Cauleen Smith & Beatriz Santiago Muñoz | Whitney Biennial Film Program

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Faculty member Cauleen Smith and past visiting artist Beatriz Santiago Muñoz will screen films during Whitney Biennial Film program.

For ten consecutive weekends, the Biennial film program will present new moving image works in the Susan and John Hess Family Theater. At once radical and quiet, global and intimate, the selected works explore subjective and affective experiences of the contemporary political and social moment. Reflecting on the urgent themes seen in the exhibition, the film program features some of the most exciting voices working in moving image today.

The film program is organized by Christopher Y. Lew, Mia Locks, and Aily Nash.

Program details and schedule here.

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Alumna Andrea Beck @ UNA Gallery | Portland, OR

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Resist: Inauguration features artwork from Maya Vivas, Dan Pillers, Andrea Beck, Carlos González Acosta and Maximiliano. Art as Resistance celebrates local POC, Femme, and Queer artists employing personal identity as a means of opposition.

In addition to the visual work, Stacey Tran and Sara Sutter, two Portland poets and artists, will perform from their project: Resistance Somatics.

328 NW Broadway Av. #117
Portland, Oregon

Contemporary Art Space

Holding space for POC, Queer and Femme voices

UNA Gallery is a collective art space run by contemporary artists with “outsider” identities. We aim to prioritize the work of marginalized artist communities while offering a consistent and constructive platform for the collaborative and solo efforts of non-established and experimental artists. UNA prides itself on promoting an open and welcoming environment where all individuals can fully express, connect, and celebrate the diversity of their backgrounds and identities.

Our team in alphabetical order:
Anthony Elech
Blair Crissman
Mercedes Orozco
Opal Grace Jones

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Alumna Leah Grimaldi @ Atlantic Works Gallery

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Upcoming Exhibitions

New Members

Please join us in welcoming our new members

February 4 – 23, 2017

Dominick Takis’s work explores landscape and surface themes related to travels and ancestry, paint, transparencies, lichen and mixed media textures. Religious imagery creates a surface that pulls the viewer in. The symbiotic relationship between lichen and algae is a metaphorical relationship to Takis’s ancestral roots.

Internal feelings of displacement, abandonment, and reconciliation guide Curran Broderick to form a connection with land. He was abandoned as an infant, adopted, and raised in America. He uses photography to establish roots within landscape and establish a sense of belonging.

Brian Reardon uses oil paint to depict common objects such as tractors, toys and colanders. Reardon gives his everyday objects significance using color and a sensitive brush stroke, creating luscious and generous paintings.

Using painting, drawing and cutting, Leah Grimaldi explores anxiety and joy—emotions that often coexist—in the context of her culture. In her new body of work she references the coastal New England Landscape, a site of beauty and tension as it changes due to human population growth, development and climate change.

 

Opening Reception: Saturday, February 4, 2016, 6-9 PM
Third Thursday Reception: Thursday, February 16, 2016, 6-9 PM
Gallery Hours: Saturdays & Sundays, 1-5 PM or by appointment

 

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Residency Public Events | 2017

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The MFA in Visual Art program would like to invite the community to join us for presentations with our Visiting Artists, as well as student exhibitions, January 28 through February 3.

Graduating Student Exhibition – VCFA Gallery

  • Tuesday, January 31 – Friday, February 3. Hours: 9am-6pm. Gallery may be closed for critiques and reviews as determined by the program.
  • Opening: Monday, January 30, 8-9:30pm, VCFA Gallery

The daily exhibitions are free and open to the public most days. Please be considerate of critique groups and closures as needed for academic purposes.

New and Returning Student Exhibitions – Alumni Hall

  • Sunday, January 29 – Friday, February 3. Hours: 9am-6pm.
  • Opening: Saturday, January 28, 7-8:30pm, Alumni Hall

Gallery may be closed for critiques and reviews as determined by the program.

Visiting Artists Presentations:

Art, Place and Place-making
  • Sunday, January 29, 10:30am to noon,  College Hall Chapel
  • Artist-in-Residence, Mildred Beltré, will discuss her practice.

Mildred BeltreMildred Beltré, is a Brooklyn-based artist, mother, and popular educator working in print, drawing, and participatory politically engaged practice to explore facets of social change. She is interested in exploring political movements and their associated social relations and structures. Her most recent work involves looking at revolutionary theorizing and posturing through a feminist lens.

