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Alumni Jessica Dupuis and Chieko Murasugi featured in GreenHill Winter Show 2019

December 6, 2019

WINTER SHOW 2019
December 8, 2019 – January 17, 2020
GreenHill
200 N Davie St
Greensboro, NC

Winter Show brings together over 100 artists each year from across North Carolina and constitutes a comprehensive survey of the finest art and craft being produced by artists who either reside or have lasting ties to the state. Painting, sculpture, photography, ceramic, jewelry, woodwork, fabric and fiber works are all displayed in a harmonious installation. Artists showing work in the exhibition vary not only by mediums, but also by experience, background and perspective. All work is available for purchase.

More information about the exhibition can be found here at http://www.greenhillnc.org/winter-show-2019

Hours: Monday: Closed, Tuesday – Thursday:12PM-5PM, Friday: 10AM-5PM, Saturday: 12PM-5PM, Sunday: 2PM-5PM (Gallery Only)

New Chapel Hill Exhibition Space, Basement, with Alumni Curatorial Staff Opening 11/15

November 15, 2019

A new art space in CH is opening tomorrow night and we’d like to invite everyone. Lots of recent MFA grads are involved.

Thanks so much and looking forward to seeing some familiar faces soon!


Dear Friends,

We are thrilled to invite you to the opening reception of BASEMENT’s inaugural exhibition, Breathing Without A Body, on Sat. Nov. 16 from 6-9 PM.

BASEMENT is located at 605 Caswell Rd, Chapel Hill NC 27514

Please park on the street and do not block driveways or mailboxes in the neighborhood. Follow the illuminated walkway down on the left side of the house and you will find the door to BASEMENT.

If you plan on coming, please reply to this email. Please feel free to send this to friends, family and other community members who you think would be interested in our programming.

See below for more details about our inaugural show!
We look forward to seeing you!

Breathing Without A Body: 

Stephen Hayes, Saba Taj, and Max Symuleski & Sinan Goknur
November 16, 2019  – January 5, 2020

Opening Reception: Saturday, Nov 16, 6-9  pm

BASEMENT Art Space
In the trash heap of history, how do we excavate what we need to survive? If we are to take the present as being devoured by advanced consumer capitalism – a condition that siphons off both the past and the future and forecloses access to the present – we must contend with the condition of incongruous temporalities and modernities. The artists in this exhibition ask us to grapple with these differently paced understandings and experiences of time and space.

BASEMENT’s inaugural exhibition features Durham-based artists Saba Taj, Stephen Hayes, and collaborative work by Max Symuleski and Sinan Goknur. Employing a variety of methods and media, including collage, drawing, sculpture, and video, the artists consider the past, present, and future through an exhumation of the body within distinct social and historical landscapes. Speculating on the contradictions and continued violence of racism and economic development in the name of capital, together these works assert a space of both resistance and resilience.

Stephen Hayes is a mixed media sculptor and creator whose work references socio-cultural race dynamics rooted in historical references. A Durham native, Hayes completed his BA at North Carolina Central University, and his MFA at the Savannah College of Art and Design. His work seeks to change societal perceptions of Black identity and otherness through the vulnerability of sharing experiences and the catharsis of collective realizations. Hayes was an Arts Lab fellow at Halcyon Arts Lab in 2017–2018. Hayes’ work has been exhibited throughout the south, including at the Mason Murer Fine Art Gallery in Atlanta, Ga., CAM Raleigh, and the Harvey B. Gantt Center in Charlotte, N.C. Hayes is currently the Brock Family Visiting Instructor in Studio Arts in the Department of Art, Art History and Visual Studies at Duke University.

Sinan Goknur is an artist and PhD Candidate in the Computational Media, Arts & Cultures Program at Duke. Sinan’s academic work investigates a new return to the social in the arts through queer and feminist aesthetics after the 1980 military coup in Turkey.  Prior to coming to Duke, Sinan was a member of the MAW, an artist collective in Minneapolis, MN seeking to activate public engagement with art and politics through impromptu outdoor performances and large-scale mixed media projections.

Max Symuleski is an artist, writer, and PhD Candidate in the Computational Media, Arts & Cultures Program at Duke. They are currently writing a critical-aesthetic investigation of the role of maintenance labor in life and art under the governance of neoliberal capital. Max has a background in visual arts, queer nightlife and performance, amateur tinkering, and professional academic administration. They hold an MA (’12) in Historical Studies from the New School for Social Research and a BA (’05) with a concentration in Art Theory and Visual Arts from Sarah Lawrence College. Max lives in Durham.

Saba Taj is an interdisciplinary artist based in Durham NC. Taj’s work ruminates on Muslims, monsters, and nazar (the evil eye), often in the wake of apocalypse, and speculates on the boundaries between life forms and our evolutionary/spiritual potential for porousness and hybridity. Saba is currently the post-MFA fellow with the Documentary Diversity Project at the Center for Documentary Studies at Duke University. She is the former Director of The Carrack Modern Art in Durham, featured speaker for TEDxDuke 2017, and a founding member of Durham Artists Movement. Taj received her BA in Art Education from North Carolina Central University, and an MFA in Studio Art from the University of North Carolina at Chapel Hill.

