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Vernita N'Cognita AKA Vernita Nemec

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20140218030551-16nemec_junkmail_scroll_installed
Endless Junkmail Scroll, begun in 2006, ongoing M/m Collage of Recycled Security Envelopes, Acrylic 13"hx 300' & Growing
20140218030430-17nemec__junkmail_scroll_installed
Endless Junkmail Scroll, 2006- ongoing M/m Collage of Recycled Security Envelopes, Acrylic 13"hx 300' & Growing
20140218024359-20nemec_killing_beauty_scroll_segment__3_
killing beauty, 2010 M/m Collage of Recycled Security Envelopes, Scroll Segment 13hx30"w
Dreamweb
Dream8421, 2007 Collage of Junkmail, Acrylic 13"h X 30"w © copyright vernita nemec2007
Picassofootweb
Picasso's Foot, 2007 Collage of Junkmail, Acrylic 13"h X 30"w © copyright vernita nemec2007
Wadinginweb
Walking on Water, 2007 Collage of Junkmail, Acrylic 13"h X 28"w © copyright vernita nemec2007
Roseweb
A Rose is , 2007 Collage of Junkmail, Acrylic 14"h X 14"w © copyright vernita nemec2007
Desireweb
Desire, 2007 Collage of Junkmail, Acrylic 15"h X 15"w © c
20140218025500-06nemec_brooklyn_blues
Brooklyn Blues Colages of Secuirty Envelopes, Acrylic Appr 30"x30"x2"
20140218024831-10nemec_nyc_moments
NYC Moments Cast Security Envelopes, Digital Photographs 40"x 40"
Crw_99622
Wall, 2006-08, Ceres Gallery Cast Paper/ Mixed Media Approx. 10ft W X 3 Ft High © vernita nemec2008
Nemec_requiem_for_a_hero_5mg_p1020181
"Requium for a Hero", 2008 Mixed 12x 16 Inches © vernita nemec2008
20101228064946-img_1039
Nearly Forgotten Chapters, December 30, 2010 Collage Installation 47" X 170" © vernita nemec
Nemec_channeling__perf_p1020672
"Channeling..." Butoh Performance Art © vernita nemec2008
P1040220
Channeling, November 17 2008 Butoh Performance University Settlement © vernita nemec2008
20140218025733-28nemec_black_dress__soho20
The Black Dress, Sept 2012, Soho20, NYC Performance Art Variable
20140218030135-29nemec_ghost_traveler__judson__1_
Ghost Traveler, 2009 Performance Art, Movement Research@judson, NYC Variable
20140306222535-24nemec_911torso_detail
20140306222610-23nemec_911torso___1_
20140306222701-25nemec__recycle_goddess
"Recycle Goddess" Cast Security Envelopes, Acrylic Appr 40"x 16" © Vernita Nemec
20140306222708-02nemec_doorway
Doorway Cast Security Envelopes, Digital Photographs, Collage 16"x 12"
20140306222736-08nemec_crete_beach
crete beach Cast Security Envelopes, Digital Photographs Appr 30"x18"x1" © vernita Nemec
20140306222916-9nemec_another_trip
Another Trip
20140306222951-01nemec_4landscapes
4 Landscapes
20140316124442-04nemec_garden_of_memories
20140316124536-03nemec_security_collage
20140316124557-05nemec_assyriandraw-in
20140316124641-18nemec_blownaway_scroll_segment__1_
20140316124657-19nemec_curtained_vestages_scroll_segment__2_
20140316124728-07nemec_curious_bird
20140316124744-31nemec_invisible_woman__viridian__2011
Invisible Woman Performance Art
20140316124812-vnemec7
20140316124837-nemec_trapped_brooklynmus
20140316124853-vnemec_ceres_ghosttraveler2009
Ghost Traveler, 2012, Viridian Artists, NYC, Gallery Nord, Austin, TX Performance Art
20140316124915-vnemec_channeling__2008
Channeling, 2010, Church Street, NYC Performance Art
20140316125025-daddy_s_hand
Daddy's Hand Mixed Media Monoprint, Collage
20140316125035-yugo1_for_web
20140822152849-vn_cannonswalk_8172
Security/ Insecurity, 2014 Recycled Security Envelopes 15 Inches X 400 Feet & Growing
Transformationdaze2web
Quick Facts
Birthplace
Painesville, Ohio
Lives in
New York City
Works in
New York City
Schools
Ohio University, BFA
New York University (NYU), MA
Naropa Institute of Poetry & Buddism
Representing galleries
Tags
collage, installation, performance, feminist, Butoh
Statement

Vernita Nemec AKA Vernita N'Cognita's first installation artworks  were the fragments and detritus of her artmaking, transferred from the walls of her studio to the gallery. She continues creating installations both as site-specific works and as backdrops for performance artworks aswell as mixed -media collages & photographs.

