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tigerstrikesasteroidnetwork · 2 years

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NY / if you surrender

Dominique Duroseau, Took dis long to get here, and i still had to whisper. Black duck cloth, contractor bag, gaffer tape, laser etched text on leather, chain, gems, pins 14"x22"

if you surrender January 7 – February 11, 2023 The gallery will be open Sat & Sun from 1pm – 6pm and by appointment

Tiger Strikes Asteroid New York is pleased to present if you surrender, a group exhibition curated by Molly Davy and Daniel Johnson, featuring works by Sophie Chalk, Edi Dai, Dominique Duroseau, Sandra Erbacher, Lisa Kill, Jasmin Risk, and Anne Clare Rogers.

The works in if you surrender explore the way bodies can be a site of translation, bridging the natural world to the inner self. Each artist uses their body to transform ideas into tangible forms, integrating themes of renewal, labor and power. Together, the works invite the viewer to reflect on the tension between intimacy and abstraction. The artists employ a range of mediums and techniques that ask viewers to let go for a little bit and see where you end up.

Sophie Chalk (b. Australia, they/them) is a transdisciplinary photographic artist working primarily with concepts of queer ecology and historical archive. Working across methods from 19th-Century historical alternative photographic processes to cameraless methods such as botanical printing and some of their own creation. Chalk’s work’s feature falsified archives of queer bodies through to ephemeral, color-shifting botanical prints created by misusing museum-grade chemistry. Their practice ultimately examines the role of the photographic in the contemporary landscape as a medium that has the potential to invite us to re-see and witness again.

Edi Dai is an interdisciplinary artist who weaves, spins, and grows small batches of naturally colored cotton, investigating the complexities hidden within objects considered to be quotidian in nature. Their practice questions how bureaucracy is used to uphold power structures that reinforce exploitative labor conditions and wage discrimination. Dai received an MFA in Painting and Printmaking from the Yale School of Art in 2019 and a BA in Studio Art from the University of California, Irvine in 2010. They are currently an Artist in Residence at 18th Street Arts Center.

Dominique Duroseau (b. Chicago) is a Newark-based artist born in Chicago, raised in Haiti. Her interdisciplinary practice explores themes of racism, socio-cultural issues, and existential dehumanization. Her exhibitions, performances and screenings include SATELLITE ART and PULSE Play, The Kitchen, The Brooklyn Museum, New Museum, El Museo del Barrio, The Newark Museum, Project for Empty Space. Her recent exhibitions and talks include: solo exhibition at A.I.R. Gallery, panelist at Black Portraiture[s] at Harvard and lecturer at Vassar. She has received artist residencies from Gallery Aferro, Index Art Center and the Wassaic Project. Duroseau holds a Bachelor of Architecture and a Master of Arts in Fine Arts.

Sandra Erbacher (b. Germany) is an interdisciplinary artist living and working in New Jersey and New York. She earned her MFA from the University of Wisconsin-Madison (2014) and her BFA from Camberwell College of Art (2009). She also holds a BA and MA in Sociology from Goldsmiths College, University of London. Erbacher has exhibited nationally and internationally at Cuchifritos, ISCP, Stellar Projects, the Atlanta Contemporary Art Center and the Chazen Museum of Art. Most recently, Erbacher won a Manhattan Graphics Center Scholarship (2022). She has also participated in the 2019 Artist Alliance Inc LES Studio Program and the 2017-18 Lower Manhattan Cultural Council Workspace Residency.

Lisa Kill (b. MN) makes collages and paperworks out of found materials such as receipts, dot-matrix paper and adhesive labels. Her work alludes to one-off prints which are processed with washes of inks, household chemicals and solvents. Kill received her Bachelors of Fine Arts from the Minneapolis College of Art and Design in 2015. She currently lives and works in Saint Paul, MN.

Jasmin Risk (they/them) is a NY-based interdisciplinary artist whose work uses textiles as support and material. Risk is interested in research-creation, and the metaphoric potentials of textiles. Their work repurposes found discarded textiles, and uses knitting, felting, and mending to examine trauma and reconsider healing. They are a CFDA scholar and an MFA Textiles candidate at Parsons.

Anne Clare Rogers (b. MN) has received fellowships to such residencies as Fine Arts Work Center in Provincetown, MA and Ox-bow school of Art in Saugatuck, MI. Rogers holds an MFA in Sculpture from the University of Texas at Austin and currently lives and works in Baltimore, MD.

Curated by

Molly Davy (b. MN, she/her) is a writer, researcher, and educator interested in the intersection of performance and the archive. Her work focuses on the relationship between natural and built environments, and the potentialities between Environmental Science and the Humanities. Davy is Associate Director, Operations and Part-Time Faculty at Parsons School of Design | The New School. She is Visiting Associate Professor in the department of Humanities and Media Studies at Pratt Institute where she teaches in collaboration with Architecture faculty. Davy holds an MA in Media Studies and Visual Culture from New York University and a BA in Art History and Gender Studies from St. Catherine University.

Daniel AnTon Johnson (b. DE, he/him) is an artist with a diverse practice based in photography, language, film, and video. His work examines how technology shapes notions of identity within popular culture and contemporary visual media. Johnson has taught and lectured at School of Visual Arts, Adelphi University, Rutgers University-Newark, and Columbia University, and mentored teens at ICP and The Harlem School of the Arts. Johnson holds an MFA in Photography, Video and Related Media from the School of Visual Arts, and an MA in English from Washington College. He currently resides in Brooklyn.

All that you touch You change. All that you Change Changes you.

Octavia Butler

Tiger Strikes Asteroid’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

photos by Dalia Amara

#ifyousurrender #tigerstrikesasteroid #tiger strikes asteroid

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blackkudos · 4 years

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Carrie Mae Weems

Carrie Mae Weems (born April 20, 1953) is an American artist who works with text, fabric, audio, digital images, and installation video, and is best known for her work in the field of photography. Her award-winning photographs, films, and videos have been displayed in over 50 exhibitions in the United States and abroad, and focus on serious issues that face African Americans today, such as racism, sexism, politics, and personal identity.

She said, "Let me say that my primary concern in art, as in politics, is with the status and place of Afro-Americans in the country." More recently however, she expressed that "Black experience is not really the main point; rather, complex, dimensional, human experience and social inclusion ... is the real point."

Early life and education

Weems was born in Portland, Oregon, in 1953, the second of seven children to Carrie Polk and Myrlie Weems. She began participating in dance and street theater in 1965. At the age of 16 she gave birth to her first and only child, a daughter named Faith C. Weems. Later that year she moved out of her parents’ home and soon relocated to San Francisco to study modern dance with Anna Halprin at a workshop Halprin had started with several other dancers, as well as the artists John Cage and Robert Morris. She decided to continue her arts schooling and attended the California Institute of the Arts, Valencia, graduating at the age of 28 with her B.A. She received her MFA from the University of California, San Diego. Weems also participated in the folklore graduate program at the University of California, Berkeley.

While in her early twenties, Carrie Mae Weems was politically active in the labor movement as a union organizer. Her first camera, which she received as a birthday gift, was used for this work before being used for artistic purposes. She was inspired to pursue photography after she came across The Black Photography Annual, a book of images by African-American photographers including Shawn Walker, Beuford Smith, Anthony Barboza, Ming Smith, Adger Cowans, and Roy DeCarava, who Weems found inspiring. This led her to New York City, and the Studio Museum in Harlem, where she began to meet other artists and photographers such as Coreen Simpson and Frank Stewart, and they began to form a community. In 1976 Weems took a photography class at the Museum taught by Dawoud Bey. She returned to San Francisco, but lived bi-coastally and was invited by Janet Henry to teach at the Studio Museum and a community of photographers in New York.

Career and work

In 1983, Carrie Mae Weems completed her first collection of photographs, text, and spoken word, called Family Pictures and Stories. The images told the story of her family, and she has said that in this project she was trying to explore the movement of black families out of the South and into the North, using her family as a model for the larger theme. Her next series, called Ain't Jokin', was completed in 1988. It focused on racial jokes and internalized racism. Another series called American Icons, completed in 1989, also focused on racism. Weems has said that throughout the 1980s she was turning away from the documentary photography genre, instead "creating representations that appeared to be documents but were in fact staged" and also "incorporating text, using multiples images, diptychs and triptychs, and constructing narratives." Sexism was the next focal point for her. It was the topic of one of her most well known collections called The Kitchen Table series which was completed in over a two year period, 1989 to 1990 and has Weems cast as the central character in the photographs. About Kitchen Table and Family Pictures and Stories, Weems has said: "I use my own constructed image as a vehicle for questioning ideas about the role of tradition, the nature of family, monogamy, polygamy, relationships between men and women, between women and their children, and between women and other women—underscoring the critical problems and the possible resolves." She has expressed disbelief and concern about the exclusion of images of the black community, particularly black women, from the popular media, and she aims to represent these excluded subjects and speak to their experience through her work. These photographs created space for other black female artists to further create art. Weems has also reflected on the themes and inspirations of her work as a whole, saying,

... from the very beginning, I've been interested in the idea of power and the consequences of power; relationships are made and articulated through power. Another thing that's interesting about the early work is that even though I've been engaged in the idea of autobiography, other ideas have been more important: the role of narrative, the social levels of humor, the deconstruction of documentary, the construction of history, the use of text, storytelling, performance, and the role of memory have all been more central to my thinking than autobiography.

Other series created by Weems include: the Sea Island Series (1991–92), the Africa Series (1993), From Here I Saw What Happened and I Cried (1995–96), Who What When Where (1998), Ritual & Revolution (1998), the Louisiana Project (2003), Roaming (2006), and the Museum Series, which she began in 2007. Her most recent project, Grace Notes: Reflections for Now, is a multimedia performance that explores "the role of grace in the pursuit of democracy."

In her almost 30-year career, Carrie Mae Weems has won numerous awards. She was named Photographer of the Year by the Friends of Photography. In 2005, she was awarded the Distinguished Photographer's Award in recognition of her significant contributions to the world of photography. Her talents have also been recognized by numerous colleges, including Harvard University and Wellesley College, with fellowships, artist-in-residence and visiting professor positions. She taught photography at Hampshire College in the late 1980s. She was awarded a MacArthur Foundation Fellowship in 2013. In 2015 Weems was named a Ford Foundation Art of Change Fellow. In September 2015, the Hutchins Center for African & African American Research presented her with the W. E. B. Du Bois Medal.

The first comprehensive retrospective of her work opened in September 2012 at the Frist Center for the Visual Arts in Nashville, Tennessee, as a part of the center's exhibition Carrie Mae Weems: Three Decades of Photography and Video. Curated by Katie Delmez, the exhibition ran until January 13, 2013, and later traveled to Portland Art Museum, Cleveland Museum of Art, and the Cantor Center for Visual Arts. The 30-year retrospective exhibition opened in January 2014 at the Solomon R. Guggenheim Museum in New York City. This was the first time an "African-American woman [was] ever given a solo exhibition" at the Guggenheim. Weems' work returned to the Frist in October 2013 as a part of the center's 30 Americans gallery, alongside black artists ranging from Jean-Michel Basquiat to Kehinde Wiley.

Weems' work is included in the collections of the Metropolitan Museum of Art and the Museum of Modern Art, New York; the Museum of Fine Arts, Houston, the Minneapolis Institute of Arts, the Cleveland Museum of Art, the Portland Art Museum, the Tate Museum in London and the Museum of Contemporary Art, Los Angeles. Weems has been represented by Jack Shainman Gallery since 2008.

A full-color, visual book, titled Carrie Mae Weems, was published by Yale University Press in October 2012. The book offers the first major survey of Weems' career and includes a collection of essays from leading and emerging scholars in addition to over 200 of Weems' most important works.

Weems lives in Fort Greene, Brooklyn and Syracuse, New York, with her husband Jeffrey Hoone. She continues to produce art that provides social commentary on the experiences of people of color, especially black women, in America.

Weems is one of six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, on view at the Solomon R. Guggenheim Museum from May 24, 2019, through January 12, 2020.

