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Alumna Maura McHugh @ Center for Contemporary Art Santa Fe

Cryin’ Out Loud

April 21 – July 9, 2017 // Muñoz Waxman Gallery

Cryin’ Out Loud is a juried exhibition that examines the role of women’s and femmes’ voices as expressed in art about politics, activism, and emotion. Considering both the metaphoric and literal voice, Cryin’ Out Loud explores and celebrates the use of art as a form of speaking up and out. A large group exhibition of works by selected artists will take place in CCA’s Muñoz Waxman Gallery.

Juror’s Statement:

Cryin’ Out Loud takes each word of this maxim seriously – Crying. Out. Loud. – and navigates the various implications of the phrase, wheter exasperated and fed up (“Oh, for crying out loud!”) or literal, as one who does not hide her desperation or emotion while she is actually “crying out loud”. Similarly, “living out loud” has associations with survivors of abuse, with activism in the LGBTQ community, and with anyone refusing to “be quiet” about issues of oppression, identity and authorship. It is time to speak loudly with our voices and our art; with our intellect and our emotion; with our politics and our personhood.

Throughout history women’s voices, perspectives, and innovations have been undermined by those in power. In order to have their voices heard or published, many women artists and writers have adopted gender neutral or male pseudonyms. Women have fought for their right to vote, are still fighting for wage-equity, and to have equal representation in congress. Speaking and acting out is complicated for women and femmes because of common double standards like the label “hysterical,” for simply speaking her mind. Women have learned to work within these oppressive structures often at the expense of their rights and humanity, and frankly, we are ready for change.

Cryin’ Out Loud proposes that to unabashedly express emotion is a political act. To live out loud is a necessary political gesture and that women’s experience needs to be seen, heard, and cherished. The exhibition will consist of work in all media that embraces emotion as statement; that broadcasts social and political concerns, and that reacts to and resists the structures that continue to oppress us.

About the Juror:

Micol Hebron is an interdisciplinary artist whose practice includes studio work, curating, writing, social media, crowd-sourcing, teaching, and public speaking. Hebron is an Associate Professor of Art at Chapman University; the founder/director of The Situation Room, a resource space for the creative community (in Eagle Rock, CA); the Femmes International Video Art Festival; the Gallery Tally Poster Project about gender equity in contemporary galleries; and the Digital Pasty/ Gender Equity initiative for the internet. In 2016 she was awarded the SPArt grant for Social Practice Art in Los Angeles. Previously, Hebron has been the Chief Curator at the Utah Museum of Contemporary Art; the director of the UCLA Summer Art Institute; an editorial board member at X-Tra magazine; an independent curator; a conservator at LACMA, and the co-founder of Gallery B-12 in Hollywood in the 90s. She has served on advisory boards at Los Angeles Contemporary Exhibitions, Birch Creek Ranch Residency (Utah), Los Angeles County Museum of Art, and UCLA. She is the founder of the LA Art Girls and the Co-Founder of Fontbron Academy. She employs strategies of consciousness-raising, collaboration, generosity, play, and participation to support and further feminist dialogues in art and life.

Participating Artists:

Robin Adsit, Susan Arena, Susan Begy, Katina Bitsicas, Nikesha Breeze, Marcie Rose Brewer, Dorielle Caimi, Kimberly Callas, Momma Tried, Eliza Fernand, Vanessa Dion Fletcher, Cheri Gaulke, Melissa Friedman, Katya, Grokhovsky, Maureen Hawthorne, Nicola Heindl, Sarah Hewitt, Jessica Fairfax Hirst, Katie Hovencamp, Victoria Hoyt, Megan Jacobs, Kasey Jones, Casey Kauffmann, Courtney Kessel, Ellina Kevorkian, Dave Kube, Alison Kuo, Emily La Cour, Julia Barbosa Landois, Stephanie Lerma, Rebecca Leveille, Jasmine Little, Cecilia McKinnon, Maura McHugh, Melissa Potter and Maggie Puckett, Mary Anna Pomonis and Allison Stewart, Jenn Procacci, Rachel Rivera, Sarah Rockett, Celeia Rocha, Valerie Roybal, Sack (cara despain), Sallie Scheufler, Christy Schwathe, Rebekah Tarín, Kate Cassatt Tatsumi, Charlotte Thurman, Ingrid V. Wells, Quintan Ana Wikswo, Suzanne Wright, Victory Grrls, Alisa Yang

Press on the exhibition:

Albuquerque Journal North

Winter 2017 Grads

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Holly Britt

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Simone Spruce-Torres

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Lillie Grace

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Vicki Knipp

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Lori Victor

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Guy Coffin

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Jon Chapman

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Moksha Sommer

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Luann Bice

Matthew Whitney @ Sojourn Arts | Louisville, KY

Responding to Violence and the Gun

On view February 12 – April 9, 2017

RECEPTION AND PANEL DISCUSSION Saturday March 18, 6:00 – 8:00 p.m. with the panel discussion at 6:30 p.m.

During 2016, in our small neighborhood of Shelby Park, 6 people died as a result of gun violence. Across the city in 2016, Louisville experienced more homicides than any other year on record. And across the U.S. in 2016 there were a total of 15,010 deaths from gunshots.

In this exhibit, artists have responded to violence and the gun with a variety of approaches.

Matthew Whitney is spelling out the word Warzone across Seattle with his feet. He describes these walks and the drawings made afterwards as part protest march and part active prayer.

