Georgia Fee Artist | Writer Resident, Winter 2018
We are very pleased to announce the selection of Ali Fitzgerald as our 2018 Winter Resident. Thank you to all applicants and a very special thank you to all shortlisted applicants who were interviewed over the past two weeks.
Ali Fitzgerald lives in Berlin and mostly works in the milieu of socially-critical visual narratives. She currently contributes comics and visual essays to New York Magazine's The Cut and The New Yorker. She has also contributed art-world comics to art – Das Kunstmagazin and Modern Painters Magazine and created the popular comic Hungover Bear and Friends for McSweeney's, which ran from 2013 to 2016.
She contributes arts writing to Art21 and founded the column Queer Berlin in 2013. Her artwork has been exhibited extensively in the U.S. and Europe as well as featured or mentioned in the New York Times, Art Lies, Afar Magazine, The Berlin Quarterly, The Guardian, The Economist, Bitch, Gastronomica, Dada Magazine, Taggespeigel, Tip Magazin, The Huffington Post, Varoom Magazine and Art in America.
Her first graphic novel, based on comic workshops conducted in refugee shelters as well as Berlin's historical//contemporary relationship to immigration and bohemia, will be published by Fantagraphics in the Spring of 2018.
At the Georgia Fee Residency in Paris, I plan to investigate France’s evolving visual relationship to propaganda, looking deeply at aesthetics of nationalism and politicized otherness.
To this end, I will create a visual diary/blog documenting fonts and signage throughout Paris, tracing their history and ideological bent. I will also look at how we construct and uphold the Parisian mystique in our cultural consciousness through visuals defined during the Belle Époque and elucidated in text by Walter Benjamin.
Alongside these diary entries, I will draw several longer graphic vignettes. In one visual essay, I plan to discuss the dueling propaganda posters of occupied France, conducting research of wartime posters at Les affiches de Bernard Taboureau, a collection on the outskirts of Paris which houses examples of propaganda posters from both World Wars. I also plan to study the occupation-era photos of André Zucca taken for Signal, a German propaganda magazine, as well as the films financed by the collaborationist Vichy government from 1940-1944.
In another planned visual essay, I will dissect the weaponized visuals of Marine Le Pen and the National Front. Recently, Rovopress, and the National Front’s youth wing have created memes and graphics portraying muslims as a danger to French society while using archetypal “French” symbols to evoke a sense of ethno-nationalism. These visual strategies have proven quite effective and recall older forms of propaganda that have been used to suppress immigrant communities.
France has a particularly rich history of drawing as social activism and during the residency, I will look at artists like Honoré Daumier as well as contemporary artists exhibiting in France, to identify common and enduring visual strategies employed as social critique. Paris has traditionally been a nexus of resistance, and I plan to investigate historical and contemporary artistic interventions which function(ed) as revolutionary acts. Finally, I plan to look at futurist letterforms and other graphics that gesture towards utopian ideals and progressive future(s).
At the end of the residency, I will compile my sketches, writings, and visual essays into a limited edition risograph book and a series of mid-size prints.
In 2016 and 2017, I gave several lectures about visual storytelling as a tool to affect social change. I plan to give a similar one-day lecture and workshop in Paris, focused on how we can best harness the potency of comics to foster empathy and greater understanding within our communities.
I will also host a more informal weekly event called “Propaganda Club” where I invite members of the community to read, watch, and visually analyze propaganda and discuss the nature of media manipulation found in posters, memes, films and books like 1984, The Handmaid’s Tale, or Parable of the Sower.
Georgia Fee Artist/Writer Residency was established in memory of ArtSlant's Founder who passed away December 8th, 2012. Georgia was dedicated to supporting and investing in young artists and writers, and she had a deep connection with the city of Paris. This project-driven residency, which offers artists and writers the opportunity to create work in Paris, has been created in Georgia's memory.
The goal of the Georgia Fee Artist/Writer Residency in Paris is to support and invest in emerging artists and writers, to provide an opportunity for them to advance their work and explore and engage with the cultural landscape of Paris, to encourage experimentation, and to increase exposure of their work to an international audience.
The Residency is open to visual artists of all mediums, art writers, and critics, 24 years or older. Selection is based on the merit of past work and the potential for future success, the ability to independently develop new work, and the proposed project's relevance to the city of Paris.
More info: Georgia Fee Artist|Writer Residency
The Georgia Fee Artist | Writer Residency is a strategic partner of Residency Unlimited
Residency Unlimited (RU) is a not for profit art organization that fosters highly customized residencies through strategic partnerships with collaborating institutions. Moving beyond the traditional studio model, RU supports local and international artists and curators at all levels of their career, and is particularly committed to promoting multidisciplinary practices and to building lasting connections between residents and the broader arts community.
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