Come see work by Alumni Leigh Suggs, Vanessa Murray, Jerstin Crosby, George Jenne, Lindsay Metivier, Alyssa Miserendino, and Louis Watts and studio faculty member Sabine Gruffat at OneOneOne Gallery in Greenbridge in Chapel Hill!

Oneoneone promotes the work of emerging and established contemporary artists in a dynamic gallery space. www.oneoneone.gallery oneoneone@sitzerspuria.com
Free parking – garage entrance from Merritt Mill Rd

Patricia Sweetlow Gallery, San Francisco

Exhibition Dates: September 7 – October 19, 2019
Crafted Illusions: Victoria Jang ∙ Jacqueline Surdell ∙ Lien Truong
Reception: Saturday, September 7th,  4 to 6:30 pm

Saturday, September 7th at 3pm. Please join us for a conversation with Lien Truong, Jacqueline Surdell & Victoria Jang, moderated by Gail Wight. Gail Wight is Associate Professor in the Department of Art & Art History at Stanford University, where she focuses on experimental media.

PSG is pleased to present Victoria Jang, Jacqueline Surdell, and Lien Truong in Crafted Illusions. The artists in the exhibition investigate the fabrication of authority, questioning historical and contemporary reliability in authorship, aesthetics, moral imperatives and allegiances. The exhibition opens Saturday, September 7th and continues through October 19th. The reception is Saturday, September 7th from 4 to 6:30 pm. At 3:00 pm Stanford Associate Professor Gail Wight will lead the artists in conversation. Everyone is welcome; come early, as seating is limited.

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Fragmenting historic paintings, art, film and the gaming industry, Lien Truong’s mixed media paintings inform “our collective notions of heritage.”

The narrative of Role Playing Games, with virtual landscapes reminiscent of mythologized American manifest destiny, coupled with default white male avatars, become the backdrop and critique of Lien Truong’s paintings. Researching and reading RPG theory from a feminist, queer and multiracial perspective, Truong weaponizes her paintings to challenge the perpetuated culture of violence, inverting the romanticized RPG space and its domination of women and POC.

Aware of the religious and cultural ideologies associated with painting, her work tests the hybridity and historic hierarchies of painting techniques, materials and philosophies from the “West” and Asia. She subverts color and values, staging a background layered with singed panels of painted floating silk and carefully blended gestures of oil paint, amidst interpretations of historic textile patterns and hegemonic iconography. Creating a powerful fictive of female authority, with significant icons such as Patsy Matsu Takemoto Mink, the first non-white, and first Asian American woman elected to congress, and Anna May Wong, an exoticized and eroticized silent-era film star, Truong presents female protagonists who become forceful real-life counterpoints to the fictionalized bravado of the RPG.

Lien Truong is an Assistant Professor of Painting and Drawing at the University of North Carolina at Chapel Hill. She graduated with a BFA in 1999 from Humboldt State University and an MFA from Mills College, Oakland in 2001. Her work has been included in exhibitions at the National Portrait Gallery; North Carolina Museum of Art; Station Museum of Contemporary Art, Houston, Texas; the National Centre for Contemporary Arts in Moscow; Oakland Museum of California, Oakland, CA; Nha San Collective, Hanoi, Vietnam; Art Hong Kong; S.E.A. Focus, Singapore; and Southern Exposure, San Francisco, CA. She is the recipient of several awards including the Whitton Fellowship, and fellowships from the Institute for the Arts & Humanities and the North Carolina Arts Council. Residencies include the Oakland Museum of California and the Marble House Project, Vermont. Her work has been reviewed in ArtAsiaPacific; The San Francisco Chronicle; Houston Chronicle; Oakland Tribune; New American Paintings; and ART iT Japan. Her work is in several public collections including the Linda Lee Alter Collection of Art by Women at the Pennsylvania Academy of the Fine Arts (USA), DC Collection (Disaphol Chansiri, Chiang Mai, Thailand), North Carolina Museum of Art (USA), the Weatherspoon Art Museum (USA), and the Post Vidai and  Royal Melbourne Institute of Technology (Vietnam).

Nocturne – performance at night, are Victoria Jang’s new ceramic sculpture, layered with multiple narratives, composed in a period of darkness. With a vocabulary of decorative ornamental forms, Jang’s sculptures are a critical inquiry of colonial ideology expressed in ethnology, stigmatizing indigenous cultural legacies.