Select exhibitions

Presentations of her work have included exhibitions at:

Women in Photography, Cityscape Photo Gallery, Pasadena, CA, 1981

Multi-Cultural Focus, Barnsdall Art gallery, Los Angeles, CA, 1981

Family Pictures and Stories, Multi-Cultural Gallery, San Diego, CA, 1984

People Close Up, Fisher Gallery, University of Southern California, Los Angeles, CA, 1986

Social Concerns, Maryland Institute of Art, Baltimore, MD, 1986

Past, Present, Future, The New Museum, New York, NY, 1986

Visible Differences, Centro Cultural de la Raza, San Diego, CA, 1987

The Other, The Houston Center for Photography, Houston, TX, 1988

A Century of Protest, Williams College, Williamstown, MA, 1989

Black Women Photographers, Ten.8, London, England, 1990

Who Counts?, Randolph Street Gallery, Chicago, IL, 1990

Biological Factors, Nexus Gallery, Atlanta, GA, 1990

Trouble in Paradise, MIT List Visual Arts Center, Boston, MA, 1990

Whitney Biennial, The Whitney Museum of American Art, New York, NY, 1991

Of Light and Language, Pittsburgh Center for the Arts, Pittsburgh, PA, 1991

Pleasures and terrors of Domestic Comfort, MOMA, New York, NY, 1991

Calling Out My Name, CEPA Gallery, Buffalo, NY (traveled to PPOW gallery, New York, NY), 1991

Disclosing the Myth of Family, School of the Art Institute of Chicago, Chicago, IL, 1992

Schwarze Kunst: Konzepte zur Politik und Identitat, Neue Gesellschaft fur dingende Kunst, Berlin, Germany, 1992

Dirt and Domesticity: Constructions of the Feminine, Whitney Museum of American Art, at Equitable Center, New York, NY, 1992

Art, Politics, and Community, William Benton Museum of Art, University of Connecticut, Mansfield, CT (traveled to Tyler School of Art, Temple University, Philadelphia, PA), 1992

Mis/Taken identities, University Art Museum, University of California, Santa Barbara, CA (traveled to Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremen im Forum Langenstraße, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark; Western Gallery, Western Washington University, Bellingham, WA), 1992–1994

Photography: Expanding the Collection, Whitney Museum of American Art, New York, NY, 1992–1994

Sea Island, The Fabric Workshop, Philadelphia, PA, 1993

Carrie Mae Weems (traveling exhibition), The National Museum of Women in the Arts, Washington, DC, 1993

And 22 Million Very Tired and very Angry People, Walter/McBean gallery, San Francisco Art Institute San Francisco, CA, 1993

Enlightenment, Revolution, A Gallery Project, Ferndale, MI, 1993

Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC; Herter Art Gallery, University of Massachusetts, Amherst, MA, 1993–1994

The Theatre of Refusal: Black Art and the Mainstream Criticism, Fine Arts Gallery, University of California, Irvine, CA (traveled to University of California, Davis, CA; and University of California, Riverside, CA), 1993–1994

Women's Representation of Women, Sapporo American Center Gallery, Sapporo, Japan (traveled to Aka Renga Cultural Center, Fukuoka City, Japan; Kyoto International Community House, Kyoto, Japan; Aichi Prefectural Arts Center, Nagoya, Japan; Osaka Prefectural Contemporary Arts Center, Japan; Spiral Arts Center, Tokyo, Japan), 1994

Imagining Families: Images and Voices, The Smithsonian Institution, Washington, DC, 1994–1995

Black Male, Representations of Masculinity in Contemporary American Art, The Whitney Museum of American Art, New York, NY, and The Armand Hammer Museum of Art, Santa Monica, CA, 1994–1995

Carrie Mae Weems Reacts to Hidden Witness, J. Paul Getty Museum of Art, Malibu, CA, 1995

Projects 52, Museum of Modern Art, New York, NY, 1995

StoryLand: Narrative Vision and Social Space, Walter Phillips gallery, The Banff Center for the Arts, Banff, Canada, 1995

Embedded Metaphor, Traveling exhibit, curated by Nina Felshin, 1996

Inside the Visible, Institute of Contemporary Art, Boston, MA; The National Museum of Women in the Arts, Washington, D.C., international traveling exhibition, 1996

Gender - Beyond Memory, Tokyo Metropolitan Museum of Photography, Tokyo, Japan, 1996

2nd Johannesburg Biennale, Africus Institute for Contemporary Art, Johannesburg, South Africa, 1997

Bearing Witness: Contemporary Works by African-American Artists, traveling exhibition, 1998

Taboo: Repression and Revolt in Modern Art, Gallery St. Etienne, New York, NY, 1998

Tell me a Story: Narration in Contemporary Painting and Photography, Center National d'Art Contemporain de Grenoble, Grenoble, France, 1998

Recent Work: Carrie Mae Weems 1992–98, Everson Art Museum, Syracuse, NY, 1998–1999

Who, What, When, and Where, Whitney Museum of American Art at Phillip Morris, New York, NY, 1998–1999

Ritual & Revolution, DAK'ART 98: Biennale of Contemporary Art, Galerie National d'Art, Dakar, Senegal, 1998–1999

It's Only Rock and Roll, traveling exhibition, 1999

Claustrophobia: Disturbing the Domestic in Contemporary Art, traveling exhibition, 1999

Histories (Re)membered, The Bronx Museum of Art, New York, NY, 1999

Carrie Mae Weems: The Hampton Project, Williams College Museum of Art, Williamstown, MA, 2000–2003

Looking Forward, Looking Back, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2000

Material and Matter: Loans to and Selections from the Studio Museum Collection, The Studio Museum in Harlem, NY, 2000

The View From Here: Issues of Cultural Identity and Perspective in Contemporary Russian and American Art, Tretyakov Gallery, Moscow, Russia, 2000

Strength and Diversity: A Celebration of African-American Artists, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, 2000

Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Anacostia Museum and Center for African American History and culture, Washington, DC, 2000

History Now, touring exhibition beginning at the Liljevalchs Konsthall and Riksutstallningar, Stockholm, Sweden, 2002

Pictures, Patents, Monkeys, and More... On Collecting, traveling exhibition curated by Independent curators International, Institute of Contemporary Art, Philadelphia, PA, 2002

The Louisiana Project, Newcomb Art Gallery, Tulane University, New Orleans, LA, 2003

Cuba on the Verge, International Center of Photography, New York, NY, 2003

Crimes and Misdemeanors: Politics in U.S. Art of the 1980s, Lois & Richard Rosenthal center for Contemporary Art, Cincinnati, OH, 2003

Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, TX, 2004

Beyond Compare: Women Photographers on Beauty, BCE, Toronto (traveling exhibit), 2004

African American Art - Photographs from the Collection, Saint Louis Art Museum, Saint Louis, MO, 2005

Figuratively Speaking, Miami Art Museum, Miami, FL, 2005

The Whole World is Rotten, Jack Shainman gallery, New York, NY, 2005

Common Ground: Discovering Community in 150 Years of Art, Corcoran Gallery of Art, Washington, DC, 2005

Out of Time: A Contemporary View, Museum of Modern Art, New York, NY, 2006

Black Alphabet: Contexts of Contemporary African-American Art, Zacheta national gallery of Art, Warsaw, Poland, 2006

Hidden in Plain Sight, Metropolitan Museum of Art, New York, NY, 2007

Embracing Eatonville, University of Michigan Museum of Art, Ann Arbor, MI, 2007

The 21st century, The Feminine Century, and the century of Diversity and Hope, 2009 International Incheon Women Artists' Biennial, Incheon, South Korea, 2009–2010

Colour Chart: Reinventing Color, 1950 to Today, Tate Liverpool, UK, 2009–2010

Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, UK, 2009–2010

From Then to Now: Masterworks of Contemporary African American Art, Museum of Contemporary Art, Museum of Contemporary Art, Cleveland, OH, 2009–2010

Carrie Mae Weems: Estudios Sociales, Centro Andaluz de Arte Contemporáneo, Seville, Spain, 2010

Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, NY, 2010

Slow Fade to Black, Jack Shainman Gallery, New York, NY, 2010

The Record: Contemporary Art and Vinyl, Nasher Museum, Durham, NC, 2010

Myth, Manners and Memory: Photographers of the American South, De La Warr Pavilion, East Sussex, UK, 2010

Off the Wall: Part 1 – Thirty Performative Actions, Museum of Contemporary Art, Cleveland, OH, 2010

The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1991, Neuberger Museum of Art, Purchase College, Purchase, New York, NY, 2010

Posing Beauty: African American Images From the 1890s to the Present, Newark Museum, Newark, NJ, 2010

Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, Bronx, NY, 2010

Unsettled: Photography and Politics in Contemporary Art, Philadelphia Museum of Art, Philadelphia, PA, 2010

Carrie Mae Weems: Three Decades of Photography and Video, Frist Center for the Visual Arts, Nashville, TN, 2012

This Will Have Been: Art, Love & Politics in the 1980s, Walker Art Center, Minneapolis, MN, 2012

La Triennale: Intense Proximity, Palais de Tokyo, Paris, France, 2012

Havana Biennial, Havana, Cuba, 2012

The Maddening Crowd (video installation), McNay Art Museum, Sa Antonio, TX, 2012

Carrie Mae Weems: Three Decades of Photography and Video, Portland Art Museum, Portland, OR; Cleveland Museum of Art, Cleveland, OH; Cantor Center for the Visual Arts, Stanford, CA, 2013

Feminist And..., The Mattress Factory, Pittsburgh, PA, 2013

Seven Sisters, Jenkins Johnson Gallery, San Francisco, CA, 2013

Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum. New York, NY, 2014

P.3 Prospect New Orleans, The McKenna Museum, New Orleans, LA, 2014

Color: Real and Imagined, Pippy Houldsworth Gallery, London, England, 2014

Carrie Mae Weems: The Museum Series, Studio Museum in Harlem, New York, NY, 2014

Wide Angle: American Photographs, University of Kentucky, Lexington, KY, 2014

The Memory of Time, The National Gallery of Art, Washington, DC, 2015

Triennale di Milano, Milan, Italy, 2015

Winter in America, The School (Jack Shainman Gallery), 2015

An Exhibition of African American Photographers from the Daguerreian to the Digital Eras, Marshall Fine Arts Center at Haveford College, Haveford, PA, 2015

Represent: 200 years of African American Art, Philadelphia Museum of Art, Philadelphia, PA, 2015

Under Color of Law, The Philip and Muriel Berman Museum of Art and Ursinus College, Collegeville, PA, 2015

30 Americans, Detroit Institute of Arts, 2015

Grace Notes: Reflections for Now, Spoleto Festival, Spoleto, Italy, 2016

The Ethelbert Cooper Gallery of African & African American Art. Cambridge, MA, 2016

Viewpoints, Henry Art Gallery, University of Washington, Seattle, WA (February 18–June 18, 2017)

We Wanted a Revolution: Black Radical Women, 1965–85, Brooklyn Museum, Brooklyn, NY (April 21–September 17, 2017)

Blue Black, Pulitzer Arts Foundation, St. Louis, MO (June 9–October 7, 2017)

Matera Imagined: Photography and a Southern Italian Town, American Academy in Rome, Rome, Italy (2017)

...And the People, Maruani Mercer, Knokke, Belgium (August 5–September 4, 2017)

Medium, Zuckerman Museum of Art, Kennesaw State University, Kennesaw, GA (August 29–December 3, 2017)

Carrie Mae Weems: Ritual and Revolution, Block Museum of Art, Northwestern University, Evanston, IL (September 12–December 10, 2017)

Dimensions of Black, Manetti Shrem Museum of Art, University of California, Davis, Davis, CA (September 17–December 28, 2017)

Posing Beauty in African American Culture, Mobile Museum of Art, Mobile, AL (October 6, 2016 – January 21, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, California African American Museum, Los Angeles, CA (October 13, 2017 – January 14, 2018)

Edward Hopper Citation of Merit in the Visual Arts Recipient Exhibition, Carrie Mae Weems: Beacon, Nyack, NY (November 10, 2017 – February 25, 2018)

Making Home: Contemporary Works From the DIA, Detroit Institute of Arts, Detroit, MI (December 1, 2017 – June 6, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, Institute of Contemporary Art, Boston, MA (June 27–September 30, 2018)

Be Strong and Do Not Betray Your Soul: Selections from the Light Work Collection, Light Work, Syracuse, NY (August 27–October 18, 2018)

Carrie Mae Weems: Strategies of Engagement, McMullen Museum of Art, Boston College, Boston, MA (September 10–December 13, 2018)

Family Pictures, Milwaukee Art Museum, Milwaukee, WI (September 14, 2018 – January 20, 2019)

Heave, 2018 Cornell University Biennial, Cornell University, Ithaca, NY (September 20, 2018–November 5, 2018)

Carrie Mae Weems: Strategies of Engagement, Allentown Art Museum, Allentown, PA (January 13, 2019–May 5, 2019)

Carrie Mae Weems II Over Time, Goodman Gallery, Johannesburg, South Africa (September 7, 2019–October 5, 2019)

Awards

2005: Distinguished Photographers Award

2007: Anonymous Was A Woman Award

2013: Congressional Black Caucus Foundation's Lifetime Achievement Award

2013: MacArthur Fellow, "Genius" Award

2014: BET Visual Arts Award

2014: Lucie Award

2015: ICP Spotlights Award from the International Center of Photography.

2015: Ford Foundation Art of Change Fellow

2015: W.E.B. Du Bois Medal from Harvard University

2015: Honorary Doctorate from the School of Visual Arts

2016: National Artist Award, Anderson Ranch Arts Center

2016: Roy and Edna Disney Cal Arts Theatre

2016: College Arts Association

2016: DeFINE ART

2016: Art of Change Fellow, Ford Foundation

2017: Honorary Doctor of Fine Arts degree from Syracuse University

2017: Inga Maren Otto Fellowship, The Watermill Center

2019: Honorary Fellowship of the Royal Photographic Society, Bristol.

Publications

Carrie Mae Weems : The Museum of Modern Art (N.Y.), 1995.

Carrie Mae Weems : Image Maker, 1995.

Carrie Mae Weems : Recent Work, 1992––1998, 1998.

Carrie Mae Weems: In Louisiana Project, 2004.

Carrie Mae Weems: Constructing History, 2008.

Carrie Mae Weems : Social Studies, 2010.

Carrie Mae Weems : Three Decades of Photography and Video, 2012.

Carrie Mae Weems: Kitchen Table Series, 2016.

#04/20

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159sutton · 5 years

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January/February 2020

January / February 2020

Wintergarden January 10 – February 14, 2020

Opening Saturday January 11, 5-7PM

Wintergarden is a three-person show of Providence-based visual artists. In the midst of post-solstice frosted grey days, the works exhibited in Wintergarden explore how color, expressed through a variety of material processes, can offer a flame of pleasure. Gleaning energy from the studio in place of the sun, these works express a particular seasonal caretaking and optimism akin to Victorian wintergardens and glasshouses—intended to nourish plants for medicine and gratification during dormant cycles.

