Articles | ArtSlant https://www.artslant.com/ny/Articles/show en-us 40 UNDER THE RADAR: CLEA T. WAITE | MADDALENA PATRESE | GRACE CHUN <p><span style="font-size:medium"><em><span style="font-family:georgia,palatino">ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(9, 127, 245); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our&nbsp;<a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(9, 127, 245); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(9, 127, 245); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(9, 127, 245); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;">prize</a>. Every week our editors select the best artist profiles from under the radar.</span></em></span></p> <p><span style="font-size:medium"><em><span style="font-family:georgia,palatino">Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(9, 127, 245); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/200351-clea-t-waite?utm_source=CleaTWaite&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><span style="font-family:georgia,palatino; font-size:large"><span style="color:rgb(9, 127, 245)">Clea T. Waite &ndash; Berlin and K&ouml;ln</span></span></a></p> <p><a href="https://www.artslant.com/mia/works/show/1079781?utm_source=CleaTWaite&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1079781/u3azr9/20171211202144-WAITE_IceTime_Cryoconite.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a></p> <p><a href="https://www.artslant.com/mia/works/show/1079786?utm_source=CleaTWaite&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1079786/y8wnrh/20171211203305-Asset_2.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a><a href="https://www.artslant.com/mia/works/show/1079782?utm_source=CleaTWaite&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1079782/y8wnrh/20171211202224-WAITE_Ice-Time_Postcard_Photo_Web_logo.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a><a href="https://www.artslant.com/mia/works/show/1079787?utm_source=CleaTWaite&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1079787/y8wnrh/20171211203311-Asset_3.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/413992-maddalena-patrese?utm_source=MaddalenaPatrese&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><span style="color:rgb(9, 127, 245); font-family:georgia,palatino; font-size:large">Maddalena Patrese &ndash; Padova and Los Angeles</span></a></p> <p><a href="https://www.artslant.com/mia/works/show/1032062?utm_source=MaddalenaPatrese&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1032062/u3azr9/20170223182323-MPatrese_CanalofChioggia_1.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a></p> <p><a href="https://www.artslant.com/mia/works/show/1049844?utm_source=MaddalenaPatrese&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1049844/y8wnrh/20170606093003-DSC_5477_LRmanipulated.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a><a href="https://www.artslant.com/mia/works/show/1025972?utm_source=MaddalenaPatrese&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1025972/y8wnrh/20170120085957-MAD_2441.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a><a href="https://www.artslant.com/mia/works/show/1044763?utm_source=MaddalenaPatrese&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1044763/y8wnrh/20170503145107-DSC_5510_LRmanipulated.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/471919-grace-chun?utm_source=GraceChun&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><span style="color:rgb(9, 127, 245); font-family:georgia,palatino; font-size:large">Grace Chun &ndash; New York City</span></a></p> <p><a href="https://www.artslant.com/mia/works/show/1078417?utm_source=GraceChun&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1078417/u3azr9/20171129131221-IMG_8235_2.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a></p> <p><a href="https://www.artslant.com/mia/works/show/1078416?utm_source=GraceChun&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1078416/y8wnrh/20171129131216-IMG_8628_2.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a><a href="https://www.artslant.com/mia/works/show/1078420?utm_source=GraceChun&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1078420/y8wnrh/20171129131231-IMG_8638.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a><a href="https://www.artslant.com/mia/works/show/1078423?utm_source=GraceChun&amp;utm_medium=image&amp;utm_campaign=Radar" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1078423/y8wnrh/20171129131244-IMG_8640.jpg" style="border:0px; box-sizing:border-box; display:block; height:auto; margin-left:auto; margin-right:auto; max-width:100%; padding-right:10px; vertical-align:middle; width:100%" /></a></p> <p>&nbsp;</p> <hr /> <p><em><span style="font-family:georgia,palatino; font-size:medium">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> Sat, 16 Dec 2017 04:41:41 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list The Traitorous Translator: Power and Representation in Transnational Discourse <p>My memories of learning a second language date back to my post-elementary school years, what they call the prep-year, in a bilingual school in Turkey. From the first lesson, the struggle to communicate was real: our teacher, who was from Wales, spoke only English, and my class of ten Turkish-speaking students got by with dictionaries and gestures. For many of us in that classroom, and in Turkey more broadly, not knowing English was a failure&mdash;and it was something we had better remedy soon.</p> <p>When I first saw Luis Camnitzer&rsquo;s work at Gallery 400 in Chicago, I had a flashback to my English class. I could only read one of the six lines from Camnitzer&rsquo;s <em>Insults </em>(2009): &ldquo;All those who can&rsquo;t read English are stupid.&rdquo; As an artist, critic and an educator, Camnitzer addresses socio-political issues, using tongue-in-cheek texts to question and challenge global economic discourse. In <em>Insults, </em>his use of humor highlights perceptions of language and how hierarchies&mdash;insiders, outsiders&mdash;might appear between translations. English is a language, but it&rsquo;s also a mechanism of power, a social and economic infrastructure&mdash;it can be an entryway or a barrier depending on who&rsquo;s speaking and what, or where, they&rsquo;re trying to access.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171214184713-Camnitzer.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Luis Camnitzer,&nbsp;<em>Insults</em>, 2009/2017, vinyl, dimensions variable. Installation view in <em>Traduttore, Traditore</em> at Gallery 400, 2017. Courtesy the artist and Alexander Gray Associates, New York</span></p> <p>&nbsp;</p> <p>Curated by Karen Greenwalt and Katja Rivera, the group show <em>Traduttore, Traditore</em>, at Gallery 400, explores the dynamics of power and the shortcomings of globalization, particularly in respect to the movement of people and things as they cross borders. The title is taken from an Italian aphorism that roughly translates to &ldquo;translator, traitor,&rdquo; and refers here to the flaws in the process of cultural, artistic, and linguistic translations. Artists in the show point to the entanglement of language, customs, economy, memory, and history: what meaning is lost, or found, when an artwork, commodity, or body travels from one space, venue, or country to another?</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213161318-G4_0050.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Edra Soto,&nbsp;<em>Tropicalamerican</em>, 2014, Inkjet prints on paper. Installation view in <em>Traduttore, Traditore </em><em>at Gallery 400, 2017. </em>Courtesy of the artist</span></p> <p>&nbsp;</p> <p>Edra Soto&rsquo;s <em>Tropicalamerican </em>(2014) illustrates the process of cultural translation across visual and material languages. A Puerto Rican artist based in Chicago, Soto uses a symbol of national pride, the flag, to demonstrate representations of American, Puerto Rican, and Chicagoan identities. Soto crafted these flags using tropical leaves from Robert Rauschenberg&rsquo;s Captiva terrain during her Robert Rauschenberg Foundation Residency in the summer of 2014. The ephemeral nature of the leaves contrasts the imagined permanence of national sovereignty. Yet, Soto translates her materials further, photographing the quilted flags and reconfiguring them into a digital format. On the south wall of Gallery 400, three framed screen-prints on paper look like green renditions an American flag. Following a complicated lineage of patriotic art traditions, including the practices of Rauschenberg, Jasper Johns, and David Hammons, Soto amalgamates her identity into these flags, expressing her experience of place and migration.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213161020-G4_0109.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Emily Jacir,&nbsp;<em>Where We Come From (Maha)</em>, 2001&ndash;03, Framed laser prints and c-print mounted on cintra. Installation view in <em>Traduttore, Traditore </em><em>at Gallery 400, 2017. </em>Courtesy the artist and Rhona Hoffman Gallery, Chicago.</span></p> <p>&nbsp;</p> <p>Employing politically engaged conceptual techniques, Emily Jacir&rsquo;s work brings together questions of identity, place, and access in an asymmetrically globalized world. In <em>Where We Come From</em> (2002&ndash;2003) Jacir asked Palestinians in exile what she could do for them anywhere in Palestine, leveraging her own privileged freedom of movement as an American passport holder. She documented the wishes and the performed activities in photographs and texts. The piece, comprising some 30 wishes was originally commissioned for Al-Ma&#39;mal Foundation for Contemporary Art, Jerusalem, and then exhibited in the 8th Istanbul Biennial. In Istanbul, these wishes were lined along the wall of the Tophane-i Amire Art Center, a former 15th-century Ottoman cannon foundry. Wishes ranged from &ldquo;Go to Haifa and play soccer with the first Palestinian boy you see on the street,&rdquo; to &ldquo;Drink the water in my parents&rsquo; village,&rdquo; or &ldquo;Go to my mother&rsquo;s grave in Jerusalem on her birthday and place flowers and pray.&rdquo; Yet, coming from people displaced by war and exiled by the Israeli state, the wishes met a sour coincidence when displayed in the space, once a weapon foundry to the empire, which occupied the lands owned by the Palestinians. At Gallery 400, the presentation is different: the venue lacks this extra contextual weight, and only one of the wishes is on display. Nevertheless the solitary text, &ldquo;Climb Mount Carmel in Haifa and look at the Mediterranean from there,&rdquo; complemented by a photo of the Mediterranean from Mount Carmel, is enough to illustrate the fragmented personal histories, sorrows, and longings of people in exile.</p> <p>Many works make the visitor consider the bitter side of migration and diasporic and transnational communities. Michael Rakowitz, in his<em> The Flesh is Yours, The Bones are Ours </em>(2015) installation, originally commissioned for the 14th Istanbul Biennial, echoes the forgotten and painful history of Armenians in Turkey. The title comes from a Turkish saying, used when an apprentice is given to a master. As a tribute to the lost skills of the Armenian minority, Rakowitz, made molds, casts, and rubbings of ornaments made by Armenian Art Nouveau craftsman Garabet Cezayirliyan, which are visible today as embellishments embedded in Istanbul architecture. Rakowitz displays these relics alongside dog bones excavated from Sivriada, one of the&nbsp;Princess&rsquo; Islands in the Marmara Sea. In Byzantine times, Sivriada was used as a place of worship and a prison. Now it is famous for the 1911 &ldquo;Hayırsızada Dog Massacre,&rdquo; in which authorities ordered stray dogs from the mainland to be exiled to the island. Around 80,000 dogs were killed, mostly due to hunger. The state did its best to exterminate these human and animal populations, but Rakowitz reveals how material traces of unwanted and exiled populations impact the landscape to this day.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213161206-G4_0017.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Michael Rakowitz,&nbsp;<em>The Flesh Is Yours, The Bones Are Ours: Architect as Dragoman</em>, 2015, mixed media. Installation view in <em>Traduttore, Traditore</em> at Gallery 400, 2017. Courtesy the artist and Rhona Hoffman Gallery, Chicago</span></p> <p>&nbsp;</p> <p>Like Jacir&rsquo;s work, Rakowitz&rsquo;s installation changes from one venue to the next. In its original Istanbul guise, covering a floor in the Galata Greek Primary High School, Rakowitz included vitrine displays referencing Louis Sullivan&rsquo;s quest for a new architectural language in Chicago&mdash;drawing parallels with the Armenian architectural ornamentation and modernization projects in Istanbul. This work later traveled to the artist&rsquo;s own city, Chicago, where it was displayed between the Graham Foundation and Rhona Hoffman Gallery. Now, in an abbreviated form in Gallery 400, it is transformed once again by the contingencies of space and curatorial scope.</p> <p>The curators of <em>Traduttore, Traditore</em> argue that &ldquo;designations of nationalities are inherently fraught at a moment when identity can be exclusionary, or worse, used as a weapon.&rdquo; At a time when &ldquo;Muslim bans&rdquo; masquerade as national security protocols; when the president of the United States claims the city of Jerusalem as the capital of one people, but not another; when the complexity of identities in diverse nations are whitewashed for political expediency, it is crucial to consider the wide-reaching armatures of power and how these relate to language, culture, and commerce. Translation has always been a force for both creativity and destruction. The artists in <em>Traduttore, Traditore </em>ask: who wields the translator&rsquo;s pen, and what is lost in messaging by the most privileged and powerful among us? Picking up that pen themselves, they reveal that the answers aren&rsquo;t trivial&mdash;they have real-world consequences on the movement, identities, and lives of people around the globe.&nbsp;</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/418487-p%C4%B1nar-%C3%9Cner-y%C4%B1lmaz?tab=REVIEWS" target="_blank">Pınar &Uuml;ner Yılmaz</a></p> <p><em>Pınar &Uuml;ner Yılmaz is a writer, curator, and PhD candidate in Art History at the University of Illinois at Chicago. She is currently based between Istanbul and Chicago.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top:&nbsp;<span style="text-align: center;">Installation view in&nbsp;</span><em style="font-size: 12px; text-align: center;">Traduttore, Traditore</em><em style="font-size: 12px; text-align: center;">&nbsp;</em>at Gallery 400, Chicago)</span></p> Thu, 14 Dec 2017 10:48:01 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: Thoka Maer <p><a href="http://www.thokamaer.com/" target="_blank">Thoka Maer</a>&nbsp;(Lisette Berndt) makes tiny, exquisite stories in GIF form. The medium doesn&rsquo;t always lend itself to evoking complex emotions, but Maer&rsquo;s work does just that: she infuses genuine, relatable feelings within a few simple looping frames. With vignettes chronicling everyday life and observed human behaviors, the work is sometimes happy, sometimes sad&mdash;often both at once. In 2011, Maer started the popular Tumblr page &ldquo;<a href="http://itsnobiggie.tumblr.com/" target="_blank">It&rsquo;s No Biggie</a>,&rdquo; where she dryly illustrates small, daily frustrations familiar to us all.</p> <p>Last week Maer exhibited in the group show <em><a href="http://manacontemporary.com/flatland">Flatland: A journey of many dimensions</a></em> with Mana Contemporary, where she was a resident in the BSMT New Media Program in 2016. The exhibition set up shop in five Downtown Miami storefronts featuring works by artists who &ldquo;imagine new perspectives of &lsquo;reality.&rsquo;&rdquo; Maer&rsquo;s contribution brought her GIF work into three dimensions. She spoke with me on the occasion about blurring the lines between her careers as artist and illustrator and pushing her GIFs into new, offline territories.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213145831-tumblr_mqldl9Qlw41r4ibs7o1_500.gif" /></p> <p><strong>Christian Petersen: How would you describe yourself?</strong></p> <p><strong>Thoka Maer: </strong>Female. 166cm tall. Good with pencils. Problem solver. Ideas. Precision and detail.&nbsp;Could be a little more social. I love nice people.&nbsp;</p> <p><strong>CP: What were you like as a child?&nbsp;</strong></p> <p><strong>TM: </strong>My mom says that I was as annoying as I was the best child to have :) My grandmother says that I always kept myself busy with things and that she could leave me play by myself for hours.&nbsp;My dad would probably say that I was quite ok.&nbsp;I hope I was a good friend. I was an only child that wished for siblings every day.&nbsp;I loved to draw and sing, roaming the forests. I was quiet and extremely shy. I still am, but a grown up, better adapted version of that. I don&rsquo;t think that anyone expected even something remotely close to what I do and am now. I was supposed to become a florist when I was 16. But I rebelled, finally. &nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213150857-tumblr_omi9rkEyHG1qie9jco1_500.gif" /></p> <p><strong>CP: When did you first recognize yourself as a creative person?</strong></p> <p><strong>TM: </strong>Very late. I think that lack of value for creativity in the place I grew up in made it hard to understand and see myself as such and also actually live it out.</p> <p><strong>CP: What did computers mean to you when you were growing up?</strong></p> <p><strong>TM: </strong>Nothing pretty much. They were all locked away. Inaccessible. I was conditioned to think that computers aren&rsquo;t for girls.&nbsp;I had my first own computer when I was 21. Every new venture I&rsquo;ve taken on it since has felt very threatening every time, until I actually started doing it, realizing that I love it and am pretty good at it, too.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213150649-tumblr_inline_oc23ztyGGP1qhw1o1_1280.gif" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>CP: When did you first recognize computers&rsquo; creative applications?</strong></p> <p><strong>TM: </strong>I do animation/projection work mostly. So none of my work requires coding but animation software, Photoshop, etc.&nbsp;I started using that just when I applied for art school. We had to explore a lot of things that I would have never attempted to use on my own, like Processing and After Effects.&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213151355-tumblr_oqkeewSH9Z1qie9jco1_500.gif" /></p> <p><strong>CP: Do you think your upbringing&nbsp;in communist Germany has influenced the art that you make?</strong></p> <p><strong>TM: </strong>Probably, but I couldn&rsquo;t say how exactly.&nbsp;What it has definitely shaped is my perception and the meaning of art and an ability of finding my place in it.&nbsp;Art in the East German world only had a practical purpose that also always had to conform with the political view points.&nbsp;An artistic, individualistic kid didn&rsquo;t really have a place there. They didn&rsquo;t want anyone to excel, be better than anyone else.&nbsp;</p> <p>Everyone was supposed to be the same.&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213150757-tumblr_mcvcakyema1r4ibs7o1_500.gif" /></p> <p><strong>CP: What were you early memorable experiences of the internet?</strong></p> <p><strong>TM: </strong>Chatrooms. I wanted to talk to people from as far as possible.&nbsp;</p> <p><strong>CP: What is the continuing influence of the internet on your creativity?</strong></p> <p><strong>TM: </strong>It stresses it out.&nbsp;</p> <p><strong>CP: Do you remember the first animation you made?</strong></p> <p><strong>TM: </strong>Yes. It was a pink rabbit hopping along the train tracks inside of an abandoned subway station in Berlin.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213152007-tumblr_og8meq3ZP31qie9jco2_500.gif" /></p> <p><strong>CP: Can you talk a little about your use of white space?</strong></p> <p><strong>TM: </strong>The white space developed a lot through a desire of having my illustrations or GIFs look more organically on the internet. Most websites have a white background. Without breaking in the borders of the image file, they look more like a natural part of the environment they&rsquo;re living in.&nbsp;</p> <p><strong>CP: You made a book called&nbsp;<em>Almost Exactly - A Paradox Compendium</em>. Where does your interest in</strong>&nbsp;<strong>paradoxes stem from?</strong></p> <p><strong>TM:&nbsp;</strong>Paradoxes to me are infinite stories that never stop telling themselves. They have this universal beauty that&rsquo;s so captivating and inescapable.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213150218-4.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Panel from&nbsp;<em>Almost Exactly - A Paradox Compendium</em>.</span></p> <p>&nbsp;</p> <p><strong>CP: You started your Tumblr in 2011. When did you first realize it was&nbsp;becoming popular?</strong></p> <p><strong>TM:</strong> Classmates of mine in Uni started using Tumblr and I was only mildly interested in the beginning until I realized that it&rsquo;s actually a great tool to liberate yourself from all that artistic self doubt.&nbsp;I just started putting out my work on Tumblr to set an end point to their creation and move on to the next thing. My main Tumblr is still <a href="http://thokamaer.tumblr.com/">thokamaer.tumblr.com</a> which I have since 2009 I think. &ldquo;It&rsquo;s No Biggie&rdquo; was the one that eventually got popular.&nbsp;</p> <p>When I moved to New York I also started working on an incredible commission that came through the Creatr program at Tumblr. It was a collaboration with a fellow Creatr Sam Cannon, a photographer who shot the United States of Women Conference at the White House including the Obamas, Joe Biden, Oprah Winfrey, Patricia Arquette and so many more. I was working from NY, laying animations over the photos and all of that happened live during the event. The group show <em>Flatland</em>, which was curated by Grace Franck and hosted by Mana Contemporary during Miami Art Week, means I am again with my group of fellow Tumblr GIF artists.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213150405-3.gif" /></p> <p style="text-align: center;"><span style="font-size:12px;">United States of Women Summit, Collaboration with Sam Cannon</span></p> <p>&nbsp;</p> <p><strong>CP: Why did you choose the name&nbsp;&ldquo;It&rsquo;s No Biggie&rdquo;?</strong></p> <p><strong>TM: </strong>It has a tiny undertone of irony or sarcasm in it. It started out as this blog with miniature stories about daily mishaps. The loop of the GIF made telling those stories so much more pleasing since it lets the story escalate in a way.&nbsp;And &ldquo;It&rsquo;s No Biggie&rdquo; because it&rsquo;s just tiny stuff that shouldn&rsquo;t bother us but, if we&rsquo;re not in the right mood, can also be the straw that breaks the camel&rsquo;s back.&nbsp;Plus they&rsquo;re tiny.&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213151447-tumblr_n0mqxwPxMa1r4ibs7o1_500.gif" style="text-align: center;" /></p> <p><strong>CP: When and why did you adopt the artist name Thoka Maer?</strong></p> <p><strong>TM: </strong>I think around 2009/10 probably. And that was also for liberation. I realized that my artistic self has different intentions than what&rsquo;s required from me when I work as a commercial illustrator. Thoka Maer is easier on compromising with clients&rsquo; needs where as Lisette is really just my very own self, who as an artist has very different, personal intentions. She just works for herself and doesn&rsquo;t need publicity or anything.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213152159-5.gif" /></p> <p style="text-align: center;"><span style="font-size:12px;">Illustration for artist panel at Mana Contemporary</span></p> <p>&nbsp;</p> <p><strong>CP: When did you first understand that there were commercial applications for your art?</strong></p> <p><strong>TM: </strong>It actually happened the other way around I would say. First there were the GIFs which I made for fun. Those turned into commercial work and from there I went to art.&nbsp;</p> <p>An interesting experience on that road was a panel that Traceloops, Zolloc, Julian Glander, Sam Cannon, and I did as a part of our [BSMT New Media Program] residency at Mana Contemporary. Mana invited us as a group of GIF artists with different backgrounds to develop a spatial art show, taking the GIF into the three-dimensional work.&nbsp;The panel was to introduce us to the traditional art world. All of us more or less perceived ourselves as artists in a way, even though we apply it for commercial work. Some people in the audience though didn&rsquo;t really accept that approach as a valid path to art, which was interesting and surprising to us.&nbsp;We might have proven ourselves worthy of the art world now. Hopefully :)</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213151742-1.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">Illustration for Kiblind Magazine</span></p> <div>&nbsp;</div> <p><strong>CP: How would you describe the relationship between your personal and commercial work?</strong></p> <p><strong>TM: </strong>It&rsquo;s very fluid now. The line between my identity as Thoka Maer and Lisette Berndt has become very blurry. This interview is kind of a proof to that since I, until recently, would have never talked about me as Lisette in that context.&nbsp;</p> <p><strong>CP: What question do people ask most about your GIFs?</strong></p> <p><strong>TM: </strong>&ldquo;Which program do you use?&rdquo;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213151630-tumblr_nq96ocyFsP1r4ibs7o2_r1_500.gif" /></p> <p><strong>CP: You were in the group show <em>Flatland: A Journey of Many Dimensions</em> during Miami Art Week.</strong> <strong>How did you become involved with it?</strong></p> <p>Through the residency program at <a href="http://manacontemporary.com/manabsmt/">Mana BSMT</a> that was founded by Grace Franck. We started in August 2016 and originally the residency was supposed to go on for six months, ending with a big group show. Which happened. Our final show <em>Surface</em>, in January of 2017, impressed Mana so much that they decided to take us all to Art Basel. Since then, Grace has invited more new media artists like Pablo Gnecco, James Clar, Alex Czetwertynski, Freeka Tet, and more to the residency program. They are now part of the show plus a few more artists, who are just taking part in the show like Dave&amp;Gabe or Andrew Thomas Huang.&nbsp;</p> <p><strong>CP: Can you tell us a little about the work you have produced for it?</strong></p> <p><strong>TM: </strong>Based on the original challenge Mana gave us, of taking the GIF into the 3D world, I basically took that literally. The work I&rsquo;m showing here is a further development of my piece for our show <em>Surface</em> in January. It&rsquo;s an installation of&nbsp;five suspended planes of plexiglass with dream-like animations reprojected on to it. The animation plays with the illusion of depth, enhanced by the levels of projection surfaces, creating a transient experience of space and time.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213172501-2.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Installation in&nbsp;<em>Flatland</em>. Photo: On The Real Film</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong>CP: What particular challenges were there in making this work?</strong></p> <p><strong>TM:</strong> It&rsquo;s a very big but also extremely delicate piece due to the plexiglass. It also requires an intense amount of precision to get everything straight and lined up since each plane catches only parts of the projection to create this spatial experience.&nbsp;</p> <p><strong>CP: What else do you have coming up?</strong></p> <p><strong>TM: </strong>I want to develop further as an artist for sure. This experience with Mana was eye-opening regarding new opportunities. It opened this previously unknown door to me of what else I want to do with art off the computer screen, outside of the internet.&nbsp;I&rsquo;m looking forward to 2018!</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171213151921-tumblr_og14efF4Bo1qie9jco1_500.gif" /></p> <p style="text-align: center;">&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></p> <p><em>We run an online magazine, so of course, we&#39;re interested in what&#39;s happening with art on the web. We invited online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.</em></p> <p>&nbsp;</p> Wed, 13 Dec 2017 09:31:11 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list FINAL WEEK to Apply to the ArtSlant Prize IX <table border="0"> <tbody> <tr> <td> <table border="0"> <tbody> <tr> <td> <p>Round 9, <em>the final round</em>, closes December 18th! Apply today for your chance at $5k in prizes and an exhibition in New York during Armory Week! To apply, sign in to <a href="https://www.artslant.com">artslant.com</a>, click the menu icon in the upper right and select&nbsp;ArtSlant Prize.</p> <p>Above: Round 9 <a href="https://www.artslant.com/ew/works/show/1078965">submission</a> from&nbsp;<a href="https://www.artslant.com/global/artists/show/168409-christopher-tavares-silva">Christopher Tavares Silva</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/262035-brian-steckel">Brian Steckel</a></p> </td> </tr> </tbody> </table> </td> </tr> <tr> <td colspan="2"> <p>The ArtSlant Prize is an annual competition hosted by ArtSlant.com. Jurors for the prize are prominent curators, gallerists, museum professionals, and arts folk from aroud the world that we greatly admire. Check out the jurors from previous rounds and learn more about the Prize on our <a href="https://www.artslant.com/par/articles/show/8456">FAQ</a>.</p> <p>Up for grabs are exhibition and sales opportunities including inclusion in our&nbsp;<a href="https://www.amazon.com/sp?_encoding=UTF8&amp;asin=&amp;isAmazonFulfilled=&amp;isCBA=&amp;marketplaceID=ATVPDKIKX0DER&amp;orderID=&amp;seller=A2JPU387EQQ9HR&amp;tab=products&amp;vasStoreID=#">Amazon Art Sales Platform</a>, and great exposure&mdash;not to mention cash prizes for selected ArtSlant Prize winners.&nbsp;</p> <p>Check out the latest submissions from the ArtSlant Community on our&nbsp;<a href="http://www.artslant.com/ny/showcases/showcase">Art page</a>. &nbsp;</p> <p>Previous ArtSlant Prize winners have gone on to secure gallery representation and have been purchased by prominent collectors, museum directors and personalities.</p> </td> </tr> <tr> <td style="padding: 10px;"> <p style="text-align: center;"><em style="font-size: large;"><strong><span style="font-family: helvetica;">&nbsp; </span></strong></em><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170104153040-ArtSlant_Prize_IX_2017-01.jpg" style="box-sizing: border-box; border: 0px; vertical-align: middle; max-width: 100%; height: 200px; padding-right: 10px; margin-left: auto; margin-right: auto; display: block; font-family: Georgia, Times, &quot;Times New Roman&quot;, serif; font-size: 18px; text-align: center; background-color: rgb(255, 255, 255); width: 200px;" /><em style="font-size: large;"><strong><span style="font-family: helvetica;">&nbsp;</span></strong></em></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large;">1st Place: $3000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">2nd Place: $1000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">3rd Place: $1000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">Honorable Mention&nbsp;&nbsp;</span></p> </td> </tr> <tr> <td colspan="2"> <table align="center" style="width: 100%;"> <tbody> <tr> <td colspan="2"> <p>&nbsp;</p> </td> </tr> <tr> <td> <table align="center"> <tbody> <tr> <td> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2016+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2016:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Brigitta Varadi</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Tiffany Smith</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Sterling Crispin</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Bex Ilsley</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Jinhee Park</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2015:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Theresa Ganz</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Tina Tahir</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Rachel Garrard</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Bryan Volta</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2014:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Edra Soto</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Adam Douglas Thompson</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Anastasia Samoylova</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Oren Pinhassi</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2013+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2013:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Robin Kang</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Maureen Meyer</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;&nbsp;</span><a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Alison Pilkington</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Alexis Courtney</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2012+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2012:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Veronica Bruce</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Stephen Vasquez Lopez</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/152389-susan-meyer" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Susan Meyer</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Timothy Gaewsky</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2011+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2011:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Holly Murkerson</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Jason Irwin</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Christine de la Garenne</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2010+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2010:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Chantel Foretich</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Robert Minervini</a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2009+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize 2009:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Michael Zelehoski</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Yo Fukui</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Julie Davidow</a></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170320214133-artslant-springbreak.jpg" style="width: 400px; height: 385px;" /></p> <p style="text-align: center;"><span style="font-size: 10px;"><a href="https://www.artslant.com/la/articles/show/47340-announcing-the-artslant-prize-2016-winners-and-exhibition-at-springbreak-art-show" target="_blank">ArtSlant Prize 2016 Exhibition</a>&nbsp;at&nbsp;<a href="http://www.springbreakartshow.com/" target="_blank">SPRING/BREAK Art Show</a>, March 2017.</span></p> </td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> </td> </tr> <tr> <td> <hr /> <p><span style="font-family: georgia, palatino; font-size: small;">**All participants in the ArtSlant Prize Showcase Series agree to ArtSlant&#39;s&nbsp;&nbsp;<a href="http://www.artslant.com/global/articles/show/5575">Terms &amp; Conditions</a>.</span></p> <p><span style="font-family: georgia, palatino; font-size: small;">**<em>Fees from the Artslant Juried Showcase competitions will be dedicated to the promotion of our prize winners and the administration of the competition.</em></span></p> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Mon, 11 Dec 2017 09:34:22 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Katya Grokhovsky Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/48067-under-the-radar-romily-alice-walden-dain-mergenthaler-katya-grokhovsky" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/233356-katya-grokhovsky" target="_blank">Katya Grokhovsky</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>As a child, I had difficulty in expressing myself verbally, so I used drawing and movement as a way to display my vision to the world. I am still doing that today, utilizing my art to communicate the often invisible, absurd, grotesque, and difficult aspects of human experience as it pertains specifically to a female immigrant person, which is what I inhabit.</p> <p>I am interested in politics of protest to the prescribed notions of earthly existence, through exposure and analysis of the monstrous, the dangerous, the unwanted, the hidden, the ignored, the fragile, discarded and disappeared, lost and underestimated. I mine the daily battlefields of domesticity, human relations, power hierarchy,&nbsp;labor, loneliness, failures, ambitions, emotions, desires and dreams, autobiographically and through observation.</p> <p>By employing my art as a language, I attempt to activate my ideas through visual and performative codes via the use of objects, my own body, gestures, text, voice, sound, materials, time, space, and site.&nbsp;My work tends to surprise and haunt me all the time and I am in constant dialogue with myself and the universe through it.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171211093805-20171206045044-1.KatyaGrokhovskyTemporaryHabitat.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Temporary Habitat</em>, 2017, Mixed media, found objects, video, performance.&nbsp;Variable</span></p> <p>&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>I believe it is an artist&rsquo;s responsibility to question the way the world functions, in all of its aspects, from the mundane and banal minutia of daily life and struggles, to the tragic, political, personal, dramatic, grandiose, and triumphant. To be fully aware and awake, to listen, look, analyze and critique, to push the limits and boundaries of yourself and your audience. Perhaps, to possess a unique sense of place in the world, of an observant outsider, looking on and in, to be curious, to see and understand the underside, the underbelly, the beauty and ugliness, to peek beyond the frontiers, the facades, the masks. To dissect the dogmas, conditioning, and systems we are governed by and born into, to transform, to rebel, to live a life as an artist, to oppose the norm, the society, the establishment.&nbsp;</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)? </strong></p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/201261256?title=0&amp;byline=0&amp;portrait=0" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Bad Woman</em>, 2017</span></p> <p>&nbsp;</p> <p>My art is what I truly do best in life and I believe one of my recent works is the greatest thing I have made to date. A culmination of numerous previous works, research, experimentation, and observation, <em>Bad Woman</em> is a performance for video, which was created initially for a solo installation of the same name in Australia this year, and has now grown into much larger series. Filmed on location in my parents&rsquo; backyard in Melbourne, Australia, where we first migrated to from Ukraine in the 90s, the work somehow captures both the wildness and slight absurd grittiness of Australia and the immigrant, as well as art-historical displacement. It combines many of the mediums I work with, such as found objects, installation, video, costumes, and performance and employs humor as&nbsp;a&nbsp;transcendent medium.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>The work I want to make will dismantle the patriarchy and rebuild the world. I will never make this in my lifetime or many lifetimes after this one, but I will practice in the meantime. Ever since I awoke to my reality as a living woman on this earth, I understood I will never be free, especially internally. My lifetime project is to basically de-condition and decolonize my own mind and body, and through that, the rest of the world. How long can the planet survive under the patriarchal rule? We are all to blame for its gradual demise and debasement and I would like to smash the failing system with my art&mdash;or die trying. In the meantime, all I can do is chip away at a stone.</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p><a href="https://www.shayarick.com/" target="_blank">Shay Arick</a>, an artist from Israel, living in New York, who works with many mediums and explores and critiques ideas of masculinity and social taboos.</p> <p><a href="http://www.deborahcastillo.com/" target="_blank">Deborah Castillo</a>, a Venezuelan artist, based in Brooklyn, who dissects ideas of patriarchal power through performance, video, and sculpture.</p> <p><a href="http://www.katepowerartist.com/" target="_blank">Kate Power</a>, a multidisciplinary artist and writer, based in Adelaide, Australia, who deconstructs social human relations and dynamics.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top:&nbsp;<em>Bad Woman</em>, 2017, Video still)</span></p> Mon, 11 Dec 2017 01:48:18 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list With Billionaire Backers, Miami’s Museums Go All In for Contemporary Art (and Little Else) <p>For the first two weeks in December the international art world descends upon Miami Beach for some of the most hotly anticipated art fairs in the world, where buyers, gallerists, artists, and hangers-on come to mix, mingle, and cavort. Thanks in part to Art Basel Miami Beach, the city&rsquo;s institutional landscape has undergone a dramatic transformation in the last several years. For a town that sees dozens of fairs come and go each December, the burgeoning museum scene&mdash;the cultural stalwarts that stick around after the convention center empties and beachside pavilions come down&mdash;could be considered a better reflection of Miami&rsquo;s local culture and values. Who are the newcomers to this scene? And are they shaking off the glittery patina of wealth and privilege that the fairs leave behind?&nbsp;&nbsp;</p> <p>In the past five years the introduction of the Perez Art Museum Miami (PAMM), the Institute of Contemporary Art (ICA), and newly renovated Bass have ostensibly transformed the cultural landscape. Still, these young and re-branded institutions face a number of hurdles including complicated private-public financing structures and repetitive &ldquo;international contemporary&rdquo; programming; not to mention they are all <a href="https://www.nytimes.com/2017/11/30/arts/design/institute-of-contemporary-art-miami-miami-contemporary-art.html" target="_blank">vying for the same donor base</a>&mdash;competing for attention amongst themselves, not unlike the explosion of fairs which they might otherwise counteract.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171207160801-ICA_Miami_by_Iwan_Baan.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">ICA Miami. Photo: Iwan Baan</span></p> <p>&nbsp;</p> <p>The most recent addition to the scene, the <a href="https://www.icamiami.org" target="_blank">ICA</a>, inaugurates its new home this month, right in the heart of the Design District. Its placement, between upscale boutiques from international fashion brands is a testament to Miami&rsquo;s current institutional landscape. Born out of the Museum of Contemporary Art (MOCA), the ICA was formed when disgruntled board members took the bulk of MOCA&rsquo;s private collection to start their own museum. In partnership with Craig Robins&mdash;one of Miami&rsquo;s top real estate developers, responsible for radically transforming the Design District&mdash;and Norman Braman, a local car-dealing baron worth an estimated $2.5 billion according to <em>Forbes, </em>plans for a new building were drawn.</p> <p>While Robins temporarily housed the museum in the Moore Building, Braman provided the funds ($75 million in cash and donated land) to construct a permanent facility right around the corner. The glitzy structure, designed by Aranguren &amp; Gallegos, is a far cry from the museum&rsquo;s MOCA roots, as a small museum serving an underprivileged local community in North Miami.</p> <p>&ldquo;ICA is unique in our city because we are a free art museum open to all,&rdquo; <a href="http://www.miaminewtimes.com/arts/institute-of-contemporary-art-ica-miami-completes-construction-of-its-new-design-district-building-9425802" target="_blank">explains</a> newly appointed ICA Director, Ellen Salpeter. &ldquo;Another thing that sets us apart is that the development of our permanent home in the Design District has been independently funded without public dollars.&rdquo;</p> <p>The new ICA is a fixture in the Design District, capitalizing on the shifting expanse of the art world, abutting high fashion and design. &ldquo;While our programmatic focus is global, we view the Design District as a natural extension of our building,&rdquo; Saltpeter says of the museum&rsquo;s association with its high-end neighborhood, where it abuts high fashion and design. Their latest programming includes a sculpture garden with work by Sol Lewitt and Mark Handforth planted along the neighborhood&rsquo;s ample sidewalks and plazas.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171207161206-Bass_1_Web.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">The Bass. Photo: Zachary Balber</span></p> <p>&nbsp;</p> <p>Along with the ICA, <a href="https://thebass.org" target="_blank">the Bass</a> makes its long-awaited reintroduction this month. For the past two and a half years, the museum had shuttered its doors to undergo a major renovation that doubled the programmable space without altering the building&rsquo;s footprint.</p> <p>The Bass is housed in the former Miami Beach Public Library and Art Center, originally built in 1930 by Russell Pancoast in a grand art deco style. The building was converted into an art museum in 1964 with a massive donation of works by local connoisseurs John and Johanna Bass. Their collection of old master works was noted to be one of the most fraudulent in history, with Picasso himself labeling one of his pieces in the collection &ldquo;faux&rdquo; in a letter to the Art Dealers Association of America.</p> <p>Last year, curators were planning a grand reopening with exhibitions by Ugo Rondinone, Mika Rottenberg, and Pascale Marthine Bayou in time for Art Basel 2016. Plans were postponed for Art Basel 2017, with organizers citing construction delays due to preservation concerns related to the historical structure.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171207161433-Web_33.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Pascale Marthine Bayou&rsquo;s intervention in the Bass&rsquo; permanent collection</span></p> <p>&nbsp;</p> <p>Unlike the fully private ICA, the Bass is a public-private partnership with a taxpayer-funded budget and a private board responsible for covering $3.5 million in yearly operational expenses. Despite its slightly more democratic organizational structure, the Bass wouldn&rsquo;t exist today without help from its own philanthropic billionaire, George Lindemann. He spearheaded the museum&rsquo;s massive renovation, and as president of the board, he oversees its finances, helping the small institution raise cash from a shrinking donor pool. Not only does the Bass compete against the ICA, but several years ago a new competitor came on the scene.</p> <p>In 2013, the P&eacute;rez Art Museum Miami (PAMM) made its Art Basel debut with a spectacular home designed by Herzog and de Meuron, ideally situated at the mouth of Biscayne Bay. Opened to the public in 1984 as the Center for the Fine Arts (CFA), then later the Miami Art Museum (MAM), the institution took its newest name after one of the town&rsquo;s top real estate developers, Jorge P&eacute;rez, of the Related Group, donated substantial money and artwork from his private collection to support the institution at a seminal period in its history. In addition to the $100 million used in taxpayer funds, the billionaire offered $20 million in cash and another $20 million in art to prop up the new museum.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171207161640-WEB-Clean-Pe_rez-Art-Museum-Miami_-east-facade.-Armando-MannyofMiami.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">P&eacute;rez Art Museum Miami, east fa&ccedil;ade. Photo: <a href="MannyofMiami.com" target="_blank">Armando Colls</a></span></p> <p>&nbsp;</p> <p>The museum&rsquo;s rapid growth, however, led to a budget crunch. As the <em>New York Times </em>noted in <a href="https://www.nytimes.com/2017/11/30/arts/design/institute-of-contemporary-art-miami-miami-contemporary-art.html" target="_blank">a recent article</a> about Miami&rsquo;s competing contemporary art museums, &ldquo;PAMM&rsquo;s 2015 tax return, the most recent period publicly available, shows it ended that year with expenses exceeding revenue by nearly $5 million.&rdquo;</p> <p>PAMM took a major shift in fall 2015, with the appointment of Franklin Sirmans as its new director. The former department head and curator for contemporary art at the Los Angeles County Museum of Art (LACMA), Sirmans vowed that PAMM would commit itself to serve the local community by highlighting work by artists from Latin America and the Caribbean, demographics typically overlooked by the art establishment.</p> <p>PAMM has indeed mounted many strong exhibitions sticking to this goal, such as last year&rsquo;s Julio Le Parc blockbuster&nbsp;<em>Form into Action.</em>&nbsp;Yet, PAMM, ICA, and the Bass all largely feature programming dedicated to international contemporary art of the sort that draws crowds to Art Basel each year. What&rsquo;s particularly glaring is the lack of an art museum committed to showing old masters and Modern art.</p> <p>Museums have a profound effect on a city&rsquo;s culture; pieces they acquire and exhibit project and shape perceptions of the local culture around the world. Miami is known as a haven for the buying and selling of contemporary art, so it&rsquo;s no wonder the city should have one, or even two, institutions devoted to attracting top names in the field from around the world. The ICA alone has mounted the first US shows for artist like Thomas Bayrle, Alex Bag, and others&mdash;acquiring and commissioning original pieces for their permanent collection in the process. The Bass mounted the first retrospective for Italian-born Rondinone, and commissioned&nbsp;<em>Miami Mountain</em>, a&nbsp;<a href="https://www.instagram.com/explore/tags/miamimountain/" target="_blank">highly Instagrammable</a>&nbsp;outdoor sculpture in the vein of his site-specific installation&nbsp;<em>Seven Magic Mountains</em>&nbsp;in the Nevada Desert. Fantastic artists and artworks, all. But they do little to introduce homegrown practitioners or craft a unique Miami identity that exists outside of the city&rsquo;s reputation as a destination for art world jetsetters. It&rsquo;s hardly a coincidence that the Zurich and New York-based Galerie Eva Presenhuber is featuring a huge, open-plan booth dedicated to Rondinone at Art Basel Miami Beach this week.</p> <div>&nbsp;</div> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171207161813-miamimountain.png" /></p> <p style="text-align: center;"><span style="font-size:12px;"><a href="https://www.instagram.com/explore/tags/miamimountain/" target="_blank">#MiamiMountain</a> on Instagram</span></p> <p>&nbsp;</p> <p>In many cases the billionaires that fund the construction and operation of these institutions play a hand in the process, and institutional identity, by way of donations. Braman donated a Lichtenstein canvas for the ICA&rsquo;s inaugural exhibition, <em><a href="https://www.icamiami.org/exhibition/the-everywhere-studio/" target="_blank">The Everywhere Studio</a></em>. And in June 2016 PAMM announced the donation of over a hundred works from Craig Robins, the largest in its short history. Pieces by Jedediah Caesar, Patty Chang, A&iuml;da Ruilova, and others formed a part of a growing contemporary art collection.</p> <p>Yet, with all three museums acquiring and exhibiting pieces from the very same artists bought and sold at the fairs, they tip the scales in favor of seasonal collectors and gallerists, rather than locals.</p> <p>Philanthropic support for the arts is hardly new or unique to Miami, but what is novel is the city&rsquo;s reliance on a handful of powerful billionaires to bankroll so many public museums covering the same art historical time period. The dearth of fully taxpayer-funded institutions not only creates a lack of public oversight and accountability, but begs the question: whom do these private institutions serve? Though directors and curators would insist they&rsquo;re programming with an eye towards the local community, the reliance on private capital would suggest otherwise.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/448412-neil-vazquez?tab=REVIEWS" target="_blank">Neil Vazquez</a></p> <p><em>Neil Vazquez is a Miami-based writer and Northwestern University graduate. He usually can be found sipping overpriced coffee, walking his golden retriever, or profusely sweating in yoga classes around town.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: ICA Miami. Photo: Iwan Baan)</span></p> Thu, 07 Dec 2017 08:57:24 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list At Miami's All-Women Art Fair Poorgrrrl Channels the Weight of Womanhood <p><a href="https://www.instagram.com/poorgrrrl/?hl=en" target="_blank">Poorgrrrl</a> is a persona that arouses pity in her audience. The Miami-based artist&rsquo;s performances are fragmented, confessional, musical, and often incorporate lighting, costume, and installation. They are always accompanied by sound, produced by her collaborator, <a href="https://soundcloud.com/byrdipop" target="_blank">byrdipop</a>. For Poorgrrrl, the music entertainment industry is a platform for performance art. The unease she generates onstage can sometimes leave the audience feeling confused or disappointed when her performances purposefully don&rsquo;t match up with the typical concert-goer&rsquo;s expectations.</p> <p>This week, Poorgrrrl will perform for the opening of <a href="https://www.fairmarket.art/">Fair.</a>, Miami Art Week&rsquo;s new women-only art fair, which curators <a href="http://www.faenaart.org/" target="_blank">Zoe Lukov</a> and <a href="http://spinelloprojects.com/" target="_blank">Anthony Spinello</a> have ambitiously organized at the new Brickell City Centre, a large 5,000 square foot shopping mall in downtown Miami. Presented by Swire Properties Inc., the <a href="https://us2.campaign-archive.com/?u=bdff9d4f3cd4095b8bfc6d528&amp;id=c783578675" target="_blank">press release</a> states it &ldquo;aims to address gender inequality in the art world and beyond, highlight[ing] activism in contemporary creative practices&rdquo; and to &ldquo;inspire and empower women.&rdquo; Running from December 7&ndash;10, the booth-less presentation will be located throughout multiple spaces within the shopping center.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171206131635-jit_glitter.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Photo: Vanessa Turi</span></p> <p>&nbsp;</p> <p>While the fair&rsquo;s mission is to address gender inequality, nothing is for sale. Artists were paid a fee for their participation along with the production of new work as per <a href="http://wageforwork.com/fee-calculator" target="_blank">W.A.G.E. guidelines</a>, but I can&rsquo;t seem to wrap my head around why it is &ldquo;fair&rdquo; to bar any work from selling, affecting earning potential and preventing collector base growth for participating artists. The fair&rsquo;s name and emphasis comes across as puzzling: an artist should always receive W.A.G.E. fees, have their cost of production covered, and retain the ability to sell their work. Nevertheless, it&rsquo;s important to reiterate that this <em>is</em> the first contemporary art fair exclusively showing work made by women, making this a definite must-see Basel satellite event, even if it grapples with inequality issues in a complicated and contradictory way. In this context Poorgrrrl&rsquo;s performance at Fair. feels aptly curated as the artist co-opts pity as a form of feminism.</p> <p>The inaugural Fair. and my conversation with Poorgrrrl, below, are not untimely. Much of Poorgrrrl&rsquo;s lyricism is rooted in larger systemic inequalities and addresses a bigger intersectional picture. Speaking from a marginalized position, she deliberately uses the tools that oppress and discomfort her to discomfort and oppress her audience. The result is a raw recounting of the pain, anger, and gaslit reality that emanates from womanhood. Her lyrics turn sharply at the edges of byrdipop&rsquo;s bass and pop-filled beats in a schema similar to and as deftly crafted as the upbeat melodies of Johnny Marr&rsquo;s guitar laid up against Morrissey&rsquo;s words and heartbreaking and sardonic delivery in The Smiths.</p> <p>Lyrics from Poorgrrrl&rsquo;s latest song and music video, &ldquo;F :) :) K S O N G,&rdquo; directed by <a href="https://www.instagram.com/keanuorange/" target="_blank">Keanu Orange</a>, and premiering on ArtSlant below, go like this:</p> <p align="center"><em>finally / finally fucking me and / you&rsquo;re finally fucking me /</em></p> <p align="center"><em>and trapping me / and you&rsquo;re disgusting / you wanna do it all the time</em></p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/242411300" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;">&ldquo;F :) :) K S O N G,&rdquo;&nbsp;Directed by Keanu Orange @keanuorange. Shot by Sally Hunter @sallyhunterrr.&nbsp;Styled by GAMI @yasgami. Edited by CJ @th3gayagenda&nbsp;<a href="http://emmyandcj.com/" target="_blank">http://emmyandcj.com</a></span></p> <p>&nbsp;</p> <p><strong>Audrey Phillips: What you are going to be doing at FAIR.? </strong></p> <p><strong>Poorgrrrl:</strong> I will be performing there, with my collaborator <a href="https://soundcloud.com/byrdipop" target="_blank">byrdipop</a>, for the opening along with <a href="http://waterplanet.tv/" target="_blank">Virgo</a> and <a href="https://suzianalogue.bandcamp.com/" target="_blank">Suzi Analog</a>. The performance I&rsquo;m doing is sound based. The sound and the performance will be maybe aggressive, or, pathetic at times. We plan on producing an uncomfortable stage presence while creating a variety of soundscapes that weave in and out of unreleased songs we have made.</p> <p><strong>AP: When you say pathetic does that relate to the performance or the sound?</strong></p> <p><strong>PG:</strong> Both. I want the viewer to feel that pity, like when you watch something live and &ldquo;life happens&rdquo; and for a moment the veil is lifted. The scene is broken and you can see through it. The character failed and it feels awkward. We will use both our bodies, the way we interact, and the way we sound to provoke the viewers in all types of ways. It isn&#39;t interesting for me to just entertain people. I want to challenge the viewer&rsquo;s expectations of performance.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171206131733-poorgrrrl-ica-01.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Photo: Sarah Moody</span></p> <p>&nbsp;</p> <p><strong>AP: It&rsquo;s interesting in relation to FAIR., because it&rsquo;s for women but they aren&rsquo;t allowed to sell their work. I like the idea of a fair where art isn&rsquo;t for sale but I don&rsquo;t know that a women-only fair is the right context for such a venture. I feel like they are two contradicting forms of activism: the inequality and lack of visibility women face in and outside of the art world and an anti-capitalist fantasy. Women artists already make less than men, so why put us in a situation where it will perpetuate these inequalities? Tying it to how you describe your performance, even the name you perform under&mdash;Poorgrrrl, is already full of pity within the FAIR. context. It&rsquo;s conceptually connected on some level.</strong></p> <p><strong>PG:</strong> The other side of that, for me is that if it weren&rsquo;t for this opportunity I wouldn&rsquo;t perform at Basel at all, which is maybe part of the whole issue. As far as there being these two separate ideas you mentioned&mdash;not having visibility or equal pay&mdash;those things confuse and upset me and I guess inform the performance.</p> <p>Poorgrrrl is bipolar as fuck. Like, there is the pity, this poor girl, and then there is the rage that goes hand-in-hand, repressed or not. Poorgrrrl is this contrast between a really strong powerful stage presence and sound, and this pathetic looking and weak sounding experience. There is always both.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allow="encrypted-media" allowfullscreen="" frameborder="0" gesture="media" height="394" src="https://www.youtube.com/embed/11bXqEcPH2Q" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;">&ldquo;the blu&eacute;zZz&hellip;rn:&rdquo; Written by POORGRRRL. Produced by DJ BUDDY BOY. Mixed by Andrew Byrd. Directed by Biagio Musacchia. Director of Photography: David Cabrera. 1st ac: Jose Trujillo. Styled by Madhavi Ghiotti</span></p> <p>&nbsp;</p> <p><strong>AP: Is there empowerment in evoking pity from the audience and playing with their expectations? Can pity be a feminist tool? You mention this being the only opportunity you&rsquo;ve been given this year despite you being a prominent figure in the local Miami arts community. I personally don&rsquo;t ascribe categorical statements to feminism in contrast to earlier waves because with marginalized folks, I don&rsquo;t think that reversing the roles in the power struggle necessarily yields equality. I often find using the tools we&rsquo;ve been given to work with within the patriarchy as marginalized groups (as in this case of evoking pity to attain something), presents a richer and maybe more honest form of feminism and possibly what real power could look like within the system.</strong></p> <p><strong>PG:</strong> I&rsquo;m really into unpacking this trope of &ldquo;the damsel in distress&rdquo;&mdash;it is something I come back to over and over again with the work that I am doing. I agree completely in thinking reversing power roles is not the answer, not the only answer. The damsel in distress performs this helplessness and in return she is usually tended to, taken care of. The performance works to manipulate someone to help basically, support, save. So this makes me feel a few ways.</p> <p>First of all: good for her [laughs]. She figured out a way to support herself, to be &ldquo;saved&rdquo; but then it&rsquo;s also like, hey c&rsquo;mon girl get off your lazy ass and save your damn self. I feel kind of the same about, a lot of things. Back to what you are saying about the power struggle, I see women (and basically any &ldquo;oppressed&rdquo; party) and feel two ways. I&rsquo;m like <em>fuuuck this is so challenging </em>and then I&rsquo;m like, but it&rsquo;s also unfortunately reinforcing how we see ourselves in a way, like this condemned position. Everything seems to perpetuate it, internally and externally.</p> <p>I am kind of exaggerating here or going out on a limb to bring up a point, but if we continue to let ourselves be oppressed or marginalized, it will just go on forever. This is really challenging though because no doubt, the position of the oppressed is totally unfair but I guess seeing people continuously having to address themselves as such makes me feel like how can this change? Without the oppressed there is no oppressor or whatever. There is no master without a slave.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allow="encrypted-media" allowfullscreen="" frameborder="0" gesture="media" height="394" src="https://www.youtube.com/embed/jyPOz140Jyw" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;">Directed and produced by POORGRRRL. Filmed by David Cabrera</span></p> <p>&nbsp;</p> <p><strong>AP: But it&rsquo;s difficult because we are not choosing to be oppressed, and the whole system is geared to perpetuate our oppression. I mean there are attempts now with Fair. for example, or with all the men in power in the film and television industry getting called out and actually facing consequences for predatory behavior. I understand that we need to remain active to shift the paradigm, but people in power are never going to willingly give up their seat. I guess it&rsquo;s just overwhelming what we&rsquo;re up against and I suppose pity comprises a big part of that awareness. </strong></p> <p><strong>PG:</strong> I feel open in this conversation to bring something up that is kinda off topic but on topic and I have been thinking about it a lot lately. Primarily because of this movement of mainly women outing dudes, but, really just outing anyone that made or makes another person feel uncomfortable or totally violated by way of power dynamics and intimidation for sexual misconduct. I have this situation I am in the middle of figuring out how to use, to help other women and other people in general, to understand an unspoken truth. But&mdash;and herein lies the huge problem&mdash;when I unpack this, I end up feeling, at the &ldquo;end of the day&rdquo; that it will actually hurt me more to share it than to keep it to myself, and this really bothers me.</p> <p>To put it bluntly, I was raped by someone in the art world, in <em>my</em> art world and community. Someone I trusted and considered a friend. This happened six years ago. I have to see them or their name all the time, and there is just so much about the situation that I want to&hellip; share, just because I think what happened and why I couldn&rsquo;t process it or react the way I wish I did is something that needs to be addressed.</p> <p>It&rsquo;s shit like this that makes it so clear to me how very much we (as women) did not ask for &ldquo;this&rdquo; and how very fucked up this whole situation is. I can&rsquo;t even out this guy because people will find ways to make me seem like a crazy bitch. The worst and most annoying questions: &ldquo;Well, did you do something to provoke it though?&rdquo; or &ldquo;Do you really want to ruin his life?&rdquo; are really hard to navigate and make me feel like I need to downplay it to myself and think it&rsquo;s not important enough to share. This is mega problematic and basically <em>IS </em>the whole problem with all of this. It&rsquo;s so frustrating.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171206182444-poorgrrrl4.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Photo:&nbsp;Carlo Cavaluzzi</span></p> <p>&nbsp;</p> <p><strong>AP: I am so sorry to hear that happened to you. Your experience makes me think of #MeToo. While I greatly appreciate the solidarity shared openly online by survivors of sexual harassment or assault, I also see that not everyone is ready or feels comfortable speaking out&mdash;nor should they have to. Poorgrrrl lays flaws of tidy narratives bare. There are still revelations to be made, and they aren&rsquo;t all hashtag ready. Coming forward can be uncomfortable, stumbling, imperfect, dangerous. </strong></p> <p><strong>This revelation from your personal life also seems to loop back into Poorgrrrl&rsquo;s conceptual makeup, like throughout the course of this interview, you&rsquo;ve managed to evoke pity from me. Is it hard to draw the line where Poorgrrrl ends and you begin?&nbsp;&nbsp;</strong></p> <p><strong>PG:</strong> No matter what I do I can&rsquo;t escape the ancestral tragedy in my bloodline. I&rsquo;ve never been able to make anything that doesn&rsquo;t end up being about it. I don&rsquo;t even realize at first, but then there it is, staring me in the face. It&rsquo;s all I&rsquo;ve ever known. I needed a way to take that bullshit out of me, like a garbage dump, and put it next to me, so that I could at least imagine existing without it. Without all that trash. I needed to break the curse. Poorgrrrl is a crucible for all this <em>pain </em>and<em> pity and shit</em>. She is the martyr. The whore. The disgrace. I can fill her up with all my fucking trauma and throw her to the wolves, and then at least, they won&rsquo;t eat me.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171206182509-poorgrrrl_2016.jpeg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Photo:&nbsp;Courtesy of III Points</span></p> <p style="text-align: center;">&nbsp;</p> <p><em>Poorgrrrl will perform at the opening of Fair. on Thursday, 6:30pm. She has a limited-edition record and zine being released on Natalia Zuluaga and Gean Moreno&rsquo;s </em><a href="https://namepublications.org/" target="_blank"><em>NAME publications</em></a><em> this month and a full-length album for </em><a href="http://www.parachuterecords.com/artists/poorgrrrl" target="_blank"><em>Parachute Records</em></a><em> slated for release in 2018.</em></p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/472848-audrey-l-phillips?tab=REVIEWS" target="_blank">Audrey L. Phillips</a></p> <p><em>Audrey Phillips is a Toronto-based writer. She is a regular contributor to AQNB.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Photo:&nbsp;Carlo Cavaluzzi</span><span style="font-size:12px;">)</span></p> Thu, 07 Dec 2017 09:12:10 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Christopher Tavares Silva Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/46705-b-stylecolor-333333under-the-radar-kate-woods-christopher-tavares-silva-andrea-musab" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/168409-christopher-tavares-silva" target="_blank">Christopher Tavares Silva</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I use the languages of visual art and sound because I&rsquo;m attracted to their poetic and transformative potentials, and though I enjoy weaving in literal references and representations of things, I&rsquo;m equally if not more interested in the ways that the pure physical energies of sound, color, and form communicate. It&rsquo;s precisely because audio/visual languages operate more viscerally and strangely than words, that I continue to experiment with them.</p> <p>A more specific goal of mine is ensuring that my work achieves a certain quality of tone. If there is a potential that some combinations of ideas, colors, shapes, and sounds can achieve a resonance which promotes healing, softening, and rejuvenation in my fellow humans, then that resonance is what I&rsquo;m seeking to communicate. The concepts I am preoccupied with naturally emerge during my process, though I am less interested in the viewer having a definitive idea of what they are looking at, than I am in trying to make them feel that they are having a sublime/spiritual/heart opening and nourishing experience. I like to think that in addition to whatever else the work might be communicating, each piece is another way of giving my love to the world.</p> <p>I also know that it&rsquo;s quite likely that I&rsquo;m insane, so I try avoid the pitfalls of taking myself too seriously. If I can make life a little more soulful, beautiful, fun, and funky for a bunch of people, then that will be great. If I can make work which encourages the disintegration and reformation of our dysfunctional and oppressive political systems, even better. For a bit more, my general artist statement is sort of a living document and can be found in its current form&nbsp;<a href="http://chrissilva.com/mission" target="_blank">here.</a></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171204145317-20170510155135-08_OpenSource.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Open Source</em>, 2017,&nbsp;Reclaimed wood, paint</span></p> <p>&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>There are already too many things in the world with dogmas attached to them and art feels like a pursuit which should be absolutely free of that. Having said that, I appreciate artists who exhibit an impulse to make work which seeks to add more love, justice, and beauty to our world, and though I remain puzzled by what the most effective way to do that is, it is also a personal goal of mine.</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)? </strong></p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/241874858?byline=0&amp;portrait=0" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Colony Collapse: 1983</em>, Reclaimed wood sculpture, with video mapping and audio soundtrack. Collaboration with Brian Steckel. Exhibited at Linda Warren Projects, September 8&ndash;November 4.</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>There&rsquo;s this piece I&rsquo;ve been wanting to create which would instantly eliminate injustice from the world but I&rsquo;m having an unbelievably hard time figuring out how to get a hold of the right divine powers to work with.</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>I&rsquo;m a huge fan of the&nbsp;<a href="http://selinatrepp.info/artwork/4108312-Rotation.html" target="_blank">stop-motionstudio animations</a>&nbsp;of Selina Trepp.</p> <p><a href="https://www.instagram.com/maxsansing" target="_blank">Max Sansing&rsquo;s</a>&nbsp;work is gorgeous.</p> <p>I really enjoy watching the progression of&nbsp;<a href="http://roberthardgrave.com/" target="_blank">Robert Hardgrave&rsquo;s</a>&nbsp;work. I like most of it, and absolutely love some of it, but what I admire most is his refusal to sit content in any one mode for too long. He&rsquo;s not relying on any kind of formulas and is a true adventurer.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>Colony Collapse (Reprise)</em>, 2016, Mixed-media installation with LED lighting and original soundtrack.)</span></p> Mon, 04 Dec 2017 07:22:19 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Announcing the Georgia Fee Resident | Winter 2018 <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><strong style="font-size: large; font-family: Verdana, Arial, Helvetica, sans-serif;">Georgia Fee Artist | Writer Resident, Winter 2018</strong></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">We are very pleased to announce the selection of <a href="https://www.artslant.com/global/artists/show/494242-ali-fitzgerald" style="color: #00cfa6; text-decoration: none;" target="_blank">Ali Fitzgerald</a> as our 2018 Winter Resident. Thank you to all applicants and a very special thank you to all <a href="https://www.artslant.com/ny/articles/show_as_email/48755-announcing-the-georgia-fee-residency-winter-2018-shortlist" style="color: #00cfa6; text-decoration: none;">shortlisted applicants</a> who were interviewed over the past two weeks.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;"><strong><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171203213754-alicomicportrait.png" style="float: right; width: 180px; height: 181px;" />Ali Fitzgerald</strong>&nbsp;lives in Berlin and mostly works in the milieu of socially-critical visual narratives. She currently contributes comics and visual essays to <a href="http://nymag.com/author/Ali%2520Fitzgerald/" style="color: #00cfa6; text-decoration: none;">New York Magazine&#39;s <em>The Cut</em></a><em> </em>&nbsp;and<a href="http://www.newyorker.com/contributors/ali-fitzgerald" style="color: #00cfa6; text-decoration: none;">&nbsp;<em>The New Yorker</em></a><em>.</em> She has also contributed art-world comics to <em><a href="http://www.art-magazin.de/szene/14040-bstr-berlin-cool-dead/114440-img-folge-10" style="color: #00cfa6; text-decoration: none;">art &ndash; Das Kunstmagazin</a></em> and <em>Modern Painters Magazine</em> and created the popular comic <a href="https://www.mcsweeneys.net/authors/ali-fitzgerald" style="color: #00cfa6; text-decoration: none;">Hungover Bear and Friends</a> for <em>McSweeney&#39;s</em>, which ran from 2013 to 2016.&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">She contributes arts writing to <a href="http://magazine.art21.org/author/ali-fitzgerald/" style="color: #00cfa6; text-decoration: none;">Art21</a>&nbsp; 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 &nbsp;in&nbsp;the <em>New York Times</em>,&nbsp;<em>Art Lies</em>, <em>Afar Magazine,</em> <em>The Berlin Quarterly</em>, <em>The Guardian</em>, <em>The Economist</em>, <em>Bitch</em>, <em>Gastronomica</em>, <em>Dada Magazine</em>, <em>Taggespeigel</em>, <em>Tip Magazin</em>, <em>The Huffington Post</em>, <em>Varoom Magazine</em>&nbsp;and&nbsp;<em>Art in America</em>.&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">Her first graphic novel, based on comic workshops conducted in refugee shelters as well as Berlin&#39;s historical//contemporary relationship to immigration and bohemia, will be published by <a href="http://www.fantagraphics.com/" style="color: #00cfa6; text-decoration: none;">Fantagraphics</a> in the Spring of 2018.</span></p> <p>&nbsp;</p> <table align="center" height="auto" width="100%"> <tbody> <tr> <td width="33%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171203213356-GezaFuerstPage3color-sm.png" style="width: 250px;" /></td> <td width="33%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171203213414-HbearSkepticalLove088-sm.png" style="width: 250px;" /></td> <td width="33%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171203213427-WomensMarch2Fixed-sm.png" style="width: 250px;" /></td> </tr> </tbody> </table> <p>&nbsp;</p> <p><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">Project Description:</span></strong></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">At the <em>Georgia Fee Residency</em> in Paris, I plan to investigate France&rsquo;s evolving visual relationship to propaganda, looking deeply at aesthetics of nationalism and politicized otherness.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">To this end, I will create a visual diary/blog documenting fonts and signage throughout Paris,&nbsp; 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 &Eacute;poque and elucidated in text by Walter Benjamin.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">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<em>,&nbsp;</em>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 Andr&eacute; Zucca taken for <em>Signal</em>, a German propaganda magazine, as well as the films financed by the collaborationist Vichy government from 1940-1944.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">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&rsquo;s youth wing have created memes and graphics portraying muslims as a danger to French society while using archetypal &ldquo;French&rdquo; 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.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">France has a particularly rich history of drawing as social activism and during the residency, I will look at artists like Honor&eacute; 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).</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">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.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">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.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 28px;">I will also host a more informal weekly event called &ldquo;Propaganda Club&rdquo; 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 <em>1984</em>, <em>The Handmaid&rsquo;s Tale</em>, or <em>Parable of the Sower</em>.</span></p> </td> </tr> <tr> <td colspan="2" style="text-align: center;"> <p style="text-align: left;">&nbsp;</p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: large; color: #000000; line-height: 28px;"><strong>Georgia Fee Artist/Writer Residency</strong><span style="font-family: georgia, palatino; font-size: large; line-height: 28px; text-align: left;">&nbsp;</span><span style="color: #000000;">was established in memory of&nbsp;</span><a href="http://www.artslant.com/la/articles/show/32913" style="color: #00cfa6; text-decoration: none;">ArtSlant&#39;s Founder who passed away December 8th, 2012.</a><span style="font-family: georgia, palatino; font-size: large; line-height: 28px; text-align: left;">&nbsp;</span><span style="color: #000000;">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&#39;s memory.</span></span></p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: large; color: #000000; line-height: 28px;">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.</span></p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: large; color: #000000; line-height: 28px;">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&#39;s relevance to the city of Paris.</span></p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: large; color: #000000; line-height: 28px;">&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: large;">More info: <a href="http://www.artslant.com/ny/foundation" style="color: #00cfa6; text-decoration: none;">Georgia Fee Artist|Writer Residency</a></span></p> <p><a href="mailto:%20residency@artslant.com" style="color: #00cfa6; text-decoration: none; font-family: georgia, palatino; font-size: large;">residency@artslant.com</a></p> <p><span style="font-family: georgia, palatino; font-size: large;">&nbsp;</span></p> <img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150328160032-res_artis_member_logo.jpg" width="200" /></td> </tr> <tr> <td> <p>&nbsp;</p> <p style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: large;"><span style="font-size: small;"><strong>The Georgia Fee Artist | Writer Residency is a strategic partner of Residency Unlimited</strong><em>&nbsp;</em></span></span></p> <a href="http://www.residencyunlimited.org/"><img alt="" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20140320152708-RU-Logo-2014.png" style="float: left; margin: 10px;" width="100" /></a> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: large;"><span style="font-size: small;"><em><a href="http://www.residencyunlimited.org/" style="color: #00cfa6; text-decoration: none;">Residency Unlimited (RU)</a> 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.</em></span></span></p> <hr /></td> </tr> <tr> <td> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><a href="https://www.artslant.com" target="_blank"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170515175611-ArtSlant-Logo-2014-01.jpg" style="width: 200px; height: 36px;" /></a></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; color: rgb(0, 207, 166);"><span style="font-size: small;"><a href="http://www.artslant.com/la/users/signin" style="color: rgb(0, 207, 166); text-decoration-line: none;">Subscribe</a>&nbsp;| <a href="http://www.artslant.com/ny/articles/show/6424" style="color: rgb(0, 207, 166); text-decoration-line: none;">Contact Us</a></span></span><span style="font-family: georgia, palatino; font-size: small;"> <span style="color: #00cfa6;">|</span> <a href="http://www.artslant.com/ew" style="text-decoration-line: none;"><span style="color: #00cfa6;">Website</span></a></span></p> </td> </tr> </tbody> </table> Tue, 05 Dec 2017 04:36:37 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list LaToya Ruby Frazier in Conversation <p>Writer Jessica Lanay spoke with LaToya Ruby Frazier on the occasion of her concurrent exhibitions at Silver Eye and the August Wilson Center in Pittsburgh. The latter exhibition, <em>On The Making of Steel Genesis: Sandra Gould Ford</em>, both documents and is shared with artist Sandra Gould Ford. You can read the review of the Silver Eye exhibition, <em>The Notion of Family</em>, <a href="https://www.artslant.com/ams/articles/show/48824-intimate-debris-nature-industry-and-the-body-in-the-photography-of-latoya-ruby-frazier">here</a>. A transcript of the interview follows:</p> <p>&nbsp;</p> <p><strong>Jessica Lanay:</strong> When I look at the photographs at Silver Eye Gallery and the August Wilson Center I see a complicated narrative where the human, specifically the Black femme body, nature, and industry are always coupling to tell a story about innovation and perseverance. For instance, in <em>Epilepsy Test</em> the wires hanging from the body mirror the wires torn from the hospital; the exposed interior of the hospital mirrors the exposed back of the subject. Another example are the lives of women such as you, your mother, Sandra Gould Ford, and your grandmother outliving these industries, as nature can overtake a building. Can you say more about this relationship between industry, the Black femme (human) body, and nature? How do you see them speaking to one another in your photographs?</p> <p><strong>LaToya Ruby Frazier: </strong>One of the major themes in all my work is the body and landscape. I believe that the history of a place is written on the body of its inhabitants and their environment. Often in my photographs, whether it&rsquo;s a landscape of a house or an aerial view of railroads or a steel mill, I see the landscape as a portrait, a portrait of the body. In <em>Epilepsy Test, Landscape of the Body Series 2011</em>, I visually and formally make a direct connection. These are two separate images mounted on archival museum board as a diptych that creates a single image for the viewer. On the left you see the wires from my mother&rsquo;s head lash down her bare back connected to a medical device. On the right you see the entrails, the gut of the hospital building ripped open with electrical wiring, cables, concrete and debris spilling out. I&rsquo;ll never forget documenting the UPMC Braddock hospital demolition and feeling how the ground shook and trembled like a convulsion or spasm similar to how my mother described her epilepsy-like seizures.