier. In the late 1970’s I went through several years of painting landscapes. I was charmed by one oil of the trees out of my studio window. Everything I loved and lived with during those years are dead: the dog, the boyfriend. Everything gone – but not the trees. I drove to see them, still outside that window, the dog buried not more than twenty feet away. I thought of trees and burials, like burials in Indonesia where they inter dead babies in a ritual where they and their spirits are absorbed by nature, which I believe is lovely. I thought of all the markers for our dead, all the bodies moved into catacombs, then I reminded myself of potters’ fields. There are thousands of dumping grounds for human remains; we walk on them daily and are unaware. Washington Square Park’s northwest corner is something I am very aware of and that is so centric to our city and country’s history, yet there are no markers for all those people.

ANTE mag. The theme of this work is site-specific, dwelling on a certain location: The Northwest corner of Washington Square Park. Are you drawn to working with spaces and their layered histories? Why or why not?

EO’KK. This was a first [for me to use a particular site.] This is so specific a site: fifty to two hundred feet of a site. It was not a conscience decision to use a small-scale location. It was a conscience decision to use a mammoth atrocity to over tens of thousands of people, acknowledged. These bodies that were dumped, hidden, ignored, and historically expunged and that one American Elm onsite who saw it all and is still alive. That’s the story.

 

(Above–>Below) See Through to the Piers, Eileen O’Kane Kornreich (2019) Acrylic, pastel, crayon and pencil on paper, 30×44″ | Park Path Dapple Light, Eileen O’Kane Kornreich (2019) Acrylic, pastel, crayon and pencil on paper, 30×44″

Park Path Blue, Eileen O’Kane Kornreich (2019) Acrylic, pastel, crayon and pencil on paper, 30×44″

ANTE mag. You note that in this body of work that you build… “from society’s constructed beauty that masks atrocities below.” What about this contrast compelled you to create these artworks?

EO’KK. There are several written histories of the what and why of the potter’s field in and around what is now known as Washington Square Park. New York City has records of purchasing sections of the eastern side of the park for a potter’s field in 1790s. At that time, this land was already used by several African churches located near that same land when this area was farmland owned by freed slaves. The city has notes of the bodies dumped in the north west corned on the banks of the Minetta Creek: this was an area, again, long in use by the native population. This undesirable area was partitioned off to native peoples, freed slaves and rogue New Yorkers, The English and Dutch, then reclaimed as a potter’s field – can you imagine? I imagined then and still to this day, all the bodies laid or splayed, then topped with fill for years as the pandemic raged during humid summers or a citizen was murderer. A few decades after the last of the stink and vermin had died off, only then a military square is constructed for pageantry around the square mansions that have since been constructed. Imagine bunting and flags and shots of rifles children playing in and around where just a generation ago lay the bodies of a putrid death, some named some not, thrown into a ditch. We have a similar situation to this now at the area near World Trade Center: different, clearly, in terms of intent, but so many go about their day and eat lunches over the bodies of those killed in 9/11. Across the street is an African burial site that just received its historical plaque. And so, it goes, it’s all around us.

ANTE mag. These works feature emotionally charged colors, and the strong use of perspective in these works creates a sense of heightened anxiety and alienation. What are some of the emotions present in these works and why?

EO’KK. Emotionally charged color is my grammar, the construction of my visual language. While making these drawings, I am aware that I’m in a graveyard, that there is death beneath my feet – it brings to mind my husband’s graveyard in Valhalla, NY, which is gorgeous and shows diversity across its many sections, yet beneath these graves are even older burial sites of native peoples, settlers, anicent beasts….these layers of history continue endlessly. With Washington Square Park, that one particular corner has never had a plaque until they put a plaque at the arch noting that in the 19th century, ten African wooden caskets were placed at this site in 1850. But that begs the question of why these freed men and women of color were in this site, which at that time was still relatively undeveloped? Early settlers had no qualms about using free slaves as a buffer from native people’s attacks on first the Dutch, then the English took over. This is a part of our history we can find if we dig through the layers.  There are many perspectives in the park, off in one area you can even watch the light bouncing off the distant Hudson River, even noting a small square where you can see New Jersey. These photos were taken during walks in the winter and there is refracted light, light shining on in the darkness. This is my contemplation on color and perspective: how it’s read or absorbed by the viewer is for them to tell that story, I’ve told mine.

ANTE mag. The presence of trees is palpable in these works: what meaning do these park trees have for you, metaphorically, in this series?

EO’KK. The four-hundred-year-old American Elm in the Northwest corner of the park is a monument we locals call the Hanging Tree. That is my leading lady. If she could talk, she would set me straight. She would tell the burden of the dead and dying, and hangmen alike. The other trees, the recent plantings by our wealthy society, those represent the frivolous, the pageantry, the amnesia of a city wanting to not remember or know what they did, what happened in the past. 

ANTE mag. Can you explain your process in creating these compositions? For example, did you photograph the site from different angles then draw those with pencil on paper? Did you create these works en plein air?

EO’KK. While in the park, I photograph a path, a tree. I take upwards of three hundred shots with my camera and print what is valid to my eye. From these I construct a photo-collage of multiple perspectives, giving me a 360-degree view of a tree, shadow or path. It is a very cubist drawing which arises from the collage. I create the base drawing in pencil. From the base drawing, I work with acrylic, conte crayon, pastel, crayon and graphite to build the finished work. 

ANTE mag. You reference that these works recall “mysterious dreamscapes of nature.” Can you elaborate on that sentiment in relation to this body of work?

