Brainard Carey's Blog, page 48

Ingrid Berthon-Moine

Ingrid Berthon-Moine is a French visual artist based in London. Multi disciplinary artist, her work examines the construction of identity and its behavioural consequences in our society. She graduated from a Master of Fine Art at Goldsmiths University in London in 2017. In 2020, she created the online project @lackitlikeit where she interviews womxn, who work in various fields of the artistic and creative industries, on their notion of lack.

Berthon-Moine has exhibited in various group shows at venues including ‘Drawing Biennial’ at Drawing Room (2021), ‘Return to The Body’ Chalton Gallery (2020), ‘Blame The Algorithm’ Stadtmuseum München, Germany (2019), ‘Material Gestures’ Art Licks Weekend (2019), ‘Playground’ Världskultur Museerna, Sweden (2018), Espace Temoin, ‘Solitudes Molles Sous la Lumière Bleue’ Geneva, Switzerland (2018), ‘You Tear Us’ Kelder Projects, solo show, London (2018), ‘We All Have a Problem With Representation’ The Showroom (2016) and the ‘Feminist Practice in Dialogue’ ICA, London (2015).

Ingrid Berthon-Moine, Thingy 1-9: Rocio ChaconLooking At a Lack of Perspective: Thierry Bal

Margret Wibmer

In her performances, sculptures, photographic works and video installations Margret Wibmer explores relations between bodies, objects and spaces. Using ambiguity and the principle of chance as a methodology to deconstruct internalized processes, norms and values deeply embedded within our societies, she creates transient ‘realities’ that explore new strategies for connecting us with the world and with others. This becomes particularly apparent in her participatory performances such as Relay where she uses choreographic elements, sound and textile props to engage the public as co-generators in her work. She frequently collaborates with dancers, composers and writers.

Margret Wibmer was born in Lienz, Austria. After her studies at the University of Applied Arts in Vienna, she spent a large part of the 1980s in New York where she worked as assistant for Sol Lewitt together with Kazuko Miyamoto. Since her first exhibition at Fashion Moda in the South Bronx, she has exhibited and performed internationally in venues such as Palais de Tokyo in Paris (2016, 2017), RMIT Design Hub in Melbourne (2015), Oude Kerk Amsterdam (2014, 2019), Ishikawa Nishida Kitaro Museum of Philosophy in Japan (2013); KAI 10 – Arthena Foundation in Düsseldorf (2012), Kunstpavillon Innsbruck (2006). Her works have been featured in publications such Sony Style Magazine and Vestoy, monographies have been published by Kerber Verlag (2010) and VfmK – Verlag für Moderne Kunst (2020). She has received grants from the Pollock-Krasner Foundation, Mondriaan Fonds, Prins Bernhard Cultuurfonds / Tijlfonds, Land Tirol, Austrian Federal Ministry for Arts and Culture among others. Her work is included in private and public collections in Europe and beyond. She lives in Amsterdam, The Netherlands and is currently teaching online at Nanyang Academy of Fine Arts in Singapore.

The upcoming exhibition mentioned: Hella Berend, Margret Wibmer, ‘Intrinsic Oddity’ at LABOR Ebertplatz in Cologne, curated by Marion Scharmann. Opening during DC Open 3 – 5 September, 2021.

The book mentioned in the interview: Don’t cross the bridge before you get to the river Francis Alÿs, exhibition catalog with essays by Kazuhiko Yoshizaki and Yukie Kamiya

Margret Wibmer The walze 2017 Fine art print on Hahnemühle paper 80 x 64 cm (31 x 25 inches) Ed.5 + 1 APMargret Wibmer Exchange in Orbit 2012 Archival pigment print on Baryta paper mounted on dibond. In boxframe with museumglas or diasec. 100 x 110 cm (39 x 43 inches) Ed. 5 + 1 APleft: Margret Wibmer A day in July 2005 Fabric, metal, wood 139 x 20 x 18 cm (55 x 8 x 7 inches) Unique right: Margret Wibmer Breathe – dreams may follow 2020/2021 Fabric, aluminum Installations view: 300 x 170

Mandy Morrison

Mandy Morrison, Ridgewood, Queens, NY 2021

Mandy Morrison’s process explores how the body projects itself in varying contexts.  Her  particular  focus is on physicality; its expression, and how it’s capacity for agency and mobilization is affected by colonized or corporatized structures.

