Last Wash at Midnight Cleans House: Exhibition Review, The Border Project Space/ Home Gallery

Don’t lose your socks in the dryer when you’re digging around for your next favorite artist at The Border Project Space’s “Last Wash at Midnight,” featuring artists Chelsea Nader, Jaejoon Jang, Nicholas Oh and Jamie Martinez – with a companion exhibit also on view at Home Gallery, located on Manhattan’s Lower East Side. While there’s a closing reception at Home Gallery taking place on March 14, 5-8 pm at 291 Grand Street, NYC, the show has been extended at the Border Project Space with a closing reception there on March 20th, 6-8 pm. Guests can attend a “Final Spin Performance” on March 20th, at 7 Pm featuring Ronit Levin Delgado with David Chalet and Gabriel Garcia.

Since the exhibition has been extended through March 20th, 2021, make sure to set aside time to go check out the space (and check in on their hours via their Instagram – @the_border_project_space on IG.) The exhibit employs some tongue-in-cheek wordplay around the idea of art being incorporated into everyday life – and vice versa – a la the city’s laundromats: a ubiquitous presence around the five boroughs. Sculpture, installations, hybrid ready-mades and more confront the visitor to the puzzling yet provocative exhibit, with its cousin at Lower East Side’s Home Gallery offering its own delightful take on the show’s theme with an “advertisement” complete with faux quotes, faux-n numbers and more delectables.

“Last Wash At Midnight: Advertisement” at Home Gallery, 291 Grand Street (on view through March 14th. Image courtesy the galleries.)

In the words of Curator and The Border Project Space Director, Jamie Martinez, the exhibition at the Border allows a space to emerge where, “things don’t appear as they seem, but things, once unseen, begin to appear.” This quixotic phrasing makes the most sense when re-read at the doorway of the gallery itself, before engaging with the delightful, if deliciously manic, presentation of human torsos and limbs, clothing fragments, and laundry paraphernalia present within the space. A space for reflection on the types of abstract thoughts one might begin to descend into when waiting for the second round of heavy linens in the dryer, works in “Last Wash at Midnight” confound, delight and exceed expectations upon closer inspection.

Above, installation by Chelsea Nader. Below, “Permission” by Jamie Martinez. Both included in “Last Wash at Midnight.” Image courtesy the artists and gallery.

Much like the lint that continually clings to a pair of just-dried socks, a strangely comforting smell envelopes the visitor to the space upon encountering the exhibition. If you ask the curator, you’ll find out this is the smell of laundry detergent (is it for sale?) just out of view in the gallery, complementing the show’s sudsy sensibilities. This lingers as a filter just out of reach for gallery guests perusing installations on view in dialogue with one another in multi-sensory and syncretic ways – Nicholas Oh’s floating amalgamation of upturned male human torsos just off center from the gallery’s entrance provides the expected ‘figurative’ element in an oh-so-unexpected way, as the viewer begins to admire the curvature of this installation unfolding toward the floor. Oh’s use of a range of skin tones of each torso becomes readily apparent as the artist draws from his Korean heritage to question cultural values and challenge systemic oppression. Directly opposite, in the line of sight of this composite topsy-turvy figure, a recreation of a washing machine lurks: figurative, yet surreal. Chelsea Nader’s trippy laundry ‘machines’ bring up domestic labor in a exhibit where artists are referred to as “night shift workers” and the curator, as “the manager.” Labor is intrinsic to the art world, with artists and creatives often working overtime to be able to afford the materials and space to create their work. Nader taps into the labor that women, in particular, are expected to perform: her sign/signifier style of presentation only reinforces the existing gulf between unrealistic expectations and reality. Nader’s work centers the space in a poignant alternate reality for the visitor.

Installation view, “Last Wash at Midnight” at The Border Project Space (on view through March 20th, 2021. Image courtesy the galleries.)

Jamie Martinez, the night shift “Manager” exhibition curator and exhibiting artist, presents “Metamorphosing into an Owl”: the owl serves as a harbinger of death, being the first to notice death’s approach in Native American traditions, and Martinez is reflecting on this journey through the underworld, with a plea to native spirits he trusts to guide him on his journey after death. Martinez’ careful treatment of his material and attention to detail heighten the sense of psychological weight approached in these themes.