EO’KK. Once I start layering color with crayon and pastel the hard cubist edges are removed, and the multi-perspectives become one trippy, mysterious landscape.

What happens when we die? Every person who has lived during the age of reason has thought of the why’s and where’s of the afterlife. Does the answer lie with a god or gods, or spirits, or is it science? Why are some deaths celebrated and interred in strong, elaborate shrines while others are burned on a river or dumped in a marsh that becomes a celebrated park a few decades later? That’s just luck. My deeper thoughts are what happens after our internal light is out.

Shelley & Donald Rubin Foundation | The 8th Floor Interview for 10xCommunity: “By Addressing Real Life in our Work, There is More Potential for Change”

ANTE Mag is focusing on ten projects that span creative disciplines and seek to build wider community ties between creative disciplines in our new series of interviews 10xCommunity. Featuring artistic projects, community-building initiatives and interdisciplinary platforms, ANTE is sharing these interviews on the mag and across social media that spotlight these endeavors through the current social crisis to pivot to sharing positivity and uplifting creative news to our audience. Shelly & Donald Rubin Foundation, The 8th Floor is a platform for socially engaged exhibitions and programs featuring artists of diverse backgrounds involving communities in dialogues around a range of social issues. ANTE contributor Mariel Tepper touched base with Executive/Artistic Direction at The 8th Floor, Sara Reisman, in order learn more about what types of initiatives they are enacting and following during CoVid-19.

(Lead image credits: Jane Benson. A Place for Infinite Tuning, 2014. Plywood, steel, mirrored plexiglass, wooden vase, latex paint, hand-cut artificial flowers, hand-cut oud and viola Photograph by Matthew Johnson, courtesy of the Shelley & Donald Rubin Foundation.)

 

ANTE mag. How did The Rubin Foundation’s The 8th Floor get its start? What was the initial vision for how The 8th Floor could explore the intersection of art and social justice?

Sara Reisman. The 8th Floor was founded in 2010 by Shelley and Donald Rubin to showcase their private art collection, which, at the time, was focused on contemporary Cuban art. When I started at the Shelley & Donald Rubin Foundation, as Artistic Director, in 2014, part of my charge was to help refine the mission of the Foundation, which was founded in the mid-1990s. The Foundation had supported arts and cultural organizations – ranging from visual arts presenters in New York City, to Himalayan art projects – as well as social justice organizations advocating for freedom of expression, gun control, and access to health care. In the process of identifying that the mission could be more precise in its support of organizations in New York City that were bringing art and social justice together, we determined that The 8th Floor could become a platform for art and dialogue around social justice themes. Initially, I thought there would be a few shows to articulate the Foundation’s interests. The first show I curated at The 8th Floor in 2015 was Mobility and Its Discontents, which included artists Jane Benson, Ángel Delgado, Lan Tuazon, and Javier Téllez, whose projects expressed the impacts of borders and strategies for transcending them. As we – my colleagues George Bolster, Anjuli Nanda Diamond, and I – continued to develop ideas for exhibitions, it became clear a series of shows on social justice themes, building upon one another, could be ongoing. In addition to the exhibitions, public programs and workshops are integral to providing audiences and the communities we serve with a discursive environment that is both communal and supportive of free expression. Without public programming, I think the effect of the exhibitions would be very different, less engaged. 

ANTE mag. The COVID-19 crisis has deeply impacted our society and the art world in unprecedented ways. What are some ways that the Rubin Foundation will stay connected and active in the arts community during this time?

SR. We recently launched a virtual series called Performance-in-Place, which we thought of as a way to engage with artists, providing them with support and a platform, to present new performances generated by the new social distancing measures (whatever that might mean for each of them.) Performance-in-Place will happen every third Tuesday evening (times depending on where the artists are located), our first event was led by Nicolás Dumit Estévez Raful Espejo, in the Bronx, with two collaborators Anna Recasens, and Laia Solé, who are based in different parts of Spain. Their conversation, On Art and Friendship, also showed excerpts from a new video piece they began working on in February to document the aspects of art praxis, that are often not shown in art spaces. For our team, it was moving to see how the three artists facilitated a discussion of sharing and connecting with a group largely consisting of individuals who are often in attendance at The 8th Floor. Forthcoming performances include presentations by Alice Sheppard with Kinetic Light (June 9), From the Collection of Eileen Myles (June 30,) Maria Hupfield (July 11,) a new piece titled Hotline by Aliza Shvarts (September 1,) and Latasha N. Nevada Diggs (September 22.) To complement the performance series, we are hosting monthly talks online as well. On May 28, I will moderate Places of Isolation and Healing, a conversation between Edgar Heap of Birds and Douglas Miles, and on June 18, I’ll be in conversation with artist and activist Carmen Papalia on facilitating accessibility in virtual spaces. 

Initially, I felt that the pressure to generate programs for virtual experiences was uninspiring. But two months into this, I’m realizing there is great potential to connect people internationally, across geographies. Of course, more than ever,  the notion of the digital divide is an issue, but I can see that as we learn to operate virtually, there is an opportunity to approach accessibility in new ways, online and eventually as we make the shift back to doing programs in person.