</p> <p>The irony about being four generations of Black women in an industrial landscape during a post-industrial economy in Braddock and Pittsburgh is the historic omission and carelessness towards the fact that women birthed the workforce, worked in the steel mills, took care of their men with job-related ailments, and were exposed to industrial toxicity, contracting illnesses like cancer and autoimmune disorders that would sometimes lead to miscarriages, surgical removal of breasts, ovaries, and untimely deaths. Teetering on the edge of this ecological disaster is the strength of womanhood that continues to birth life on earth.</p> <p><strong>JL:</strong> Intimacy is another story that I see in the two exhibits. Intimacy between the person and physical sites of nature and industrial production; intimacy between mother and daughter, grandmother and granddaughter. In the images of Grandma Ruby&rsquo;s home after she moved out there are the dust lines where pictures used to be on the walls, the floor is covered with bows, receipts, hangars, a pack of Pall Malls which recalls the images of the J&amp;L Steel Factory and how even though it is gone. There are still lines, engravings in the grass where it once stood. What is being said about the deep intimacies in these photographs? What is the process for rendering intimacy or capturing intimacy in your photography?</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171201160635-LRF_062.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;"><em>Grandma Ruby, Mom and Me</em>, 2009, Gelatin silver print. Courtesy of the artist and Gavin Brown&#39;s enterprise, New York/ Rome</span></p> <p>&nbsp;</p> <p><strong>LRF:</strong> When you inquire about intimacy I think you are by extension pointing out the bonds, camaraderie, and trust I have in the portraits produced with my grandmother, mother, and Sandra Gould Ford. Not only is there trust but also an identity of sameness. Although each of us individually have our own encounter with Pittsburgh in the 30s, 50s, 60s and 80s, I see us as one entity of time consistently confronting the injustices of our history. These are generational narratives of triumph and a will to survive regardless of circumstance, invisibility, and death. There is a direct self-awareness and knowledge of these matters in the portrait <em>Grandma Ruby, Mom and Me, 2009</em> as my mother and I stand guard in front of Grandma Ruby&rsquo;s body in her casket decorated by a few of her porcelain dolls and all the portraits we made together.</p> <p>During the opening of the show <em>On The Making of Steel Genesis: Sandra Gould Ford</em> the large silver gelatin print <em>Sandra Gould Ford looking&nbsp;Back at the view from her former Talbot Towers Apartment&nbsp;in Braddock 2017, </em>registered to me as time travel. I am standing behind her looking at her, look through a portal of her memory in her past and realizing it&rsquo;s actually a double portrait. Although we did not meet in person until 2017 Sandra and I did live together in the Talbot Towers&mdash;I was a newborn and she was a newly wed mother. We were there together. And we become kindred spirits both transforming ourselves, and our lives by extracting our creative energy from the brutality of industrial capitalism. Sandra Gould Ford is an extremely generous spirit that helped me understand that the laborious process of making steel can metaphorically explain the process of being and the formation in coming into one&rsquo;s self. You see by actively making portraits together an intimacy, an alchemy (as Sandra would say), occurred between us allowing me to see into a time period when I do not exist through Sandra&rsquo;s photographs, visions, and memories of Braddock, Pittsburgh and J&amp;L Steel. This connection with Sandra created a sense of balance it provided wisdom in areas unseen and unknown.</p> <p><strong>JL:</strong> In your writing in <em>The Notion of Family</em> there is a segment about a foot bath that draws impurities from the body. The technician says, &ldquo;...Could&rsquo;ve picked up a lot of metal &hellip;[i]t&rsquo;s atomized in the air&mdash;you don&rsquo;t realize you&rsquo;re breathing it &hellip;&rdquo; This statement seems to run parallel to the commentary at the August Wilson Center with Sandra Gould Ford, but it isn&rsquo;t just chemicals and elements atomized and living in the body, it is also traditions of racism, state neglect, and dispersed family. Can you talk about how these elements seem to be synonymous in your photography? What ties them together?</p> <p><strong>LRF:</strong> In my video <em>Detox Braddock UPMC, 2011</em>, in one of the final scenes the doctor is pointing out heavy metal pulled out from the pores of our feet due to the ion charge on the foot bath. My mother and I did the detox because we were skeptical if it was real. We were also looking to alternative medicine to combat the discrimination we constantly face in doctor&rsquo;s offices and inaccurate medical records. When I saw the metal floating in my foot bath I observed the landscape of Braddock and the Edgar Thomson Steel Works. When I look at the portrait I made of Sandra Gould Ford photographing the electric meters next to the Edgar Thomson Works, her photograph of the steelworkers operating the coke ovens at Jones &amp; Laughlin Steel and the death records of the workers names, I see chemicals and elements that can build empires, harm, or kill alongside chemistry that makes silver halide appear on film (gelatin silver print) and ferric ammonium citrate and&nbsp;<a href="https://en.wikipedia.org/wiki/Potassium_ferricyanide">potassium ferricyanide</a> visible on paper (cyanotype). Through these alternative processes of physically printing the exhibition together we made the life of a beautiful woman who saw the end of an empire encroaching on the livelihood of workers, that cared so deeply for their lives that she froze their essence and trace of existence in time. The process of caring for others enough to preserve their life as Sandra did with the documentation of J&amp;L workers, or how the doctor bathed and rubbed dry my mother&rsquo;s feet after the metals seeped out is what ties the work we are doing together. Industrial capitalists are not more valuable or more important than workers, than human life. Generations of the working-class will continue to evolve and outlive industrial capitalism.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171201160503-Video_stills_from_Detox_Braddock_UPMC__2011__04.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">Video still from&nbsp;<em>Detox Braddock UPMC</em>, 2011,&nbsp;Single-channel video (color, sound),&nbsp;<span data-term="goog_646348592" tabindex="0">22:24</span>&nbsp;min</span><span style="font-size: 12px;"><em>.&nbsp;</em>Courtesy of the artist and Gavin Brown&#39;s enterprise, New York/ Rome</span></p> <p>&nbsp;</p> <p><strong>JL:</strong> A more direct question. As a Black girl I was always obsessed with taking Polaroids of my mother, and inevitably each one is of her running from me, a child with a Polaroid camera. I think that, perhaps, many Black femmes would say there is a guarded or secretive intimacy between them and other Black femmes in their family. How did you get your mother to participate and pose for and with you? How did you decide when a picture would be posed or extemporaneous when it came to women in your family?</p> <p><strong>LRF:</strong> My photographs are a hybrid of portraiture, human documents, and living tableaux. I realize when to make a photograph only after spending days, months, to years revisiting the same space and place seeing a frame or window. I wait for an action to occur in this familiar place or space and then I know to make the photograph. Often my mother would direct or determine when we would shoot. I believe that scrutinizing myself as the subject, relinquishing my power as the photographer, gave my mother the agency to make the portraits herself. If you look at the portraits between my mother and I it is often my mother who is holding the camera. The clue is usually reflected in the mirrors that sometimes appear in the work. These portraits often revolve around holidays or illness and surgeries. Photographers must learn to give of themselves to their subjects, be an equal not an authoritarian.</p> <p><strong>JL:</strong> In many of the images of the industrial sites, fences are a recurring image. The fences seem to create the perspective in the photographs. They also represent imaginary lines between sites of destruction and the places where people reside or live. The fences divide the image spatially, but also guide the eye. When you were looking at composition in your photographs were the fences just an accidental part of the image or did you consciously sense that the fences were representative of larger communal conditions and decide to photograph them? Were the fences, in a sense, inescapable?</p> <p><strong>LRF: </strong>Similar to August Wilson&rsquo;s play <em>Fences</em>, like the protagonist Troy, you can build a fence to keep your loved ones in and safe or you can be that barrier who drives a wedge between yourself and loved ones. I think it is practical and logical to build a fence around your property, lot, and livelihood, but, when I&rsquo;m flying making aerial views staring down at the demarcation of neighborhoods and communities in proximity to steel mills, coke plants, fracking, contaminated bodies of water, hazardous waste sites, chemical plants, and pipelines I realize how small our problems are in comparison to the prevailing magnitude of destruction to our environment and mother earth.</p> <p>&nbsp;</p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times=""><em style="box-sizing: border-box;"><a href="https://www.silvereye.org/calendar/2017/9/22/latoya-ruby-frazier-solo-exhibition" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;" target="_blank">The Notion of Family</a>&nbsp;ran at the Silver Eye Center for Photography from September 21&ndash;November 18, 2017.</em></p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times=""><em style="box-sizing: border-box;"><a href="https://www.silvereye.org/calendar/2017/9/22/latoya-ruby-frazier-solo-exhibition" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;" target="_blank">On The Making Of Steel Genesis: Sandra Gould Ford</a>&nbsp;continues at the August Wilson Center through December 31, 2017.</em></p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times="">&nbsp;</p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times="">&mdash;<a href="https://www.artslant.com/global/artists/show/490259-jessica-lanay?tab=REVIEWS" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;">Jessica Lanay</a></p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times=""><em style="box-sizing: border-box;">Jessica Lanay is a poet and short story writer from the Florida Keys living in Pittsburgh. Her work can be found in Salt Hill Journal, Tahoma Literary Review, and is forthcoming in Fugue and The Common.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: LaToya Ruby Frazier,</span>&nbsp;<em box-sizing:="" new="" style="font-size: 12px; background-color: rgb(255, 255, 255); font-family: Georgia, Times, " text-align:="" times="">Landscape of the Body (Epilepsy Test)</em><span new="" style="font-size: 12px; background-color: rgb(255, 255, 255); font-family: Georgia, Times, " text-align:="" times="">, 2011, Gelatin silver print, 24 x 40 inches. Courtesy of the artist and Gavin Brown&#39;s enterprise, New York/ Rome)</span></p> Fri, 01 Dec 2017 08:43:29 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list