First-generation Korean-American, Victoria Jang takes aim at assumptions of Western European culture in its understanding and interpreting of non-Western cultures as inferior, while historically appropriating traditions, rituals and objects for aesthetic and cultural exploitation. Her ceramic vessels become microcosms of deconstructed colonial moral and aesthetic principles. Focusing on Korean traditions found in native craft and materials, Jang creates a musical panoply of abstracted geometric and natural forms that she can use and reassemble. Her ceramic sculptures are layered with these shapes – stemmed flower forms, ritual objects found in Korean Shamanism, surface aspects of urban erosion and decay – a fused assemblage of synthesized symbolist ornaments.

Victoria Jang received her BFA in ceramics and sculpture from the University of Washington in Seattle in 2010. She moved to the San Francisco Bay Area and received her MFA in ceramics at the California College of the Arts in 2014. Jang received a Headlands Graduate Fellowship Award, a Murphy Award and Cadogan Scholarship, and was the featured artist for the 2014 APAture exhibition at Kearny Street Workshop. She recently received the 2017–18 AICAD Post-Graduate Teaching Fellowship at the Maryland Institute College of Art (MICA), where she continues to teach, and the Retired Professors Award by the National Council on Education for the Ceramic Arts. She was a Visiting Artist in Residence for 2015-2016 at the University of California, Berkeley.

Using a hybrid of macramé and weaving, Jacqueline Surdell’s studio practice demands the physical strength of a trained athlete. Her multi-dimensional tapestries bring to mind abstracted landscape paintings – born of body, and blemished with stains of labor. Her acumen in expressing both beauty and raw complexity is reflected in monumental volumes of cascading, disfigured, twisted rope. Defying the ‘60s approach to a mannered macramé of decorative or functional value, Surdell instead follows in the footsteps of early groundbreaking fiber artists, Mrinalini Mukherjee, Françoise Grossen, and Sheila Hicks.

Close familial memories contributed to Surdell’s complex psychological terrain between body, athleticism, making, sanctuary and spirit. From childhood through college, Surdell was a competitive volleyball player, accustomed to pushing the limits of physical endurance. She was recruited by Occidental College in Los Angeles, whose volleyball program started four years after passage of Title 9, legislation seeking gender equity in school sports. Her experience in sports provided Surdell with skill and strength – and her studio practice is an extension of those experiences. Weaving her wall sculptures demands full body action, using her body as a weaving shuttle, moving in and out of the warp, knotting and pulling pounds and yards of rope on self-made mural-sized looms. The warp is looped over steel weightlifting bars of various lengths. Although the material is fiber, Surdell’s approach is painterly – manipulating her knotted layers, reducing material to open the structure, draping to create volume and texture, painting the surface with Paracord and acrylic.

Jacqueline Surdell was born in Chicago, Illinois in 1993. She received her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago in 2017, and a BFA from Occidental College, Los Angeles, CA. An emerging artist, her work has been exhibited in New Orleans, Montreal, Los Angeles, and Chicago.

Hello! 

I would like to invite you to my exhibition Transmutations, opening Friday the 6th at Artspace in Raleigh. The show is located in the Upfront Gallery and runs through September 28th. Please invite your friends and family. All information is found below.

I look forward to seeing you there!

Vanessa
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Info:
Transmutations  
Artspace
Upfront Gallery
201 E Davie St., Raleigh

September 6th – 28th
First Friday Opening 6-10 pm

About:

All things physically change form over vast expanses of time and external forces create certain topographies around us. In this body of work, negative spaces appear as cavities. These pockets of space have developed from the artist’s fascination with caves, chasms and the way crevices or folds behave. Murray is influenced by any type of hole, split or fracture, whether seen in an image of an arctic ice sheet or an open wound. Openings are instinctively mysterious, having the potential to create various levels of unease or anxiety. It’s our long fascination with the abyss. These moments in the work become contemplations on mortality and the unknown. Ultimately though, both paintings and sculptures are absorbed in conveying a sense of slow movement, a state of transformation that is taking shape. Murray’s process is driven by the complex relationship between positive form and negative space. It’s a dynamic relationship that is never constant, but rather fluid and changeable. Movement and change occur continuously around us, but it’s the imperceptible shifts that are inspiration for the work in this show.
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Bio:

Vanessa Murray is a painter and mixed media artist based in Carrboro, NC. She received her MFA in Studio Art from UNC Chapel Hill in 2017 and her BFA from The School of the Art Institute of Chicago in 2005. She was recently a Regional Emerging Artist in Residence at Artspace in Raleigh and is currently a studio artist at Attic 506 in Chapel Hill. Murray has had solo exhibitions at The Durham Art Guild, UNC Chapel Hill’s Allcott Gallery, the Gutter Box Gallery in Raleigh and the Contemporary Art Workshop in Chicago.

Read all about it in the DTH: https://www.dailytarheel.com/article/2019/08/chambers-portrait-unveling-0828. Congratulations, Will!

