Editor Sharon Louden will conduct a panel with artist-contributors Zoe Charlton & Chris Doud, Brett Wallace (MFAST ’19), Jayme McLellan, and B.G. Muhn centered around issues and models that come from Louden’s latest book The Artist as Culture Producer: Living and Sustaining a Creative Life, a collection of essays by 45 visual artists.
All of these contributors have impactful, artistic activities as change agents in their communities. Their first-hand stories show the general public how contemporary artists of the 21st century add to creative economies through their out-of-the-box thinking while also generously contributing to the well-being of others.
This event will take place on Tuesday, October 31, 2017 at 3:00pm at Georgetown University, Copley Hall, 3700 O St NW, Washington DC 20057.
For more info, click here.
For over a decade, Chris Sims has been photographing the simulated war zones where US soldiers train for deployment. On these dusty back roads at American military bases, live scenarios and constructed sets are designed to resemble urban centers and villages in the war zones of Iraq and Afghanistan to prepare soldiers with believable immersive experiences.
Sims, who serves as the undergraduate education director for Duke University’s Center for Documentary Studies, has photographed training grounds at Fort Polk, Louisiana; Fort Bragg, North Carolina; Fort Irwin, California; and the Hohenfels base in Germany. His forthcoming book, Theater of War: The Pretend Villages of Iraq and Afghanistan, is a compilation of his photographs.
To read more, click here.
In Laura Borneman’s work, perception of place is fictionalized into invented structures and scenes that are not literal, but are expressive of states of mind, imagination and fantasy. Working between sculptural form, painting and drawing allows the artist to explore the psychological aspects of interior space, whether it be imaginative or reflective of actual structures. By stacking a variety of modalities she addresses the absurdities of the human condition and the urgent search for stability and clarity through everyday pursuits. Borneman juxtaposes shapes and structures that suggest impermanence, giving shape to anxieties. Rather that presenting clear answers or sound solutions, the work accepts the absence of any singular path or prescriptive guideline for seeing and experiencing the world.
On view through August 4, 2017.
For more information, click here.
The gym is a place where everyday antics—sexuality, competitiveness (within and between the sexes), ego, and primal behaviors—are amplified in a stage-like environment where there is a hyper-awareness of bodies in a public space. Engaging the politics of looking through both male and female gazes, we sneak glimpses of others in mirrors and through makeshift windows in gym equipment.
Instead of idealizing the body, I’m interested in exemplifying its strangeness, as well as the peculiarity of certain gym exercises and the awkward, compromising, sometimes sexual positions they put people in.
Most people have entered a gym at least once in their lives, or have goals to promote their own health and live longer, happier lives. Telling gym stories through serious yet comical visual narratives, I hope to bring up conversation about gender issues, body politics and trends, competition, and the propaganda of progress in other spheres of our lives.
-Caitlin Albritton, 2017
For more information, click here.
For more information on the artist, please visit http://www.caitlinalbritton.com.
The 2017 Jamaica Biennial is organized by the National Gallery of Jamaica (NGJ), the largest and oldest public art museum in the Anglophone Caribbean. With a focus on Jamaica and Jamaica Diaspora artists with specially invited artists from other Caribbean nations, the Biennial includes 35 invited Jamaican artists, 49 local, juried Jamaican artists and 7 special projects by Caribbean artists.
“Part invitational and part juried, the Biennial is a very inclusive exhibition which brings into dialogue work in traditional and new media and established and emerging artists from Maria Magdelena Campos-Pons’ reflections to recent art school graduates such as Kelly-Ann Lindo,” says Dr. Veerle Poupeye, the Biennual’s lead curator. “There is no imposed theme but for each edition, certain shared themes come to the fore that reflect the concerns of the present moment, such as the politics of race, hair, migration, violence, human rights, and climate change.”
The exhibition is on view from February 28 to May 28, 2017.
For more information on the artist, please visit www.jacquelineabishop.com.
In her site-specific installation When Our Breaths Run, Brooklyn-based interdisciplinary artist Emily Harris continues her exploration of the body, technology and time with breath.
Each glass form is a record of the shape of one continuous exhale into molten glass created by Megan Biddle, an artist and glassblower commissioned by Harris. A total of five of these glass pieces took shape through Megan’s breath, her movements, through the heated glass bulb, and the external conditions in the fabrication space.
Harris incorporates audio and video components within the installation space, as well as a set of drawings and interactive thread structures which reflect on breath through different technologies activated by the viewer.
This experience of the potential of one’s conscious physical presence in a chaotic social landscape is what moved Harris in the direction for this project. “Being perceptive and using your body simply, can be the most radical act,” she says.
When Our Breaths Run is on view by appointment through April 9, 2017 at North Willow in Montclair, NJ.
For more information on the artist, please visit www.emilymharris.com.
Part product launch, part exhibition, part interactive event, “Reserved for Engineering” is a meditation on the speed, quantity, and spectacle of production and distribution. Wallace intervenes in these systems by addressing labor through the self-created company “Amazing”, recording testimonials of employees hired by the artist, and displaying a video of the first delivery of artwork by drone. Viewers will shuffle through the gallery turned Fulfillment Center, navigating a space of customized pizza boxes, drone surveillance, and employees sorting and stocking cultural goods, all the while feeding the network created by the space that is “Reserved for Engineering”.
This Friday or Next Friday is at 89 Bridge Street, Brooklyn, NY 11201.
On view through December 2, 2016.
By appointment: firstname.lastname@example.org
To read the review in Art Critical of Wallace’s recent solo exhibition “If This, Then What” at ART 3, click here. You can view installation photos on ART 3 Gallery’s website
For more information on the artist, visit www.brettwallace.com