“It strikes me that 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.” Maake talks with painter Joy Garnett about her process, myriad source imagery, and her visceral relationship to color. Full interview online, link in profile! Issue 6 was curated by Holly Coulis. Interview Questions by Beatrice Helman….
Issue 6 of Maake Magazine
Curated by Holly Coulis
20 featured artists, 3 Artist-Run features and full-length interviews
Full color throughout. 80 pages.
April Spotlight, Joy Garnett: Deep Dish
Platform Gallery online, Seattle
“Deep Dish” is an exploration of landscape and urbanscape using the medium of digital collage. Pulling from an array of sources, including licks from my paintings, sections cropped from my street photography, and screen grabs of global conflicts found online, I play with many layers to create enigmatic works that are at once complex and immediate.
TINY ACTS TOPPLE EMPIRES
Guest-curated by Heather Darcy Bhandari
Woskob Family Gallery
State College, PA
MARCH 29 – JUNE 2, 2018
Opening Reception: Wednesday, March 28, 5 – 7 PM
Tiny Acts Topple Empires is a group exhibition that considers the manifold expressions of rebellion and multitude of ways contemporary art can challenge the status quo and enact incremental change in our culture. The work engages with all types of rebellion: formal, material, political, and otherwise.
Featuring work by: Micaela Amateau Amato, Laura Bustamante, Mandy Cano Villalobos Studio, Jonathan Ehrenberg, John D. Freyer, Joy Garnett, David Grainger, Karolyn Hatton, Krista Hoefle, Vincent Hron, Sarah E. Jenkins, Noel Kassewitz, Dave Kube, Jess Lauren Lipton, Liz Luna, Meredith Lynn, Taryn McMahon, Christopher McNulty, Margaret Murphy, Joe Netta, Landon L. Newton, Michael Pribich, Leslie Robinson, K. Sarrantonio, Jody Servon Projects, Clinton Sleeper, Kate Snow, Ann Stoddard Art, Krista Svalbonas Fine Art, Steve Totin, MJ Tyson Studio, Kirsten Valentine, Hilary Wang, Coral Woodbury, JooYeon Judy Yang
‘PARIS RIOTS’ SERIES
When we speak of citizen journalism, many of us think of the Arab Spring and Egypt’s youth movement launched on January 25, 2011 with its reliance on smartphones, social media and viral video. As one Egyptian activist tweeted, “We use Facebook to schedule the protests, Twitter to coordinate, and YouTube to tell the world.” Only a few years earlier, in 2005—before the advent of Facebook and Twitter—protests and riots raged on the outskirts of Paris, sparked by the accidental deaths of two young boys who were hiding from police in an electrical substation in Clichy-sous-Bois. The rioting spread throughout the Île-de-France and eventually to the suburbs of other cities, giving expression to the hopelessness of a generation of marginalized youth, the children of predominantly Arab, African and North African immigrants, stuck in ghetto high-rises in the banlieues. Over several months, more than 9,000 vehicles were set on fire, as well as scores of public businesses; France declared a state of national emergency. A government-imposed media blackout sent journalists scurrying for imagery, which they found posted on personal blogs, YouTube and Flickr: lo-res images and video of burning cars and riot police, shot by ordinary people on the ground with cheap cameras and rudimentary phones. These images served as immediate and authentic documents, and are a precursor to subsequent uses of social media as tools for dissent. I painted my Paris Riots series based on a handful of lo-res images that were circulating on Flickr and elsewhere as the riots unfolded. The paintings are small but fiery like their source images, and speak to the urgent need to communicate what was happening on the ground. But unlike the digital images, the paintings embody physical space, and they instill, through the materiality of the gesture and the paint, the urgent physicality of the moment. Hence, the paintings offer the possibility of a different kind of engagement from what we’re used to when confronting political conflagration: the proximity afforded by the physical object, as opposed to the virtual image, more than a decade after the riots. ~ J. Garnett, 2017
June 1 – August 11, 2017
The FLAG Art Foundation
545 West 25th Street, 9th Floor
New York, NY 10001
Joy Garnett will be included in the exhibition The Times (June 1 – August 11, 2017) at The FLAG Art Foundation, opening June 1 in its 9th floor gallery. Garnett’s painting Explosion, Yellow & White will be featured. The exhibition uses The New York Times as its point of departure and features over 80 artists, artist duos, and collectives who use the “paper of record” to address and reframe issues that have an impact on our everyday lives. Explosion, Yellow & White is part of a larger body of work that refers directly to journalistic photographs of climactic events.
