Hale Gurland
Hale Gurland is an accomplished sculptor, painter and photographer whose ties to the Lower East Side date back to the turn of the twentieth century, when his grandparents immigrated to the neighborhood. His work has a "visceral energy and raw emotional immediacy." Shooting primarily in black and white, Gurland uses the camera as a tool to remember rather than as a mechanism to process experience. Gurland exhibits internationally, and his works can be found in private and public collections worldwide.
In 1979, Gurland bought the 1886 Erste Warshawer Synagogue on Rivington Street. The synagogue that once served as a house of worship for George and Ira Gershwin, Samuel Goldwyn and Jacob Javits has been transformed by Gurland into a studio and living space. The architectural and religious details of the interior remain intact, providing a thrilling environment in which to view Gurland's works, both those completed and those in progress.
On September 11, 2001, Hale Gurland, a helicopter pilot, multidisciplinary artist, and sculptor with expertise in welding, rushed to Ground Zero with his torches, tanks, and gauges. Working nights and sleeping days, Gurland aided in the search-and-rescue efforts, pausing occasionally to record images. Over the course of four days, Gurland exposed just five rolls of film. Hale Gurland is an artist in New York City.
Interview Magazine: “In the late ’70s, I was in SoHo, like a lot of artists. I was renting a place on Wooster Street above the AIR Gallery, which was a lesbian gallery at the time. Next door was the gay firehouse gallery. At night, it was a riot. They showed really interesting work. Rents went up, so I had to move. I went to buy cheap new shoes on Orchard Street, and walking back I passed the synagogue on Rivington. It had a crumpled For Sale sign. People were going inside the building because the doors were out, junkies were shooting up. I walked in, and the place looked like Dresden after the bombs. Rain was coming through the roof. It looked like they had a service, and everybody left. It was really cool. I forgot about the shoes.
My friend, the sculptor John Sanders, bought the corner building. It was called The Madhouse. It was an SRO, and they rented to people who were out of their minds shooting each other, throwing each other out of the building, wacko with drugs. It was the late ’70s.” - Hale Gurland
Gloria McLean
Resident Artist at (Re)Create during the Summer of 2022
Gloria McLean is artistic director of LIFEDANCE/Gloria McLean and Dancers. She choreographs, teaches and performs from her base in New York City and Andes, NY. McLean’s choreography has been presented in NY at 92nd Street Y, Alvin Ailey Citigroup Theater, Cunningham Studio, Dia Center for the Arts, Tenri Cultural Center, La Mama, the Kitchen, Performance Mix, and at Squid Studio which she directed from 1994-2005. She has been produced at American Dance Festival, festivals in Ireland, Paris, Montreal, Germany, Switzerland, Japan, Korea and China. Her video "Twice Marked" was exhibited at Brattleboro Museum in ’08 and the ADF Dancing for the Camera Festival ‘09.
Teaching credits include: Professor of Modern Dance for two years at Keimyung University in Daegu, South Korea; Henry-Bascom Visiting Professor at UW/Madison (2000); George Washington University (1997 and 2000). Adjunct positions and Guest Artist residencies at Manhattanville College, American University, Dowling College, Hofstra, University of Texas/Edimburg and San Marcos, and numerous others. She received acclaim as a leading member of the Erick Hawkins Dance Company from 1982-1993, touring internationally. She was on faculty at the Hawkins School, and was appointed rehearsal director by Mr. Hawkins in 1991-93, when she left the company to concentrate on LIFEDANCE.
I make dances to celebrate human existence, the miracle of the expressive body, with other artists, people, places, forms, media, with ideas that inspire us, and speak to our shared condition.
I am. It dances.
Faith Ringgold
Freedom of Speech, 1990, Acrylic and graphite on paper
Faith Ringgold (born October 8, 1930, New York, New York, U.S.—died April 13, 2024, Englewood, New Jersey) was an American artist and author who became famous for innovative quilted narrations that communicate her political beliefs.
Jones grew up in New York City’s Harlem district, and while still in high school she decided to be an artist. She attended City College of New York, where she received a degree in fine arts and education (1955) and an M.A. in fine arts (1959). In the mid-1950s Jones started teaching art in New York public schools, a job she held until the 1970s. After Jones married her second husband, Burdette Ringgold, in 1962, she began using his name professionally.
By the 1960s Ringgold’s work had matured, reflecting her burgeoning political consciousness, study of African arts and history, and appreciation for the freedom of form used by her young students. She began a body of paintings in 1963 called the American People series, which portrays the civil rights movement from a female perspective. One of the best-known and perhaps most-unsettling is American People #20: Die (1967), a bold representation of contemporary race riots. Inspired by Pablo Picasso’s Guernica (1937), the mural presents a tangle of Black and white bodies, their doll-like eyes wide in terror, and their heads and matching attire bloodied. The Museum of Modern Art (MoMA) in New York City acquired the work in 2016 and caused a stir three years later when it placed the painting near Picasso’s Les Demoiselles d’Avignon (1907) in an effort to diversify the presentation of its collection.
In the 1970s Ringgold lectured frequently at feminist art conferences and actively sought the racial integration of the New York art world. She originated a demonstration against the Whitney Museum of American Art that led to the inclusion of works by Betye Saar and Barbara Chase-Riboud in the 1972 sculpture biennial, and she helped win admission for Black artists to the exhibit schedule at the Museum of Modern Art. In 1970 Ringgold and one of her daughters founded the advocacy group Women Students and Artists for Black Art Liberation. She also began to explore different types of media, including soft sculptures and masks. In 1972 she started collaborating with her mother, Willi Posey Jones, who was a fashion designer, to create the Slave Rape series of paintings, which were inspired by Tibetan thang-kas that she viewed on a visit to museums in Amsterdam. They also worked together to make masks for the Family of Women series (1973–74).
In the 1980s Ringgold began working on “story quilts,” which became some of her most renowned works. She painted these quilts with narrative images and original stories set in the context of African American history. Her mother frequently collaborated with her on them. These works included Who’s Afraid of Aunt Jemima?(1984), Sonny’s Quilt (1986), and Tar Beach (1988), the latter of which Ringgold adapted into a children’s book (1991) that was named a Caldecott Honor Book in 1992. It tells the story of a young Black girl in New York City who dreams about flying. Ringgold’s later books for children included Aunt Harriet’s Underground Railroad in the Sky (1992), My Dream of Martin Luther King (1995), Harlem Renaissance Party(2015), and We Came to America (2016). Her memoirs, We Flew over the Bridge, were published in 1995.
In the 21st century she continued to work on quilts and on various commissions, and in 2022 the New Museum, New York City, held a major retrospective of her work entitled “Faith Ringgold: American People.”
COLLECTIONS
American Craft Museum, New York
ARCO Chemical, Philadelphia
Baltimore Museum of Art
Blanden Memorial Art Museum, Fort Dodge
Boston Museum of Fine Arts
Brigham Young University Museum of Art, Utah
Brooklyn Children's Museum
Brooklyn Museum
Buffalo Museum, North Dakota
Chase Manhattan Bank, New York
Civic Center Station, Los Angeles
Clark Museum
Coca Cola, Atlanta
Cornell Fine Arts Museum at Rollins College, Winter Park
Columbia Museum of Art, South Carolina
Crystal Bridges Museum of American Art
Currier Museum of Art, New Hampshire
Danforth Museum, Massachusetts
Delaware State University, Dover
Douglas F. Cooley Memorial Art Gallery, Portland, Oregon
Fort Wayne Museum of Art, Indiana
Harold Washington Library, Chicago
Harvard Art Museum, MA
High Museum of Art, Atlanta
Hood Museum of Art, New Hampshire
Hostos Community College, Bronx New York
Howard University, Washington, DC
Mattatuck Museum, Conecticut
Metropolitan Museum of Art, New York
Metropolitan Transit Authority, New York
Milwaukee Art Museum, Madison
MTA Los Angeles, Civic Center Station
Museum of Art and Design, New York City
Museum of Modern Art, New York City
National Council of Negro WomenNational Gallery, Washington, DC
National Museum of Women in the Arts, Washington, DC
National Museum of African American History and Culture, Washington, DC
Neuberger Museum of Art, New York
Newark Museum, New Jersey
Norton Museum of Art, Florida
NYC Board of Education, P.S. 22, Brooklyn
Palmer Museum of Art, Indiana
Palm Springs Art Museum, California
Pasadena City College, California
Pennsylvania Academy of the Fine Art
Perez Art Museum, Miami
Peter Norton Family Collection
Philadelphia Museum of Art
Phillip Morris Companies, Inc.