Judd Schiffman's large wall mural scenes are constructed from individually glazed ceramic pieces, fixed to the wall in a rhythmic sequence. The characters are animals or creatures, the boundaries they live within are rocks or feathers or other abstract shapes. Within their frames, the stories suggest something archetypal: lessons to learn, or experiences memorialized. Through a collaborative process with his wife Athena and daughter Frances, the artist composes narratives reflecting the inner life of the contemporary family, exploring rites of passage, and grappling with the complexities of being a father. Schiffman's work investigates themes of masculinity, discovery of self, sexuality, and family, and all the nuanced guilt, confusion, and elation that exist in tandem.

In Heather Leigh McPherson's vibrant low-relief works, cast epoxy acts as both a painting support and container for the textiles and drawings embedded within. It selectively renders drawings transparent, emphasizing the shallow depth of a single piece of paper and turning recto and verso into one body. McPherson’s work visually vibrates and flows, capturing the motion of a liquid in the form of a solid and exploring materials’ capacities to act and be acted upon. From more referential bits and pieces—religious imagery, cartoon facial expressions, hands reaching—these works unfold to visualize flickering experiences of wisdom and stupidity that spring from the eyes, the mind, and the body.

Scott Alario's recent experiments include multi-panel photographic vignettes. The photographs are printed on canvas and floated in handmade frames. The frames' design and construction draws inspiration from kids’ divided dinner plates, creating intentional boundaries between related images. The emphasis on the materiality of the images as objects, as well as the pictures' container, revisits a theme in Alario's work with his immediate family: a desire to control an experience versus the messiness of a lived one. Something equally age-old shows up in the content of the imagery: the infinite versus the finite, shown visually in the photographs as nods to the cosmic.

show dates: Jan 11 - Feb 14 2020

bios:

ALARIO (b. 1983) photographs depart from a process in which he, his partner, and their children work together to stage perform and edit each work. Alario's experimental approach to portraiture includes the use of multiple exposure, color separation, and macro lenses, to document the movement and actions of the young members of his family: "I’m looking for: unseeable squirming, shifting, and growth, arms flailing in ecstasy, or light slowly moving across our walls." Alario received an MFA in Photography from the Rhode Island School of Design in 2013 and a BFA from the Massachusetts College of Art in 2006. His work has been discussed in The New Yorker, American Photo, Collector Daily, Time Lightbox, and Vice.com,and is included in the collection of the RISD Museum, Providence, RI, among others.

McPHERSON (b. 1984) makes painting, sculpture, and animation. Recent solo exhibitions include Tip of The Nose at GRIN Providence, High Bottom at Actual Size Los Angeles, 30 Special Colors at Greenlease Gallery in Kansas City and Anytime Concept at Vox Populi in Philadelphia; she was also included in the 2016 deCordova New England Biennial. McPherson has been on the full-time faculty of Providence College since 2009, where she teaches courses on painting, studio research, and contemporary art history. McPherson holds a bachelor's degree from Washington University in St. Louis and a master's from Rhode Island School of Design.

SCHIFFMAN (b. 1982) is a Providence, Rhode Island-based artist working primarily in ceramics. He has lectured at Harvard University Ceramics and Brown University, and participated in residencies at the Zentrum Fur Keramiks in Berlin, Germany and Arch Contemporary in Tiverton, Rhode Island. Schiffman received his MFA from the University of Colorado in 2015, and his BA from Prescott College in 2007. Schiffman’s work has been exhibited in New York City, Los Angeles, CA, Portland, OR, Boulder, CO, Beacon, NY, Providence, RI, Fall River, MA, and Berlin, Germany. In 2016, he received an emerging artists award from the National Council for the Education of Ceramic Arts. Schiffman is currently a Visiting Assistant Professor of Ceramics at Providence College.

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foxint725 · 3 years

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Mi Maleta Musical Discografias Completas

Mi Maleta Musical Discografias Completas Cristianas

Discografias Completas En Un Link

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Discografias Completas En Un Link

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architectnews · 3 years

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Pell Bridge pedestrian and cycling lanes

Pell Bridge cycling lanes, Rhode Island design, RISD Interior Architecture students proposal images

Pell Bridge pedestrian and cycling lanes, Rhode Island

August 12, 2021

Location: Rhode Island, USA

RISD Interior Architecture students propose innovative designs for adding pedestrian and cycling lanes to iconic Pell Bridge.

Crossing the Pell photos : Jo Sittenfeld, Courtesy Rhode Island School of Design

Pell Bridge cycling and pedestrian lanes

The Pell Bridge measures 2.1 miles across and rises to a peak that stands 400 feet off the water to allow Navy aircraft carriers to pass underneath the roadbed below. Students began by creating a 3D model of the existing bridge structure.

Providence, RI, August 2021 – Rhode Island School of Design’s Interior Architecture students have created innovative design proposals to add pedestrian and cycling lanes to Pell Bridge, an iconic suspension bridge connecting Newport and Jamestown, RI.

When the state of Rhode Island completed the iconic Newport Bridge in 1969, the massive steel-framed suspension bridge connecting Jamestown and Newport stood as a testament to economic and technological progress. Measuring 2.1 miles across (about the length of Central Park in NYC) and rising to a peak that stands 400 feet off the water in order to allow Navy aircraft carriers to pass underneath the roadbed below, the bridge offers motorists spectacular views of Narragansett Bay.

In 2019, when the state celebrated the 50th anniversary of the structure (which has been renamed the Claiborne Pell Bridge after the longtime US senator), Senator Sheldon Whitehouse and other forwardthinking government leaders wondered if there was a way to make the bridge accessible to pedestrians and cyclists. They also hoped to reroute access on the Newport side, where the on-ramp now divides the economically disadvantaged North End from the more affluent areas of the city. Rendering displays the media arts possibilities that adding a secondary structure would allow. Courtesy Rhode Island School of Design.

Professor Liliane Wong, who heads up RISD’s Interior Architecture department, posed the design challenge to graduate students in a spring studio focused on adaptive reuse. “Proposing change to an icon like the Pell Bridge is difficult,” Wong notes. “Our goal was to help acclimate the public to something new using virtual reality to create an immersive 3D experience.”

Eight graduate students—Shuyi Guan MLA 22, Nupoor Maduskar MA 21, Saira Margarita Paz Nepomuceno MA 21, Seung Hwan Oh MLA 22, Demi Okunfulure MA 21, Sofia Paez MA 21, Mohan Wang MLA 22 and Yu Xiao MLA 22—formed cross-disciplinary teams of two and developed stunning visions for adding a suspended lower level to the bridge that would allow for pedestrians and cyclists as well as arts venues, parks, cafes and even a floating fish market.

With guidance from Wong and faculty members Michael Grugl, Andrew Hartness and Wolfgang Rudorf, students considered everything from intense wind conditions to expected sea level rise to new, lightweight composite materials in their plans. They studied successful projects launched elsewhere, like the Lightpath in Auckland, New Zealand and Superkilen Park in Copenhagen, Denmark, with an eye toward environmental impact, social equity and feasibility.

Okunfulure and Wang proposed a system that would harness solar and wind energy via photovoltaic and piezoelectric components to power the bridge’s lights as well as 275 homes (see image, above). They describe their methodology as “a holistic approach to the future of bridge design that captures energy through infrastructure.”

Maduskar and Xiao played off the area’s historic fisheries and envisioned a new floating fish market and a series of floating eco-islands along the span that would create new habitats for fishes and spur a new type of fishing tourism. The project pays homage to the state’s fishing economy by incorporating an architectural vocabulary of nets that play with natural elements such as light, wind and gravity.

Nepomuceno and Oh also hope to boost the local economy with their proposal and to embrace tourism with a welcome center, docking points for sailboats and a spectacular outdoor theater on the bridge viewable from a new floating amphitheater. Paez and Guan responded to concerns about high winds with an enclosed 3Dprinted structure created from carbon fiber and wrapped with a translucent composite membrane. These groundbreaking construction methods would be safer, quicker and less costly.

In late May the class presented their ideas to Whitehouse’s team using cardboard VR viewers and a tour of the site created with Pano software, offering a visceral sense of what it would mean to cross the Pell on foot. “I am completely in awe of the vision and talent of these RISD students,” says Whitehouse. “They reimagined what the Pell Bridge could be. I hope Rhode Islanders will be inspired by these designs as we look to include more innovative elements in future infrastructure projects.”

Funding from the Champlin Foundation allowed the Interior Architecture students to purchase VR/AR headsets, a stationary bike and other equipment needed to create an immersive exhibition presenting the four design schemes at RISD’s Sol Koffler Graduate Student Gallery (on view August 2–6, 1–5 pm). Plans are also in the works for the exhibition to travel to a series of other Rhode Island venues. The goal is to inspire citizens and encourage government leaders to adopt elements of the student designs for implementation.

Wong was on hand to introduce the project to visitors at the exhibition opening. “Whatever the long-term outcome of their proposals, I couldn’t be more proud of the students in this class,” she says. “As the culminating learning experience in a post-professional program, the studio supports RISD’s commitment to sustainability—a pillar of our strategic plan—and pushed them to consider real-life parameters such as communities divided by economic disparity, the threat of sea level rise and the positive and negative effects of tourism on the city. These are exactly the kinds of issues that successful professionals contend with in practice.”

Rhode Island School of Design

RISD’s mission, through its college and museum, is to educate students and the public in the creation and appreciation of works of art and design, to discover and transmit knowledge and to make lasting contributions to a global society through critical thinking, scholarship and innovation. The college’s strategic plan NEXT: RISD 2020–2027 sets an ambitious vision for educating students for the future and bringing creative practices to bear on the creation of just societies, a sustainable planet and new ways of making and knowing.

RISD’s immersive model of art and design education, which emphasizes critical making through studio-based learning and robust study in the liberal arts, prepares students to intervene in the critical challenges of our time. Working with exceptional faculty and in extraordinary specialized facilities, 2,225 students from 60 countries engage in 44 full-time bachelor’s and master’s degree programs. RISD’s 30,000 alumni worldwide testify to the impact of this model of education, exemplifying the vital role artists and designers play in today’s society. Founded in 1877, RISD (pronounced “RIZ-dee”) and the RISD Museum help make Providence, RI among the most culturally active and creative cities in the region. Find more information at risd.edu.

Pell Bridge pedestrian and cycling lanes in Rhode Island images / information received 120821

Location: 60 Waterman Street, Providence, Rhode Island, USA

Rhode Island Buildings

Rhode Island Architecture

North Hall, 60 Waterman Street, Providence Architect: NADAAA photograph : John Horner North Hall in Rhode Island

Brown University Performing Arts Center Building Design: REX Architecture image courtesy of architects Brown University Performing Arts Center in Providence

Performing Arts Center for Brown University, College Hill Campus Design: REX Architecture render © LUXIGON Performing Arts Center for Brown University

Joukowsky Institute for Archaeology and the Ancient World Design: Anmahian Winton Architects photo © Peter Vanderwarker Joukowsky Institute for Archaeology and the Ancient World in Providence, RI

A New House on College Hill Design: Friedrich St.Florian Architects photograph : Warren Jagger House in Providence

Providence Architecture, Rhode Island

Brown University Performing Arts Center in Providence

Developments in Neighbouring States

Connecticut Architecture

Massachusetts Architecture

New York State Architecture

American University Buildings

Harvard University Graduate Housing, Massachusetts Kyu Sung Woo Architects Harvard University Graduate Housing

Natick Collection, Natick, Massachusetts Beyer Blinder Belle Massachusetts Building

Comments / photos for the Pell Bridge pedestrian and cycling lanes in Rhode Island page welcome

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glimmerbugart · 1 year

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Watercolor Villages Galore!

Such imagination in the Saturday Whimsical Watercolors 1 Class I can’t even wrap my head around it!

These photos represent a smattering of the fabulous and imaginative paintings that came out of class last week! The colors, doodles, collage, words and details are absolutely OUT OF THIS WORLD!!

Here are some more photos of the creativity:

This past Saturday we worked on using less paint and more water for a less saturated look. We also worked on learning how to paint different mushrooms and how to create adorable collage characters to add to our work. It’s always a lot of fun in this class, filled with painting, tunes and lots of laughs!

