The Animal Museum|SPOM in LA

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THE SEXUAL POLITICS OF MEAT (SPOM)
@ The Animal Museum,
421 Colyton St. Los Angeles, CA

EXHIBITION DATES
February 25 – April 30, 2017

OPENING RECEPTION
Saturday, February 25, 2017, 5 – 8pm. Free.

SUNDAY COLLOQUIUM:
February 26, 2017, 2 to 5 pm. $20 
w/ SPOM Slideshow presented by Carol J. Adams, + Q&A
+ “Women, Animals, and Art” Panel Discussion that includes Carol J. Adams, the curators, and artists, to address the theories found within the book. Panel moderator: Dr. Stephen Eisenman, author of The Cry of Nature: Art and the Making of Animal Rights

Thank you to our exhibit sponsors –
A Well-Fed World

ABOUT THE EXHIBITION
______________________
Curators: Kathryn Eddy, Janell O’Rourke, L.A. Watson

The Sexual Politics of Meat (SPOM) exhibition features fourteen contemporary women artists whose work has been inspired by the eco-feminist theories presented in Carol J. Adam’s book, The Sexual Politics of Meat. The SPOM exhibition aims to not simply illustrate the ideas found in the book but instead, highlights how artists internalize theory and creates original work as a result; the exhibit will coincide with the 25th anniversary of the book.

The Sexual Politics of Meat, by Carol J. Adam’s explores the ways that women and animals are marginalized and objectified in patriarchal cultures. Through an exploration of how persons might literally and metaphorically become “pieces of meat,” Adams analyses the object-status of nonhuman animals and its relationship to the objectification of women throughout visual and literary culture.

Through their work, the artists of SPOM examine intersecting oppressions based on gender, race and species, exploring what objectification means to them personally, politically and poetically. Working in a wide variety of media the artists of SPOM ask, “How does someone become something?”

Featured artists: Nava Atlas, Patricia Denys, Kathryn Eddy, Suzy González, Hester Jones, Renee Lauzon, Maria Lux, lynn mowson, Janell O’Rourke, Valerie Callender-Scott, Angela Singer, Sunaura Taylor, L.A. Watson, Yvette Watt.Sports brands | NIKE HOMME

Faith Wilding and Viet Le Will Perform @ Arc Gallery San Francisco

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As a part of F*ck U! In the Most Loving Way: A National Feminist Art exhibition at the Arc Gallery in San Francisco, running until January 21, 2017, Faith Wilding and Viet Le will perform welcome-waiting, an updated version of Wilding’s iconic Waiting. 

In the exhibition, fifty-two artists speak out against misogyny. Scheduled on the heels of a contentious Presidential election, the exhibition examines in raw detail how the artists react to patriarchy and shines a spotlight on women’s identities and embodied experiences.

Represented are national artists selected by Shannon Rose Riley, M.F.A. and Ph.D., Associate Professor and Chair of Humanities, San José State University and featured artists invited by Tanya Augsburg, PhD, Associate Professor of Humanities and Liberal Studies, San Francisco State University. These include groundbreaking artists such as Faith Wilding, Johanna Demetrakas, Karen LeCocq and Nancy Youdelman from the beginning of the feminist art movement in the early 1970s and internationally known contemporary artists Emma Sulkowicz, Violet Overn, Ester Hernandez, Rokudenashiko and Sheila Pree Bright.

List of upcoming events:

 

Womanhouse Reunion

Friday, January 13, 2017, 6-9 pm

At the Ninth Street Independent Film Center, 145 9th Street, San Francisco, CA

Free admission

Two videos from the 1972 landmark Womanhouse installation will be screened and original Womanhouse artists Faith Wilding, Karen LeCocq, and Nancy Youdelman together with Womanhouse documentary filmmaker Johanna Demetrakas are expected to attend.

An Afternoon of Performance with Tanya Augsburg, Faith Wilding and Viet Le 

Saturday, January 14, 2017, 1:30 – 3 pm

At the Ninth Street Independent Film Center, 145 9th Street, San Francisco, CA

Free admission

Tanya Augsburg, Ph.D. will perform Kitchen Table Talk with audience participation and Faith Wilding and Viet Le will perform welcome-waiting, an updated version of Wilding’s iconic Waiting.

F*ck U! Video Screening

Saturday, January 14, 2017, 7– 10 pm

At the Ninth Street Independent Film Center, 145 9th Street, San Francisco, CA

Free admission

Featuring Cheryl Dunye’s Black Is Blue, a video by Rokudenashiko; a video by Johanna Demetrakas, and works by video artists selected by Shannon Rose Riley, M.F.A. and Ph.D., Associate Professor and Chair of the Department of Humanities, San José State University.