Phoenix Art Museum, Arizona
Polk Museum of Art, Florida
Public Art for Public Schools, New York
Public School 22. Crown Heights, Brooklyn
Rose M. Singer Center, New York City
Savannah College of Art, Georgia
Schomburg Center for Research in Black Culture, New York City
Schomberg Library
Smithsonian American Art Museum, Washington, DC
Solomon R. Guggenheim Museum
Spelman College Museum of Fine Art, Atlanta
Spencer Museum of Art, Kansas
Sprint Collection
St. Louis Art Museum, Missouri
Studio Museum Harlem, New York
The Fabric Workshop and Museum, Philadelphia
The High Museum, Atlanta
The International Quilt Study Center and Museum (IQSCM)
Toledo Museum of Art, Ohio
Uris Library, Columbia University
US Dept. of State: US Embassy Port-au Prince March 2008
WAH Center (Williamsburg Art & Historical Center)
William J. Clinton Presidential Library and Museum, Arkansas
Williams College Museum of Art, Williamstown
Worcester Art Museum, Charlotte E.W. Buffington Fund, Massachusetts
Ève K. Tremblay
Resident Artist at (Re)Create in Summer 2014
At the heart of my multidisciplinary practice lies photography, an anchor point around which I weave fragmented and staged narratives. My work unfolds through various mediums: photographic tableaux, videos, sculptures, ceramics, porcelains, drawings, paintings, and collages. These creations converge to form meditative spaces, designed to offer an alternative perspective on our world.
Born in 1972, Ève K. Tremblay grew up (en français) between Val-David and Montreal in Quebec. After studying French literature at the University of Montreal, she attended The Neighborhood Playhouse School of the Theater, worked in the film industry as a still photographer and graduated with a Bachelor's degree in Visual Arts with a photography major from Concordia University in Montreal in 2000 with a best Overall achievement award. The influence of literature, theater and cinema remain very present in her photographic and interdisciplinary works mixed with the exploration of science and consciousness.
She was recipient of many grants such as from CAC and CALQ and was Long listed for the Sobeys Art Award (Quebec, 2012). She lived many years between Montreal, Berlin, NYC and has participated in numerous artists residencies. Her works have been widely published namely in The New York Times, Art Forum Critic picks, Ciel Variable, Border Crossings, C-Magazine, Canadian Art Magazine, Kunstforum, Le Devoir, etc. Her works have been exhibited at the National Museum of Fine Arts of Quebec, the Bergen Kunsthall, the Kunstraum Kreuzberg, The Museum of Contemporary Art in Montreal, the Prague Biennial, The Nordic Biennale, MAC LAU, MAC/VAL, Petach Tikva Museum of Art, UWAG, SAAG, Owens Art Gallery,, amongst others. Her works can be found in public collections such at Le Musée d’art contemporain de Montréal, and Le Musée National des Beaux-Arts du Québec, à Québec. She won a New York State council on the Arts Award for 2023 (with the Strand Center for the Arts in Plattsburgh as fiscal sponsor) where she will open a solo Oct 14th 2023.
EXHIBITIONS
Les petites cuillères, 1999
Poker Wig, 1999
L’Éducation sentimentale (Ciel variable magazine), Winter 2000–2001, Québec (publication)
Alice tombée furieuse, 2000
Tales without Grounds, Images from 2000–2005, Longueuil, Québec / CEAAC
Unmanifested Still Films, Ongoing from 2001 (noted in 2007), Exhibition at 3520 Saint‑Jacques, Montréal (2007)
Fressen, 2003
Mémoire anticipée d'une jeune fille dérangée, 2004
Un monstre dans le potager, 2004
Postures Scientifiques, Residency from Sept 2005 – Feb 2006, CEAAC, Strasbourg, France
Tales Without Grounds (Exhibition at Buia Gallery), 2006, Buia Gallery, New York City
Lacrimae (Last drop), 2005
MAX (video), 2006, MLAB NYC
Becoming Fahrenheit 451, 2007–2008, Various (exhibited and published)
Very used page (p.22,23), 2007
Memo scroll in Red Hook, 2009, Red Hook, Brooklyn
Mishima in Red Hook, 2009, Red Hook, Brooklyn
Construction mentale, 2009
MLAB NYC Premiere (video installation), September 12–24, 2010, Stephen Stoyanov Gallery, New York
Dans les rues de Plattsburgh, NY, 2020–2021, Plattsburgh, New York
Au Lac des Possibles, January–February 2020, Galerie Patrick Mikhail, Montréal / Lake Champlain & Point au Roche, NY
Dennis Oppenheim
Extended Expressions, 1971, Photographic Documentation of performance, lithographic print
Dennis Oppenheim's art career grew and changed from a legendary scarcity of objects and refusal of the gallery system; to oversize and overwhelming motorized installations; to a contemporary turn towards large-scale Surrealism, with his life size "architectural mirages". He was an integral figure in advancing the definition of art - as idea, intervention, fleeting moment, large monument - and expanding the realm of art outside the gallery. More than any other contemporary artist, Oppenheim was pivotal in contributing to the foundational and defining moments of multiple art movements, most notably Performance, Conceptual, and Earth Art. Throughout his career, Oppenheim jumped between movements, materials, styles, and themes; maddening critics who tried to define him. Oppenheim stated, "I've always wanted to operate within the entire arena. Signature style has been suspicious to me; it reads as a limitation.”
Throughout his career, Oppenheim's work critiqued elitist art institutions. He once stated, "A museum is not a place I am dying to visit in any city. My interest in art is in an art that is yet to be made." This aversion to working inside the white cube of the gallery is an idea that has continued to influence significant artists working in Land art and Public Art including Alan Sonfist, Christo and Jean-Claude, and Maya Lin.
Oppenheim was part of the early generation of Land artists, along with Robert Smithson, Walter De Maria, Nancy Holt, and Michael Heizer. They pioneered this new form of art in the 1960s, in which the earth itself served as medium. Unlike many of his contemporaries, Oppenheim's early interventions into natural landscape took the form of removal, returning to the ancient sculptural principle of carving, by, in the artist's own words, "taking away rather than adding".
COLLECTIONS
Akron Art Institute, Akron, OH, U.S.A.
Albright-Knox Art Gallery, Buffalo, NY, U.S.A.
Art Gallery of New South Wales, Sydney, Australia
Art Gallery of Ontario, Toronto, Canada
Art Gallery of South Australia, Adelaide, AustraliaArt Gallery of Winnipeg, Winnipeg, Manitoba, Canada
Art Institute of Chicago, Chicago, Illinois, U.S.A
ArtPark, Lewiston, NY, U.S.A.
Atlantic Richfield (ARCO) Center for Visual Arts, Los Angeles, CA, U.S.A.
Ball State University, Muncie, Indiana, U.S.A.
Bard College, Annandale-on-Hudson, NY, U.S.A.
Beuhl Foundation, New York, NY, U.S.A.
Bonner Kunstverein, Artothek, Bonn, Germany
Boymans-van-Beuningen, Rotterdam, The Netherlands
Brainerd Art Gallery, State University of New York at Potsdam, NY, U.S.A.
Brooklyn Museum of Art, Brooklyn, NY, U.S.A.
Bundesgarten, Berlin, Germany
Cargo Centre International d Arts Visuels, Marseille, France
Cedarhurst Sculpture Park, Mount Vernon, IL, U.S.A.
Centre d Art Plastique Contemporain, Bordeaux, France
Chiba City Museum, Chiba City, Japan
The City of Valladolid, Spain
The City of Palma de Mallorca, Spain
The City of Leoben, Austria
Corcoran Gallery of Art, Washington, D.C., U.S.A.
Cranbrook Academy of Art, Bloomfield Hills, MI, U.S.A.
Danforth Museum of Art, Farmingham, Massachusetts U.S.A.
Denison University, Granville, OH, U.S.A.Denver Art Museum, Denver, CO, U.S.A.
Des Moines Art Center, Des Moines, IW, U.S.A.
Detroit Art Institute, Detroit, MI, U.S.A.
Edmonton Art Gallery, Edmonton, Canada
Emanuel Hoffman-Stiftung, Basel, Switzerland
Everson Museum of Art, Syracuse, NY, U.S.A.
Fattoria di Celle, Pistoia, Italy
Florida Atlantic University, Fort Lauderdale, FL, U.S.A.
Florida International University Art Museum, Miami, FL, U.S.A.
Fonds National d Art Contemporain, La Defense, France
Fort Lauderdale Museum of Art, Fort Lauderdale, FL, U.S.A.
Fort Wayne Museum of Art, Fort Wayne, TX, U.S.A.
F.R.A.C. Nord pas-de-Calais, Lille, France
F.R.A.C. Picardie, Amiens, France
F.R.A.C. Aquitaine, Aquitaine, France
Fundacao der Serralves, Porto, Portugal
Grand Rapids Art Museum, Grand Rapids, MI, U.S.A.
Groninger Museum, Groningen, The Netherlands
Guild Hall, East Hampton, NY, U.S.A.
Haags Gemeentemuseum, Den Haag, The Netherlands
Hallwalls Contemporary Arts Center, Buffalo, NY, U.S.A.
Helsinki City Art Museum, Helsinki, Finland
Herbert F. Johnson Museum of of Art, Ithaca, NY, U.S.A.High Museum of Art, Atlanta, GA, U.S.A.
Hiroshima City Museum, Hiroshima City, Japan
Houston Contemporary Arts Museum, Houston, TX, U.S.A.
Indianapolis Museum of Art, Indianapolis, Indiana, U.S.A.
Institute for Art and Urban Resources, Long Island City, NY, U.S.A.
Israel Museum, Jerusalem, Israel
Jewish Museum of Art, New York, NY, U.S.A.
Kunsthaus Zurich, Zurich, Switzerland
Lannan Foundation, Los Angeles, CA, U.S.A.
L Art Contemporain au Musee Departementl des Vosges, Epinal, France
Laumeier Sculpture Park, St. Louis, MS, U.S.A
Musee d Art Moderne de Saint-Etienne, Saint-Etienne, France
List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, Mass.,
U.S.A.
Montclair Museum of Art, Montclair, New Jersey, U.S.A.
Los Angeles County Museum of Art, Los Angeles, CA, U.S.A.
Louisiana Museum of Modern Art, Humlebaek, Denmark
Ludwig Forum fur Internationale Kunst, Aachen, Germany
Ludwig Museum, Koln, Germany
Metropolitan Museum of Art, New York, NY, U.S.A.
Milwaukee Art Museum, Milwaukee, Wisconsin, U.S.A.
Mint Museum, Charlotte, North Carolina, U.S.A.
Mississippi Museum of Art, Jackson, Mississippi, U.S.A.Montclair Art Museum, Montclair, New Jersey, U.S.A.
Mot, The Museum of Contemporary Art, Tokyo, Japan
Munson-Williams-Proctor Institute, Utica, NY, U.S.A.
Musee d Art Contemporain Entrepot, Bordeaux, France
Musee d Art et d Histoire, Geneva, Switzerland
Musee d Art Moderne de la Ville de Paris, France
Musee d Art Moderne et d Art Contemporain, Nice, France
Musee de Toulon, Toulon, France
Musee Grenoble, Grenoble, France
Musee National d Art Moderne, Centre Georges Pompidou, France
Musee Royaux des Beaux Arts, Brussels, Belgium
Museum Ludwig, Koln, Germany
Museum of Art, Fort Lauderdale, FL, U.S.A.
Museum of Fine Arts, Houston, TX, U.S.A.
Museum of Contemporary Art, Chicago, IL, U.S.A.
Museum of Contemporary Art, Miami, FL, U.S.A.
Museum of Contemporary Art, Honolulu, Hawaii, U.S.A.
Museum of Contemporary Art, Los Angeles, CA, U.S.A.
Museum of Modern Art, Heide Park, Melbourne, Australia
Museum of Modern Art, New York, NY, U.S.A.
Museum van Hedendaagse Kunst, Gent, Belgium
National Gallery of Art, Ottawa, CanadaNational Gallery of Art, Washington, D.C., U.S.A.
National Gallery of Australia, Canberra, Australia
National Museum of Contemporary Art, Kyungkido, Korea
Neuberger Museum, Purchase, NY, U.S.A.
Newark Museum, Newark, New Jersey, U.S.A.
Newport Harbor Art Museum, Newport Beach, CA, U.S.A.
Niagara University, Castellani Art Museum, Niagara, NY, U.S.A.
Norton Gallery of Art, West Palm Beach, FL, U.S.A.
Oakland Museum, Oakland, CA, U.S.A.
Oberlin College, Allen Memorial Art Museum, Oberlin, OH, U.S.A.
Ohio State University, Wexner Center for the Arts, Columbus, OH, U.S.A.
Olympic Park, Seoul, South Korea
Orlando Museum of Art, Orlando, FL, U.S.A.
Oulu Art Museum, Oulu, Finland
Pennsylvania Academy of Fine Arts, Philadelphia, PA, U.S.A.
Philadelphia Art Alliance, Philadelphia, PA, U.S.A.
Philadelphia Museum of Art, Philadelphia, PA, U.S.A.
Phoenix Art Museum, Phoenix, AZ, U.S.A.
Pori Taidemuseo, Pori, Finland
PS1 Institute for Art and Urban Resources, Long Island City, NY, U.S.A.
University of Freiburg, Freiburg, Germany
Queensland Art Gallery, Brisbane, Australia
Reina Sofia, Madrid, SpainRijksmuseum Kroller-Muller, Otterlo, The Netherlands
Rose Art Museum, Brandeis University, MA, U.S.A.
Samsung Foundation of Art and Culture, South Korea
San Diego Museum of Contemporary Art, La Jolla, CA, U.S.A.
San Francisco Museum of Modern Art, San Francisco, CA, U.S.A.
San Jose Museum of Art, San Jose, CA, U.S.A.
Seattle Art Museum, Seattle, Washington, U.S.A.
Skulpturen Museum der Stadt Marl, Marl, Germany
Sohio Development Company, Cincinnati, OH, U.S.A.
Spencer Museum of Art, Lawrence, Kansas, U.S.A.
Sprengel Museum, Hannover, Germany
Staatsgalerie Stuttgart, Stuttgart, West Germany
Stadtischer Museum Abteiberg Monchengladbach, Germany
Stadtisches Kunstmuseum Bonn, Bonn, Germany
Stedelijk Museum, Amsterdam, The Netherlands
Tate Gallery, London, U.K.
Tel Aviv Museum, Jerusalem, Israel
Tel Hai, Upper Galilee, Israel
Total Art Museum, South Korea
University of Alaska, Anchorage, AL, U.S.A.
University of California Art Museum, Berkeley, CA, U.S.A.
University of Illinois Art Museum, Normal, IL, U.S.A
University of Massachusetts, University Gallery, MA, U.S.A.University of Minnesota, Tweed Art Museum, Duluth, MN, U.S.A.
University of Nebraska, Sheldon Memorial Art Galleries, Lincoln, Nebraska, U.S.A.
University of New Mexico Art Museum, Albuquerque, New Mexico, U.S.A.
Ville de Thiers, Thiers, France
Wadsworth Atheneum, Hartford, CT, U.S.A.
Walker Hill Art Center, South Korea
Whitney Museum of American Art, New York, NY, U.S.A.
Weisman Foundation, Los Angeles, CA, U.S.A.
Worcester Art Museum, Worcester, MA, U.S.A.
Clement Valla
A Google Tree
Interview with Bitforms: “[...] So in some sense I’m trying to create a picture to elicit a particular kind of human attention and response, but the picture is created by and composed of algorithms, software and data. And to some degree these can be antithetical, but I’m trying to make sense of the human-machine axis in ways that don’t anthropomorphize machines or reduce humans to computers. Something more productive, more hopeful, where the differences and the gaps between human and machine ‘vision’ produce surprising and fruitful new ways of looking at the world.
The pandemic has also provided time to reflect on exactly what I do as an artist – how I work and what my role is. And something I keep questioning is the central role usually ascribed to the artist. I work with so many things that have their own logics, rules and processes, like computers, digital cameras, and all the software I use that is the joint creation of so many people. In some ways I’m more of a simple operator of a complicated picture-making apparatus. I’m not the prime agent of it’s aesthetic, I’m merely trying to steer it in a particular direction. Something that’s stuck with me is when (Vilém) Flusser says that artists aim at making improbable images within their apparatus.
