My installation, 21st Century Albatross, was featured in the online exhibition, Footing the Bill: Art and Our Ecological Footprint, organized by Artworks for Change (partnered w/ Global Footprint Network and Earth Day Network). The website was launched on August 13th, 2015 in observance of Earth Overshoot Day.
LandEscape Art Review, Special Anniversary edition 2015, (cover image) and personal interview by curators Dario Rutugliano and Josh Ryder.
A big thanks to Dario Rutugliano and Josh Ryder, and to all others at LandEscape Art Review!
July 11 - August 14, 2015
Opening reception: Saturday, July 11, 2015, from 7-10p
I installed, Runoff Verdure, a jacquard woven photo tapestry and fiber-based drawing installation, at the VAE in Raleigh, NC.
First Friday Reception: June 5, 6-10pm
First Friday Reception: June 5, 6-10
The Exhibit: The South is emerging as hub for creativity. Recently Raleigh adopted a vision to become the Southern Capital for Arts and Culture. To showcase the best artwork from the region here in Raleigh, SCOPE features variations on the southern landscape; looking at the region through the eyes of its artists. Works feature visual interpretations of metropolitan, coastal and rural areas of the southern states.
Number: Inc. : http://www.numberinc.org/art-of-the-south/
I was recently asked to look at the work of 166 talented artists and pick 40 for a show. The results? 126 disgruntled artists muttering “What does he know?” And they’re right! What do I know? Please keep that attitude, my fellow artists. You have many victories ahead. As for the rest of you, please savor. This is a wonderful show. Inspire each other, secretly know you’re the best one and keep trudging out to that studio every day. I’m very happy to see such a perfect storm of creativity roaring across the South. – JUROR, Wayne White
Number: Presents Art of the South 2015
Opening Reception, May 29 Trolley Night, May 20 – July 31
Memphis College of Art, Hyde Galleries, 477 South Main, M–F, Noon–5pm, Sat, Noon–7pm
Two of my works were juried into this international print and drawing exhibition (Clouds One through Eight of Nine, Punched and Don't Go There.)
35th Bradley International Print and Drawing Exhibition
March 7th – April 17th.
Reception: March 7th
5-7pm – Heuser Art Center
5:30-7:30pm – Prairie Center of the Arts
6-8pm – Peoria Art Guild
6:30-8:30 Contemporary Art Center
Lecture: Beth Grabowski, 35th BI Juror
March 5th, 5:00pm – Horowitz Auditorium, Global Communications Center
The Bradley International Print and Drawing Exhibition is the second-longest running juried print and drawing competition in the country. Every two years it features the best contemporary graphic artwork from around the globe. All accepted artwork is featured on the exhibition website.
The 35th Bradley International features the work of 108 artists from across the globe. This years juror is Beth Grabowski, Professor and Assistant Department Chair at the University of North Carolina at Chapel Hill.
My drawing series, Glacial Collapse, is included in this national juried exhibition at the Brooklyn Waterfront Artists Coalition.
Two of my works, Doing Fine on Cloud Nine and Clouds One through Eight of Nine are included in the 2014 Wiregrass Biennial July 17 - early October.
My black velvet AK-47, On Being Soft, will be included in a juried exhibition at the South Arkansas Art Center.
Like pollution, JEMA’s ‘Emissions & Remissions’ cannot be contained, confined or controlled (05-17-14
On view now through July 25 at the Bob Rauschenberg Gallery is ELEVEN: The John Erickson Museum of Art (JEMA) 10-Year Retrospective. Most of JEMA’s galleries are housed in a series of sturdy but stylish 16″x12″x9″ aluminum carrying cases. However, there are several innovative “project spaces” that have escaped their crates. One, in fact, is in attempting to escape the Bob Rauschenberg Gallery as well.
That’s because Bethany Taylor’s Emissions & Remissions cannot be contained. “In Tacoma, the installation went outside and into the streets,” Bethany reports. But in so doing, Taylor is not just enjoining viewers to reconsider their long-held beliefs about the traditional space and mechanisms exhibited by art museums.
She is creating a compelling metaphor about the byproducts of human activities, which similarly cannot be contained, confined or controlled.
“Throughout the 20th-21st century, there is increasing evidence of humans altering the earth’s climate and environment through changing agricultural and industrial practices,” Bethany says in her Artist Statement. “Climate changes do occur naturally.However, prior to the Industrial Revolution, very few gases were released into the atmosphere due to human activities. The growth in population, the incessant burning of fossil fuels, the production and transport of coal, natural gas and oil, the decomposition of organic wastes in landfills, along with deforestation, and the raising of livestock are seriously increasing the mixture of gases which absorb and trap heat in the atmosphere. As the earth’s temperature increases, contributing greenhouse gas emissions are predicted to have a long-lasting, negative impact on the environment, drastically changing life on earth.”
So Emissions & Remissions may not be Marco Rubio’s cup of tea, but it is a conversation starter, which is, after all, the mission of all good art. “The idea becomes more important than the execution,” Bethany postulates. But admittedly, Bethany could not simply emit water vapor, carbon dioxide, methane, nitrous oxide, ozone, HFCs, PFCs and SF6 in and around her JEMA box. Nor would she want to, being the environmentally responsible artist that she is. So instead, she releases fleeting images of gradual effect and change. And by using thread and pins, she creates entangled, interconnected, unraveling ephemera that embody the devastating irreversible effect that these greenhouse gases are having on the ecology and the life that it supports.
“I like the idea of ephemeral, of things that change, of making visible that which cannot be seen,” Bethany explained prior to ELEVEN’s opening on May 9. This she does by using thread and string to portray the electromagnetic rays emanating from power lines, a cloud of carbon monoxide trailing a sports car and the carbon imprint engulfing an airliner. Each of these images is connected by string to the living, endangered and dead bio-organisms that are impacted, and the depictions climb the wall, turn the corner and meander down the hall toward the door leading outside into the garden that abuts the gallery and the adjacent Barbara B. Mann Performing Arts Hall.
“I like working with material that falls apart. It allows me to change my mind and permits me to adapt to whatever space I’m given within a museum or gallery,” Bethany adds. “My recent installation work inherently represents things in flux and incorporates string or thread as a material that is expressive, changeable, and adaptable. I think of each work as a fragment of a never finished representation. Ongoing struggles, partial experiences, hybrids, fragmentations and juxtapositions are conditions I find most reflective of my experience.”
Taylor has exhibited her work both nationally and internationally. She lives in Gainesville, where she lectures at the University of Florida and teaches the Workshop for Art Research and Practice. Recent exhibitions include the aptly titled She’s Come Undone, a 2006 solo exhibition in the Hardman Hall Gallery at Mercer University in Macon, Georgia and the 2005 SOIL 10 Year Anniversary Exhibition at the SOIL gallery in Seattle, Washington. Taylor is a founder of SOIL and the recipient of both Seattle Arts Commission and King County Arts Commission awards and her writing, art and curatorial activities were recently featured in SOIL Artist-Run Gallery 1995-2005.
Opening: May 9, 2014 (and running through July 25th)
Pre-Opening lecture by JEMA founder, curator and artist Sean Miller (and discussion with Gregory Green, Jack Massing of The Art Guys, Bethany Taylor and other JEMA artists) 6pm, Rush Library Auditorium, J-Building. Reception to follow: 7-9pm, Bob Rauschenberg Gallery
ELEVEN: The John Erickson Museum of Art (JEMA) 10-Year Retrospective at the Bob Rauschenberg Gallery will present more than twenty “archived” JEMA galleries – including those by Gregory Green, Arnold Mesches, Yoko Ono, Bethany Taylor, Sergio Vega and others, it will also premiere new works (or some not previously shown in the United States) by Jim Drain, Oliver Herring, Chip Lord, Tea Mäkipää, Andrea Robbins & Max Becher, Fluxus pioneer Ben Patterson and The Art Guys from Houston. This first-ever survey of artworks commissioned by the John Erickson Museum of Art, ELEVEN will represent the largest gathering to date of artist/curator Sean Miller’s “location variable” JEMA galleries and be accompanied by his Next Chapter Spaces, JEMA Annex, JEMA Video Lounge, the Art Museum Dust Collection and new works from the JEMA Artist Dream Registry.
REVIEW: GLUE EXHIBITION AT DOWN ARTS CENTRE, DOWNPATRICK, NORTHERN IRELAND
by Angela Reid
Impact! If you like the cutting-edge art scenes of London, Berlin and New York then this is the exhibition for you. Never has the Down Arts Centre seemed more contemporary or more relevant to the global dynamics of the art world. ‘Glue’ is a survey exhibition of collage by leading artists and academics from across Europe, America and Asia. Half of the exhibition features raw studio works of cut-paper techniques combined with photographic and digital collages. The other half of the show presents works on paper as fully-resolved artworks.
The fresh aesthetic of the exhibition is the brainchild of it curator, Brendan Jamison, an international artist in his own right, who has travelled the world and brought it home in the form of this exhibition. Last year he established ‘Impactica’, a not-for-profit organisation offering curated touring exhibitions to galleries and museums. It links in with curators in other countries and after its debut in Northern Ireland, the ‘Glue’ show tours to America early next year. Professor Craig Coleman will co-curate the second leg of ‘Glue’ at the Hardman Hall Gallery at Mercer University in February 2014. This will be followed in March 2014 by an expanded version of ‘Glue’ at WARPhaus and the 4Most Gallery at the University of Florida, co-curated by Professor Sean Miller.
The exhibition opens with ‘Link’, a striking series of 4 photographic works by Tea Mäkipää, an artist who represented Finland at the 2009 Venice Biennale. Appearing like stills from a film, an individual ape-like character is depicted in a forest-scene, moving out of the trees into the water to fish. Theories of evolution spring to mind, all the more so, given the placement of ‘Link’ next to Brendan O’Neill’s religious posters. These vibrant text works of biblical scripture are intricately carved into with a scalpel knife, revealing the outlines of weapons of destruction. From guns to bullets and rockets, the subtlety of this piece rewards the viewer as they edge closer to the works. This connection between extremist religious views and violence is intelligently placed opposite a collage of George W. Bush, who famously used the term ‘axis of evil’ in waging war through his own deep-rooted religious conviction. Protected behind plexi-glass, ‘W’ is created by Sean Miller from hundreds of tiny chads, the actual punched voting parchments from the controversial election recount in Miami in the year 2000 between Bush and Al Gore.
While Bush entered the White House, Al Gore pursued his passion to campaign on issues of global warming and climate change, themes which are championed by Bethany Taylor, a Florida-based Professor who presents a melting ice-berg with an elaborate network of water pipes, a collage bursting with dynamic energy and an innovative composition that leaves the viewer circumnavigating the space, like an explorer in the North Pole.
Turning the corner, the exhibition shifts into a different gear with Gail Ritchie’s ‘Making Memory’, a recreation of one section of her studio wall from a five year research project into ancestral narratives. Both personal and public - images, sketches, notes and diagrams depict Ritchie’s grandfather and great-grandfather who both served in the armed forces. Dressing in identical uniform and adopting a similar pose, Ritchie inserts herself into these photographs by digital manipulation, attempting to access memories which are not her own but part of her genetic make-up. The project culminates in 2014 with the 100th anniversary of the commencement of the First World War.
Next to this corner of the gallery, another anniversary is reflected in Brendan Jamison’s collaboration with Peter Richards, where vibrant colour-saturated pinhole photography depicts a cold war spy station. Built 50 years ago by the Americans in 1963 on West Berlin’s highest hill, Teufelsberg, it was designed to spy on conversations across ‘the wall’ deep into the Communist East. The constructions of the 5 radome buildings appear like something out of a science-fiction movie, accentuated by the artificial glow of the pinhole photography technique. Continuing the architectural theme, Kevin B. Chen presents fictional cityscapes created from fragments of books, sprouting upwards the configuration has an alluring organic suggestion, like the bulbous head of a flower about to reveal its petals. The buildings also appear to vibrate, as if each skyscraper is about to shoot up into the air like a rocket into space.
Next to Chen, an organic aesthetic is also presented by Craig Coleman, offering photographic imagery that captures objects in flux, hypnotically transfixing the viewer by the sheer beauty and depth of these illusory spaces. Coleman’s seamless collages are made by removing the lens of a 35mm DSLR camera, holding transparent images and objects up to the opening of the camera and then employing small LED lights to cast shadows of these objects into the back of the camera. The transparency of these finished works, combined with the glow of light and movement, offers a strong link to another photographic artist’s work around the corner. Also adopting a non-digital approach, Trevor Wray builds his images with 35mm negatives, layering one on top of the other, with the final image only revealed once the negatives are developed. A yellow outline of a figure walking into the rear of a horse offers a humorous element in a gallery wall punctuated with collages at different levels, creating a visual feast for the viewer. Wray’s fun and playful process also reflects back to the origins of collage around 100 years ago as Georges Braque (1882-1963) and Pablo Picasso (1881-1973) introduced the medium into the modern art world.
Art history is also hinted at by Lydia Holmes who has been inspired by the Futurist movement’s (1909-1944) interest in technological advancement. In a contemporary twist and offering a gentle feminine sensibility, an entire wall is devoted to 17 collages arranged at different heights, with the imagery appearing like an assemblage of hybrids, some are robotic, while others appear like organisms growing on an ocean seabed or perhaps they are experiments created in a laboratory. A beautiful rhythm extends across the entire compositional display, and some of the forms, such as the captivating spider-like creature seem to crawl across the wall.
The exhibition perpetually oscillates between global issues on the one hand and the personal and intimate on the other. Perhaps the most intimate romantic work is by Japanese artist Shiro Masuyama who created a collage plan for a public art project at the Tama River in Toyko. Noticing the peculiar phenomenon of couples sitting at equidistance from each other on the banks of the river to ensure each others’ privacy, Masuyama designed booths for each couple with male and female symbols cut out of the back of the enclosed benches.
Delivering a tour of the exhibition, the curator discussed the different approaches that are adopted by 2D and 3D artists and outlined how works by performance artist Sinéad O'Donnell illustrates her strong spatial awareness of objects and the human body. Created as preparation for live events in Mexico in March 2013, the series entitled ‘erasing HER history’ explores the invisibility of women in Muslim and Christian religions. Equally, American performance artist LuLu LoLocombines a passion for historical research with contemporary performance art, often focusing on the dramatic struggle of women from New York City’s past. Transforming book covers to insert her own character in a playful fashion, she employs collage to experiment with new personas that become developed into live actions.
From the fun aspect of LuLu Lolo’s collages, the viewer is then greeted by darker and more horrific themes in the work ofFion Gunn who has cut open ‘Justine’, a French book by the Marquis de Sade, a writer who dealt with themes of sadism and masochism. With sentences cut into tiny strips, the book becomes a mass of fragments, butchered and penetrated with sharp pins. An open red door is attached to the front cover but the pages are all glued together, with the book never able to be opened again. Beside Gunn’s powerful statement, a sense of pain and torture is also revealed in Patrick Colhoun’s collage from his studio wall, with sketches and images outlining the thinking processes behind his carcass-like sculptures. Again, a strong sense of space is revealed in this work as the viewer walks into the mind of the artist as they imagine how the sculpture elements could be arranged on a gallery floor.
A sense of violence also extends into the intricate collages of Stuart Roberts, with a nod to Francis Bacon (1909-1992) in the rapid movement of a contorted face in ‘Puke and Laughter’. With all three works by Roberts, the sense of depth, the use of line and the rhythmic compositions are exceptional, teasing with the viewer between elements that attract and those that repulse. Similarly, Galen Olmsted’s collage, ‘Flawless’, lures the viewer in with glistening diamonds in a beautiful sensual arrangement of form that undulates between elements of gold and waves of jewels. However, on closer inspection, the sparkles intermingle with insects, again offering tension between visual magnetism and repulsion.
Utilising packaging tape combined with photography and drawing, Ciaran Magill’s two works offers the rawest examples of studio collage. The human body appears fragmented by the bars of tape slicing the composition into segments. The red letters spelling ‘Fragile’ are offset by the richness of colour in the truncated figures. These appear as deeply psychological works, exuding a tension that makes for conceptual depth.
The exhibition concludes with Brian John Spencer’s ‘Redacted’, an exuberant display that features the artist’s own redacted job rejection letters combined with a wonderful upbeat arrangement of satirical cartoons and photography. Exploring the issue of youth unemployment in a global recession, from a personal perspective, Spencer both captures the negative impact on the individual and society, but also takes an optimistic position with the collage exploding with vibrant orange text, “inventing the future”. It seems the perfect collage to end the show with, now as we are poised in an economic era of uncertainty across the planet, we look to creative individuals in all walks of life to invent the future we hope to live in.
Like the art of collage, the world is fragmented and in perpetual flux. The ‘Glue’ exhibition offers an intriguing insight into themes that unite and divide us in the 21st Century. Perhaps the most exciting aspect of this show is the sheer depth offered by the cross-pollination of aesthetics with history, politics, economics, religion, war, espionage, literature, gender and feminism.
Angela Reid, Sunday April 21, 2013
The GLUE exhibition continues at the Down Arts Centre until Friday May 3, 2013. Open Monday – Saturday 10am to 4pm. 2-6 Irish Street, Downpatrick, Northern Ireland. For an online catalogue with curator’s essay please seehttp://www.brendanjamison.com/glue.html
REID, ANGELA. "GLUE: International Collage Exhibition: DAC, N. Ireland", Worldwide Review, London, Sunday 21 April 2013