A sense of autobiography has permeated all of Nemec’s art since her first feminist performance  when she swept a street corner in Soho where she still lives and works. Her first performance was at the Guggenheim Museum in Meredith' Monk's "Juice". Since, she has performed her own work at the Women's Building in Los Angeles, La Mama, Franklin Furnace and other venues including Guerrilla Performances at the Pompidou Museum in Paris.

Always a collagist, the artist’s "Endless Junkmail Scroll” is about creatively “recycling” all that junkmail inducing us to borrow & charge. Initially inspired by her artistic mother whose choice for drawing, as well as for grocery lists, was used envelopes, the artist adds fragments of paint, words, drawings & photographs to the surface of the collaged security envelopes that serve as the basic structure of the scroll. Begun nearly a decade ago conceptually, the “Endless Junkmail Scroll” is now over 200 feet in length and growing still. Exhibited sometimes as a scroll and sometimes as framed sections, the collaged scroll serves as a constant reminder of all that we discard senselessly.

The artist added "N’Cognita" to her name to honor all unknown artists and has been active as a visual/performance artist/curator when she co-curated “X-12”, one of the first feminist art shows of the period, and worked with Artworkers Coalition (AWC), Women Artists in Revolution (WAR), and Artists Meeting for Cultural Change

In the 90’s, Nemec served as Director of Artists Talk On Art, interviewing art world luminaries, and as independent curator at Henry Street Settlement for the Arts. Until 2006, she was the Director of Viridian Artists, a contemporary art gallery in Chelsea. She has serving on the Board of Directors of Soho 20, a feminist gallery also in Chelsea and since the mid-nineties she has been curating independently, primarily exhibits of art from recycled materials.

The artist completed her BFA cum laude at Ohio University, receiving an NDEA Grant to finish her Master’s degree at New York University and grants since from the Jerome Foundation, Artists Space, Franklin Furnace Fund for Performance Art, The Puffin Foundation & others. Nemec has presented her visual and performance art in the U.S., Mexico, Hungary, Germany, Japan, Ireland and France.

“My artmaking is a way of translating my thoughts, fears and fantasies into installations, performances, photographs, collages and poetry. With paper, torn edges, found objects and images, I create a visual autobiography. Addressing issues of relationship, loss and self-actualization (AKA Feminism) my fragmented imagery, though seemingly disconnected, is imbued with complexities and nuances that I feel reflect our 21st century lives.

In 1997 I wrote: "My art is about anger, pain, pleasure, hopes, regrets, mistakes, love, hate, freedom, recycling, adolescence, childhood, dolls, aging, happiness, fantasies, dread, fear, beauty, nature, politics, power, destruction, distraction, sexuality, sexism, feminism, spirituality, illness, healing, drugs, envy, science, art, history, memories, dreams, nightmares, hopelessness, confusion, play, daddy, mommy, secrets, lies, life, death, detritus, innuendo, art making and chance." My art is about all that still, regardless of what media I use.

Before that, I tackled adolescent memories and wanting better love; feminism, artmaking and the conflicts therein. In the nineties I struggled with issues of identity and purpose and now in the twenty-first century, I have added the dilemma of aging.

A would-be dancer, singer and actor, I put all that, along with my poetic ambitions, into my performance art. My visual artworks, have included series of Haiku Collages, Body Prints, Dick Drawings & The Endless Junkmail Scroll to name a few. I save everything, in case I can later turn it into art. My studio, where I have lived & worked since 1972, is filled with the detritus of my life, both frustrating & inspiring me.

Autobiography & what it is to be a female is a constant thread, whether I am performing a word & movement piece (aka performance art) or creating a physical artwork.”

Nemec, also known as N'Cognita to honor underknown artists, has presented more than 70 performance artworks in the United States, Hungary, Japan, Ireland, Germany, Mexico and France, including guerrilla performances at the Pompidou Museum in Paris, Documenta 13 in Kassel. Butoh adapted forms an important aspect of her performance work. often solo or in conjunction with the musician Sean Carolan incorporates voice, transformation, drawn from autobiography and persobnal revelation was selected for the 2nd time by Movement Research at Judson Dance Theater. Her visual art of primarily mixed media collages & installations has been used as props & sets for her performances and presented in more than 20 solo exhibitions in the United States, Ireland and Hungary. Outstanding is her ongoing Endless Junkmail Scroll begun in 2006 and continuing to be presented as it grows. Her visual art is in the collections of MOMA, the Savaria Museum in Hungary, Sylvia Sleigh Collection of Feminist Art@Rowan University, Asian American Art Center, Franklin Furnace, Fairfax Hospital in Viirginia, Groupa Junij, Belgrade and many private collections.

EDUCATION

BFA Ohio University

MA, New York University

Additional study: SVA; Naropa Institute; Performance Writing, Simone Forti;

Butoh and performance theory with many noted Japanese & American performers including Noboru Kamita, Eiko of Eiko & Komo, at PICA in Portland OR with Deborah Hay & Akira Kasai, and most recently Body Resonance at Schloss Broellin in Germany with Yumiko Yoshioka. Butoh “adapted” forms an important aspect of her performance work.