Mobility and Its Discontents, installation view at The 8th Floor From left to right, works by Alberto Borea, Jorge Wellesley, Lan Tuazon, Jane Benson Photograph by Matthew Johnson, courtesy of the Shelley & Donald Rubin Foundation

 

ANTE mag. Your organization’s past exhibitions explore pressing social issues and concepts, from healthcare to mass surveillance to “different modes of resistance” in the series Revolutionary Cycles. Why is art and culture necessary in times of crisis such as the COVID-19 pandemic?

SR. Revolutionary Cycles was conceived as a series of six exhibitions to examine the instruments of social and political transformation. In the first exhibition Revolution from Without…, which opened in January 2019, artists featured in the show – Chto Delat, Kameelah Janan Rasheed, Dread Scott, and others – expressed how change often comes from those on the margins of the polity, and the condition of being without – without rights, without representation, and without capital. It’s clear to me that in the current climate, a crisis of a failing health care system, capitalism run rampant, and rights being stripped away in the name of national security, art is essential for its capacity to communicate conditions that would otherwise be obscured. I also believe that even as the decision to make art is perceived by many to be one of privilege, being an artist is a precarious existence, and yet, artists constantly take risks in representing unpopular ideas, that question authority, that challenge the status quo. The next exhibition in the Revolutionary Cycles series, To Cast Too Bold a Shadow (originally scheduled to open on May 14 and postponed until at least the fall) is focused on entrenched forms of misogyny in our culture, and will feature works by Betty Tompkins, Joiri Minaya, Yoko Ono, Tracey Emin, Mierle Laderman Ukeles, and Aliza Shvarts, among others. With support from the Italian Council (a funding body of the Italian government) we are commissioning Maria D. Rapicavoli to make a new film, The Other: A Familiar Story, about immigration based on the life of a close relative. The project charts the oppression of a woman who emigrated to the U.S. from Italy, forced to leave her children behind, surviving an abusive relationship in the process. A Familiar Story becomes more timely given the immigration crisis we’ve been witnessing over the last decade, and now with the pandemic in which domestic abuse is compounded by quarantine. The logic behind Rapicavoli’s film demonstrates how artists are often thinking about what is below the surface.

ANTE mag. What have been some of your organization’s narrative goals with past exhibitions and programming, and how might those narratives come into play after this crisis?

SR. We obviously have no real idea what the outcome and conclusion of the pandemic will be, but our exhibitions together present a narrative in which questions of equity and human rights – whether they be LGBTQi rights, disability rights, or to do with reparations – are at the forefront. Regardless of what happens after this crisis (if there is a distinct ‘after’), I hope politically engaged art discourse can continue to be more grounded – as I feel we have been since the pandemic took hold –  in the realities we face as cultures, as communities, as a country. And to understand that reality is not always pleasant, or fair, or aesthetically digestible – but that by addressing real life in our work, there is more potential for change.

Betty Tompkins Apologia (Caravaggio #1), 2018 Courtesy of Betty Tompkins and P·P·O·W, New York

ANTE mag. Public events and programs are a vital aspect of The 8th Floor, with frequent artist talks accompanying exhibitions. During this time is your organization considering any alternative types of programming such as virtual talks or exhibitions?

SR. As I mentioned, last week (on May 19) we launched Performance-in-Place as a virtual series, and monthly talks, which right now feel like a good alternative to the fact that we can’t gather people in real time and space. With that in mind, if the pandemic means we can’t return to doing in-person programming in the fall, or by the end of the year, we will have learned how to conduct virtual programs. We are taking the time to do certain projects that are less immediately visible. For the last year we’ve been hosting a series of closed conversations called Access Check: Mapping Accessibility 2.0, which actually started with a public program last July at The 8th Floor. Organized in collaboration with choreographer and artist Jerron Herman, the talk brought together a group of artists, activists, and educators who have consistently advocated for disability rights and access in the cultural sector. We quickly realized there was a need to continue the discussion, and now we’re in the process of finalizing a survey for the field, split into two tracks: one for artists with disabilities about what is needed from institutions in terms of accessible and equitable programming; and another geared towards organizations and institutions, to understand what their capacity is in terms of facilitating accessible cultural programs. We hope the survey raises awareness about what institutions can do to become more accessible, while helping to formulate tools and language for artists with disabilities to advocate for what they need, similar to the way in which WAGE guidelines provide artists with talking points about payment for their work.

ANTE mag. Are there any current projects, funds or resources you would like to promote for artists or fellow organizations who have been impacted by COVID-19 shutdowns? 

SR. There are so many incredible efforts that have emerged in response to the pandemic. Here are a few that have impressed me in their concern for vulnerable communities:

  • COVID-19 Dance Relief Fund – Linked here.
  • Tri-State Relief Fund to Support Non-Salaried Workers in the Visual Arts – Linked here.  
  • Artist Relief – Linked here. 
  • The Crip Fund – Linked here. 

I’m also impressed by mutual aid efforts that have emerged. The Sunview Luncheonette set up a fund for workers at the Met foodmarket in Greenpoint – Linked here. 

ANTE mag. Can you tell us about your recent initiatives and what projects may be in store for the future of The Rubin Foundation?

SR.  After To Cast Too Bold a Shadow, we will stage the fifth exhibition in the series, titled In Kinship. The show will look at alternate family structures over the last 30 years, expanding the notion of family beyond heteronormative, nuclear, or government mandate, in the contexts of queer culture and immigrant communities. The sixth and final show of Revolutionary Cycles is After the Fall, which will reflect on the political moment to consider methods for the societal change needed to move beyond the political binaries that currently shape U.S. culture. The exhibition is conceived to anticipate various outcomes in our collective political future as articulated by artists and cultural producers, while simultaneously recognizing the need for spiritual transformation in times of crisis. Originally, After the Fall was meant to open around the time of the next presidential inauguration, with ‘the fall’ being open to interpretation. It makes me think of one of Dread Scott’s artworks featured in Revolution from Without…, titled Overthrow Dictators, which was made as part of the J20 inauguration protest in 2017. It’s a stencil with the phrase: by reading this, you agree to overthrow dictators.

