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.”
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,TAFAand Tomo Moridraw 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.
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.
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: email@example.com
SAT 2/29 Rope making workshop by Tomo Mori 2-4pm, all-ages, children with caregiver. RSVP: firstname.lastname@example.org
SUN 3/1 Kora/Djembe Performance by West African musician, Sunday, March 1, 2-4pm
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
Hysteria is a dirty word, and those who use it may not be aware of its context as a means of subjugating women to prejudice for.. millennia. As long ago as Ancient Greece, philosopher Hippocrates applied a related Greek term to women as a means of classifying them as incapable of rational thought. Vogue notes, “The womb, thought Plato (and Hippocrates), was believed to lurch up and down the body, upsetting a woman’s delicate constitution. This illness was called hysterike pnix, or “the suffocation of the womb,” and was believed to cause erratic and unreliable behavior.” The exhibition “Female Trouble” opens January 10, 2020 at Western Exhibitions, co-produced by the women-led Elijah Wheat Showroom, features artists Amanda Joy Calobrisi, Lilli Carré,Qinza Najm, Kathryn Refi and Frances Waite in dialogue with the legacy of misogyny pervading modern and contemporary culture, directly challenging this long-held belief through a conceptual, interdisciplinary lens.
The topic of women’s bodies is addressed with particular fervor in “Female Trouble.” Works by the artists depict the implied body, or the power of the presence (or absence) of the female body in their works. The pervasive power balance delineating gender is at play in these works, on view at Western Exhibitions through Feb 22, 2020.
Frances Waite approaches the body as it relates to the larger environment, inhabiting both the corporeal and the Anthropocene in equal measure. The artist presents drawings that inhabit both reality and the hyper-real, envisioning humans as mammals inhabiting their larger realm. Kathryn Refi inhabits the realm between information and interpretation, where data meets translation into results. Her work, while abstract, presents images that create an abstracted visual of our everyday lives.
Amanda Joy Calobrisi explores erotica and female empowerment- a means of embracing women’s genitals as a means of impressing power forward onto the viewers’ psyche. Lille Carré similarly implies women’s’ bodies in her interdisciplinary practice. Her clay works especially embrace both the abstract and the implications of gender simultaneously.
Artist Qinza Najm approaches the misogynist roots of hysteria with a lens as a woman with roots in a culture historical marginalized over centuries of colonialism. She notes of her approach to the body as primary mode of interpretation in her interdisciplinary works, “I often use motifs of bodies stretched, deconstructed, distorted, and pushed beyond their limits. A manipulated body is a reflection of how power is exerted upon our being.” Perhaps there is no more appropriate encapsulation of the necessity of claiming female bodily autonomy and agency in an era in which women’s rights to claim their body as they wish are constantly being eroded by privileged men in positions of power.
This is the beginning of a new column, “All’s Fair”, in which writers recount major art exhibits, festivals, biennials and, especially, art fairs through a personal lens. Recounted below is Editor-in-Chief Audra Lambert’s whirlwind Tues-Sat tour of Miami Art Week 2019. Opinions below reflect Lambert’s views only.
Dear, dear readers.
Well, a week is enough time for reflection. And what do we have – one banana eaten, one sold and the last one spoiled – or was that the entire fair?
While discerning dealers put forth their obscura and identity-driven inventory (a pantheon of which lovingly graced the main fair of Art Basel Miami Beach, curated by the Mexico City-based Magalí Arriola – titled the Meridianssection), other galleries employed the go-big-or-go-home Instagram strategy (Urs Fischer @ The Modern Institute, Austin Lee @ Peres Projects and -of course- the slippery stylings of Maurizio Cattelan, which was absent on Sunday due to the haphazard work necessary to properly guard the installation.)
Spoiler alert: shock art a la fruit baskets seems more suited to our soundbite culture than the lyrical reflections of artists such as Fred Wilson, Isaac Julien and Flavior Garciandía.