So ultimately the way I work is with pre-existing software and digital apparatuses, connected to sensors, fabrication and printing technologies. I think of them as super simple ecologies when they are combined together. What I do is try and seed these processes with different things and see what happens. Some things grow completely fine on their own and need no intervention from me at all—I’m simply left to discover really interesting forms. Some things need more work in tending to—pruning, pushing in particular directions. But I am following or flowing with all the nonhuman elements that participate in the creation of the artwork. And in that sense gardening actually becomes an apt metaphor for making art with technology. It’s a metaphor that foregrounds context and environment, that emphasizes slow repetitive work, steady observation, and that reduces the artist to simply being one agent among many in a rich ecosystem.” - Clement Valla
Clement Valla is a New York based artist whose work considers the way computer vision systems apprehend the world, and the way in which automated image production entangles people and things in increasingly complex ways. His work has been cited in The Guardian, Wall Street Journal, TIME Magazine, El Pais, Huffington Post, Rhizome, Domus, Wired, The Brooklyn Rail, Liberation, and on BBC television. Valla received a BA in Architecture from Columbia University and an MFA from the Rhode Island School of Design in Digital+Media. He is currently an assistant professor at RISD.
He has had recent solo exhibitions at bitforms gallery in San Francisco, CA; XPO Gallery in Paris, France; and Transfer Gallery in Brooklyn, NY. His work has also been exhibited at Dongdaemun Design Plaza (DDP), Seoul, South Korea; ZKM, Karlsruhe, Germany; Draiflessen Collection, Mettingen, Germany; MU, Eindhoven, The Netherlands; Stedelijk Museum, Breda, The Netherlands; Musée Cognacq-Jay, Paris, France; the ICA, London, United Kingdom; The Indianapolis Museum of Art, Indianapolis, IN; Museum of the Moving Image, Queens, NY; Thomassen Galleri, Gothenburg, Sweden; Mulherin + Pollard Projects, New York, NY; DAAP Galleries, University of Cincinnati, OH; 319 Scholes, Brooklyn, NY.
Selected Group Exhibitions:
2011 “Jenny Odell and Clement Valla — Meridian,” Wire & Nail, San Francisco, CA
“Paradise,” Rencontres Internationales Paris/Berlin/Madrid, Antiguo Edificio De Tabacalera, Madrid, Spain
TV Cable Broadcast, Souvenirs From Earth TV, Cologne, Germany
“Help Wanted”, Culturehall Feature Issue 69, culturehall.com
“The Real and the Represented,” Little Paper Planes, Oakland, CA
“The Wassaic Project Summer Festival,” The Wassaic Project, Wassaic, NY “pixilerations [v.8],” Sol Koffler Gallery, Providence, RI
2010 “Public Records,” Public Fiction (the museum of), Los Angeles, CA
“Like Death, Santa Fe Will Catch Up With You In The End, Kevin Zucker and Chris Ho”, Fisher Press, Santa Fe, New Mexico; participant
“The Big Country,” The Moviehouse in Millerton, Millerton, NY
“pixilerations [v.7],” Sol Koffler Gallery, Providence, RI
“A Flawed Providence,” Dorsch Gallery, Miami, FL
“The Wassaic Project Summer Festival,” The Wassaic Project, Wassaic, NY “ELOAI,” Brown University, Providence, RI
2009 “Left To Chance,” Firehouse 13, Providence, RI
“The Wassaic Project Summer Festival,” The Wassaic Project, Wassaic, NY
MFA Thesis Exhibition, Rhode Island School of Design Rhode Island Convention Center, Providence RI
“Boston CyberArts Festival,” Boston, MA
2008 “Reverse Turing Tests: Hilary Berseth and Kevin Zucker,” Eleven Rivington, New York; collaborator on Zuckerʼs “curated” paintings
“From Big Box to White Box,” Gelman Gallery, Chace Center, RISD, Providence, RI
“MircroMediations,” Sol Koffler Gallery, RISD, Providence, RI
Carolee Schneemann
While still in college, Schneemann adopted a feminist perspective, citing the hierarchal ideals of the 1950s American gallery system, the negative attitudes of male teachers, and the erasure of women's art history as influences. She incorporates feminist ideas into her art as well as her writing, teaching and lecturing, constantly reaffirming her position as a pivotal figure in the feminist movement.
Schneemann's explorations in the early 1960s opened performance art to include inquiries about sensuality and sexuality. Prior to her works, the majority of performance art was formal experimentation, rather than a specific investigation into the taboo realm of the liberating possibilities of the sexual female body.
By using her body as her primary medium, Schneemann emphasized women's agency, situating women as both the creator and an active part of the creation itself, giving the female form in art a subjectivity it previously lacked. She firmly established her practice in opposition to the traditional representation of women merely as nude objects.
Carolee Schneemann (October 12, 1939 – March 6, 2019) was an American visual experimental artist, known for her multi-media works on the body, narrative, sexuality and gender. She received a B.A. in poetry and philosophy[3] from Bard College and a Master of Fine Arts from the University of Illinois. Originally a painter in the Abstract Expressionist tradition, Schneeman was uninterested in the masculine heroism of New York painters of the time and turned to performance-based work,[4]primarily characterized by research into visual traditions, taboos, and the body of the individual in relation to social bodies.[5] Although renowned for her work in performance and other media, Schneemann began her career as a painter, saying: "I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas." Her works have been shown at the Los Angeles Museum of Contemporary Art, the Museum of Modern Art in New York, the London National Film Theatre, and many other venues.
Selected Solo Exhibitions
2015 Kinetic Painting, Museum der Moderne Salzburg, Austria, curated by Sabine Breitwieser Carolee Schneemann: Infinity Kisses, The Merchant House, Amsterdam, Netherlands Carolee Schneemann, The Artist’s Institute, New York, NY, USA
2014 Water Light/Water Needle, Hales Gallery, UK
2013 Then and Now Carolee Schneemann: Oeuvres d’Histoire, Musee departemental d’art contemporain Rochechouart, France
Flange 6rpm, P·P·O·W Gallery, New York, NY
WRO Center, Wroclaw, Poland
Sweden Bienalle, Gothenburg, Sweden
Carolee Schneemann: Infinity Kisses, Galerie Samuel Lallouz, Montreal, Canada Sammlung Friedrichshof Gallery, Vienna, Austria
Taking Matters Into Our Own Hands, Richard Saltoun, London, England
2012 Remains to be Seen, Gallery Paule Anglim, San Francisco, CA
Carolee Schneemann: Remains to be Seen, Edinburgh Art Festival, Summerhall, Edin- burgh, United Kingdom
Carolee Schneemann: Within and Beyond the Premises, Krannert Art Museum, Univer- sity of Illinois at Urbana-Champaign
2011 Carolee Schneemann: Within and Beyond the Premises, Henry Art Gallery, University of Washington, Seattle, WA
Circa 1971: Early Video & Film from the EAI Archive, Dia:Beacon, New York, NY
2010 Carolee Schneemann: Up To and Including Her Limits, Gallery One One One, Winnipeg, Canada
Carolee Schneemann: Within and Beyond the Premises, Samuel Dorsky Museum of Art, SUNY New Paltz,NY
2009 Painting, What It Became, P·P·O·W Gallery, New York, NY
Carolee Schneemann: Performance Photographs from the 1970s, Carolina Nitsch Pro-
Carolee Schneemann: Performance Photographs from the 1970s, Carolina Nitsch Project Room, NewYork, NY
2007 Pierre Menard Gallery, Cambridge. MA Breaking Borders, MOCCA, Toronto, Canada Remains to be Seen, CEPA Gallery, Buffalo, NY
2006 Presentation House Gallery, Vancouver, Canada
CORPOREAL – Photographic Works 1963-2005, P·P·O·W, New York, NY
2005 Devour, Articule, Montreal, Canada
2004 Infinity Kisses, Remy Toledo Gallery, New York, NY
2002 Embodied, P·P·O·W Gallery, New York, NY Gallerie Anne de Villepoix, Paris, France
2001 Carolee Schneemann, Cornerhouse, Manchester, UK More Wrong Things, White Box Gallery, New York, NY
2000 Vespers Pool, Emily Harvey Gallery, New York, NY
1999 Carolee Schneemann: Drawing Performance, Art Gallery at University of Southern Maine, Gorham, ME
Carolee Schneemann: Strike, Mark, Motion, Mabel Smith Douglass Galleries, Rutgers University, New
Brunswick, NJ
1997 Carolee Schneemann, New Museum of Contemporary Art, New York, NY Schneemann in Bonn, Frauen Museum, Bonn, Germany
1996 Fragments of Known/Unknown Plague Column, Galerie Samuel Lallouz, Montreal, Canada
