Sights

get excited: cool things everywhere

Being an artist involves so many activities, I’ve fallen behind on seeing art. But there’s lots out there to be excited about!

 Amanda Curreri, Under the Socialist Sun with Interference, Monoprint with screenprint, 15 x 11 inches, 2013; Llewelynn Fletcher, Standing Sound Costume: Lion, 2010, basswood, mahogany, low frequency sound, bass-shaker speakers, 3.5'W X 3.5'L X 7'H. // Source: c3initiative.org.

Amanda Curreri, Under the Socialist Sun with Interference, Monoprint with screenprint, 15 x 11 inches, 2013; Llewelynn Fletcher, Standing Sound Costume: Lion, 2010, basswood, mahogany, low frequency sound, bass-shaker speakers, 3.5’W X 3.5’L X 7’H. // Source: c3initiative.org.

Cool artists getting a cool residency in Portland, OR

ERNEST Introductions (Amanda Curreri & Llewellyn Fletcher)
c3 initiative, Portland, OR
Dec 7, 2013 – Feb 15, 2014
Opening: Sat, Dec 7, 6-9pm
Launching ERNEST’s collaborative two-year public project and partnership with Portland’s c3 initiative.

Installation view of The Shadows Took Shape. // Source: StudioMuseum.org // Photo: Adam Reich

Installation view of The Shadows Took Shape. // Source: StudioMuseum.org // Photo: Adam Reich

Afrofuturist aesthetics @ the Studio Museum
Including a collaborative project by Nyeema Morgan
Plus a great portrait of the artists in the New Yorker Magazine

The Shadows Took Shape
November 14–March 9, 2014
Studio Museum
NYC

Artists of The Shadows Took Shape in the New Yorker Magazine. Photograph by Christaan Felber.

Artists of The Shadows Took Shape in the New Yorker Magazine. Photograph by Christaan Felber.

I don’t think female artists of color have enough visibility; this is a lovely move in a good direction.

Leonid Tishkov, Private Moon. // Source: ArtsCatalyst.org.

Leonid Tishkov, Private Moon. // Source: ArtsCatalyst.org.

A wonderfully speculative, lunar-themed exhibition in London

The preview images look so cool.

January 10-February 2, 2014
The Art Catalyst’s Republic of the Moon
Bargehouse, Oxo Tower Wharf, South Bank, London

Vacuum/plenum (the Cotard delusion, invisibility, and other gravities), 2009, mirror, two-way plexiglass mirror, aluminum, steel, casters, Dimensions variable, mirrored box is 4x4x7 ft. // Source: SeldonYuan.com

Vacuum/plenum (the Cotard delusion, invisibility, and other gravities), 2009, mirror, two-way plexiglass mirror, aluminum, steel, casters, Dimensions variable, mirrored box is 4x4x7 ft. // Source: SeldonYuan.com

Vacuum/plenum (the Cotard delusion, invisibility, and other gravities), by Seldon Yuan

I came across this NYC artist when I received a rejection letter and he was listed as one of the winners. But when I viewed his site, and this project in particular, the selection committee’s wisdom became apparent to me. The sting of rejection is a mitigated by intrigue of this work. I wish this project was my own. It’s brilliant.

Personal Goal Setting Advice for Artists

Love this Personal Goal Setting advice from  Creative Capital’s Internet for Artists Handbook. I came across this a while ago but keep recommending it to folks. Really useful!

(I just noticed it’s written by Blithe Riley, an artist involved in interesting, radical visual art programming at Interference Archive in Gowanus in Brooklyn. Coming up this week: neat programming around Asian American struggle.)

Your turn: These Calls for Entry

Signal Fire’s spring exhibition in the New Mexico wilderness
Spring applications due December 31

Interface Gallery’s call for participatory projects
Oakland, CA
Stipends available. Applications due January 1, 2014.

 

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Community, Citizenship, Sights

get excited: open studios, mfa shows, more

Besides Frieze, NADA, and Pulse art fairs in NYC this week, there’s a slew of auxilliary events, open studios, and MFA shows to check out. In support of friends and community, here’s my list:

Go Stephanie!

May 4–6
Stephanie Syjuco: RAIDERS (Redux)
Catharine Clark Gallery’s New York Pop-Up Gallery
313 W 14th Street, 2F, NYC

May 4–6
LMCC’s Open Studio Weekend
125 Maiden Lane, 14th Floor, NYC

Go Michael!

Saturday, May 12
IN/VISION
2012 MFA Interaction Design Festival at the School of Visual Arts
Thesis Presentations: 11am – 4pm @ SVA Theatre
Thesis Exhibition: 5–7pm @ SVA Interaction Design Department
Go Nyeema!
May 12–13
NARS Foundation Open Studios
88 35th Street, 3rd Floor, Brooklyn
May 18–19
Kambui Olujimi: A Life in Pictures
Apex Art, 291 Church Street, NYC
Saturday, May 19
Question Bridge: Black Males Blueprint Roundtable
Brooklyn Museum 
Finally, if that’s not enough, learn about Emergency USA‘s amazing projects building medical infrastructure in areas of conflict:
Thursday, May 3, 7pm, E-USA office @ 21 Exchange Place. Presentation. RSVP to nyc@emergencyusa.org.
Sunday, May 6, 5–8pm, Randolph Beer, Nolita. 15% benefit happy hour.
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Art & Development

Gallery Jaunt: New Museum, Brooklyn Museum, ICP, John Jay

I’m trying to take advantage of the access to art afforded by living in New York. But there are so many art spaces here, even now when many institutions are closed in preparation for Fall shows, it’s still overwhelming. I’ve been here 2 weeks and visited a few spaces, with not nearly enough time at most of them.

