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.

Symposium: Revisiting Discourses of Love, Sex, and Desire in Modern Iran and Diaspora

Persian Studies Program at UNC-Chapel Hill Presents
March 28, 2020 Revisiting Discourses of Love, Sex, and Desire in Modern Iran and Diaspora

Including an exhibition of work by MFA Candidate in Studio Art, Minoo Emami, titled “Dystopia”

FedEx Global Education Center
Room 1005
UNC-Chapel Hill

This one-day symposium is an attempt to provide a safe space for public discussions of the nuances around discourses of love and desire in modern Iran, challenging and contributing to the dominant discourses on key topics. From their mundane to their sublime forms, love and desire have played a central role in various discourses in modern Iran. From romantic epics to ghazals, and from arranged marriages to white marriages, and from companionate love to contemporary cohabitations, desire is undoubtedly one of the most important theoretical topics for scholars. This symposium brings together a range of scholars from different disciplines focusing on modern Iran to analyze the wide variety of ways in which love and desire have been represented, imagined, and discursively constructed. Participants will address discourses of love and desire and revisit those discourses considering the implications that they have for larger theoretical debates. Selected papers of the symposium will be published in the book series titled, Sex, Marriage, and family in the Middle East, edited by Janet Afary and Claudia Yaghoobi, published by Bloomsbury. Other selected papers will appear as a special issue in the Journal of Middle East Women’s Studies.

Organizer:
Dr. Claudia Yaghoobi, Ph. D – Roshan Institute Assistant Professor in Persian Studies, for information about the symposium contact Dr. Yaghoobi at Yaghoobi@email.unc.edu

Sponsors:

The American Institute of Iranian Studies, UNC Persian Studies Program, UNC Center for Middle East and Islamic Studies, the Department of Asian Studies, College of Arts and Sciences, Associate Provost of Global Affairs, the Department of English and Comparative Literature, the Department of History, the Department of Religious Studies, the Department of Women and Gender Studies, The Department of Geography, The Institute for the Arts and Humanities, UNC-Chapel Hill University Libraries, The Countering Hate Initiative

For more info: https://claudiayaghoobi.com/symposium-revisiting-discourses-of-love-sex-and-desire-in-modern-iran-and-diaspora/

A nice photo essay about the course “Art and Science: Merging Printmaking and Biology” led by art professor Beth Grabowski and biology professor Bob Goldstein can be read in Endeavors here: https://endeavors.unc.edu/through-a-different-lens/

In September of 2019, Removed went viral AGAIN which led to some international travel, a ton of new media coverage and publications, as well as the spark for some exhibitions and collaborations. Below is a recap of last year as well as what to expect this year. The greatest news is that Angie and I are expecting our second child this month! Additionally, Angie completes her pediatrics residency this summer so it’s going to be a very big year. Thanks so much for your support and please check in with me if we haven’t spoken in a while. It’d be nice to know what’s happening with you as well.

Exhibitions – Current and Past

Dear Human Performance by Tiffany Shlain / The Museum of Modern Art

New York, NY

I was very excited to provide images from my Removed series for the spoken cinema performance world premiere of Dear Human by Tiffany Shlain at MoMA last weekend. “This live cinematic essay-performance takes the audience on a journey across the past, present, and future of the relationship between humanity and technology. Incorporating live narration, moving images, original animation, an evocative soundscape, and audience engagement, Dear Human invites the audience to think about how technology both amplifies and amputates our humanity, and how to make sure we stay human in this 24/7 culture.”

THE QUALITIES OF LIGHT: THE STORY OF A PIONEERING NEW YORK CITY PHOTOGRAPHY GALLERY

Tucson, AZ

“This exhibition celebrating the legacies of LIGHT (1971-1987), a significant early photography gallery, focuses on characteristics identified by those who visited, worked, showed, and were impacted by the gallery.” The exhibition curated by Rebecca Senf, Ph.D., Chief Curator, included several works from the archives of CCP as well as works from contemporary galleries who have been dramatically influenced by LIGHT. Rick Wester of Rick Wester Fine Art being one of them provided this piece from Removed as well as works by Christopher Colville, Lilly McElroy, Donna Ruff, and Cassandra Zampini. The exhibition is open now through Saturday, May 30, 2020

Hello, Robot. Design Between Human and Machine – V&A Dundee

Dundee, Scotland

Once again, pieces from Removed are finding their way into another country. The exhibition HELLO, ROBOT. DESIGN BETWEEN HUMAN AND MACHINE just closed on February 9th, 2020 in Dundee, Scotland. The exhibition was also on display in Lisbon, Portugal from January 23 – April 22, 2019 at Museum Art Architecture Technology.

