In an era rampant with political protest and the multitudinous voices of social media, Word Up!- co-curated by Sharon Louden at C24 Gallery, knows what’s up.
Word Up! marks an exhibition that takes risks and is rewarded with a keen grasp of contemporary self-expression. Considering a contemporary art scene saturated more than ever with sociopolitical viewpoints, the time is more than ripe for this exquisite-and timely-exhibition. Featuring works by Liana Finck, Deborah Kass, Karen Finley,Meg Hitchcock and many more, this exhibit marks fearless departure into the diverse ways in which words infiltrate and emerge in contemporary art.
Spanning interdisciplinary artistic practices, this contemporary survey show featured video, photography, installation, painting and mixed media. Karen Finley’s incisive, provocative and genuinely humorous installation, located on the exhibit’s lower level, provides a stunning focal point from which to consider the contemporary art lexicon engulfing the viewer in Word Up! Comprised of archival materials assembled as a centrepiece – a la Judy Chicago’s Dinner Table, if you will – Finley has annotated the materials she has presented to create a thought-provoking work centered around representation, identity and exclusion. Clever illustrations by renowned artist Liana Finck and the inundating, undulating works by Meg Hitchcock also prove to be standouts in this stunning exhibition. Presentation is key, and visitors are grabbed at the entrance by a video work by artist David Krippendorff, whose work also inhabits space on the lower level near Karen Finley’s installation. Hrag Vartanian and Deborah Kass, art critic and artist and notable public artist respectively, also have work on view in this carefully curated presentation of works written expressly into the social consciousness that forms the fabric of contemporary text-based artistic practice.
Word Up! is on view at C24 gallery from 9/26-11/9/2019.
Artworks on view in the deceptively subtle exhibition “Unseen” bring that which is frequently overlooked directly into the public eye. In a world in which most of what directs our behavior goes unnoticed, “Unseen” marks the clever, perceptive type of exhibit that we crave to focus our attention on. Curated by the MFA Boston’s Akili Tommasino for Collar Works, artists on view include Carris Adams, Tania Alvarez, Aurora Andrews, Jose- Aurelio Baez, Raina Briggs, Ryan Chase Clow, Matt Crane, Richard Deon, Carla Dortic, Deborah Druick, Mark Eisendrath, Rebecca Flis, Gigi Gatewood, Chet Gold, Victoria van der Laan, Jesse Meredith, Sarah Pater, James Marshall Porter, Jr., Anne- Audrey Remarais, Eric Souther, Susanna Starr, Paula Stuttman, and Sarah Sweeney. Works by Mark Eisendrath and Susanna Starr in particular sweep into focus, with a distinctive attention to line and form. Spanning sculpture and painting with a hint of lyric poetry, “Unseen” follows those elements that both direct and elude our line of sight.
The unseen can be that which is literally unresolved: that which exists up to a point, then inhabits the realm of both the unseen and the unknown. Artist Mark Eisendrath notes of his work Mysterioso, on view in “Unseen,” “Mysterioso existed only as an idea- not seen or felt. It did not exist, neither did the process I used to make it. It was quite literally- a mystery. ” That which cannot be seen or felt can still hold a palpable presence in our lives. As the curator of “Unseen” notes in her exhibition text, “…the complex algorithms that reinforce our behavior remain hidden to us. Our fear of being unseen makes us susceptible to manipulation.” By making that which is foreign to us palpable, “Unseen” offers the viewer a clever, nuanced portrait of contemporary society.
Susanna Starr and Mark Eisendrath share a penchant for uncovering the sought for-yet undiscovered- form. Curves and delineated lines trace the patterns of our subconscious seeking that which we do not yet know. A mysterious, yet visceral, presentation of new works by contemporary sculptors, painters and mixed-media artists, “Unseen” is a careful selection of artworks that transcend the ordinary in search of a greater meaning beyond the immediately visible.