Congratulations to PhD Alumnus Michael Yonan, Professor of Art History at the University of Missouri, on the recent publication of Eighteenth-Century Art Worlds: Global and Local Geographies of Art, ed. Stacey Sloboda and Michael Yonan (New York: Bloomsbury, 2019). While the connected, international character of today’s art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century.

Michael was also a visiting guest professor in the Institute for Culture and Aesthetics at Stockholm University, in Stockholm, Sweden in Spring 2019 and will be returning there for Spring 2020.

Michelle P. Brown’s Understanding Illuminated Manuscripts, originally published in 1994 and a standard English-language reference work on the terminology associated with the study of European illuminated manuscripts of the Middle Ages and Renaissance, has been published in a new edition revised by Elizabeth C. Teviotdale (PhD, 1991) and Nancy K. Turner. The text of the original edition has been substantially revised and new terms have been introduced relating to the emerging science of the study of materials in manuscripts. The text has also been updated to better conform with contemporary usage. An entirely new suite of color images—mostly from Getty manuscripts acquired since the original edition was published—illustrates the dictionary-style text, with images accompanying terms that can most benefit from illustration. The new edition has been labeled “essential” by Choice, and Nicholas Herman in The Medieval Review writes: “The authors of this excellent mise-à-jour should be thanked for their contribution to what will remain a standard introductory and reference resource.”

Teviotdale, who was a curator in the Department of Manuscripts at the J. Paul Getty Museum for ten years, has been the Assistant Director of the Medieval Institute at Western Michigan University since 2002. Her other publications include The Stammheim Missal (2001) and Das Sakramentar von Beauvais (2011).

Understanding Illuminated Manuscripts, revised by Elizabeth C. Teviotdale and Nancy K. Turner

Useful Fictions is a week-long symposium and a public participatory art project in Paris. It is a platform to embrace complex problems by modeling radical openness to research in which tools, laboratories, studios are shared between artists and scientists to expand concepts for ecological thinking. Useful Fictions proposes to see the calculation of a catastrophic future not as an inevitability but as an invitation to innovate and effect change. Bridging the divide between urgency and agency, the project gathers a coalition of artists, designers, humanists, and graduate students to work with globally acclaimed climate scientists in their laboratories to build future machines and write absurd fictions.

This project invites critique of the human-centered narrative that dominates and defines contemporary cultural consciousness. The issues we are faced with challenge us to reclaim knowledge creation by examining the idea of proxy and measurements in ways that will expand anthropocentric lenses. Through the use of both critical discourse and practice-based research in art, design, and science, as well as case studies in climate science and related contextual research, we will ask: “What controls the manufacturing of our systems of belief? What stories do we tell ourselves? Can we imagine differently?”

Chosen from a competitive selection process based on an International Open Call, graduate fellows will participate in the symposium and the Speed of Light Expedition. Each Graduate Fellow will receive one week of full room and board at École polytechnique, Paris, from September 9-13, 2019. All lab fees and material expenses are also covered under the Fellowship. We are pleased to see that the fellows are from a wide range of disciplines, including the arts, humanities, sciences, and engineering. 

Peter Hoffman
University of North Carolina-Chapel Hill, USA
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Considering the failures and limits of the documentary photograph in translating climate change narratives, Peter Gabriel Hoffman is informed by environmental communication theories and eco-critical texts that emphasize the necessity of collapsing the human/nature binary way of thinking. He is interested in how creating new representations of landscape and ecological systems may play a role in perpetuating this dialogue. He holds MFA in Studio Art from the University of North Carolina at Chapel Hill and an MA in Documentary Photography from Ohio University’s School of Visual Communication. Hoffman lives in Durham, North Carolina with his wife Liz.

Sydney Steen was named Creative Economies Coordinator of the N.C. Arts Council on May 1. She previously served as the Arts in Communities Coordinator for the agency, and while she will continue to provide support to Grassroots Arts partners, her duties are being expanded to include the N.C. Arts Council’s public art and SmART communities program. Sydney will oversee the state’s public art collection and manage the artist selection process for all the SmART communities in N.C. She will also work with each SmART partner to track the economic impact of the SmART program across the state. Sydney received her Master’s in Fine Art in painting and sculpture from UNC-Chapel Hill.

Congratulations to PhD Candidate Jennifer Wu, who was awarded a grant to attend the Summer Institute for Technical Studies in Art (SITSA) at the Harvard Art Museums. Along with a cohort of doctoral students in art history, she received object-based training on conservation and technical analyses as well as hands-on experiences with various artistic materials and techniques. The two-week program emphasized interdisciplinary collaboration with conservators, curators, scientists, artists, and art historians in discussions on art-technical history.