Read about Williams’ VERA Collaborative project to help inform decision-makers about the historical implications of digital reproduction methods, particularly the effect on portraying people of color, here: https://magazine.college.unc.edu/news-article/preserving-visual-history/
ADAPTATION FEVER
4 single-channel videos, black and white with sound, 21 minutes.
Hồng-Ân Trương
Jan. 31 – March 22, 2020
On display every night from sundown to 3 a.m. and each First Friday
Exploring the history of French and American colonialism in Vietnam, these videos use found historical footage – all shot on or before 1954, the year that marked the end of French occupation but the beginning of U.S. involvement – to consider postcolonial subjectivity and nostalgia, and the uneasy division between the “mythic” and the “real” past. Playing with the notion that nostalgia can be evoked without memory or experience (but through the experience of images and the imaginary landscape of images), the videos suggest the co-dependent relationship between the West’s present and the Other’s desire for that present-modernity.
The archive is approached through the double, where colonial sound and scenes are mirrored against each other, split, and repeated. Bifurcated screens and juxtaposition become simple techniques whereby the “real” and by extension, its historical referent, are permanently deferred objects, further diminished through the overdubbed narratives in Vietnamese or French. Much of the footage suggests the impact of Catholicism, which, unlike the vestiges of colonialism left on the Vietnamese social landscape in the form of architecture, cuisine, and street names, instead marks the body: a transcendent and mystical stain made corporeal. The historical trace asks: What happens when the Other becomes a specter from within?
For address and more info: https://raleighnc.gov/places/block2-gallery
Joy Drury Cox
Prone and Plumb
Asphodel
Brooklyn, NY
March 5th – April 18th
Opening Reception: Thursday, March 5th
6 – 9 pm
Asphodel presents PRONE AND PLUMB, an exhibition of new graphic works by JOY DRURY COX, opening on Thursday, March 5 and on view through Saturday, April 18.
Please join us for the artist reception on Thursday, March 5 from 6 to 9 pm.
Prone carries the weight of physical pain—immovable, exhausted—often following a substantial expression of energy. Plumb, on the other hand, is upright, energetic—though ultimately enervating. In three new series of drawings, Joy Drury Cox represents this pair of semantic antipodes as palindromic conceptual drawings, exercising what the artist terms “line dialectics.” Cox’s interdisciplinary artistic practice includes drawing, artist’s books, texts, and photography. Her works consider mapping, making, measuring, and marking and their variables roles in the politics of labor and the structures of everyday life.
ABOUT THE ARTIST
Joy Drury Cox was born in Atlanta, Georgia, in 1978 and received a BA in English from Emory University and an MFA from the School of Art and Art History at the University of Florida. She has exhibited nationally and internationally since 2003 and is the author of three artist’s books: STRANGER, OLD MAN AND SEA, and OR, SOME OF THE WHALE. Most recently, Cox co-authored a photography book with her partner, Ben Alper, titled COMPOUND FRACTURES featuring photographs of caves taken in the Southeastern United States. Her works are included in private and public collections, including the New York Public Library and the Museum of Modern Art in New York. Cox is currently a Teaching Assistant Professor in the Art and Art History Department at UNC-Chapel Hill.
For more information on the artist, please visit joydrurycox.com.
Asphodel
20 Jay Street
Suite 837 (eighth floor)
Brooklyn, New York
11201 US
Wednesday → Friday
12 → 6 pm
& by appointment
gallery@asphodel.us
ASPHODEL is an art gallery and project space co-founded by Lisa Kahlden and Jason Loeffler in 2017. Previous one-person exhibitions include Nicholas Szymanski, Notes to Diane; Amy Vogel, fear-of-nature-of-fear; Vanha Lam, Variables; Clary Stolte, Nobody Knows; Jeff Kraus, My Bunny the Snake; Karl Burkheimer, aline; Heidi Schwegler, Zoonosis; and Anastasia Komarova, Material Control.
Asphodel gratefully acknowledges Anthology of Recorded Music, Inc. (ARM) for providing logistical and operational support for its 2020 exhibition series. Operating continuously since 1974, ARM’s imprints include New World Records, the Database of Recorded American Music, and Sound American. Recent releases include Kate Soper, Ipsa Dixit; Julius Eastman, The Zürich Concert; Christian Wolff, 2 Orchestra Pieces; and James Tenney, Changes: 64 Studies for Six Harps.
Duke Arts Visiting Artist Series
“Manga 4.5: Building Comics with Tatami Mats and Stones”
Wednesday, February 19, 2020
6-7 pm, A266, Bay 10, Smith Warehouse, Durham, NC
February 27 and 28, CURRENT ArtSpace, 7:30 pm
The Process Series presents the 19th Amendment Project in collaboration with Arts Everywhere and the Institute for the Arts and Humanities. UNC faculty-artists create interdisciplinary performance centered around the 100th Anniversary of the 19th Amendment, exploring women in politics.
Four projects were chosen to be presented in this shared program and will go on to launch a new faculty performance series in 2020-2021.
The Debate – Heather Tatreau (Department of Exercise & Sport Science) & Tracy Bersley (Department of Dramatic Art) This dance-theater piece will use a series of duets and text to investigate how women in politics have been characterized over the past 100 years – from anti-suffragette propaganda to current female politicians portrayed as medusas in the media.
XIX – Jacqueline Lawton (Department of Dramatic Art)
This play exposes the racial divide of the 19th Amendment by following an interracial family where all the women were fighting for suffrage, but only half of them won the right to vote.
Sojourner Truth – LaToya Lain (Music Department)
This one-woman show, comprised of song and spoken narrative, explores the effects and aftermath of the passage of the 19th Amendment as told by one of the most famous black participants in women’s suffrage, Sojourner Truth.
#19 – Sabine Gruffat (Department of Art) & Bill Brown (Department of Communication)
This two-person, three-channel Live Cinema performance will incorporate original laser-etched 16mm film, a selection of
archival 16mm film loops, and an original electronic soundtrack in order to survey and contextualize the 19th Amendment and to explore the past and present struggles of women to achieve political empowerment.
Go now and read this great interview with Lyneise Williams in the most recent Endeavors Magazine: https://endeavors.unc.edu/lyneise-williams/?fbclid=IwAR1pAWj7-u_oJ0ql4A836L9D36VFQw5Zym0zP-xnqkNuRwhjCMBeFc55hy8
Congratulations to Assistant Professor Lien Truong, who has just been awarded a 2019 Joan Mitchell Foundation Painters and Sculptors Grant. She is one of just 25 artists to receive this prestigious honor. More information can be found here: https://joanmitchellfoundation.org/artist-programs/artist-grants/painter-sculptors/2019/lien-truong
What Remains of the Day – Memories of World War II opens at GreenHill in Greensboro this Friday, September 20, with a reception from 6-8 pm.
On view from September 20-November 15 with many associated programs happening throughout the exhibition.
Also, if you go early, you can also catch MFA Alumna Chieko Murasugi’s solo exhibition No Thing Is Simple at UNCG’s Gatewood Gallery.
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.