#Studio Art Class #Artist Studio Harvard MA #Art Studio Littleton MA #art studio #art studio in Harvard MA #Art Studio #harvard ma art studio #Harvard MA Art Studio #Littleton MA Art Studio #Watercolor #watercolor class Harvard MA #watercolor classes #watercolor art class #Watercolor Paintings #adult watercolor class #Online Watercolor Class #beginner watercolor classes #Beginner Watercolor Class

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greensparty · 4 years

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Takeaways from Chris Frantz’ Memoir

Chris Frantz has had such an interesting story that it’s kinda a surprise that he hasn’t written a memoir yet. As the drummer for the Talking Heads he co-founded the group with his college girlfriend bassist Tina Weymouth. The two met at RISD and married in 1977 just as the Talking Heads were becoming a big part of the Downtown NYC scene. They were hip and cool enough to get played on MTV and college radio, but artsy and edgy enough to be a non-punk band accepted by the CBGB’s crowd. Just as the band was taking off, Frantz and Weymouth formed a side group Tom Tom Club. For me, I always dug the Talking Heads, but I never got heavy into them. Probably because by the time I was getting into music, it was towards the end of the band. But I always liked their sound and had great respect for them being early music video pioneers, i.e. “Once in a Lifetime”, “Burning Down the House” and “Road to Nowhere”. But the group’s greatest artistic achievement ever was the 1984 Talking Heads concert film Stop Making Sense directed by Jonathan Demme. Whenever music geeks or film geeks argue the greatest concert movie of all time it almost always comes down to The Last Waltz and Stop Making Sense. Both were excellent, but if I had to choose I’d go with Stop Making Sense. It is just the concert movie Gold Standard. But I digress. St. Martin’s Press recently released Frantz’ memoir Remain In Love: Talking Heads, Tom Tom Club, Tina.

book cover

Here are some takeaways from the book:

1) Boston connections

When Chris was very young after being born in Kentucky, his family actually moved to Boston when his father went to Harvard Law School. His family rented a house in Arlington, MA! Talking Heads guitarist Jerry Harrison had previously been in the Modern Lovers and the Talking Heads (then a trio) came to Boston to ask Harrison to join their band as he was enrolled at Harvard. One of their first shows with Harrison was at The Rat in Boston too. When they began touring, they returned to Boston and Jerry introduced the band to Modern Lovers drummer David Robinson who was now in The Cars. They also did a radio show with Oedipus at MIT, who later ran WBCN and kept Talking Heads in heavy rotation. They recorded in Maynard, MA at Northern Studios too! They opened for The Ramones at the Orpheum Theater in Boston (what a show that must’ve been)! They also worked with MIT on the album cover for Remain in Light.

2) Married his College Sweetheart

Frantz and Tina Weymouth began dating at RISD and they formed Talking Heads together, got married, and are still happily married today with two grown kids!

Weymouth and Frantz, circa early 1970s

3) Name Droppings

There’s loads of encounters with other celebs including Lou Reed, Andy Warhol, The Ramones, Blondie, The Boomtown Rats, The Clash, The Cars, XTC, Dire Straits, David Bowie, Robert Palmer, U2, Bruce Springsteen, and more.

4) TV Party

Frantz has more than a few stories about Talking Heads’ TV appearances on American Bandstand, SNL, and more.

5) Side Project Outlasted Talking Heads

In 1981 with Talking Heads breaking through, both David Byrne and Jerry Harrison did their own solo albums, so Chris and Tina formed their side group Tom Tom Club. The group is still together and were known for their hit “Genius of Love” later sampled by numerous hip-hop and dance songs including Mariah Carey’s “Fantasy”.

Byrne and Frantz in Stop Making Sense

6) Making Sense

During the band’s 1983 tour, Demme directed the band’s three shows in L.A. for the concert documentary Stop Making Sense. Frantz shares some behind the scenes details. At the same time he was directing Stop Making Sense, Demme was also directing Swing Time, so he wasn’t actually at the concert as it was being filmed, but his fingerprints are all over the film thanks to his crew.

7) A Happy Ending

The Talking Heads broke up in 1992 and it was kind of a bad break-up, Byrne kept the band on standby for years as he pursued solo projects. The rest of the band found out when Byrne mentioned it in an LA Times article. The rest of the band didn’t talk to Byrne for years until 2002 when Talking Heads were inducted into the Rock and Roll Hall of Fame and the four rehearsed and played some songs at the induction ceremony. Frantz gave a brief thank you to the Rock Hall for “giving this band a happy ending”.

For info on Remain In Love: https://us.macmillan.com/books/9781250209221

#chris frantz #talking heads #tom tom club #remain in love #stop making sense #David Byrne #tina weymouth #jerry harrison #jonathan demme #books #film geek #music nerd

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tigerstrikesasteroidnetwork · 3 years

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LA / By Ear

Images: (left) Kirsten Lamb, Studio wall with Moon, Observatory, Arctic Landscape, Parabolic Curves (#8), 30 x 22 in, acrylic on canvas, 2021 (right) Matthias Moravek, Storm, contained in a square, 79" x 79", (200 x 200cm), charcoal on paper, 2022

By Ear Part 1: April 14-May 7 Tiger Strikes Asteroid LA 1206 Maple Ave #523, Los Angeles, CA Artist reception: April 14, 6-8pm [Image List and Audio]

Teil 2: May 13- May 28 Axel Obiger, Brunnenstraße 29, 10119 Berlin Artist reception: May 13, 7-10pm

In music, playing by ear is a term for performing a piece from memory and intuition rather than from a proper score. By Ear takes inspiration from this concept and uses it as a model for collaboration between visual artists from Berlin and Los Angeles/New York. Delayed for almost two years, the exhibition at Tiger Strikes Asteroid Gallery will showcase works created by Berlin based artists following concepts from LA/NYC based artists in the orbit of Tiger Strikes Asteroid. Each artist in the exhibition has made a new artwork based solely on audio descriptions of an existing artwork created by artists from the other city. It is an exercise in interpretation and imagination and willfully limited communication in an age defined by fluid and constant contact. It is a way for artists to be generous with their ideas, diminish their ego and try to harmonize with a fellow artist from another culture.

This project has been generously supported by the Checkpoint Charlie Foundation.

By Ear: (part 1) @ TSA LA, 1206 Maple Ave #523, Los Angeles, CA

Work by: Thilo Droste, Juliane Duda, Nathalie Grenzhaeuser, Harriet Gross, Gabriele Kuenne, Matthias Moravek, Enrico Niemann, Maja Rohwetter

Concepts by: Johanna Braun, Vanessa Chow, Vita eruhimovitz, Jacob Feige, Laura Greengold, Kirstin Lamb, Michael Niemetz, Liz Nurenberg, Kari Reardon, Jackie Rines & Chris Ulivo

By Ear: (Teil 2) @ Axel Obiger, Brunnenstraße 29, 10119 Berlin Work by: Johanna Braun, Vanessa Chow, Vita Eruhimovitz, Jacob Feige, Laura Greengold, Kirstin Lamb,

Michael Niemetz, Liz Nurenberg, Kari Reardon, Jackie Rines & Chris Ulivo

Concepts by: Thilo Droste, Juliane Duda, Nathalie Grenzhaeuser, Harriet Gross, Gabriele Kuenne, Matthias Moravek, Enrico Niemann, Maja Rohwetter

Artist Bios

Christopher Ulivo www.christopherulivo.com @christopherulivo

(b.1977, Brooklyn, NY, USA) lives and works in Ventura, California. He is an artist, educator and member of Tiger Strikes Asteroid Los Angeles. Ulivo received a BFA from the Tyler School of Art, Temple University, and an MFA from Rhode Island School of Design. His work, mostly egg tempera paintings, imagine the confluences and collisions of fate, myth, personal lineage and the unintended consequences of unlimited wish fulfillment. The resulting paintings are visually dense and darkly humorous. In the course of his career, he has both exhibited and organized shows across the United States and Europe including: The Benkai Museum,Athens, Felix Art Fair, Los Angeles, the RISD Museum, Susan Inglett Gallery, NY, SPRING/BREAK NY & LA, the Brooklyn Academy of Music and the Museum of Contemporary Art Santa Barbara as well as some pretty questionable places.

Kirstin E. Lamb Providence, RI and Pawtucket, RI http://kirstinlamb.squarespace.com insta: @kirstin.lamb

Kirstin is a painter living in Providence, Rhode Island and working in Pawtucket, Rhode Island. Kirstin studied painting at the Rhode Island School of Design, graduating with an MFA in 2005, and she received her AB in Visual Art and Literatures in English from Brown Univeristy in 2001. Kirstin’s work has been shown in venues across the country and abroad, recently showing at the Spring Break Art Fair in NY, Periphery Space at Paper Nautilus in Providence, RI, the Wassaic Project in Amenia, NY, the Fruitlands Museum in Harvard, MA and Providence College Galleries in Providence, RI, among others. She has attended residencies at the Atlantic Center for the Arts, Vermont Studio Center, Bunker Projects, the Wassaic Project, the Kimmel Harding Nelson Center for the Arts, The Ora Lerman Trust Soaring Gardens Artist Residency, and the Sam and Adele Golden Foundation. Kirstin recently completed a two-year contract curator position at The Yard, Williamsburg, a coworking space in Brooklyn that hosts solo and group shows quarterly, and has begun planning online and new curatorial projects in New England. Kirstin gratefully acknowledges the role that her 2020 Rhode Island State Council for the Arts grant has played in her newest work. Her work is in the collections of Fidelity Investments, Boston, MA, the Fruitlands Museum, Harvard, MA, and Providence College, Providence, RI, among others.

Liz Nurenberg www.liznurenberg.com @liznurenberg

Liz Nurenberg (b. 1978) is a Los Angeles based artist. She received a Bachelor of Fine Arts from Grand Valley State University (2003) and a Master of Fine Arts from Claremont Graduate University (2010.) Liz is an Associate Professor in the Foundation department at Otis College of Art and Design. She is a member of Tiger Strikes Asteroid Los Angeles. Liz was awarded a fellowship to Ox-Bow School of Art and Artist Residency, a Helen B. Dooley Fellowship at Claremont Graduate University, and received a California Community Foundation Emerging Artist Grant. She has exhibited her work nationally and internationally at such venues as the Holter Museum (Helena, Montana), Pasadena Armory Center for the Arts (Pasadena, CA), Elephant Art Space (Los Angeles, CA), HilbertRaum Gallery (Berlin, Germany), and the Torrance Art Museum.

Jacob Feige jacobfeige.com @jacobfeige

Jacob Feige is a visual artist working primarily in painting. He has exhibited his work in solo exhibitions at Rule Gallery, Marfa and Denver, David Richard Gallery, New York, Lombard Freid Projects, New York, and Movement, Worcester, UK. Other exhibitions have been held at Wasserman Projects, Detroit, Chambers Fine Art, Beijing, Watergate Gallery, Seoul, the John H Baker Gallery, West Chester University, and the Brooklyn Academy of Music, among other venues. Reviews of his work have appeared in Artforum, Freize, The New Yorker, and Art in America. The Phaidon Press anthology of contemporary abstract painting, Painting Abstraction, edited by Bob Nickas, includes a section on his work. In 2011 he co-founded Title Magazine, an online publication of art criticism, essays, and artists projects in Philadelphia, co-editing the publication through 2016. In 2018 he was artist-in-residence at the Princeton Cyprus Expedition, Polis Chrysochous, Cyprus. He received his undergraduate degree in visual art and the humanities from Carnegie Mellon University and an MFA in painting from the Cranbrook Academy of Art. He is currently Associate Professor of Art at Stockton University, New Jersey.

Kari Reardon karireardon.com instagram: ohhhshute

Kari Reardon is a Los Angeles based artist originally from Minneapolis Minnesota. She received her BFA from the School of the Art Institute of Chicago and completed her MFA in 2012 from the California Institute of the Arts (CalArts). Since 2016 she has been an active member of the artist-run exhibition space Tiger Strikes Asteroid, Los Angeles.

Kari is also an educator and teaches a wide range of sculpture courses at California State University Northridge, her favorite being bronze and aluminum casting. A recipient of numerous grants, residencies and fellowship, she has shown her works throughout the US and internationally, including at the Getty Villa, Torrance Art Museum, Fellows of Contemporary Art Gallery, Elephant Art Space (all in Los Angeles, CA), HilbertRaum Gallery (Berlin, Germany), and One mess gallery (Vienna Austria). Her larger-scale sculptures can be seen at the Skokie Northshore Sculpture park in IL, Josephine Sculpture Park in KY as well as in Gigondas, France.

Vita Eruhimovitz www.vitaeruhimovitz.com @vita_eruhimovitz

Vita Eruhimovitz was born in Ukraine, grew up in Israel and currently lives and works in Los Angeles. Vita holds a BFA from Shenkar College (2012) and an MFA from Washington University in Saint Louis (2015). Vita’s background in science and technology inspires and informs her practice. Her work has been shown nationally and internationally, including at the Mildred Lane Kemper Museum, the Contemporary Art Museum in Saint Louis, Museum of Design Holon in Israel, Brattleboro Museum in Vermont, and at the San Diego Art Institute Museum. Her work has also been shown with Walter Wickiser gallery, Denise Bibro gallery, the Chashama Art Space, Black and White gallery, The Governors Island Art Fair in NYC, Wonzimer gallery in Los Angeles, and more. Vita has been awarded artist in residence at Vermont Studio Center, Herzliya Artist Residence, Israel, Trestle Art Space, NYC, Playa, OR, and more.

Erin Harmon @erinjoyharmon

Erin Harmon was raised in the suburbs of Southern California where natural desert is sated by hundreds of miles of aqueducts to produce obsessively groomed lawns. After graduating from San Diego State University with a BA in Studio Art, she received her MFA in Painting from Rhode Island School of Design. Erin currently lives in fertile Tennessee where kudzu and coal sludge can swallow everything in their path. She has exhibited her work nationally in both group and solo exhibitions at venues including Field Projects, NY; Sarah Doyle Gallery, Providence RI; Atlanta Artists Center & Gallery, Atlanta GA; the Brooks Museum of Art, Memphis, TN; and the Attleboro Arts Museum, Attleboro, MA and LAUNCH Gallery, LA. Erin has been invited to produce commissions for organizations including Ballet Memphis, The Women’s Foundation of Greater Memphis, and the Memphis in May International Festival. Currently she holds the James F. Ruffin Chair of Art at Rhodes College and a founding member of Tiger Strikes Asteroid Los Angeles. While not a gardener in the traditional sense, Harmon cultivates seeds of interest with a variety of influences. Her observed environment, bonsai trees, mid-century modern design, classic Disney movies, 1970’s psychedelic black-light posters, Baroque theaters, and science fiction all influence her work.

Jackie Rines Insta: jackierines

Jackie Rines is a Los Angeles-based artist who primarily works in clay at a large scale. Her recent work addresses status symbols and power dynamics through the use of humor, opulence, and various genres of home décor that span from McMansions and Dictator Style to home goods readily available at outlet malls. Prior to attending UCLA for her MFA, Rines lived in Detroit. She has been awarded a Jerome Fellowship at the Northern Clay Center in Minneapolis and has been a resident at Henry Street Settlement in New York City.

Vanessa Chow Insta: vanessachowstudio

Vanessa Chow was born in Hong Kong and currently lives and works in Los Angeles. She received her M.F.A. from the Rhode Island School of Design. Vanessa makes work that is low tech, human scale. Her subject matter is usually inspired by the hundred of hours spent looking and being in the Pacific Ocean. She is interested in things that are profoundly handmade and things that are sustainable to the environment. Exploring the element of play is a common theme in her work. She has exhibited in spaces like the Armory Center for the Arts, LAM Gallery, Steve Turner Gallery among others in Los Angeles as well as venues in New York City and Hong Kong.

Laura Greengold lauragreengold.com insta: @lauragreengold

(B.1976, New Haven CT, USA) lives and works in Brooklyn, NY. Greengold works with oil, marble dust, animal skin, and pigments to document the often taken for granted shared human experience of the dream world. Realizing we spend nearly half our lives in the dream state, Greengold uses her memory of this nightly passage as the wellspring for her work. Greengold received her MFA from Yale University in 2000, and a BFA from the School of the Art Institute of Chicago in 1998. Her most recent solo exhibition was at Monya Rowe Gallery, NYC. Greengold's past work includes a series of paintings that attempt time-travel, painted for her grandmother to see in her youth. This series of paintings: 'Spooky Action at a Distance’, will be exhibited in Sol Lewitt’s Connecticut designed Synagogue, Rodfe Zedek in the Fall of 2022. Greengold received the Alice Kimble English Traveling Fellowship, from Yale University and the Vermont Studio Center Fellowship. Greengold has exhibited her work nationally in both group and solo exhibitions at venues including SRO Gallery, Brooklyn, NY, Elga Wimmer Gallery, New York and 33 Bond Gallery, New York.

Matthias Moravek www.matthiasmoravek.de Insta: @matthias_moravek

When nature becomes form. Matthias Moravek’s paintings, drawings and sculptures are an intensive and playful analysis of content, form and colour, exploring the wide range between abstraction and figuration. In his recent works he draws inspiration from natural phenomena such as forests, jungles, clouds and vulcanos and their cultural perception.

Matthias Moravek (*1976 in Muehlacker, Germany) studied painting at the State Academy of Fine Arts in Karlsruhe and then moved to Berlin where he graduated from the University of Arts (UdK). He has since received grants and scholarships that have provided him with opportunities to work and exhibit in Berlin, Ahrenshoop (Germany), Istanbul, Saint-Louis (Senegal) and Los Angeles. His works have been part of many national and international group and solo exhibitions in galleries and museums and can be found in numerous private collections. Matthias Moravek lives and works in Berlin.

Solo exhibitions (selection): „Revue Tropique“, Galerie Greulich, Frankfurt/Main, 2022, „Prospect Park“, Axel Obiger, Berlin, 2021, „Menagerie“, Galerie Greulich, Frankfurt/Main, 2020, „Carte Blanche“, Axel Obiger, Berlin, 2019, „Perceptions and Sensations“, Galeri Miz, Istanbul, 2014 // Group exhibitions (selection): „Wildnis“, Städtische Galerie Lichtenberg, Berlin 2020„Co/Lab“, TAM Torrance Art Museum, 2018, „Interdisciplinary“, Galeri Miz, Istanbul, 2014, „Jetzt“, Galerie Anja Knoess, Cologne, 2015

Thilo Droste www.thilodroste.de @thilo.droste

Thilo Droste (b. 1977) lives and works in Berlin. His works often follow an intense examination of existing situations and conditions, themes and different contexts. The conceptual works show thoughtfulness and sensuality also in the choice of medium and material. Even the truth has to bend in its claim to truth, honestly and persistently he questions the ordinary with subtle resistance, not with a grand revolutionary gesture. He counters the complexity of the content process with a humorous lightness of execution. Wit, refined simplicity and technical skill characterize the appearance of his work.

His life path has all the set pieces (residencies, exhibitions in museums and galleries, and purchases from international collections) of a serious artist‘s career.

Juliane Duda

Juliane Duda (1967 *in Ost-Berlin), visual artist, lives and works in Berlin. Her works can be found in public and private collections. Since 2019 she is co-operator of Axel Obiger-Raum für zeitgenössische Kunst // Exhibitions: Solo/Duo at Weltecho, Chemnitz; Galerie Christa Burger, München; IPC E Gallery, Sarajevo; Galerie Fiebach&Minninger, Köln; Deutschlandhaus, Berlin; Gallery Rhodes+Mann, London; Konrad-Adenauer-Stiftung, Berlin; Goethe-Institut, Moskau. Group at Kunstverein Ruhr, Essen; Biennale Halberstadt, Mokpo Art Center, Korea; Polnische Biennale, Stettin; Museum Festung Rosenberg, Kronach; Neue Galerie mobil, Dachau; Schloss Gottorf, Schleswig; Höhler Biennale, Gera; Haus der Kunst, München; Walkmühle, Wiesbaden; Kunsthalle Villa Kobe, Halle; Overbeck-Gesellschaft, Lübeck; ICA, London; Museum Ostdeutsche Galerie, Regensburg; Akademie der Künste, Berlin; Plattform der BerlinBienale; P.S.1, New York. // Scholarships, awards: Recherchestipendium Peter Moennig Foundation, Stipendium Künstlerhaus Schloss Wiepersdorf, Bridge Watch-Stipendium der Stiftung Corymbo, Stipendium Künstlerhaus Schöppingen, Marion Ermer Preis, Auslandsstipendium für Moskau des Senats von Berlin.

Gabriele Künne [email protected] www.gabrielekuenne.de

Gabriele Künne lives and works in Berlin. She is a member of Axel Obiger since 2012.

In her work abstract form-and sign systems play a basic role. Objects and sculptures are building an associative system.Over the last 10 years ceramics played a increasing role as a material for sculptural work. She received numerous grants and prizes and her work is found in many public and private collections.

From 1991-98 she studies at the HdK Berlin Fine Art and received the masters degree in 1998. Since then, her work is shown in project spaces, institutions and galleries in Germany, Poland, Sweden and Switzerland.

Solo shows: 2020 shifted through, Axel Obiger, Berlin / 2019 Naturtalent, Kunstverein Neukölln, Berlin / 2017 Gabriele Künne - Installation, object, painting, Kunstverein Neustadt/Wstr./ Paradoxie des Haufens, Museum Rockenhausen.

Group shows: 2020 Amorph, Galerie im Saalbau, Kulturamt Neukölln / 2019 Almost Sparkling, B-LA-Connect, Axel Obiger Berlin / 2020 Paper on Paper, paper gallery Manchester, GB / 2018 CO/LAB, Torrance Art Museum / Import Export, Produzentengalerie Dresden

Maja Rohwetter www.majarohwetter.de

Maja Rohwetter develops her work in the media transfer of collage, painting and computer graphics. In her idiosyncratic pictorial spaces, familiar and unfamiliar forms and different painterly and digital levels of representation intertwine.

She researches in the field of a contemporary visual language that incorporates visual experiences in virtuality and reality in equal measure.

Maja Rohwetter (* 1970 ) grew up in Bünde/Westphalia. She has lived and worked in Berlin since 1993. She is one of the artist runnig "Axel Obiger" project space since 2011. After studies in Philosophy, Art and Romance Studies at the University of Osnabrück, she studied Fine Arts at the Berlin University of the Arts from 1993 to 1999 and at the Royal College of Fine Arts, Stockholm (Kungliga Konsthögskolan) in 1997. After her master's degree in 1998 at the HdK Berlin, she passed her First State Examination in 1999.

After the Second State Examination in Fine Arts in 2005, she worked as a freelance artist in Berlin. Travel and residency scholarships have taken her to Sweden and Finland.

She recieved several grants and her artistic work is shown in institutions and galleries in Germany, Finland, Austria and Sweden. In addition to her painting, she teaches media design and media theory.

Soloshows (selected): 2020 voir dire, Axel Obiger. Berlin/ 2019 “soft facts”, Domeij Gallery, Stockholm, S/2016 „„thread“ (with Isabel Kerkermeier), Axel Obiger, Berlin, Germany / „PARCOURS“, Domeij Gallery, Stockholm, Sweden/ 2013 „the delicate balance of terror“, (with Knut Eckstein) Galerie Axel Obiger, Berlin, Germany / „extrawelt“, Galerie Kunst2, Heidelberg, Germany/ 2011 „Space Oddity“, Stene Projects, Stockholm, Sweden

Groupshows (selected) ; 2021„Pop Up“, Haus Kunst Mitte, Berlin, D / 2020 „amorph“, Saalbau Neukölln Berlin, D/ „Schwarz + Weiß“, Künstlerinnen des VdBK 18 67 Käthe Kollwitz Museum, Berlin, D/ 2019 „Halbschatten 02“, Kunstverein Neukölln Berlin, D/„Inner Landscapes“, HilbertRaum, Berlin,,D

Harriet Groß www.harrietgross.com @harriet.r.gross

Harriet Groß is a Berlin based visual artist working in the field of drawing and installation. For her work she has awarded numerous grants by Senat for Culture and Europe ( 2022, 2015), Stiftung Kunstfond Bonn (2020), RCA London(1998),European Heritage Days,Kiev, Ukraine(1987). Harriet shows her work national and internationally in often site specific installations: Käthe Kollwitz Museum Berlin (2021), Haus des Rundfunks Berlin, (2021), Kunstverein Würzburg (2020), Haus am Kleistpark (2020), Guardini Galerie Berlin (2022;2020;2019), Gallery of Deutsche Werkstätten Hellerau (2018), CoLab III, Torrance Art Museum, Los Angeles, USA (2018), Vincenz Sala Berlin (2019;2016), Chateau Chapel Weimar (2017), Japanese German Center Berlin (2014), Deutsches Klingenmuseum Solingen (2013), CGM Metz, France (2010), Mina Dresden Gallery, San Francisco, USA (2008), Galerie Manes, Prague, Czechia; Saarländische Galerie Berlin (2007), CGAC, Santiago de Compostela, Spain (2003). Her work is part of numerous private and public collections including Kupferstich Kabinett and Graphic Design Collection Staatliche Museen Berlin, Herzogin Anna Amalia Bibliothek Weimar, Centro Galego de Arte Contemporanea Santiago de Compostela, Spain. She received her Master of Visual Art at Hochschule der Künste Berlin and a Degree of Medicine at the Freie Universität Berlin. Harriet is a co-founder of Axel Obiger.

#byear #tigerstrikesasteroid #tiger strikes asteroid

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mtairyartgarage-blog · 4 years

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Outloud! A Celebration of Women’s Voices For International Women’s Day

Let’s face it. Here at MAAG we’re a house of artists. All kinds, all disciplines, visual artists, performing artists—we’re a diverse group here. But on International Women’s Day (IWD), we’re celebrating women in the arts—our contributions, our accomplishments, enhancing our cultures with creative energies. We’re celebrating women internationally…all ages, all cultures.

We continue to find out there’s just a host of talent among us. Some artists you may have heard, even love their poetry and music. Others may be new to you. Regardless, we assure they will delight and surprise you. All occurring under the roof of our already celebrated Quilt Show. A night to remember. To celebrate together.

So join us at 11 West Mt Airy Ave. Bring your families. See what’s possible. At the Mt Airy Art Garage—a place where creativity abounds and dreams are made into reality. Saturday, March 8 at 6 pm. Extra added bonus, open mic from 9-10 pm. Everyone is welcome. $10 Admission. Kids under 12 free.

For more information call 215.242.5074. And a special thanks to our sponsor Valley Green Bank.

Artist’s Bios

Mary Ann Domanska has been a teacher at Springside Chestnut Hill Academy for twelve years. She has a BFA in performing arts and a Masters degree in elementary education. She is a writer, actor, mother, and maker. She is currently participating in the North Carolina Outward Bound Educator’s Initiative; a yearlong curriculum that helps educators include experiential learning in the classroom while encouraging the skills of perseverance and grit. This summer she plans to teach theatre and crafts to children in Ghana through the Pagus: Africa program. She has written a middle grade adventure novel, Emic Rizzle, Tinkerer, and is hoping to find a publisher soon. Mary Ann’s Twitter handle is @mdomanska and her blog “Writing a Middle Grade Novel” is at http://maryanndomanska.

Maleka Fruean is a writer, community events coordinator, part-time journalist, and full-time mother and creative being. She was born in Western Samoa, raised in New Jersey, and became an adult in Philadelphia. She writes poetry, fiction, and hybrid prose, and is currently working on a series of stories about a girl who starts boxing.