Arc Gallery

1246 Folsom St. (between 8th and 9th Sts.), San Francisco, Hours: Wednesday & Thursday, 1-6 pm; Saturday, 12-3 pm, Closed Saturday, December 24 & 31

Free Admission

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Recent Faculty Member Sowon Kwon | 4Columns Article

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In 4Columns Sowon Kwon writes about Bruce Nauman’s exhibition at the Philadelphia Museum.

Here is an excerpt:

”

In 1968, the artist Bruce Nauman constructed a long and narrow (twenty feet by twenty inch) corridor in a borrowed Long Island studio. He then videoed himself walking inside it, while approximating and animating the contrapposto pose. Developed in classical Greek sculpture, contrapposto describes a torqueing of the human figure such that the axis of the shoulders contrasts with those of the hips, depicting a naturalistic distribution of weight in an idealized body. In Contrapposto Studies, I through VII, a new suite of installations currently on view at the Philadelphia Museum of Art, Nauman revisits this seminal performance and video, Walk with Contrapposto, in digital media.

Five HD video projections make up the installation in the main room. They show multiple moving images of the elder Nauman, his head cropped at the eyeline or jaw, and wearing a quotidian white T-shirt and blue jeans, repeatedly walking, pivoting, and turning as he did forty-eight years ago. The videos run concurrently on two facing walls—two on one, three on the other—in a continuous loop.

The framing of each repeating figure of the artist is stitched side to side and stacked in two rows to fill a long expanse, like a monumental processional frieze in video form. On the top row, a digital filter has inverted the footage to a different color palette, one resembling photographic negatives, and the motion is reversed so that the figures seem to walk backward. The camera also moves (unlike the fixed perspective in the original WWC), keeping pace with Nauman so that even as he walks, he remains central within the frame. The horizon line may shift, but the scale of the figure remains constant.

While Nauman’s figure is multiple and the walk repetitive, each frame is also discrete, with variations in movement. You might catch one figure take a longer pause than the others as if awaiting a cue; another drops his arms or momentarily disappears at a point of edit, or briefly walks off screen. Some frames are bisected, with one layer moving out of sync with the other, sometimes so much so that legs move disconcertingly in the opposite direction of the torso. In the two larger studies, the rows are further subdivided into fourteen strata. The fragmentation and disjunction this creates is jarring at first, then mesmerizing, as the fractured body mis-registers, lags, then catches up to itself briefly, abuts itself partially, then again falls in and out of alignment, again and again, from head to toe. The corresponding audio, an ambient rumbling with cavernous echoes, punctuated by tinny swishes and regular thuds, is made up of the shuffling of feet or incidental studio noise, which has undergone comparable digital manipulation in sound editing.”

To read the full article click here.

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VA alumna Patricia McInroy’s film, “Clara, Angel of the Rockies,” wins PBS award

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The film, CLARA, ANGEL OF THE ROCKIES, by Patricia McInroy ’07 VA, is the winner of PBS’s To The Contrary: All About Women – Women’s History U.S. Category.

PBS laurelsThe film is scheduled to air nationwide between December 30, 2016 and January 6, 2017. Patricia decided to make the documentary with her own funds in order to help spread this story of hope to others.

“My film is an attempt to fill in a small part that is missing from a much larger picture and PBS is a great place to do that, so I feel lucky to have won. The historical story of Clara Brown is one of hope and, as human beings, I think we could all use more hope,” says McInroy.

To see a trailer for the documentary go here: https://vimeo.com/193411212

For PBS airdates near you: http://www.pbs.org/to-the-contrary/airdates

 

Clara Brown photo credit: Denver Public Library Western History Photographic Collection

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M/othering @ Gallery 263 | C0-Curated By Alumna Tereza Swanda

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“M/othering” at Gallery 263, Cambridge, MA
Curated by: Tereza Swanda and Angela Rose Voulgarelis
Featuring work by: Fletcher Boote, Maya Pindyck, Tereza Swanda, Angela Rose Voulgarelis
On View: Thursday January 5 – Saturday February 4, 2017
Gallery Hours: W-Sat, 12-7pm/ Su, event dependent
Saturday January 14; Reception: 6-8pm, Artist Talk:, 8-9pm
Embroidery Circle: Saturday January 21, 11am-1pm

Gallery 263 is pleased to present M/othering, a Curatorial Proposal Series exhibition that features recent works by Fletcher Boote, Maya Pindyck, Tereza Swanda, and Angela Rose Voulgarelis. These four artists draw on their experiences of motherhood and childhood in relation to the often-complicated dynamics of family relationships, cultural identity, and positions of privilege. They explore these themes through a range of media, driven by questions about inheritance and systems; What continuity is there, if any, between generations? What gets handed down from mother to child? What gets passed from nation to education, or from education to family structure? What images and stereotypes of mothering tend to spread and reproduce?

All four artists featured in M/othering have attended art workshops for the past twenty years led by South African artists Rose Shakinovsky and Claire Gavronsky, which encourage reflection on the interconnectivity of social, cultural, and familial experiences. Each artist in this exhibition considers the far-reaching impacts and political implications of everyday notions of “othering” and “mothering” in connection to their own lives.

In her audio series “Like Night and Day,” Fletcher Boote explores nuances of domesticity and family through various arrangements of sounds. Recordings from her daily life with young children are the backdrop for compositions which point to the impact of repetition, give relevancy to the unexceptional, and question a hierarchy that qualifies music as one thing and “noise” as an “other.”

In the series “Out of Lezley”, Maya Pindyck’s gouache portraits are an elegy to the black lives lost to police brutality in the United States. Working from a media photograph of Lezley McSpadden taken after her son Mike Brown was killed, she renders visible multiple faces that blend source material, medium, and collective grief.

Tereza Swanda works with themes of erasure and recognition. In “Spot Light,” embedded portraits of victims of police brutality are slowly revealed as participants wash their hands. Illuminated with light and color, Swanda preserves and displays these cracked, painful images.

In her paintings and performance-based work, Angela Rose Voulgarelis re-contextualizes notions of “women’s work”. Her paintings are an exploration of the figure in relation to the context of the everyday. In the ongoing project, “Airing Dirty Laundry”, Voulgarelis prompts participation with beginnings of phrases such as “Don’t Be Too…”, or “Not Enough….”, asking visitors to complete the phrase in writing. Voulgarelis then embroiders the responses in public spaces, inviting conversation and exchange.

 263 Pearl St, Cambridge, MA

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Alumna Renée Lauzon @ Core Gallery | Seattle

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For more information about the Core Gallery, click here.

For more information about Renee’s work, click here.

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Alumna Judy Walgreen and Faculty Member Michelle Dizon Receive Art Matters Grant

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Art Matters announces 2016 grantees

Art Matters is pleased to announce the recipients of its 2016 grants to individual artists. The foundation awarded 26 grants of 5,000 and 10,000 USD for projects and ongoing work that breaks ground aesthetically and socially.

In addition to grants to individuals, Art Matters made a special grant to Lower Manhattan Cultural Council for Michael Richards: Winged, an exhibition of work by Richards, a 1995 grantee, who died tragically in his LMCC studio in the World Trade Center on 9/11.

In announcing the grants, Art Matters Director Sacha Yanow said, “We are thrilled to support this extraordinary group of artists from across the U.S. Their practices are diverse, engaging issues of social justice and experimenting with form. We feel their voices are particularly important at this moment in the world, and through our funding we hope to help amplify them.”
2016 Grantees:

Sandra Haydee Alonso (El Paso, TX)
Wearable sculptural works that question borders, identity, and relationships.

Katrina Andry (New Orleans, LA)
Ongoing printmaking work involving vignettes that challenge racial stereotyping.

Sadie Barnette (Oakland, CA)
Work based on the FBI files and COINTELPRO’s surveillance of the artist’s father and his activities with the Black Panthers.

Black Salt Collective 
(Oakland/Los Angeles, CA)
Ongoing performance and archiving work of this Black, Brown and Indigenous women artist collective.

Frank Chi (Washington DC)
New short film that remixes imagery from the women’s suffrage movement.

Complex Movements (Detroit, MI)
Ongoing multi-media performance and installation work engaging community-led social justice movements in Detroit and beyond.

Michelle Dizon (Los Angeles, CA)
The Archive’s Fold, an artist’s book that explores the politics of archives.

Skylar Fein (New Orleans, LA)
Ongoing work with Parisite, a community-based New Orleans skate park, and the youth who built it.

FORCE: Upsetting Rape Culture (Baltimore, MD)
Nuestra Tierra, Mi Cuerpo, a Monument Quilt display at the US/Mexico border in collaboration with La Casa Mandarina and Latinx survivors of rape and abuse.

Vanessa German (Pittsburgh, PA)
Museum of Resilience, a neighborhood art place centered around the global interconnectedness and power of human beings.

Harriet’s Apothecary (Brooklyn NY)
Ongoing work of this healing justice collective led by Black cis women, queer and trans healers, health professionals, artists and ancestors.