Finally, Jaejoon Jang’s works on view in both exhibits are both immediate and subtle. Material lends itself toward veiled references while the subject matter is straightforward, questioning reality and the limits of our understanding of what surrounds us. His subversive works are both humorous and nuanced, forcing a reconsideration of what we take for granted. Finally, Home Gallery presents a suite of works by these artists, curated and presented by Jamie Martinez in partnership with Home gallery’s Director William Chan, in dialogue with appearances – and how they can be deceiving, and/or invite further reflection. Chan notes of Home gallery’s unique street-facing presence that, “in a normal week, the window attracts hundreds of unique interactions among the thousands of passersby. I often have people come up to me and tell me how excited they were when a new exhibition comes out. People who wouldn’t go to museums or galleries. I hope to see more window galleries, especially after the pandemic, and more of these conversations.” A faux advertisment for a real show is certainly a compelling reason to reconsider where, and how, the boundary lines of art are drawn and how challenging – and rewarding – art can be when society is re-imagining new futures for a vibrant culture.

Don’t miss your chance to see “Last Wash at Midnight” at The Border Project Space, 56 Bogart Street, up through March 20th. The Lower East Side “Advertisement” portion of exhibit will remain on view at Home Gallery, 291 Grand Street through Sunday, March 14th – and hey, if you can’t make that, photographer/ videographer Andrew Littlefield made this dope video experience of encountering “Last Wash at Midnight” on its opening night at Home gallery.

Close-up of sculpture work by Nicholas Oh, “Last Wash at Midnight” at Home Gallery on the LES

Land Lines at Davis Editions: New Works by Ann Tarantino

Land Lines

On view through November 25, 2020

Virtual Exhibition via Davis Editions: Instagram @DavisEditions

solo show of new works by Ann Tarantino


Sidewinding (2020) Ann Tarantino, on view in Land Lines

When describing the imagery present in her solo exhibit, Land Lines, with Davis Editions, artist Ann Tarantino recalls her time walking the streets of Kyoto during a trip to Japan. “I just remember power lines criss-crossing above the street while ambling through Kyoto,” the artist reminisces. “Seeing these overlapping lines made such a strong impression on me.” Works on view in the artist’s current solo show with Davis Editions evoke this sense of trajectory and overlap, with lines bisecting her compositions in translucent swaths of color. Slight hints of pattern and color gradients spread across the surface of these works on paper, forming a subtle shift in background that affects the manner in which the viewer absorbs the work. These shifting, nuanced colors muted beneath sharp lines cutting across the surface of these works form a strong contrast. This juxtaposition makes quite the impression, mirroring the artist’s own remarks about power lines crossing the Kyoto sky.

Luminous Geometry (2020) Ann Tarantino, on view in Land Lines

The dizzying dance of lines and colors across the surface of Tarantino’s works are achieved as an effect of her process. The artist works with a CNC machine to etch across the surface of each panel, creating an ethereal effect in the composition as a whole. This process is also a reason why the lines cut so clearly across such a complex background image, leading to the clear outline of specific elements which stand out so clearly against the patterns receding back into the picture plane. Tarantino’s works on view in Land Lines manages to capture clear, linear progressions, even within compositions so saturated with visual texture and such a vibrant range of color hues. Thus, minimal qualities of these works rises to the viewer’s eye first, emerging through the range of elements on view in each print.

With a range of public art projects, installation works and works on paper, Tarantino is an artist whose style is adaptable to multiple formats. Her flexibility and keen eye for composition serve her will in this stunning survey of recent works. Land Lines provides a window into the mind of an artist keenly observing her environment, breaking it down into its concrete components. Tarantino mines the sublime from the natural world, paying careful attention to gradations of light and repeating elements. The patterns crossing through urban cityscapes and the dappled shadows cast by a tree branches both find a home in equal measure in these evocative works Tarantino has produced in the past year. A meditative and rewarding foray into Tarantino’s practice for any who view the exhibition.

Land Lines is on the Davis Editions Artsy page and is visible on their Instagram, up through Nov 25, 2020.

Heightened Perceptions: “Forget What You Know” at Art of Our Century, Curated by Kourosh Mahboubian Fine Art

ANTE mag is pleased to review the fantastic panoply of artistic voices curated into “Forget What You Know”: an exhibition on view at Art of Our Century through Sunday, November 15th. Curated by Kourosh Mahboubian Fine Art, works across a range of mediums dissect the process of empirical observation and its relative tension with perception and perceiving, as presented by ten internationally known contemporary artists. Collage works by Chambliss Giobbi are on view alongside works by journalist & cartoonist Anthony Haden-Guest, sculptor Blake Hiltunen, three-dimensional portrait artist M. Henry Jones, fiber artist Dindga McCannon, abstract sculptor Tyrone Mitchell, digital artist Marjan Moghaddam, architectural painter and sculptor Zahra Nazari, narrative painter Sudi Sharafshahi, & painter Khari Turner.