Artists featured in The Times include: Becca Albee, Doug Ashford, Luke Butler, Anthony Campuzano, Suzanne Caporael, Nancy Chunn, Mike Cockrill, David Colman, Jennifer Dalton, NiiLartey De Osu, Anne Deleporte, Mark DeMuro, Richard Dupont, Elise Engler, Laura Fields, Avram Finkelstein, Joy Garnett, Skye Gilkerson, Robert Gober, Felix Gonzalez-Torres, Matthew Hansel, Rachel Harrison, Lubaina Hibid, Theresa Himmer, David Hines, Becky Howland, On Kawara, Ellsworth Kelly, Agnieszka Kurant, Stephen Lack, William Ladd and Steven Ladd, Justen Ladda, Sean Landers, Paul Laster, Leigh Ledare, Elissa Levy, Jason Bailer Losh, Dashiell Manley, Walter Martin & Paloma Muñoz, Stefana McClure, Dave McKenzie, Tom Molloy, Maynard Monrow, Aliza Nisenbaum, Lorraine O’Grady, Billy Pacak, Alexandra Penney, William Powhida, Dominic Quintana, Beth Reisman, Hunter Reynolds, Bruce Richards, Guy Richards Smit, Carlos Rolón/Dzine, Randall Rosenthal, Donna Ruff, Michael Scoggins, Lauren Seiden, Paul Sietsema, Adam Simon, Ken Solomon, Ruby Sky Stiler, Linda Stillman, Sarah Sze, Yuken Teruya, Rirkrit Tiravanija, Fred Tomaselli, Jim Torok, Panos Tsagaris, Phoebe Washburn, Evan Whale, Carmen Winant, Andrew Witkin, Yes Men, Mark Zawatski, and Angela Pulido Zorro, and more.
PRESS: REVIEW of ‘The Times’ at The FLAG Art Foundation:
Tom McGlynn, The Brooklyn Rail (July-Aug 2017): Disappearing, Inc.
ARTNEWS: All the Art Fit to Show (And None of It Fake!): Flag Art Foundation Plans a Show About the ‘Times’, by Sarah Douglas Posted 02/24/17
The FLAG Art Foundation | Hours
Wednesday through Saturday, 11am-5pm
Summer Hours: Tuesday through Friday, 11am-5pm
“New Year’s Day” (video 2:48 min.) is included in a special program of post-election screenings and symposia at Petzel Gallery, NY
We need to talk…
Artists and the public respond to the present conditions in America
January 7 – February 11, 2017
Petzel Gallery, 456 West 18th Street, NY
Something different for the month of January 2017, We need to talk… will try to address the myriad issues presented by the election results of November 8th.
Review of The Nuclear Culture Source Book (ed. Ele Carpenter; Black Dog Publishing, 2016):
The End of the World as we Know It, By Sadie Rebecca Starnes, Hyperallergic, Feb 5, 2017
The Nuclear Culture Source Book considers the “lived experience of the uncanny nature of radiation” ushered in by disasters such as Chernobyl, Three Mile Island, and Fukushima.
Just as science fiction has become speculative fiction, the Great Acceleration, the Anthropocene, the Capitalocene and the Chthulucene now inundate theory, science and art.
Dr. Ele Carpenter, leader of the Nuclear Culture Research Group, has become a key figure in the interdisciplinary discussion of, and artistic response to, mankind’s self-destructive tendencies. The Nuclear Culture Source Book, a culmination of four years of research on nuclear material culture in technology and art, is her definitive introduction to Nuclear Culture and Aesthetics. As the volume’s editor, Carpenter has gathered the work of 60 artists and 12 writers working around the immateriality of radioactive isotopes, on site and in theory.
February 2017: Available for download as a pdf, 167 pages http://writing.upenn.edu/pepc/meaning/MEANING-2016.pdf
and here: MEANING-2016.pdf
For our 30th anniversary final issue, we asked long-time contributors and new friends to create images and write about where they place meaning today in the post-election period.
We invite you to live through this time with all of us in a spirit of impromptu improvisation and passionate care for our futures.
~ Susan Bee and Mira Schor
Alexandria Smith, Altoon Sultan, Ann McCoy, Aviva Rahmani,
Aziz+Cucher, Bailey Doogan, Beverly Naidus, Bradley Rubenstein,
Charles Bernstein, Christen Clifford, Deborah Kass, Elaine Angelopoulos,
Erica Hunt, Erik Moskowitz + Amanda Trager, Faith Wilding,
Felix Bernstein and Gabe Rubin, Hermine Ford, Jennifer Bartlett,
Jenny Perlin, Johanna Drucker, Joseph Nechvatal, Joy Garnett and Bill Jones, Joyce Kozloff, Judith Linhares, Julie Harrison,
Kate Gilmore, Legacy Russell, Lenore Malen, LigoranoReese,
Mary D. Garrard, Martha Wilson, Matthew Weinstein,
Maureen Connor, Michelle Jaffé, Mimi Gross, Myrel Chernick,
Nancy K. Miller, Noah Dillon, Noah Fischer, Peter Rostovsky,
Rachel Owens, Rit Premnath, Robert C. Morgan,
Robin Mitchell, Roger Denson, Sharon Louden, Sheila Pepe,
Shirley Kaneda, Susanna Heller, Suzy Spence, Tamara Gonzales
and Chris Martin, Tatiana Istomina, Toni Simon, William Villalongo
Susan Bee and Mira Schor, M/E/A/N/I/N/G, December 1986-December 2016