Opening reception: Saturday, March 3, 6:00-9:00pm, with performances at 7:00pm
Artist Roundtable: Sunday, March 25, 6:00pm
Knockdown Center is pleased to present MATERIAL WITNESS WITNESS MATERIAL, a group exhibition on view March 3 – April 15, 2018. The exhibition brings together the work of Amber Atiya, Amy Khoshbin, Esteban Jefferson, DonChristian Jones, SomBlackGuy, Chris Watts, and Lachell Workman, all of whom embrace experimental and rigorous ways of considering how violence and resistance are inscribed on and internalized in the body. These artists employ diverse mediums to translate the aftermath of trauma and discrimination.
The exhibition considers the idea of a “material witness,” a legal term referring to an individual with valuable information that may aid in the outcome of a criminal trial. In testimony, a “material witness” recalls and articulates what was seen as it relates to the case. Their disposition and other physical cues also play a role in transmitting information—here, the ‘material’ refers to subjective information rather than physical evidence. Additionally, visual evidence is often considered insufficient in the court of law, as proven by recent instances of video documentation of police violence which rarely result in a conviction. If the video camera, a supposed ‘objective eye’ tasked with documenting reality and a material witness, an individual whose memory is inherently bias, both fail to uphold as evidence in the court of law, then what degree of representation is considered sufficient?
The exhibition’s title MATERIAL WITNESS WITNESS MATERIAL inverts this term to reflect the ways in which translation and interpretation are integral to both the legal process and the artworks included. Drawing from these same evidentiary sources—footage of police violence, legal documents, histories of discriminatory practices—the artists take various approaches to express the impact of systemic violence on the body. Some artists in the exhibition evoke familiar bodily forms through materials such as cracked asphalt and sheer fleshy textiles. Others infiltrate, alter, and revise government documents as a gesture of resistance, while some directly represent instances of police and legal injustice.
SculptureCenter is pleased to announce Another Echo, an exhibition presented through In Practice, SculptureCenter's open call commissioning program for emerging artists. Exemplifying the spirit of SculptureCenter's mission, In Practice provides new ways to discover the most innovative artwork, foster experimentation, and give participants the opportunity to develop and present new work.
The exhibition features newly commissioned works by: Elena Ailes & Simon Belleau, Nobutaka Aozaki, Cudelice Brazelton, Priyanka Dasgupta & Chad Marshall, Carey Denniston, Jules Gimbrone, Baseera Khan, Juliana Cerqueira Leite, Courtney McClellan, Jon Wang, Carmen Winant, and Lachell Workman and is curated by Allie Tepper, SculptureCenter's 2018 Curatorial Fellow.
An echo suggests an interaction and a return: an emanation which hits a surface and reverberates as instantaneous memory — a powerful tool for envisioning and rewriting history in the present. The word "another" itself suggests recurrence, but with difference. In Practice: Another Echo brings together the work of twelve artists and artist teams engaged in reshaping experiences and forms of public space. Often responding to imposed sociopolitical conditions, the artists in this exhibition project voice and language, and make use of responsive and vernacular materials. Rather than glance at the past with nostalgia, these artists share a preoccupation with the present moment: obscuring, adapting, and subverting surrounding signs and physical structures in order to witness, reinvent, and survive the often agitated terrain of contemporary life. Across their work, which encompasses sculpture, live sound, video, and drawing, questions persist about how the self, in the midst of deep inner-processing, can converse with the present. How do we, in an ailing and unaccommodating society, extend ourselves out into the world, particularly when what we need so often is sanctuary?
R.I.P. Tees: A Meditation on the Archive of Mourning
Led by Lachell Workman at Outlooks: Heather Hart
Friday, August 4 & Saturday, August 5, both at 6PM
Lachell Workman will be presenting a process-driven performance entitled “R.I.P. Tees: A Meditation on the Archive of Mourning”. This explorative performance will consider the geographies of public and private monuments as they relate to inner-city spaces marked by memorialization and Storm King’s new addition of Outlooks: Heather Hart. R.I.P. Tees extends from Workman’s textile-based, t-shirt works embarked upon during her 2016 residency at the Shandaken Project. Within Workman’s practice she considers the multiplicity of the memorial t-shirt as a cartographic corporeal marker. Workman points to the radical, performative possibilities of bridging literature, verbal testimony, installation and oratorical history.
“Through a material investigation of ephemera and infrastructural materials, I am exploring what it means to visualize and construct a memorial within visible and hidden spaces. Many of these sites I describe as “empty,” “invisible” and “hidden in plain sight.” Sculpture and installation have served as my foundation for instigating complex narratives of monuments as they exist within public and private spaces. I am particularly interested in the formal and aesthetic language of the street side memorial and the cultural coding of the “R.I.P. T-shirt.” This work shows up in my practice as a series of questions: what constitutes a memorial, a public monument and who, specifically, are the people and events that matter enough to be publicly memorialized?”
Lachell Workman (b. 1989, Stratford, CT) is an interdisciplinary artist based in New York and Connecticut. She received her BFA in Photography from the University of Connecticut in 2011, and her MFA from SUNY Purchase College in 2015. Her work consists of photographic and sculptural installations that challenge hegemonic historical discourses. Her practice considers ritualistic practices of mourning and memorialization within inner-city spaces as a site for radical visibility. Through deconstructing ephemera such as the family snapshots, t-shirts and infrastructural materials, she works to disrupt and narratives of grief from a disproportionate trauma weighted in the black body. Her recent exhibitions include THREE. At We Buy Gold (2017), Where We Land, The Union for Contemporary Art, Queering Space at Yale University (2016), and Dineo Seshee Bopape, “Untitled (of the occult instability) [feelings]”, at the Palais de Tokyo, Paris, France (2016). She has participated in residencies at the Skowhegan School of Painting and Sculpture, the Lighthouse Works, The Shandaken Project at Storm King Art Center, Ox-Bow School of Art and the Vermont Studio Center.
Presented with The Shandaken Project.
Initiated in 2013 by the Art Center, Wanderings & Wonderings invites visitors to engage with artists in creative and unexpected ways. Participating artists have created tours, maps, performances, poetry and movement workshops, new media, and deeply thoughtful conversations. Since 2015, Wanderings and Wonderings has been co-presented The Shandaken Project, and features select alumnae residents and their collaborators.
Wanderings & Wonderings and artist talks are made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
Where We Land, Curated by Amanda Smith, The Union for Contemporary Art
The Union's summer exhibition opens with a reception on Friday, June 16 from 6 pm to 9 pm. All three artists will be present to introduce themselves, their work, and inspirations. Light refreshments will be served.
Where We Land explores the landscape of disproportionate violence against people of color. Place and environment influence cultural perceptions surrounding race, violence, complicity, and imminent danger, and in turn those views affect the ongoing relationship of communities to the spaces they occupy. Viral social media shares have increased the visibility and transparency of incidents of brutality for many audiences, but have yet to successfully bridge our geographical divides. Photographer Zora Murff (NE), and multidisciplinary artists Jordan Weber (IA) and Lachell Workman (CT) use the physical materials and visual details of urban and natural environments as a vehicle to encourage scrutiny of presumed narratives and exploration of the space between polarized interpretations of familiar scenes of violence.
Where We Land runs June 16 – August 12, coinciding with Juneteenth weekend and the biennial Native Omahan Days.
Gallery Hours: Tuesday – Saturday, 11 am to 6 pm, FREE
THREE. On Visibility and Camouflage, works from Black Women Artists for Black Lives Matte
Curated by Daniella Rose King
Opening Reception: June 11, 2017, 3-6pm
Patrice Renee Washington
We Buy Gold presents THREE.: On Visibility and Camouflage, works from Black Women Artists for Black Lives Matter, opening on Sunday, June 11th from 3-6pm at 387A Nostrand Avenue in Bed-Stuy, Brooklyn. As the third exhibition at the We Buy Gold space, THREE. is a group exhibition of works by individual members of the Black Women Artists for Black Lives Matter collective, curated by Daniella Rose King, also a member of the group. Black Women Artists for Black Lives Matter (BWA for BLM) is a collective of Black women, queer, and gender non-conforming artists. It was formed in solidarity with the Movement for Black Lives and believe that a unified and polyvocal front is a powerful agent of change in the fight against racialized violence. In coming together, BWA for BLM is committed to producing work that addresses Black care and self-determination.