BASEMENT is a provisional artist-run project space that supports experimental and critical art practices. We choose to strengthen and build connections between artists and communities.

Studio update from Alumnus Ben Alper

October 21, 2019

BEN ALPER
Website update + introducing: Sleeper – a new publishing project

From Conflation


Hi everyone!

I’m emailing with two exciting updates. First, I’ve added two ongoing projects to my website. One-way Mirror is a 4-year response to the effects of deindustrialization in North Carolina and the physical expressions it has left on the landscape. Conflation is a series of digital composites made from multiple images of the same object or space.  You can see more from both projects at the links above.

from One-way Mirror


I’m also thrilled to announce that I’m launching a new publishing project with Peter Hoffman and Ross Mantle.  It’s called Sleeper, and while our website hasn’t officially launched, you can sign up for our mailing list now to keep up with future projects.  We have forthcoming titles from Aaron Turner, Julie Renee Jones, Timothy Briner and a book of vernacular photographs from the collection of Robert E. Jackson.


We’ll be at the Silver Eye Book Fair in Pittsburgh this coming weekend with books and prints from our previous publishing projects.  Swing by and say hi!

Silver Eye Book Fair
4808 Penn Avenue
Pittsburgh, PA 15224Friday, October 4, 5 – 10 pm
Saturday, October 5, 11 am – 6 pm

Fondly,
Ben Alper

Alumnus Reuben Mabry Solo Show at Golden Belt

October 15, 2019

Vestiges of Chaos: Reflections on War
Reuben Mabry

October 14-December 30, 2019
Third Friday Opening Reception: October 18, 6-9 pm
Artist Talk: October 26, 1:30 pm

Artist’s Statement:
In Vestiges of Chaos: Reflections on War, I created works on paper resulting from an amalgamation of research, recollection, and self-reflection rooted in my experiences as a US Army attack helicopter pilot while deployed to Afghanistan. By employing painting, drawing, and mark-making techniques from Asian and Western art historical and contemporary movements of abstraction and representation, these pieces bridge verbal and written gaps created by traumatic experiences of war. These pieces are also vestiges reconstructed from experiences in combat that reclaim the events of the past and bring onus into the present.

Grand Gallery, Golden Belt Campus
Mill #1 Building
800 Taylor St., Durham, NC 27701

www.reubenjarvismabry.com

Studio update from Alumna Alyssa Miserendino

September 6, 2019

Oneoneone presents Another Potato Chip Weekend

Join us:
Friday September 13 from 6-8pm at:
109 Brewer Lane (upstairs), Carrboro, NC 27510
for a group exhibition, including großer Lauscher

Featuring the work of Bill Brown, Jerstin Crosby, Sabine Gruffat, George Jenne, Lindsay Metivier, Alyssa Miserendino, Travis Phillips, Rachele Riley, Derek Toomes, and Louis Watts.

großer Lauscher is made possible with sponsorship from Genelec, ARUP & The Kitchen. Additional support has been provided by an Ella Foundation Pratt Emerging Artists Grant, From the Durham Arts Council, with support from the North Carolina Arts Council, a division of the Department of Natural and Cultural Resource + a grant from the Foundation for Contemporary Arts.

ODE TO HEISENBERG + DE MARIA (HDM)

Here is a short excerpt of HDM that includes recorded heartbeats from my community. A big thanks to Quran Karriem & Rebecca Uliasz – both candidates in Duke Unitversity’s Computational Media, Arts & Cultures Ph.D program – who have successfully built an ECG that can locate a visitor’s heartbeat down to a couple centimeters, during the exhibition of this piece.

If you or another are interested in presenting this project, via the health or art community, please reach out.

MEDICINAL GARDEN COMMISSION

UNC-Chapel Hill has commissioned me to design and install a mural for the school medicinal garden’s concrete wall. I will be working with transfer students & the garden Club to help design and install the work. We are looking to have the plants create the design, via their electric activity within the garden.

SIXTH ANNUAL ART AUCTION

This annual auction supports the current graduate candidates in studio art at UNC-Chapel Hill. A piece from Resonance will be available for sale, on October 11, 2019.

GROSSKREISENTFERNUNG / Great Circle Distance Mail Art

46 artists from 12 countries collaborated on a Mail Art project that travelled over 66,000 km and was exhibited for the first time in Berlin from 8-20 July 2019 at project space tête.

VAE FISCAL SPONSOR

I am happy to announce my new fiscal sponsor is VAE in Raleigh, North Carolina. Please consider sustaining or making a one time donation towards the projects I create.

Multiple shows featuring alumni and faculty opening at Oneoneone Gallery in Chapel Hill

September 6, 2019

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

Studio Art Faculty Lien Truong in Group Exhibition at Patricia Sweetlow Gallery

September 4, 2019

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 3pmPlease 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.

___________________

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.