Chto Delat
To those who (Migrants), 2019. Photograph by Julia Gillard. Courtesy of the artist and the Shelley and Donald Rubin Private Collection.

ANTE Seeks to Feature Artists in New Open Call – Apply before June 26, 2020

ANTE mag is taking the plunge and has created an open call where artists can apply for (3) top prizes that will create a wider audience around their work. Artists can apply via this form, submitting images of their work and providing insights into their practice that can speak to the ANTE mag audience. Winners will take part in ANTE mag’s Instagram Live virtual studio visits featured for ANTE’s audience and receive an interview feature on the magazine with widespread posting through social media – one lucky grand prize winner will also receive a one-week long IG takeover of the ANTE mag profile, posting for the entire week around their studio practice to a wide audience of art lovers in NYC and beyond!

 

 

ANTE mag features stories of artists and cultural producers making waves in their communities.

 

ANTE mag focuses on providing wider exposure for artists, and we will be dedicated to featuring artists whose practice has not received the recognition it has merited. We want to hear your stories and learn how your practice communicates something intrinsic both to your personal experience and related to a wider social concern – tell us about how you started making sculptures in response to healing from a long illness, or when you begin working in watercolor because of limited space when you were working between studios. Share your stories of resilience, determination and personal experience, and foreground that within the effort and dedication you’ve imbued within your artistic practice. Give us your honesty, show us how you’ve grown and give us images that communicate the range of works you create. We are centered on elevating unheard stories, and want to focus on artists who can eloquently express values we should all aspire to!

We look forward to receiving your submissions! For details and to apply, visit this form.

Assembly Room Interview for 10xCommunity: “This is a Crucial Moment; We Need to Adapt”

ANTE Mag is focusing on ten projects that span creative disciplines and seek to build wider community ties between creative disciplines in our new series of interviews 10xCommunity. Featuring artistic projects, community-building initiatives and interdisciplinary platforms, ANTE is sharing these interviews on the mag and across social media that spotlight these endeavors through the current social crisis to pivot to sharing positivity and uplifting creative news to our audience. Assembly Room is a safe space for professional women curators to mount exhibitions and attend programming on the Lower East Side in New York City. We caught up with founders Yulia Topchiy, Paola Gallio and Natasha Becker to learn more about what types of initiative they’ve begun in the wake of CoVid-19.

(Header image credit to Julia Colavita)

ANTE mag. Thank you for chatting with us about your community. What thoughts were in your minds when the pandemic began to affect social movement?
Assembly Room. As Toni Morrison famously said: “What can I do where I am?” So we looked no further than the community we forged over the past year and a half and focused on the importance of connection and empathy. We are aware and most interested in what’s happening in our community in terms of coming together and elevating financial burdens by joining the coalition on freezing commercial rents, raising money for artists through sales and donations, and supporting artists that question the social and economic inequality and push for change with their actions and work.
Works by Rusudan Khizanishvili on view for Assembly Room – Female Artists (Online Exclusive exhibition and available on our website and on Artsy)

ANTE mag. As a space and a platform, Assembly Room has grown to play a critical role in supporting women’s cultural producers in NYC and beyond. How did you envision continuing that role during this crisis, and what specifically have you done to keep the work you’ve been so dedicated to since your beginning?