This exhibition includes work by five artists from BWA for BLM that explore, interrogate, and complicate notions of visibility. The work undertaken by BWA for BLM as a collective is a constant negotiation between public and private, visible and the opaque, outside and underground. One of their key concerns is to make visible the work of black women artists and black female subjectivities, to counteract forces that seek to make them and their community invisible or unseen. Yet, camouflage, opacity, anonymity and concealment, within the bounds of the collective, are necessary strategies that enable them to come together, build community, and create discourse. In their manifesto they insist on the interdependence of seemingly incompatible actions, such as: “care and action, desire and possibility, visibility and invisibility, and vitality and self-determination as strategies to disavow and resist pervasive conditions of racism.” This is indicative of how BWA for BLM have approached a number of projects so far, whether public performances and exhibitions, where work is produced collectively or individually or private meeting and forums. The negotiation of the outside and the interior; anonymity under the umbrella of the collective, and the development and visibility of their own practices as individual artists, writers, curators and more, is a constantly evolving and unresolved conversation.
This exhibition invites consideration of the visual strategies employed by a number of artists from the collective that intersect with formations of in/visibility. In LaKela Brown’s relief plaster casts we see an archeology of adornment and cultural currency whose form insists upon not just a presence, but an irrefutable history. Patrice Renee Washington’s ceramic works similarly ossify and illuminate symbolic and loaded cultural artefacts and suggest hand-fashioned tools that might offer alternatives to oppressive state apparatuses. Nontsikelelo Mutiti’s ambiguous repeating patterns conflate the body and the ground, conjuring routes, mapping, and hair braiding to highlight ancient technologies embodied by Black women. Sam Vernon’s carbon copied drawings play with light and absence, inverting figures to think through bodies deemed invisible, through the lens of a Black Gothic tradition. Lachell Workman’s installations explore bricolage and the physical and material properties of visibility, by absenting, covering over and leaving blank.
LaKela Brown is from Detroit, Michigan, where she attended Detroit Public Schools and graduated from the College for Creative Studies with a Fine Arts major in 2005. While attending the College for Creative Studies, she was awarded a grant and residency by the Detroit organization ‘Art on the Move’. She is the recipient of an OxBow School of Art, MI fellowship and participated in the Mano y Mente residency in Tula Rose, NM. Brown has been included in solo and group exhibitions nationally and in Europe, including at: Cave Gallery, Detroit; NADA, NY; Jackie Klempay Gallery, NY; Moka Gallery, Chicago; and Lars Friedrich Gallery, Berlin, Germany. Brown continues to live and work in Brooklyn, New York.
Nontsikelelo Mutiti is an interdisciplinary artist and educator whose work encompasses fine art, design, and social practice. Born in Zimbabwe, Mutiti holds a diploma in multimedia art from the Zimbabwe Institute of Vigital Arts and an MFA from the Yale School of Art, with a concentration in graphic design. Recently, she was a resident artist at the Museum of Contemporary Art Detroit, Recess, and the Centre for Book Arts, both in New York City. In 2015, Mutiti was awarded the Joan Mitchell Foundation Emerging Artist Grant in its inaugural year. Mutiti continues to develop her work around African hair braiding and themes related to African immigration. She is currently Assistant Professor in the New Media Department at State University of New York, Purchase College. She lives and works between New York City and Harare.