Rivane Neuenschwander: A Day Like Any Other
New Museum
Thru Sept. 19

I really like the contemporary Brazilian artist’s videos; this is a chance to see new and prior works in installation, participatory/social practices, works on paper, paintings and actions. I think the most coherent is the fourth floor, where the central focus is an installation of buckets hung at head-height which slowly drip water into buckets on the floor. On the walls are dilapidated maps of New York counties painted and mounted in design-y hues. A video of an egg clattering in a spoon, shot as if the spoon were tucked into the viewer’s mouth, and the viewer were rambling through a wooded forest, runs in a corner. Flip clocks whose numbers have been replaced with zeros (recalling a flip-clock project by San Francisco artist Chris Bell) are placed throughout the museum, but the chance that you’d be looking at the clock when its zeroes flip is infinitesimal, so the clocks appear static and unchanging; in effect, it’s a largely conceptual piece. Perhaps it was the discreteness and completeness of the projects that appealed to me; the third floor, dominated by a space in which narrow swathes of carpet were ripped up, and sectors of a gridded wallpaper were stripped from the walls—not so much. The demolition was the result of a site-specific project involving the artist finding microphones hidden by the museum staff at the artist’s request. Is it viable to complain that the chance operation seemed a bit preconceived? Other projects in the space captivated: a 10-minute video of a single bubble traveling around a house (at the same time that it frustrated any sense of resolution); a calendar made of punched circles of text scattered across a black ground, creating constellations on a night sky; portraits of first loves described by public participants and drawn by courtroom artists.

On the first floor, in the odd, narrow glass-enclosed space, Neuenschwander’s I Wish Your Wish project continues.

Strangely, I left the show rather disappointed that I experienced no major revelation. But in retrospect, perhaps my expectation to be surprised or enchanted was misinformed. To displace the work—to find it in social exchanges and participatory actions, as her Tropicália predecessors did—seems to embrace an experimental approach to the practice of art. The results need not be revelatory. I experienced this same unapologetic unevenness in Damián Ortega’s work at the Boston ICA, where the works were pervaded with a sense of generosity and experimentation, and between stunning perceptual experiences were lackluster results that didn’t add up to more than their component parts.

Kiki Smith: Sojourn
Brooklyn Museum
Thru Sept. 12

There’s an unimpeded quality to this new work by the irrepressibly prolific symbolist printmaker and sculptor. Dozens of large drawings and prints of female figures on very light, wispy paper appear in the show, as do large silver figurative sculptures, installations with light bulbs and birds, and a simple coffin with a breathtaking surprise inside. Because many of the images were prints, more or less with the same figure, and set of materials, there was a sense of iterative generation. Clearly she’s interested in, and quite faithful to, the authenticity of the expressive line.

A suite of dozens of Photoshopped advertisements by Hank Willis Thomas is a joy to see if you’ve seen some, but not all as a collection.

For All the World to See: Visual Culture and the Struggle for Civil Rights
International Center of Photography
Thru Sept. 12

A historical show concerning the photographic and filmic image and its impact on the Civil Rights movement. Don’t expect a photography exhibition; it is rich with reproductions—including some shockingly retrograde attitudes exposed in the captions in Life magazine—and artifacts.

Also at ICP:
Perspectives 2010: Carol Bove, Lena Herzog, Matthew Porter, Ed Templeton, Hong-An Truong
Thru Sept. 12

The lighting in Lena Herzog’s room was brilliant. Black walls, black-and-white photographs, the illumination of each photo extending only to the four edges of the frame. Very fitting for the spine-chilling, Wunderkammer-inspired content.

Nyeema Morgan: Like It is
John Jay College, third floor art gallery
Thru Sept. 17

My friend and CCA cohort Nyeema modestly described her show as “four drawings and a video.” The drawings, however, were impressive 38×50″ photo-realist graphite renderings of photocopies of title pages. They brought to mind Washington DC-based Molly Springfield‘s drawings of theory readers, replete with the black bars that are photocopiers’ perceptions of depth. While Ny’s practice often involves text, it isn’t solely concerned the drawn reproduction of it. Nyeema was attracted towards books with the word “extraordinary” in them, and her obsession also manifested in a video comprised of clippings of people saying that word. I thought the show was accomplished and tight, and I left feeling quite proud of my friend.

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Community

Bay Area art: workin’ it.

Really, really excited that even if I have to leave one awesome art community (in Manchester) I’m coming straight home to another (in the San Francisco Bay Area). So good to be home, so thankful for really bright CCA folks doin’ it.

Just came from Speculative Fictions, a talk at Patricia Sweetow Gallery, featuring Weston Teruya, Jina Valentine, Arnold Kemp, Gail Wight and Jerome Reyes. A great mix of really bright practicing artist-thinkers. I think anytime a commercial gallery pursues an intellectual discussion is really good — this time, the talk ranged from sci-fi, Battlestar Galactica, to conspiracy theories… Weston’s a friend; nevertheless, I think that his new works, incorporating a giant pineapple water tower and too-perfect gazebos are really good. I love seeing the work expand…

The shows at SF Camerawork are really good — all having to do with manipulation and desire. It got me thinking a lot about the manufacture of images, advertising, graphic design, and the crafting of paintings… The photographs are really well crafted. I’m not always easily impressed by photography — my appreciation for technical feats is pretty limited — but I was really impressed with the quality of the works and curation. Thoughtful, good stuff.

Coming up soon:

MFA exhibition opens at CCA Thursday night

Live and Direct opens at Ping Pong Gallery Friday night. Curated by cohort Amanda Curreri, and including a number of really thoughtful CCA MFA artists like Nyeema Morgan and Erik Scollon.

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