Taro Hattori (Richmond, CA)
Rolling Counterpoint, a mobile teahouse providing a platform for discussions around inequities within local communities.

Xandra Ibarra (Oakland, CA)
New performance about corporeal inhabitation, racialized skin and concealment in the age of surveillance.

Jellyfish Colectivo y Los Dos 
(El Paso, TX)
Collaborative traveling street art initiative along the US/Mexico border.

Amos Paul Kennedy Jr. (Detroit, MI)
Ongoing poster printing for concerts at Historically Black Colleges and Universities in the USA.

Young Joon Kwak (Los Angeles, CA)
New body of work involving trans performance objects.

Troy Michie (Brooklyn, NY)
Travel to El Paso towards the development of multi-disciplinary works inspired by the Zoot suit.

Holly Nordlum (Anchorage, AK)
Tupik Mi, a film and community based project dedicated to the revitalization of traditional tattooing amongst Inuit women.

Ahamefule Oluo (Seattle, WA)
Development of SUSAN, a theatrical performance about the artist’s mother.

Laura Ortman (Brooklyn, NY)
Ongoing work involving the recording and collection of sounds, songs, stories and voices of Native Americans in New York City.

Otabenga Jones and Associates (Houston, TX)
Creation of an education and activity packet for the youth of Houston’s historic Third Ward neighborhood.

Sondra Perry (Perth Amboy, NJ)
Video work involving the NCAA’s use of the artist’s twin brother’s likeness.

Dario Robleto (Houston, TX)
A body of work centered around the history of the heartbeat.

Tina Takemoto (San Francisco, CA)
The third in a trilogy of experimental films about queer Japanese life during American wartime imprisonment.

Rodrigo Valenzuela 
(Los Angeles, CA/Seattle, WA)
Video work about unpaid labor, volunteering, and internship culture.

Judith Walgren (San Francisco, CA)
Photographic and video work towards an alternate curriculum challenging existing K-5th grade California Mission studies.

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Cauleen Smith Mousse Magazine Interview

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Destroying Narratives: Cauleen Smith

Cauleen Smith and Carolyn Lazard in Conversation

Cauleen Smith is an interdisciplinary artist operating with multiple materials and modes, including installation environments, referencing mid-20th-century experimental film. She draws from devices originating in science fiction to deploy a conversation with the representation of black women in Western cinema as radical others, and to address the dislocated relationship with ideas of belonging to a “homeland.”

CAROLYN LAZARD: Over the past few years, you’ve created more and more installation work and pieces that expand outside of a traditional cinema environment. There seems to be this never-ending debate about the contested presence of cinema in the gallery space. Can you address these formal changes in your work and why you necessarily wanted to take your work out of the theater?

CAULEEN SMITH: When I first started making films, showing moving images in gallery and museum spaces was both prohibitively expensive and technically difficult. It was actually painful to have my work in art shows because the exhibition decisions were so disrespectful to the medium and the way the work was intended to be viewed. Digital video has changed that. A good projector is affordable and requires no human projectionist for operation. An extremely high-quality piece of media can loop effortlessly on a media player. Furthermore, there are the natural similarities between installation art and filmmaking: the completeness, the immersiveness, the totality of materials and playing with their materiality is, to me, echoed in each form. The installation becomes a container, a wrapper, for the films, and sometimes a physical echo of things occurring in the films. It also becomes a three-dimensional footnote in a sense because I rely on the environment in which my films play to expand and illuminate the content, tone, and forms deployed in the films. By building chambers, what I have taken to calling “space stations,” I have a chance to control the spectator’s approach toward the work and influence their receptivity. Frequently the installation is a playful obstruction. A way of slowing down the spectator, of inviting them to spend more time with the work by offering them information that can only be gleaned by being inside of the space that contains the film.

CL: In H-E-L-L-O (2014) and in The Way Out Is The Way Two: Fourteen Short Films about Chicago and Sun Ra (2012), you work directly with musicians, addressing the legacy of black music and the avant-garde. Your use of non-diegetic sound, dubbed dialogue, and text in lieu of voice can be quite disorienting. The dissonance between sound and image points to worlds outside of the frame, adding layers of perception. Often, one senses that there is an entirely separate sonic narrative unfolding under your films. Could you address your relationship to sound as a filmmaker?

