Brainard Carey's Blog, page 61
June 24, 2020
Mia Kang
Mia Kang writes poems and other perversions. She is the author of City Poems (2020), a poetry pamphlet from ignitionpress. Mia was named the 2017 winner of Boston Review’s Annual Poetry Contest by Mónica de la Torre, and her writing has appeared in journals including POETRY, Washington Square Review, Narrative Magazine, and PEN America. She is a Brooklyn Poets Fellow, runner-up for the 2019 and 2017 Discovery Poetry Contests, and finalist for the 2019 Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship. She has received awards from the Academy of American Poets, the Fine Arts Work Center in Provincetown, and the Millay Colony for the Arts.
Mia is also a PhD student in the history of art at Yale University, where her research focuses on the contested rise of U.S. multiculturalism and its failures. Recent publications include contributions to The Life and Times of Alvin Baltrop (Skira, 2019), Sanford Biggers: Codeswitch (Yale University Press, 2020), Published by Lugemik: Printed Matter from 2010-2019 (Lugemik, 2019), and Plot magazine. Formerly a Mellon Mays Undergraduate Fellow, she teaches as a lecturer at Yale College and Hunter College, CUNY, her alma mater.
Alana Bartol
Canadian artist Alana Bartol comes from a long line of water witches. Her site-responsive artworks explore divination as a way of understanding across places, species, and bodies. Through collaborative and individual works, she creates relationships between the personal sphere and the landscape, particular to this time of ecological crisis.
A multidisciplinary artist with a B.F.A. from the University of Windsor (Canada) and an M.F.A. from Wayne State University (USA), she has been a visitor to Mohkinstsis (Calgary), Alberta in Treaty 7 Territory for five years. In 2019, she was longlisted for Canada’s Sobey Art Award representing the Prairies and North. Bartol’s work has been presented in festivals and galleries nationally and internationally including Esker Foundation Project Space, PlugIn ICA, Latitude 53, Walter Phillips Gallery, Berlin Feminist Film Festival, Hong Kong Arthouse Film Festival, Brussels Independent Film Festival, Istanbul Experimental Film Festival, and Media City International Film and Video Festival, amongst others. Bartol currently teaches at Alberta University of the Arts.
For more research on this work visit Orphan Well Adoption Agency. Follow her residency with University of Lethbridge Art Gallery. Her upcoming 2-person exhibition at Viviane Art Gallery with Sandra Meigs in July-August 2020.
Alana Bartol, “Orphan Well Adoption Agency”, at Latitude 53 December 7 2018–January 26 2019. Photo by Adam Waldron-Blain.
Orphan Well Adoption Agency Promotion, 2017-ongoing. Postcards, signs, online advertising, various dimensions.
Leah Patgorski
Leah Patgorski is a Pittsburgh-based artist who was born in Virginia Beach, VA. She earned a degree in Architecture at the University of Virginia followed by an MFA at the School of the Art Institute of Chicago. Drawing on a background in architecture and landscape architecture, she develops contextual textile installations for interiors as well as smaller sculptural works. Her work advocates for a connection to other humans and to history that natural fibers and colors can provide. She is particularly interested in plant-derived hues, seeking the resonance of subtle color variations within explorations of abstract form. She views the handmade and the hand-dyed as antidotes to the homogenization of architecture and of culture, which in her opinion is an unsavory trend.
Leah is also part of a collective with two other women who work together on the Other Border Wall Project, an ongoing creative resistance against harmful border practices. Their work has been supported by grants from Opportunity Fund and The Pittsburgh Foundation, and their work has been exhibited at Flatland Gallery in Houston, TX.
She has collaborated on projects with other artists including Michelle Litvin and Wafaa Bilal, and with design firms including Formwork and Studio Lithe. Her work has been exhibited nationally and internationally with venues including the Strohl Arts Center in Chautauqua, NY; ADDS DONNA in Chicago, IL; SWDZ in Vienna, Austria; the Westmoreland Museum of American Art in Greensburg, PA, and Assemble in Pittsburgh, PA.