“Unseen” is on view at Collar Works art space in Troy, NY, through Dec 14, 2019.
Produced by The Hive, an interdisciplinary art community based in Brooklyn, NY, “The Spaghetti-O Incident” dissects cultural references from Guns n’Roses to Martha Rosler in an examination of gendered expectations and hetero-normativity. Curated by Yasmeen Abdallah, Kathie Halfin and Ameta Wegryzn, the exhibit – occurring at 1218 Prospect Ave in Oct 2019 – features a range of interdisciplinary artists including Julia Blume, Victoria Calabro, Kat Cope, Pei-Ling Ho, Sarah Dineen, Vyczie Dorado, Ariel Kleinberg, Alison Owen, Muhajir Subuur Lesure, Jean Carla Rodea, Jordan Segal and Yasmeen Abdallah. Works on view range from performance to photography, installation to sculpture. Examining the expectations placed upon women – as artists, homemakers, cooks, and human beings – “The Spagetti-O Incident” doesn’t shy away from provocative and subversive works questioning and thwarting ideas of identity and performativity.
Gender is digested through performance that takes place in a residence: the living space provides a non-neutral scenario for the exhibit loaded with valuable context. The white cube is denied the privilege of sterilizing these powerful works on view by Kat Cope, Pei-Ling Ho, Sarah Dineen, Yasmeen Abdallah, Jordan Segal & more. The weight of the body and gender in domestic spaces, such as the kitchen, is keenly felt in this artist-curated show. Many artists reflect on ideas of food, meals, and the domestic sphere, with dishware by Jordan Segal seemingly dissolving into itself, reminiscent of cake frosting or, more morbidly, melted skin. Kat Cope’s work similarly addresses the topic of skin: specifically, clothing as a type of armor that adheres to and protects the skin. Cope notes of her fiber-based installations that “like layers of skin, layers of fiber are resistant to tearing and puncture.” Blending together elements of fashion, protection, and performance, Kat Cope’s work lies at the boundary of representation and installation.
Intrinsically linked with these ideas of gender and inequity are the experiences of the body as a home one inhabits. Performances by Vyczie Dorado, among others, display the full force of yearning and attachment that artists have to the corporeal. Connection, longing and expectation cradle the exhibition, with “The Spaghetti-O Incident” proving a necessary, essential exhibition for our contemporary moment. Intersectional feminism and bold experimentation combine to make this exhibit one formidable presentation in this Fall New York Art season.
In the immaculate words of feminist and activist Gloria Steinem, “Each individual woman’s body demands to be accepted on its own terms.” This admonishment pervades the transcendental exhibition currently on view through Nov 10 at NYU’s Kimmel Windows exhibit space, “Lilia Ziamou: body politic /bädē päl-tik/”. Featuring works by Lilia Ziamou and curated by Pamela Jean Tinnen, the presentation of this collection of works outwardly facing the various passersby on LaGuardia Place and W. 3rd mounts a powerful, visionary response to how we consider ourselves – and others. It can reflect the ways in which our self-perception can become distorted. Perhaps it ruminates on how society constantly projects women’s bodies as idealized forms in various ads throughout public spaces. The exhibition leaves room for speculation and space to absorb the images – true or distorted – which lie before us. Works from this series by Ziamou question how new technology mediates the way we see ourselves or how others anticipate and perceive our appearance. Perceptions of the body are stacked against the realities of the biological building blocks that determines who we are and how we appear. Ziamou bravely steps forward into an artistic inquiry of what makes us human, playing with preconceived ideas of how we establish our physical identities as a whole from the sum of our parts. “By reimagining and reconstructing body fragments, I am constantly exploring and intrigued by the ways we can challenge existing constraints of form, materials, and processes,” remarks Ziamou.
