Left Behind, an exhibition at Todd Weiner Gallery
115 W 18th St Kansas City, MO 64108 United States
An exhibition of surreal oil paintings featuring blank signs and billboards set in eerie landscapes. The work examines the way shifting realities in commerce and industry impact small towns in America. The blank signs are a signifier for empty consumerism.latest Running | Jordan Ανδρικά • Summer SALE έως -50%
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.
Jérôme Havre, Cauleen Smith, and Camille Turner
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).
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.
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.
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.
2300 Peachtree Road
Atlanta, GA 30309
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.
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.
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
The MFA in Visual Art program will once again host a number of student exhibitions and Visiting Artist presentations during its upcoming summer residency, taking place July 20-29. We invite the public and community to campus to experience these artistic 10 days.
Graduating Student Exhibition – VCFA Gallery
- Tuesday, July 25 – Friday, July 28. Hours: 9 a.m.-6 p.m. Gallery may be closed for critiques and reviews as determined by the program.
- Opening reception: Monday, July 24 – 7:30-9 p.m.
New and Returning Student Exhibitions – Alumni Hall
- Tuesday, July 25 – Friday, July 28. Hours: 9 a.m.-6 p.m. Alumni Hall may be closed for critiques and reviews as determined by the program.
- Opening reception: Saturday, July 22 – 7-8 p.m.
This residency’s visiting scholars and artists: Eshrat Erfanian, Paul Johnston, Michel Droge, Heather Ferrell, Peter Gallo, Harmony Hammond, Andres Hernandez, Adam Pape, Kaylynn TwoTrees
Visiting Artists presentations:
- Images, Digital Technology, Speed and War with Artist-in-Residence Eshrat Erfanian
- Friday, July 21, 7 p.m., College Hall Chapel
Artist-in-Residence Eshrat Erfanian will focus on the topics of digital technology, speed, and war as it relates to art and image making, discussing the works of several artists, including Trevor Paglen, Omer Fast, Harun Farocki and Hito Steyerl as well as some of the works by Erfanian and her take on use of the technology in slowing down the consumption of the image as a strategy to create critical work which questions and comments on the images of war and the change of our vision through the machine.
Toronto-based Erfanian works in a range of media including video, installation, digital photography and painting. Her work minds the phenomenon of speed related to digital technology and its relation to images of alterity. Her recent work has been exhibited at Azad Gallery in Tehran, the Jewish Museum in NYC, and the Incheon Biennale in Seoul. Her work has also featured in many solo and group Exhibitions in Canada, U.S., and internationally and presently, she is on the Advisory Committee to the Prefix Photo Magazine, published by the Prefix Institute of Contemporary Art in Toronto. Erfanian has taught at York University in Toronto and McMaster University in Hamilton. She is an alumnus of the ISP at the Whitney Museum of American Art, and has a PhD from York University.
- Deaf Civilization: An Artistic Lens with Visiting Artist Paul Johnston
- Wednesday, July 26th, 1:30 p.m., College Hall Chapel
Paul Johnston will reflect an analysis of deaf artists and designers since the development of American Sign Language (ASL) from the 1970s to today. The widespread practice of ASL led the way for deaf people to define their own identity instead of the one foisted upon them by a hearing-based society. The art created at that time can be referred to “artivism” (a fusion of art and activism). Today’s challenges and opportunities for deaf artists lie in how to maximize their visually rich environment with a sound-friendly world. Deaf artists and designers can work in teams with hearing professionals to create the following: solution-based designs, entertainment devices and products, instructional and applied design, and new content and form in the visual arts.
Paul Johnston was born deaf to hearing parents who did not use sign language or become familiar with deaf culture. For 32 years Dr. Johnston taught at Gallaudet University. For most of that time he was a member of the art department. He was also a founding member of De’VIA (an acronym for Deaf View Image Art). This group of artists and scholars set a framework for how to discuss and generate art based on Deaf experiences. In an experimental design class at Penn State, Dr. Johnston taught the same concept to hearing students and empowered them to translate their hearing access into art. Dr. Johnston has been a frequent lecturer, exhibition juror, moderator and guest artist at venues in the U.S. and Europe. In 2011, he was artist in residence at Siena Art Institute in Siena, Italy.
This lecture will be followed by a moderated discussion with Artist-in-Residence Eshrat Erfanian.
To schedule a visit during the residency contact:
Assistant Director of Admissions
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.
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