Art Basel wasn’t the only fair employing the stop-in-your-tracks Instagram mentality, with Art Miami presenting a monumental Yves Klein-blue installation by artist Jason Martin at the main entrance (other sculptures placed around the periphery was sadly rendered nearly invisible during the later hours of the fair + the VIP opening). Even UNTITLED got in the game with a Facebook-produced interactive installation (umm…) and some choice offerings of installations both inside and out by Antonia Wright + Ruben Millares, Coral Projects and EXILE x CENTER FOR SUBTROPICAL AFFAIRS. Even the Betsy Hotel’s inimitable egg sculpture featured some slides of works in partnership with For Freedoms.
Fairgoers got in on the Instagram-able fun, while serious collectors buzzed about from booth to booth checking on sales status of works at Lehmann Maupin, Jack Shainman, and PACE. Some heavy-hitting artists with solo exhibits occurring around this time of year got in on the act, including Nevelson (ICA Miami), Teresita Fernandez (PAMM) – similarly, Elmgreen + Dragset could be spotted at Victoria Miro, featured in works which echoed their nearby Pride Park installation.
There was much to see and do, and much hype to struggle through, so below we’ve summed up – in the broad over-generalizations that our detail-oriented art critical brains love so much – the takeaways from this years Miami art week presentations.
Public Installations / Projects – What a year for public art in Miami & Miami Beach! From the get-go installations by the likes of Leandro Ulrich on the beach side stole the show. Unmissable performances and installations over the course of the week included “After the Fracture” at PAMM featuring duo Marvin Fabien and Nyugen Smith. Joiri Minaya stunned with installation art in partnership with Miami-based Fringe Projects. UNTITLED’s Monuments section featured the truly stunning Antonia Wright + Ruben Millares installation. Passing the beach at night it was even possible to watch the incandescent works of Pablo Valbuena’s WAVE light up the nearby shoreline. An effort was made to create high quality public art offerings and it showed.
Oh, and also there was a Fernando Botero show on Lincoln road but that doesn’t belong in this highlight…
Meridians @ ABMB – Meridians (see above note) was both an art critic’s dream as well as an Instagrammers’ – that rare combination of critical rigor and visuals-driven approach that will stand out for years to come. Featuring a great mix of local and emerging versus global and firmly established artists, Meridians at the main fair featured standout work by Oscar Tuazon, Fred Wilson, Isaac Julien, Portia Munson, Woody de Otello and more. A real crowd pleaser and rightly so… but it is a fair ten minute walk away and upstairs from the main fair exhibitors. Maybe set up a golf cart service? I don’t mind the walk but it’s key to remain mindful of the mobility of your guests…excuse me, your collectors.
UNTITLED – Did anyone have something bad to say about UNTITLED? Queer art, artists of color, feminists, environmentalists, art criticizing religion, outsider artists – everyone was welcomed with open arms (and strong sales, from what I’ve gathered) at this prestigious showing of UNTITLED. You could also just as easily ignore the cultural underpinnings of some such work (ahem, as some collectors will) and relish the fine skills and inquiring minds that were behind the artworks on view at the fair. With incredible works on view by Damien Davis of LatchKey Gallery, Leah Guagdanoli at Hollis Taggart, Remy Jungerman and Nate Lewis at Fridman Gallery, Jenna Gribbon at Fredericks & Freiser, and more, visitors could really come away with a sense that the art on view at UNTITLED was fearless and provocative, with something to say in addition to its value as fine art.
Art Miami + CONTEXT – Close to a museum, check.
Featuring old to new to back again, check.
Engaging visitors in conversation, check.
Art Miami still manages to drive the conversation around what is possible for art dealers who are willing (or are happier) to exhibit outside of the Art Basel stable. With similar offerings to the main fair, while maintaining a diverse selection in its own right, both art Miami and context offer an alternative to the globe-trotting – and often unaffordable- trappings of ABMB. Sure they could use more programming, but they’ve remained sustainable – more than ABMB parent company can say (allegedly) at this point…
PAMM – How does the Pérez Art Museum Miami just keep getting better and better? This Franklin Sirmans-led institution has not only featured the meticulous and fantastically spoken hometown (now NYC-based) Teresita Fernandez, their programming for art week – including aforementioned After the Fracture and the phenomenal art Miami VIP event – only served to highlight how they manage that precarious balance of serving the community while welcoming visitors to indulge in the concepts and curatorial vision that puts the museum – and Miami- onto the art world map.