This exhibition at the Kimmel Windows is curated by NYU’s own Pamela Jean Tinnen. The curator notes that she was drawn initially to Ziamou’s examination and recreation of human bones, re-contextualizing them as artworks. In the art canon of portraiture, it can be argued that Ziamou’s hip-bone 3-D scan recreations are a continuation of a centuries-long tradition of figurative art. Tinnen also reflects on other areas where these works draw parallel lines to long-existing or contemporary traditions. “What’s very interesting about Lilia’s work is how it plays on the abject, but through her ability to refine the subject through various media-processes, she creates visual distance while maintaining conceptual resonance.” Tinnen continues, “I’ve always been intrigued by Julia Kristiva’s writings on Abjection which discusses human reactions to encountering, as a primary example, a corpse. These encounters elicit horror but also a certain fascination. A corpse, or in the case of Lilia’s work, the human bone, puts us in the presence of ‘signified death.’ Kristiva suggests our horror-reaction results from a threatened breakdown in meaning caused by the loss of the distinction between subject and object, or between self and other.” This breakdown that occurs when the body perceives another body, yet recognizes this fragment of bone also depicts an invisible portion of one’s own self, causes a ripple of self-awareness. It can be argued that this exhibit also sparks empathy for others and an intimate acceptance of our own appearance – an appearance that can shift over time due to factors such as time and environment.
The environment of the exhibition itself, facing outward from the Kimmel Center, has shifted over time as the ground zero for artists in bohemian Greenwich Village in the mid-20th century to a haven for NYU students today. This public-facing exhibit – which some students can pass several times a day, along with other members of the community – offers a repeating opportunity for reflection and deeper engagement with how we can intrinsically seek deeper meaning in the very things we take for granted: the architecture of our physical selves and the urban planning and architecture defining our immediate presence in a larger cityscape. By keeping the vestibules in which Ziamou’s transcendental works are exhibited stark, almost clinical, those encountering the work can focus their attention on the prints and sculptures facing them from the Kimmel. “The exhibit’s design, simple and starkly white, contributes to a certain visual sterilization, which works well to present the artwork,” notes Tinnen. This simple structuring can be seen as a skeleton in itself: supporting works on view and allowing for immediate access of each fragment of the perpendicular exhibition along LaGuardia and Third.
Ziamou here has considered not only the internal structure of the body, but also how we decorate and define ourselves as members of a society. Her bone sculpture informs the installation referencing a garment she has presented in this same exhibit: an installation that servse as a recreation of our bodies as presented through our fashion choices. Her work speaks a subtle message about the inner psychology that determines our outward appearances: we can knowingly or unknowingly select garments that flatter and project aspects of our anatomy that we take pride in. The artist considers and puts forth artistic hypotheses about how various aspects of our countenance can be mistaken or recreated, creating subtle provocations for the audience. What effect do photo filters on apps have on our psychology? How can our appearances be manipulated for those who consume them? When is the last time we considered that the majority of who we are is not visible to the naked eye? Ziamou deftly plays with these questions, and more, in this impactful solo exhibition.
Curated by Pamela Jean Tinnen, don’t miss “Lilia Ziamou: body politic /bädē päl-tik/” – on view through Nov 10 at NYU’s Kimmel Windows exhibit space on LaGuardia Place and West Third at New York University.
A certain slant of self-reflection pervades artworks on view in Anthropocene Blues, on view at Wayfarers, Brooklyn (1109 DeKalb Ave) from September 29th through October 20th, 2019. Inspired by a poem written in 2012 by one of the last remaining Beat poets, the exhibition features reference to an elegiac view of nature – one foregrounded by our current climate crisis. The poem, written by Anne Waldman, refers to a “tragedy of the Anthropocene.” Works on view for the exhibition intimate at these ongoing issues, selections soaringly curated by Jane Ursula Harris. A New York-based writer who has contributed to Art in America, Artforum, BOMB, The Paris Review & more, Harris is an art history faculty member at the School of Visual Arts.