CS: I admit to the strangeness of something your questions alludes to, which is the fact that I really do favor dissonant, non-diegetic sound design. I get excited when the sound I hear disagrees with the image I see but somehow manages to point me toward a new question or possibility. Whenever a spectator is offered drama through dialogue, they desire the satisfaction—the seduction—of losing themselves in the affective transference that occurs between screen character and individual spectator. Dialogue is a very special kind of text, different from essay, poetry, or expository voice-over. I love what it can do, but I don’t love enabling that traditional desire for illusionistic filmmaking in my spectators when I am trying to offer them a different kind of viewing experience. In the context of my work, it’s misleading to invite viewers to lose themselves in the narrative drama, when all of the tension actually resides in the image and its formal relationship to what comes before and after and what sounds support or undermine those images. Rather than completely mute the figures in my films, I prefer to untether the voice from the body and insert some slippage. In that space, I hope, is the potential for a kind of recognition of self, that invites more than desire. Cognitive estrangement and cognitive dissonance are both tactics that I rely on quite heavily. What does it feel like to live in a body that is perceived as malevolently vacant, fugitive, unknowable, and black? Estrangement and dissonance are two psychological states that come to mind when I think about how black people have to move through the world and the assumptions we are sometimes subjected to. Undermining the mundane aspects of moving through cinematic space by peppering the sonic environment with alien information seems like an invitation to contemplate the discomfort—and that freedom.

To read full interview click here.

Featured image:

Cauleen Smith, Song for Earth and Folk (still), 2013
Courtesy: the artistaffiliate link trace | adidas

Alumna Michelle Hagewood | Henry Art Gallery Seattle

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Vermont College of Fine Arts alumna Michelle Hagewood is the assistant curator of school, youth, and family programs at Henry Art Gallery in Seattle, WA. Recently she was interviewed by the Seattle Times.

Here is an excerpt:

Assistant curator gets to combine three of her favorite things: working with youth, exploring art and designing activities around the museum experience.

By The Seattle Times Jobs staff
What do you do? I am assistant curator of school, youth and family programs at the Henry Art Gallery. I wear a few hats, including artist, educator, evaluator and administrator. I organize programs that engage youth, families and schools with the contemporary ideas at the museum. I work with colleagues across the museum to make sure that the Henry is a place where people of all ages and backgrounds can be creative, play and make meaningful connections to art and ideas.

How did you get started in that field? Not long after receiving a Bachelor of Fine Arts from the Maryland Institute College of Art, I picked up a weekend job helping out with family programs at the Walters Art Museum in Baltimore. There I was introduced to the field of museum education and was hooked. I had found a job that combined three of my favorite things: working with youth, exploring art and designing activities that allowed people to respond and make creations inspired by their museum experience. Since then, I’ve followed this line of work in various ways at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art and now the Henry!

What’s a typical day like? My favorite thing about working in museum education is that every day is completely different. Depending on the day I might meet a new artist, catch up on the newest learning theory or create a fantastical landscape alongside 5-year-olds and their families. Lately, I’ve been spending a lot of time with an awesome group of young people, the members of the Henry Teen Art Collective, who meet with me every week to create new projects and programs for the Henry.

To read the entire interview click here.

To learn more about the Henry Art Gallery click here.

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MFA-V Alumna Carissa Burkett Performs @ Disjecta

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Liminal’s immersive opera update of Fassbinder’s 1972 black comedy for the stage.

Audiences are invited to wander through a Fassbinder fantasia as Liminal combines performance art, video, and opera into a unique, immersive experience, a hybrid of theatre and gallery installation, of live performance and video.

In this (literally) biting social satire, Phoebe Zeitgeist is an alien agent sent to Earth to investigate human democracy in action. Unfortunately, Phoebe has a problem—she knows our language, but can’t figure out US. Then the vampires show up.

TRIGGER WARNINGS: substance abuse, sexuality, semiotics, societal complacency, firearms, fetishes, structuralism, choking, privileged classes behaving badly, suicide, Hegel.

Purchase tickets here.

Featuring
Carissa Burkett (soprano) as Phoebe Zeitgeist
With Linda Austin, Evan Corcoran, Carla Grant, Wayne Haythorn, Eleanor Johnson, Don Kern, Alex Reagan, Danielle Ross, Todd Van Voris

Written by Rainer Werner Fassbinder
Translated by Denis Calandra
Direction and Media Design by John Berendzen
Developed by John Berendzen, Evan Corcoran and the ensemble
Original music by John Berendzen and Carissa Burkett
Costume by Faerin Millington and Manot VonRocket
Crew Jared Lee, Sharon Porter, Nancy Novotny

Featuring Fassbinder zines by Going Place

Disjecta Contemporary Art Center, 8371 N Interstate Ave, Portland, OR 97217url clone | 『アディダス』に分類された記事一覧