Time After Time / QUAID Gallery

Tampa, Florida

Last summer I had a piece from my House Sitters project in a group show in Tampa at QUAID Gallery. I wasn’t able to make the opening but I had some of my South Florida family make an appearance for me.

REMOVED / Hillsboro Library

Hillsboro, OR

Ten Pieces from Removed were on exhibit at the Hillsboro Library in October of 2019. The library paired several events and readings with the exhibition which allowed for numerous groups to engage with the work.

Look Up Pop Up / Palette

San Francisco, CA

Palm teamed up with Blloc phone to put together a special one-day-only event to talk to people about the effects that our digital technologies are having on our behavior, psychology and overall well being. Featuring acclaimed speakers such as Dr. Nicholas Karadas and Tiffany Shlain, the day was filled with enlightening, and at times, frightening insights on the reality of spending too much time on our digital devices.

New Representation

In January I was invited to Shanghai where I formally began my partnership with Shanghai Zhutu Culture Media Co,. Ltd. They will be tasked with representing my work across mainland China for publishing, licensing, exhibitions, and copyright protection.

Select Press and Publications

We have had a flood of media attention since last summer. It is evident that my photographs continue to move people. I couldn’t have managed if it weren’t for the extremely hard work and dedication of Julie Grahame my agent, manager, friend, and kick-ass photo consultant. She always goes to bat for me I can’t thank her enough for all that she does. If you are looking for help getting your projects recognized, edited, organized, strategized, or want help with licensing, contracts, or other usage-based questions, you owe it to yourself to send Julie an email. Julie@juliegrahame.com

BBC NEWS
NOW THIS NEWS
National Geographic Poland
Slow Scroll
QUARTZ
Yorokobu

For editorial and media requests contact Julie Grahame
For print/exhibition inquiries contact Info@ericpickersgill.com

I am currently available for editorial assignment and speaking engagements, please contact for booking information.

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.

Allyson Packer: Sounding
On view February 7 – March 29, 2020

Monday – Thursday | 9 AM – 9 PM
Friday | 9 AM – 6 PM

Saturday | 12 – 5 PM
Sunday | 2 – 9 PM

Opening Reception with the artist | Friday, February 7 | 5 – 7 pm

The Hawn Gallery is pleased to present Allyson Packer: Sounding, a site-specific, interactive installation spanning all four floors of the Hamon Arts Library at SMU. With looping video, text-based instructions, and subtle interventions into the architecture and resources of the library, Packer offers viewers an encounter with the possibility of the infinite. While infinity may only exist as a concept, spaces like libraries, Packer argues, can suggest it. The building itself has clearly defined boundaries, and at any given time the physical and digital materials that make up its collection of resources can be quantified numerically. There is a sense of impalpable depth too contained within The Hamon Library, the sublime potential of what is already known, what could be known, what is not yet known, and what is unknowable. The exhibition’s title, Sounding, describes the process of measuring— originally with lead and line, today with sonar— the depth of a body of water, without making direct physical contact with it. Likening the contents of the library to a body of water, the pieces included in this installation act as sounding instruments to plumb the collection’s literal and metaphorical depths. Water, in many different forms, recurs thematically across the whole exhibition. It appears in direct citation of J.M.W. Turner’s paintings, in reference to a fountain outside of the library, in imagery based on folders containing sheet music from the Hamon stacks, and on the public computer desktops.

For several months, Packer has visited the library regularly. She spent long afternoons wandering the stacks, getting to know Hamon’s internal and external rhythms and overlooked quirks. This extended visitation with no other purpose allows her to develop an outsider’s peculiar knowledge of the place that’s at once intimate and remote. The resulting interventions into the space deviate only slightly from a patron’s usual experience of the library. Most are subtle to the point of precarity— the term that French art historian, Anna Dezeuze, in Almost nothing: Observations on precarious practices in contemporary art, uses to describe artworks that exist on the verge of disappearing into the fabric of the everyday (5). By existing on the border between perceptible and imperceptible, Packer’s work redirects viewers’ attention to their own bodies, and their awareness of their presence in a space.

Allyson Packer will speak about her work at the opening reception on Friday, February 7.

Artist bio

Allyson Packer makes artwork that engages viewers in an examination of the myths and values embedded in the built environment. Her installations and performances have been shown at Nahmad Projects (London), Hyde Park Art Center (Chicago), and Birds + Richard (Berlin), among other venues. Her upcoming solo exhibition, Inland Sea, will open at the Las Cruces Art Museum’s Brannigan Cultural Center in July 2020. Packer earned her MFA from the School of the Art Institute of Chicago, and her BFA from the University of North Carolina at Chapel Hill. She lives in Denton, Texas, where she is a faculty member in the College of Visual Arts and Design at the University of North Texas.

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Image courtesy of the artist.