Installation view of “Forget What You Know,” on view at Art of Our Century

Exerting a critical lens on our perceptive faculties, works on view entice the senses with a range of materiality and contrast between analog and digital, 2-D and 3-D formats. Mahboubian’s curatorial statement comments on the perceived interconnectedness of the artists present in this exhibition, along with our own inherent interconnectedness, noting that the exhibition creates an “…environment intended to stimulate and please the viewer’s senses, much as would happen if one were to take a walk in a beautiful garden. Each artist’s work is somehow connected to that of one or two others in the group, but not to all of them.”

Installation view of “Forget What You Know,” on view at Art of Our Century

Evocative textures, lines and materials greet the visitor arriving at “Forget What You Know.” Evocative portraiture spans a range of hues, suggesting the subject’s posture and gesture to the viewer. Painted portraits share visual space with juxtapositions of textured materials approximating the figure, alluding to the shared subject of figuration. Where some works on view share subject matter but diverge in medium, other artists display a similar approach in their process while tackling wildly different subject matter. Where artists McCannon and Nazari create depth and three dimensionality in their works, narrative processes and figuration permeate works by Moghaddam, Sharafshahi, and Turner. The breadth of stylistic and conceptual approaches on view in the exhibition makes it a stunning, not-to-be-missed exhibition for any and all attendees.

“Forget What You Know” is on view 12-6 pm tomorrow and Sunday, November 15th from 12-6 pm at Art of Our Century, 137 West 14th Street in Manhattan, NY.

Artist Spotlight on Alicia Smith, ANTE Open Call Featured Winner

My work gets called “Didactic” a lot, which I learned in grad school is often the white-elitist way of saying “I don’t want to learn history that is not compulsory Euro-centric history.”

“Hueatoyatzintli” Image courtesy the artist.

Multi-disciplinary Xicana artist and activist Alicia Smith is the featured winner of our open call, and it is with great satisfaction that we are featuring her in a weeklong Instagram takeover she’s spearheading this week (if you haven’t seen her videos you’re missing out!) and in this special interview with the artist. The artist holds her MFA from the School of Visual Arts, and was featured at the art fair UNTITLED in San Francisco in Fall 2019.

Smith’s work spans video, performance, printmaking and sculpture to bring awareness to the existing, inaccurately romanticized tropes that deny indigenous women their individual complexity, simultaneously demonstrating their beauty and strength. We learned more from Smith’s perspective on the implications her practice has on the greater art world, as well as the lessons that she has learned from her ancestors and from the wider diaspora of indigenous nations that have informed her practice as an artist and activist.

(Featured Image: “Erendira”, image courtesy the artist.)

ANTE mag. Thanks so much for chatting with us today, Alicia! We recently learned about an artwork that you donated to raise bail funds for Black Lives Matter, can you tell us more about how this came about?

Alicia Smith. Thank you! That piece is “Molotov Hare,” and it was created really with Black and Brown solidarity in mind. A marriage of indigenous archetypes and anarchist imagery.
There are many indigenous traditions that involve the rabbit as a symbol of rights of passage for young warriors. The Aztecs had their Eagle Warriors walk through underground caves and emerge, ready to defend their tribe. There are jade sculptures depicting rabbits protecting men wearing eagle headdresses to illustrate this ceremony. Black Elk once said: “For the rabbit represents humility, because he is quiet and soft and not self asserting – a quality which we must all possess when we go to the center of the world.” The rabbit is also a trickster. The Anishinaabe’s Nanabozho in the North and Cherokee and Black communities in the South. Many stories of Br’er rabbit are in fact adaptions of West African tales of Anansi the spider. The trickster felt important in the piece because of his ceremonial role. He forces us to re-evaluate where we delineate societal rules and agreements. He does this through perpetually undermining them.
The image is about duty to your people, and that to change the rules you first have to break them. It felt extremely urgent: I cut the block in a day and started taking orders and I did use the piece to raise bail funds for Black Lives Matter OKC and Millions for Prisoners New Mexico. I’m really proud of this work and [proud] that people have been using that image when they protest police brutality.

