Future Memories | Ambivalently Yours | Montréal

Opening: 5 NOV | 8 PM
Exhibition: 5 NOV > 4 DEC 2016
Free admission | Wheelchair accessible
Closing party for the conference “Terms of Privacy: Intimacies, Exposures and Exceptions” : 5 NOV | 8PM

Each in their own way, the four artists presented as part of the exhibition Future Memories reflect on technology as a narrative space that is also a sharing space. By using different media, from video to textile, the artists challenge what separates the private from the public, and where the actual limit of that sharing is. All four present work about memory, or a past image, so that it survives in the future.

Zinnia Naqvi’s installation Veena (2016) and video work Seaview (2014) reveal the complications of translating culture across time and seas. Naqvi shares her personal struggles between the ideals of Western and Eastern societies.

Presented for the first time offline, the drawings of Ambivalently Yours explore ambivalence through online sharing of pink illustrations, animations and sound sketches. Behind the anonymous persona, the artist uses her online platform to facilitate the exploration of feminist convictions through a conscious act of indecision. This way, Ambivalently Yours can better cultivate relationships of empathy within an online community.

In this current era of selfies, sharing our life with friends is common. Zeesy Powers turns this on its head in her installation The Averaging Mirror (2016), an “anti-selfie” mirror obscuring the viewer’s digital reflection. We can’t help but wonder what is happening to us outside of the lens: is our life real without it being captured?

Sophia Borowska’s project Data Excess (2016) focusses on what is considered “digital excesses”, like low-resolution screenshots or spam e-mails. Using the practice of weaving, Borowska questions the potential for control in virtual spaces.

Artists :


262, rue Fairmount Ouest, Montreal, Quebec H2S 3A7bridgemedia | Nike

Midwest Alumni Show Opens Nov 5

Midwest Artists
A selection of artwork by Vermont College of Fine Art alumni
November 5th – November 30th

Opening reception: Saturday, November 5th, 5-8pm

Genesis Art
2525 N Elston Ave
Chicago, IL 60647

Visual artist alumni of Vermont College of Fine Art, present a selection of artwork from Midwest regional alumni artists for an exhibition at the Genesis Art. 

To celebrate the 25th anniversary of the MFA in Visual Arts program at Vermont College of Fine Art, alumni from across the country have organized exhibitions and events to take place this fall, simultaneously in different cities and regions. The goal is to build stronger alumni connections and generate dialogue between alumni and surrounding communities. Organized by alumni Dawn Feller and Carrie Ruckel.

Kathy Arkles
Renee Baker
Beth Bradfish
Margaret Carsello
Pete Driessen
Esteen Lauri Feldshriber
Clea Felien
Dawn Feller
Linda Ferguson
Denise Hoover
Wilson Hurst
Cindy Pacyk
Maria Prainito-Winczner
Carrie Ruckel
Lexi Ryckman-Harriet
J. Wren Supak
Mary Telfer / Rick Morgan
Michelle Welzen Collazo-Andersonbridge media | Best Running Shoes for Men 2021 , Buyer’s Guide , Worldarchitecturefestival

“Stopped in Time” Rocky Mountain College of Art + Design

A Denver exhibition opened yesterday featuring of the VCFA Alumni show “Stopped in Time.” The exhibit is on the campus of the Rocky Mountain College of Art + Design in the Rude Gallery. The show features international street photography by VCFA alumni Julie Puma and Patricia McInroy.


 Buy Kicks | Autres

MFA Candidate Opal Jones Opens UNA Gallery Portland OR

The curatorial team is dedicated to showcasing emerging and working artists. Their mission is to provide a local platform for feminist, queer, POC, & socio-politically inclined artists, while promoting a subversive, playful and experimental environment.

328 NW Broadway Av. #117
Portland, Oregon
(858) 610-4269

Anthony Elech
Blair Crissman
Mercedes Orozco
Opal Grace Jones
Buy Sneakers | Autres

Faculty Member Cauleen Smith @ Center for Contemporary Art and Culture



NOVEMBER 03 // 2016 – JANUARY 06 // 2017

The Center for Contemporary Art & Culture commissions a new project from the multidisciplinary artist Cauleen Smith.

Sometimes it takes time to see what’s really there. Sometimes having a name for a thing helps us see it.
And sometimes the name for a thing renders it unseeable. Asterisms collects, arranges, projects, and draws connections between bodies unrelated, which together, create space and place. Objects from the collection of the Museum of Contemporary Craft intermingle with objects from the artist’s own personal collection to create the mise-en-scene for cinemascapes that require an a curious and slow-looking eye.

This installation will be the first component to a three part body of work Smith is undertaking. The other two parts will unfold at UCLA’s Hammer Museum and the Chicago gallery Corbett vs. Dempsey.

Cauleen Smith is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Rooted within the discourse of mid-twentieth century experimental film, Smith draws equally from the tactics of structuralism, third world cinema, and science fiction in an attempt to make things that nod to these references while offering a phenomenological experience for spectators and participants.

Smith’s films, objects, and installations have been featured in group exhibitions at the Studio Museum in Harlem, Houston Contemporary Art Museum; the Blanton Museum of Art, Austin; the San Diego Museum of Contemporary Art; Yerba Buena Center for Arts; the New Museum, and Liepzig and Berlin. Smith has had solo shows at The Kitchen, the Museum of Contemporary Art Chicago, Threewalls, Chicago, and Women & Their Work, Austin, TX.

Prior to receiving her 2014 Grants to Artists award, Smith’s film Drylongso (1998) won Best Feature Award from Urbanworld Film Festival and the Pan-African Film Festival, Los Angeles. Smith was the recipient of a Creative Audio Archive Research, Experimental Sound Studio Residency (2011), a National Alliance for Media Arts and Culture, Artist Award (2012), a Washington Park Arts Incubator, Arts and Public Life Residency (2013), and a 3Arts Award (2013).

Smith earned a B.A in Cinema from San Francisco State University in 1991 and an M.F.A. from the University of California, Los Angeles in 1998. Smith studied with Trinh T. Minh Ha, Angela Davis, and Lynn Hershman-Gleeson at San Francisco State University. She attended the Skowhegan School of Painting and Sculpture in 2007. Smith lives in Chicago while teaching at the Vermont College of Fine Art low-residency M.F.A. program.

This exhibition is supported in part by the The Regional Arts & Culture Council.

51 Northwest Broadway, Portland, Oregon 97209Nike air jordan Sneakers | Asics Onitsuka Tiger

Interview with Alumna Mallary Johnson/Nature as Time-based Process

Nature as Time-Based Process: A Conversation with InLiquid Artist Mallary Johnson

By Addison Namnoum

For thousands of years, arguably dating into prehistory, humans have tried their hand at representing nature in art, the concept of “landscape” and what makes “landscape art” an ever-evolving genre. Our attitudes never settle long.

When considering the vast shift in the past two hundred years toward a largely industrializing world, our relationship with nature and its resources has understandably become even more complex. Rural areas are left behind, wild spaces depleted or irrevocably changed, old skills of necessity which once bound us to the natural world become increasingly forgotten. In the face of these significant changes, conservationists, urban-planners, and artists alike are tasked now to conceive new, fresh ways to both illustrate and engage with the natural world: What can it mean to us? How can we treasure and protect it? Can landscapes—and the art that reflects them—be reimagined yet again?

Mallary Johnson, "Re-Collect III." Plant extracts on woven paper 34 3/4 × 27 1/2 in

Mallary Johnson, “Re-Collect III.” Plant extracts on woven paper
34 3/4 × 27 1/2 in

For InLiquid Artist member Mallary Johnson, an artistic approach that is rooted in systems thinking and ecology opens up a world of exploration. “Systems thinking makes clear the deep interconnectedness of life. Engaging with ‘nature’ is important because we are not actually separate from it, although it often seems so in industrialized cultures,” reflects Johnson.

Systems thinking and its philosophical counterparts, creative vitalism (popularized by Henri Bergson in the early 1900s) and deep ecology (coined by Arne Næss in 1973), are still relatively new concepts. As Johnson explains, however, they provide useful lenses we can look through to arrive at a more imaginative understanding of our relationship with nature—and our active role within it. When approached through this new understanding, time stretches out on a different scale. Process richens in meaning. And, in defiance of the long-held belief that humans exist separate from nature, a peopled landscape emerges.

Johnson is one of the artists in the group show Reinterpreting Landscape and Nature at Stanek Gallery, curated by art advisor Barbara Harberger. The works in the show vary in materials and method, yet all probe this idea of connectivity while demonstrating a strong love of natural forms. Several of the artists, like Johnson, investigate the point where the urban-and-human meets the rural-and-natural, and where those seeming divisions break down. Contributing writer Addison Namnoum asked Johnson a few questions about her process and the thought behind her particular approach:

Addison Namnoum: You are both an educator and artist. How does ecology and systems thinking come into your work?