The book mentioned in the interview is Pachinko by Min Jin Lee.
Christine Mullen Kreamer
Dr. Christine Mullen Kreamer is Deputy Director and Chief Curator at the National Museum of African Art, Smithsonian Institution, where she has worked since 2000. Her exhibitions and publications explore art and ritual, gender, African systems of knowledge, and museum practice, and they bridge the disciplines of art history, anthropology, and museum studies.
In addition to research in Togo, she has worked on museum exhibition and training projects in Ghana and Vietnam. She received her Ph.D. from Indiana University. Her more recent exhibitions and co-authored publications include Conversations: African and African American Artwork in Dialogue (2014); African Cosmos: Stellar Arts (2012); Lines, Marks, and Drawings: Through the Lens of Roger Ballen (2013); Inscribing Meaning: Writing and Graphic Systems in African Art (2007); and African Vision: The Walt Disney-Tishman African Art Collection (2007). She co-curated Visionary: Viewpoints on Africa’s Arts (2017, ongoing); she is also a contributing author for an essay on connoisseurship in the 2014 edited volume Visions from the Forest: The Art of Liberia and Sierra Leone and two essays in the 2011 edited volume Representing Africa in American Art Museums (University of Washington Press, 2011). In recognition of her outstanding achievements in the fields of art history and museum practice, Christine was named the Smithsonian Institution’s 2018 Distinguished Scholar in the Humanities.
Books mentioned in the interview include the following; For the Caravans of Gold exhibition, organized by the Block Museum of Art at Northwestern University, that was slated to open in April. Publications that the museum has worked on connected for the series on African contributions to the history of knowledge, readers could consider: Inscribing Meaning: Writing and Graphic Systems in African Art (2007).African Cosmos: Stellar Arts (2012) and Earth Matters: Land as Material and Metaphor in the Arts of Africa (2013). Dr. Christine Mullen Kreamer is currently reading newspaper articles and books touching on topics of provenance and questions of restitution. One publication you might list includes an article she wrote that focuses on Africa’s arts in the publication.
Ethiopian Orthodox; Ethiopia; 19th century; Leather, ink; H x W: 21.9 x 193 cm (8 5/8 x 76 in.)
June 17, 2020
Robert L. Straight
Robert Straight is an artist based in Wilmington, Delaware. He has been working as a painter for the past fifty years, during which time he has exhibited his work throughout the United States in both solo exhibits and group exhibitions. In addition to keeping the studio fires burning he is an avid gardener and enjoys time at the beach.
His work is represented by Schmidt / Dean Gallery.
The book he mentions in the interview is Lakota America, A New History of Indigenous Power by Pekka Hamalaien.
P-632, 2019 48″ x 48″ x 3″ acrylic, canvas, paper, foam, wood
P-634, 2020 59″ x 48″ x 3″ acrylic, paper, canvas, foam, wood
Robert E. Straight
Robert Straight is an artist based in Wilmington, Delaware. He has been working as a painter for the past fifty years, during which time he has exhibited his work throughout the United States in both solo exhibits and group exhibitions. In addition to keeping the studio fires burning he is an avid gardener and enjoys time at the beach.
His work is represented by Schmidt / Dean Gallery.
The book he mentions in the interview is Lakota America, A New History of Indigenous Power by Pekka Hamalaien.
P-632, 2019 48″ x 48″ x 3″ acrylic, canvas, paper, foam, woodP-634, 2020 59″ x 48″ x 3″ acrylic, paper, canvas, foam, wood
June 15, 2020
Jason Bayani
Jason Bayani is the author of Locus (Omnidawn Publishing 2019) and Amulet (Write Bloody Publishing 2013).He’s an MFA graduate from Saint Mary’s College, a Kundiman fellow, and works as the artistic director for Kearny Street Workshop, the oldest multi-disciplinary Asian Pacific American arts organization in the country.