With a practice that straddles between Baltimore and New York, she generates projects that link capital and control with the politics of movement. Her interest derives from a body’s meaning, in having different forms of entitlement to public, private and mediated space. Over the years, her collaborative efforts with video and performance engage with architectural environments and include, dancers, youth groups, and local community participants. Her works have been performed, exhibited and screened internationally at festivals, galleries and museums, including the Whitney Museum of American Art, the Brooklyn Museum, Dixon Place (NYC), the Kunstlerhaus e.V., Hamburg, CINESONIKA in Vancouver, and the Center for Art, Design and Visual Culture in Baltimore.

Grants, fellowships and residencies include the Illinois Arts Council, the New York State Council on the Arts, Wexner Center for the Arts, and the Sacatar Institute in Bahia, Brazil. A distinguished educator she has been faculty at Pratt Institute and Rutgers University, and a visiting artist at Sarah Lawrence College, the University of Minnesota, University of Wisconsin, Museum School of Fine Arts, Boston, and SUNY Oswego.

In the summer of 2021 she is performing with other artists in the work of Maja Bekan (Netherlands/Slovenia) in “Hold It Together (We Have Each Other)” at the International Studio and Curatorial Program in Brooklyn, NY developed over 2020 during Covid.

She is a 2021 recipient of an Individual Artist Grant from the Tree of Life Foundation.

The book mentioned in the interview is Underland: A Deep Time Journey, by Robert Macfarlane.

Housekeeping (Video Still) 2018 Single-channel video installation with audio Dimensions: 9’5” x 16′ Duration: 01:46 (loop)Spirits of Promise and Loss, 2020 (Installation view) Six-channel video installation with audio Dimensions: 4’ x 40’ Duration: 02:31 (loop)

Alias Trate

Alias Trate is a London-based outsider artist, working under a pseudonym that refers to the human traits he paints.

He employs a haunting childlike aesthetic to chronicle stark elements of the human condition through traceable brush strokes and distorted physical forms. His evocative canvases marry lightness of colour and form with the gravity of existential interrogation; ontological questions of being, becoming and existence are recurring themes.

The signature on his figurative works is derived from a reimagined coin of Antonius Pius, the adoptive father of Marcus Aurelius, the Roman philosopher king. The coin displays a crowned, faceless bust encircled by the Latin inscriptions Fortem, Immortalem and MCMLXXIV. Having painted in private for over two decades, Alias

Trate launched his public debut in 2019 with two solo shows, Emotive Brutes and Unwanted Children, both exhibited at Trate Studios in London. In 2020, his works featured in the virtual exhibition Technicolour Malaise and then in the solo show entitled Zeus’ Bastards at 15 Bateman Street in London. In the spring of 2021, his works featured in a drone-led interactive gallery, entitled The Dionysian Kid, curated by Belgian born curator and academic Tim Goossens, Associate Director at the Sotheby’s Institute of Art in New York.

His work is held in private collections in England, Mexico, the US, France, the UAE and the UK.

The book mentioned in the interview is Invisible Cities by Italo Calvino.

Zeus’ Batards

Lynn Herring

Lynn Herring at the Samuel Dorsky Museum of Art

Born in Chicago to a working-class family, Lynn Herring came to New York in her 20’s to pursue a career as an advertising art director and to develop her studio practice as a visual artist in the city that produced many of the contemporary artists that inspired her.

Living in the NYC metropolitan area gave Lynn the opportunity to study at the School of Visual Arts while working at her advertising job. She ended up taking a break from her advertising career and graduated from SVA with honors in 2008 with a BFA in Sculpture.

After graduating from the School of Visual Arts, Lynn began showing her video installations at a funky little gallery on the Lower East Side and had the remarkable opportunity to show her videos in the Pera Museum in Istanbul, Turkey before her eventual move to the Hudson Valley.

Upon arriving in Kingston, NY in 2016, Herring found studio space in Kingston’s Brush Factory. Here was an amazing 100-year old industrial space filled with artists and entrepreneurs quietly living and making their work.

Herring’s studio work is influenced by her work in the advertising industry where bold simple imagery and witty short headline copy is used to execute complex strategies. Her sculpture and print work have a hard-edged and clean graphic aesthetic on the one hand and a wonky cartoon-like form and line quality on the other hand. It is as if Donald Judd and Dr. Seuss collided with each other.

Her most recent work is a reengineered Tic Tac Toe game designed to “Make America Relate Again”. Created with organic crooked-shaped, brightly-colored wood Xs and Os and using a more complicated wonky-shaped game board, Herring’s game is an object used to help many different kinds of people to connect for a playful and sane moment in this time of cultural and political toxicity.

Her interest in minimalism, contemporary culture, social psychology, spirituality, play and humor inform Herring’s work.

Herring has been exhibiting her work since 2005 and has been included in several juried shows including the Pera Museum in Istanbul, Turkey, the WAAM museum in Woodstock, NY, the Visual Arts Gallery in Chelsea and at Wired Gallery in High Falls, NY.

Herring recently completed her MFA studies with honors at SUNY New Paltz in a multi-disciplinary program with a concentration in printmaking and sculpture. She is now taking her XOX game on the road. So, keep on the lookout for her in your local diner, coffee shop, park, gallery or museum. You never know where she may pop up to play a game with you.

The book mentioned in the interview was Slaughter House-Five by Kurt Vonnegut.

XOX! Share the Love®, multi-media social art installation at the Samuel Dorsky Museum of Art at SUNY New PaltzXOX! Share the Love®, social and public art piece with artists (from left to right) Michael Asbill, Lynn Herring and Maxine Leu on the campus of SUNY New PaltzPromotional image for the Brattleboro, VT events listed below: Lynn Herring Retrospective at CX Silver Gallery Brattleboro VT August 5 through September 5, 2021 814 Western Ave. Brattleboro VT Contact: Adam Silver, CX Silver Gallery adamsilvervt@gmail.com XOX! Share the Love at Brattleboro Museum and Art Center – Brattleboro VT Saturday, August 6 from 5-8pm Artist’s talk and discussion at 6pm 10 Vernon St. Brattleboro VT XOX! Share the Love at Brooks Memorial Library – Brattleboro VT Saturday August 7, from 2-5pm Artist’s talk and discussion at 3pm 224 Main St. Brattleboro VT

Susan Louise Aberth

Susan L. Aberth is the Edith C. Blum Professor of the Art History and Visual Culture Program at Bard College. She received her M.A. from the Institute of Fine Arts, New York University, and her Ph.D. from the Graduate Center, City University of New York.

In addition to her 2004 book Leonora Carrington: Surrealism, Alchemy and Art (Lund Humphries), forthcoming is  Leonora Carrington: The Tarot (Fulgur Press, 2020) co-authored with Mexican curator Tere Arcq.  She has contributed to Surrealism and Magic, Guggenheim Venice (2021); Seeking the Marvelous: Ithell Colquhoun, British Women and Surrealism (Fulgur Press, 2021), Agnes Pelton: Desert Transcendentalist (Phoenix Art Museum, 2019), Juanita Guccione: Otherwhere (Napa Valley Museum, 2019), Surrealism, Occultism and Politics: In Search of the Marvelous (Routledge Press, 2018), Leonora Carrington: Cuentos Magicos (Museo de Arte Moderno & INBA, Mexico City, 2018), Unpacking: The Marciano Collection (Delmonico Books, Prestel, 2017), and Leonora Carrington and the International Avant-Garde (Manchester University Press, 2017), as well as to Abraxas: International Journal of Esoteric Studies, Black Mirror, and Journal of Surrealism of the Americas.

C. Finley

Photo by Elizabeth Bick

Artist and Curator of the Every Woman Biennial: C. Finley, based in New York City and Rome, is known for her elaborate paintings and intense use of color, monumental murals, multi-disciplinary collaborations, and her activism through urban art interventions, including her acclaimed Wallpapered Dumpsters.

As the creator of the 2014-2021 Every Woman Biennial she exhibited over 1200 female and non-binary artists in New York, Los Angeles and London.

The book mentioned in the interview was At Certain Points We Touch by Lauren John Joseph.

Ecstasy of Santa Theresa 111×73.5 in acrylic on canvas 2020Mano Divina 24x20in acrylic and gouache on canvas 2021

Kevin O’Brien

Kevin O’Brien is a Brisbane based architect. In 2018 he joined BVN as a Principal, becoming part of one of Australia’s largest and most highly acclaimed architectural practices. In 2017 he became the Professor of Creative Practice at the School of Architecture, Design and Planning at the University of Sydney. He is a former Board member of La Boite Theatre, and the Institute of Modern Art in Brisbane.