Sam Vernon earned her MFA in Painting/Printmaking from Yale University in 2015 and her BFA from The Cooper Union for the Advancement of Science and Art in 2009. Her installations combine xeroxed drawings, photographs, paintings and sculptural components in an exploration of personal narrative and identity. She uses installation and performance to honor the past while revising historical memory. Vernon has most recently exhibited at the Brooklyn Museum, Queens Museum, Fowler Museum at UCLA, Seattle Art Museum, Ewing Gallery of Art & Architecture at the University of Tennessee, Knoxville, the Emery Community Arts Center at the University of Maine, Farmington, the Museum of Contemporary African Diasporan Arts (MoCADA) in Brooklyn.
Patrice Renee Washington was born in Chicago, IL and lives and works in Queens, New York. She received her BFA from Metropolitan State University of Denver (2011), and M.F.A in Visual Arts from Columbia University (2014). Washington’s work engages with fantasy, the unknown, and the raw transitory stages of object-hood; the works often exist on the outside periphery of abstraction and tackle subtleties and nuances that get overlooked. Her recent exhibitions include Museum of Contemporary Art Denver, Underdonk, Sculpture Center, AA|LA, and MoCADA. She has completed residencies at Lighthouse Works, The Museum of Arts and Design, Anderson Ranch Arts Center, and Vermont Studio Center.
Lachell Workman holds a BFA in Photography from the University of Connecticut and MFA from SUNY at Purchase College. Workman’s interdisciplinary practice investigates the many ideological perspectives of people in mourning. While aiming to transcend grief from a disproportionate trauma weighted in the black body, sites of broad memorialization create a physical framework for radical visibility. She has undertaken residencies at Skowhegan School of Painting and Sculpture, Lighthouse Works, The Shandaken Project at Storm King Art Center, Ox-Bow School of Art, Vermont Studio Center, and Lower East Side Printshop Keyholder Residency. Her work has been shown at, Yale University, Greene Gallery, CT; Palais de Tokyo, Paris, and the Hudson Valley Center for Contemporary Art.
Daniella Rose King is a writer and curator born in London and based in New York. She has a Bachelors in History of Art from the University of Manchester and Masters in Curating Contemporary Art from the Royal College of Art, London. In 2015-16 she was a Whitney Independent Study Program Helena Rubinstein Curatorial Fellow, and cocurated the exhibition “On Limits: Estrangement in the Everyday” at The Kitchen, NY. She has written for Ocula, Ibraaz, Art Monthly, Frieze, Art Agenda, Contemporary And, Harper’s Bazaar, New African Magazine and has contributed essays to catalogues, readers and other works in print. King has held curatorial positions at Nottingham Contemporary (UK), MASS Alexandria (Egypt), Institute of International Visual Arts (UK) and the Cyprus Pavilion at the 56th Venice Biennale (Italy), and is a founding member of the curatorial collective DAM PROJECTS.
A series of public events will coincide with the exhibition - an announcement on our website is forthcoming.
Saturday, October 8, 2016 - 8:00am to Friday, October 28, 2016 - 10:00pm
Yale School of Art see map
1156 Chapel Street
October 8-28th, Yale School of Art, 1156 Chapel Street - Queering Space
Queering Space brings together a community of artists from the Yale School of Art and beyond, for the first exhibition of it’s kind.Closing reception and performances on Friday, Oct 28, 6-10pm with afterparty
Bringing together a community of queer art and artists, Queering Space asks the questions: what is a queer perspective and how does queerness meet form? The many propositions put forth by the artists on view refuse to locate those articulations in a fixed position but rather a fluid space of possibility.
The first queer show at the Yale School of Art, Queering Space offers a multiplicity of points of view about queerness from within and outside of Yale. This show includes more than 40 artists working in multiple mediums.