AR. We asked ourselves, how do we stay connected? How do we use our platform and resources to support our curators, promote our artists, and invite new voices and ideas? We shaped our programming based on their feedback. For instance, we moved our monthly networking and professional development meetings to bi-weekly via Zoom; we launched an Insta TV Channel “Curating in the time of Covid-19” and asked curators to create a short video about their experiences, projects, challenges. We are presenting and promoting women artists on our website, social media, and through the sale of their artwork on our Artsy platform. Our network expanded and we had curators join us from the east coast to the west coast, from western to central Europe, and to Canada. 
Because we went online, our voices reached even further as we joined others in advocating for equality and worker rights, sharing ideas on how to make the art system more sustainable and democratic, and underscoring the relevance of nurturing culture and art.
ANTE mag. What have the three of you been doing to increase access to resources during this time, and/or what would you like to do or see more of in the art community in the present moment?
AR. The crisis has allowed us to move deeper into community engagement, collaboration, and partnership, as well as reap the benefits of our network and community building over the past two years. We established a simple resource guide and circulated it within our group, inviting them to collaborate, reach out, exchange ideas, and share creative outlets with one another. We have an exciting partnership with curator Kelly Schroer at Artfare to launch a joint platform, “Unrealized Projects,” specifically for curators whose shows closed early or were canceled due to the pandemic. We invited Sarah Murkett, a professional recruiter from the art industry, to guide us through a discussion of the job market and how to turn the current situation into an opportunity to adapt, set new goals, network, and improve skills. Within the art community, we would like to continue the conversation and to keep asking questions. We would like the community to be as generous as possible and offer help and expertise when needed. This is a crucial moment; we need to adapt to the fast-changing online technologies but also invent practices and tools that will allow us to remain active, relevant, and collaborative in the future. 
Works by Nora Riggs on view for Assembly Room – Female Artists (Online Exclusive exhibition and available on our website and on Artsy )
ANTE mag. Can you talk to us about how Assembly Room sees their mission continuing once social life begins to return “to normal”? 
AR. We will continue to fulfill our mission through our core programs, professional development of women in the arts, lively public programs, and an array of exhibitions but with a new urgency. Women make up the majority of art workers, and they will be disproportionately affected by the crisis. Advocating for better representation and addressing gender imbalance is going to be even more critical in the future. It’s our job to be alert, to look out for each other, and to achieve a “new normal” based on greater equality. We are optimistic because we have a wonderful community of curators, artists, gallerists, nonprofits, and we are excited to continue working on this together. 
ANTE mag. How have you each personally been mitigating the effects of this crisis on your individual careers and personal lives? 
AR. As you know, Assembly Room is a self-organized and self-funded platform for women to achieve success through the community. We personally contribute to the funding, time, and energy for all the operations, programs, and exhibition space. Our incomes took a dive due to the shutdown, and we are asking ourselves hard questions and making tough decisions. Like everyone else, we lost a lot on a personal and professional level, but in different ways, we are focusing on what is most essential in our lives. We are fortunate to have each other because we are good friends and business partners. We make each other laugh when things get too dangerous, and now is also the best time to practice compassion! 
Like everyone, we went through the whole arc of stay at home emotions and activities! We cooked more, we empathize and grieved for lost family and friends, we contributed as much as we could to our friends in the restaurant community, we were up and we were down, we tried new things, we binge watched tv shows, we danced and dreamed, but mostly we showed up.  
Installation view for Assembly Room – Female Artists (Online Exclusive exhibition and available on our website and on Artsy) image credit to Julia Colavita
ANTE mag. How have you engaged with other platforms and creators to expand the dialogue around this moment of crisis?
AR. As we mentioned, we have an exciting partnership with Artfare to create an online presentation of “Unrealized” curatorial projects. We are promoting exclusive Artsy shows of female artists we have worked within the past, and we are constantly updating our fantastic works on paper or Flat Files, both available online via Artsy. We participated in the NADA initiative for the NADA community to support artists by listing the works on Artnet. We also led webinars with fellow curators and arts professionals hosted by ArtTable and POWarts, respectively, sharing our experiences, challenges, resources, and expanding the conversation. 
ANTE mag. What actions are you taking in the near future to engage with the broader art community, and how can ANTE readers get involved and support?
AR. Professional development and networking are key for us. In addition to the arts, we are thinking of how curators can be useful in fields outside the art world. How can one bring curatorial experience to other industries and sectors where artists are deeply appreciated, but curators are not necessarily approached? Artists are at the heart of our practice, and we are passionate about establishing connections with organizations willing to support curatorial initiatives and contemporary artists question inequality, express outrage, and empathize with the suffering of others. Whether bearing witness to tragic events, presenting alternative histories, or engaging in activism, such artists use visual art as a means to provoke personal and social transformations, which are much needed at this time. We want to support these artists with the help of organizations who have resources to bring conversations to a wider audience both in physical and digital spaces. ANTE readers can support us by connecting with us on our social networks, repost and sharing our content, purchasing the fantastic, affordable artworks available by emerging, unrepresented, living artists on our Artsy page, by participating in our projects. It’s time to rebuild, let’s do it together.

Laura Kimpton Brings LOVE to Renown Health with Artown in Reno

Artist Laura Kimpton can be best described as an interdisciplinary artist who is not likely to sit still. Her artistic practice spans sculpture and installation art along with wearable art, mixed media and painting. A stalwart for decades on The Playa at Burning Man, Kimpton is no stranger to bringing her monumental sculptures to a wide audience of admirers. Previously exhibiting inspirational messages such as “BELIEVE” at larger-than-life scales as interactive installation artworks, Kimpton brings her creative forces to bear as a power for the greater good, sharing her inspiration and ingenuity with all who encounter them.

During the current pandemic, Kimpton has taken that impulse for public engagement one step further through a partnership with Reno, NV’s Artown and Renown Health Foundation to bring “LOVE” – a monumental sculpture conceived of by Kimpton and produced in collaboration with artist Jeff Schomberg – to prominence on the campus of Renown’s hospital in the city. The work is imprinted with the artist’s signature uplifting bird motif throughout, evoking an inspiring and enduring message of love, reminding us that love conquers all, the sculpture will be on display from April 16-July 16 at Renown’s Regional Medical Center, located at 1155 Mill Street, Reno. Visitors driving by or entering the hospital to visit loved ones can take comfort in knowing that love is always there for them to access in times of need, bringing to bear the message that art is here for us to bring us comfort and clarity in times of upheaval.

Laura Kimpton’s “LOVE” sculpture, original public display (Burning Man)

 

“I hope that this sculpture will bring a sense of meaning and mindfulness,” reflects Kimpton, “to all who encounter it. I hope it gives a sense of calm to the Healthcare workers onsite, along with medical patients and their families, who view it from above or as they approach the hospital.” Kimpton’s work has always embedded a sense of mindful meditation and peace, and nowhere is this more needed than during today’s uncertainty amid a global pandemic. The sculpture beckons, a beacon of light among the sagebrushed hills, reminding all who come into contact with it that all is not lost. Kimpton herself has endured life’s ebbs and flows, and emphasizes the peace and comfort she aspires to bring to viewers of her work, particularly “LOVE” on view at Renown Health in Reno. The artist has worked with the community to make sure the sculpture brings a sense of local pride to the hospital and to residents and visitors alike in Reno.

 

“LOVE” at its new home at Renown Health in Reno, NV (pictured onsite with healthcare workers)

The sculpture provides a message of support for Reno’s front line workers at its current location. The installation was made possible by a collaboration between Reno’s own Artown initiative, bringing Reno’s art industries and civic identities together to create a stronger community, and by Renown Health Foundation, a locally owned and governed not-for-profit integrate healthcare network serving Reno and the surrounding areas. With an eye toward bringing a powerful message of hope to the wider community, both organizations are thrilled to be collaborating with Kimpton on the installation.

Kimpton herself views this joint effort as all about enriching the lives of the local community through the power of inspiration and solidarity. The artist has been staying busy, not only with her monumental sculptures and upcoming exhibitions, but with communicating with her wide network of fans and supporters through daily social media posts offering smaller works at attainable prices for her collectors. The new initiative, @apeaceofkimpton, continues the message that we can come together and support the arts while connecting with one another and making strides to build sustainability in the arts. Kimpton looks to innovative and meditative artists in her practice, including American artist Joseph Cornell and German artist Kurt Schwitters. Viewing their use of eclectic materials and aim toward a higher power of abstraction and even meditation in their work, Kimpton seeks to create art that will unite, inspire, and bring unique messages of hope to all who encounter it. She notes that though her world sculptures can… “have strong meanings,… to everyone it may be different. I love that about them.” From her large scale sculptures and handmade collages and everything in between, Kimpton’s practice speaks to everyone, bringing unity and comfort to all who encounter her creations. To everyone it may be different, but to many, her work both inspires and brings solace in a time when art brings out what is human in us all.

Culture Push Interview for 10xCommunity: “Voices that Will Help us Remake the World”

Interview by contributor Mariel Tepper

 

ANTE Mag is focusing on ten projects that span creative disciplines and seek to build wider community ties between creative disciplines in our new series of interviews, 10xCommunity. Featuring artistic projects, community-building initiatives and interdisciplinary platforms, ANTE is sharing these interviews on the mag and across social media that spotlight these endeavors through the current social crisis to pivot to sharing positivity and uplifting creative news to our audience. We here at ANTE have long been fans of Culture Push, a New York City-based nonprofit that unites art and social justice through its programs, including fellowships, an online journal, exhibitions and much more. Below we caught up with Artist, Professor and Culture Push Co-Founder Clarinda Mac Low for insights into the current events and initiatives Culture Push is moving ahead with in the time of CoVid-19.

ANTE: So tell us what inspired the creation of Culture Push, and how did you envision this organization as a way to foster artistic initiatives through public participation?

Culture Push: Dreaming up Culture Push was always a collective endeavor, because everything good, for me, happens in conversation. When the first glimmerings of Culture Push started, in 2008, I had been in conversation with many different people about the lack of space for hybrid artforms. At the time I was mostly situated in the dance and performance world, but not really fitting in there anymore (if I ever did) and talking to other people who felt the same way. I wanted to create a home for ideas that didn’t fit anywhere else. The name “Culture Push” came to me after a few conversations I had with Alejandra Martorell and Paul Benney, my partners in the collective TRYST. Culture Push was a name that left room for interpretation, but conveyed a sense of urgency. Then, after a series of conversations with Aki Sasamoto and Arturo Vidich, recent graduates of my alma mater, Wesleyan University, the first form of Culture Push was born. All three of us, though we were from different generations, had expertise both in dance and performance and in other disciplines and sectors, and an abiding interest in how art practice could function beyond the black box and the white cube. We could see how, by creating an entity, we could make a home for hybridity by creating an institution that was expansive in intent and encouraged cross-sector, public-facing conversation. 

We saw the institution itself as the art material, so, when we began, we didn’t actually know exactly what our focus would be. We were performance-makers, so we decided that the form of the organization would rise from experimentation and trial and error–our first step was just to create the institution–the entity–and then the form would emerge from action. So, in 2009, with the help of our amazing initial Board, we incorporated as a non-profit, and because of our Board member Michael Yi it went quite smoothly. 

As movement artists we were committed to corporeal practice and knowledge, and we began with a set of broad principles–our programs would bring together different sectors, would involve “hands-on” public participation and horizontal knowledge share, and would allow for collaboration. The first programs that we devised proceeded from these principles, and from our desire to nurture a fluid culture where the lines between art, politics, daily life, and social experiment could blur, and where challenging the lines between disciplines leads to challenging the form of society.   

ANTE: During this difficult time of the COVID-19 crisis, what are some ways that your organization plans to continue its mission in helping artists and communities affected by the pandemic?

CP: We currently have two major programs–The Fellowship for Utopian Practice (our bedrock) and the newer Associated Artists program. All of the artists we serve are in precarious situations financially and socially. Most of these artists also work as independent contractors, often within an arts context where they are facing cancellations, postponements, and lay-offs, as well as loss of future work. Many of these artists also act as community supporters, and are donating their time and energy to creating space and providing essential services to their fellow New Yorkers. 

To support our artists, we are working with our funders to expand the financial support we offer our current Fellows and Associated Artists, as well as our recent alumni, by offering expanded funding for their ongoing projects and funding for the projects they have begun during this crisis. We also want to offer them opportunities to share work and be in community with each other and with the wider world, and will be brainstorming about how to re-cast their projects for the current time. We are also planning on offering new opportunities, like paying them to give online workshops or presentations, or setting up networking events. The bottom line is to support these important voices in any way we can–they are the voices that will help us remake the world in a better form as this crisis develops and (hopefully!) resolves.