Performance Art

2014 Movement Research@Judson Memorial Church, NYC

2013 Theater for the New City, NYC, LES Festival

2012-13Schloss Homberg, Germany

SOHO 20, Savoir Faire, NYC

Documenta 13, (guerrilla performance) Kassel, Germany

2011 Galerie Nord, San Antonio, Tx

2010 Fieldwork, Dance Theater Workshop, NYC; WAH Center, Brooklyn

2009 Movement Research@Judson Memorial Church, NYC

2008 University Settlement Theater, NYC; Dinnerware, Tucson, AZ;

2007 Sackler Center for Feminist Art@Brooklyn Museum; Monster Truck Gallery, Dublin, Ireland

2006-07(guerrilla performance), Pompidou, Paris, France

2005 Vogelfrei 6, Darmstadt, GR.(catalog)

2004-11 Linda Montano's 7 Year Performance,

2003 Fine Arts Bldg Gallery, Chicago IL

2002 Performance Studies International Conference, NYU, NYC

2001 Atelier Juvan, Offenbach, Germany; 7th Performance Studies Conference, Mainz, Germany

2000 Soho20, NYC

1999 Five Cities Project, Tokyo, Japan

1998 the Edge Festival, LES NYC

1995-90 Cami Hall, NYC, 1992 Cunningham Studio, NYC', 1990 La Mama La Galleria, NYC

1989 BACA Downtown, Spontaneous Combustion, Brooklyn NY; La Mama La Galleria, NYC:

1986 Guggenheim (WCA);Experimental Intermedia, NYC:

1985 Franklin Furnace, NYC & The Woman's Building, Los Angeles, CA; Douglass College, New Brunswick,

solo exhibitions

2007 Monster Truck Gallery, Dublin, Ireland

2005 Central Wyoming College, Riverton WY., Gallery 128, NYC

2001 SE Missouri State University Museum

1999 Westchester Community College, NY,

1995 NIH, Bethesda, Maryland

1993 ARTPOOL, Budapest, Hungary;

1985 Women's Building, Los Angeles, CA,

AWARDS & HONORS

2013 Movement Research Monday Night Series

2012 KICKSTARTER- for “Sighs & Whispers” presentation in Germany

2011 NACL- North American Cultural Laboratory Residency, The Field

2010 FarSpace Grant, The Field

2009 Movement Research Monday Night Series

2008 Field Work at EarthDance, Massachusetts, Artist in Resident

2007 Puffin Grant for Art From Detritus Exhibit

2004-2011 7 Years of Living Art, created by Linda Montano

2000 Travel Grant, Performance Studies International (PSI) Mainz, Gr.

1997 IACP Grant from THE FIELD, NYC

1995 Kauffman Foundation (for "Art from Detritus"), Kansas City MO

1988 Jerome Foundation (Franklin Furnace Fund for Performance Art)

1986,87 NYSCA (Experimental Intermedia & Snug Harbor Cultural Center)

1985 NEA (Los Angeles Women's Building & Franklin Furnace)

SELECTED BIBLIO

“Art People”, The New York Times, February 1981 - Grace Glueck

New York Post, February 1981 - Jerry Tallmer

Uj Tukor, November 1981 - Ban Andras

High Performance, Spring/Summer 1982 - Linda Burnham

Women’s Art Journal, vol.3#1 summer 1982 – Ellen Lubell, Women Artists:Self-Image, pg.12,13

The Village Voice, February 21, 1984 - Lucy Lippard

The New Yorker, January 7, 1991 - Goings on About Town

The New York Times, March 17, 1991 - Kathleen Beckett

The Daily Courier, March 15, 1993 - Budapest

"The Power of Feminist Art", 1994, Harry Abrams (Pub), edited by Norma Broude & Mary Garrard

“The Pink Glass Swan: Selected Feminist Essays on Art”, 1995, Lucy Lippard

Gallery & Studio, “NY Notes”, summer 2000

“Performance Artists Talking in the Eighties”, Linda Montano, California Press, 2000

Gallery & Studio, “NY Notes”, "N'Cognita & Company", Jan./Feb. 2001

The Art of Mary Beth Edelson, D.A.P.Publishers, 2002 (interview w Nancy Spero)

Art Calendar, summer 2002, Donna Marxer

The Nation, 9/23/02, “The Art of 9/11” by Arthur Danto, + photo

Hottle, Andrew, “Groundbreaking: The Women of the Sylvia Sleigh Collection”, 2011

http://chelseagallerista.blogspot.c.... February 28, 2011

represent: the painting life David Dorsey’s blog 'Invisibility made visible/ February 20th, 2012”

 

 

 

Exhibited with these artists
Exhibited at these venues
curated with these artists
curated at these venues
Vernita N'Cognita AKA Vernita Nemec has curated at these venues: