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Faculty Member Suné Woods @ Kathleen O. Ellis Gallery

Suné Woods: To Sleep With Terra

Light Work is pleased to present the work of photo-collage and video artist Suné Woods, To Sleep With Terra. This will be Woods’ first solo exhibition with Light Work since her residency here in 2016. The exhibition will be on view in the Kathleen O. Ellis Gallery at Light Work from August 28―October 19, 2017, with an opening reception with the artist on Wednesday, September 13, from 5-6pm.

As part of the opening reception, we invite gallery patrons to a special presentation at 6pm. Infused with wordplay, found imagery, sound and moving images in multimedia form by Woods, award-winning poet Fred Moten, and Syracuse University Professor and musicologist James Gordon Williams. Titled You are mine. I see now, I’m a have to let you go, this collaboration was generously supported by Syracuse University’s Humanities Center and is part of the 2017-18 Syracuse Symposium: Belonging. Both events are free, open to the public, and offer refreshments.

Urban Video Project (UVP) will feature Suné Woods’ video work, A Feeling Like Chaos, concurrently with When a Heart Scatter, Scatter, Scatter in the Everson’s Robineau Gallery and To Sleep with Terra at Light Work. Woods says that A Feeling Like Chaos “attempts to make sense of a continuum of disaster, toxicity, fear, and a political system that sanctions violence towards its citizens.” This installation will be on view on the Everson Museum’s north facade September 14―23 and October 5―28, 2017, from dusk until 11:00 p.m. Find more information at urbanvideoproject.com.

Los Angeles-based artist Suné Woods creates multi-channel video installations, photographs, sculpture, and collage. Her practice examines absences and vulnerabilities within cultural and social histories. She also uses microcosmal sites such as the family to understand the larger sociological phenomenon, imperialist mechanisms, and formations of knowledge. She is interested in how language is emotively expressed, guarded and translated through the absence and presence of the physical body.

To Sleep With Terra includes photo-collage and works on paper that explore Wood’s ongoing interest in creating her own topographies, gleaned from science, travel, and geographic magazines and books of the past fifty years. The collage work explores the social phenomena that indoctrinate brutality and the ways in which propaganda and exploitation have employed photography.

Woods has said of her artistic journey, “Collage seemed the best way for me to articulate all the complicated sensations that were arising for me while processing these streamed documentations of violence, ecology, and a desire to understand more deeply how seemingly disparate things relate when they are mashed up in a visual conversation.”

Suné Woods has participated in residencies at Headlands Center for the Arts, Vermont Studio Center, The Center for Photography at Woodstock, and Light Work. Woods has received awards from the Visions from the New California Initiative, as well as The John Gutmann Fellowship Award, and The Baum Award for an Emerging American Photographer. She has exhibited her work at the Brooklyn Museum of Art, The Lowe Art Museum, Miami, and The San Francisco Arts Commission Gallery. She received her MFA from California College of the Arts in 2010 and is currently Visiting Faculty at Vermont College of Fine Art.

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Faculty Member Cauleen Smith @ Gallery TPW

Jérôme Havre, Cauleen Smith, and Camille Turner

Triangle Trade

September 14–November 11, 2017
Opening Reception: Thursday, September 14, 7:00–9:00 pm

Gallery TPW is thrilled to announce an upcoming exhibition featuring Jérôme Havre, Cauleen Smith, and Camille Turner, a new commission made possible with the generous support of Partners in Art. Created during a year of cross-border conversation on their specific relationships to land and belonging, Havre, Smith, and Turner have collaborated on a new short film that will premiere at TPW. The film features three puppet avatars—performing the selves of Havre, Smith, and Turner—navigating distinct worlds that at once isolate them and offer them the possibility of transformative connection. As they move through their respective landscapes, Havre, Smith, and Turner’s puppets reflect on blackness as a state of becoming, a mode of experience that reaches simultaneously into multiple futures and histories. The film is accompanied by a new multi-channel CCTV video installation developed by Smith that creates feedback loops of seeing and being seen amid an immersive environment.

Alongside the project, Toronto-based writer Yaniya Lee joins Gallery TPW as a guest curator of public programs for the course of the exhibition. Lee will engage local Black artists and thinkers as a parallel to the ongoing conversations that have prompted Havre, Smith, and Turner’s work.

In addition to the vital support of Partners in Art, this exhibition is made possible with the assistance of the Liaison of Independent Filmmakers of Toronto (LIFT).

Biographies

Jérôme Havre’s practice concentrates on issues of identity, communities, and territories, investigating the political and sociological processes of contemporary life as they relate to nationalism in France and Canada. Havre adopts a multidisciplinary approach in his exploration of these themes and their attending questions; he uses myriad tools and methods to make tangible the conditions of identity within situations of social transformation. Havre completed his studies at l’École Nationale Supérieure des Beaux-Arts (Paris). Since 2001, he has exhibited in Europe, Africa, and North America. Recent shows include “Talking Back, Otherwise,” Jackman Humanities Institute, University of Toronto; “Paradis: La fabrique de l’image,” espace d’art contemporain 14°N 61°W, Martinique; “Land Marks,” Art Gallery of Peterborough, Ontario; “Liminal (Necessity and accident),” The Robert McLaughlin Gallery, Oshawa, ON; “Reiteration,” Art Gallery of Ontario, Toronto;  and “Poetry of Geopolitics,” Koffler Gallery, Toronto. He is represented by Galerie Donald Browne (Montréal) and is currently based in Toronto.

Cauleen Smith is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third-world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Smith was born in Riverside, California and grew up in Sacramento. She earned a BA in Creative Arts from San Francisco State University and an MFA from the University of California, Los Angeles School of Theater, Film, and Television. Smith is currently based in Chicago; she will join the faculty of the studio-art program of California Institute of the Arts in January 2018. Her films, objects, and installations have been featured in group exhibitions at the Museum of Contemporary Art, Chicago; the Studio Museum in Harlem; the Contemporary Art Museum Houston; the Yerba Buena Center for the Arts; the New Museum, New York; D21, Leipzig; and Decad, Berlin. She has presented solo exhibitions of her films, drawings, and installations at the Center for Contemporary Art and Culture, Portland, Oregon; the Contemporary Arts Center, UC Irvine; the Art Institute of Chicago; The Kitchen, New York; the Museum of Contemporary Art Chicago; and Threewalls, Chicago. Smith is the recipient of several grants and awards, including the Rockefeller Media Arts Award, a Creative Capital Film/Video grant, a Chicago 3Arts Grant, a the Foundation for Contemporary Arts grant, the Artadia Award, and a Rauschenberg Residency. Smith was a 2016 Recipient of a Herb Alpert Awards in the Arts in Film and Video and is the inaugural recipient of the Ellsworth Kelly Award. She was a Whitney Biennial 2017 participant and currently has a solo show at The Art Institute of Chicago. Smith is represented by Corbett vs. Dempsey, Chicago, and Kate Werble, New York.

Born in Jamaica and based in Toronto, Camille Turner is an explorer of race, space, home, and belonging. She is the founder of Outerregion, an afrofuturist performance company. Her interventions, installations, and public engagements combine Afrofuturism and historical research and have been presented throughout Canada and internationally, including at Dak’Art African Contemporary Art Biennale, Dakar Senegal, and the Bamako Biennale in Mali. Miss Canadiana, one of her earliest performance works, challenges perceptions of Canadianness and troubles the unspoken binary of “real Canadian” and “diverse other.” Camille’s most recent works include Wanted, a collaboration with Camal Pirbhai that uses the trope of fashion to transform an archive of newspaper posts by Canadian slave owners into a series of contemporary fashion ads. Her collaboration with Cheryl L’Hirondelle on LandMarks2017, commissioned by Parks Canada and Partners In Art, resulted in Freedom Tours, an alternative Thousand Islands boat tour and a procession honouring Mother Earth at Rouge National Park. Camille has taught at the University of Toronto, Algoma University, and the Toronto School of Art. She is a graduate of Ontario College of Art and Design and York University’s Masters in Environmental Studies program, where she is currently a PhD candidate. Her work has recently been included in More Caught in the Act, edited by Johanna Householder and Tanya Mars, Looking Beyond Borderlines: North America’s Frontier Imagination by Lee Rodney, and Border Cultures by Srimoyee Mitra and Bonnie Devine. camilleturner.com.

Yaniya Lee’s interdisciplinary research draws on the work of Black Studies scholars to question critical reading practices and reconsider Black art histories in Canada. From 2012-2015 she hosted the Art Talks MTL podcast, a series of long-form interviews with art workers in Montreal. In 2016 she programmed “Labour, Land and Body: geographies of de/colonialism” for Vtape’s Curatorial Incubator. Last fall, with members of the 4:3 Collective, she organized the MICE Symposium on Transformative Justice in the Arts. Lee was previously on the editorial advisory committees for C Magazine and FUSE Magazine. She is a founding collective member of MICE Magazine and a new member of the EMILIA-AMALIA working group. This summer, Lee participated in the Banff Research in Culture: Year 2067 residency. She is the 2017-2018 writer-in-residence at Gallery 44 and currently works as the associate editor at Canadian Art Magazine.

170 St Helens Ave Toronto, ON M6H 4A1  |  VISIT  |  T: 416.645.1066  |  info@gallerytpw.ca  |  HOURS: Tues to Sat, 12pm – 5pm

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Current Student Kevin Gilmore Now Represented by Matre Gallery, Atlanta

Current student Kevin Gilmore is now represented by Matre Gallery in Atlanta, Georgia. His work will be included in the 22nd Anniversary show.

FRIDAY, AUGUST 25, 2017 • 7 – 9 P.M.

and/or

SATURDAY, AUGUST 26, 2017 • 7 – 9 P.M.

Established in 1995, Matre Gallery is the home base for Rob Matre’s dual career as gallery owner and artist/photographer.  The gallery features work by local and national artists that make an immediate impact, connecting the viewer to subjects that resonate. The focus is on figurative and representational paintings, drawings, photography and mixed media works.

The gallery recently moved from Miami Circle to a 4,000 square foot space in Buckhead at 2300 Peachtree Road.

Matre Gallery
2300 Peachtree Road
Atlanta, GA 30309
404.458.2733

Featured image: Summer Nearly Gone, 50″ x 50″, Acrylic and collage on canvasNike shoes | Footwear

Visiting Artist Michel Droge Reviewed in Portland Phoenix

Since she first appeared as a student in MECA’s Graduate Studies painting program, I’ve been a huge fan of Michel Droge’s work. Her thick, hazy, metallicseeming paintings held both darkness and light as well as anyone in the state (not named Dozier Bell). But “Hiraeth,” her shortstay exhibition of cyanotypes and embossings, Droge takes a leftturn into a different medium and intention.

In an artist statement, Droge defines “hiraeth,” a Welsh term, as “a homesickness for a home to which you cannot return, a home which maybe never was; the nostalgia, the yearning, the grief for lost pieces of your past.” A year prior to when she began the work that would end up in this exhibition, Droge’s brother died of an opiate overdose. “Everything familiar had come undone. I was navigated uncharted waters,” she writes. “I began a series of prints based on the idea of unraveling an Aran sweater.”

Those prints are included here, as well as numerous cyanotypes and several pieces that seem to serve as a stand-in for the sweater itself.

Haunting and apparitional, Droge’s work in Hiraeth is vibrantly nostalgic. With a primary color palette of white and aqua, the show conveys a nautical theme, the images vaguely recalling fisherman’s maps and navigational charts. Droge and her brother grew up sailing on the water. They’d spend summers on Block Island.

Droge came to study at MECA in 2009, and as she recalls it, kept to herself about the heavier themes of the past year that had been informing her work. She says that even as she was making the embossings and occasionally showing them in town, she’d never really talked about the work’s connection to her brother. “I would just talk really vaguely about the universal feeling of being lost at sea.”

Years later, Droge made cyanotypes working with the same themes and materials, a set of stick chart drawings she says “helped navigate emotional and unconscious waters.” A photographic printing process that ammonium iron citrate and potassium ferricyanide, cyanotype prints emerge a cyan-blue hue, squarely in the register of marine aesthetics. Relative to other methods of printing, the image tends to fade when exposed to the basic elements.

Printed, the crudely formed stick charts took on constellatory patterns, and she combined them with the sweaters and embossings for a three-pronged exploration of what the artist describes as the unconscious emotional realm she’s navigated since her brother’s passing.

Droge wonders if the story behind this work overshadows its universality, but her exhibition at the airy, well-lit Frank Brockman Gallery in Brunswick, is simple and inviting. Frayed ends of the cable-knit sweater appear in the cyanotype “Shoals” as the distant shores of land masses, with narrow isthmuses curling off the frame. In “Prophecy,” we see the white form and outline of the sweater as though its arms are raised up in surrender. In the cyanotype “Thief,” the sweater-sleeve imprint conjoins with a bed of stars imprinted from the stick charts.

As an educator who encourages young artists to engage with the coastline and its various storylines, from the effects of climate change on working life to the drug problem in coastal communities, Droge’s exhibit here is without question the most personal we’ve seen from her. It’s harrowing stuff, even with its macabre themes soundly sublimated into an art medium, the cyanotype, that could otherwise be described as angelic. Viewers would enjoy it even without knowing the whole story, its universality is indeed strong. But for those who might grapple with the work in particular terms, it’s as lifeaffirming as it gets.


Hiraeth, works on paper by Michel Droge | Through Aug 31 | At the Frank Brockman Gallery, 68 Maine St, Brunswick

Featured image: PROPHECY, cyanotype by Michel Droge

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Alumni Yukiyo Kawano Interviewed

A visual artist and a choreographer come together for an Aug. 9 performance work that bears witness to the annihilation of two entire cities and the complex Japanese and American narratives therein.

A scene from a prior performance of "Suspended Moment".

A scene from a prior performance of “Suspended Moment”.

Courtesy of Yukiyo Kawano

Seventy-two years ago, American pilots dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki. To this day, historians debate whether, as the U.S. maintained, the bombings were necessary to end World War II in the Pacific Theater, or whether, as some critics hold, they constituted war crimes.

Visual artist Yukiyo Kawano and choreographer Meshi Chavez are the creators of “Suspended Moment,” a multidisciplinary performance work they developed with composer Lisa DeGrace and poet Allison Cobb.

Kawano is from Hiroshima; Chavez grew up in Albuquerque — close enough to the Manhattan Project to have a feel for the American side of this history. They’ve performed this work in places with strong ties to atomic history, like Los Alamos, New Mexico, the Hanford Site, and are now bringing it to Portland for a fifth incarnation.

Chavez’s practice is based in the Japanese performance style butoh. You may have seen it performed by dancers in white makeup, moving with infinitesimal slowness. But Chavez’s style is something more kinetic and stately. In some sequences, he puts himself through organic contortions, twisting and spinning almost out of control. Others are direct references to everyday activities on either side of the Pacific.

Here are some highlights of the conversation.

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Current Student Kate Donnelly @ New City Galerie

New City Galerie in Burlington, VT hosts a group exhibition with current MFA Visual Art student Kate Donnelly through October 24th.

Interpose will feature works by five artists, including Donnelly’s performance art and handmade costumes.

New City Galerie

132 Church Street

Burlington, VT 05401Sports Shoes | Nike Shoes

Visiting Artist Michel Droge | New Work at Frank Brockman Gallery

Frank Brockman Gallery in Brunswick, Maine will show new prints by continuing visiting artist, Michel Droge from August 11-26, 2017. Hiraeth opens Friday, August 11, 5-8pm.

Michel Droge is a painter and printmaker who lives and works in Portland, Maine. Her work is research based and deals directly with Climate Change, Maine’s island Communities and  local conservation efforts. She has worked with the Island Institute,Gulf of Maine Research Institute and the Audubon Society on collaborative projects.

Her most recent work is inspired by sublime encounters in nature and environmental research, finding poetry and meaning in scientific and material realities- a post anthropocene imagined. Larger series of works are named after tomes that are  musical, literary and poetic (see Requiem, Nocturnes, Aubades and Sappho’s Ghosts) – thus invoking the importance of the influence of music, literature and poetry in her work.

Michel received her BA from Oberlin College and her MFA from Maine College of Art. After graduating from Oberlin she worked as a printmaker for Styria Studios in New York City. Her awards include grants from the Joan Mitchell Foundation and the Maine Arts Commission. She has been a resident at the Saltonstall Foundation in Ithaca, NY and a member of the Olive Branch/Ink Shop.

Michel’s work has been included in the exhibitions Other Landscapes: Michel Droge and Michael Shaunnessey at Gould Academy (2015), the Joan Mitchell Foundation Award Recipients Exhibition at the Cue Art Foundation in NY,NY (2011) and Boston University’s Young Contemporaries (2011).

Michel’s Solo Exhibitions include Nocturne’s : Recent paintings and prints by Michel Droge at University of Maine in  Farmington (2016) and Tiny Catastrophe’s: Considering the unseen climate change at June Fitzpatrick Gallery (2015) and Presently, Michel is a Visiting Professor at Maine College of Art and maintains her studio at the Bakery Studios (thebakerystudios.org) in Portland, Maine.

Frank Brockman Gallery

68 Maine Street, 2nd Floor

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Visual Art Alumna Nikki Juen Colab Featured in Brooklyn Rail

Article by Kathy Brew

(excerpt)

Art Rising took place at the Trump Tower Public Garden on June 14th, which happens to be Donald Trump’s birthday and Flag Day. It was the latest in a series of actions that have been using this not-so-known public space as a “living lab” to mobilize people around the risks of the Trump presidency—particularly his plan to slash federal funding for the arts.

The event was organized by Take Trump Tower, and curated by Caterina Bartha. As stated in the program notes: “The artists invite you to enjoy the performances and provoke Trump on his birthday inside his home.”

The crowd was mainly a mix of artists and activists, combined with tourists who were coming to the building because it is the home of the POTUS, including some Trump supporters who happened upon the event, along with some Trump Tower security folks hovering on the sidelines, observing with scrutiny (not to mention the presence of police and secret service members as you enter the building).