The exhibit features works by Wayfarers member artists Kate Alboreo, Yael Azoulay, Brian Davis, George Ferrandi, Cynthia Mason, Kharis Kennedy, Kate Kosek, David McQueen, Cynthia Reynolds, Maureen O’Leary, Meredith Starr and Elise Wunderlich. Mixed-media sculptures, paintings, installation and new media all combine to showcase a considerable range of artworks on view in this exhibit. Of particular notes, Azoulay’s installation True Cover provokes vivid links to alienation and immigration by tracing the introduction of the Eucalyptus plant to Israel, where it is not native. Meredith Starr’s almost obsessively crowded installation Plastic Pools/Look At What We’ve Done suggests, in miniature, the overwhelming amount of plastic that we have hoarded and discarded through our rampant consumerist attitudes.
Particularly haunting is Maureen O’Leary’s painting Untitled, in which attendees at a nighttime barbecue seem look past one another, obscured by smoke and flanked by ghostly dark trees and a bright moon. O’Leary’s deft treatment of light and shadow transform a social event into a scene of foreboding: the shadow of the trees behind seem to embrace the rising smoke emanating from the cooking fire below, forming a joint visual block that crowds out the human figures in the center and right side of the picture plane. Food is being cooked and consumed. Guests are overshadowed by the forest beyond. This juxtaposition of familiar and alien, consumption and rejection, elevate O’Leary’s subject matter – as does her study of contrasts between realism and impressionism. O’Leary depicts enough to make the scene feel vaguely familiar while leaving the trails of smoke and memory to each individual’s imagination. This blend of personal and universal – the view of consumption reminds us of our presence as consumers endangering the wider environment – proves to be almost intoxicating.
On October 11th, the curator held a conversation with artist Maureen O’Leary, who has both a painting and a photograph in the show. In conversation with O’Leary, Harris noted the prominence of the firelight by remarking that fire is a primal expression of humanity’s control over nature. The conversation continued around light: O’Leary engaging in the relationship between light and human nature, our existence and our yearning for belonging, both now and in the future, on an uncertain planet. Time and light, it turns out, are intrinsically linked: the relationship between humanity’s existence and the evolution of light’s role in advances in society can be distilled – it turns out – to a single barbecue scene in the Long Island woods.
Anthropocene Blues, curated by Jane Ursula Harris and on view at Wayfarers, Brooklyn (1109 DeKalb Ave) from September 29th through October 20th, 2019, serves as the 9th Annual Juried members show at the space.
On view at Pelham Art Center through November 2nd, “IN/FLUX” – co-curated by PAC Director Charlotte Mouquin and Gallery Advisory Board Member Victoria Rolett – features works by compelling contemporary artists wielding their perspectives on immigration as expressed through various mediums. Ranging from photography to painting, installation art to collage, artists on view don’t shy away from aspects of immigration – positive and negative – that have shaped the scope of their respective artistic practices. Artists on view include Corina S. Alvarezdelugo, Selin Balci, Nicky Enright, Jenny Polak, Alejandra Hernandez, David Rios Ferreira, Omid Shekari, Ruben Natal San Miguel, Natalia Nakazawa and Victoria-Idongesit Udondian. The works exude a sense that the wider narrative diversity brings to the table creates a more intriguing contemporary art experience.
Visitors to this unique survey exhibition are greeted at the entrance by sounds of immigrants reflecting on their experiences as captured by Victoria-Idongesit Udondian for her installation, “The Republic of Unknown Territory.” Various articles of clothing are scattered throughout the space, suspended in hidden narratives that allude to both the absence and presence of their owners.
Engaged with the macro, rather than micro, elements of immigration, artist Natalia Nakazawa creates a map of woven threads manifesting the journeys that immigrants have taken to start new lives for themselves in their chosen homes. Denoting trade and travel along immigrant pathways, Nakazawa creates her works by incorporating participation into her process. Similarly engaged with fabrics and mixed materials, this work contrasts with Udondian’s installation in its bird’s-eye view of the effects which immigration exerts on an international scale.