Known/Unknown Plague Column, Elga Wimmer Gallery, New York, NY
1995 Carolee Schneemann: Compositions with Interior Scroll, Mount Saint Vincent University Gallery, New York, NY
Kunstraum, Vienna, Austria
Something Special: Carolee Schneemann Recent Prints and Photographs, Galerie Krinz- inger, Vienna, Austria
Recent Prints: Perceptual Pollution – Benday and Pixel, Fine Arts Center Gallery, University of Rhode
1994 Penine Hart Gallery, New York, NY Syracuse University, New York, NY
1992 Tangeman Fine Arts Gallery, Cincinnati, OH Randolph St. Gallery, Chicago, IL
1991 Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA
1990 Emily Harvey Gallery, New York, NY
1988 Self-Shot, Emily Harvey Gallery, New York, NY
1986 Recent & Early Work, Henri Gallery, Washington DC
1985 Recent Work, Max Hutchinson Gallery, New York, NY
1984 Kent State University, Department of Fine Arts, University Gallery, Kent, OH Maryland Institute College of Art, Baltimore, MD
Performed Paintings and Works on Paper, Kleinart Gallery, Woodstock, NY
1983 Recent Work, Max Hutchinson Gallery, New York, NY
Colby-Sawyer College, New London, NH
Works on Paper, Rutgers University, Douglass College, New Brunswick, NJ
Selected Collections
ARCO Museum, Madrid, Spain
Archives of Modern Art, Zagreb, Croatia
Berkeley Art Museum, Berkeley, California
Bronx Museum of the Arts, Bronx, New York
Cranbrook Art Museum, Bloomfield Hills, Michigan
Centre Georges Pompidou, Musee National D’art Moderne, Paris, France
Commune di Milano, Palazzo Reale, Milan, Italy
Detroit Institute of Art, Detroit, Michigan
Franklin Furnace, New York, New York
The Getty Center for the History of Arts and the Humanities, Santa Monica, California
Hamburger Bahnhof
Hamburg Kunst Museum, Hamburg, Germany
Hirshhorn Museum, Washington D.C
Hoffmann Museum, Dresden, Germany
Institute of Contemporary Art, London, England
Institute of Contemporary Art, Chicago, Illinois
Los Angeles Institute of Contemporary Art, Los Angeles, CA
Ludwig Collection, Cologne, Germany
Museum of Modern Art, New York, New York
Muzeum Wspólczesne, Wroclaw, Poland
Moderna Museet, Stockholm, Sweden
Musée Départemental d’art contemporain de Rochechouart, Rochechouart, France
New Museum of Contemporary Art, New York, New York
Peter Norton Collection, Santa Monica, California
Philadelphia Museum of Art, Philadelphia, Pennsylvania
Reykjavik Art Museum, Reyjavik, Iceland
Rhode Island School of Design Museum, Providence, Rhode Island
San Francisco Museum of Modern Art, San Francisco, California
University of Massachusetts, Contemporary Archives, Boston, Massachusetts
The Whitney Museum of Art, New York, New York
Yale University Art Gallery, New Haven, Connecticut
Selected Private Collections
Jay Henry Brac - New York, New York Francesco Conz – Verona, Italy
Ger Bout – Rotterdam, Holland Guilbaud Family – Paris, France
Hoffman Collection – Dresden, Germany Hubert Klocker – Vienna, Austria Johnson - Sodel – New York, New York Stephan J. Pascher – New York, New York Placido Arango – Madrid, Spain
Robert Schiffler Collection – Greenville, Ohio
May and Samuel Rudin Family Foundation - New York, New York Charles Isaacs
Pension Trust - New York, New York
Collezione La Gaia – Italy
Paul McCarthy – California
Artistides Logothetis
Resident Artist at (Re)Create in the Spring - Fall of 2016
I am part of a diaspora. I navigate different longings. I want to assimilate, to rebel, to absorb, to release. Of course these dichotomies are facile and exemplary of the strictures of language, rather than the true multiplicities of experience. It is these multiplicities that are most interesting to me because they offer a more real representation of the events in our perception.
While my Greek ethnicity informs my fascination with the structure of Anglo-American class and culture (including the regulation of race), my gender experience informs my fascination with identity constructs from fashion, to color, to "taste", as well as the organization and codes of power, sex, and control. In addition, the constant changes in science and technology elicit in me feelings of wonder and concern. I explore these detail-oriented investigations through my art making process.
The contradictions and structural errors of society's systems are major sources of inspiration for me. I find that these paradigms are often tenuous despite their seeming dominance. The absurdity of daily experience, my wariness of hierarchies, and my general aversion to didactic narrative, has led me to metaphoric abstraction. The ensuing narrative, composed of mostly essential imagery, dots and lines for example, and its origination from process, reflects my interest not in specificity and oration, but rather in exploration and possibility. Still, I often work with non-art and found materials expressly for the varied metaphors inherent in them. By embracing notions that are seemingly ambiguous, whether manifested in a single artwork or extracted from a body of work, the process of observation will be enriched and perhaps revised. Specifically, I encourage the viewer of my work to visualize alternatives to hierarchies and constructs in terms of color and perspective and also in terms of socialized ideas.
Artist Statement: Born in Athens, Greece in 1967, Aristides Logothetis completed his BFA from Tufts University and the School of the Museum of Fine Arts in Boston, MA in 1996 and then graduated with an MFA from the University of New Orleans, LA, in 2001. He was resident artist at the Schloss Büchsenhausen in Innsbruck, Austria in 2001 and in Fort George, Annotto Bay, Jamaica in 2002.
In 2001, Logothetis had a solo exhibition titled Meta-Perceptions that traveled to the Brown Gallery at Duke University, Durham, NC, the Fine Arts Gallery at the University of New Orleans, LA and the Kenyon Gallery at the Schoolhouse Center for Art and Design, Provincetown, MA. He has also participated in group shows at Galerie Im Andechshof, Stadt Innsbruck, Innsbruck, Austria (2001), Arthur Roger Gallery, New Orleans, LA (2001), Bing Bang at the Isaac Delgado Community College, New Orleans, LA (2001) and The Next Wave at the Southeastern Louisiana University in Hammond, LA (1999).
COLLECTIONS (selected)
Athens Municipal Museum, Athens, Greece
Bershad Design Associates, Boston, MA
Fidelity Investments, Boston, MA
Keramida Environmental Inc., Indianapolis, IN
Q-Division Studios, Boston, MA
University of New Orleans, New Orleans, LA
Ann McCoy
Ann McCoy is a New York-based sculptor and painter whose career began in 1972. She is a working artist as well as an educator and art critic who writes frequently for the Brooklyn Rail. She is a lecturer at Yale in the graduate design division of the Yale School of Drama, where she teaches art history, the history of projection, and mythology. She has written about artists working with projection including William Kentridge, Nalini Malini, Lenore Malen, Carolee Schneemann, and Krzysztof Wodiczko.
She is known primarily for her large-scale pencil drawings, which are based on her dreams, studies in alchemy, and depth psychology. Ann McCoy worked with Prof. C.A. Meier, Jung’s heir apparent for twenty-five years in Zurich. She has a background in Jungian psychology, archeology, and philosophy. She has worked on alchemical texts at the Palazzo Corsini, and Vatican Library in Rome. The artist began sculpting in bronze at the Kansas City Art Institute at sixteen, and continues to work in the medium. During her year on the Prix de Rome, she worked on large winged tubs at the Mariani Foundry in Pietrasanta. Her large-scale projection pieces have included “Conversations with Angels” at the Majdanek Museum in Poland.
Her work is included in the collections of the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the National Gallery of Australia, the Roy L. Neuberger Museum, the New Orleans Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others.
Ann McCoy has received the following awards: the Asian Cultural Council, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation Award, the Award in the Visual Arts, the Prix de Rome, the National Endowment for the Art, the Berliner Kunstler Program D.A.A.D., and the New Talent Award of Los Angeles County Museum of Art. She has shown work in the Venice Biennale and the Whitney Biennial, and has had one-person exhibitions in New York, Los Angeles, New Delhi, Poland, and Berlin.