Mallary Johnson: In my work, I maintain a less anthropocentric point of view and embrace creative vitalism as a mode of working. Creative vitalism, as scholar and artist Joanna Zylinska defines it, refers to the “rethinking and remaking of life and what we can do with it.” Seeing life as a constant process of fracturing and becoming, creative vitalism acknowledges interconnectedness as a starting point and recognizes that we are constantly engaged in a complex process of co-creation with the rest of the more-than-human world. This strategy is where my projects take root. Whether I am teaching, organizing, or making visual art, I look for the relational connections involved and search for ways to elucidate, interrupt, or build on them accordingly.

Mallary Johnson, "Spinning Stars (Tumeric)." Plant extracts on woven paper. 18 3/4 × 16 1/2 in

Mallary Johnson, “Spinning Stars (Tumeric).”
Plant extracts on woven paper
18 3/4 × 16 1/2 in

AN: When you’re rethinking and remaking as a part of engaging with creative vitalism, I imagine you have to reevaluate certain concepts we take as givens: landscape, for example. When you break it apart, what is landscape to you, and how does it inform your work?

MJ: Landscape, to me, is a synthesis of elements, processes, place and time. Often understood visually, landscapes can include the physical properties of a given area (including landforms, living and inorganic elements, human structures, etc.) as well as the shifting geophysical and cultural processes acting upon them that alter their makeup over time. I draw inspiration equally from both the processes and effects.

AN: You are working within some interesting patterns in these pieces. They satisfy a kind of order. In some works, however, there are occasional interruptions to a pattern, like in Re-Collect I and Re-Collect III. These two pieces, with their jaggedness and breaks in color, come across almost as layers of sedimentation in rock. Do you take inspiration from the patterns you see in nature?

MJ: All the time—natural patterns play a huge role in my artwork. I’m also very interested in patterns found in textiles and surface design. The designs for my weavings and collages mix together the rhythms of shape, color and texture found in landscape elements such as vegetation or layered striations of rock with patterns drawn from weaving, quilting, and basket-making techniques.

AN: The patterning you work in is often subtle yet complex. In several pieces you are weaving tessellating forms—the effect is beautiful. Where do you begin these patterns? How do they evolve?

MJ: My compositions evolve from a conversation between color and pattern. Once I find a plant pigment that is working for me, I dye sheets of paper in a range of tones that compliment each other. When enough sheets have been prepared, I experiment with different weaving and quilting patterns, varying the dimensions until something coalesces. Many of the tessellating forms are constructed from a triaxial weave formation, which is a basket-weaving pattern created from three axes instead of the ninety-degree warp and weft pattern associated with most loom weaving. The series of work included in the Stanek show sets out to explore the relationship between biology and geometry. Creating tessellating shapes from weave patterns enables the two subjects to coexist visually. Often, the juxtaposition of natural materials with hard-edged shapes produces interspersed moments of visual tension and synchronicity. I like to think of it as a form of organic geometry.

Mallary Johnson, "Re-Collect I." Plant extracts on woven paper 34 3/4 × 27 1/2 in

Mallary Johnson, “Re-Collect I.”
Plant extracts on woven paper
34 3/4 × 27 1/2 in

AN: I love that. Definitely brings new meaning to organic geometry. As you mentioned, you made dyes for these pieces using your own plant-based extracts. What role does pigment-making play in your process, and why take the time to do it?

MJ: There are many reasons why I choose to create pigments from plants. The project where I began to work with plant-based dyes is entitled Rituals for Remembering. At the time, I was looking for a way to create earth-friendly non-toxic pigments to use in my work. Rather than interpreting the landscape through a visual representation, I thought it would be interesting to collude with the living landscape as part of the work. After experimenting with a variety of approaches, including grinding minerals to make paints and burning wood for charcoal, I settled on making dye extracts from plants. As a gardener, this process resonated with me on multiple levels. The ritual of cooking down the extracts allowed time to reflect on the source and cultural applications of the plants and translating weaving techniques into colorful paper collages tapped into the richly layered history of textile design.

AN: How does time enter into the representation of landscapes, for you?

MJ: Issues of time are central to my interpretation of landscape. Despite the intense pace required by everyday life in contemporary Western society, there are a variety of scales of time occurring in nature. My work reflects upon that. I am constantly searching for a way to pause, to expand time. Often I achieve this through my techniques. For example, when drawing or weaving, I employ very precise, repetitive processes that require intense focus. This strategy opens up a contemplative space surrounding the subject that I hope translates to the viewer. I am also very influenced by Slow Movement philosophy, which encourages taking the necessary time to consciously think about and experience the various activities in our everyday life. By doing so, more intentional decisions can be made regarding the material, social and environmental factors involved in daily decisions. I apply this philosophy to my choice of mediums and the way I structure my creative process.

