Brainard Carey's Blog, page 58

Ellen Winkler

Ellen Winkler is a print maker, painter and graphic designer who lives in the Washington D.C. metropolitan area. She studied art during her undergraduate years at Kalamazoo College in Kalamazoo, Michigan. That educational experience afforded her the opportunity to live and work in New York City as a participant in the Great Lakes Colleges Association “Semester in New York”.  She worked as an apprentice to the artist, Willard Midgette.

She came to the Washington area in 1977 to pursue a graduate degree at George Washington University, where she focused on Graphic Design. She was Art Director of The Chronicle of Higher Education’s Opinion and Arts weekly magazine, The Chronicle Review and is retired. She is a member of the Los Angeles Printmaking Society.

Deeply influenced by the artist Jack Boul, she has spent much time exploring monotypes as a means of responding to the landscape. She has recently been working with drypoint, copper engraving and etching. Her etchings particularly reflect recent drawings which are explorations of seen and unseen places. Additionally, she has been rendering landscapes using oil paint on prepared board.


“Getting to There”; 2020; 6 5/8″ x 7 1/2”; Oil on prepared board


“Tired Going Home”; 2020; 6″ x 5; Drypoint and Engraving printed with Chine Collé

Thea Matthews

Thea Matthews is a Brooklyn-based poet, activist, and educator of Afro-Indigenous Mexican heritage.
Born and raised in San Francisco, California, Thea is the author of Unearth [The Flowers] (Red Light Lit, 2020).

Her work has appeared in The Rumpus, Atlanta Review, The New Republic, and others. Currently, she is an MFA Poetry candidate at New York University and editor of For Women Who Roar magazine.

Links to purchase the book and have more info, click here and also here.


The following printed poem was read during this interview.

Milena Dragićević Šešić

Dr. Milena Dragićević Šešić,  prof. emerita, former President of University of Arts, Belgrade, founder of UNESCO Chair in Interculturalism, Art Management and Mediation, professor of Cultural  Policy & Management, Cultural studies, Media studies. Diplomas: D.E.A. Paris-VIII 1977, Mag. University of Arts Belgrade (1981), and Ph.D. in literature and communication University of Belgrade (1990).

Commandeur dans l`Ordre des Palmes Academiques (French Ministry of Education) 2002.  ENCATC Fellowship Laureate 2019. University of Arts Laureate in 2004 & 2019.

Guest Lecturer at numerous world universities. Published 20 books and more than 200 essays: Vers les nouvelles politiques culturelles; Art management in turbulent times: adaptable quality management; Intercultural mediation in the Balkans (both with S. Dragojevic); Culture: management, animation, marketing; Neofolk culture; Art and alternative… Translated in 17 languages.

Expert for UNESCO, European Cultural Foundation, Council of Europe. Realized 50 projects in cultural policy and management (Europe, India, Cambodia, Arab countries, Central Asia).

In October 2019 Milena Dragićević Šešić became the first ENCATC laureat for her “outstanding achievements in cultural management and policy” ENCATC is a European network on cultural management and policy regrouping higher education institutions that have education and research in these areas.
Milena Dragićević šešić & Jonathan Vickery, eds. (2018) Cultural Policy and Populism: The Rise of Populism and the Crisis of Political Pragmatism, Cultural Policy Yearbook 2017-2018, Istanbul: İletişim Yayıncılık. English & Turkish editions.
Milena Dragićević Šešić & Sanjin Dragojević, Intercultural mediation, in albanian language Priština, 2007, MM Publishing This book was translated in English, French, Georgian & Albanian language.

Suzan Shutan

Suzan Shutan received her BFA from California Institute of the Arts, Valencia, CA studying with Judy Pfaff, Elizabeth Murray, Linda Benglis, Jonathan Borofsky, and so may other amazing artists who impacted her work. Her MFA was from Rutgers University Mason Gross, NJ where she studied with Leon Golub, Martha Rossler, Geoff Hendricks and a long list of great visiting artists. Her work has been shown throughout the United States, South America and Europe in 20 solo exhibits and 198 group exhibitions. She has received many grants, attended artist residencies, has been reviewed by the New York Times, Smithsonian Magazine, International Sculpture Magazine and published in the book Paper Art II by Artpower International Publishing.

Her work is in private and public collections with recent commissions by Log Me In, Boston Headquarters, MA and Sloan Kettering Hospital, NYC, NY. You can more of her work on Artsy and First Dibs with ODETTA Gallery NY, and on instagram #sshutan and on her website.

Her curating career began at the Des Moines Art Center in Iowa where she curated exhibits for the Education Wing. Her first exhibit “Mouse Art”, miniature two and three dimensional work that got exhibited along the baseboards of the entire wing, was a huge hit, was picked up by the Associated Press and went viral. She has curated twenty exhibits in the last thirty years, the most recent being in 2019, MATERIALIZED ,at Hampton Gallery at the University of Massachusetts Amherst.

Shutan, 2018, Energy Grid, Arts & Cultural Center Hollywood, FLA, 4ftx 18ft, paint, wire, pompoms.
Shutan, 2019, Toxic-Stream, tar paper, handmade dyed paper, pins, 22ft x 5.5ft x 222_Flinn Gallery Greenwich, CT

Goran Denić

Babe, Sopot, 27.08.2020. Vesna Tasic, Goran Denic. Muzej korupcije, umetnicka instalacija, organizacija ZMUC, zemunski mali umetnicki centar. RAS foto Aleksandar Slavkovic

Goran Denić, was born 1966 in Belgrade, Yugoslavia. 1985 -89 studied Law at Belgrade Faculty of Law, 1989 – 1992 BA FA from Faculty of Fine Arts in Belgrade, University of Arts, Serbia. 1992 – 94 MA in Fine Arts with distinction in sculpture at UCT, South Africa. Besides working as an art manager and art director in native organisations he is experienced artist in cross media, from traditional (sculpture and printmaking) to audio, film and animation. Lived in Angola, Mozambique and South Africa, now lives in Belgrade, Serbia. One of the founders of ZMUC (community art centre) and Museum of Corruption. Exhibited in Albania, Israel, Japan, South Africa, Mozambique, Serbia, Thailand and Montenegro.

You can see some of his works here and if you can read Serbo-Croatian you can seel and comment son his book here.

remember spain, bronze wood acrilic, 60x60x30
hallo mum, 2005, bronze steel, 120x30x40cm

Lida Winfield

Lida Winfield

Lida Winfield is an innovative and accomplished dancer, choreographer, spoken word artist and educator.

She believes that our bodies carry wisdom, history and stories. Through movement we are granted the opportunity to actively engage with that wisdom and history from a new perspective. Learn more on her website at www.lidawinfield.com.

 

Mixing dance/theater, storytelling, lighting design and original audio scores, IMAGINARY, is a quirky, innovative yet socially poignant work that explores perception in relationship to the imagination. Photo Credit: Jonathan Hsu

Carrie Moyer

Carrie Moyer. Photo credit: © Girl Ray, 2016

Carrie Moyer is an artist and writer known for her sumptuous paintings which explore and extend the legacy of American Abstraction, while paying homage to many of its groundbreaking female figures, among them Georgia O’Keeffe, Helen Frankenthaler and Elizabeth Murray. In equal measure abstract and representational, Moyer’s work proposes a kaleidoscopic worldview that embraces the sensual as much the rational. Playful logo-like silhouettes — vessels, towers, portals, meteorological phenomena, plant life, animal and human forms — demarcate arched prosceniums or abstract fields of color. These flattened archetypes and cheeky reference points often perform as compositional rigging around which flow cascades of paint, glitter and light. Whether invoking the natural or constructed world, inventive paint handling and succulent color seem to tempt all of the viewer’s senses, from sight to touch to taste (perhaps even sound!). The resulting spaces — lush and transporting — are uniquely Moyer’s own.
Moyer’s work has been exhibited throughout the US and Europe.

Her paintings were featured in the 2017 Whitney Biennial. Previous museum shows include a traveling survey, Carrie Moyer: Pirate Jenny, that originated at the Tang Museum, Saratoga Springs, NY; and Interstellar, at the Worcester Art Museum, MA (2012). Between 1991-2008, Moyer and photographer Sue Schaffner collaborated as Dyke Action Machine!, a public art project that humorously dissected mainstream advertising through the insertion of lesbian imagery. Moyer’s writing has appeared in periodicals such as Art in America, Artforum, the Brooklyn Rail and monographs on Louise Fishman and Nancy Grossman.

She has received awards from the Guggenheim and Joan Mitchell Foundations, Anonymous Was a Woman, and Creative Capital among others. Moyer attended Pratt Institute (BFA), Milton Avery Graduate School of the Arts, Bard College (MFA) and the Skowhegan School of Art. She is of the Director of MFA Program in Studio Art at Hunter College. Moyer is represented by DC Moore Gallery in New York City.

The collaborative exhibition mentioned in the interview can be explored through this link to the Portland Museum.

Carrie Moyer, “Fan Dance at the Golden Nugget,” 2017. Acrylic, glitter on canvas. Collection of the Des Moines Art Center, Des Moines, IA
Carrie Moyer, “The Crux,” 2006. Acrylic on canvas. Private collection

Simonida Rajcevic

Simonida Rajcevic was born in Belgrade on April 2nd, 1974. She graduated from the Faculty of Fine Arts in Belgrade in 1997 and in 1999 she received her Post Graduate’s Degree and in 2015. she finished her PhD in Art at the Faculty of Fine Arts in Belgrade   . She obtained a DAAD stipend to do first year post-graduate studies in Berlin, Germany. Since 2000, she has herself been working as an associate professor at the Facutly of Fine Arts in Belgrade. From 2008 until 2010 she was working as a guest associate professor at the Faculty of Architecture, Belgrade. Simonida Rajcevic has exhibited her works independently and together with other artists, both at home and abroad.

Fake Pain ,STEEL, STYRODUR, PAPER MACHE, 5,50 M X 2, 90 M, 2020
Strange waves 05,OIL ON LINEN, 203 X 160CM, 2016

Jana Danilović

Jana Danilovic, born on 1989 in Užice, Serbia. I received my Masters degree in Monumental painting from Faculty of Philology and Arts in Kraguevac in 2013, and my D.A. degree at Belgrade’s Faculty of Applied Arts, as I  defended my doctoral project „City and paintig – the role of painting in public space“ in 2018.  Focus of my interest is on various aspects of „public“, in my artistic practice as well as in my research. My artistic production is dominantly based on drawing, which I apply to pretty much everything, from paper, canvas, wood to walls. I like to explore possibilities of materials and contexts in everlasting attempts to illustrate and understand subjects that I personally feel affected by, but that are at the same time universal enough for pretty much anybody to empathyze with. So far,I displayed my work on thirteen solo exhibitions and over fifty collective exhibitions worldwide, and painted murals in Serbia, Croatia, Bosnia, Monte Negro, Greece and Fance. I think that art should be approachable and democratic, which is why street art and muralism became my primary field of action. Co-founder of Rekonstrukcija Street Art Festival.  Worked at the Teachers` training faculty  for three full semesters, before I realised I feel way better in the studio and out on the street painting.  I live and work in Belgrade.

Mural titled Savage Love, painted in 2018 in Sisak, Croatia
Absence / Resistance (from Trophy Room series), 2019

 

Ana Dimitrijevic

Karkatag is Belgrade based Serbian art collective. It exists since 2009.

Work of collective includes machines, interactive and autonomous installations and manipulable objects.

Collective uses industrial materials and technologies in research of different natural and scientific phenomena, interactivity and performativity of machines, sound, motion.

Through public actions and performances, by placing installations and machines in space as urban scenography and props, collective also introduces social aspects of its work. In those settings spectator/passer-by is being involved in co-play with machine/installation and thereby becoming an active partaker in changing the perception of space and daily routine of the city.

Karkatag works are participatory and the situation generated through their use is integral part of their realization.

Aiming to encourage experimentation and to make its metalworking and mechanical knowledge available, collective organizes series of workshops as well as offering workplace, tools and advising in its open studio/artist-in-residence project.

Karkatag has three permanent members that are together defining, managing and realizing the work of collective. Nevertheless, team structure is generally fluid and from project to project it involves new people.

 

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webpage: http://karkatag.org
fb: https://www.facebook.com/karkatag.kolektiv