Selected Public Collections
Allen Memorial Art Museum, Oberlin, Ohio
Art Institute of Chicago, Illinois
Dallas Art Museum, Texas
Des Moines Art Center, Iowa
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Honolulu Academy of Arts, Hawaii
Hawaii State Collection
Indianapolis Museum of Art, Indiana
The Lannan Foundation, Marina Del Ray, California
Los Angeles County Museum of Art, California
The Museum of Modern Art, New York
The Metropolitan Museum of Art, New York.
The National Gallery of Australia, Canberra
National Museum of the American Indian
Roy L. Neuberger Museum, Purchase, New York
The Orlando Museum of Art, Florida
New Orleans Museum of Art, Louisiana
Newport Harbor Art Museum, Newport Beach, California
Powis Art Gallery, Sidney, Australia
San Francisco Museum of Modern Art, California
The Smithsonian, Washington, DC
Whitney Museum of American Art, New York
Guggenheim Fellowships: supporting artists, scholars, & scientists. (n.d.-b). https://www.gf.org/fellows/ann-mccoy/
Anita Glesta
Resident Artist at (Re)Create in the Summer of 2017
Australian/American artist Anita Glesta’s work aims to subvert and catalyze different ways to think about our shared humanity in historic and contemporary contexts through deep time relationships. The interconnection between nature and the human body is a constant referential source. Developed with the public concern paramount to the core vision, Glesta connects with the community through interactivity in public settings. Integrating these concerns by inviting the viewer to look and engage with their entire physical and psychological selves as with her work Watershed and Unnerved. Mediums including time-based installation, sculpture, video and 2 -dimensions artworks.
The arch of Glesta’s three- decade long career has occurred in both private and public settings which has included solo and group exhibitions at the Museum of Contemporary Art, Krakow (MOCAK); Peking Museum of Art and Archeology, Beijing; New Museum, New York; Hudson River Museum, New York; White Columns, New York; Parrish Museum, New York; Art Gallery of New South Wales, Sydney and other museums and galleries internationally.
Two permanent public art commissions are sited in Sydney, Australia and near Washington D.C. in the USA. The Federal Census Bureau building, 2010, in Suitland Maryland was commissioned by the General Administration Services Art in Architecture. Yurong Water Gardens was commissioned by Sydney city council in 1999.
She is the recipient of many awards, including the New York Foundation for the Arts Fellowship; New York State Council of the Arts New Media, Pollock/Krasner, the Puffin Foundation and others. In 2020, Glesta was awarded a prestigious “Laureate Research Fellowship” in neuroscience by the UNSW National Institute For Experimental Arts to study the corresponding synapsis of the Vagus Nerve through digital and 2 dimensional art.
Glesta’s aesthetic lures the viewer into the work and subtly seduces the viewer’s attention to understand that there is something greater than what is visually presented.
PUBLIC COLLECTIONS
Federal Bureau of the Census, GSA Sculpture Commission, Suitland, Md Sydney City Council, Public art commission, Cook and Phillip Park, Sydney, Au Bennington College, Bennington, VT
Sackler Foundation for the Arts, Science and, Humanities
Peking University Museum of Art and Archaeology, Beijing, China Campbelltown Botanic Gardens, New South Wales, Australia
Art Gallery of New South Wales, Sydney, Australia
BIBLIOGRAPHY
2022 Bennett, Jim - Essay UNNERVED included in Publication, “The Big Anxiety, Taking Care of Mental Health in Times of Crisis”, Bloomsbury Press, 2022
Stevens, Andrew - As Anita began painting a giant heart... , Sydney Morning Herald, Feature article, Arts and Culture, September 8th.
2020 McNay, Anna - Studio International, A Personal Message, Artists during Covid, March 3rd. ArtW, Women Artists, online McNay, Anna - feature article, The Flux Review magazine, UK, Edition 3
2017 Public Art Provokes Discourse on Climate Change in London, Metropolis Magazine WATERSHED Enman, Scott – WATERSHED, Brooklyn Eagle
2016 Uszerwicz, Monica - Hyperallergic, review, Satellite Art Fair
2015 WATERSHED, Studio International video interview McKENZIE, Janet – feature, SPIN London Art Fair, Studio International, May 21-23
Carey, Brainard – feature, Anita Glesta, Yale Radio Interview, August 10th 2014 A Buyer’s Market, The Economist, review of Silicon Valley Art Fair, SPIN featured.
2014 Wei, Lilly - Sculpture Magazine, Review by of “GUERNIKA/GUERNICA”
2013 Wei, Lilly – feature, Anita Glesta Interview, Studio International, Arthur M Sackler Museum of Art and Archaeology, Beijing, November 19th
2013 MacKenzie-Spens, Janet - feature article, Studio International
2013 Wender, Abigail, Gernika at 75 years Old, Guernica Magazine, 2013
2011 Pierkawska, Delfina - catalogue essay, Museum of Contemporary Art in Krakow 2010 Brushwood Rose, Chloë and Di Paolantonio, Mario – Gernika Project, publication,
Anita Glesta – Artist site. (n.d.). https://anitaglesta.com/
Christo & Jean Claude
The Gates was a site-specific work of art by Bulgarian artist Christo Yavacheff and French artist Jeanne-Claude, known jointly as Christo and Jeanne-Claude. The artists installed 7,503 steel "gates" along 23 miles (37 km) of pathways in Central Park in New York City. From each gate hung a panel of deep saffron-colored nylonfabric. The exhibit ran from February 12 through February 27, 2005.
In the books and other memorabilia distributed by the artists, the project is called The Gates, Central Park, New York, 1979–2005, alluding to the time that passed between the artists' initial proposal and its installation.
The Gates was greeted with mixed reactions. Some people loved the work for brightening the bleak winter landscape and encouraging late-night pedestrian traffic in Central Park; others hated it, accusing the artists of defacing the landscape. It was seen as an obstruction to bicyclists, who felt that the gates could cause accidents, although cycling was not legal on those paths. The artists received a great deal of their nationwide fame as a frequent object of ridicule by David Letterman, as well as by Keith Olbermann, whose apartment was nearby.
COLLECTIONS
Museum of Modern Art (MoMA) – New York, USA
The Guggenheim Museum – New York, USA
Centre Pompidou – Paris, France
The Solomon R. Guggenheim Museum – New York, USA
The National Gallery of Art – Washington, D.C., USA
The Tate – London, UK
The Museum of Contemporary Art (MOCA) – Los Angeles, USA
The Whitney Museum of American Art – New York, USA
The Los Angeles County Museum of Art (LACMA) – Los Angeles, USA
The Kunsthalle Bern – Bern, Switzerland
The Art Institute of Chicago – Chicago, USA
The Museum of Contemporary Art (MOCA) – San Diego, USA
The Smithsonian American Art Museum – Washington, D.C., USA
The Walker Art Center – Minneapolis, USA
The Museum of Fine Arts – Boston, USA
The Modern Art Museum of Fort Worth – Fort Worth, USA
The Schirn Kunsthalle – Frankfurt, Germany
The National Gallery of Australia – Canberra, Australia
Christo and Jeanne-Claude’s Private Archive: The Christo and Jeanne-Claude Foundation, based in New York
The Museo d'Arte Moderna e Contemporanea di Trento e Rovereto – Italy
Lisa Buchanan
Lisa Buchanan is a Seattle-based contemporary artist who creates paintings and collages.
Born in San Francisco, California, Buchanan studied at Centro Intercultural de Documentación (CIDOC) in Cuernavaca, Mexico, and at Princeton University in New Jersey.
Elena Bajo
Elena Bajo is an artist, educator and founder of the S-LAB Project, an ecological art platform dedicated to climate action, located in Wonder Valley Californian desert. Using Celtic ancestral methods and a trans-disciplinary art practice which combines sculpture, film, and performance, they mine vibrant plant systems to discover their unique material forms and activate new forms of consciousness. After obtaining a degree in Pharmacology from, University Complutense (Madrid, ES) they received an MFA from Central Saint Martins (London, UK) and an MA in Genetic Architecture from ESARQ UIC (Barcelona, ES), Laban and Bartenieff Movement at TanzFabrik, Berlin Contemporary Dance Center.
By merging ancestral methods with contemporary art practices across fine arts, ethnobotany, dance, choreography, and poetry, Elena Bajo delves into vibrant plant systems to unveil their unique consciousness. Her art serves as a platform for researching and reviving ancestral ethnobotanical knowledge, engaging with environmental justice issues, and fostering collective empowerment through artistic expression and community collaboration. Elena's diverse artistic approach spans choreography, sculpture, performance, painting, poetry, and video, embodying a holistic exploration of ecology, history, and human connection to the non-human world.