“I Believe You” Image courtesy the artist.

ANTE mag. As a Xicana artist and activist, your work embraces themes such as decolonization, the Americas’ native nations and knowledge of the natural world such as plant life and medicinal practices. Can you tell us more about the origin of this journey for you as an artist to research and integrate the crucial, yet still too often overlooked, history of indigenous peoples in your work?
Alicia Smith. I feel like I didn’t have a choice, haha… when the ancestors come knocking you better stand at attention and that is sort of what began this path for me. I had always been a pretty feral child, bringing wild animals inside of the house, and I always had a real lust for knowledge, especially in the way of ecology. I feel like re-examining those complex relationships through that cultural lens has taught me more than anything else. My work gets called “Didactic” a lot, which I learned in grad school is often the white-elitist way of saying “I don’t want to learn history that is not compulsory Euro-centric history.” I know doing that kind of work might dissuade people from wanting to look at my art but I hope given the political climate at large that those same folks are at least taking a moment of pause as to why they don’t want to learn indigenous history of the land they are on. But above all else, if it isn’t for them –  it’s not for them, and that’s fine too. I love encountering first-generation kids, folks who went through a diaspora, who immediately connect and resonate with the work. At the end of the day if all I did was preserve one inch of sacred knowledge in a piece, then I’ve done my job of being a good ancestor for those who come after me with questions.
ANTE mag. To expand on the above question, can you delve into the range of your practice – spanning video, installation, mixed-media – as relates to the themes such as native culture and traditions and decolonization in your work?
Alicia Smith. By foundation I am a printmaker. So all my work often starts as a relief print before it goes into the world of durational art. I like the idea of being a Tlacuilo: a scribe or codex painter, someone who is recording history, ceremony, etc. So I think my 2-dimensional work acts as a kind of codex and my performances and video are the ceremonies themselves.
I call my work “Secondhand Ceremonies,” inspired by Robin Wall Kimmerer, because these are partial reconstructions and partial innovations. When you are descended from people who survived genocide it means necessarily reconstructing the old with new innovations: Adaptations.
ANTE mag. You reflect on the words of Anishinaabe cultural ecologist Melissa K. Nelson in your description of your work, “Teomama.” Nelson remarked, “the Native Woman’s body [in so] many stories acts as a kind of meeting place.” Can you expand on how this reflection impacted the development of your work?
Alicia Smith. It’s cosmogeneology. In science it’s just evolutionary biology. The most seemingly innocuous Ant has been on this earth for 120 million years. And in indigenous ways of knowing we don’t look at the ecosystem from this sort of colonial scientific gaze. These beings are our siblings. Plants, animals, insects, fungi, they’re our older brothers. And to explain that ethic of kinship, rather than talking about primordial soup, we do it through these eco-erotic stories, where women are often at the intersection. In the Popol Vuh a woman becomes pregnant eating fruit from a tree. There are stories of women marrying stars, bears, becoming pregnant by the wind and on and on. It establishes an ethic of kinship. When I do these performances with Hawks, Wolves, Deer, Horses, Rivers, and so on, its so important to me to convey the medicines of these beings and their teachings as well as the metaphors I imbue them with in the work.

“Teomama” Image courtesy the artist.

ANTE mag. How has the uncertainty of 2020 impacted your practice, and what current body of work are you focused on?
Alicia Smith. I am very fortunate because I have a government job where we were put on admin leave. I’m also very fortunate that I have been given some room to do what I love to do and share stories from my home, for the museum that I work for. This time at home has been really beneficial for my practice. Unfortunately people who are privileged who dont have to work a 9 to 5 job are usually the ones who can devote more time to their practices and end up rising in their art careers. But this time has allowed me to be so much more productive and to do what I really want to do which is engage with my community and in social justice causes.

Rising from the Ashes: Courtney Dudley’s Sublime “Sudden Relics” at Paradice Palase

On view at Paradice Palase (1260 Broadway, Brooklyn, NY) through Saturday, August 29th, Courtney Dudley’s transcendent “Sudden Relics” makes manifest a new body of work reflecting the natural materials and flashing screens that define our confined yet simplified lifestyle during quarantine. Composed of new works made made with clay and pit-fired in the artist’s own Kingston, NY backyard, these works – and the resulting video “Dig” on display – present this primitive process-as-creatively re-imagined practice.

Installation shot from “Sudden Relics” at Paradice Palase, Courtesy the artist.



Works titled “Burial” (and numbered 4-11) on display present a vision of the world through the lens of the artist’s own personal loss during the time of CoVid-19 in addition to the general anxiety and stress caused by the pandemic. The works elevate circumstances of chance and resurrection, borrowing from the sophisticated yet ancient Japanese concept of “Kintsugi”: an elegant means of re-evaluating how broken and re-assembled sculpture can be elevated through the process of applying decorative adhesive to resurrect the final artwork. This theme of resurrection buoys the exhibition, echoing the quarantine optimist’s belief in a better world post-CoVid19 pandemic subsiding.

Installation shot from “Sudden Relics” at Paradice Palase, Courtesy the artist.

“Nest,” a sculpture created from dried and twisted vines that are an invasive species in the artist’s local ecosystem, further complicate the concept of what is actually natural. The video documenting the artist’s practice that is mounted on display, titled “Dig,” flanks the “Curios” (1-5) series which consists of shadowboxes containing shards of the pit-fired ceramics that have been gathered and presented as artifacts: relics of a contemporary body of work borrowing an ancient process. This re-imagining of the primitive in the contemporary moment demonstrates the power of Dudley’s vision: by elevating the material and re-contextualizing this practice for a new audience, the artist makes more immediate connections to an abstract, historic process.

Installation shot from “Sudden Relics” at Paradice Palase, Courtesy the artist.

The presentation of this dynamic show firmly establishes the connections between the visceral quality of the material and the labor-intensive practice the artist employed to create works for “Sudden Relics.” The homage to those artists who have spent time creating those enigmatic, elegant ceramics and clay artworks of eras past whose names are lost to the sands of time. The artist’s dedication and enthusiasm toward this body of work infuses the exhibition with a timeless spirit that elevates and soars toward a hopeful future.

Installation shot from “Sudden Relics” at Paradice Palase, Courtesy the artist.

The exhibition, on view daily from 1-5 pm through Sat, Aug 29th, highly encourages RSVPs to visit. Visitors can secure their spot at: https://www.paradicepalase.com/courtneydudley-suddenrelics

 

Embracing Interiority in Magdalena Dukiewicz’ “Elements of Perturbation” at The Border Project Space

Encountering “Elements of Perturbation” at The Border Project Space, a solo exhibition by Magdalena Dukiewicz  curated by Jamie Martinez, the materials forming this installation present a dizzying dance on the senses. From the earthy inhalation of sod greeting visitors to the visceral transluncency of the installation, the tent-like structure anchoring the space presents a show that serves as a veritable movable feast for the senses
Artist Magdalena Dukiewicz has presented that rare feat of marrying circumstance and concept: an installation based on the impossibility of permanence placed firmly in dialogue with a time of upheaval. This show arrives in the most ephemeral and mercurial time period in recent memory, when a viral pandemic has uprooted the lives of citizens of the world. Thus, an exhibition reflecting in part on the transient nature of immigration is placed in contrast to a time period holding citizens the world over in a shared uncertainty, yet clearly placing certain immigrants into situations of increased vulnerability (for examples, see increased vulnerability of immigrants held at detention centers in the US, and the recent announcement by the current US President that ICE will deport students who do not attend in-person classes at universities this Fall.) The artist has managed to presciently respond to one of the most dire moments for immigrant rights in recent memory.

Work by Magdela Dukiewiecz for “Elements of Perturbation” at The Border Project Space (artwork details on show website)

The artist herself reflects on the domestic and social roles prescribed to her as a child growing up in Poland. She recalls spending time in a temporary play structure she built with her sister when she was young. Dukiewicz notes, “The concept of a house is based on a portable playhouse made of textiles that I had as a child and explores how “playing house” and practicing social roles at an early age has been adapted in my adult life. ” She also reflects on how materiality is embedded, for her, within the conceptual realm they engage in dialogue with. Thus in order to create a conversation around uncertainty, materials like sod were incorporating – even surprising the artist, when seedlings of grass began to appear in the temporary installation structure.”The use of impermanent materials and incorporating and dissolving my DNA with and within them add to the idea of temporality and imperfection,” she reflects. “[Specifically] the house, like the other pieces, will transform, eventually collapse, then disintegrate and disappear, but the process and its traces are my way of leaving an imprint in the world. “

Installation view, “Elements of Perturbation” at The Border Project Space (artwork details on show website)

The Ph.D.-candidate artist, who holds an MFA from the Academy of Fine Arts (Warsaw, PL) and an MFA, Complutense University (Madrid, ES,) produces her works in a site-specific manner, considering how specific spaces and spatio-temporal considerations can demand necessary alterations and adaptations. Within this conceptual framework, the artist was also forced to reconsider the pandemic interrupting access to this solo exhibition. Confronting the pending feeling of hopelessness encountered by us collectively as a society, she provides a space that instigates a moment of rumination—an individual and collective reflection—for the human species to “regroup, rethink and adjust to a new reality.”

Closing on Saturday, July 11 at The Border Project Space in 56 Bogart, Brooklyn in socially-distanced visitation from 5-8 pm, “Elements of Perturbation” mounts a multi-sensorial dialogue around the places we are allowed to enter, inhabit, and exist, and how identity and location continually inhabit a relatioship of tension with one another.

Installation views, “Elements of Perturbation” at The Border Project Space (artwork details on show website)


 

Voices in Unison for “Conversations: Artists in Dialogue” at FIT

Curator Lobsang Tsewang (FIT, Fine Arts Alum ’17) arranged the exhibition “Conversations: Artists in Dialogue” to invite the greater FIT community to come together in solidarity by contributing their unique voices into this group show. Featuring FIT students, alumni, faculty and selected guest artists, the exhibit opens up the conversation around contemporary art that is inclusive of all perspectives in the university community.
Artists on view include students Camelia Giannouklas, Ellen Marszalkowski, Daniel Elias Pascual, Sienna Prater, Matthew Stewart, John Xavier; alumni Dimitri Dimizas, Carly Fitzsimons, Madjeen Isaac, Kathleen Johnson, Claire Jones, Olivia Reckert, Briget Villanueva; faculty and staff N’Ketiah Brakohiapa, Pansum Cheng, Bill Pangburn, Melanie Reim, Jeff Way; and guest artists Meny Beriro, Jay Feigelis, Amanda Guest, Brece Honeycutt, Molly Ann Walker. In light of the current viral pandemic, the exhibition is temporarily closed but will re-open to the public and is still visible for those living nearby who pass by the windows of FIT campus that run along 7th Avenue.

Installation view, “Conversations: Artwork in Dialogue”at FIT’s Art and Design gallery

A mix of material, color and line are interspersed throughout the exhibition space. Form and composition intermingle across sculpture, mixed media works and paintings, with a range of artistic practices on display. The exhibition is a master class in contrasting scale: the volume of space is appropriately used to feature the range of artwork incorporated in this group show.
Standout exhibitors include illustrator Melanie Reim, installation and print artist Bill Pangburn, painter and interdisciplinary artist Jeff Way and mixed media artist Amanda Guest. Associate Dean, School of Art and Design at FIT/ artist Melanie Reim‘s careful linework and intricate detail are a pleasure to study intently in the gallery space, and are carefully arranged in dialogue with nearby artworks. FIT Faculty member Bill Pangburn’s expansive style of abstraction encompass the visitor with a studied calm, blending color and line in careful harmony.
FIT faculty member Jeff Way displays paintings from his recent Eccentric Squares series, which showcases Way’s carefully coordinated sense of depth in the composition constructed through controlled lines delineating the picture plane. Guest artist Amanda Guest displays powerful mixed media work that sparks a dialogue around the visceral aspects of formal composition and texture.

Installation view, “Conversations: Artwork in Dialogue”at FIT’s Art and Design gallery

Installation view, “Conversations: Artwork in Dialogue”at FIT’s Art and Design gallery (Jeff Way painting featured in front left)

Exhibition curator Tsewang notes that his vision for the exhibition is that the exhibition… “enables each voice to be heard in the context of the exchange as a whole.”
Premised in the ability for differing artistic practices, mediums and processes to situate contemporary discourse within a harmonious discussion instead of a cacophony, “Conversations: Artwork in Dialogue” mounts an impressive survey show of artists engaging with FIT’s creative community with something to contribute.
While the exhibition is temporarily closed due to the viral pandemic, stay tuned at the FIT website – here – to learn more about the show hours during Spring/Summer 2020.

Installation view, “Conversations: Artwork in Dialogue”at FIT’s Art and Design gallery

Beyond the Pale: Zac Hacmon at the Border Project Space

by Mariel Tepper

Artist Zac Hacmon uses form, space and sound in Beyond the Pale: an immersive and unflinching look at the U.S.-Mexico border crisis located at The Border Project Space. Curated by Eva Mayhabal Davis, this site-specific sculpture installation reflects on the material and conceptual barriers humans create and the devastating, far-reaching consequences of these obstructions.