This exhibition was curated horizontally by a group of nine curators:
Davion Alston, Camille Atley, Anna Betbeze, Katherine Bradford, Anna Campbell, Geoff Chadsey, Ongo Gablogian (Caroline Chandler), Jonathan Lyndon Chase, Kyle Coniglio, Sara Coffin, Anna Craycroft, Leah DeVun, Angela Dufresne, Zackary Drucker/Rhys Ernst, Torkwase Dyson, Avram Finkelstein, Daphne Fitzpatrick, Benjamin Fredrickson, Pilar Gallego, Camilo Godoy, Molly Zuckerman-Hartung, Jenn Dorn Heard, Cas Holman, Rin(don) Johnson, Ely Kim, Savannah Knoop, Doron Langberg, Brett Lindell/David Meanix, Aaron McIntosh, Troy Michie, Madison Minax, Lucas Libera Moore, Devin Morris, Carrie Moyer, Rashaad Newsome, Joel Parsons, Sheila Pepe, Elle Perez, Isaac Pool, Jessica Posner, Christina Quarles, Bryson Rand, Kale Roberts, Guadalupe Rosales , Ilana Savdie, Kevin Seaman, Marcela Torres, Erik Lamar Wallace II, Zoe Walsh, Ye Wang, D'Angelo Williams, Lachell Workman, Jade Yumang
Selected works from over 40 artists address the persistent condition of injustice by presenting empowering concepts of the self, body, and community in SPEAK OUT.
Atikur Abdul, John Ahearn, Antonia Andrioti, Aileen Bassis, Thom Bess, Janet Braun-Reinitz, Michael Paul Britto, Suzanne Broughel, Lex Brown, Walter Cruz, Joseph Archie Cuillier III, Richel M. Cuyler, Tasha Dougé, Dominique Duroseau, John Edmonds, Nicky Enright, Jay Espy, Adam Farcus, Shelley Feinerman, William Folchi, Cacy Forgenie, Alvaro G. Franco, Jonathan Gardenhire, Camilo Godoy, Josué Guarionex, Christopher Hill, Ariel Jackson, Daniel Johnson, Gauntam Kansara, Pat Lamanna, Erin Lefevre, Joe Lewis, Rafael Melendez, Traci J. Molloy, Kaytea Petro, Michael Pribich, Dennis RedMoon Darkeem, Vincent Romaniello, Jaffia Royes, Tajh Rust, Alex Seel, Rudy Shepherd, Spencer Washington, Cinnamon Willis, Quay Quinn Wolf, Lachell C. Workman, Allison Yasukawa, Michael Young
Hudson Valley Center for Contemporary Art Presents Peekskill Project 6
Opening Reception: September 27th, from 12-5 pm @ 100 North Water Street, Peekskill Festival will be on view: September 27th – December 31st, 2015 Locations: HVCCA + public parks + industrial spaces and storefronts in Peekskill HVCCA is proud to present the 6th edition of Peekskill Project, a public art festival devoted to bringing contemporary art out of the museum and into the community; specifically into spaces not normally used to present art. Using the city as a stage, Peekskill Project 6 will engage the urban environment and its inhabitants, through site-specific art exhibitions, performances and workshops throughout the city.
Peekskill Project, first launched in 2004, has become a highly anticipated event attracting thousands of visitors each year as it offers children and adults alike the opportunity to explore the city’s rich social, cultural and geographic history through the lens of contemporary art. With active support from businesses, restaurants, city employees, and artists the festival has grown in scope, quality, and visibility. The festival continue to generate interest and investment in the City of Peekskill and serves to solidify Peekskill’s role as a premiere art destination. Previous Peekskill Projects have featured work by over 100 established and emerging artists per project and have been visited by more than 30,000 people. Generous support and involvement of city government and the community have been critical to the success of these events.
This year Peekskill Project will feature an exciting variety of sculpture, photography, installation, video and performance art by approximately 60 international and local artists, exhibited in industrial buildings, storefronts, and parks around the city. The artists are using the rich history of Peekskill, the surrounding area, as well as their own varied personal narratives, as a generative tool to create their site-specific works. Many of the projects presented will also directly involve and engage the community in the creative process.
Proposals for Peekskill Project 6 have all been selected and reviewed by a committee, headed by the Project Coordinator and Curator, Emilie Nilsson. The 9 artists and curators in the committee have been selected based on their international scope as well as their understanding of the local community and environment. The committee consists of: Xavier Acarin & Roxana Fabius, Jenni Crain, Alessandro Facente, Geoff Feder, Chelsea Haines, Clara Halpern, Nina Mouritzen, James Mulvaney, and Jodi Waynberg, as well as representatives from HVCCA.