Beltré’s selected national exhibitions include: International Print Center New York, NYC; Burlington City Arts, Burlington, VT; Five Myles Gallery, Brooklyn, NY; BRIC, Brooklyn, NY; Smack Mellon, Brooklyn, NY; Freedman Gallery, Albright College, Reading, PA; University of Colorado, Boulder, CO; Art in General, NYC ; and international group shows at Projecto Ace, Buenos Aires, Argentina; Hollar Gallery, Prague, Czech Republic; Brun Leglise Gallery, Paris, France; among others.

Her work is included in the Special Collections of the Brooklyn Museum, Brooklyn, NY, and the Walker Art Center, Minneapolis, MN, among others.

She has been awarded residencies at the Lower East Side Printshop, the Vermont Studio Center, and the Santa Fe Art Institute. She has received grants from the New York Foundation for the Arts, the Brooklyn Arts Council,  Brooklyn Foundation, and the Rema Hort Foundation, among others.

Beltré is the co-founder of the Brooklyn Hi-Art! Machine, an ongoing socially engaged collaborative art project in Crown Heights, Brooklyn that addresses gentrification and community building through art-making.

Waiting/Welcome
  • Sunday, January 29, 7pm, College Hall Chapel
  • A poetic meditation/reading/screening performed by MFA in Visual Art faculty, Viet Le and Faith Wilding with slides of images of colonial subjects from National Geographic, rephotographed and titled by faculty member, Michelle Dizon. A discussion with the audience follows.
Brooklyn Hi-Art! Machine: Community and Collaboration
  • Wednesday, February 1, 1-2:30pm, Chapel, College Hall
  • Artist-in-Residence, Mildred Beltré, and her collaborator, Visiting Artist Oasa DuVerney, will discuss their collaborative work.

Mildred and OasaThe Brooklyn Hi-Art! Machine is a socially-engaged project started in 2010 by artists Mildred Beltré and Oasa DuVerney. Dubbing ourselves the “Official Unofficial Artists in Residence” of our block, we set up tents, tables, and art supplies on the street outside our apartment building and invited anyone walking by to stop and make art with us. In this way we co-founded the Brooklyn Hi-Art! Machine (BHAM), a collaborative public art intervention that explores art-making as a community-building tool.

Often when a neighborhood is undergoing rapid change, outdoor space is criminalized for some while being preserved for others. One thing that the BHAM seeks to do in its insistence to be outdoors, and particularly on the street, is about claiming the street as a generative space for people of color. Public and collective projects are a way of combating the social isolation that leads to suspicion amongst neighbors as opposed to cooperation. By engaging our neighbors on the street, we facilitate conversation and trust which is often lost when a community undergoes significant transition and upheaval. Our vision is to facilitate a public space for community members—often silenced by socio-economic circumstances—to get informed, feel empowered, create, and organize to take positive action.

As artists it is important to us to not create work solely for the gallery, but also to use our practice to make artwork with and for our community. By creating weavings and art activities on our sidewalks we provide a visible and participatory space for Crown Heights residents of all ages to see and interact with each other. These workshops serve as a creative outlet for our neighbors and provide an opportunity to engage with each other outside of the daily routine and thus encourage a new kind of interaction, one leading to new social relations based on mutual respect and understanding. The fence weavings provide an opening for that conversation amongst neighbors to begin.

Oasa DuVerney is a Brooklyn-based artist and mother, born in Queens, New York. Selected exhibitions include “The View From Nowhere,” Rush Arts Gallery, NYC (2016); “The Window and the Breaking of the Window,” Studio Museum in Harlem, NYC (2016); The Brooklyn Biennial, BRIC, Brooklyn NY (2016), “Crossing the Line,” Mixed Greens Gallery, NYC (2013); “March On!,” Brooklyn Academy Of Music (2013); “Through A Glass Darkly,” Postmasters Gallery, NYC (2012).

DuVerney was awarded the Rush Philanthropic Foundation Artist Residency (2016), Smack Mellon Studio Artist Residency (2014-2015) the LMCC Workspace program residency (2012-2013), Brooklyn Foundation Grant (2016) a grant from the Brooklyn Arts Council (2011), a grant award from the Citizens Committee For New York City (2010, 2013), and the Aljra Emerge Fellowship by the Aljira Center for Contemporary Art (2007).

Media and Publications include The Independent, UK (2016), PIX 11 News (2016), Hyperallergic (2015, 2016), The Guardian, UK (2015), Palestine News Network (2013), The New York Times (2012, 2011), and The New York Daily News (2010). She received her B.F.A. from the Fashion Institute of Technology and her M.F.A. from Hunter College, CUNY.

Visiting Artists/Scholars during the Visual Art residency:

Damali Abrams, Ujju Aggarwal, Eshrat Erfanian, Nils Karsten, Suzy Spence, Rodrigo Valenzuela, and John Willis.

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Faculty Member Cauleen Smith @ CAC Gallery | Irvine

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The Warplands, Cauleen Smith 
Curated by Rhea Anastas 

Jan 14, 2017 to Mar 25, 2017

Reception: Saturday, January 14, 2017 – 

2:00pm to 5:00pm

 

How – right now, today – can we care for U.S. everyday social life? This exhibition combines two areas of recent work by filmmaker Cauleen Smith. For the show, Smith created a film from her research on the influence of the music and life of Alice Coltrane (1937-2007), a film visually keyed to a recording of a notable Coltrane composition. PILGRIM, 2017, joins three pieces drawn from an area of Smith’s work best described as activist response, a multiplicity of work rooted in Chicago, where Smith has lived since 2011. These works differ in their effects, taking on the locations (public, the street, the worldwide web) and functions of activism (being loud, using your body, making informal networks for self-education and information dissemination). These include LESSONS IN SEMAPHORE (2013), a digitized 16mm film and HUMAN_3.0 READING LIST (2016), an iPhone film of Smith’s essential readings as drawings. Smith’s GWENDOLYN BROOKS BANNERS for The Black Love Procession: Conduct Your Blooming (2016) took a part of a poem by Gwendolyn Brooks and mobilized it as a renegade procession that took place in Bronzeville, a historically black neighborhood. This procession responded to a controversial exhibition by an artist whose work about the death of Michael Brown was presented at a gallery in Bronzeville.

 

Smith was awarded the 2016 Alpert Award in visual art and was the first recipient of The Ellsworth Kelly Award from the Foundation for Contemporary Arts, given to the artist for Give It Or Leave It, a solo exhibition linked to The Warplands through research and a book. Give It Or Leave It is forthcoming at the Institute of Contemporary Art, University of Pennsylvania in 2018.

 

Smith is known for a group of influential films and videos, moving image installations and objects with connections to experimental film and third world cinema, structuralism and science fiction. A California native, Smith was born in Riverside, grew up in Sacramento and was educated at San Francisco State University (BA) and the University of California, Los Angeles (MFA, Film). Recent films, such as Crow Requiem and The Way Out Is the Way To, move between Smith’s active study of multiple sources and archives (avant-garde, African-American histories and improvisational music), and Smith’s personal and political response to recent and ongoing violence against people of color at the hands of the state. Press Kit

 

Events:

Conversation: Cauleen Smith and Rhea Anastas

Thursday, January 12, 7:30pm

LAXART
7000 Santa Monica Blvd.
Hollywood, CA 90038

Cauleen Smith

HUMAN_3.0 READING LIST MANIFESTO (PDF)

Brochure:
PDF icon HUMAN_3.0 READING LIST MANIFESTO_C.Smith_.pdf

From the book:
Cauleen Smith
HUMAN_3.0 READING LIST 2015-2016
Published by Corbett vs. Dempsey, Chicago © 2016

Featured image: Cauleen Smith. Processional Declaration, 2015. Courtesy of the artist and Corbett vs. Dempsey, Chicago.

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Co-Chair Dalida Benfield Launches Art & Pedagogy Initiative

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24 Hour Social Studies is an art and pedagogical initiative for inauguration day. 

”

SOCIAL STUDIES is a required national curriculum that is designed to teach ten different essential understandings for successful democratic civic life and participation in the United States. While not perfect, the curriculum is pretty darn good.

Yet, it is obvious, given the apathy and lack of participation, the anti-social and anti-democratic divisiveness, rampant racism, sexism, lack of civic compassion, lack of understanding of the principles that underpin our government, and the voting in of a completely unqualified person to be president, who is now nominating completely unqualified people to be in his cabinet, that SOCIAL STUDIES has failed.

It’s time to pay attention, kids!

We’re organizing a remedial education project. Designed for all of us, of any age, who want to revisit some of the core principles of U.S. civil society and further, expand and push on them to include our contemporary ideals and visions of the future.

What: A 24 hour distributed “teach in” on SOCIAL STUDIES, using as a take-off point the U.S. Social Studies curriculum strands.

http://www.socialstudies.org/standards/strands

Including video screenings, lectures, readings, and reading discussions, this is a collaborative effort of artists, activists, and educators to build, share, and discover new knowledge based on these 10 standards.

Why: It seems that part of what has happened in the U.S. is a failure to successfully teach anything approaching these Social Studies standards. So let’s teach, learn, and unlearn, critically re-frame “Social Studies” for our collective future.