The Gleeksman-Kohn Children’s Choir at Settlement Music School consists of a graded choir program for children in grades 3-8 at all six branches of the School. The branch choirs rehearse on a weekly basis and gather together regularly throughout the year to form a group consisting of 130 members. The choir has performed with the Philadelphia Orchestra and for the inauguration of Governor Ed Rendell, and has presented concerts at the Children’s Hospital of Philadelphia as well as other venues throughout the region.

Rae Ann Anderson is director of the Gleeksman-Kohn Children’s Choir at Settlement Music School. Originally trained as an organist, she holds degrees from Wittenberg University and the University of Missouri-Kansas City, and has served as a church music director in Kansas, Missouri, Ohio, Pennsylvania and New Jersey. She has directed children and youth choirs for 25 years, and choirs under her direction have toured Cuba and presented an original musical. In addition to her work at Settlement Music School she also serves as the director of music for St. Paul’s Lutheran Church in Glenside, PA.

Planning the MAAG poetry slam. Jen is on the right.

Jen Hemenway is traveling from Massachusetts and here in Philadelphia until May. She is a cartoonist/painter who paints on recycled materials such as wood, broken down furniture, and metal. Her work can be found on Facebook under 55407 Komix (pronounced comics). Jen started that freelance cartoon business in the early to mid 90’s in Minneapolis MN, where she began a self-published comic book called 55407, and the business stemmed from there. Jen also published cartoons in an international quarterly called “Lesbian Review of Books.” She also has a custom skateboard company called Upside Skate Decks (find it on Facebook with many pics of her work) which began out of her basement in Boston in 2004. Jen has shown her work in Minneapolis, underground shows in Boston, coffee shops, and has also been interviewed on cable access channel BNN “It’s All About Arts” in Boston. Her work has been shown through Roslindale Open Studio, Boston and in galleries from Provincetown, MA, to Melrose, MA, Leominster, MA. Jen is a cartoonist/abstract/mixed media artist, poet and writer.

April Lynn James, PhD, is an award-winning performer and scholar. Following receipt of her doctorate from Harvard in 2002, she embarked on a career as an operatic soloist and artistic entrepreneur, turning her research on operas composed by women into the exhibit, In Her Own Hand: Operas Composed by Women 1625 to 1913, then into the Maria Antonia Project, an opera company whose goal was to bring operas composed by women out of the archives and onto the stage. She has since turned IHOH into a talk that she presents throughout her native NY State as a Speaker in the Humanities for the NY Council for the Humanities. Since 2012, as her alter ego, Madison Hatta, Sonneteer, she has been reciting original, whimsical sonnets about madness, Time, career & family dysFUNction and tea at NYC’s historic La MaMa Experimental Theatre and other venues. The Twinkle Bat Variations is their current work-in-progress. Seeking friendlier climes, April (+ Madison) moved to Philadelphia in September 2013. April has recently added Adjunct Professor in the Department of Fine Arts at La Salle University to her CV, where she teaches the Art of Listening and Early Music. In addition to the above, April is a specialist in 18th-century dance, still juggles balls and clubs on occasion, and is fluent in German.

ELEANOR MACCHIA—Eleanor began her musical life as a pianist. A student of the late Clifford Balshaw, the late George McKinley and George Gray, she attended Misericordia University, the Westminster Conservatory and Temple University.

Eleanor has performed for Elly Ameling, Dalton Baldwin and Martin Katz and has extensive experience as a cantor, soloist and recitalist. She has appeared with the Chamber Orchestra of Philadelphia, the Germantown Oratorio Choir, the Rittenhouse Strings and many other musical organizations throughout the Philadelphia area. She is currently soprano soloist at St. Luke’s Church of Germantown. Eleanor has appeared as featured soloist with the Montgomery County Youth Orchestra and Germantown Concert Choir under the baton of Dr. Cailin Manson in such works as Handel’s Messiah, Mozart’s Requium, Haydn’s Lord Nelson Mass and Massenet’s oratorio Marie Magdeleine. Additionally, her repertoire reflects works in the American Songbook.

She has served on the faculties of various institutions including Germantown Institute for the Vocal Arts. She also teaches at her private studio.

Trapeta B. Mayson is a poet, workshop leader and educator. She has worked extensively with young people and adults in educational, artistic and institutional settings conducting creative writing and self-expressive workshops. She has received numerous literary awards and fellowships including a 2002 Pew Fellowship, Pennsylvania Council on the Arts Grants and a 2007 Leeway Transformation Award. Trapeta is a Cave Canem and Callaloo Fellow and has completed residencies at schools, community agencies and artistic institutions. Her new poetry chapbook, She Was Once Herself, was released in 2012 to rave reviews and is available at www.trapetamayson.com. Trapeta’s other publications include submissions in The American Poetry Review and Lavanderia, Anthology of Women Writing, to name a few. She is a native of Liberia and grew up in Philadelphia. Trapeta is a licensed clinical social worker with a private practice and has worked for years in the human services field and with artistic and cultural institutions. In addition to her work as a poet, social worker, and educator; she is pursuing her MBA. Trapeta feels that all of her experiences inform her work as a writer.

Voices of a Different Dream—Ellen Mason, Annie Geheb, and Susan Windle–began creating and performing their unique blend of poetry and song in 1991. Since then, they have performed in venues throughout the Philadelphia area and beyond: in bookstores and libraries, living rooms and coffeehouses, concert halls and conferences, churches and synagogues, nature centers and art galleries, peace rallies and fundraisers for progressive causes. With a wide range of voice and gesture, they use themselves fully in performance—every motion, each pause and inflection conveys meaning. Voices’ performances and recordings highlight each woman’s solo voice as well as the amazing resonances between them. They have three recordings: Unimagined Possibilities, You Know My Name, and Refuge for a Soul. The two poets, Ellen Mason and Susan Windle, are co-authors of Already Near You: Poetry in Concert, a collection of poems performed together over the years. The women of Voices dedicate their work to challenging injustice and strengthening the bonds of love within, among, and between us.

And others….

It’s a great way to celebrate the arts and women’s voices. Join us.

For more information call 215.242.5074. And a special thanks to our sponsor Valley Green Bank.

Artist’s Bios

Planning the MAAG poetry slam. Jen is on the right.

She has served on the faculties of various institutions including Germantown Institute for the Vocal Arts. She also teaches at her private studio.

And others….

It’s a great way to celebrate the arts and women’s voices. Join us.

#2014

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nyfacurrent · 5 years

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Monday Motivation | Rehearse Your Pitch

Kick off your week with Monday Motivation!

Tip of the week

When meeting a new contact at a networking event, you may have very little time to make a good impression. Make sure to practice talking about yourself as a professional in a concise manner. That means, create a pitch for yourself! Introduce who you are, explain what you do, and tell a story about what makes you so great (using real-life examples!). All this should last about half a minute. Can you do it? It will be difficult at first, but practicing out loud will get you where you need to be in no time. Hint: it’s all about the keywords you’ll use, not about speaking as quickly as you can.

This week’s highlighted jobs:

Executive Director Los Angeles Chamber Orchestra Los Angeles, CA

LEGO Robotics Instructor 92nd Street Y New York City, NY

Curatorial and Public Programs Assistant Harvard University - Carpenter Center for Visual Arts Cambridge, MA

Tenure-Track Position African-American Theatre or Latinx Theatre, Theatre Department Middlebury College Middlebury, VT

Education Manager Bronx River Art Center Bronx, NY

This week’s highlighted opportunities:

Open Call – Haven Plaza public art – $7000 award Northern Manhattan Arts Alliance New York, NY

Working Studio & Residency A.I.R. Studio Paducah Paducah, KY

Library-Artist Residency: ProjectArt San Francisco projectart.org San Francisco, CA

International Juried Ceramics Exhibition The Center for Contemporary Art Bedminster, NJ

Find more jobs and opportunities on NYFA Classifieds.

This post is part of a regular blog series, NYFA Creative Careers. Let us know what careers you’d like to learn more about by visiting us on Twitter: @nyfacurrent and using the hashtag #NYFAClassifieds.

- Luiza Teixeira-Vesey, Designer/Marketing Associate

Image: Ridley Howard (Fellow in Painting ’12)

#creative careers #creativecareers #mondaymotivation #monday motivation #nyfacreativecareers #nyfa classifieds #nyfaclassifieds #businessofart #business of art #jobs #open call #artist residency #instagram

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architectnews · 4 years

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Mark Pasnik Architect, OverUnder

Mark Pasnik Architect, OUT100 list 2020, Boston Architecture, Massachusetts Architectural News, Design

Mark Pasnik Architect News

Nov 23, 2020

We are delighted to share the news that architect, author and activist, Mark Pasnik, a Founding Principal at OverUnder, Chair of the Boston Art Commission and a Professor at Wentworth Institute of Technology is one of the honorees on this year’s OUT100 list as compiled by OUT magazine.

Mark Pasnik, OverUnder, in OUT100 list

Mark is the only honoree that is an Architect and his role in raising the profile of Boston’s significant architecture and advocating for a re-examination of the city’s historic statues is a focus of the citation.

Mark is honored for his career work as a champion of “unpopular battles” which is at the core of OverUnder, the architecture design firm rooted in advocacy which he co-founded in 2006. OUT cites Mark as an expert and published author on brutalism, of which Boston City Hall is one of the most widely recognized examples. With Michael Kubo and Chris Grimley, Mark is the author of Heroic: Concrete Architecture and the New Boston, which broke ground in the scholarly assessment of concrete buildings.

Mark Pasnik, photographed for OUT magazine inside Boston City Hall, the iconic example of Brutalist architecture featured in the book Pasnik co-author, “Heroic: Concrete Architecture and the New Boston”: photograph © Sam Rosenholtz Photography

OUT also cites Mark’s role as Chair of the Boston Art Commission, where he has been reminded of the “value of meaningful public discourse in communicating across divides.”

“Every year, OUT magazine’s 100 most influential LGBTQ+ people of the year is filled with politicians, entertainers, athletes, and activists who’ve become household names,” explains Diane Anderson-Minshall, CEO & Editorial Director of Pride Media.

“Each time there are honorees who aren’t so well known, but who have moved their world, field, or community in ways equally deserving of recognition. Mark Pasnik is one of those gems, a champion who has influenced our understanding of brutalist architecture as well as public monuments. His thought leadership and public action have touched many across the country, rippling outward through the ways his design firm OverUnder advocates for small cities that face real challenges and fights to preserve the legacies of earlier generations seen in buildings like Boston City Hall.”

The 26th annual OUT100 list is a collection of LGTBQ+ trail blazers, artists, leaders, and creators who have used their talent and voices to influence change and visibility in the last year.

I’ve included the text of the citation below and a link to the entire list of diverse, international honorees which includes François Arnaud, Tim Cook, Wilson Cruz, Karine Jean-Pierre, Rachel Maddow, Janelle Monáe, Queen Jean, Quinn, Ritchie Torres, Mary Trump, and Scott Wiener among others.

Mark Pasnik, Architect and Activist

When asked to describe himself, Mark Pasnik is humble. “I like to think of myself as having several interconnected roles — as an architect, educator, and advocate who champions the voices and legacy of other eras.”

In truth, Pasnik, who is gay, is also an expert and published author on brutalism, the “legacy of concrete modernist buildings,” as he defines the term. He cites Boston’s City Hall as “one of the most widely recognized” examples of the type of now-vilified structures “once celebrated for their bravado.” In his role as chair of the Boston Art Commission, Pasnik has been reminded of the “value of meaningful public discourse in communicating across divides.”

Earlier this year, the commission unanimously voted to remove the Emancipation Memorial in Park Square that depicted a freed American Black slave kneeling before Abraham Lincoln. He and others have implemented such discourse to address larger issues facing an increasingly polarized society suffering the effects of systemic oppression, which are often represented in historic statues that are out of step with today’s ethos. “I have been learning from many voices in Boston’s communities about symbolism and racial justice in public art,” he says.

Despite the current cultural divide, Pasnik remains hopeful for the future and the positive impact architecture can have in effecting change. “Architecture is a particularly fascinating art form because it records ideas from one era and transmits them across decades. Advocating for works of architecture means understanding those messages and sharing their lessons with new generations.” (https://overunder.co/)

https://www.out.com/print/2020/11/19/see-he-full-2020-out100-list-here#media-gallery-media-16

Mark Pasnik Architect

February 19, 2018

Mark Pasnik, AIA

Founding Principal, OverUnder

Boston, MA

Mark Pasnik is an architect, author, and professor who co-founded OverUnder, a multidisciplinary practice engaged in architecture and design projects ranging from books to city design in the United States and abroad. His renown has centered on the challenge of preserving and rethinking concrete buildings from the modern era, most recently heading the firm’s work on a Getty Foundation-funded conservation management plan for Boston City Hall. He has been an activist in the effort to preserve the Government Service Center in downtown Boston, a building by the preeminent modernist Paul Rudolph, who was a gay man.

Not afraid to take on an unpopular battle, Mark is the “concrete guy” and this is the thread that connects his studies at Cornell and Harvard, his work as an architect and designer, his influence as a university professor and scholar, and his contributions to preservation.

Concrete modernism—often labeled with the term Brutalism—represents perhaps the single most controversial movement in architecture. Its monumentality and bravado are characteristics that may be considered either inspiring or dehumanizing. Yet Pasnik has helped bring a new appreciation to these misunderstood buildings. As a consequence, many that were once vilified are now gaining new appreciation.