Things kicked off at noon with Brick x Brick, a group of women dressed in black and white outfits that included text of many of Trump’s misogynist quotes, standing firm as a wall/backdrop for the hour-long event. Lucy Sexton from Dancenoise, who performs as The Factress, was the emcee/host and welcomed Jimmy Van Bramer, the City Council majority leader and chairman of the council’s cultural affairs committee, who spoke of the importance of government funding and saving the NEA. Then the performances began.

To read full article, click here.

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Alumnus Nils Karsten @ Miyako Yoshinaga NYC

From July 13 to August 11MIYAKO YOSHINAGA is pleased to present its summer exhibition of  works by Nils Karsten. The exhibition Here Are The Keys II is organized in collaboration with mhPROJECTnyc. An opening reception will be held on Thursday, July 13 from 6 pm to 8 pm. The exhibition features both daring and delicate works on paper including woodblock prints, collages, and graphite drawings. Summer g allery hours are Tuesday through Saturday, 11am to 6pm.
For years Nils Karsten has been gathering various images from printed materials as well as personal and found photographs. He particularly enjoys culling from ephemera such as flyers, posters, newspapers and zines. Karsten carefully stores and studies his source materials, and processes these images until he considers them his own. He freely associates disparate images to create his narratives and finds something new within the old and overlooked.  The 70s and 80s political and cultural movements, particularly punk and rock ‘n’ roll music scenes, played a significant role in Karsten’s adolescence in Germany. His figurative art, not only enriched by the remnants of these by-gone eras in the artist’s personal life, but also carefully controlled by the artist’s own structure and organization of the images.

The exhibition highlights three outsize 6 x 6 ft. woodblock prints, the two of which are both iconic and hyper-sexualized images and originally appeared in the 70s. The image of Sticky Fingers is originally the artwork conceived by Andy Warhol for The Rolling Stones album released in 1971. The image of Amorica was taken from a 1976 cover of Hustler magazine, which also the cover image of the 1994 Black Crowes album. The other, entitled Colors (image above) deviates from the recognizable imagery he is known for, while still displaying his love for experimentation and play. Making these prints involves intense manual labors. Karsten rubs paper against table-size plywood into which he carves with dental drills and applies ink. The resulting painterly texture and strong color bring back the provoking energy of original music scenes and the history of the era, still resonating with our contemporary culture.
Other works on paper include Village Voice Grid, a collection of New York-based weekly newspaper’s front-page illustrations, on top of which Karsten playfully superimposes idiosyncratic images and witty words. The work shares graffiti art’s sarcastic social activism. More meditative and surrealistic side of his figurative art is revealed through a series of graphite drawings and “cutout” collages. Delicately and meticulously rendered, they tap into limitless subconscious, the relationship between good and evil and the contradiction that arises in a grotesque world where anything is possible.
Born in 1970 in Hamburg, Germany, Nils Karsten moved to New York in 1995.  He received his BFA from the School of Visual arts in 1999, and in 2002 participated in the Skowhegan School of Painting and Sculpture’s residency program. In 2003 Karsten received his MFA from Vermont College of Fine Arts. Since acquiring his MFA, he has been a faculty member at the School of Visual Arts. His work has been shown in galleries and museums throughout the United States, as well as in Hong Kong, China Kyoto, Japan, Istanbul, Turkey, Berlin, Germany. His work can be found in numerous private and public collections such as the Brooklyn Museum in New York, and the Weatherspoon Art Museum in Greensboro, North Carolina. Karsten currently resides in Brooklyn, New York.
Featured image: Colors, 2015, 66 x 66 in. /168 x 168 cm, woodblock print & oil on paper

 

For more information and/or request, please contact info@miyakoyoshinaga, +1 212 268 7132
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Alumnus Jeff Marley Spider Installation @ Oconaluftee Island Park

In Cherokee, NC alumnus Jeff Marley and collaborator, Frank Brannon, presented an impermanent installation in Oconaluftee Island Park.

“Based on a spider web, the multi-media installation is part Cherokee cosmology, part commentary on the occidental/oreiental interpretation of historical events.

The web is made from mulberry, and in the folds, there are some hidden phrases,” Marley explained.  “It relates back to the story of when the first printing press was delivered to the Cherokee Nation.  These guys delivering the press were not Cherokee, and so they could not communicate with people as they moved into the Nation to deliver this.  They were really hungry and how do you get food if you cannot communicate? They finally ran into someone who could translate for them,” Marley noted.

To read the full article, click here.

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