Bonus: The New Rubell Museum
Ok, I admit it. I didn’t make the trek out to the new Rubell museum. I know – stop reading now. Seriously though, other than some mild criticism about the very “New MoMA”-esque organization of their collection, how rewarding is it to see the greatest hits of the monumental Rubell collection in its new museum home? Yes, it’s not close. Yes, it was basically (likely) created for a better tax cut. But, as the kids say, I ain’t mad at it.
NADA – Man, poor NADA just can’t catch a break. While “resting on its laurels” might seem like a strong statement, Schachter was onto something when he flippantly observed “UNTITLED is the new NADA”. The energy does seem to have shifted beach side, as ever since NADA has left its admittedly funky haunt over at the now-defunct Deauville hotel, the ice palace just hasn’t quite filled the same carpeted and low-ceilinged hole in fairgoers’ hearts. The public projects as usual made an impression and showings were strong, but it would be a far cry to say that everyone who went down for the fairs made it over to NADA….more brunches in their programming, perhaps?
Pulse – Pulse, oh, pulse pulse pulse. What happened? Did you spend all the efforts you used for past iterations in vetting appealing art gallerists toward a chic, undiscoverable Wellness section instead? New leadership still finding its feet, perhaps, but alongside Pulse stalwarts guests found just an uncomfortably few too many offerings that would’ve been equally at home at Scope. This is a fair seeking its identity somewhere between copy and paste imitation art and genuine emerging artists with a practice based in Concepts.
Art Critics – “It’s so nice to meet a writer here.” A non-East coast gallerist’s lamentations hit me where it hurt. Where were the critics? Other than those of us dispatched over to the main fair for market coverage, there was a woeful lack of critical engagement with art presented at this year’s fairs according to conversations with various gallerists around the fairs. UNTITLED is commendable for employing a writer-in-residence for this year’s edition; here’s to hoping the next one around is a woman or gender non-conforming colleague.
Nightlife – maybe it was just me, but the late night offerings seemed a bit low-key or retail market-driven this year (Desigual at the Temple House, anyone?) Aside from the fabulous Rashaad Newsome x Swizz Beatz Annual King of Arms Art Ball, a strong VIP party for art Miami a handful of beachside parties, offerings during the week were rather time. Surprisingly, the brunches were where it was at this year. While Pulse brunch was a hot mess this year, anyone who made it over to fête the collection or museum brunches came away feeling the better for meeting their alarm clocks halfway and trekking over to these chic morning affairs.
Streets – the traffic, am I right? Between construction on the mainland-to-beach side exits to disoriented Lyft drivers totally out of their element trying to navigate the nooks and crannies that are downtown Miami, the streets – and those who used them – were just plain out of luck for Miami art week.
Bonus: Art Pop-up projects – you know they were there. I know there were there. Neither of us went though, right? Right? Even the smattering that existed (yet were impossible to find) on Lincoln Road.
December 15th marks the debut show at GRIDSPACE for artist Julia Betts, a sculptor based in PA. An MFA, Sculpture graduate of RISD, Betts brings her striking juxtaposition of body and material to this architecturally-driven space. This solo exhibit at GRIDSPACE, titled ruptured holding, presents an interdisciplinary window into the artist’s practice. Betts’ work relies on the contrast between the instability and unpredictability of materials presented to the public at this space, precipitously cast on the rapidly changing neighborhood of northern Crown Heights. The erasure and reclamation of identity present in works such as “Detritus” find their home within the context of a Crown Heights that even ten years ago counted very few art spaces among its residents.