Her artistic practice occurs at the intersection of anarchist thought, social ecology, and metaphysics, engaging ideas of nature, and the body as a political and social entity questioning its relationship to ecologies of capital. She works both individually and collectively, using a post-disciplinary approach to choreography, sculpture, performance, architecture, life sciences, text and video. Concept-generated and research-based is concerned with the ecological, social, and political dimensions of everyday spaces, the strategies to conceptualize resistance, the poetics of ideologies, and the relationship between temporalities and subjectivities. Exhibition spaces become art studios or laboratories, where an experimental, itinerant, site-specific performed work unfolds, generating improvised actions and choreographed movements. The resulting works are both conceptual and poetic, in the sense they are linked to cognitive labor; a labor that cannot be valued and has no limits as it is the condition of precarious work in today’s neoliberal economy generated amidst ecosophical moments of fracture and repositioning, in an attempt to entertain fissures in a world of crystallized sensibility.
After obtaining a degree in Pharmacology from the Complutense University in Madrid, (Spain) she received an MA in Genetic Architecture from ESARQ, School of Architecture at International University of Catalunya, Barcelona (Spain) and an MA in Fine Arts from Central Saint Martins School of Art, University of Arts, London (UK). She has studied Laban / Bartenieff Movement Principles with Eva Blaschke, Christel Büche, and Jan Burkhardt at TanzFabrik, Center for Contemporary Dance, Berlin She was a co-founder of the temporary art project EXHIBITION 211, in New York. She has taught and lectured at Saas-Fee Summer Institute of Art, Berlin; Goldsmith’s College, London; Rhode Island School of Design, RISD, Providence; and Sheffield Hallam University, Sheffield among other institutions.
EXHIBITIONS AND PERFORMANCES
2024 Elena Bajo Freya’s Grove (Eternal Return) SkulpturenPark Wesenberg | Gabarron Res DE
2022 Elena Bajo Dance of the Opium Poppy CRA Matadero Madrid ES (Performance)
2018 Elena Bajo C- Room Priska Pasquer Gallery Cologne DE
2018 Elena Bajo A Poem in Seven Movements Elizabeth Foundation for the Arts EFA NY US (Performance) 2017 Elena Bajo The Owl of Minerva only Flies at Dusk (Urania’s Mirror) Parallel Oaxaca Mexico DF MX 2017 Elena Bajo All Tangled Up in a Fading Star ArcoMadrid Audemars Piguet Award Madrid ES
2016 Elena Bajo Throwing Car Parts from a Cliff before Sunrise Garcia Galeria Madrid ES 2015 Elena Bajo Isle of Innocence After Fordlandia Kunsthalle São Paulo BR(c)
2015 Elena Bajo Time is the Form of the Object Annex14 Zurich CH
2015 Elena Bajo and Michal Budny ArcoMadrid Annex14 Madrid ES
2014 Elena Bajo With Entheogenic Intent (Burn the Witch) 18th Street Arts Center LA US (c) (+Performance) 2014 Elena Bajo Timeless Considerations Stacion - Center for Contemporary Art Prishtina Kosovo(+Perfor) 2014 Elena Bajo A Universe comes into Being ARTIUM Basque Museum-Vitoria-Gasteiz ES (c) (+Perfor)
PUBLICATION
2024 You should have seen it Skowhegan Art ZINE NY US
2023 Datura Soil of History I Write what you Write Curated by Ersi Varveri and Gijs Waterschoot Syros GR 2023 Spanish Women Artists Contemporary Art Institute IAC Madrid ES
2021 This is Jackalope Art Magazine Madrid ES
2021 Women Artists from Madrid, Spain Madrid ES
2020 Siegfried Contemporary London UK
2018 Elena Bajo Kuenstler Kritisches Lexikon der Gegenwartskunst Neu-Isenburg DE
2018 Itineraries Botin Foundation Santander ES
2017 The Pleiades Revista Sin Objeto Fine Arts Cuenca University Cuenca ES
2017 On Violence E.R.O.S. Press London UK
2014 With Entheogenic Intent (Burn the Witch) Published by 18th Street Arts Center LA CA US
2013 The Absence of Work Artist Book Published by Taube Edition Berlin DE
2013 La Femme Radical Commissioned by Octavio Zaya Atlantica Arts Journal ES
2012 The Factory of Forms Artist Book Published by Onomatopee Eindhoven NL
2011 On Uncertain Terms Artist Book Published by s/t Berlin DE
Ida Applebroog
Ida Applebroog, Promise I Won’t Die?, 1987, 91.4 x 121.9 cm, Linocut in colors with hand-coloring, on Arches Paper
Ida Applebroog was born as Ida Appelbaum on November 11, 1929, in the Bronx, New York, into an ultra-Orthodox Jewish family. Her sister was Gloria Bornstein, who also became an artist. From 1948 to 1950, she attended NY State Institute of Applied Arts and Sciences. At the Institute, she studied graphic design rather than fine art. Applebroog stated that she, "couldn't make art without also making money." While studying at NY State Institute of Applied Arts and Sciences, she began to work at an advertising agency where she was the only woman. Applebroog later recounted, "In those days sexual harassment was a day-to-day event. I held out in the ad agency for six months, then resigned."
After resigning from the advertising agency, Applebroog went on to work as a freelance illustrator for children's books and greeting cards. In 1950, she married Gideon Horowitz, her high school sweetheart. She took a job in the art division of the New York Public Library. She also began to take night classes at City College of New York during this time. By 1960, Applebroog had four children and in order for her husband to complete his doctorate, Applebroog and her family had to move to Chicago. After moving to Chicago Applebroog took courses at the School of the Art Institute of Chicago and made jewelry in her family's basement that her husband and children would sell at art fairs.
In 1968 Applebroog and her family relocated again to Southern California where her husband accepted an academic position. While living in San Diego, California, Applebroog began sketching close-ups of her own naked body, specifically her crotch, while in the bathtub, a series of more than 150 works she would not exhibit until 2010. In 1969 Applebroog was briefly hospitalized for depression, during which time she began making bathtub sketches. She was released by 1970 and promptly began to continue making art in her studio in San Diego. Once she returned from her hospitalization, she began to create sculptures of "biomorphic forms made from fabric" amongst much other art. At the age of forty-four she participated in one of her earliest group exhibitions, entitled Invisible/Visible in 1972 at Long Beach Museum of Art.
The following year Applebroog went to the Feminist Artists Conference at California Institute of the Arts, where she spoke with many women artists and was highly influenced by their enthusiasm toward social activism in art. Applebroog moved back to New York City in 1974. It was there, after changing her name from "Ida Horowitz" to "Ida Applebroog" (based on her maiden name, Applebaum), where she began to develop her own signature artistic style with a series of cartoon like figures that merged the comic-strip format with the advertising industry's use of story-boards to explain a concept.
Starting in 1977 she circulated a series of self-published books through the mail, and joined Heresies: A Feminist Publication on Art and Politics, alongside feminist curators and artists such as Lucy R. Lippard and May Stevens, among others.[13] In 1981 she showed Applebroog: Silent Stagings, her first exhibition at Ronald Feldman Fine Arts in New York City, where she continued to show for over 20 years. Applebroog stated that the subject of her work is "how power works--male over female, parents over children, governments over people, doctors over patients."
In 2005 she was profiled in the PBS documentary Art 21: Art in the Twenty-first Century. In 2010, Applebroog's works on paper, including her 1969 sketches, were exhibited in a solo show entitled Ida Applebroog: Monalisa at Hauser & Wirth in New York City, and in 2011 at Hauser & Wirth in London. In 2016 Applebroog was the subject of the documentary Call Her Applebroog, directed by her daughter Beth B.
In 2020, Ida Applebroog's work was included in a major group show at the Pérez Art Museum Miami, Florida. My Body, My Rules, presented an investigation about the diverse artistic practices of 23 female-identified artists in the 21st-century. Louise Bourgeois, Carolee Schneemann, Cindy Sherman, Lorna Simpson, Ana Mendieta, Wanguechi Mutu, Mickalene Thomas, and Francesca Woodman, were also among them.
