News, The Eve Of...

10/4: The Eve Of… as Survival Strategies at Open City/Art City

The making of The Eve Of…, in diagrammatic and GIF forms.

The Making of The Eve Of... Self-Initiated Residency and Exhibition.

The Making of The Eve Of… Self-Initiated Residency and Exhibition.

Here’s a tiny teaser of a detailed diagram on the making of The Eve Of…; along with a narrated video, it’ll be presented this Saturday at Open City/Art City at YBCA. I’ll be there in spirit, but not in person. It’s too bad, as my other panelists, assembled by the formidable Christian L. Frock, are fantastic artists for whom I have tons of respect.

SOS ARTISTS: Strategies of Survival

Curated and Moderated by Christian L. Frock, Independent Writer, Curator and Educator
This interactive session will present strategies for developing self-made public opportunities for artists at all stages of development, with an emphasis on what is possible through autonomy and collaboration. In addition to the live event, documents relevant to the discussion will be available to freely view and share online at www.invisiblevenue.com

Participants:

  • Christian L. Frock, writer and curator, Invisible Venue: On creating public platforms through unconventional organizational partnerships
  • Jonn Herschend, artist and co-publisher, The Thing: On recent high profile commercial projects and creating equitable corporate collaborations with integrity
  • Ernest Jolly, artist and co-curator, ArtComplex, Oakland: On ArtComplex’s experimental exhibition model and creating opportunities within transitional real estate
  • Favianna Rodriguez, artist and activist, on producing multiples and direct studio sales to raise funds to advance larger projects
  • Stephanie Syjuco, artist and John Simon Guggenheim Memorial Foundation Visual Arts Fellow: On self-publishing her successful Guggenheim application, and transparency as a mode of working amidst competition
  • Christine Wong Yap, artist: On the development of her self-initiated New York residency and solo exhibition, and building new models of production in public spaces

More info at opencityartcity.tumblr.com.

That’s the brains of the thing. Here’s the behind-the-scenes braun:

The Eve Of... installation and deinstallation.

The Eve Of… installation and deinstallation.

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News, The Eve Of...

The Eve Of… is now on view!

With yesterday’s opening reception, The Eve Of… residency is officially over, and the exhibition is open to the public.

BZ & NM viewing Doorway, 2014, wood, vinyl, asphalt-based coating, lights, stands, gels, door: 82.5 x 33.5 x 5.5 inches / 210 x 85 x 14 cm

BZ & NM viewing Doorway, 2014, wood, vinyl, asphalt-based coating, lights, stands, gels, door: 82.5 x 33.5 x 5.5 inches / 210 x 85 x 14 cm. See more photos.

The changeover

The raw space that was my studio in August has been converted into a pop-up gallery. Though I last posted that changeover tasks are fun, I started running of steam this past week. The works were done, the walls painted, and the floors epoxied or sealed, but I still lots to do. And much involved climbing a too-short 8-foot ladder in a 18-foot-high space….

I figured out which works to include and how to place it in the oddly-shaped space with help from OM, especially his sage advice not to fight the architecture. I paid repeat visits to Artist and Craftsman Supply (a cool employee-owned business recently opened in LIC) for paper and tape to minimize light coming through the numerous windows. I also lit the works after multiple trips to get extension cords and light bulbs (so easy to take for granted at galleries) since only half the the space has working electrical outlets. I finally used some lighting gels—purchased for experimentation that didn’t go anywhere—to balance out the color of different light sources. And I spent a late night putting finishing touches on the space, including creating a storage closet (its small footprint relative to the amount of artworks, tools, and furniture it holds is a weirdly satisfying bonus).

Installation photos

I shot documentation photos with the assistance and good conversation of MH. I encourage you to visit the show in person, as many of the works allude to physical embodiment and are best experienced in person, but you can see photos if you’re unable to visit.

A journey self-started, but not traveled alone

Thanks to intrepid supporters who braved yesterday’s rain to attend the opening reception. I also want to send a big THANK YOU to the Queens Council on the Arts, the Falchi BuildingWhole Foods, and individuals who contributed guidance and assistance: Susan O’MalleyMel Day, Katie Tuss, Paul Kelterborn, Falchi Building staff, Gina Mazzone, Melissa Smith, Melissa Rachleff/Bronx Museum of the Arts’ Artists in the Marketplace, David Wallace, Maria Hupfield, Nyeema Morgan, Ohad MeromiHank Willis Thomas, and Michael Yap.

Now on view

The exhibition continues through 9/24.

Join me at a public forum featuring guest speaker Andria Hickey, Associate Curator, Public Art Fund
Wednesday, September 24, 7–9 pm

Or visit during gallery hours:
Wednesday, September 17, 12–3 pm
Saturday, September 20, 1–5 pm
Or by appointment by emailing theeveof @ christinewongyap.com.

Falchi Building, 31-00 47th Avenue, Long Island City, NY 11101 [Google Map]
Four blocks from the 7 train at 33rd/Rawson Station; also walkable from the E and G at Court Square, or the N, Q, or R at Queensboro/Queens Plaza.

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The Eve Of...
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Opening Saturday 9/13: The Eve Of…

After a year of planning and several weeks as a self-initiated artist-in-residence, I’m excited to open a show of my work in a pop-up space I’m also running for this project. It’s been a huge endeavor and includes work in a new creative direction. Hope to see you there!

Christine Wong Yap: The Eve Of…
September 13–24, 2014
Falchi Building
31-00 47th Avenue, Long Island City, NY 11101
[Google Map]
(Four blocks from the 7 train at 33rd/Rawson Station)

The Eve of… is a new installation of sculptures and video examining uncertain psychological states. Inspired by the decisive moment after setbacks and before actions, the project explores the disassembled self on the eve of re-organization.

Mirrors, colored vinyl, Mylar, plastic bags, and asphalt-based paint are used to create props and scenes of light and darkness. Through such works, viewers may encounter their own reflections or shadows, or the incongruity of ineffable emotions and physical embodiment.

Opening reception:
Saturday, September 13, 5–7 pm
Refreshments will be served; victuals contributed by Whole Foods

Public forum:
Featuring guest speaker Andria Hickey, Associate Curator, Public Art Fund
Wednesday, September 24, 7–9 pm

Additional gallery hours:
Wednesday, September 17, 12–3 pm
Saturday, September 20, 1–5 pm
And by appointment by emailing theeveof @ christinewongyap.com.

All events are free, open to the public, and wheelchair accessible.

More info: theeveof.christinewongyap.com or theeveof @ christinewongyap.com.

The Eve Of… is supported by an Individual Artists grant from the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Support from the Falchi Building and Whole Foods is also gratefully acknowledged.

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The Eve Of... Christine Wong Yap, September 2014, Queens, NY.

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Coming soon: The Eve Of…

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The Pictures Full of Happiness

A recent billboard exhibition on happiness in Poland.

The Pictures Full of Happiness mobile billboards with art by (left to right): Christine Wong Yap, Galeria Rusz, and Susan O'Malley. Photo courtesy of Galeria Rusz.

The Pictures Full of Happiness mobile billboards with art by (left to right): Christine Wong Yap, Galeria Rusz, and Susan O’Malley. Photo courtesy of Galeria Rusz.

Students hold posters by  (left to right):  Susan O'Malley, Galeria Rusz, and Christine Wong Yap. Photo courtesy of Galeria Rusz.

Students hold posters by (left to right): Leah Rosenberg, Susan O’Malley, and Christine Wong Yap, in front of an interactive billboard by Galeria Rusz. Photo courtesy of Galeria Rusz.

From June 2–8, Galeria Rusz’s travelling exhibition, The Pictures Full of Happiness, traveled across Poland’s Kujawsko-Pomorskie region asking the Polish public to reflect on an emotion. In  small villages and cities, artworks by Galeria Rusz, Susan O’Malley, Leah Rosenberg, and myself, appeared as mobile billboards and posters. Organized student activities solicited responses via interactive billboards and artworks.

Big thanks to Galeria Rusz’ Joanna, Rafał, and Agnieszka for sharing my artwork with the public!

 

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just published: make things (happen)

New project featuring 29 artist-created activity sheets to make things or make things happen just posted!

make things happen

how to participate

I’m over the moon to share my latest project, featuring 29 freely downloadable artist-created activity sheets to make things or make things happen at makethings-happen.christinewongyap.com.

Check out projects by artists from New York, California, Canada, the UK, and beyond, and participate!

Part of the exhibition:
Social in Practice: The Art of Collaboration
Curated by Deborah Willis and Hank Willis Thomas

March 27–October 2, 2014
Nathan Cummings Foundation
475 10th Avenue, 14th Floor, NYC

Reception: March 27, 6-8 pm
Reservations required; email exhibits@nathancummings.org.

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Land and Sea Overview

I just got my edition of Land and Sea’s 21st project, Overview: a box set that features 79 risograph prints by various artists. It was conceived, organized, and printed by artist Chris Duncan.

How neat to make cross-country connections: I picked up the box set from contributing artist Laura Splan, during an opening at Dose Project Space [great mission!] for Lauren Davies’ show. It was a great mishmash of connections spanning the Bay Area (Chris, Lauren, plus contributing peers like Sarah Hotchkiss, Genevieve Quick, Kelly Lynn Jones, Aaron Harbour, Val Imus, and many more).

Risograph prints have a beautiful tonal quality. Chris picked out a nice, toothy, heavyweight paper to print on. Each piece has heft to it, and could easily (literally) stand on its own on a tilted shelf. In other words, they feel like prints, not posters.

Many of the artists created abstractions in black ink, and others explored riso’s odd, saturated palette of Sunkist orange, cobalt, and vibrant green. A very light greenish parchment-grey is fascinating. The back of each print is flooded with a repeated text, adding a cohesive element.

I love how my piece came out:

Irrational Exuberance flags, two color risograph; mini flags to be cut out and displayed.

Irrational Exuberance flags, two color risograph.

These are designs based on the Irrational Exuberance Flags series, but miniaturized, so you can cut them out and make a set of mini flags of your own.

And here are a few of my favorites:

Luke Fischbeck, two color risograph print, various renderings of possibly happy/sad faces.

Luke Fischbeck, two color risograph print, various renderings of possibly happy/sad faces, made all the more fractured and interesting with slight offsetting.

Luke Fischbeck, two color risograph print, various renderings of possibly happy/sad faces.

Tucker Nichols’ pink and blue risograph print. I think it’s a trophy and some flowers. So exuberant! I love it.

Lee Hunter, one-color riso. We walk together.

Lee Hunter, one-color riso. I’ve been thinking a lot about collective action lately.

Michael Milano's operational two-color print, in which a single triangular design is rotated and overprinted.

Michael Milano’s operational two-color print, in which a single triangular design is rotated and overprinted. It’s an ingenius exploration of the medium.

Sarah Berkeley, great reminder, and already up in my studio. Turn your phone OFF. Data Blackout in progress.

Sarah Berkeley. Great reminder, and already up in my studio.

View the full portfolio, and support this independent, artist-run venture, here.

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