Kevin is passionate about the arts. He collaborates broadly within the visual and performing arts sector as well as his creating his own works. He has produced set designs for Queensland Theatre Company, La Boite Theatre and Moogahlin Performing Arts, and installations for Urban Theatre Projects, Bleach Festival, the Sydney Festival and QAGOMA. Exhibition designs have been completed for the National Gallery of Australia, the National Museum of Australia, the Queensland Museum, the Institute of Modern Art, and the Venice Architecture Biennale.

Of specific significance is the Finding Country project that began in 2005 and continues to this day as a guide for practice, teaching and thinking about architecture and its relationship with the Aboriginal concept of Country. In 2012 this endeavour took the form of the Finding Country Exhibition as an official collateral event of the 13th Venice Architectural Biennale. The central artefact of the exhibition was an 8m x 3m drawing of Brisbane containing 44 grids emptied by 50% to reveal an argument for the form of Country. The drawing was burnt on the opening night as a performative act demonstrating fire as a tool of Country.

Kevin’s current focus is on the development and demonstration of a Designing with Country methodology that seeks to locate people in settings that enable a sense of belonging to (as opposed to owning) Country.

Blak Box – travelling sound pavilion. Sound and light works by Indigenous artists to connect visitors to stories of the Country it is located onFinding Country Exhibition, Venice Architecture Biennale 2012 – 8mx3m drawing of Brisbane emptied by 50% to reveal an argument for the form of Country.

An-My Lê

An-My Lê lives and works in Brooklyn, New York. Lê received her BA from Stanford University and a Master of Fine Arts from the Yale University School of Art. She is the Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor in the Arts at Bard College, New York, where she has taught since 1999. In addition to her survey exhibition, On Contested Terrain, traveling in the US, she has had solo exhibitions at the MK Gallery, Milton Keynes (England) and Museum aan de Stoom (Belgium) in 2014; Baltimore Museum of Art in 2013; San Francisco Museum of Modern Art / SFMOMA in 2008; Dia:Beacon in 2006-07; and MoMA PS1 Contemporary Arts Center in 2002.

As a teenager Lê fled Vietnam with her family in 1975. They eventually settled in the US as refugees. Her work often addresses the impact of war on culture and on the environment. Lê says her “main goal is to try to photograph landscape in such a way that it suggests a universal history, a personal history, a history of culture.”

Lê is the recipient of numerous awards and grants: in 2012 she was awarded the John D. and Catherine T. MacArthur Foundation Fellowship; in 2010, the Louis Comfort Tiffany Foundation Award; in 2007, the National Science Foundation, Antarctic Artists and Writers Program Award; in 2004 the John Gutmann Photography Fellowship; and in 1997 the John Simon Guggenheim Memorial Foundation fellowship.

The exhibition, đô-mi-nô, runs from 24 June – 20 August 2021 at Marian Goodman Gallery New York (24 W 57 Street, New York, NY 10019). For further information, please contact the gallery at (212) 977-7160.

An-My Lê Untitled, Ba Vi, Viêt Nam, 1998 Silver gelatin print Image: 16 x 23 in. (40.6 x 58.4 cm) Frame: 21 1/8 x 27 3/4 in. (53.7 x 70.5 cm) Courtesy of the artist and Marian Goodman GalleryInstallation view An-My Lê ,“đô-mi-nô,” Marian Goodman Gallery, New York, 2021 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex YudzonInstallation view An-My Lê ,“đô-mi-nô,” Marian Goodman Gallery, New York, 2021 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon

David Makala

David Daut Makala is a self-taught artist born in 1983 Lusaka, Zambia. Makala is known for his  versatility with materials manifesting in sculpture, painting, printmaking, digital art and performance. He considers his studio practice a form of research space where thoughts and ideas gather resulting in exquisite pieces of art.  For David, the processes involved in production also allow for greater interrogations in themes such as “Identity politics and mapping”. Makala  works from his studio in Chilenje which he purposely chose as a way of working with the  community. His works are part of the collection at the renowned Lechwe Trust and Chaminuka Lodge collections.

He has participated in numerous exhibitions and art fairs such at the FNB Johannesburg Fair.