From 4-6 pm on Sunday, December 15, GRIDSPACE will host a reception for Betts open to the public. Drawing from her undergraduate degree in studio art from the University of Pittsburgh toward her more recent MFA in Sculpture from RISD, the artist has a firm and mature approach to materiality and concept. In discussing the objects she employs in her practice, Betts explains her aim to destabilize existing frameworks, noting that “my work…. create(s) a uniquely precarious situation whose exact results are ambiguous and actually lead to disruption and upheaval.”
In Betts work, the material holds as much weight conceptually as the object they comprise, daring the viewer to consider the implications of the final artwork confronting them. Mining from the same veins as pivotal artists such as Ana Mendieta, Do Huh Suh and Isa Genzken, Betts’ work advances installation farther into our current moment and inviting us to question what is presented to us for consideration. The works seem to mesmerize by their very undefinability, forming a hold on one’s psyche and creating an opening for more inquisitive looks into the very fabric of reality that surrounds us in everyday life.
Works such as “Accretion” reveal Betts’ engagement with pushing material to the breaking point, engaging with the adhesive, industrial material of masking tape to reveal the limits of the body. Implied motion and abstracted form combine to create the sensation of an unknown woman’s body traversing space. The labor-intensive practice also implicates the artist’s own bodily limitations in the work.
With inclusion in multiple group exhibitions in New York City such as at Re:Art Show, Microscope Gallery, and Flux Factory, Julia Betts has made her mark on the NYC art scene. She has also exhibited nationally in numerous solo shows such as at Unsmoke Systems (Pittsburgh, PA) and Bunker Projects (Pittsburgh, PA). Betts has also completed artist-in-residence programs at Millay Colony for the Arts and Virginia Center for the Creative Arts.
GRIDSPACE is an art space that serves as an architecturally specific outlet for experimentation engaging the rapidly changing neighborhood of northern Crown Heights. Located at 112 Rogers Avenue in North Crown Heights, the closest subway to the space is the 2,3,4,5 to Franklin or the S to Park Place. For any inquiries about the space, please contact email@example.com
Navigating the complex paths presented to visitors at Art Miami is no small feat. Faced with the mountain of galleries on view, we’ve pulled together a handy reference guide for must-see presentations at this year’s Art Miami. Located at One Herald Plaza in Miami (NE 14th Street and Biscayne Bay,) the fair shares the grounds with its sister fair, Context.
From secondary market prospects to mid-career artists, Art Miami marks a diverse cross-section of modern and contemporary art reflecting a wide assembly of tastes. From the merging of digital and material to the large-scale mid-century modernists, no other fair holds quite the range of gems on display at Art Miami.
Make sure to survey the show, and keep an eye out for the following art galleries (Booth numbers indicated below.)
Helwaser Gallery(AM521) – Featuring sculpture, mixed media and works on paper, Helwaser’s presentations span from the mid-century to late 20th century. “Shadenfreude” by John Chamberlain lies at the outskirts of the booth, enticing passersby, while various works by the likes of Noland, Condo and LeWitt offer insights into these artists’ practice. Helwaser’s clean and meticulous presentation only serve to heighten the quality of the artworks on view. A definite stop on any fair-goers list.
C24 Gallery(AM304) – Stunning combinations of scale and material wait to delight visitors to C24’s Art Miami presentation. Christian Vincent, Katja Loher and Mike Dargas present compelling visions at the booth, with Dargas’ paintings taking honey as a departure point for imagining new visual textures. Katja Loher’s mixed media digital installations confound, while Christian Vincent’s representational paintings leave narratives to the viewer’s imagination. Not far from the VIP lounge, C24 is easy to discover and well worth the visit.
Berry Campbell(AM122) – Frank Wimberley and Syd Solomon steal the show at Berry Campbell gallery’s presentation, while stunning pieces by Nancy Graves, Elaine de Kooning and others round out an impressive survey of painters and mixed-media artists spanning from the post-war period to the present day. Wimberley’s ruminations on texture and minimalism alone feel shockingly contemporary. Syd Solomon’s work will be featured in an upcoming solo show at the Ringling Museum of Art in Sarasota, so take a peek at his works on view here to familiarize yourself with his style and deft mastery of color tones.