By concentrating on the problem of violence in our city and across the country, these artists give us opportunity to mourn the lives lost to violence, to consider why so many are fascinated with guns, how guns relate to gender and youth, and how violence re-shapes our relationship to public space.

Former Visiting Artist AK Burns @ Callicoon

A.K. Burns
FAULT LINES
February 26 – April 9, 2017
Opening reception: Sunday, February 26th6 to 8pm
“…it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.” — The Dispossessed by Ursula K. Le Guin
Knowing is a kind of death, halting pre-lingual sensitivities. Knowing what you know, all other knowns precipitate, presuming relative truths, knowledge, belief, reality… your norm. Admitting a lack of knowledge means accepting an inability to penetrate. To be rendered impotent, to be released.
In a series of three, nearly identical partitions, acting jointly as thresholds (gates) and obstacles (fences)— the language embedded in their steel bars reads, respectively; KNOWN KNOWN, KNOWN UNKNOWN and UNKNOWN UNKNOWN. The gates, constructed of sandblasted steel, mimic the heavily painted black fences that dominate the New York City landscape. The text, a reference to a statement made by Donald Rumsfeld (in February 2002) at a press conference questioning what substantiation exists for the alleged ‘weapons of mass destruction.’ Rumsfeld uses this illusive linguistic detour for the strategic production of fear.
A figure looms in She Was Warned, as a dystopic reimagining of Artemis of Ephesus, representations of which articulate the goddess with a torso covered in numerous breasts. Artemis, also known as Diana, is a goddess of the hunt, the natural environment, the moon, women, and childbirth. The figure’s breasts are rendered as crudely cast Gatorade bottles. Topped with the iconic cap, like bright orange nipples, the bottles are hung from a grid of rusted steel typically used to reinforce concrete. Unlike breast milk or water, which provided basic sustenance, Gatorade—the first sports drink, invented in 1965—boasts enhancement. Built with industrial materials She is  both figurative and architectural, a shell of her former self, she is nearly depleted. Still she gestures with an offering, and dangling from her gloved palm she presents a gold-plated IUD.
Imaged on the walls are combinations of grids and holes, some opaque and some that let the breeze in. Metaphorical and literal (window) screens, objects built to block access, are perforated with openings, leaks, and passageways for anything that makes it thru. These material collages include bits of outdoors equipment, and are punctuated, held together by pairings of grommets. Following the path from entry to exit the orifices are sometimes threaded with chains of linked items. Adhered directly to the walls are a series of landscapes extracted from a coverpage of the New York Times (of the unfinished Dakota pipeline in a desolate western landscape). Abstracted in scale and without evidence of the pipeline, the sites appear ambiguous and hard to read as unified.
Leave No Trace, 2016, is a record. A limited edition experimental audio-based work, pressed on vinyl and packaged in a zip-bag with a pair of nitrile gloves and an accompanying poem. The recording consist of two (unlabeled) tracks, one per side that combines ambient environmental recordings, vocalization, sounds generated from various found materials and an old electric guitar. Leave No Trace, is the soundtrack for a forthcoming installation, that is part of a cycle of related works that includes A Smeary Spot (2015) and Living Room (2017) currently on view at the New Museum. The title and the poem (Leave No Trace) reference wilderness ethics but also notions of unregulated sites and bodies. In questioning what is deemed natural or naturalized, it points to the privileges and subjugation of bodies and actions that go unrecorded.
A stray foot wanders off, holding its ground, bodiless, a host to a quotation scrawled in wire.
This is A.K. Burns’ third solo exhibition at Callicoon Fine Arts. Burns is in residence at the New Museum with Shabby But Thriving, an exhibition open till April 23. This installation includes the two-channel video, Living Room (2017), which follows on the heals of A Smeary Spot (2015) exhibited at Participant INC, NY and the Portland Institute of Contemporary Art, Oregon. This series of works draws on theater, science fiction, philosophy, and ecological anxieties. Originally from Northern California, Burns is an interdisciplinary artist and educator residing in Brooklyn, NY. Currently a Radcliffe Fellow at Harvard University, Burns is also a 2015 recipient of a Creative Capital Foundation Visual Arts Award. In 2008, Burns co-founded the artists activist group W.A.G.E. (Working Artists and the Greater Economy), and in 2010 released the feature-length socio-sexual video portrait Community Action Center in collaboration with A.L. Steiner. Having exhibited internationally at venues such as The Tate Modern, The Museum of Modern Art, and the Los Angeles County Museum of Art, Burns work insists that matter matters, that the body is a site of imminent negotiation, and that unexpected affinities between material, medium and media offer space to rework economies of gender, labor, ecology and sexuality
For additional information contact Photi Giovanis at [email protected], or call 212-219-0326.
Callicoon Fine Arts is located at 49 Delancey Street between Forsyth and Eldridge Streets. Gallery hours are Wednesday to Sunday10am to 6pm. The nearest subway stops are the B and D trains at Grand Street and the F, J, M and Z trains at Delancey-Essex Street.
Callicoon Fine Arts
49 Delancey Street
New York, NY 10002
212 219 0326 | [email protected]

Cauleen Smith & Beatriz Santiago Muñoz | Whitney Biennial Film Program

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 Leah Grimaldi @ Atlantic Works Gallery

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

 

Residency Public Events | 2017

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.

Faculty Member Cauleen Smith @ CAC Gallery | Irvine

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)

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.

Alumnus Matthew Whitney Featured in “Expanded”

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.

To see more of Matthew’s work, click here.

Artist-Teacher AK Burns @ New Museum | NYC

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.