White Columns Online ‘Stomach Acid Reflux’ curated by Ellie Rines
Stomach Acid Reflux, an online inventory that deals with the human body in a way that is somehow both grotesque and formally elegant.
Traditional themes–still life, formal abstraction–and traditional composition–symmetry, etc…– i.e. artistic practice of control is confounded by dysfunction and absurdity. Fake vomit on a scale, ketchup packets’ portrait, tits with nips carved out, tissuebox architecture, spray foam can ejaculation, dairy still life– all direct or subliminal hints to the disgusting bodily fluids resulting from the things we love and hate – sex, bodies, food. Everyday encounters, formalities, objects and commodities become subject to ridicule and admiration, sublimation and disgrace. Juxtapositions ferment and become putrid.
Sophia S Narett painstakingly needlepoints elaborate scenes from fantasy and illusion. In Something Went Wrong, orgies are juxtaposed to a series of women aimlessly wandering in ball gowns, a dead naked women lying on a fish tank. The composition is structured around crumbling architecture, barbed wire and a flank of female figures observing in confusion, disgust and ridicule.
Kurt Treeby knits an architectural model of Prentice Women’s Hospital then turns it into what feels like a beer coozy for a tissue box.
Linda King Ferguson’s surgical cuts yield formal absences. Though reminiscent of Lygia Clark or Polly Apfelbaum, the painting counteracts the joy of the colors with a sloughing off.
Diana Kingsley ’s dairy still life in a pink background. Entitling the work Well-rounded Wives evokes the low-level despair and boredom beneath the surface of a kitchen. Lactose overload.
Jennifer Sullivan features faux glitter vomit on a painted weight scale. Theatrical, humorous and a bit sinister. From a “revenge body” series — the tableau lives up to the title.
Amy J Kligman ketchup packet still life. Curiously bulbous. Employing immense detail similar to the way Narrett does but much more laconic.
Robert Rhee in Coral uses a spray foam can to create a bizarre yellow foam shape. Rhee discusses “rubber necking” in his artist statement. This could have been another title for my online selection of works — looking at something gross and candid out of habit and curiosity.
Participating artists include:
Linda King Ferguson
Amy J Kligman
Sophia S Narrett
Ellie Rines is founder of 56 Henry gallery and a director of Ceysson & Bénétière.
For more information: registry.whitecolumns.org
featured image: Linda King Ferguson
Equivalence 60, 2016
Acrylic and stain
28 x 28 inches
Courtesy of the artist
The MFA in Visual Art program at Vermont College of Fine Arts is calling for emerging artists to participate in an upcoming online video festival called immigration | imagination.
The video exhibition will be juried by artist, curator, and MFA in Visual Art faculty member Việt Lê with support from VCFA. This is an opportunity for emerging visual artists with or without an MFA to participate in this unique online video festival.
The immigration | imagination exhibition asks artists to share their creative, critical, and community practices in response to the policing of borders and the ongoing vestiges of violence. Read more about the festival and theme on the submission page.
The submission deadline is Friday, December 8, 2017. Submissions must be no longer than six minutes in length. If an artist is submitting an excerpt, the complete piece must be no longer than 15 minutes. Only one submission per artist or collaborative group will be accepted. Submissions are accepted here.
Lê, who will jury the submissions, is a groundbreaking artist whose work has been featured in venues throughout the world. He has also published several books and anthologies. Based in Los Angeles, Lê is an Assistant Professor of Visual Studies at California College of Arts in addition to his faculty position at VCFA.
The immigration | imagination online video festival will debut on VCFA’s MFA in Visual Art program Vimeo page on January 5, 2018 at 4 p.m. Selected applicants also be included in the Pitzer College Art Gallery “Manifesto” exhibition in Southern California, which will take place January 20-March 23, 2018.