Goya Contemporary (AM111) – Baltimore-based Goya Contemporary presents Louise Fishman and Louisa Chase along with Joyce J. Scott and Elizabeth Talford Scott at this compelling Art Miami presentation. Open over 20 years, Goya Contemporary and Goya-Girl Press play a definitive role in the arts community in Baltimore and have helped secure the legacy of Baltimore-based artists while also exhibiting international renowned artists such as Louise Bourgeois. This compelling survey of paintings and sculptures offers incredible access to modern and contemporary artists, particularly woman artists, in a fair that benefits from this diverse showing.
The Bonnier Gallery (AM402) – Miami-based Bonnier Gallery presents inside looks into the practice of established artists such as Christo and Mark di Suvero. Featuring drawings, sculpture and mixed-media work, The Bonnier Gallery is a local stalwart with an international focus. Focused on minimalism and with significant conceptual art on hand, the gallery marks a breath of fresh air in a market leaning heavily on Pop Art. A must-see.
James Goodman Gallery (AM218) – Early works by Milton Avery and other mid-century Modern painters populate James Goodman Gallery’s Art Miami booth. The options for collectors seeking obscure works by artists in the established canon are endless. Jim Dine, Sam Francis and others populate the robust offerings on hand at James Goodman, with a range of paintings and sculpture greeting the visitor. Another centrally located booth on view, James Goodman Gallery is well worth checking out.
Whether seeking out a study by a Modern Master or seeking something fresh and contemporary, Art Miami has a wide array of gems hidden in plain sight. Grab a cocktail and wander through the fairs – a Frank Stella, Sol LeWitt or soon-to-be future Warhol awaits you out on the floor!
“I always think that my work speaks for itself, because I’m really a traditional painter.” -Roni Sherman Ramos
It’s morning, and shafts of light are pouring in through the windows of Ramos’ Brooklyn studio. Paintings on canvas jostle for attention with nearby works on paper, while ceramic works fill the remaning space. I carefully step through the space, afraid to awaken the spirits seemingly captured in Ramos’ elevated works: nighttime scenes – or are they abstractions with flecks of bright light winding through them? – share a wall with vibrant ochre red compositions that seem to leap for joy at being created. Ramos is studious – rarely a season goes by when she’s not pursuing professional development to deepen her understanding of her artistic practice. She is also reflective and thoughtful, ruminating on the painters and other interdisciplinary artists she has taken absorbed wisdom from. We spoke in November 2019 as she was celebrating the results of a recent trip to the kiln, diving into both her paintings – where her traditional roots lie as an artist – along with her work in the expanded field.
Roni Sherman Ramos:Even though my work is abstract, there are always elements viewers can understand…from a representational standpoint. People are always seeking familiar things in artworks – especially if they are abstract (works). I like to give viewers the freedom to find a mountain, or a face… before recently, I wasn’t even titling my work so that it could speak for itself. I’ve come to realize my work is rooted in nature and rooted in the land, and it has elements of land-driven [representation]… so I’m now calling these paintings abstract landscapes. Now, I’m embracing this impulse toward nature: it looks like nature to me, there’s no denying it.
ANTE. Mag: That’s a big leap!
RSR:Right, I’ve always tried to disguise this impulse before. I can deny it, and put lines through it or..
AM:…cover it in markings or…
RSR: …right or cover these in markings, or disguise it. But it remains. My process is a process of destroying, and re-inventing and resurrecting, as Amy Sillman says. I work in layers – sanding, scraping, destroying and then building [the work] up again and finding things from the past that rise to the surface, then making new marks. What I strive toward is making sure there are a variety of marks: places where the eye can rest, and places where color leads the eye…agitation is present on other areas of the canvas. Tension and relationships are built through marks across the canvas. I include impasto as well in my works. There’s always contrast – my work includes defined shapes and diffused shapes. Textures are also very important to me.
AM:Can you walk us through your process? Some of the recent works from this Fall have almost an action-painting sensibility, showing brushstrokes and emblazoned areas of texture and scratches…
RSR: Marks and mark-making are both important parts of my practice. Texture as I mentioned is very important. I also love the work of Jackie Saccoccio, I’m a fan of her paint-drip heavy style and sometimes incorporate a similar sensibility but not always.
AM: Is there a new direction you’ve embarked on lately in your work?
RSR: Lately with my oil paints I’ve incorporated using a heat gun into my process, using the heat gun on the freshly painted coat of oil on linen and exposing a bit of the layers below. This adds areas that build that feeling of agitation, I’ve learned to be careful when I use it as it takes a light touch.
AM:Is this the first time you’ve used the heat gun in your process?
RSR: I’ve used it before to dry water-based mediums, but this is the first time I’ve used it in my oils.
AM: Tell us about the works we are seeing here (featured in this article): are these all recent works? Say from the past two years?
RSR: These are all recent works, but honestly my paintings take a long time to make. Often I think I have control over the process, but eventually I realize the process has control over me. This is just what happens organically: you don’t always know what will happen or how you’ll do something that you’ll like
AM: So is this freeing for you or is it nerve wracking?
RSR: I like the serendipity of it, to a certain degree. Sometimes it’s disappointing but that’s ok, I know I can keep on going but it can take months until I see what I like. I always have more than one work in progress at any given time.
Foregrounding the artist’s upcoming pivotal show with the enduring, emblematic Weeksville Heritage Center in Brooklyn, NY, “Collapse: Black Wall Street Study” by Damien Davis marks the artist’s inaugural solo showing with LatchKey Gallery at UNTITLED (Miami Beach – Beach @ 12th) and a powerful investigation of materiality and conceptual rigor. The artist’s research-based practice upends conventional understandings of African-American history, revealing the narratives commonly buried under the surface. “Collapse: Black Wall Street Study” is on view for the duration of UNTITLED at Booth A7 (Dec 4-8, 2019.)
Davis’ works embrace a keen grasp of formal composition, embedding careful details into meticulously cut plexiglas shapes attached using metal fasteners. These industrial materials allude to the lexicon of labor intrinsically tied into entrenched views of African-American history, outmoded means of regarding black Americans still haunting our contemporary society. Davis draws from a pared-down color palette and specific, enduring iconography intrinsic to both the Black and Southern vernaculars – images that question where these two identities overlap, as well as their points of divergence. Davis himself speaks of discrete images – separate and distinct – that define his installations, drawing each element into conversation with an overarching whole, yet making distinct boundaries palpable for these works on view at UNTITLED – and later the Weeksville site.
LatchKey Gallery presents this new series by Damien Davis which visually investigates the murder of a minimum of three hundred black residents of Greenwood, Oklahoma in the early 1920s. As we near the hundredth anniversary of this massacre, COLLAPSE: Black Wall Street Study seeks to create new means of entering into a dialogue on the progress that has (or has not) been made with regards to civil rights, representation, visibility, and reparations for descendants of former slaves. Davis does not shy away from the tough conversations, yet invites others to respond authentically and inquisitively to his work. The artist will host an on-site activation of his work every day during the UNTITLED show hours at 4 pm exactly, while the artist will be in conversation with curators Natalya Mills and Larry Ossei-Mensah on Dec 6 at 2 pm.
Damien Davis is a Brooklyn-based artist. Born in Crowley, LA and raised in Phoenix, AZ, Davis centers his practice in historical representations of blackness by unpacking the visual language of various cultures. The artist investigates how these societies code and decode representations of race through craft, design and digital modes of production. Davis has shown at The Whitney Museum of American Art, Museum of Modern Art, Museum of Arts and Design, and Sugar Hill Children’s Museum of Art and Storytelling among others. He has also presented solo exhibitions in Philadelphia and Seattle, as well as Reading Pennsylvania and Richmond, Virginia, and his work has been included in group exhibitions across the US as well as in Hiroshima, Japan and Florence, Italy.
With an opening reception held on Tuesday, Nov 26 from 6:30-9 pm, “Life Living Life,” will debut exhilirating international photography by father-son duo Dr. Alan Sloyer and Michael Sloyer. The pop-up exhibit, located at 498 Broome Street, will be open for visitors from 10am to 7pm daily and features photography for sale, with 100% of the proceeds benefiting international nonprofit Ghana Make a Difference.
Please RSVP to attend the opening evening festivities on Tuesday, Nov 26 from 6:30-9 pm, featuring sriking photography, music, and refreshments provided by Wine Dog Imports and Four Fox Saké. This is the artists’ premiere dual exhibition in New York City, with photographs on view reflecting the rich diversity of human culture and natural environments in Africa, Asia, the Americas, and beyond.
Emphasizing the indigenous beauty scattered the world over, the Sloyers reveal the stunning links between disparate cities, regions and continents in quiet moments of contemplation. These compelling photographs delicately weave together the narratives that form everyday life for residents of diverse areas of the globe.”Life Living Life” is the rare exhibit which celebrates our communal unity and diversity through the medium of photography.
Michael Sloyer is a Tokyo and New York-based photographer dedicated to making the world a better place through his photography. By capturing humanity and the natural environment through a fuller range of available light, Sloyer’s photographs provide insight into the emotional essence distilled in the moment. These considerations elevate the viewer’s experience from simple observation to a more sensual and introspective reflection. Michael also takes great interest in spontaneous street portraiture. From stoop-sitting elders in Old Havana, to shoemakers in the bazaars of Istanbul and children running through the streets of Old Delhi, Michael seeks to capture “life living life.”
Dr. Alan Sloyer is an award-winning, New York-based photographer who specializes in travel, landscape, and street photography. Alan took up traveling early, and his parents always preached that “travel is the best education.” Alan’s photos have appeared in many publications including the New York Times, New England Journal of Medicine, Chronos, Annals of Internal Medicine, and Shutterbug Magazine. One of his photos was also selected by Nikon for its holiday card for North and South America. Alan has been fortunate to travel around the world to unique destinations and has experienced adventures in more than 70 countries
On view from Nov 26 – Dec 8, 2019, “Life Living Life” is an exhibit that captures the beauty latent in both the everyday and the exotic – all in the name of benefiting those in Ghana who are most in need. Come to the opening reception on Nov 26 at 498 Broome Street from 6:30-9 pm to witness this stunning survey of humanity in person!
Ghana Make a Difference (GMAD) is a US registered 501(c)(3) organization that is dedicated to sustainably improving the lives of the children of Ghana by providing shelter, job training, education, and medical care. GMAD’s philosophy is centered around preserving families and providing a path to self-reliance for the people it serves.
Y. R. Egon (Ruchira Amare) cuts a stylish, erudite figure.
Based in Brooklyn, NY, the artist arrived on the New York scene from her native Mumbai with an artistic and creative practice balancing influences from Europe and her native India. Her creative leanings are underpinned by a formidable education background in Engineering and Fashion Design. Learning under established Mumbai-based artists while concurrently pursuing a degree in Engineering from the University of Mumbai, Egon distills a wide range of influences into her impressionist, yet geometrically balanced, paintings. The artist holds a Fashion Design degree from the Parsons School of Design.
The artist sat down with ANTE. to discuss themes running through her work and what’s upcoming for her on the heels of exhibitions at Dacia Gallery, Six Summit Gallery, Rochester Contemporary Art Center and The Greenpoint Gallery.
ANTE.: Your work shows formal qualities linking to modernist greats such as Piet Mondrian. Do you see your practice as continuing a dialogue with modern abstract artists from the mid-20th century?