Artist Zac Hacmon exploring the US/Mexico border (photo credit: Dana Levy)

The installation is centered around two abstract sculptures, Hedgehog 1 and 2. Their militaristic design inspired by Czech hedgehogs, barrier fortifications used for the Czech-German border in World War II. The imposing sculptures create a sense of tension and claustrophobia through hard-edged geometry, while the white ceramic tile surfaces of the sculptures evoke the sterility and asepsis of domestic and interior spaces; bathrooms, kitchens and hospital walls. The sounds of voices and ambient sounds can be heard from vents in the sculptures, creating a collective murmur that recedes and fluctuates in volume, enveloping the listener. With audio consisting of on-site interviews conducted by Hacmon at the Arizona border, the dialogues convey the hardships and human rights atrocities experienced by migrants, Native Americans, asylum seekers and undocumented workers through poems, stories and firsthand accounts. 

A devastating and visceral poem on the death of a newborn baby on the Arizona roadside, NO ANSWERS–NOW OR EVER by Marie Vogl Gery, is read by Gali Kocourek, a member of Tucson Samaritans. In another interview, Sarah M. Reed, Program Coordinator at Casa Alitas Program – Aid for Migrant Families, describes the trauma experienced by asylum seekers coming from Central America and southern Mexico to the U.S. to flee gang and drug related violence. If captured by border patrol, migrants face inhumane conditions in detention centers, where they are cramped in tight cells, deprived of sleep and adequate food, all their possessions forcibly taken. 

Interspersed with the interview snippets are the sounds of field recordings, rustles of footsteps on migrant trails in the Sonoran Desert during a water run. The crisp, caustic sounds remind the listener of the long, harrowing journeys migrants take, trudging through miles of unforgiving desert heat on rough ground, all in the hopes of achieving a better life. 

“Beyond the Pale” in situ at the Border Project Space (photo credit: Etienne Frossard)

Making the connection between borders and environmental devastation, Jose Rivera, Director of Tohono O’odham Culture Center and Museum, describes how the U.S. border wall physically disrupts local wildlife by preventing animals from moving freely between nesting and feeding areas. It’s clear that imposing arbitrary physical barriers on land disrupts not only the flow of people, but the flows and processes of the natural world. In an age of climate refugees and ecological collapse, the negative implications of border walls and the bigoted, non holistic ideologies (nationalism, xenophobia) fueling them are even more apparent. Zac Hacmon’s prescient and thought-provoking Beyond the Pale installation confronts the divisive and brutal reality of man-made borders. Hacmon shines a light on the cycles of pain, fear, violence and devastation that occur when we deny the humanity of others.

I See You: TAFA + Tomo Mori At Home in ChaShama’s 64th Street Location

by Mariel Tepper

 

A nine-year friendship between Ghanaian-native artist TAFA and Japanese-native artist Tomo Mori forms the heart of I See You, now on view at ChaShama’s 340 E. 64th space until March 8th. As Mori notes, “I feel Tafa and I share a deeply human connection. He knows my work since I stared showing in 2011, when I didn’t know anything or anybody in the art community. I always admired his work and I am extremely honored to do this project together.”

 

“We Got You” Tomo Mori. Woven ropes made with discard T-shirts, on view in I See You

Tomo Mori’s fluid, organic fiber art sculptures are comprised of handmade ropes made from discarded and upcycled fabrics given to her by family and friends. Shown alongside  these works are TAFA’s figurative oil paintings are informed by Ghana’s sporting events, public demonstrations and musical performances. Representing the rich diversity and international voices within the New York City arts scene, TAFA and Tomo Mori draw upon distinct imagery and materials imbued with symbolic, cultural and personal meaning, as well as their shared experience as first-generation immigrants: while both of their practices focus on their homeland, they equally embrace their new role as artists residing within the United States.

Personal history and intimate familial connections through material are tenderly woven throughout Tomo Mori’s work. Ropes of discarded baby blankets join together in the artwork Eve to form a loose, heart-like or cradle-like formation, evoking the tender embrace of a mother and newborn child. The prompt, “What do you build when you are given power?” accompanies an all-ages interactive installation of fabric-covered blocks, using social consciousness and inclusivity to shift our cultural narratives about power from division to empowerment. Sanctuary, a dazzling, optically exhilarating patchwork of fabrics, incorporates a vintage kimono, highlighting the comfort, beauty and solace Mori finds within Japanese culture.

“Eve” Tomo Mori. Ropes made with discard fabrics, wire – artwork for I See You

Alongside Tomo Mori’s materiality and indirect allusions to place and cultural symbolism, TAFA’s work keeps an eye towards the ephemeral struggles and achievements that mark the human condition. Each painting appears to be in flux, undergoing a state of change, conveyed by thick, rapid brush marks across the surface and expressive, gestural figures with contorted faces in intensely physical acts. From huddled masses gathered around a football stadium to masses in silent protest, the imagery within these artworks underscores the importance of shared social traditions to unify our collective culture in moments of crisis and uncertainty. Where Mori’s works connects in physical space, TAFA’s work unite the excitement of crowds at sporting events in a shared, communal energy. His exuberant painting style captures the enthusiasm and shared sentiments among large crowds. His work shows us an artistic expression of unity. 

“March, Placard and a Song” TAFA. Oil on canvas – artwork for I See You

TAFA and Tomo Mori both approach their work with deep-rooted and complex associations on topics of heritage, history and social structures, stemming from their own experiences as immigrants in America looking back towards the culture of their homeland. I See You encourages active observation, prompting viewers to look closer at their own surroundings and form deeper connections between place and identity. 

Supported by ChaShama, the exhibition fulfills ChaShama’s promise to give artists space to present their work while fostering community development through the arts. More information on ChaShama can be found on their website. 

The following programs will continue through the exhibition until it closes on March 8th:

Artist Talk: Tuesday, February 25, 6:30 to 8:30pm

Closing Reception, Saturday, March 7, 4 to 6pm

SAT 2/22   Fabric collage workshop by Tomo Mori 2-4pm, all-ages, children with caregiver. RSVP: tomotion@gmail.com

SAT 2/29   Rope making workshop by Tomo Mori 2-4pm, all-ages, children with caregiver. RSVP: tomotion@gmail.com

SUN 3/1    Kora/Djembe Performance by West African musician, Sunday, March 1, 2-4pm

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All events are free and open to the public. Location: Chashama Space to Present at 340 E 64th St. New York, New York 10065 (ground floor)

​Regular Gallery Hours: Friday, Saturday, Sunday 11:30am to 6:30pm
Please see the exhibition website in orde to schedule an appointment to visitoutside of these hours:  https://www.tomomoriart.com/i-see-you

Memory and Myth in Brian Whiteley’s “I Know What You Did Last Summer: a Mid-Career Retrospective”

by Mark Eisendrath

 

Putin’s steely stare gazes over Trump’s legacy in this mid-career retrospective from artist Brian Andrew Whiteley: yet, the focus tends inward. Whiteley’s discursive mid-career retrospective traces the twin psychological pathways of nostalgia and mythology that chart our paths ahead in life. Clown fetish and a reference to the artist’s childhood home sit alongside the artist’s more explosive political commentary, allowing visitors to examine what forms their basis of their respective worldviews.

Installation views,”I Know What You Did Last Summer” mid-career retrospective for Brian Andrew Whiteley

This nostalgia is noted by Jennifer Rizzo, Director at Hashimoto Contemporary, who observes that “the exhibition will be presented in a wood paneled installation, reminiscent of the suburban basement in Whiteley’s parents home, where he spent a majority of his formative years.” The exhibition does mark the artist’s shift toward anti-fascism and questioning patriotism in its dual presentation  of different perspectives on Putin and Trump: on view, of course, is the artist’s vital Trump tombstone speculating on what legacy the President will leave to the world: a modern-day memento mori, expeditiously 3D printed.


Taken in relation with the artist’s former work with clowns and clowning, the Trump-Putin relationship is framed within an extended metaphor that is both rewarding and serendipitous. Visitors are invited to sit and observe the exhibition in casual lounge-style chairs again referring back to the artist’s childhood, remarking on a wide timeline and an even wilder career trajectory. The artist has explored performance art, installation and painting along with provocative public demonstrations and the founding of Satellite Art Fair: a democratic and accessible space for experimentation.

Installation view, “I Know What You Did Last Summer” mid-career retrospective for Brian Andrew Whiteley

 

Don’t miss your final opportunity to experience Whiteley’s stunning revelations in this cleverly curated retrospective, closing Feb 1, 2020.