With Michael Kubo and Chris Grimley, Mark is the author of Heroic: Concrete Architecture and the New Boston (Monacelli Press, 2015), which broke ground in the scholarly assessment of concrete buildings, receiving awards from Docomomo US, Historic New England, the Boston Society of Architects, and the Boston Preservation Alliance. An outcome of the popularity of the book is that the title term—Heroic—is being widely used as a new name for Brutalism, one that better reflects the original civic-minded aspirations behind the works.

Pasnik is also known for providing a renewed voice to the seminal men and women of the era through his research and publications, including two towering figures who passed away recently, Henry N. Cobb and N. Michael McKinnell.

Cobb was known for his skyscrapers around the globe, including Boston’s Hancock, and as a founder of New York’s Pei Cobb Freed & Partners. He died at 93 on March 2, shortly after Pasnik edited Cobb’s only book (Henry N. Cobb: Words & Works 1948-2018).

McKinnell, who won the competition for Boston City Hall at age 26, passed away from COVID-related causes at 84 on March 27. Pasnik worked closely with McKinnell to preserve his legacy of ideas and buildings.

Looking to the future, Pasnik has been leading studios at Wentworth Institute of Technology with dozens of aspiring architecture and design students, aiming to reimagine the future of important, yet often troubled, concrete buildings. His efforts have influenced civic conversations about preservation around structures like Rudolph’s Government Service Center (Rudolph passed away in 1997), which is currently in danger of partial demolition.

In 2019 Pasnik started a new initiative in conjunction with the city’s mayor’s office, where architecture students at Wentworth engage with high school students from Boston Public Schools to evaluate and reimagine a concrete building by Marcel Breuer in the Roxbury neighborhood.

Mark has taught at the California College of the Arts, Carnegie Mellon University, Northeastern University, Rhode Island School of Design, and Wentworth Institute of Technology, where he is currently a professor. He received the American Institute of Architects Young Architects Award and was a member of the executive board of Boston Society of Architects.

Pasnik currently serves as chair of the Boston Art Commission. In this role he has been an advocate for social justice in public art, most recently overseeing the public process that led to a unanimous vote to remove and recontextualize the Emancipation Group in Boston. The statue, showing Lincoln with his arm raised over a kneeling Black man, had been criticized for decades as a misrepresentation of history and a demeaning portrayal of the formerly enslaved figure, Archer Alexander. The vote on June 30 culminated two years of work and a series of public hearings. At a time when many controversial sculptures are being removed through illegal action, Boston’s process stands as a national model for deliberation and meaningful public discourse.

Pasnik and his life partner of twenty years, David Smith, reside in Boston and New York respectively.

Mark Pasnik Architect OverUnder image / information received 231120

Address: Boston, MA, United States

Boston Architecture Practices

Boston Architects Offices – Selection

Kennedy & Violich Architecture photograph by John Horner Kennedy & Violich Architecture: KVA Boston

Boston Architecture Designs – chronological list

Architecture Studios

Boston Buildings

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Comments / photos for the Mark Pasnik Architect, OverUnder Boston page welcome

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852recordstores · 5 years

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Monumental 14CD Box Set Includes 5 Complete Bob Dylan Sets From Rolling Thunder Revue Concerts Spanning October-December First Leg, Rehearsal Performances, Rarities And More! Columbia Records and Legacy Recordings, a division of Sony Music Entertainment, will release Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings on June 7, 2019. A comprehensive anthology of music from the mythic first leg of Bob Dylan’s groundbreaking Rolling Thunder Revue, this 14CD box set includes all five of Dylan’s full sets from that tour that were professionally recorded. The collection also provides the listener with an intimate insider’s seat for recently unearthed rehearsals at New York’s S.I.R. studios and the Seacrest Motel in Falmouth, MA plus a bonus disc showcasing one-of-a-kind performances from the tour. The collection features 148 tracks in all, with more than 100 of those never previously released. Included in the box set is a 52-page booklet featuring rare and never-before-seen Rolling Thunder Revue photos and a revelatory essay by novelist/musician Wesley Stace. Concurrent with the release of the 14CD box set will be a reissue of The Bootleg Series Volume 5 on vinyl, back in print for the first time since 2002 as a 3LP set with a 64-page booklet. Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings is available for pre-order now in digital, and CD formats: https://bobdylan.lnk.to/rollthunder-boxsetAWh Launched in the fall of 1975, Bob Dylan’s Rolling Thunder Revue flouted the touring conventions of the time by featuring an eclectic cast of characters and playing small and unusual venues with little advance notice. The shows would often stretch to more than four hours long, generating some of the artist’s most dramatic and dynamic on-stage performances ever. Dylan debuted the new songs he’d written for his forthcoming Desire album (which became one of the most acclaimed and popular in his canon) with a fire and intensity that Dylan had reached ten years earlier with his incendiary tours with musicians who became The Band. He also took wild, interpretative rides through his back catalog and broke out some unexpected covers. Dylan gathered amazing friends and collaborators for his ensemble – dubbed Guam for the tour – that included T Bone Burnett, Mick Ronson, Joan Baez, Ramblin’ Jack Elliott, Bobby Neuwirth, Scarlett Rivera, Ronee Blakley, Steven Soles, David Mansfield, Rob Stoner, Howie Wyeth and Luther Rix. Poet Allen Ginsberg and Joni Mitchell also brought their talents to the show’s encores. Dylan, the consummate band leader, managed to take these musicians from various backgrounds and sensibilities and mold them into a tight musical unit on stage. Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings serves as a companion piece to the new film, “Rolling Thunder Revue – A Bob Dylan Story by Martin Scorsese,” premiering on Netflix on June 12. Every one of Bob Dylan’s performances in the movie can be found in this boxed set. Bob Dylan – Rolling Thunder Revue: The 1975 Live Recordings DISC 1: S.I.R. Rehearsals, New York, NY – October 19, 1975DISC 2: S.I.R. Rehearsals, New York, NY – October 21, 1975DISC 3: Seacrest Motel Rehearsals, Falmouth, MA – October 29, 1975DISC 4-5: Memorial Auditorium, Worcester, MA – November 19, 1975 DISC 6-7: Harvard Square Theater, Cambridge, MA – November 20, 1975DISC 8-9: Boston Music Hall, Boston, MA – November 21, 1975 (afternoon)DISC 10-11: Boston Music Hall, Boston, MA – November 21, 1975 (evening)DISC 12-13: Forum de Montreal, Quebec, Canada – December 4, 1975DISC 14: Rare Performances Bob Dylan – Rolling Thunder Revue: The 1975 Live Recordings DISC 1 October 19, 1975 – S.I.R. Rehearsals, New York, NY 1. Rake and Ramblin’ Boy* [incomplete]2. Romance in Durango* [incomplete]3. Rita May*4. I Want You# [incomplete]5. Love Minus Zero/No Limit* [incomplete]6. She Belongs to Me* [incomplete]7. Joey [incomplete]8. Isis9. Hollywood Angel [incomplete]10. People Get Ready#~11. What Will You Do When Jesus Comes?#12. Spanish Is the Loving Tongue13. The Ballad of Ira Hayes14. One More Cup of Coffee (Valley Below)*15. Tonight I’ll Be Staying Here with You16. This Land Is Your Land17. Dark as a Dungeon* DISC 2 October 21, 1975 – S.I.R. Rehearsals, New York, NY 1. She Belongs to Me#2. A Hard Rain’s a-Gonna Fall3. Isis4. This Wheel’s on Fire/Hurricane/All Along the Watchtower5. One More Cup of Coffee (Valley Below)6. If You See Her, Say Hello7. One Too Many Mornings#8. Gwenevere [incomplete]9. Lily, Rosemary and the Jack of Hearts [incomplete]10. Patty’s Gone to Laredo#11. It’s Alright, Ma (I’m Only Bleeding) DISC 3 October 29, 1975 – Seacrest Motel Rehearsals, Falmouth, MA 1. Tears of Rage2. I Shall Be Released3. Easy and Slow4. Ballad of a Thin Man5. Hurricane6. One More Cup of Coffee (Valley Below)7. Just Like a Woman8. Knockin’ on Heaven’s Door DISC 4 November 19, 1975 – Memorial Auditorium, Worcester, MA 1. When I Paint My Masterpiece2. It Ain’t Me, Babe3. The Lonesome Death of Hattie Carroll4. It Takes a Lot to Laugh, It Takes a Train to Cry5. Romance in Durango6. Isis7. Blowin’ in the Wind8. Wild Mountain Thyme9. Mama, You Been on My Mind10. Dark as a Dungeon11. I Shall Be Released DISC 5 November 19, 1975 – Memorial Auditorium, Worcester, MA 1. Tangled Up in Blue2. Oh, Sister3. Hurricane^*4. One More Cup of Coffee (Valley Below)5. Sara6. Just Like a Woman7. Knockin’ on Heaven’s Door8. This Land Is Your Land DISC 6 November 20, 1975 – Harvard Square Theater, Cambridge, MA 1. When I Paint My Masterpiece2. It Ain’t Me, Babe#~^3. The Lonesome Death of Hattie Carroll4. It Takes a Lot to Laugh, It Takes a Train to Cry*5. Romance in Durango^*6. Isis7. Blowin’ in the Wind*8. Wild Mountain Thyme9. Mama, You Been on My Mind^10. Dark as a Dungeon11. I Shall Be Released DISC 7 November 20, 1975 – Harvard Square Theater, Cambridge, MA 1. Simple Twist of Fate^*2. Oh, Sister3. Hurricane4. One More Cup of Coffee (Valley Below)5. Sara6. Just Like a Woman#7. Knockin’ on Heaven’s Door#^8. This Land Is Your Land DISC 8 November 21, 1975 – Afternoon – Boston Music Hall, Boston, MA 1. When I Paint My Masterpiece2. It Ain’t Me, Babe3. The Lonesome Death of Hattie Carroll4. A Hard Rain’s a-Gonna Fall5. Romance in Durango6. Isis7. The Times They Are a-Changin’8. I Dreamed I Saw St. Augustine9. Mama, You Been on My Mind10. Never Let Me Go11. I Shall Be Released^ DISC 9 November 21, 1975 – Afternoon – Boston Music Hall, Boston, MA 1. Mr. Tambourine Man^2. Oh, Sister3. Hurricane4. One More Cup of Coffee (Valley Below)5. Sara^6. Just Like a Woman7. Knockin’ on Heaven’s Door8. This Land Is Your Land DISC 10 November 21, 1975 – Evening – Boston Music Hall, Boston, MA 1. When I Paint My Masterpiece2. It Ain’t Me, Babe3. The Lonesome Death of Hattie Carroll^4. It Takes a Lot to Laugh, It Takes a Train to Cry#^5. Romance in Durango6. Isis^7. Blowin’ in the Wind^8. The Water Is Wide^9. Mama, You Been on My Mind10. Dark as a Dungeon11. I Shall Be Released DISC 11 November 21, 1975 – Evening – Boston Music Hall, Boston, MA 1. I Don’t Believe You (She Acts Like We Never Have Met)2. Tangled Up in Blue#^3. Oh, Sister^4. Hurricane5. One More Cup of Coffee (Valley Below)^6. Sara7. Just Like a Woman^8. Knockin’ on Heaven’s Door9. This Land Is Your Land DISC 12 December 4, 1975 – Forum de Montreal, Montreal, Canada 1. When I Paint My Masterpiece2. It Ain’t Me, Babe3. The Lonesome Death of Hattie Carroll*4. Tonight I’ll Be Staying Here with You^5. A Hard Rain’s a-Gonna Fall#^*6. Romance in Durango#7. Isis#~8. Blowin’ in the Wind9. Dark as a Dungeon10. Mama, You Been on My Mind11. Never Let Me Go#~12. I Dreamed I Saw St. Augustine*13. I Shall Be Released DISC 13 December 4, 1975 – Forum de Montreal, Montreal, Canada 1. It’s All Over Now, Baby Blue^2. Love Minus Zero/No Limit^3. Tangled Up in Blue4. Oh, Sister5. Hurricane6. One More Cup of Coffee (Valley Below)#* 7. Sara#8. Just Like a Woman9. Knockin’ on Heaven’s Door10. This Land Is Your Land Disc 14 BONUS DISC – RARE PERFORMANCES 1. One Too Many Mornings* October 24 – Gerdes Folk City, New York City, New York 2. Simple Twist of Fate* October 28 – Mahjong Parlor, Falmouth, MA 3. Isis November 2 – Technical University, Lowell, MA 4. With God on Our Side November 4 – Afternoon – Civic Center, Providence, RI 5. It’s Alright, Ma (I’m Only Bleeding) November 4 – Evening – Civic Center, Providence, RI 6. Radio advertisement for Niagara Falls shows Niagara Falls, NY 7. The Ballad of Ira Hayes* November 16 – Tuscarora Reservation, NY 8. Your Cheatin’ Heart* November 23 9. Fourth Time Around November 26 – Civic Center, Augusta, Maine 10. The Tracks of My Tears December 3 – Chateau Champlain, Montreal Canada 11. Jesse James December 5 – Montreal Stables, Montreal, Canada 12. It Takes a Lot to Laugh, It Takes a Train to Cry December 8 – “Night of the Hurricane,” Madison Square Garden, New York, NY # included in the film Renaldo and Clara (1978 film)~ released on 4 Songs From “Renaldo And Clara” E.P. (1978 album)^ released on The Bootleg Series, Vol. 5: Bob Dylan Live 1975 (2002 album) * included in Rolling Thunder Revue (2019 film) On Discs 1-13: Bob Dylan – vocals, guitar, piano, harmonicaJoan Baez – vocals and guitar on “Tears of Rage,” “I Shall Be Released,” “Blowin’ in the Wind,” “Wild Mountain Thyme,” “Mama, You Been on My Mind,” “Dark as a Dungeon,” “The Times They Are a-Changin’,” “I Dreamed I Saw St. Augustine,” “Never Let Me Go,” “The Water Is Wide,” and “This Land Is Your Land”Roger McGuinn – guitar and vocals on “Knockin’ on Heaven’s Door” and“This Land Is Your Land”Guam:Bobby Neuwirth – guitar, vocalsScarlet Rivera – violinT Bone J. Henry Burnett – guitar, vocalsSteven Soles – guitar, vocalsMick Ronson – guitarDavid Mansfield – steel guitar, mandolin, violin, dobroRob Stoner – bass, vocals Howie Wyeth – drums, pianoLuther Rix – drums, percussion, congasRonee Blakley – vocalsandRamblin’ Jack Elliott – vocals, guitarAllen Ginsberg – vocals, finger cymbalsJoni Mitchell – vocals On DISC 14: Bob Dylan – vocals, guitar, piano, harmonica withJoan Baez – vocals (2)Rob Stoner – bass (2)Eric Andersen, Arlen Roth – guitars (2) Guam (3, 10, 12)Larry Keegan – vocals (8)Robbie Robertson – guitar (12) All songs by Bob Dylan except:“Romance in Durango,” “Rita May,” “Joey,” Isis,” “Hurricane,” “Oh, Sister” by Bob Dylan and Jacques Levy; “This Wheel’s on Fire” by Bob Dylan and Rick Danko; “Tears of Rage” by Bob Dylan and Richard Manuel; “Rake and Ramblin’ Boy,” “Spanish Is the Loving Tongue,” “Easy and Slow,” “Wild Mountain Thyme,” “The Water Is Wide,” and “Jesse James” traditional, arranged by Bob Dylan; “People Get Ready” by Curtis Mayfield; “The Ballad of Ira Hayes” by Peter LaFarge; “This Land Is Your Land” by Woody Guthrie; “Dark as a Dungeon” by Merle Travis; “Never Let Me Go” by Joseph Scott; “Your Cheatin’ Heart” by Hank Williams; “The Tracks of My Tears” by William Robinson, Jr., Pete Moore, and William Tarplin. Release Date: 7 June 2019