Y.R.: I agree – yes. I have always followed Mondrian, Kazimir Malevich, Mark Rothko and Wassily Kandinsky. As Mondrian once said, “Abstract art is not the creation of another reality but the true vision of reality.” I try to have my own language and to express my emotions through my paintings.
ANTE.: Color and shape are important aspects in your paintings. How has your approach in forming connections between color and shape evolved from your studies to the present moment?
Y.R.: I have always cherished the emotion that comes out of nostalgia and longing for the past. I attempt to capture and preserve these emotions through my paintings. Over time I realized that there is a word for this behaviour in Finnish; that word is ‘kaiho,’ meaning a hopeless longing in which one feels incomplete and yearns for something unattainable or extremely difficult and tedious to attain. I use colour and shape and geometric-like patterns which are not truly geometric: these (patterns) have evolved over time and show some traces of reality.
ANTE.: Your formative education in art occurred when you were learning from painters based in India. How do you see your work forming a bridge between the Indian art canon and the Western art canon?
Y.R.: I did not have a formal art education but I studied under great and successful artists in India. I learnt many techniques from them that helped me translate and formulate my ideas using the medium of painting. I try to use my knowledge, my ideas, my inspirations and life experiences to formulate my thoughts. In the process, unintentionally I end up using different techniques and practices that span both the Indian and the Western art canon.
ANTE.: As a full-time artist, you are dedicated to painting and making art constantly; what are some of your goals in terms of exhibiting your paintings? Do you have a dream gallery you’d like to show with and/or museum or similar venue to show your work?
Y.R.: Being an ambitious artist, my goal is to better my art practice and art technique, evolve as a person through enriched life experience and to then translate that into my art and paintings. I fell in love with Gallery Perrotin the first time I went there to check out a show. The space is beautiful and dreamy. My artworks have a lot of colour but come out of the concept of dreams and it would be a dream to be able to exhibit at this space.
ANTE.: You are a poet and have trained as an engineer, alongside your work as an artist and fashion designer. How do you unite all of these disparate elements in your painting? Has it shaped how you approach art-making?
Y.R.: Yes, I studied Engineering and graduated from the University of Mumbai. I write poems but only to express my ideas through another medium. I studied Fashion Design from Parsons School of Design. I am in process of launching some garments/apparel that are inspired from my paintings from the ‘kaiho’ collection. Hence, I feel that even though they all are separate fields, it all boils down to an expression of ideas as they come together in a product or in works of art. I try to carry the same romantic feeling and emotion in all my works including my fashion illustrations. I specifically use watercolours for these, and in my next series of paintings, I plan to experiment more with watercolour in order to capture the haziness of the lost memories.
ANTE.: How has working in fashion impacted your work as a painter? Do you work with a variety of materials as a result?
Y.R.: As a fashion designer, I stand by the principles of creative construction and sustainability. I use only natural fabrics and natural dyeing on them. I also use fabric as a medium to paint and specifically natural dyed fabric which is dyed with the colours made from plants such as logwood, madder and flowers such as marigold and berries as well. I also plan to make my own natural pigments from these plants and flowers and natural materials to paint on stretched fabrics such as cotton and silk.
ANTE.: More specifically, does your work as a painter shift in scale due to your background in the fashion industry?
Y.R.: I actually am not that experimental or easily accepting to change. Hence, I try to usually paint in a certain style and on a certain size as well. But again, the scale changes a bit when it is translated on apparel or fabric paintings.
ANTE.: You’re now based in Brooklyn, NY, and have exhibited with The Greenpoint Gallery and Dacia Gallery. How does living in NYC impact your practice as an artist?
Y.R.: NYC is very dynamic and inspirational, Brooklyn specifically is the epicentre for the modern, contemporary and experimental art that is not commercial. I recently exhibited at the ‘Space 776’ as a part of their Bushwick open studios which was covered by Hyperallergic magazine! I find Brooklyn as a very important factor of my stay in the city and is very inspirational and also motivational to see and meet other artists and their work. I have exhibited at various galleries in Manhattan and Brooklyn and that serves as a booster for myself and my art practice.
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: