Brainard Carey's Blog, page 46

Adam Zaretsky

Dr. Adam Zaretsky of NADLinc is a nomadic Wet-Lab Art Practitioner mixing Ecology, Biotechnology, Non-human Relations, Body Performance and Gastronomy. Zaretsky stages lively, hands-on bioart production labs based on topics such as: foreign species invasion (pure/impure), radical food science (edible/inedible), jazz bioinformatics (code/flesh), tissue culture (undead/semi-alive), transgenic design issues (traits/desires), interactive ethology (person/machine/non-human) and physiology (performance/stress). A former researcher at the MIT department of biology, Adam runs labs on DIY-IGM (Do-It-Yourself Inherited Genetic Modification of the Human Genome). His art practice focuses on an array of legal, ethical, social and libidinal implications of biotechnological materials and methods with a focus on transgenic humans, methods of transgenesis and germline aesthetics. http://artsci.ucla.edu/node/1128What he has been reading: Genbank Online Bioinformatics Databasemeet the genome of the Dolphin Lipotes vexillifer UBE3D for fun reading:https://www.ncbi.nlm.nih.gov/gene/?term=Lipotes+vexillifer+UBE3DCzech out the HECT_2; HECT-like Ubiquitin-conjugating enzyme (E2) binding FASTA and Sequence Viewer (Graphics) too!

Gina Apostol

Photo credit: Margarita CorporanGina Apostol’s fourth novel, Insurrecto, was named by Publishers’ Weekly one of the Ten Best Books of 2018 and selected as an Editor’s Choice of the NYT. Her third book, Gun Dealers’ Daughter, won the 2013 PEN/Open Book Award.Her first two novels, Bibliolepsy and The Revolution According to Raymundo Mata , both won the Juan Laya Prize for the Novel (Philippine National Book Award). She was a fellow at Civitella Ranieri in Umbria, Italy, and Emily Harvey Foundation, among others. Her essays and stories have appeared in The New York Times, Los Angeles Review of Books, Foreign Policy, Gettysburg Review, Massachusetts Review, and others. She lives in New York City and western Massachusetts and grew up in Tacloban, Leyte, in the Philippines. She teaches at the Fieldston School in New York City.

 

Bertha Rogers

More than 500 of Bertha Rogers’s poems have been published in journals and anthologies; and in several chapbooks and full-length collections, among them Wild, Again (Salmon, 2019); Heart Turned Back (Salmon, 2011); and Sleeper, You Wake (Mellen, 1991).She is completing What Want Brings: New and Selected Poems (also to be published by Salmon in 2022). Her translation of Beowulf was published by Birch Brook PRESS in 2000, and her translation and illuminations of the riddle-poems in the thousand-year-old Anglo-Saxon Exeter Book were published as Uncommon Creatures (Six Swans Artist Editions) in 2019. She co-founded Bright Hill Press & Literary Center of the Catskills in 1992; although retired, as a master teaching artist, she still leads literary workshops and edits poetry collections for the Press and other organizations. She lives on a mountain in New York’s western Catskills.

Charles Traub

Charles H. Traub has been a photographer/educator for over 50 years. His work is represented in major museums and collections all around the world. In 1988, he founded the MFA program of Photography, Video and Related Media at the School of Visual Arts in NYC and still serves as its Chair. Formally, he was a founder of the Museum of Contemporary Photography, Columbia Collage, Chicago. Later he directed New York’s prestigious Light Gallery, and for over 25 years was president of the Aaron Siskind Foundation.

Traub has received numerous awards including the prestigious ICP Infinity Award for his work on here is new york: A Democracy of Photography. He has published 17 books, including 9 monographs of his own. Recent publications include Dolce Via (2014) Lunchtime (2015), the iBook No Perfect Heroes-Photographing U.S. Grant (2016), Taradiddle (2016), and Tickety-Boo (2021).

This diptych were shot in 2020. They are published in the book, Tickety-Boo.This diptych were shot in 2020. They are published in the book, Tickety-Boo.

Beatriz Bustos Oyanedel

Beatriz Bustos Oyanedel is a Chilean curator residing in Santiago, Chile. She has produced and curated different cultural initiatives in museums and cultural centers in South America, Asia and Europe. She worked as Director of Art and Education for the Mar Adentro Foundation. She is currently the director of Centro Cultural La Moneda, the main space for the arts in Chile. Under her direction, relevant exhibitions have been exhibited, such as Obra Viva by Joaquín Torres García and J. M. W. Turner. Watercolors Tate Collection. And recently, in 2020, Soplo by Ernesto Neto, among others.

Her investigative and curatorial work is oriented towards the search for meaning and the activation of critical thinking, through artistic and cultural instances related to the context.

In 2021, under an intercultural methodology that involved joint work with representatives of the Selk’Nam, Kawésqar and Yagán First Nations communities, she directed the curatorship of El Ancho Mundo. Aproximaciones a Magallanes.

She developed the production in Chile for the Tomie Ohtake Institute, Brazil, for the exhibition Yayoi Kusama: Infinite Obsession. Between October 2014 and January 2015 she curated the Christian Boltanski project in Chile at the National Museum of Fine Arts, Santiago, and the Animitas installation in the Atacama desert, which was later exhibited in the All the World’s Futures exhibition at the Venice Biennale whose General curator was Okwui Enwezor.

Together with Zara Stanhope, she co-curated the exhibition Space to Dream: Recent art from South America, held in 2016 at the Auckland Art Gallery Toi o Tamaki Museum, New Zealand, highlighted by the local press as the best exhibition of the last thirty years.

Curator of the exhibition Our Site, South American Artists for the Niteroi Contemporary Art Museum in Rio de Janeiro, Brazil, and for the Visual Arts Museum, Santiago, Chile.

Curator and co-producer of the exhibition Umbraculum, by Belgian artist Jan Fabre, at the Tomie Ohtake Institute, Sao Paulo, Brazil, the Museum of Modern Art in Medellín, Colombia, and the Tambo Quirquincho Museum, La Paz, Bolivia.

During 2005 and 2008 she was Coordinator of the Production and Programming Unit at the Museum of Contemporary Art (MAC) in Chile.

She also participated as co-curator and general producer of the exhibition Desde el Otro Sitio/Lugar at National Museum of Contemporary Art, Seoul, Korea (2005); co-curator and producer of Correspondencias, at the Haus am Kleistpark, Berlin, Germany (2002). And from 2010 to date, she is a member of the advisory board of Key Performance, in Sweden.

The book mentioned in the interview is Violeta Parra en el Wallmapu. Su encuentro con el mundo mapuche by Paula Miranda, Elisa Loncon, Allison Ramay.

Ketta Ioannidou

Ketta Ioannidou with Black Spring painting

Ketta Ioannidou (b. Nicosia, Cyprus) lives and works in New York, NY. Ioannidou holds an MFA from School of Visual Arts and a BA (Honours) from Central Saint Martins College of Art and Design.

Ioannidou represented Cyprus in the Cairo and Alexandria Biennales in Egypt and the 18th Asian Biennale in Bangladesh. She has had solo exhibitions at The Yard, Brooklyn, NY; South Oxford Space, Brooklyn, NY; Diatopos Centre of Contemporary Art, Nicosia, Cyprus; chashama 266, New York, NY.

Ioannidou has participated in group exhibitions at Thierry Goldberg, New York, NY; Superchief Gallery NFT, New York, NY; SPRING/BREAK Art Show, New York, NY; the Bronx Museum of the Arts, Bronx, NY; NARS Foundation, Brooklyn, NY; KUSTERA PROJECTS RED HOOK, Brooklyn, NY, Islip Art Museum, NY, and Local Project Art Space, Long Island City, NY. Residencies include Lower Manhattan Cultural Council’s Swing Space, AIM at the Bronx Museum, I-Park, and Aljira Emerge. Her work has been reviewed in The New York Times, Art in America, Flash Art, the Brooklyn Rail, and Hyperallergic.

“Black Rainbows”, 2020, Oil on canvas, 43 x 34 inches“Black Spring”, 2021, Oil on canvas, 72 x 55 inches“TARDIS_Time and Relative Dimensions In Space”, 2020, Oil on canvas, 43 x 34 inches

 

Greg Slick

Greg Slick (born 1961 in Jersey City, NJ) is a visual artist and independent curator based in Beacon, NY. Time, history, archaeology, and anthropology play major thematic roles in his work. Most recently his work was featured in the group exhibitions One Thing Leads to Another at The Lockwood Gallery, Kingston, NY, and Collective Expeditions, at both BSB Gallery, Trenton, NJ and SUNY Ulster, Stone Ridge, NY. Other group exhibitions include Take Back the Walls at the Rochester Contemporary Art Center, Rochester, NY; Painting in the 21st Century, at Site:Brooklyn, Brooklyn, NY; and Time Travelers at The Samuel Dorsky Museum of Art at SUNY New Paltz, New Paltz, NY. Recent solo exhibitions include Old Bones and Broken Stones at No. 3 Reading Room & Photo Book Works, Beacon, NY and Opened Ground at the Seligmann Center, Sugar Loaf, NY. Slick is the founder and co-curator of the artists’ collective The International Society of Antiquaries.

Slick’s paintings investigate ideas of monumentality through the geometries of prehistoric archaeological sites. Using color, texture, patterns of entoptic phenomena, and occasional references to archaeological drawing, his work examines how megalithic shapes can occupy space in different and compelling ways within an abstract language. Hardedge forms reinterpret tumbles of stones at Neolithic sites as a composition of texture/color upon a vibrant ground. Color schemes allude to changing light in rural areas where these stones are found. The intended challenge to the viewer is to read deeply and consider the meaning and politics of monument building along the human journey. Specific Neolithic and Iron Age sites that are referenced in his paintings are located in Ireland, the UK, and Spain. Visits to Los Toros de Guisando and the dolmens of Antequera in Spain, for example, galvanized an interest in the prehistory of Spain. As his practice developed around this theme, he became more invested in how traditional cultural forms, such as abstract patterns and building techniques, have persisted across millennia. The long shadow of prehistoric cultures can still be seen today in Spain in such things as rural structures (eg, shepherds’ huts) and folk designs on clay and ceramic wares.

Books mentioned in this interview include Sapiens by Yuval Noah Harari and The Neolithic of Britain and Ireland by Vicki Cummings.

Cave Consciousness, 2021, acrylic on wood panel, 36 x 30 in.Old Materiality, 2021, acrylic on wood panel, 24 x 20 in.

 

Kristan Kennedy

Kristan Kennedy is a Portland-based artist, curator, and educator.  She is the Artistic Director, Curator of Visual Art for the Portland Institute for Contemporary Art (PICA). For more than a decade, Kennedy has focused on commissioning new work by international emerging artists in the form of large-scale, site-specific installations and solo projects that exist at the borders of genres. Kennedy teaches in the Visual Studies MFA program at the Pacific Northwest College of Art (PNCA) Contemporary Art.

Kennedy is represented by Fourteen30 Contemporary, Portland, Oregon. While the artist identifies as a painter, she also questions the history, process and medium that she is complicit in perpetuating.

Curator and critic Stephanie Snyder says of Kennedy’s paintings in Artforum, “their intense dialectic of beauty and repulsion mirrors the artist’s philosophical struggles—we sense that both artist and artwork have gone through the wringer—together—to achieve a hard-won grace”.

Recent exhibitions include Flat Fix, Halsey McKay Gallery, NY; Eyes, Ditch Projects, OR; Sunday, Crisp-Ellert Museum, FL; Kristan Kennedy Meets a Clock, Soloway, NY; Sleeper, Fourteen30 Contemporary, OR; OO, Misako & Rosen, Tokyo; Tomorrow, Tomorrow, CANADA and Other Colors, Fourteen30 Contemporary.

The Snake, featuring DB Amorin, Judy Cooke, Jessica Diamond, Marcus Fischer, keyon gaskin, Daniel Godinez Nivón, and Kameelah Janan Rasheed Curated by Kristan Kennedy, Portland Institute for Contemporary Art (PICA) 2018Kristan Kennedy W.L.L.B.L.N.D.N.E.S., 2017. Ink, dye, and bleach on linen. Collection of the Portland Art Museum

Christine Kuan

Before joining Creative Capital, Christine Kuan was CEO/Director of Sotheby’s Institute of Art-New York. With twenty years of experience in both nonprofit and commercial sectors of the art world, Kuan has expertise in art education, museums, and digital strategy across cultural institutions and the art market. She was formerly Chief Curator and Director of Strategic Partnerships at Artsy, where she oversaw the organization’s museum and institutional partnerships, digital collection strategy, open access policy, educational initiatives, and auctions. Prior to Artsy, Kuan was Chief Curatorial Officer and Vice President of External Affairs at Artstor, a nonprofit image library founded by The Andrew W. Mellon Foundation, and Editor-in-Chief of Oxford Art Online/Grove Art Online at Oxford University Press, where she significantly expanded access to scholarly information on women artists and artists of color. Kuan has also worked at The Metropolitan Museum of Art, and has taught at the University of Iowa, Peking University, Rutgers University, and Stanford University’s pilot program of Arts Leadership.

Kuan holds an MFA in Creative Writing Poetry from the University of Iowa Writers’ Workshop, and a BA in Art History and English Literature from Rutgers University. Kuan serves on the History of Collecting Advisory Committee at the Frick Collection in New York and the Steering Committee of The Brooklyn Rail.

The Jumpsuit Project by Sherrill Roland. Photo credit: Christian Carter Ross. Roland wears an orange prison jumpsuit and stands in front of the Capitol Building in Washington DC.Descent (Flying) by Alice Sheppard and Laurel Lawson of the ensemble Kinetic Light. Photo credit: Jay Newman/ MANCC. Sheppard and Lawson perform in wheelchairs on stage. Sheppard is on her back with Lawson balancing on her raised legs and wheels. On her belly, Lawson lifts her own wheels and arms towards the air.

Joshua Sanchez

Joshua Sanchez’s debut feature film ‘Four’ won the Best Performance Award at the Los Angeles Film Festival, the Best Feature Film Award at the Urbanworld Film Festival, and was nominated for an Independent Spirit Award.He was awarded the Hodder Fellowship from Princeton University’s Lewis Center for the Arts and the NYSCA/NYFA Artist Fellowship in Screenwriting.He’s a member of the Writers Guild of America, East and teaches screenwriting at SSHH… in New York City. He’s contributed to The Guardian, The Creative Independent, and Lambda Literary.

Four from Wolfe Video on Vimeo.

#23, Edmund from Joshua Sanchez on Vimeo.