Storm Your Brain—Culture Push Program DOING, by Aki Sasamoto, at the Whitney Museum, 2010. Photo by Arturo Vidich

ANTE: Can you talk about how Culture Push has been able to amplify initiatives that have been started by individuals and groups to help artists and others who have been financially impacted by COVID-19?

CP: The people who are connected to Culture Push tend to be self-starters and community responders. In the initial shock of the shutdown, for example, Shawn Escarciga – at the time Assistant Director of Culture Push – reacted as an individual concerned for the impact that the loss of work would have on people who are already living precariously and responded by immediately starting a GoFundMe, the NYC Low-Income Artist/Freelancer Relief Fund. He was immediately joined by Nadia Tykulsker, one of the current Culture Push Board members. This was not an initiative begun by Culture Push, but, early in the process Shawn and Nadia reached out to Culture Push staff to talk about fiscal sponsorship for the Fund. I had also been thinking about this, and it was great to come together and offer this fiscal sponsorship to a fund that was addressing such urgent need. The fund has, to date, raised over $150,000.

At Culture Push we often talk about the “performance of institution”: that is, we are very small and barebones with a modest budget, but, because we are in good financial standing and our organizational bona fides are strong, we are able to act as a institutional partner when people require a financial or otherwise established entity to get what they need. So, after the success of the partnership with the NYC Low-Income Artist/Freelancer Relief Fund, we decided, for now, to expand our fiscal sponsorship program to include emergency funds independently initiated by staff, Fellows, and other artists in our community that serve low-income, BIPOC, and queer artists, and artists and others based in vulnerable New York City neighborhoods. So far, besides the NYC Low-Income Artist/Freelancer Relief Fund, we are also acting as a sponsor for the Dance Union’s NYC Dancers Relief Fund (COVID-19), started by J. Bouey and Melanie Greene, and for the North Bronx Collective, a group of activists in the Bronx (Alicia Grullòn, a Fellowship alum and current Board member, is a member of the group). By serving as a conduit for higher levels of funding from foundations or individuals, this fiscal sponsorship has so far enabled these emergency funds to greatly expand the financial support they can offer to the people they serve. We don’t take an admin fee, so all funds go directly to the people who need it.

ANTE: In your most recent exhibition, RE-TOOLING, artists developed multidisciplinary “practical tools” for resistance and social change, incorporating dance, performance, installation, and writing. A tool was redefined as a means for “individuals to change their environment (socially, politically, physically) or engage with it in a new way.” Can you speak on the power of creative tools and outlets to help us cope in times of hardship/uncertainty?   

CP: Culture Push is grounded in the conviction that having space for imagination is as important to survival as more tangible resources like food and shelter. Indeed, imagination is how we figure out how to gain those resources under difficult circumstances. Imagination allows us to create work-arounds and new situations when a situation is challenging, but also gives us space to be present, or to escape, or to fully realize ourselves as individuals or as members of a group. It allows us to transcend difficulty, to connect to each other and to the other creatures we share space with, to invent new ways of being.

So having access to creativity is imperative for all people, especially people in difficult circumstances. And everybody is creative–whether the results of creative endeavor are recognized as “art” by a mainstream art world is immaterial. Sometimes it takes a nudge here and there for people to find a voice, but it’s always present. The artists in the RE-TOOLING show have developed some nudging tools par excellence, and there are many important voices that are born from their experiments. I’m also reminded of Claudia Prado, who has devised a writing workshop that she runs with working-class Spanish-speaking immigrants (documented and undocumented). The work these people, mostly women, come up with is gorgeous and valuable, from voices we don’t hear often enough. The voices come out easily–they just need the right opportunity and the right catalyst.

ANTE: In addition to physical exhibitions and public projects, Culture Push also features the online journal PUSH/PULL. Can you explain how this publication is integral to the Culture Push mission, and how digital publications/exhibitions could be a way for arts organizations to adapt in the time of social distancing?

CP: This is a great question, and definitely one we have been thinking about a lot. From the beginning we have seen some form of publication as an asset to the Culture Push community. The first version of this was IdeaNEWS, a publication that reflected on the year that had passed through its form rather than its content. IdeaNEWS was active from 2009-2011. Then, in 2015, our then-Assistant Director Madelyn Ringold-Brown, proposed starting an online publication as a supplement to the Fellowship–a place for Fellows to publicly share their process, work with collaborators, develop ancillary philosophies… basically another part of the public square. It’s since evolved to be a venue where our Associated Artists engage as well. 

CP artists usually bring together groups of people as an integral part of their projects, but now that physical distancing has become a norm and so much of our lives are happening online, we will need a different venue for gathering and creating community. Since PUSH/PULL is already there, and is already known as a venue for quality content, we plan to expand it as a platform, and bring in as much of our community as possible. It’s an exciting possibility, because, while it has been an effective venue for writing, because it lives mainly online it also has been a repository for video, images, graphics, and other media. We are also exploring how it can be interactive.

ArtCraftTech: Tracing Trash, 2010, at McCarren Park. Photo by Peter Stankiewicz

ANTE: One of your organization’s early projects, ArtCraftTech, brought together several creative disciplines (artists, scientists, technology experts) to find artistic and practical solutions to short-term problems, like waste management, through collaboration and dialogue. What are some takeaways on how creative, publicly engaged projects like these can help us deal with real-world problems and inspire collective action for change? 