For more information on the online video festival, contact Thatiana Oliveira at [email protected] or (802) 828-8636.jordan Sneakers | adidas garwen spezial white shoes – New In Shoes for Men
NTU Centre for Contemporary Art Singapore
43 Malan Road
T +65 6460 0300
NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) is pleased to announce the artists for the 5th cycle of its Residencies Programme (April 2018–March 2019):
Julieta Aranda (Mexico), Izat Arif (Malaysia), Adrián Balesca (Ecuador), Ludovica Carbotta (Italy), Kent Chan (Singapore), Sean Connelly (United States), Daniel Hui (Singapore), Takuji Kogo (Japan), Susanne Kriemann (Germany), Phyoe Kyi (Myanmar), Việt Le (United States), Soyo Lee (South Korea), Lim Sokchanlina (Cambodia), John Low (Singapore), Luca Lum (Singapore), Raafat Majzoub (Lebanon), Falke Pisano (Netherlands), Tan Kai Syng (Singapore), Zai Tang (United Kingdom/Singapore), John Torres (Philippines), Wu Tsang (United States), Susie Wong (Singapore), Wu Mali (Taiwan)
In keeping with NTU CCA Singapore’s holistic approach to the cultural histories and the production of knowledge, the Residencies Programme is distinctly research-oriented and supports artists by granting them a concentrated period of time, a studio, and feedback from in-house curators and international Curators-in-Residence to develop their practice without the pressure of production deadlines. Dedicated to established and emerging artists from Singapore and abroad, this studio-based programme values the open-ended nature of artistic research and embraces multiform expressions of creative enquiry.
Artists-in-Residence receive a studio space and a monthly stipend. The programme also fully funds travel costs and accommodation for foreign artists. To facilitate a dynamic dialogue across different geopolitical contexts and to create an always-diverse community, three studios are reserved for Singapore-based artists, two are dedicated to artists from Asia, and the remaining two are allocated to artists from elsewhere in the world.
Artists are invited to apply for the residency through a nomination process. While in past editions, nominators were international curators, for the 5th cycle, the nominators were exclusively artists. The Centre invited former Artists-in-Residence and established artists from all over the world to put forth the names of their fellows who can most benefit from a research-driven residency in the context of Singapore. This peer-to-peer process furthers the presence of the artists themselves at the core of the Residencies Programme, drawing upon the nominating artists’ generosity, insight, and direct knowledge of the most relevant developments in contemporary art practices.
During their stay, lasting three months for international artists and six months for the Singapore-based artists, Artists-in-Residence become active agents of the Centre’s cultural life through public programmes that range from open studios, artist talks, panel discussions, to screenings and performances.
The final participants in the Residencies Programme were selected by a review panel composed of Ute Meta Bauer (Founding Director, NTU CCA Singapore and Professor, School of Art, Design and Media, NTU), Joselina Cruz (Director, Museum of Contemporary Art and Design, De La Salle College, Manila, Philippines), Low Eng Teong (Assistant Chief Executive, Sector Development Group, National Arts Council, Singapore), Shabbir Hussain Mustafa (Senior Curator, National Gallery Singapore), and Wong Chen-Hsi (Assistant Professor, School of Art, Design and Media, NTU).
Reflecting a wide range of methodologies and critical attitudes, the artists’ proposals were reviewed on the basis of their relevance to Climates. Habitats. Environments, the Centre’s overarching research framework for the next three years (2017–19), and/or their interest to explore issues that address the complexity of cultural and colonial histories of the region as well as global geopolitics. Anna Lovecchio, NTU CCA Singapore Curator, Residencies, states: “Against a culture increasingly veered towards production and exposure, the Residencies Programme is committed to the rather idealistic mission to value the process of artistic research over its product. This kind of residency has a great potential: it can be a retreat, a networking platform, and a sounding board for artists to test their ideas and experiment new directions in the development of their practice.”
Since the programme launched four years ago, it has hosted more than 100 artists, curators, writers, and researchers who have significantly contributed to the Centre’s dynamic environment of experimentation and exchange.
For more information about the Residencies Programme, visit www.ntu.ccasingapore.org/residencies/.
The Residencies Programme for Singaporean artists is generously supported by a grant from the National Arts Council, Singapore.
NTU CCA Singapore wishes to thank all those who contributed to our 2016 fundraising auction, the proceeds of which went towards the sustainability of this programme.
Located in Gillman Barracks, the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) is a national research centre of Nanyang Technological University and is supported by a grant from the Economic Development Board. The Centre is unique in its threefold constellation of research and academic programmes, international exhibitions, and residencies, positioning itself as a space for critical discourse and diverse forms of knowledge production. The Centre focuses on Spaces of the Curatorial in Singapore, Southeast Asia, and beyond, as well as engages in multi-layered research topics.
Nanyang Technological University Singapore (NTU) is a research-intensive public university in Singapore with colleges of Engineering, Business, Science, and Humanities, Arts, and Social Sciences. NTU is ranked 11th globally and placed 1st amongst the world’s best young universities.
