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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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MFA in Visual Art announces summer residency events

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

EshratArtist-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

PaulPaul 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:

Thatiana Oliveira

Assistant Director of Admissions
[email protected]
802-828-8636

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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 [email protected], +1 212 268 7132
Follow us on Instagram @miyako_yoshinaga_gallery, Facebook MIYAKO YOSHINAGA GALLERY, and Twitter @miyakoyoshinaga
MIYAKO YOSHINAGA
547 WEST 27 ST SUITE 204 NEW YORK NY10001
TUE. – SAT. 11-6PM
+1 212 268 7132
WWW.MIYAKOYOSHINAGA.COM

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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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Faculty Member Việt Lê in Queer Horizons | Center for Art and Thought

QUEER HORIZONS

Queer Horizons features the work of Asian American and Asian diasporic artists whose work envisions a queer future that unsettles the past, disrupts the present, and imagines new worlds beyond the limits of the horizon.

We take inspiration from José Esteban Muñoz, the late queer studies scholar, and his conception of a “not yet here.” As he explains in Cruising Utopia, the “not yet here” is a phenomenon of queer futurity that “allows us to see and feel beyond the quagmire of the present.”

Within the last ten years in the US, we have celebrated the legal recognition of same-sex marriage, the end of “Don’t Ask, Don’t Tell” and the formal acceptance of gays in the military, and increased visibility of LGBTQ bodies and personalities in popular culture. In our present moment, however, LGBTQ rights, safety, and health care are increasingly under threat. Simultaneously, the current administration frames Asian American communities as “un-American,” the after tremors along old Yellow Peril fault lines. They are foreign, unassimilable, undocumented: Muslim “terrorists,” hordes of H1B visa techie taking over American jobs, or “model minority” students taking up too much space in classrooms.

However, the artists and works in Queer Horizons name a possibility beyond the “model minority”: as queer Asian American artists, they disrupt the model minority narrative defined by heteronormative notions of success. Each artist engages a non-linear temporality moving between pasts, presents, and futures, and each work gestures towards a queer history that we, as Queer Asian Americans, can excavate, (re)create, and (re)produce in our pasts, presents, and futures. For example, Greyson Hong’s Costco photos, Việt Lê’s productions of club scenes/ online performances, and Tina Takemoto’s unconventional short film all tell of an alternative past to inform a queer alternative future. As we think of these experiences at the intersections with undocumented status, foreignness, and Islamophobia, their highly experimental and queer aesthetic in storytelling suggests further radical potential.

It is in this dangerous political climate that the artists in Queer Horizons insist on claiming liminal and hybrid spaces and lives, queer collectivity, and intersectional solidarity. Embracing failure, misbehavior, non-normativity, and defiant joyfulness thus becomes a radical form of resistance. This is the kind of utopian horizon that we call forward. In the spirit of artist Jeffrey Augustine Songco’s video, “Let’s Dance America!”

Queer Horizons appears in conjunction with the publication of Laura Kina and Jan Christian Bernabe’s book, Queering Contemporary Asian American Art (University of Washington Press, 2017).

Curated by Jan Christian Bernabe and Laura Kina

Curatorial Assistant: Mads Le

Contributors: Anida Yoeu Ali, Sita Kuratomi Bhaumik, Kim Anno, Wafaa Bilal, Greyson Hong, Kiam Marcelo Junio, Việt Lê, Maya Mackrandilal, Zavé Martohardjono, Jeffrey Augustine Songco, Tina Takemoto, and Saya Woolfalk.

Contributors’ works are published in staggered waves from late-June to late-July 2017, after which the whole exhibition are archived permanently on CA+T’s website.

Special thanks to the Andy Warhol Foundation and the California Institute of Contemporary Arts for fiscal support.

 

 

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Alumna Yukiyo Kawano | Suspended Moment | Los Alamos Performance

On the anniversary of the world’s first atomic test Suspended Moment, a sculpture installation and Butoh dance and poetry performance by Los Alamos native Allison Cobb, Hiroshima native Yukiyo Kawano, with Butoh choreography/dance by Meshi Chavez, soundscape by Lisa DeGrace, and video projections by Stephen A. Miller, will be performed in Los Alamos, NM.

At the center of the performance is a life-sized sculpture of the bomb dropped on Nagasaki in 1945, created by the artist Yukiyo Kawano. Yuki was born and raised in Hiroshima, a third-generation atomic bomb survivor. She creates her sculptures from WWII-era kimonos that belonged to her grandmother, and sews them together with her hair, melding the DNA of generations of atomic bomb survivors.

co-sponsored by
Los Alamos History Museum, Los Alamos/Japan Project, and Los Alamos County Library System. Funded in part by a grant from the New Mexico Intervention Fund of the National Trust for Historic Preservation. Additional Funding: Kawano has received a Career Opportunity Grant award from the Oregon Arts Commission.

The performance takes place from 4-5:30 p.m. at Historic Fuller Lodge, 2132 Central Ave., Los Alamos, NM 87544.Nike air jordan Sneakers | 【海外近日発売予定】 サウスパーク × アディダス オリジナルス キャンパス 80S “タオリー” (GZ9177) – スニーカーウォーズ

Alumnus Ben C. Vitualla Solo Show @ Gallery Luperca Nashville

365 Days

Ben C. Vitualla

Curated By May Hwen

July 1-31

WeHo Crawl Reception

July 1 | 6-9 PM

East Side Project Space

July 1-31

Gallery Luperca is proud to partner with Sticky Rice Collective and curator May Hwen to present 365 Days: New Works by Ben C. Vitualla. Vitualla is the founder and curator of downtown Nashville’s Arcade-based Blend Studio.

Vitualla’s work in a range of mediums is a processing of and commentary on the socio-political environment.  He says, “The current state of our world and my experiences are topics on which I represent in my practice. Themes of politics, profiling minorities, and poverty are focuses I am interested in conveying in my work. My hope is that it will encourage dialogue and maybe understanding issue the world is facing.”

The show opens during the Wedgewood Houston Art Crawl from 6-9 PM on July 1 and runs through the end of the month. The opening reception, hosted by Sticky Rice Collective, will include food trucks created by Sticky Rice alums parked outside.

For further information, artist biography, and images, please contact the gallery.

Gallery Luperca | East Side Project Space | 507 Hagan St. | Nashville, TN 37203

615-669-1384| [email protected] | www.galleryluperca.com

Gallery hours: W-R 2-8  Sun 4-7  | Every First Saturday 6-9 PM

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MFA Candidate Corey Pickett @ Central Features Contemporary Art

Corey Pickett: Blank Cartridge

Reception: July 8, 6:00 to 8:00 pm.m
Blank Cartridge is an exhibition of provocative new sculptures by Clovis based-artist Corey Pickett. This series of artworks serves as an appeal for “common-sense” gun laws and the re-evaluation of current gun legislation.

Pickett is concerned with the enormous amount of gun violence that takes place on a daily basis and, as a black man, he has a level of fear that is predicated on the current socio-political climate of America and the nation’s gun laws. The premise of his work is to initiate dialogue among the many perspectives related to gun rights with the hope that a reasonable mediation can be reached. His guns are surrogates for the real thing.

“Initially these objects were in response to gun violence towards African-Americans; however, my work has expanded to gun violence against all humans. My goal is for my practice to be a medium of activism through interdisciplinary methods and community collaborations,” says Pickett. “My practice has extended to the community through neighborhood art camps and community art projects. This community participation along with my reimagined ready-mades is an attempt to bring about cultural sensitivity and cross-cultural awareness. I’m convinced that people are more receptive to new and alternative theories concerning social change when they are comfortable and less threatened.”

ABOUT THE ARTIST
In addition to being a working artist, Pickett is currently Director of The Jaye Rock Cultural Center in Clovis, NM, which he also founded. He received his Master of Education in 2008 and his Bachelor of Fine Arts in 2000 from Eastern New Mexico University. He will receive his MFA in 2017 from the Vermont College of Fine Art, Vermont. He has exhibited his work in cities throughout the US and is a recipient of the International Sculpture Center’s 2017 Outstanding Student Achievement in Contemporary Sculpture Award.

Central Features Contemporary Art 

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Alumna Damali Abrams and Naomi Elena Ramirez and Faculty Co-Chair Dalida MarÍa Benfield in NYC

MIGRATORY TIMES/EMBODIED SPACES: TWO PROVOCATIONS + A WORKSHOP.

Migratory Times/Embodied Spaces will center performance works by Naomi Elena Ramirez (NYC) and the collective Diásporas Críticas (Barcelona/Guayaquíl) as transformative pedagogical interventions that open the space of a collaborative workshop to produce collective articulations of (dis)occupying spaces, disidentifications, (re)embodiment, radiofonization, and sonic translocalization, in migratory times.

This event contributes to Migratory Times, a year long global art, research, and pedagogical initiative that facilitates translocal and transnational decolonial feminist dialogues on displacements and migration through cultural interventions, workshops, and publications. Migratory Times is a project of the Institute of (im)Possible Subjects, a transnational feminist art, media and research collective, and is made possible in part with a Community Arts Fellowship from the Abundance Foundation.

ponga cuerpo donde boca

choreographed and performed by Naomi Elena Ramirez

sound design by Naomi Elena Ramirez sounds: excerpt from “Two Woman” by Anonymous; excerpt of speech by Fred Hampton of the Black Panther Party; excerpt of speech by Angela Davis ‘How Does Change Happen?’; Manu Chao, EZLN…Para Todos Todo

As the fog of imagined democracy dissipates how does one prepare oneself for the necessary sacrifices of activism, dissent, and the push for concrete change? When our bodies are on the line, what can we do to encourage ourselves to fight? I ask this of myself because I think the fight is only going to get uglier. ponga cuerpo donde boca responds to these questions through movement explorations of gestures from protest, moving through fear, finding strength in resilience, and dancing to sustain agency of resistance.

Llamando el mago

Diasporas Críticas

Llamando el mago is a live new media work that explores a “crisis of presentation” in an image saturated public sphere conditioned by techniques of surveillance that order the routes and experiences of transmission between metropolis and colony. Departing from the essay of the same title (“Calling the Magician”) by Aime Cesaire, Llamando el mago traverses censorship and media exoticisation, bureaucracy and coloniality, surveillance and polarisation, towards a meditation on decolonisation as a sophisticated anti-racist program that includes political, aesthetic and epistemic freedom of movement.

Naomi Elena Ramirez is a multidisciplinary artist whose work encompasses visual art, video art, performance art, and contemporary dance. Naomi uses photography and drawing as choreographic method, creating experimental scores from which live performance is made. Naomi has an MFA in Visual Art from Vermont College of Fine Arts and a BA in Dance from the University of California at Berkeley. Her work has been presented by Movement Research at The Judson Church; DoublePlus at Gibney Dance; The Bronx Latin American Art Biennial; Nurture Art Gallery; Wallplay Gallery; The Situation Room, LA; Gallery 107, North Adams, MA; Arte Nuevo InteractivA, Mérida, Mexico; Northwestern University’s Performance Studies Conference In Bodies We Trust; New Voices in Live Performance at The Center for Performance Research; amongst others. She is a recipient of the A.I.R. Gallery Fellowship for 2016/2017. She lives and works in Brooklyn, NY. (b. Hermosillo, Mexico) www.naomielenaramirez.com

Diásporas críticas is an open platform for artistic research. Diásporas críticas research explores and responds to the ways in which nationalisms intervene through micro-process to affect the body and the senses, researching notions of “transmission” and “contagion” in relation to mass media and technology as well as medical discourses and disease. They have received various research and production grants from academic and arts institutions. Throughout 2017 Diasporas criticas are preparing a research project entitled “Contralecturas Tropicales”. They are thinking: climate, cliche, sickness, poetic trope, surrealist dream, melodrama, medical theory, compass, geopolitical sex fantasy, cyclical time and exile.http://cargocollective.com/diasporascriticas

Damali Abrams the Glitter Priestess is a project-based artist born and raised in NYC by Guyanese parents. She constructs spaces and experiences of fantasy and myth, using collage, video installation and performance, that explore Black Utopia through the lenses of Afrofuturism and Afro-Caribbean syncretic religions. She examines folklore and contemporary popular culture, placing them in dialogue with one another to create a site of liberation for the Black imagination, rejecting tragedy as the sole, dominant narrative of the Black experience. Damali earned a BA at NYU, an MFA at Vermont College of Fine Arts, and recently completed the Whitney Museum of American Art Independent Study Program. She has been a fellow at A.I.R. Gallery as well as with apexart in Seoul, South Korea. She has been an artist-in-residence at Fresh Milk (Barbados), Groundation Grenada, Jamaica Center for Arts and Learning, The Center for Book Arts, and LMCC on Governors Island.

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Dalida María Benfield, Ph.D., is a Latinx (Panamá/U.S.A.) media artist and researcher who produces video, installations, archives, artists’ books, workshops, and other pedagogical and communicative actions, across online and offline platforms and often, collectively. Her current work crosses the spaces of contemporary art, education, and media activism and social justice. She has co-founded numerous autonomous cultural organizations, popular education projects, and research networks. She is currently the co-founder of the transnational feminist platform, The Institute of (Im)Possible Subjects, for art, research, activist culture, and publishing. From 1994 – 2007, she was a member of the artists’ collective Video Machete, which created open access media centers and free workshops as a practice of liberatory pedagogy and media production with youth of color, LGBTQ youth, and recent immigrant youth. She is co-chair of the Visual Arts program at the Vermont College of Fine Arts and founding Program Director at the Center for Arts, Design, and Social Research. dalidamariabenfield.info

DATE AND TIME

Sat, June 24, 2017

7:30 PM – 9:30 PM EDT

Add to Calendar

LOCATION

GIBNEY DANCE

280 BROADWAY

STUDIO C

New York, NY 10007

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Alumna Nikki Juen Protest Performance at Trump Tower | Brick x Brick

Hyperallergic except:

“The performance kicked off not long after noon, when 10 women formed a line and joined hands at the back of a small area that had been designated the stage. They wore jumpsuits printed with black-and-white bricks, on top of which were laid colored panels containing texts such as “Bimbo” and “Grab her by the pussy” — all sexist words and phrases uttered by the US president. The women were part of Brick x Brick, a project begun at the Women’s March to form “human ‘walls’ against misogyny,” and they remained in place under the sweltering sun for the next hour and a half.”

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