Images—whether they are painted or photographic—are paradoxical in that they create the impression of a fixed state. But reality is not fixed, it’s constantly changing. The landscape is in constant transition in terms of weather, geology, people, war. Of course, our physical landscape includes a mediascape, a secondary atmosphere that we’re steeped in and unable to step outside of. So that is something I’ve tried to bend a paintbrush around. (from an interview in maake magazine, Issue 6, June 2018)
“…these straightforward paintings are not visual collages so much as conceptual collages; the comments on art and technology are invisible, while the planetary/atmospheric ramifications take front stage…Landscape painting contains its own paradoxes in these days of photographic ascendancy, when photographs have finally been recognized as no more “truthful” than any other medium. Curiously, the distance afforded by a painting permits a more intimate experience of the effects of Katrina than the fragmented, momentary blitz of media photography. By reinventing her photographic sources, Garnett gives us time to be there, in place, on solid ground, however terrifying that may be. Simultaneously, by merging political and physical phenomena, she pulls the rug out from under our previous sources of information, perhaps even making us nostalgic for the impersonal flashes of media imagery that allow us to avoid responsibility for the environmental and social catastrophes we face.” — Lucy R. Lippard (2006)
Joy Garnett is an artist and writer who works with archives as both subject and medium. Translating found imagery, including media images of man-made and natural disasters, machine visions and surveilled but forgotten spaces, her work makes connections between direct experiences and ubiquitous media narratives operating beyond our control. Joy studied painting at L’École des beaux-arts in Paris and completed her MFA at the City College of New York. Her first solo show was at Debs & Co., NY in 1999, and she has since shown with Platform Gallery, Seattle, Slag Gallery, Brooklyn, and Winkleman Gallery, NY. Her work has been included in group shows at New York’s FLAG Art Foundation, MoMA-PS1, the James Gallery (CUNY Graduate Center) in conjunction with the Whitney Museum, the Milwaukee Art Museum, Museum of Contemporary Craft Portland, Boston University Art Gallery, BALTIC Centre for Contemporary Art (Newcastle-upon-Tyne), and the Witte Zaal (Ghent, Belgium). Critics and curators Lucy Lippard, Tim Griffin, Deborah Frizzell and Benjamin Godsill have written about her work, which has received reviews in The New Yorker, The New York Times, Art in America, ARTnews, TimeOut, The Brooklyn Rail, Artnet, Artforum, The Huffington Post, Hyperallergic, and elsewhere. Joy has been awarded grants from Anonymous Was a Woman, Lower Manhattan Cultural Council, Wellcome Trust and The Chipstone Foundation. Her paintings are in the permanent collections of the National Academy of Sciences (Washington, DC), Altria, and The West Collection (Oaks, PA). She was recently interviewed in Maake Magazine (June 2018).
Joy served as Arts Editor (2005-16) for the journal Cultural Politics published by Duke University Press. Her paintings and writings have appeared, sometimes side by side, in an eclectic array of publications, including Evergreen Review; Ibraaz (edited by Anthony Downey, 2013); edible Brooklyn; C Magazine; Ping Pong, the literary journal of the Henry Miller Memorial Library (edited by Shelley Marlow, 2015); and the The Artists’ and Writers’ Cookbook (edited by Natalie Eve Garrett, powerHouse Books, 2016). Scholarly books where her paintings and writings have appeared include Virilio Now: Current Perspectives in Virilio Studies (Polity, Cambridge, UK 2011); The Virilio Dictionary (Edinburgh University Press, 2013); and Virilio and Visual Culture (Edinburgh University Press, 2013), edited by John Armitage.
Joy has been working on a memoir and several other projects around the life and work of her late grandfather, the Egyptian Romantic poet and bee scientist A.Z. Abushâdy (1892-1955). For information visit The Bee Kingdom.