August 28, 2014
New York University is hosting an event to celebrate the publication of Animal Acts: Performing Species Today, co-edited by Holly Hughes and Una Chaudhuri on Friday, September 19th at the Tisch School for the Arts in New York City.
The book, which collects animal themed performance texts by leading artists, accompanied by commentaries by leading scholars in the field of performance, gender and animal studies, including Jill Dolan and Donna Haraway, to name a few, was published by the University of Michigan Press.
This event will include a performance by Stamps alumni Joseph Keckler, as well as Holly Hughes, recent Witt Resident Carmelita Tropicana and others, in conversation with scholars.
Performing Species: What Can Animal Studies and Theatre/Performance Studies Teach Each Other?
August 28, 2014
Anne Mondro, Associate Professor in Art & Design, is featured in the University of Michigan Record for her teaching and research.
In her new course, “Memory, Aging & Expressive Arts,” Mondro’s students visit U-M Geriatric Centers Silver Club, a community program for adults with mild to moderate memory loss. The students brainstorm ideas for creative projects with their specific community member.
Art & Design professor promotes community engagement
Martin Vloet, Michigan Photography
August 18, 2014
Rebekah Modrak’s Re Made Co. takes over the storefront windows of Incident Report in Hudson, New York, Aug. 14 through Sept. 14.
Re Made Co. exists as a “company” via website and social media that parodies the urban woodsman aesthetic of Best Made Co, which markets designer axes through the rhetoric of authenticity, the appropriation of working-class identities, and the revitalization of traditional male roles. Re Made Co. substitutes Best Made Co.‘s $300 urban axe with a $300 toilet plunger and satirizes their marketing campaign through design, social media, and photography.
This project uses critical design to pose pivotal questions related to the aestheticization and commodification of tools: Why are tools meant for work stylized and sold as luxury items? How is working-class labor sanitized and sold for white-collar fantasy? How are objects marketed with contradictory references, each promising “authentic” experiences that will lead to self-fulfillment?
August 18, 2014
Recently on display at the Asia Society, Shiva Ahmadi‘s video work Lotus (2013) was reviewed by hyparallergic.com.
Ahmadi’s single-channel video Lotus, based on her 2013 painting of the same title, is equally haunting. As the animation opens, an enlightened Buddha sits atop a golden lotus throne. Monkeys and humans frolic in the surrounding landscape, holding offerings in the form of bubbles representative of spiritual wisdom. Over time, this Utopia fades. The Buddha’s subjects grow violent, their bubbles turning into bombs. Birds take flight. Stained by blood, the formerly virtuous ruler becomes an ordinary despot.
Both works are as visually striking as they are politically dark, so it’s no surprise their creators identify as painters. As Malani’s lush images are projected on the wall, they bleed together like watercolors — vibrant extensions of her painting practice. Similarly, watching Lotus feels very much like seeing Ahmadi’s original painting come to life; the narrative formerly frozen in time comes to pass before our eyes.
Using Beauty to Examine Ugly Political Truths | HyperAllergic
August 12, 2014
Stamps Dean Guna Nadarajan is making presentations at several visual art schools in South Africa. On August 12, he lectures at the Stellenbosch University Department of Visual Arts, followed by a lecture at Michaelis School of Art in the University of Cape Town on August 14th. Nadarajan’s visit to Michaelis also includes a workshop session with the students of the Honors in Curatorship Program at Michaelis and meetings with the administration to discuss potential study abroad programs and faculty collaborations between our institutions.
August 11, 2014
My(our)Way, a public project by Nick Tobier, will premiere on the streets of New York on Saturday, Aug. 16 as part of the NYC Department of Transportation’s public projects.
As the streets converge around Astor Place — cars and busses flowing north onto 4th Avenue, cyclists on Lafayette, pedestrians from 8th street heading east running into those from St. Marks making their way west - the form of Lower Manhattan pinches before it flares. Filled with hopes and dreams, aspirations and hassles, our fellow citizens are, at times, solitary protagonists in their own narrative—waking, walking, on their way to work, on their way home from work.
My (our) Way makes these individuals visible/audible, turning them, crank by crank, note by note, into an ensemble. As Cooper Union staff, Kmart cashiers, the last of the late night revelers and bystanders turn the handles of their small music boxes, the small voices of the solitary notes resonate with one another.
As they converge first by the Astor Place subway station (8:30 am), and later (10:30 am) on the steps of the Public Theater, reaching a cadence of near synchronicity, they play the 18 notes of “My Way” altogether until dispersing. For that moment, and perhaps for every morning thereafter, the possibility of individuals heading different directions becoming an ensemble united by simple action, this can be Our Way.
August 11, 2014
Erika B. Hess will be the August resident artist at Micro Art Space in Cleveland, OH. Her residency will be followed by a solo exhibition, AUTO RESPOND: Out of the Office on August 15 at 78th St. Studios.