When: Midnight to midnight EST on January 20.

Who: You! And us! Join us! Participate in one of the many events and/or contribute in some way -a lecture, a reading, a video, facilitating a discussion during the day…please let us know what you could do!”

Events and discussions lead by faculty member Salome Chasnoff and past visiting artist Raul Moarquech Ferrera-Balanquet.

Check the website for further updates.

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Is this Something | Curated by Janet Kawada

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Regular gallery hours are Tuesday through Saturday from 1 p.m. – 4 p.m.

Wedeman Gallery is located at 47 Myrtle Ave., Newton, MA. For more information or to submit work for exhibition consideration, please contact the gallery director, Vladimir Zimakov at  617-243-2143 or by email at vzimakov@lasell.edu.

– See more at: http://www.lasell.edu/academics/academic-centers/yamawaki-art-and-cultural-center/wedeman-art-gallery.html#sthash.BaCD50n6.dpuflatest jordan Sneakers | Air Jordan Release Dates Calendar

Alumnus Matthew Whitney Featured in “Expanded”

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August 2012 alumnus Matthew Whitney’s work has been featured in Expanded, a blog focused on contemporary drawing practices.

Excerpt:

“I am interested in the process of movement, and my current work manifests in the everyday practice of walking. My means of contextualizing these everyday practices involves drawing on paper, considered a 2D medium. It’s a form of reverse-embodiment, in which the real encounter becomes charted by the 2D. I write and draw not just by pen and paper, but also by using GPS technology to record my paths through a landscape. In other words, I am able to write text and draw images into the urban grid by the direct action of walking. This integrates yet another space: that of the digital, and in which dimensional realm do we situate the digital? We call it the “virtual”, which can be both 2D and 3D, and also neither, as we encounter it on a screen or projection or hologram. A screen is flat, but pixels have mass, and what we are seeing is representations of binary information – ones and zeroes, which actually occur as electrical pulses. Is electricity flat? As we move, we blur categorizations of 2D and 3D space, for we never fully exist in one, and we never exist anywhere for long. Rather, we pass through spaces, always feeling our way. Movement is thought of as getting from point A to point B – be it in walking, riding the bus, gardening, making things, or even sitting still. The constant of durational time makes non-movement, or being static, an impossibility. A line is sometimes understood as a point moving through space. The extent of that point though can also be thought of as a line, for as you get closer, the point becomes larger, and in a sense can be reconstituted as a line. Thus perhaps a point also cannot be considered static.”

To read full article click here.

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Artist-Teacher AK Burns @ New Museum | NYC

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A.K. Burns
Shabby but Thriving
January 18–April 23, 2017

New Museum
235 Bowery
New York, NY 10002
USA

www.newmuseum.org

In the exhibition and residency Shabby but Thriving, A.K. Burns continues a serial work that draws on theater, science fiction, philosophy, and ecological anxieties. The project is organized around five elements: power (the sun), water, land, void, and body.

In Shabby but Thriving, commissioned by and premiering at the New Museum as part of the Department of Education and Public Engagement’s R&D Season: BODY, Burns presents the project’s next chapter, a two-channel video staged within an installation that explores the subjugation and agency of various bodies. A video, titled Living Room (2017–ongoing), is the installation’s central work; it was filmed in the New Museum’s 231 Bowery space, a prewar building adjacent to the Museum that houses the artist-in-residence studio. Moving from its basement through the stairwells (partially renovated and often bearing relics of previous eras) and into a series of found and constructed interiors, the video treats the entire building as both a stage and a metaphorical body. The building exists as a hermetic ecosystem and protagonist in the narrative of Living Room, as performers use their bodies to labor and leisure, choreograph and dialogue, bathe and subsist within this vital architectural interior. Likewise, furniture and props act as both benign objects and political subjects.

The installation includes sculptural objects that augment and animate the video’s narrative: a stripped and gutted couch outfitted with underglow, cast bags of dirt embedded with foil candies, a carpet soiled during the couch demolition, and fishing lures and lines stretched across walls.

The exhibition is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, and Sara O’Keeffe, Assistant Curator.

Public programs

Body Politic: From Rights to Resistance
Sunday, February 5, 11:30am–6:30pm

This event features information sessions with lawyers, activists, and grassroots organizers on issues centered around the body: civil disobedience, protest, healthcare, policing, prisons, immigration, and environmental contamination. Each session will focus on resource sharing and modes of resistance, and will include presentations followed by discussion with the audience. Participants include staff from Callen-Lorde Community Health Center, the Center for Constitutional Rights, the Center for Reproductive Rights, the New York Civil Liberties Union, the New York Environmental Law and Justice Project, and the Sylvia Rivera Law Project.