LIMITED EDITION 5″ X 8″ | 54 PAGE | TWO COLOR RISOGRAPH CREATED WITH LOVE IN OAKLAND, CA.
For Immediate Release Contact: Anya Tish
Anya Tish Gallery
FREEZE! Shannon Cannings • Corey Pickett | October 13 – November 11, 2017
Artists Reception: October 13, 6:00 – 8:30 pm
Artists Q&A and Walk-Through: October 14, 1:00 – 2:00 pm
Anya Tish Gallery is thrilled to present FREEZE!, a two-person exhibition featuring paintings and drawings by Shannon Cannings and soft sculptures by Corey Pickett. Through the lens of their own race and gender, both artists question the role of guns in our society in order to appeal for the re-evaluation of current gun legislation.
By looking past the veneer of consumerism, which has distorted and glorified the meaning of ‘gunplay’, Shannon Cannings’ oil paintings explore how toy guns normalize gun culture and create a tolerance for violent language and behavior from childhood. Using the candy-colored and eye-catching visuals of advertising, Cannings’ work draws attention to the juxtaposition of gun violence and the allegedly harmless children’s toy. Each painting is meticulously executed to spotlight the shiny, colored plastic of the gun and its glossy, light reflecting packaging to create an almost irresistible product. Cannings’ works are the product of a mother’s meditation on the convoluted messages of advertising and a response to the controversy surrounding gun control.
In place of gunmetal and steel, Corey Pickett’s immense gun sculptures are stuffed with foam and upholstered in a mélange of versicolor patterns. Pickett draws inspiration from his research of the middle passage and uses Victorian and Dutch textiles to visually reference the past conditions of African-Americans. The artist states “Initially these objects were in response to gun violence towards African-Americans; however, my work has expanded to gun violence against all humans”. Pickett’s ebullient soft sculptures transpose the issue of gun violence to create a comfortable and secure environment in which to contemplate the role of guns in our society.
Shannon Cannings earned her Master of Fine Arts from Syracuse University, New York, and has since exhibited her work across the United States in museums and institutions including Art Museum of Southeast Texas, Beaumont, TX and Tyler Museum of Art, Tyler, TX. In 2001, she was selected to represent the West Texas region in the Texas Biennale. Her work has been featured in print and online publications including New American Paintings and the Houston Press, and Glasstire.
Corey Pickett received his Bachelor of Fine Arts in 2000 and his Master of Education in 2008 from Eastern New Mexico University. In 2017 he is to receive his Master of Fine Arts from the Vermont College of Fine Art. Pickett has exhibited his work throughout the United States in institutions such as the National African American Museum and Cultural Center and is a recipient of the International Sculptural Center’s 2017 Outstanding Student Achievement in Contemporary Sculpture Award.
Anya Tish Gallery . 4411 Montrose Blvd. . Houston Texas 77006 . 713.524.2299 . anyatishgallery.com . [email protected]best Running shoes | Vans Shoes That Change Color in the Sun: UV Era Ink Stacked & More – Fitforhealth News
FOR IMMEDIATE RELEASE
Contact: Renee Couture [email protected]
GRAY SPACE: Oregon Artists Present
A Cube-Shaped Itinerant Art Space
Viewing in the Northbound Cabin Creek Rest Area, 20 miles north of Roseburg (milepost 142), Saturday September 30, 11 am
(September 2017, Cabin Creek Rest Area/I-5, Oregon) GRAY SPACE is a cube-shaped itinerant art space, welded and wheeled by artists. The artists of the GRAY SPACE group will install their individual work inside the 6’x6’x6’ GRAY SPACE and park it for a day at various locations throughout Oregon. Each artist will create a different art installation. GRAY SPACE intentionally engages an audience without the confines and expectations of a gallery or art center.
Its first travel location along the I-5 corridor is the Northbound Cabin Creek Rest Area, just 20 miles north of Roseburg. GRAY SPACE will be deployed Saturday, September 30, 11 am – 3 pm. This event is free and open to the public.
Renee Couture is the second artist to install work in GRAY SPACE module. This work, titled The Highest Fence, focuses on ideas of boundaries and borders – how they impact our lives and how we move through the world. She explores this phenomena through layers and layers of large-scale, cut paper fences as a fence is a man-made barrier that encloses, surrounds, confines, separates, protects, and shows ownership. The idea for The Highest Fence emerged from a variety of sources including the artist’s own life living in rural southern Oregon’s O&C “checkerboard land ownership”, proverbs, and recent political commentary on fence/wall building.