AN: Final question for you, Mallary, though I wish I could ask more. How can art play a role in giving us a sense of rootedness?

MJ: This is a great question and a difficult one to answer succinctly. Art has a vast toolkit of ways to provide a sense of rootedness in many mediums. What I find especially interesting is the ability of art to provide space for shared experience where the creation of new ideas, identities, relationships, or communities can be established.

Looking at Mallary Johnson’s works, rich and subtle earth colors will pull you in, and patterns reminiscent of the inner growth of plants, the bend of grass in woven baskets, and layers of sediment gathered at the bottom of a lake will transfix you and take you deep into other times, while the works themselves remain contemporary, novel, and bright. Certainly the works of each artist in Reinterpreting Landscape and Nature will draw you back into nature in exciting and powerful new ways. You can visit the exhibition at Stanek Gallery, September 9 – October 29, 2016. Gallery hours: Thursday – Sundaynoon – 5 p.m. Learn more at www.stanekgallery.com.

Best jordan Sneakers | Best Selling Running Shoes

MFA Visual Art Artist Teacher Harmony Hammond | Be With Me

Be With Me, a Small Exhibition of Large Paintings
Conversations in Painting, Early 20th Century to Post-War American Art


Thursday, October 27, 6:00 to 8 p.m.
New Mexico Museum of Art
107 West Palace Ave.

Be with Me, A Small Exhibition of Large Paintings
This group exhibition of reductive contemporary paintings by Nick Aguayo, Harmony Hammond and John Zurier places a premium on the one-on-one experience between the viewer and the artwork.  These compelling abstract paintings utilize the physical and material qualities of paint as means of subtle expression.

Conversations in Painting, Early 20th Century to Post-War American Art 
Includes recent additions to the New Mexico Museum of Art collection by artists Frederick Hammersley, Hans Hoffman, Gene Kloss and John Sloan.

R.S.V.P. here or call 505.992.2715 ext. 6

Image: Harmony Hammond, Buffer, 2011, Oil and mixed media on canvas, Collection New Mexico Museum of Art. Museum purchase, 2015 © Harmony Hammond / Licensed by VAGA, New York, NY

Buy Sneakers | New Releases Nike

MFA ’10 Alumnus Todd Baldwin | Memento Mori at Tiger Strikes Asteroid

Baldwin sees similarities between Goya’s works and contemporary graphic novels, and responds to these parallels by stripping out elements from both, collaging them together, and reinterpreting them into a three-dimensional construction. Taking a cue from the cells of the comic book page, he reconfigures the gallery space, allowing the viewer to wander through it in new ways. The exhibition also includes Baldwin’s first effort in producing a soundwork, a swerved and reconfigured version of Dmitri Shostakovich’s String Quartet No. 15—a piece in itself that penetrates an awkward hallway space, and amplifies the dark feeling found throughout the show. Opening reception to be held Friday, Nov. 46 to 10 pm.

Todd Baldwin was born in Trenton, New Jersey in 1975. He earned a Bachelor of Fine Arts degree from Rutgers University, Mason Gross School of the Arts in 1997, and a Master of Fine Arts degree from Vermont College of Fine Arts in 2010. Baldwin has exhibited sculpture and photography steadily since the early 1990′s, and joined Tiger Strikes Asteroid in 2013.

Tiger Strikes Asteroid

Tiger Strikes Asteroid is a network of artist-run spaces with locations in Philadelphia, New York, and Los Angeles. Each space is independently operated and focuses on presenting a varied program of emerging and mid-career artists. Our goal is to collectively bring people together, expand connections and build community through artist-initiated exhibitions, projects, and curatorial opportunities. We seek to further empower the artist’s role beyond that of studio practitioner to include the roles of curator, critic, and community developer; and to act as an alternate model to the conventions of the current commercial art market.

Our exhibitions and projects have been featured in numerous print and online publications including The New York Times, Art F City, Hyperallergic, The Huffington Post, L Magazine, Whitehot Magazine, The Philadelphia Inquirer, Two Coats of Paint, Artinfo, Artnet News, Beautiful Decay, and the artblog.

319 N. 11th St. Suite 2H Philadelphia, PA 19107

 Buy Sneakers | Women’s Designer Sneakers – Luxury Shopping

VCFA Faculty Dalida María Benfield: Institute of (im)Possible Subjects: Migratory Times

Institute of (im)Possible Subjects: Migratory Times 

The Institute of (im)Possible Subjects (IiS) is a transnational feminist collective of artists, writers, and researchers.

We are pleased to announce Migratory Times, a global art, research, and education initiative that will be our focus in 2016 and 2017.

We are recipients of an inaugural Abundance Foundation Out of Eden Community Arts Fellowship in support of the project’s launch.

We are working closely with collaborators globally, with primary nodes in S. Korea, the Philippines, and Colombia, engaging in translocal conversations on questions of global migrations, gender, and the politics of movement. Each of these nodes will host, in overlapping sequence, a series of exhibitions, screenings, educational events, and art and media production workshops. The main events, held outside of metropolitan centers, will emerge from research groups and learning circles engaging the experience of migrants and refugees in the different localities; the temporalities of migration; the geo-politics of human migration; and the racialized and gendered dimensions of migration.

The coordinators are Dalida María Benfield and Annie Fukushima, and the core research team includes Damali AbramsMichelle DizonJane Jin Kaisen, and tammy ko Robinson. Additional collaborators include the following artists, researchers, collectives, and centers: at land’s edge (Los Angeles, CA, USA.), An Hye-kyoung and Artspace C (Jeju, S. Korea), Clara Balaguer and the Office of Culture and Design (Manila, Philippines), Diásporas Críticas (Barcelona, Spain and Quito, Ecuador), Dreaming Tree (Seoul, S. Korea), Emi Kane (Oakland, CA, USA), Guston Sondin-Kung(Copenhagen, Denmark), Renan Laru-an and DiscLab (Manila, Philippines), Annette Markham and futuremaking.space (Århus University, Denmark), Pedro Pablo Gomez Moreno and SALASAB (Bogotá, Colombia), Robert Ochshorn (Berlin, Germany), Omnivore (Los Angeles, CA, USA), Lene Myong (Stavanger, Norway), and others.

Migratory Times constructs a translocal architecture for overlapping learning, research, and making circles across diverse sites. Over the course of the year, learning circles will be convened in person at local sites as well as through virtual networks, using popular education, participatory art, and co-design pedagogies. Additional experimental methodologies will be co-constructed with the Out of Eden Learn community, housed at Project Zero, a research organization at the Harvard Graduate School of Education. The circles will produce conversations, workshops, open access publications, and contemporary art projects across the global nodes, each one an exhibition of a collective learning process about gender, migration, and time.

The Institute of (im)Possible Subjects collective opens multiple spaces and modalities for learning and knowing, including artists’ projects, visual and sound experiments, in-person guest lectures, public workshops, video installations and screenings, as well as online experiments in participatory knowledge sharing and annotation. IiS has been working together collaboratively since 2013 on scholarly, artistic, and educational endeavors, with an emphasis on engaging and sharing transnational feminist and im/migrant perspectives across disciplines, institutions, and global territorial boundaries.Nike air jordan Sneakers | Nike

The Art of the Animal Reviewed by Antennae, Annie Potts

The Art of the Animal: Fourteen Women Artist Explore the Sexual Politics of Meat was conceived and edited by three VCFA MFA Visual Art alumni, Kathryn Eddy, LA Watson, and Janelle O’Rourke who also contribute essays and images of their work, with artists Nava Atlas, Sunaura Taylor, Yvette Watt, Angela Singer, Hester Jones, Suzy Gonzalez, Renée Lauzon, Olaitan Calendar-Scott, Patricia Denys, Maria Lux, and Lynn Mowson. The book explores contemporary women artists’ engagement with how women and animals are depicted in contemporary culture. Inspired by Carol Adams’ seminal text, The Sexual Politics of Meat: A Feminist Vegetarian Critical Theory, fourteen women artists’ work continues the conversation Adams began in two decades ago, and the book serves as a catalog for an exhibition at the National Museum of Animals and Society, in Los Angeles which will open in February 2017.

Keri Cronin, Associate Professor of Visual Art Department at Brock University, Canada contributed the foreword; Carolyn Merino Mullen, Director of the National Museum for Animals and Society, Los Angeles contributed an essay; Carol J. Adams contributed the afterword. Published by Lantern Books, NY.

Click here to read Annie Potts’ review in Antennae.Running Sneakers | Women’s Designer Sneakers – Luxury Shopping