Ferreira’s pop-infused postcolonial drawings peel apart the layers of mythology and truth that comprise each immigrant’s personal history as well as society’s response to immigration. The colorful hues spanning intricate drawings in Ferreira’s works speak to an overarching, allegorical immigrant experience: a wider narrative that embraces aspects of varying sociopolitical relationships and international transportation.
Similarly engaged with maps, travel and transportation, Corina S. Alvarezdelugo’s collage works meld imagery unpacking the emotional weight of what lays near and far, subjects both intimate and remote.
On view at Pelham Art Center from September 20-November 2nd, “IN/FLUX” will host a variety of immigration-themed programming over the course of its time at the Center. These events include:
Lights illuminate a pastoral hillside, carving a serpentine path across a hill in Santa Rosa, CA. Seventy-two lights gently embrace the night air, each a memorial to a soul who had lost their lives trying to escape human trafficking on that expanse rising northward from Mexico and points south – seeking an escape toward the United States. Titled “The River of Migration”, this site-specific piece by Anne Katrine Senstad marks the apex of lyrical observation that forms the foundation of Kind of Green, an exhibition on view at Yi Gallery‘s nomadic space at 191 Henry Street from June 1-11, 2019. The show featured artworks by Senstad, Jamie Martinez, Si Jie Loo and Studio Roosegaarde daily from 11 AM-6 PM.
Confronting the current climate emergency facing off with civilization today, Kind of Green marks an interdisciplinary inquiry into the means of production that have resulted in accelerated climate change. From Studio Roosegaarde’s “SMOG FREE PROJECT” to Si Jie Loo’s “Privilege of Taste” and Jamie Martinez’s “VR Unity Global Warming”, artists included in the exhibition examine thoughtful courses of action that can change the future of our planet.
“SMOG FREE PROJECT” proposes an innovative solution to air pollution in urban landscapes. A seven-meter high tower designed for ionization, this structure marks a design-oriented solution to a global crisis. “We have created this current situation, now we have to design our way out of it,” notes Daan Roosegaarde of Studio Roosegaarde. The Smog Free Ring, an integral part of the project, encapsulates civilization’s detritus into a precious object: value transformed out of harmful chemical byproducts.
Jamie Martinez’s “VR Unity Global Warming” invites an introspective consideration of our current climate emergency. Populated by both surreal and realistic elements floating in a quixotic sea, the history of humanity is presciently documented, from ancient pyramids to modern day food trucks, in this dystopic alternate vision of our collective future.
Meditations on consumption permeate Si Jie Loo’s “Privilege of Taste”: ceramic cups and coffee grounds placed in dialogue with one another, laying bare both colonization and climate acceleration for the viewer. The visual, textural and sensorial relationship between the elements in “Privilege of Taste” provide a nuanced reflection on the artist’s relationship to the art market and her own background as a Chinese-Malaysian artist currently living and working in Providence, RI. The artist provides a departure point for visitors to Kind of Green searching for answers to how the current climate emergency affects society, and who will feel environmental disasters in the wake of our changing climate the most quickly and keenly.
Loo, Martinez, Senstad and Roosegaarde collectively provide an intersectional reflection on the climate emergency in Kind of Green, offering speculative approaches to how citizens across class and gender, urban and rural, and Global North and South can thwart and adapt in a changing climate. Perhaps most significantly, the exhibition provides a window into the types of solutions sorely required of developed nations in stemming the tide for citizens who neither generated, nor seek out, climate emergencies at a scale that can wipe entire nations off the map. Across multiple mediums ranging from ceramics to installation to painting and new media, Kind of Green allows visitors a sense of how artists and designers are leading the way in this paradigm shift toward a society actively mobilizing against climate change. A singular exhibition, Kind of Green welcomes the diverse viewpoints of creators boldly leading the way towards envisioning a new future where we live, artfully, in harmony with our planet.