The Question of Quantum Feminism
Thursday, March 9, 7pm

This roundtable discussion brings together artists exploring the evolving and expansive topic of quantum feminism, and considers how an understanding of bodies as sensory systems can be a starting point for discussions around ethics and “entangled relations of difference.” Panelists include A.K. Burns, Harry Dodge, Carolyn Lazard, Anicka Yi, and Constantina Zavitsanos.

Listening Party: Poetry and Record Release for Leave No Trace
Thursday, April 20, 7pm

In celebration of A.K. Burns’ Leave No Trace (2016) this record release party includes performances and readings by artists and writers including Justin Allen, Fia Backström, CAConrad, Katherine Hubbard, and Juliana Huxtable. Leave No Trace is an experimental audio project released as a limited edition vinyl with an accompanying poem. The recording consists of two full length LP tracks that combine ambient environmental recordings, vocalization, sounds generated from various materials, and an old electric guitar. The title references wilderness ethics, pointing to questions around unregulated spaces, bodies and actions that go unrecorded, and what is natural or naturalized.

Support for A.K. Burns: Shabby but Thriving

About New Museum
The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.
Featured Image:

A.K. Burns, Living Room (production still), 2017–ongoing. Two-channel HD video, color, sound, 36 minutes. Courtesy the artist and Callicoon Fine Arts. Photo: Eden Batki.

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Ulrike Müller, Pradeep Dalal, and Moyra Davey @ Callicoon NY

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Former faculty members Ulrike Müller and Moyra Davey and artist-teacher Pradeep Dalal are in a group show at Callicoon in NYC.

Press release:

Compassionate Protocols

January 12 – February 19, 2017

Opening reception: Thursday, January 12th, 6 – 8pm

Photography has a familiar relationship to chance operations, happy accidents, rewarded risks and unexpected discoveries. No such serendipity applies to the sensation of cruel accident and historical derailment ever more widely shared now. And yet both occur, even together, even often.  Two titles here suggested this start: A Throw of the Dice and Museum of Chance.

Another recurring theme of photography is the desiring gaze. It can be amorous, it can be rapacious. Before we had even begun to work on our show in earnest, Dayanita Singh posted an encouraging signal in the form of an excerpt from Hervé Guibert’s collection of essays, Ghost Image. Guibert is musing on the difference between the stance required of a Nikon, for instance (upright, potentially confrontational) versus a Hasselblad (bowing over). Guibert’s observations on this difference, so germane to our project, merit quoting at length:

Diffraction

T. brought my attention to the fact that in posing for B.F. who works with a Hasselblad, he felt that the photographer’s gaze was less coercive, because of the deflection involved in the use of the 2 ¼ by 2 ¼ camera, where the photographer looks down with his head bent over the viewfinder in an attitude similar to contemplation (or even prayer). His gaze ricochets off a series of mirrors toward his model; a form of desire has replaced the predatory nature, the directional brutality of the 35 millimeter camera. T. compares this gaze to the equally deflected gaze that is passed from one window to another in the subway for example – when cruising someone. Filtered through its reflection, the gaze loses some of its brutality, gains in impunity… 

Books may be the natural habitat of photography, and many of the works on display speak from that ecology. But an exhibition offers a localized sociality of images, hovering from the work-a-day purpose photos can have in recognizing our own circumstances, to extraordinary perceptions. Compassionate Protocols borrows its title from another book by Guibert, The Compassion Protocol, an end of life account where Guibert is unequivocal about creative work as life-force and final witness, while dispassionately inventorying his physical decay and the search for care.

This is the second exhibition we have curated at Callicoon Fine Arts under the sign of Guibert, this time with works by Chris Curreri, Pradeep Dalal, Moyra Davey, Bracha L. Ettinger, Hadi Fallahpisheh, Alair Gomes, Hervé Guibert, William E. Jones, Catherine Lord, Ulrike Müller, Paul Mpagi Sepuya, Jason Simon, Dayanita Singh.

– Moyra Davey & Jason Simon

For additional information contact Photi Giovanis at info@callicoonfinearts.com, or call 212-219-0326.

Callicoon Fine Arts is located at 49 Delancey Street between Forsyth and Eldridge Streets. Gallery hours are Wednesday to Sunday, 10am to 6pm.latest Nike Sneakers | Air Jordan Release Dates 2020