A comprehensive public program will also be presented to coincide with the festival, including workshops with artists, film-screenings, public performances and events –including an exciting re-enactment of the Meteorite that fell in Peekskill on October 9th 1992, which on its anniversary will be returned to “space” in an air balloon. A talk series will also be presented in connection with the festival. Here we will bring together artists, curators, and the public to discuss themes such as; the role of contemporary art in everyday life, social engagement within the arts, and arts possibility of being integrated within urban communities in a meaningful way.
The place of art in society has always been a focal point for artists and critics. In recent years, artists have redesigned their role outside the contemporary art world, bringing their work into everyday life. Through the public exposition of artworks right in the midst of our Peekskill community, and through talks, workshops, performances, and events, Peekskill Project 6 will shed light on the possibilities inherent in public, participatory and community-based art today.
Confirmed Participating Artists: Kristin Anderson• Mark Andreas• Victoria Arakcheyeva • Jan Baracz• Michael Barraco• Andrew Barthelmes• Man Bartlett • Daniel Bejar • Joe Bigley • Liene Bosque • Karolina Bregula • Jenny Brockman • Robert Brush • Alessandro Bulgini • Peter Bynum • Rigney Christopher • Teke Cocina • Lea Donnan • Olafur Eliasson • Lydia Goldbeck • Raphael Griswold • Katya Grokhovsky • Molly Haslund • Pablo Helguera • Elana Herzog • Sarah Hewitt • Howdoyousayyamsinafrican? • Owen Hunter • Rachel Simone James • Carla Rae Johnson • Deborah Kenote • Eleanor King • Saskia Janssen & George Korsmit • Adam Kremer • Dana Levy • T. Charnan Lewis • Tora Lopez • Andrea Mastrovito • Heather McKenna • James Mulvaney • Sabrina Occhipinti • Maria Rapicavoli • Elise Rasmussen • Really Large Numbers • Belle Ritter • Stephen Schaum • Dustina Sherbine • Megan Snowe • Kelly Stevens • Phumelele Tshabalala • Chris Victor • Tuo Wang • Julia Weist • Lachell Workman • Jayoung Yoon - See more at: http://www.hvcca.org/events/event/peekskill-project-6/#sthash.wA5w0nut.dpuf
All Cats Are Gray in the Dark
MFA Thesis Exhibition Series
Maass Show 1
Sarah Fuhrman, Elizabeth Knowlton, Lachell Workman
Richard & Dolly Maass Gallery, Visual Arts Building
On View: April 8-15, 2015
Reception: Thursday, April 9, 4:30-7pm
Maass Show 2
Andrea Barone, Jennifer Conrad, Amy Gartrell, Eugenia Malioykova
Richard & Dolly Maass Gallery, Visual Arts Building
On View: April 20-24, 2015
Reception: Thursday, April 23, 4:30-7pm
Featuring All Second Year MFA Students
56 Bogart Street, Brooklyn, NY
On View: May 1-17, 2015, Open Thursday-Sunday, 12-6pm
Reception: Friday, May 1, 7-9pm
Video screening with Elizabeth Knowlton: Friday, May 8, 7-8pm
School of the Arts exhibitions and programs in the Richard & Dolly Maass Gallery are supported, in part, by the Purchase College Foundation and through an endowment from Richard and Dolly Maass.
The MFA Program at the School of Art+Design is a 2 year interdisciplinary graduate program in Visual Arts. The small and highly selective program fosters the artistic, intellectual and professional growth of each student through exposure to a variety of viewpoints represented by faculty, visiting artists and critics, and through independent studio work and academic studies. Essential to the program is the individual studio practice of each student. Through the use of a semi-private studio, along with tremendous facilities, each graduate is expected to produce a body of work during their 2 years in residence.