Monday, December 12, 2011
Saturday, November 12, 2011
Monday, September 26, 2011
Sunday, September 25, 2011
Tuesday, September 20, 2011
Sunday, September 18, 2011
Saturday, September 17, 2011
( 4 - 5.30 pm - actual performance investigation - Wild Flower Park, P.O.S.)
Charles Campbell is among a new generation of contemporary Caribbean artists working to explore and disrupt the region’s dominant social narratives. He has exhibited widely in North America, the Caribbean, and Europe, representing Jamaica in events such as the Havana
Biennial and the Brooklyn Museum’s Infinite Islands exhibition. His work uses images culled from the Caribbean's history of slavery and emancipation to investigate the intersection between meaning and image and open up the possibility of personal and social transformation. He holds an MA in Fine Art from Goldsmiths College and currently lives and works in Canada.
His recent work has investigated and re-imagined the traditional Actor Boy character from the Jamaican Jonkonnu festival, a trickster figure and “agent of chaos and change.” Campbell writes: “Rather than remaining the character from Belisario’s print, a character from the past, I envision him as a character from one of the possible futures that was alive at the time of emancipation and a sort of embodiment of the coexistence of multiple futures.”
Looking at the Rational Utopianism of Buckminster Fuller as one of these multiple futures, Campbell has begun to create a series of three-dimensional spheres, drawing on Fuller’s geodesic domes: vehicles for the transport and circulation of people, ideas, and images, which “simultaneously excite different ways to understand something we see.” Campbell’s participation in ACT 5 is supported by the Canada Council for the Arts.
Act 5 project statement here
See previous event pictures here & video
All are invited.
Friday, July 29, 2011
Dates: Saturday, September 17th, 2011 – Saturday, October 29th, 2011
Location: 167 East 73rd Street, New York, NY 10021
Hours: Wednesday – Saturday, Noon – 6pm, or by appointment
Opening: Friday, September 16th, 2011, 6pm – 9pm (RSVP required)
Press Contact: Anne Schruth; email@example.com
An artist finds her footing on liminal terrain
Nicole Awai unveils mixed-media installation at the Vilcek Foundation Gallery
Premiering September 17th at the Vilcek Foundation Gallery, in
New York City, is Almost Undone, a new installation by mixed-media artist Nicole Awai.
Featuring drawings from an earlier series by the Trinidadian native, entitled Specimens from
Local Ephemera, the drawings in this new exhibition will serve as visual anchors for emergent
pieces that seem to suspend, exude⎯even escape⎯their wall-bound origins, symbolizing the
transition of Ms. Awai’s work from one dimension into the next.
Local Ephemera, which began as a series of preparatory drawings for a sculpture Ms. Awai
presented at the 2003 Biennial of Ceramic in Contemporary Art in Italy, was later developed by
the artist into a stand-alone series of works. Occupying a liminal space, these drawings depict
various artifacts, both contemporary and historical, to reveal a world constantly in flux⎯the
world of in between and inside out. It’s a dynamic plane of shifting perception, but one framed
within a technical drawing format, thus lending it structure while weaving themes often found
in Ms. Awai’s other work⎯of duality, location, and cultural reprocessing.
In all her works, Ms. Awai draws upon multiple sources for inspiration⎯from popular media and
design to the history of art and a curiosity about the human migratory experience. Almost
Undone is no exception. In this new work, she incorporates materials as varied as cast and
sprayed paper, resin, plastic, nail polish, clay⎯even a telephone pole. The results are bold,
complex three-dimensional structures, which seem to pull, stretch, and tear from the wall, and
the memory of their two-dimensional predecessors.
Of Ms. Awai’s new installation, art historian Courtney J. Martin said, “Employing elements like nail varnish, and by crafting new surfaces, Nicole Awai’s works on paper and sculpture offer a fantastical, yet studied, take on the traditional mediums. This new body of work shows off her instinctual understanding of form and color, adding a thought provoking extension to her practice.”
Ms. Awai earned her Master’s Degree in Multimedia Art from the University of South Florida. She
now lives and works in Brooklyn, New York, and currently serves as Critic at the Yale School of
Art. Her work has been included in several seminal exhibitions, including the first Greater New
York: New Art in New York Now, at P.S. 1/MoMA (2000), the 2008 Busan Biennale in Korea,
Infinite Island: Contemporary Caribbean Art (2007), and Open House: Working in Brooklyn; the
latter two held at the Brooklyn Museum. Ms. Awai was also a featured artist in the 2005 I.P.O.
series at the Whitney Museum of American Art, New York.
The Vilcek Foundation was established in 2000 by Jan and Marica Vilcek, immigrants from the
former Czechoslovakia. The mission of the Foundation, to honor the contributions of foreignborn
scholars and artists living in the United States, was inspired by the couple’s careers in
biomedical science and art history, respectively, as well as their personal experiences and
appreciation for the opportunities they received as newcomers to this country. The Foundation
hosts events to promote the work of immigrants, and awards annual prizes to prominent
immigrant biomedical scientists and artists who make outstanding contributions to American
To learn more about the Vilcek Foundation, visit www.vilcek.org.
Tuesday, July 26, 2011
Ebony G. upfront (Rodell Warner)
July 25th, 2011. Alice Yard, Port of Spain, Trinidad.
9 of 219 . This piece had all the fixings of a good ole fashioned wake: from flambeau to candle and a procession of 9 coffins around the portion of the Woodbrook block that is home to Alice Yard Contemporary Artspace and then some. Woodbrook was already abuzz for most the day before the 7pm performance-based work by Patterson.
Flambeau and candle
Woodbrook police station was reportedly inundated with calls from concerned neighbours about the goings on at Roberts Street. These “goings on” actually prompted an investigation by a party of officers who responded to calls about “somebody dragging around a coffin on Roberts street, whole day,” and even Port of Spain’s Mayor himself paid a visit, warning us about the Yard’s lack of proper procedure in procuring permission for the performance and that the performance should not by any means take place on the “street”.
Ebony G. and the popo
6 of 9 of 219 coffins Alice Yard, The Lower Annex
Not withstanding all of the various official “visits”, by 8pm it was clear that Patterson’s project was going to happen, and the faithful gathered to bear her representations of fallen brethren: nine cosquel dancehall/bling coffins marking the number of deaths that took place during a few days of Patterson’s residency in Alice Yard. (Patterson’s aesthetic choices in the work form part of her ongoing exploration of Jamaica’s dancehall culture and its grandiose love of bling and flam couture.) Patterson is the first of a number of Caribbean artists that will be visiting the Yard over the next few months to celebrate the art space’s fifth anniversary, entitled Act 5.
Ebony G. Patterson (Jamaica/U.S.A.), Entourage, 2010. Digital print. (courtesy the artist)
As the pallbearers (both men and women, an oddity in the Caribbean where pallbearers are typically men and noted by one onlooker as empowering for women within this context) traversed the Woodbrook streets accompanied by 3 Canal. Patterson and 3 Canal collaborated to create a dirge of culled newspaper recollections/musings of Patterson’s, fused with 3 Canal’s own Pitter Patter riddum. It soon became obvious to everyone, documenters, onlookers, pallbearers et al, that this work had more shared resonance than anyone could have imagined at the beginning of the experiment.
3 of 9 of 219 coffins, Alice Yard, The Box
The Procession clip (Artzpub Videos)
The Procession in Woodbrook
Ebony G. Patterson and Christopher Cozier
Artist Luis Vasquez on crime and Caracas
Patterson, in a later talk about her work, drew similarities to our murder rate and that of Jamaica’s, prompting a lively comparison of safety and securities/ insecurities in our Caribbean environment, and our perceptions of what safety and security really mean. One Venezuelan-born artist commented on the fact that coming from a city of 5000 murders a year with a population of 5 million, to Trinidad, where there’s a murder rate of “only” 300 a year, he felt a sense of safety and security that he clearly didn’t have in Venezuela. Patterson also noted how the work and its development entered into a type of political space that she hadn’t initially foreseen.
Kelvon was a people's person and plenty people liked him because he liked to give jokes. He liked to chant and give freestyles (rap chants). Everybody in the neighbourhood saying it was something that wasn't meant for him.- (Antoinette George on the death of her son Kelvon 16)
Thank you for this...
One member of the procession thanked Patterson for the opportunity to attach a self to the often faceless murders and people reported, to get the chance to know, even if briefly, or rather, have ownership for and a bond maybe, with this representation of a person that on a regular day we may actually avoid, by ducking a newspaper or a crime reportage because we may have had enough. The ‘work’ discussions prompted more side discussions and branches to the exploratory tree than can be mentioned here. However, these are a few: males, the masculinity of crime, our acceptance or desensitization to murder due in part to violence in the media, You Tube etc, the disposal of the dead and what it means, superstitions and beliefs about funerals and their social importance, and so much more.
Some of Patterson’s work has left me speechless, just by its sheer magnificence. 9 of 219 is one of them.
Artists Ebony G., Ashraph and Darren Cheewah (pix by Rodell Warner)
Friday, July 22, 2011
We’re inviting everyone to come and see the work at Alice Yard (80 Roberts Street) on Monday, July 25th at 7pm. The night will begin with a candlelight vigil, so walk with your candles!
About Ebony G.:
Born a native of Kingston , Jamaica in 1981,Ebony G. Patterson graduated from the Edna Manley College of the Visual and Performing Arts in 2004, where she received an Honors Diploma in Painting and from Sam Fox College of Art and Design at the Washington University in St. Louis in 2006, with a Masters in Fine Arts in Printmaking and Drawing.
The artist has participated in several group exhibitions in Jamaica and abroad since 2001, her most recent recent exhibits include:, The National Biennial 2008 and 2010, Kingston, Jamaica, Infinite Island: Contemporary Caribbean Art, Brooklyn Museum, Brooklyn, NY, 2007, Curated by Tumelo Mosaka, Assistant Curator of Contemporary Art Brooklyn Museum, Curator’s Eye III: Ceremony in Space, Time and Sound, National Gallery of Jamaica, Kingston, Jamaica,2008, curated by Keith Morrison, Boys of Summer, Monique Meloche Gallery, Chicago, Illinois, 2008, Art on Paper 2008, Weatherspoon Art Museum, University of North Carolina at Greensboro, Greensboro ,North Carolina, 2008, New Blue Emerging- First Kentucky Art Biennial, Kentucky Museum of Art and Craft, Louisville, KY,2008,NEXT: The Invitational Exhibition of Emerging Art , Merchandise Mart Chicago , IL, 2008, Looky See, Summer Drawing Exhibit, Otis College of Art , Los Angeles California,2008, Rockstone and Bootheel :Contemporary West Indian Art, Real Artways Hartford, CT, The Ghetto Biennale, Grand- Rue, Port- Au –Prince, Haiti 2009, Young Talent V, National Gallery of Jamaica , Kingston , Jamaica, 2010,curated by Dr. David Boxer and Veerle Poupeye, Shot in Jamaica, Alice Yard, Port- of- Spain , Trinidad, 2010, curated by Christopher Cozier and O’Neil Lawrence and You are here/Vous êtes ici/ Usted esta aqui, The Foundation Clemente, La Francais, Martinique,2010,Gully Godz in Conversations, Monique Meloche Gallery( On the Wall Project ), Chicago, IL ,curator Tumelo Mosaka 2011
Alice Yard is administered and curated by architect Sean Leonard, artist Christopher Cozier, writer and editor Nicholas Laughlin, and musician Sheldon Holder, with the help of a growing network of creative collaborators.
Tuesday, July 5, 2011
Monday, July 4, 2011
Saturday, June 18, 2011
The show consists of a series of 30 paintings, some of which are of characters with over exaggerated lips and eyes representing our ‘watching and silent waiting and bubbling’ for something to happen. There is also an examination through a hand screen-printed print collaboration with artist Suzanne Nunez as well as buttons of the ubiquitous and lasting element of our Trinidad and Tobago culture, our picong, the ‘Megee’: the ‘five fingered fart’, the ‘fowl bottom’, that fools you again and again (coincidentally it ties in with other work in the show, symbolising our five party coalition government, the People’s Partnership). Rounding it all up is a Monograph featuring an introduction by artist/ designer Adele Todd, a Megee musing by writer Tracy Hutchings, an essay on art and politics by Andre Bagoo and a number of new and on going design explorations on our age of KAMALOT and our unresolved NAPA ‘tabanca’
The show runs for two nights at Alice Yard, Thursday 23rd and Friday 24th June from 7pm. The second night will include a choreographed performance by dancer /choreographer Dave Williams. All works are of course for sale and at an affordable range of prices. The show is open to everyone and their friends!
Wednesday, June 1, 2011
Friday, May 27, 2011
Image: Christopher Cozier, Development,
2003, 60” x 60,” ink, acrylic and charcoal on paper.
On view: June 9th – July 23, 2011
Opening Reception: June 9th, 6-8pm
Also on view: William Kentridge: Recent Linocuts
David Krut Projects is pleased to present Fugitive Vision, a group exhibition of works by Christiane Baumgartner, Christopher Cozier, Joseph Hart, Whitney McVeigh, Ryan and Trevor Oakes, Phil Sanders, Sara Sanders, and Mary Wafer.
The human eye continuously absorbs and categorizes an endless flow of visual information, encountering, simultaneously and unconsciously, objects in one’s path. We process this visual overload of masses, materials, and actions by forming connections between the external and ourselves. Our vision is always shifting, because the visible — as the Impressionists understood, and the Cubists later expanded upon — is by nature, fugitive, and cannot be understood from a fixed perspective. The works in this exhibition explore the frameworks that surround and influence this subjective vision. Highlighting the interplay between sight and site, “Fugitive Vision” investigates the relationship between visual modes of perception and representation.
Christiane Baumgartner’s new series of drawings explores nuance in color and line. Operating as optical marks that remain in motion without a fixed form, these drawings suggest presence despite the absence of a stable image. Departing from photographic references found in Baumgartner’s well-known woodcuts, these drawings investigate lines in-between sight and representation, offering an image in transition.
Christopher Cozier explores the confrontation between the sight of one’s body and the stratification of self, revealing embedded, prescribed notions of identity and masculinity. As a symbol of success and division, the rostrum appears in his drawings, in various configurations, exposing the hierarchy of cultural identity as a production of a game or contest. Unoccupied, the symbol of the rostrum becomes an uninhabitable platform that pervades the pictorial space, questioning the commensurability between culturally-coded sight and a predetermined place.
Joseph Hart, whose general oeuvre investigates the visual presentation of artworks within institutional contexts, here explores the visual construction of line itself. Using a heavy, active layer of graphite to render the space around the line, he inverses the negative space to positive. Emphasizing this area surrounding line, Hart reveals the unseen structure that establishes and grounds a visual mark.
Whitney McVeigh utilizes improvisational lines to explore the relationship between mark and image, allowing subjective perception to engage with her automatic gestures. Ryan and Trevor Oakes’s drawings use geometrical metaphors of line and shape to render the anatomy of bioptic vision, depicting landscapes of human sight. Sara Sanders, in her multiple-color photo-lithograph, activates the seat of an unoccupied, antique chair to act as a screen, evoking an instilled presence despite a physical absence. Mary Wafer’s prints reference the structure of the Abbottabad compound, using an architectural site as a substitute for an embedded portrait, while Phil Sanders employs site and place to investigate the inserted gaze of the explorer who redefines landscape as frontier.
Please contact Genevieve Lowe, Hannah Dumes or Kristyna Comer for more information.
Image: Christopher Cozier, Development, 2003, 60” x 60,” ink, acrylic and charcoal on paper.
Wednesday, April 27, 2011
In partnership with the Bocas Lit Fest
Launched in January 2011 by artists Holly Bynoe and Nadia Huggins of St. Vincent and the Grenadines, ARC is “a Caribbean art and culture magazine dedicated to highlighting emerging and established artists.”
Alice Yard is pleased to host the Trinidad launch of ARC on Wednesday 27 April, from 7 to 9 pm. The programme includes an exhibition of works by artists featured in the magazine and spoken word performances. Both editors will be present, and copies of the second issue of ARC, fresh off the press, will be available for sale. This event is part of the 2011 Bocas Lit Fest, the first annual Trinidad and Tobago Literary Festival.
All are invited.
Read an interview with Bynoe and Huggins published at Antilles, theCaribbean Review of Books blog, in January 2011.
See the full programme of events for the 2011 Bocas Lit Fest here.