ABOUT THE ARTIST:
Renee Couture works in sculpture, photography, and drawing. After receiving her BA and before receiving her MFA in Visual Art, Renee rambled about the United States and South America working a wide range of jobs from camp counselor to wild land fire fighter to gourmet goat cheese maker, international backpacker to bank employee. She has exhibited her work nationally in group exhibitions and as a solo artist. Renee has won two Career Opportunity Grants from the Oregon Arts Commission, and also participated in residency programs at Jentel, Vermont Studio Center, Playa, Kimmel Harding Nelson Center for the Arts, and Djerassi. She jumped at the opportunity to be participate in GRAY SPACE project out of a drive expand art practice and connect with new audiences. Renee is currently Adjunct Fine Art Faculty at Umpqua Community College. Visit Artist’s Website: www.rcoutureart.com
ABOUT GRAY SPACE PROJECT:
The GRAY SPACE artists are Kate Ali, Lee Imonen, Michael Boonstra, Kathleen Caprario, Sandee McGee, Andrew Myers, Leah Wilson, Renee Couture and Vicki Amorose. This group of Oregon artists gathers around an ideaphoric concept: the traveling installation space, freely accessible to random audiences. In its first year, GRAY SPACE will be parked at various locations in Oregon. The artist will be present to talk about their work. GRAY SPACE intentionally engages an audience without the confines and expectations of a gallery or art center. While on site, the project activates public space and explores the interplay between site, context, art and viewer. GRAY SPACE artists find momentum together and tap the generative resource of each other’s creative drive.
CONTACT: Email Renee Couture [email protected]
In conjunction with The Gallatin Climate Change Initiative: A Conference, which will run from September 14-15,2017, NYU Gallatin’s, The Gallatin Galleries will present the exhibition From Outrage to Action, which includes work from artists, journalists, and scientists, all of whom seek to address and act on the issue of climate change.
Artists Reception Monday, September 18, 2017, 6-8pm.
NYU Gallatin School of Individualize Study
1 Washington PL, New York, NY 10003
Agnes Denes • Ismail Ferdous • Gideon Mendel • Civic Laboratory for Environmental Action Research (CLEAR) • Mark Read and Grayson Earle • Architecture and Urban Design LAB 2017 sponsored by Global Design NYU • Mary Mattingly • The Yes Men • nadahada
Ceremony of Innocence
Water, Steel, Oil Drum, Video Projection
The title of this piece is taken from William Butler Yeats’ poem, The Second Coming, excerpted below. The projected image, , is a newly introduced international symbol for extinction. The sunken image, , is a recognized international astronomical symbol for Earth. The artists will be replacing the block of ice each day throughout the weeklong exhibit, at approximately 3:00pm, except for Sunday, September 17th.
Excerpt from The Second Coming
“Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.”
– William Butler Yeats, The Second Coming
Grayson Earle’s diverse technological practice is unified by a political approach to media making. Employing video games, video projection, algorithmic audiovisual generation, biological organisms, and robotics, his work tends to intervene on physical spaces and entrenched ideas. His creative practice articulates a repositioning of resistance to power that invites participation from reluctant citizens.
Earle (b. 1987) lives and works in Brooklyn, NY. He teaches at Hunter College, split between the Computer Science, Film and Media, Integrated Media Arts, and Studio Art MFA programs. This interdisciplinary posture is emblematic to his work as an artist, and is an approach he proselytizes in his courses on game programming, electronics, and generative art.
Recent displays of his work include SeoulArts in South Korea; Eastern Bloc and Centre Phi in Montreal; the Brooklyn Museum, Macy Gallery, and Babycastles in New York City; and the Media Arts Festival in Tokyo. He has published essays on the socioeconomic implications of the Cold War on abstract expressionism in the United States and Russia, as well as new methods for rhetorical approaches in video games
Mark Read is best known as the artist-activist that produced the “Occupy Wall Street Bat Signal” in November of 2011. Subsequent to that projection-intervention Read initiated The Illuminator project, which has gone on to produce hundreds of projection-interventions around the world. The Illuminator’s work has received wide acclaim from both social activists and the art world. Their work has been featured in academic publications such as Public Art Dialogue, and exhibited in galleries and museums, including the Brooklyn Museum. In 2016 The Illuminator was Artist in Residence at the Hemispheric Institute for Performance and Politics. Read teaches courses on art and politics at New York University, where he is employed as an adjunct professor.