Joanne Aono, artist and curator of Cultivator, invited me to answer five questions about my work. Check it out!
Finished installing my solo show, “The relatively brief preponderance of moments” at Joanne Aono‘s new exhibition space Cultivator today. The show features an embellished damaged mourning quilt and a selection of drawings from my new Damaged Goods_Small Repairs series. I’m super excited about this show!
When: September 13, 2015 @ 2-5PM
Where: Cultivator, 4636 N Ravenswood, #204
The show will be up until October 17, with regular showings every Wednesday from 2-5 and also by appointment. Please message me if you’d like to come by and see the show sometime this month. Come by!
I’m honored to have been invited by Joanne Aono, an artist I deeply admire, to be the inaugural artist in her new Cultivator Projects both at the Ravenswood location and at Bray Grove Farm about 70 miles southwest of Chicago. At Cultivator (the Ravenswood location), I will be showing a selection of paper and textile pieces from my new series, “Damaged Goods_Small Repairs,” which furthers my investigation into disintegration, tenderness, and the body. The installation at the farm is part of Sabina Ott’s Terrain Biennial, an international celebration of outdoor sculpture and installation produced outside of the museum/institution setting. Ott invites artists to show in the front yards of people’s homes for a month, where the art is visible to the neighborhood. I will be installing at the farm on Labor Day weekend. Here is a mock-up photograph and a short description of the installation project:
At Bray Grove Farm, I will install “Study of the Forbidden Stitch,” a three-dimensional line drawing made of sisal twine and real gold thread (old/new stock from Japan used to make obi and kimono) strung between two trees on the lawn of the farm house. Echoing the woven and wound installations of Anne Wilson’s Walking the Warp and To Cross (Walking New York), and the movement of the farmer and his equine helpers as they walk in uneven, hand-drawn lines across the farm’s field, the drawing will be difficult to install and may sag within hours or with the first rain, as the twine may not hold or may even disintegrate. The precarious nature of the drawing will reflect the nature of farming itself, as the farm’s success depends on the consistent physical labor of the farmers and their mules, the weather, and other relatively unpredictable elements. As a series of parallel lines strung low between tree trunks, the drawing will become an added visual to the horizon that is noticeably present at the farm. Bound by a white fence and surrounded by the tall standing corn of neighboring farmers’ fields, the site opens up to the sky on a decidedly human scale, free from the massive verticality of the city just 70 miles northeast.
Bray Grove Farm Opening: Monday, September 7, 3-5 PM
Cultivator Opening: Sunday, September 13, 2-5 PM
Pro-Text: When Words Enter Visual Art, Curated by Robert Sill
Illinois State Museum-Chicago Gallery, September 12 @ 5-7 PM
I’m honored to be included in this major group show at the Illinois State Museum featuring work by Illinois artists who use text. I am showing a large selection of Local Programs/A Salute to the American Girl, a series of image/text collages made from vintage TV Guides, along with an artist book containing the full suite of collages (150 total!) and two image/text films featuring poems extracted from Shadow Land, the memoir of 19th-century spiritualist Elizabeth D’Esperance. (You can see one of the films here.) Much of the work addresses memory, loss, and nostalgia for the future, or nostalgia for what never came to pass. In honor of our recherche du temps perdu, I’ll have a plate of delicious madeleines at the opening. Join me!
Illinois State Museum, Chicago Gallery
100 W Randolph, Suite 2-100
September 8, 2014 to February 6, 2015
Opening: September 12, 5-7 PM
(enter on LaSalle St after 6)
Regular Hours: Monday to Friday, 9-5
The wonderful editors at our country’s premiere feminist press have chosen five of my TV Guide collages to present on their blog. Please check it out and tell me what you think:
I’ve got a piece in an interesting show about process and preparatory materials at the IL State Museum, Everything in Place, curated by Jennifer Jaskowiak. The show started at the Chicago gallery and has traveled to Lockport on its way to Springfield and Rend Lake. Last week I had the opportunity to share some poems and a bit of my process with the members of the gallery. Earlier, John sent along a list of questions about my work and process. Click here to read my answers.
Curated by Hamsa Walker and featuring the work of a diverse group of artists, “Suicide Narcissus” confronts our collective culpability in the ecological disaster we’ve created by our overconsumption and abundant abuse of our environment. The exhibition is predictably somber and leaves one with a sense of both regret and hopelessness. You could argue it is even cynical, this collection of pieces, but then that would be to deny our current reality, one in which we must confront the consequences of our thoughtlessness. The consumption-driven apocalypse is visited upon some community somewhere every moment of every day, as the terror unfolding in the Philippines attests to. Right, right, we cannot definitively say that this particular natural disaster is a direct result of man-made climate change, but then we are living in the Anthropocene, an epoch marked by extreme climatic changes brought upon by human activity, so do we really need to argue that point?
I was first introduced to Wilson’s work in the 1990s with her damaged linens/hair pieces, a series of work perhaps best embodied by her magnificent installation at the Museum of Contemporary Art Chicago, FEAST, of 2000. FEAST is a massive dinner table covered in damaged linen fragments of various irregular shapes embellished with human hair and thread. Holes in the linen fragments are stitched around, further emphasizing the linen’s imperfections. One can’t help but be uncomfortable looking at FEAST; hair on white linen evokes in most of us perhaps not repulsion, but at least a strong aversion, a desire to remove the hair, if only to relieve the embarrassment of the incident. That embarrassment speaks to the awkwardness of hospitality and the obligation to keep the entire situation “clean.” As the holes in the linens weren’t repaired with Wilson’s stitches, but rather embellished and drawn attention to, we’re faced with the impossibility of repair, an implicit surrender to degeneration and decay. That all of this is highly sexualized makes the work that much more vital. (more…)
_WED., OCT 23 @ NOON
_ILLINOIS STATE MUSEUM, CHICAGO GALLERY
_J.R. THOMPSON CENTER
_CLARK + RANDOLPH, 2ND FL
I’m currently showing “Dark Waters,” the finished piece and preparatory materials, at ISM-Chicago as part of the exhibition, “Everything In Place: Sketches, Journals, Preparations.” I love talking about process. If you do too, join me! I’ll be reading “Dark Waters” and talking about both the poem and the visual work and how they came about. The poem first appeared in Dream of Water, published by the Poetry Society of America in 2008 as part of the PSA National Chapbook Fellowship series. Included in my little corner of the exhibition are the finished “Dark Waters” pieces (it’s a 9-piece series), the chapbook, an artist book I prepared before making the 9-piece series, copies of the unadulterated photographs, and notes and notebooks concerning the series.