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.