curated by Elizabeth Duffy
June 7 – July 14, 2019
Bristol Art Museum (Bristol, Rhode Island) including work by Beth Brandon, Joy Garnett, J. Myszka Lewis, Carolyn Marsden, Anna McNeary, Shari Mendelson, Brian Miller, Bradley Wester and Cheryl Yun.
“At first glance, the artists in Dead Ringer construct familiar objects and images: a bikini, a brick, a faceted glass vase. On closer inspection, an undercurrent of disquiet and hidden meanings emerge. The artists in Dead Ringer ask viewers to disassemble their works, to consider both what they think they see and the realities and epiphanies that come with closer looking. Calm and order feel alien to this moment of #MeToo, fake news and inexorable cruelty. Each of these artists makes works that are indelible, jaggedly smart and timely, looking at our moment and refusing to sugar-coat its anxieties.” – Elizabeth Duffy, Curator
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
Tom McGlynn, The Brooklyn Rail (July-Aug 2017): Disappearing, Inc.
“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
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.
- Carte Blanche, June 10 – August 30, 2016. Adah Rose Gallery, Kensington, MD. Rotating and Guest Artists in the Gallery, Guest Curators.
- New York, I Love You, But... Curated by Keith Miller. Gallatin Galleries, Gallatin School of Individualized Study at NYU (Nov 5, 2015 – Jan 26, 2016)
Khalik Allah, Annie Berman, Sophie Blackall, Nathan Fitch, Brian Foo, Joy Garnett, Suzanne Goldenberg, Nina Katchadorian, Paul McDonough, Lawrence Mesich, Ron Milewicz, Amy Park, Maddalena Poletta, Casey Ruble, Ken Schles, Terreform ONE
Musée Magazine (November 2015): New York, I Love You, But… At NYU’s Gallatin Galleries PDF
- FOODshed: Art and Agriculture in Action. An exhibition of upstate/downstate NY artists who work with food and agriculture. Curated by Amy Lipton. CR10 Arts, Linlithgow, NY. August 8 – September 5.
John Isaacs, Thought for Food (IMBY Aug 11, 2015)
- FOODshed, Smack Mellon, Brooklyn (Summer 2014). Curated by Amy Lipton.
The Wayland Rudd Collection (NYC): Installation shots
- A Gift to Birobidzhan, curated by Yevgeniy Fiks, 21ST.PROJECTS, New York. September 11 to October 19, 2014
- Sargent’s Daughters, Sargent’s Daughters, NY: An exhibition of women artists exploring the legacy of John Singer Sargent. June 25-July 26, 2014.
- The Wayland Rudd Collection, organized by Yevgeniy Fiks, First Floor Gallery, Harare, Zimbabwe, June 20-August 7, 2014.
- FOODshed: Agriculture and Art in Action, curated by Amy Lipton, Smack Mellon, Brooklyn, NY, June 7-July 27, 2014.
- Full House: 100 artists and 15 years of inventory, aeroplastics contemporary, Brussels, Belgium, April 3-May 17, 2014.
- The Last Brucennial, Bruce High Quality Foundation, NY, March 6-April 4, 2014
- Painting the Pixel, curated by Rachel Sharp, Gallery North, University of Northumbria, Newcastle upon Tyne, United Kingdom, March 3-April 11, 2014.
- Being There, curated by Amy Lipton, Elga Wimmer Gallery, NY, Feb 1- Mar 14, 2014.
- The Tool at Hand traveled to the Museum of Contemporary Craft, Portland, Oregon, October 2, 2013–January 11, 2014.
- Things Fall Apart, a group exhibition curated by Joy Garnett. Winkleman Gallery, NY
January 16 – February 21, 2009. Installation views
Featuring work by Stephen Andrews , Paul Chan + The Front (NOLA), Mounir Fatmi , Yevgeniy Fiks , Joy Garnett , Susan Hefuna, Christopher Lowry Johnson , Carlos Motta, Renata Poljak , Susan Silas.
Holland Cotter, The New York Times (August 2006): Art in Review: Prevailing Climate PDF
Sara Meltzer Gallery
525-531 West 26th Street
curated by Rachel Gugelberger and Jeffrey Walkowiak
July 13 – August 18, 2006 [press release]
Anna von Mertens
Yumi Janeiro Roth
Karina Aguilera Skvirsky