CP: When we first established Culture Push, all three co-founders started different programs. ArtCraftTech was my “baby,” so to speak, and the form of the program reflected both my experience in devising collaborative performance and my experience working in microbiology laboratories. 

I have a desire to address so-called “real-world” problems directly, but I am also suspicious of the abbreviated process that many cross-sector endeavours seem to engage in. With ArtCraftTech, I gathered people from different professions together and acted as a facilitator as we decided, all together, what problem(s) we wanted to take on. Once we determined that, we decided what questions we wanted to ask, but were not expected to come up with workable solutions–it was clear that solving the problems we were taking on required deep systemic change and far more resources than we had on hand. We did generally end up coming up with some very concrete possibilities for mitigating the problem, but also more subtle approaches, and projects that were provocations as well as “solutions.”

 Engaging in this process, which was a series of meetings that took place over several months, really showed us all how a long, slow, thoughtful process of development can illuminate different aspects of a problem, and bring new ideas to the fore that may have been hiding underneath the more obvious solutions. This was reminiscent of (good) laboratory research, where repeated experiments and the data they bring leads you into unexpected territory, and shows you where you need to go. It’s interesting to think about this now, because, when I was working in laboratories, I was working with HIV, and there is a delicate tension, in disease research, between the urgency of cure and the need for caution and careful observation. I think we’re all being gripped in that narrative now–so much desiring a quick fix for this overwhelming pandemic, but in danger of grabbing on to the first dubious solution that comes along…

Anyway, I digress. 🙂  This understanding of the importance of process imbued all of the co-founders’ programs, and it definitely influenced the form for the Fellowship for Utopian Practice. We were clear from the beginning that the Fellowship needed to be at least a year long, and it needed to privilege process over product, or, as I eventually said, “Process is our product.” This was somewhat tongue-in-cheek, but it’s also true–we are advocating for an arts ecosystem that privileges and supports a thoughtful development process as much as if not more than a specific product or object. Only this will truly allow for deep conversation and lasting change.

ANTE: Can you tell us about some of your recent initiatives and where Culture Push headed in the near future?

CP: Currently our big project is Walking the Edge, a project we’re doing in collaboration with Works on Water and the NYC Department of City Planning. The two arts organizations are working with the Waterfront and Open Spaces Division of the NYC DCP to create a durational artwork that invites everybody to walk all 520 miles of New York City’s coastline, to get people involved with thinking about NYC as a city of water, and to gather deep engagement around the DCP’s Comprehensive Waterfront Plan for 2030. That walk was supposed to start on May 1 (520 in 5/20, get it?) and continue for 24 hours a day until the whole coast was covered. So yeah. We are adjusting. It’s interesting, actually, and not entirely bad, to slow down and reconsider. So, instead of the walk this year, now we are launching prompts and questions and suggestions and performances about our waterfronts, by artists from Culture Push and Works on Water, every Friday at noon on Instagram (at @works_on_water, @culturepusher, and @nycwaterfront).  

Also, we have gathered all the materials for a 10th Anniversary publication that featured several Fellows writing about subjects related to the projects they did with CP, and we were planning to publish and print in April and distribute in June of this year. Of course now that timeline has shifted, but we will be making that available soon as a downloadable .pdf

For the future? Interesting question. There was the Plan for the Future Before, and there’s a Plan for the Future Now. We were finally thinking about creating a hub space for Culture Push (we have been an itinerant organization this whole time, with no fixed physical location or office). That’s still our desire, but, because so many things are so up in the air, how that will play out is very much an open question. Regardless, we will continue supporting artists as they collaborate with communities and create spaces for imagination and solidarity.

 

Public Art Takes On the East End for “Drive-By-Art”

Nothing can vanquish art and culture, not time, distance, or a viral pandemic. Drive-by-Art is here to prove that culture is enduring and here to stay. For visitors driving on the East End of Long Island Saturday and Sunday May 9th-10th, there is a panoply of options to experience art in a time of social distancing.  A myriad of artists, including Clifford Ross, Joan Jonas, Keith Sonnier, Eileen O’Kane Kornreich, Jeremy Dennis and more, will be featuring their artistic prowess in outdoor sculpture and installation visible from the roadside. Art lovers can drive right up to the space where these artworks are featured and explore a new form of public art in a time of socially distanced cultural appreciation.

In addition to a recent online talk coordinated by Corinne Erni of the Parrish Art Museum, featuring initiative founder and artist Warren Neidich, Artist and Chair of Fine Arts, SVA Suzanne Anker,  Artist and Shinneock Indian Nation member Jeremy Dennis, and Artist Almond Zigmund (found at DrivebyArtOrg.) Featuring artists’ work on view throughout the Hamptons from Southampton out to Montauk, from 12 noon to 5 pm on Sat and Sun May 9-10, the exhibition takes the artwork from the studio out into the environment, with a range of artists bringing something new and innovative to a diverse audience riding through the neighborhood.

 

Sponsored in part by local iconic institutions Guild Hall and the Parrish Art Museum, Drive-by-Art uplifts the spirits of art lovers across the area, giving artists the chance to feature what they’ve been working on during the pandemic in a socially responsible manner. Make sure to go by and to tag the art you encounter on Facebook and Instagram ( #drivebyart )- and take a peek at the jewels others have uncovered along the way!