COLLECTIONS
Addison Gallery of American Art, Phillips Academy, Andover, MA
Arizona State Art Museum, Tempe, AR
Australia National Gallery, Sydney, Australia
Bayerische Staatsgemaldesammlungen, Munich, Germany
Chase Manhattan Bank, New York
Cincinnati Museum of Art, Cincinnati, OH
Corcoran Museum of Art, Washington, DC
Denver Art Museum, Denver, CO
Graphische Sammlung Albertina, Wien, Austria
Metropolitan Museum of Art, New York, NY
Miami Art Museum, Miami, FLApplebroog 26
Milwaukee Museum of Art, Milwaukee, WI
Munson-Williams-Proctor Arts Institute, Utica, NY
Museum of Modern Art, New York, NY
New Museum of Contemporary Art, New York, NY
New School University, New York, NY
Northern Illinois University Art Museum, DeKalb, IL
Pushkin State Museum, Moscow, Russia
San Francisco Museum of Modern Art, San Francisco, CA
Solomon R. Guggenheim Museum, New York, NY
Tokyo International Forum, Tokyo, Japan
Ulmer Museum, Ulm, Germany
University of Alabama, Tuscaloosa, AL
University of Michigan Museum of Art, Ann Arbor, MI
Wadsworth Atheneum, Hartford, CT
Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC
Whitney Museum of American Art, New York, NY
Williams College Museum of Art, Williamstown, MA
Alexander Kosolapov
Gorby, 1991, 26” x 22 ½”, Acrylic silkscreen on paper
Alexander Kosolapov attended the Moscow Middle School of Art between 1950 and 1961. He spent the next period until 1968, with a break for military service, studying in the sculpture department of the Moscow Higher Industrial Art School. At school and college he was friends with Leonid Sokov. Kosolapov belongs to the generation of artists of the turn of the 1960s-1970s who felt it important to work in the context of current international culture. He found a powerful impulse to do his own work by learning about contemporary Western art from magazines in the Library of Foreign Literature and about the Russian avant-garde through illegal visits to the storerooms of the Tretyakov Gallery. He divided his time between his personal art and the commissions from the Union of Artists USSR between 1968 and 1975. He shared a studio with Sokov and Boris Orlov between 1969 and 1971. His first personal show was held in an exhibition space on Kuznetsky Most, Moscow, in 1974. The next year, he moved to New York, where he lives. He began working as the New York representative of the magazine A-Ya in 1980, and the following year joined the editorial board and acted as co-editor until 1986.
Kosolapov started out influenced by Dada and Pop Art, and in 1972 he created a series of Pop objects in the style of Claes Oldenburg. The next year, Komar and Meladid asked him to participate in a group apartment show of Sots Art. The exhibition did not take place, but in the process of getting ready the artists developed a new artistic style built on parodic simulation of the Soviet design language and on combining various styles and cultural clichés. Kosolapov’s works made in the US took on a media character. In the project “Lenin Coca-Cola,” which started as a series of postcards and became the model for a billboard in Times Square, the artist juxtaposed different symbols—a commercial logo and a canonical profile of the leader of the Russian revolution—both ideological brands within their own systems of worldviews. Kosolapov used the binary opposition of Capitalism-Socialism, USSR-the West, and “high” art-“low” art in later works, as well.
Kosolapov’s art career is marked by several censorship attempts. In the USA in 1982, the intervention of the international corporation kept him from fully realizing his Lenin Coca-Cola project (also called “Symbols of the Age”). In Russia during Perestroika, this image and many of his other works were disseminated through souvenir reproductions, T-shirts, posters, and so on. In the post-Perestroika period, several of Kosolapov’s works sparked controversies. For example, “This Is My Blood” (2001) was damaged by a religious fanatic at the Art Moscow Fair, and in 2006 “Caviar—Icon” (1989) was taken down from the Russian Pop Art show right after it opened at the Tretyakov Gallery in Moscow.
Public collections
The State Russian Museum, St. Petersburg, Russia
The State Tretyakov Gallery, Moscow, Russia
The Museum of Modern Art (MoMA), New York
The Solomon R. Guggenheim Museum, New York
The New Museum, New York
The Moscow Museum of Modern Art (MMoMA), Moscow, Russia
The New York Public Library, New York
The National Centre for Contemporary Arts, Moscow, Russia
The ART4.RU Museum of Contemporary Russian Art, Moscow, Russia
The Jane Voorhees Zimmerli Art Museum at Rutgers University, US
The Nasher Museum of Art at Duke University, US
The Mead Art Museum, Massachusetts, US
Solo shows
2016- Alexander Kosolapov - Icons : West & East, Galerie Sébastien Bertrand
Group shows
2018- Downtown Art Ephemera, 1970s-1990s, Curated by Marc H Miller, James Fuentes
2017
Marcel Duchamp FOUNTAIN An Homage, Francis M. Naumann Fine Art
Red Attack, Ethan Cohen Gallery
Fair booths
2023- GALLERY SHCHUKIN at Palm Beach Modern + Contemporary 2023, GALLERY SHCHUKIN
2020- Galerie Sébastien Bertrand at artgenève 2020, Galerie Sébastien Bertrand
2019- JART Gallery at Cosmoscow 2019, JART Gallery
Galerie Sébastien Bertrand at artgenève 2019, Galerie Sébastien Bertrand
2018-Galerie Sébastien Bertrand at artmonte-carlo 2018, Galerie Sébastien Bertrand, and Galerie Sébastien Bertrand at artgenève 2018, Galerie Sébastien Bertrand
2017- Galerie Sébastien Bertrand at Independent Brussels 2017, Galerie Sébastien Bertrand, Galerie Sébastien Bertrand at Dallas Art Fair 2017, Galerie Sébastien Bertrand, and Galerie Sébastien Bertrand at artgenève 2017, Galerie Sébastien Bertrand
China Blue
China Blue is an internationally exhibiting and award winning artist. She is known for her discoveries of the sounds in Saturn’s rings for NASA and the voice of the Eiffel Tower. Over the past two plus decades she has researched NASA’s Vertical Gun’s acoustics whose projectiles shoot at Mach-15, the sonics of an asteroid impact on Mars and the songs produced by our brains. With this research she explores connectivity through her installations, environments, soundwalks and her Podcast “Listening with China Blue.“
As an internationally exhibiting artist in 2019 + 2024 she exhibited her work at the Venice Biennale. In 2013 China Blue was the US Representative at Tokyo Wondersite’s Experimental Art Fair and in 2008 at OPEN XI in the Venice Architecture Biennale. In 2012 her exhibition at the Newport Art Museum “Firefly Projects” was nominated the “Best Museum Show Nationally by the International Association of Art Critics.
China Blue is an art pioneer who has received three NASA/RI Space Grants. One was for her research of the sound created by NASA’s Vertical Gun impact simulator. She is also the first person to record the Eiffel Tower in Paris to discover her voice and the first to reveal the sounds of Saturn’s rings for NASA. She was nominated for a two year Artist-in-Resident with the Norman Prince Neurosciences Institute at the Rhode Island Hospital. She is a recipient of a Rhode Island State Council for the Arts, Fellowship and multiple Canada Council of the Arts grants.
She has been an invited speaker at Adobe, Creative Tech Week, Harvard, Yale, MIT, Berkelee School of Music, Reed College and Brown University and was an adjunct professor and Fellow at Brown University in the United States. She has been an Adviser to Rhode Island Congressman Langevin’s Committee for Art & Culture and Rhode Island State’s Art and Health Committee as well as the Founder and Executive Director of The Engine Institute.
Reviews of her work have been published in the Wall Street Journal, New York Times, Art in America, Art Forum, artCritical and NY Arts to name a few. She has been interviewed by France 3 (TV), for the film “Com-mu-nity” produced by the Architecture Institute of America and was the featured artist for the 2006 annual meeting of the Acoustic Society of America. She has been an invited speaker at Adobe, Creative Tech Week, Harvard, Yale, MIT, Berkelee School of Music, Reed College and Brown University and was an adjunct professor and Fellow at Brown University in the United States. She has been an Adviser to Rhode Island Congressman Langevin’s Committee for Art & Culture and Rhode Island State’s Art and Health Committee as well as the Founder and Executive Director of The Engine Institute.
She has worked extensively in collaboration with Dr. Seth S. Horowitz neuroscientist, space scientist and author of “The Universal Sense: How Hearing Shapes the Mind” and renowned composer of the T-Mobile ringtone Lance L. Massey. As a team they have discovered that innovation occurs by working together.