His publishing credits include World Literature Today, Muzzle Magazine, Lantern Review, and other publications. Jason performs regularly around the country and debuted his solo theater show “Locus of Control” in 2016 with theatrical runs in San Francisco, New York, and Austin.
“Locus” Omnidawn Publishing
June 8, 2020
Yasue Maetake
Yasue Portraiture photo by Kyle KnodellYasue Maetake is a Japanese-born, New York-based artist. While Maetake respond to a range of influences such as Animism, Baroque, natural forms and industrial constructions, her work centers on the creation of evocative sculptures that grapple with non-controllable forces of nature and serve as a proxy for the human body.
Maetake was recently named by Artsy as one of 20 international women advancing the field of sculpture and, her work was exhibited at Palazzo Benzon, in conjunction with the 58th Venice Biennale and The Chimney, Brooklyn.
She was a resident of El Anatsui’s studio in Nigeria with a research grant from Cultural Ministry Japan. She holds MFA from Columbia University.
Symbolic Atmosphere VIII 2020 H30 x 44 x 24 inch. assorted animal bones & seashells, steel, brass, copper, cotton pulp, synthetic clay photo by Kyle Knodell
Precarious Windbreak 2019 H115 x 67 x 71 inch. copper corrosion and steel corrosion on pulp, steel, bronze, cane photo by Allegheny Art Galleries, PA
June 5, 2020
GIDEONSSON/LONDRÉ
photo credit: Oskar KarlinThrough long-lasting processes, the artist duo GIDEONSSON/LONDRÉ search for a dissolved state in-between paralysation and ecstasy. Their practice involves performances, installations and interventions that consist of different forms of highly regulated everyday activities, in relation to different experiences of time. How changes in rhythms and time flows open up for other positions and temporary detachments from established ideas about subjectivity.
GIDEONSSON/LONDRÉ live and work in Kallrör, Sweden, and received an MFA from The Royal Institute of Art in 2014. Recent exhibitions includes Change, Havremagasinet, Sweden (2019), I am vertical, ESPAI 13, Spain (2018) and The Swamp Biennale, Art Lab Gnesta, Sweden (2018).
”The Hour of the Wolf”, Andquestionmark, Stockholm, photo credit: Nayab Ikram
Tilbøyelighet”, Galleri Babel, Trondheim, photo credit: F. Susann Jamtøy
June 3, 2020
Sarah E. Brook
Sarah E. Brook is a Brooklyn-based sculptor and installation artist from the Nevada high desert. Brook explores the relationship between external and internal (psychic) vastness through the use of translucency, layering and color gradients to morph her architectural structures into perceptual experiments.
She is particularly interested in the way perceptual experience can align (queer) identities. Brook has exhibited at Lesley Heller, Field Projects, Re:Art, the (un)Scene, NARS, Ground Floor Gallery, The Newhouse Center for Contemporary Art (NY) and was included in the 2019 BRIC Biennial in Brooklyn.
She has been awarded the 2019-2020 Leslie-Lohman Museum Fellowship (NY), the 2018 Media Arts Fellowship from BRIC (NY) and residencies from Marble House Projects, I-Park, SPACE on Ryder Farm, Jentel Foundation, Playa and Kimmel Harding Nelson Center for the Arts. Public art sculptures include Open Shelter (Prospect Park, NY, 2016), Viewfinding, a year-long installation and collaboration with queer poets (Riverside Park, NY, 2018-2019), Align (permanent installation, Crystal Park, NY, 2019) and a forthcoming permanent work commissioned by the City of New York (2023).
Here are the book mentioned in the interview – Interrupted Life and Why Be Happy When You Could Be Normal.
JWS2, spray paint on synthetic poplin, string, rebar, photography, dimensions variable, installed in rural Wyoming, 2017. JWS2 is an example of the types of short term, low-impact installations I create in solitude in remote landscapes.