Hess is a painter who lives and works in Michigan. She received her MFA in 2009 from Boston University. Her paintings explore the representation of the middle-class and women through her use of color, abstract forms and pop culture symbols. Most recently her work was selected by Carl Belz, former Rose Art Museum Director, to be included in Studio Visit Magazine and exhibited in “EcoMyths” at Last Projects, Los Angeles. Hess currently works at University of Michigan Stamps School of Art & Design.
August 11, 2014
“Recent Work: Video Sculpture,” a solo show by Heidi Kumao, will be on view from September 2-27, 2014 at Ceres Gallery in New York City.
Opening reception Thursday, Sept. 4, 6-8 pm.
Three works about surviving physical confinement are each inspired by the experiences of individual women including: a college student living under an authoritarian patriarchy, a Japanese-American girl relocated to a WWII internment camp, as well as the artist’s own tribulation during months in a clamshell back brace. In each piece, Kumao interweaves video, photos, animation, and sound into a surreal visual journey that is anchored within a compelling narrative. She transforms everyday objects through mapped video in which real objects and shadows interact with shadows from non-existent objects, creating an uncanny dichotomy for the viewer to resolve.
In “Egress,” a stack of books becomes a portal to another room, then a police inspection area, and then an entire apartment tower. Similarly in “Transplant,” the projection transforms an interned prisoner’s ID tag into a gardener’s seedling, a guard tower, and an American flag. Kumao’s single channel video, “Swallowed Whole,” uses repeated vertical frame-rolls from analog TV to metaphorically replay the impact that literally broke her back. Bone-crushing sounds and jarring movement echo throughout the film as a window of empathy into PTSD repetition compulsion.
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August 8, 2014
Portrait of the Ecological Self, an exhibition by Maine artist Kimberly Callas (MFA ‘95), will be featured at the Leonard Craig Art Gallery, Unity College Center for the Performing Arts (UCCPA), from Aug. 15 to Sept. 12.
The gallery is located at the Unity College Center for the Performing Arts (UCCPA) in Unity, Maine. A reception will be held at the UCCPA on Tuesday, September 9 from 5 – 7 p.m. with a Pecha Kucha style Artist Presentation at 6 p.m.
A 2013 grant award by The Puffin Foundation provided support for the development of Portrait of the Ecological Self. The Puffin Foundation Ltd. has sought to open the doors of artistic expression by providing grants to artists and art organizations who are often excluded from mainstream opportunities due to their race, gender, or social philosophy.
The exhibit examines the question of whether there is an ecological self, or a place within each individual that is in tune with nature. The concept of the ecological self allows one to think in terms of the self as interconnected with all of nature. “When considering the theory that there is a part of us that (innately) remembers we are of the natural world, not separate from it, I set off to find those connections through art,” noted Callas. “My hope was that if we could access our ecological selves, we could find ways to live within nature’s patterns, cycles, and limits.”
Convinced that science alone would not offer the insights she was seeking, Callas combined scientific observation with spiritual practice and researched her first subject: herself.
She spent her mornings researching symbols from nature that are significant to the psyche, like circle, center, sun, mountain, and cave. “I would then use meditative writing and drawing techniques and in that way, prepare myself for the sculpting sessions,” Callas explained. “In the afternoons I would sculpt.”
Ultimately, Callas released the good that comes from personal attachments to nature. Such personal experience leads to action in the form preservation and conservation of the natural world, or sustainable solutions to ensure a viable planet in perpetuity.
Callas was also influenced by the events of September 11, 2001, and the war in Iraq.
“I witnessed the attack and collapse of the World Trade Center while walking to my studio,” Callas stated. That and the war in Iraq led Kimberly, her husband and young child to relocate to Brooks, Maine, where they hand built an in-ground, stone house that is off-the-grid and heated solely with wood.
More information about Kimberly Callas and her work is available online at http://www.kimberlycallas.com.
August 8, 2014
Chris Ramsay: Meditations in Stillwater will feature more than 30 works from the past two decades by artist and OSU professor Chris Ramsay (BFA ‘83). Collecting souvenirs of the everyday and filling the spaces of his art as if they were the shelves of a living room curio cabinet or storage drawers in a museum of anthropology, Ramsay creates mixed-media sculptures that invite the viewer to look closely at humble traces of time and life: not rare and precious artifacts but rather simple, anonymous objects from marine fossils and flint arrowheads to postcards and Coke bottle shards.
Metaphors for introspection, Ramsay’s sculptures enclose images in tiny chambers illuminated at the touch of a switch or surround scatterings of found objects with the concave walls of colossal bowls. The intimate experience of looking into these works, lingering over details, and reflecting on the multitude of objects that have touched one’s own life elicits the kind of subtle revelation that is all too often left untapped by art today in quest of monumental impressions. Ramsay’s sculptures, in contrast, achieve their ends through unpretentious materials, intimate scale, natural harmonies, and quiet conduciveness to thought.
Chris Ramsay: Meditations in Stillwater
September 15, 2014 to January 17, 2015
Opening reception/curator talk: Oct. 2
Artist talk: Dec. 4
Oklahoma State University Museum of Art