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0xarena · 5 years

Text

Gesamtkunstwerk

FROM WAGNER, GROPIUS, AND XENAKIS

Gesamtkunstwerk is a German term that means an all-embracing art form. In our time, the concept of art collectives could be seen as an example. From the point of view of this agent, a total art also will include the architectural built space.

Richard Wagner, who commissioned a quest in the search to ‘consummate the artwork of the future’1, consolidated the conception of Gesamtkunstwerk, in which a coalition of arts was intended. The notion of this German word is involved with terms like “total, ideal, universal” or “total artwork”. This vision has been associated with political totalitarian beliefs, but I will keep to the integration of a total thing and not the imposition of a total one. His desire to make an ‘integrated drama’ forged the book Opera and Drama in 1851.

Before continuing in the realm of music, I will bring the Bauhaus director Walter Gropius to scene. With influences by Moholy - Nagy, Perret and Van der Velde, and preaching the Wagnerian integrative vision, he conceived the project for a Total Theater in 1926. This was projected for the “Epic theater project” of Erwin Piscator. This project had the intention of making a piece of art and space “capable of shaking the spectator out of his lethargy, of surprising and assaulting him and obliging him to take a real interest in the play.”2

Rave follows Gropius’ desires in a similar way. He sought a theatre “whose ventures in drama could be accompanied by ventures in its spatial setting.” The passive playgoer was to be turned into an active participant in the proceedings”. 3

Club practices adopted, perhaps unconsciously and experimentally, Wagner and Gropius’ thoughts, updating the lack of use of the body this last has proposed in his Gesamtkunstwerk vision.4 This was made with deep integration of the body with a free (and democratic) use of technology as a tool to really merge the total Human/social/political/artistic/spiritual act of dancing in a complex process of spatial awareness. This is a clear point of similarity in the turn that happened in the arts in the 1960’s, as artists made work that included the viewer’s bodily participation in the artt manifestation through experiencing it.

Edward Lippman writes in the book The Philosophy & Aesthetics of Music that the artwork of the future preached by Wagner ”is even a product of the people; it is literally a cooperative creation, and thus besides presenting social values in its content, it provides the example of a model society of artist, governed by mutual love (1999, 179). And underlines that he conceived art as a rite,”as a type of religious service” (Ibid).

Following these concepts of the union of total space and performance, I would like to add a visionary architect who attempts to connect, almost literally5, by hyperbolic connections to different points in space. In order to create a total manifestation, the architect Iannis Xenakis, a multidisciplinary personality, focused his visionary research on the intercrossing play of light and shadow, the adoption of musical and mathematical motifs, and structural experimentation.

After Xenakis joined Le Corbusier’s studio in 1947, he collaborated on iconic architectural and engineering projects such as the monastery of La Tourette (1956-1960) and the Philips Pavilion (1958). He began to develop a multidisciplinary artistic vision that made possible the materialization of pieces like the Polytopes or Hibiki-Hana-Ma for the Osaka World’s Fair, where the extensive use of space is achieved and the integration of diverse artistic manifestations is clear. He declared that sound displacement was “part of our perception of the world, our universe, and space must be integrated into sound structures”,6 “The components of this diachronic ensemble are each treated independently, the synthesis and attribution of sense depending on the spectator, who becomes the interpreter”.7

In Osaka, Xenakis used more than 1,000 speakers. “In such a configuration the loudspeaker becomes an agent in a mass of agents, its character subsumed into the essential group activity” 8

Extrapolating perspectives, I can say that this is much how the crowd in club works as a living agent of agents, within aural experience.

The intention of Xenakis was to use the space in every way possible, from every point of view and it is a unique interpretation of the vision of a Gesamtkunstwerk. This approach to immersive space, including technology in such a visionary way, was a milestone in composing space and shaping our current experience of intermedia performances.

1 SEE:“Gesamtkunstwerk.” Wikipedia, Wikimedia Foundation, 10 Feb. 2019, en.wikipedia.org/wiki/Gesamtkunstwerk.

2 Arq. Wendell Cole in Observatori Espais Escénics, espaciosescenicos.org/The-theatre-projects-of-Walter-Gropius-Wendell-Cole.

3 Ibid

4 https://www.gsd.harvard.edu/2019/05/in-space-movement-and-the-technological-body-bauhaus-performance-finds-new-context-in-contemporary-technology

5 I´m saying this because the difference between the previous examples of total art concepts, and Xenakis' vision, is the use of technology to “wire” space. This could be electricity, metal tensors, audio wires, and light and laser beams acting as immaterial wires. In a zoom out action this wiring approach reminds me of a dendrite nervous system, where the wires transmit information for synapsis, something stimulated in a big way in these immersive spaces.

6 Iannis Xenakis, »Topoi« [ca. 1970–1971], in: idem, Music and Architecture ( The Iannis Xenakis Series 1) Cited in Brech, Martha, and Ralph Paland. Kompositionen für hörbaren Raum: Die frühe Elektroakustische Musik Und Ihre Kontexte = Compositions for Audible Space: the Early Electroacoustic Music and Its Contexts. Transcript, 2015. p. 305

7 Fabrizi, Mariabruna. “Yannis Xenakis’ Polytopes: Cosmogonies in Sound and Architecture.” SOCKS, 9 Feb. 2018, socks-studio.com/2014/01/08/yannis-xenakis-polytopes-cosmogonies-in-sound-and-architecture/.

8 Leaflet Space Theatre/Steel Pavilion: Expo ’70 [1970] edited he The Japan Iron & Steel Federation, n.p., n.d., p. 3. In (Brech and Paland, 2015, 309)

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navigatingnewburgh · 5 years

Photo

image above: Walter Biggs

May 5 through June 9, 2019 Opening reception: Sunday, May 5th, 6-8 pm Gallery Hours: Monday through Friday, 12-6, Saturday and Sunday please call 717.490.2091for appointment. During Atlas Studios work hours please call 845.391.8855 for admittance A Momenta Art exhibition presented at: 11 Spring St, Newburgh, NY, 12550 Richard Barnes Walter Biggs Jonathon Cancro Rebecca Forgac Cat Glennon Oliver Lee Terry A group exhibition regarding the natural temperament of the Earth today through photography, painting, video, and assemblage. Richard Barnes’ series of large-scale photographs in the Refuge series depict five bird nests, each representing a different species. Seen as isolated and singular subjects, enlarged and artificially lit in a studio setting, the nests take on the presence of sculpture. The constructions vary widely, as though built by individual architects favoring particular styles and materials. The project’s title relates to the tension between the elaborate structures that humans refer to as avian “architecture,” different from a natural place of “refuge” as built by birds. Walter Biggs’ paintings composed of graphite, sand, oil and acrylic mediums allude visually, physically, and experientially to nature, landscape and environment. A deeper perception may intuit a connection to loss, death, and a wasting – of what may once have lived but is now frozen in time as an inanimate surface, an exquisite ghostly relic of the past – a fossil. Jonathon Cancro's Green Space works are a series of videos that are each composed of several static shots looking through, into, and out at the hyper-lush landscapes of the island of Kauai. Through manipulation of video footage, the artist transforms and augments the experience of the subject or event. As one scene dissolves into the next, the viewer is pulled through the intimate and the expansive. Hallucinatory fields of color get pressed into fine-grain dream textures. Rebecca Forgac’s large graphite drawings are part of an ongoing series depicting rock formations. These particular works use a basalt cave in the north of Iceland and a geothermal travertine formation in Mexico as their starting points, chosen for their particular strangeness and sublimity. Stemming from a consideration of a fragile and complex relationship to the natural landscape, the drawings engage human and geologic timescales with humor and humility. Cat Glennon’s ongoing series titled Manifest West, commemorates the women who were a part of the Western Expansion of the United States. This work included in this exhibition titled Shrine to the lady Argonauts is dedicated to the women who worked in the gold fields of California. In order to connect to the stories of women that were unrecorded and remain unknown, the artist employs architectural and design elements connected to the Wild West to portray mountainous landscapes as a way of focusing on the unchanging landscape that connects them and us. Oliver Lee Terry’s assemblages include cat litter, ferns, grass, hibiscus, and herbs in combination with makeshift organic structures and photographs. The works humorously question masculine drives to compete, embracing sincerity and “naivete” in imagining lifestyles of abundance and conservation in contrast to growth-based economies. Richard Barnes has exhibited in solo exhibitions at the Museum of Photographic Arts in San Diego, the Carnegie Museum of Art in Pittsburgh, the Carpenter Center at Harvard University, Cranbrook Academy of Art Museum, and the University of Michigan Art Museum. His works can be found in numerous public and private collections, including the Museum of Modern Art, Metropolitan Museum of Art, the Whitney Museum of American Art, the Boston Museum of Fine Arts, The Cleveland Museum of Art, the Philadelphia Museum of Art, the San Francisco Museum of Modern Art, and the Hirshhorn Museum and Sculpture Garden. Barnes was a recipient of the Rome Prize 2005-2006, and was a Smithsonian Artist Research Fellow (SARF) in 2012. His work was featured in the 2006 Whitney Biennial and awarded the Alfred Eisenstadt Award for Photography. He was the 2009 recipient of the Sidman Fellow for the Arts from the Institute for the Humanities at the University of Michigan. In 2010 he completed a residency from Lightwork/Syracuse University. A monograph of his work entitled Animal Logic, was published 2009. Walter Biggs received an MFA from School of Visual Arts, New York, in 1990. He currently lives and works in Harlem and the Catskills, NY. His work has been exhibited at Momenta Art, Philadelphia, PA, Trans-Hudson Gallery, NJ and NY, and Sperone Westwater Gallery, NY, Galleria Cardi, Milan, Museo D’Arte della Citta de Ravenna, Ravenna, among others. Jonathon Cancro is a video artist who lives and works in New Jersey and New York. Cancro received his B.F.A. from the University of Washington and his M.F.A. from the University of Pennsylvania. He has completed residencies at the Vermont Studio Center and Ucross Foundation. Recent group exhibitions include The Flat Files,Tiger Strikes Astroid, New York; Andrew Prayzner’s Half-Life, Brooklyn; Matthew Murphy’s One Night Only, Marblehead, MA; Knox College, Illinois; MBN StudiosPhiladelphia; and Tower Gallery, Philadelphia. Rebecca Forgac was born in 1987 in Winchester, Massachusetts. She currently lives and works in Brooklyn, spending a portion of the year in the backcountry, primarily of the American Southwest, Iceland or Japan. Cat Glennon is an inter-disciplinary artist, working mainly in photography and large scale sculpture living in Brooklyn, NY where she has lived since graduating with a BA from Pratt. Her work has been collected by the Museum of Old and New Art, The University of Santa Cruz and the University of Minnesota. Oliver Lee Terry received an MFA from Goldsmiths University of London and a BFA from Metropolitan State University of Denver. His work has been exhibited in solo and group shows internationally, and he has been an artist in residence at the Wassiac Project. He currently lives, works, and gardens in Newburgh, NY. Special thank you to Atlas Industries for their generosity in providing a location for Earthy Momenta Art' is a 501(c)3 not for profit organization.

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