If you're an artist, what kind of art do you make?
Conceptual, Installation, Sculpture
An artist that works across media in a conceptual manner. I have developed work using Photography, Video, the Internet, Printmaking and Mixed-media. I received my Bachelor of Arts at Columbia College in Chicago, Illinois and my Master of Fine Arts at The School of Visual Arts in New York.
My work has been widely exhibited both locally and Internationally including the New Museum, New York; Whitney Museum, New York; Museo Nacional Centro de Art Reina Sofia Madrid, Spain; Institute of Contemporary Arts London, England; Museu da Imagem e do Som Sao Paulo, Brazil; Karsi Sanat Galerisi Istanbul, Turkey; New Kunstmuseum Luzern, Switzerland; San Francisco Art Institute, California; Irish Museum of Modern Art Dublin, Ireland; National Science Museum Daejeon, Korea; Centre Cultural de la Fundacio “la Caixa” Barcelona, Spain; Photographic Resource Center Boston, Massachusetts; Museum of Contemporary Art Tokyo, Japan; Ecole Superieure Nationale des Beaux Arts Paris, France; Soros Center for Contemporary Arts Skopje, Macedonia; to name only a few.
I have received commissions and Artist Residencies from the Whitney Museum, New York; The Alternative Museum, New York; Manhattan Graphics Center, New York; The Experimental Television Center Owego, New York; Ars Electronica Graz, Austria; among others.
I have been invited to lecture on my artwork by the Whitney Museum, New York; Eyebeam, New York; Gumusluk Academy Bodrum, Turkey; Location One, New York; Guttenberg Information Technology Center Newark, New Jersey; Ecole Superieure Nationale des Beaux Arts Paris, France; University of Applied Arts, Vienna, Austria; Barnard College, New York; Cooper Union New York; The Kitchen New York; College Art Association; and more.
My work has been reviewed and published in many books and periodicals including From Technological to Virtual Art (MIT Press); Digital Art: World of Art Series (Thames and Hudson); Digital Currents: Art in the Electronic Age (Routledge); New Screen Media: Cinema/Art/Narrative (ZKM); In The Realm of the Circuit: Arts et Nouvelles Technologies (Larousse); Internet Art Digital Culture: Web Fictions (Springer); Avatars (Benteli Verlag); Wounded City: The Social Impact of 9/11 (Russell Sage Foundation); The Feminism and Visual Culture Reader (Routledge) including many other noteworthy publications and Journals.
About my artwork
My practice is a form of detournement, reusing elements well-known to architecture combined with objects of personal use to create new work with a different message. The impact of displacement on the psyche not to mention the violation toward the body itself can easily be read into this new work. The work itself becomes an Assemblage of remnants left behind or discarded objects left over that have made it's way into my art making practice as a means with which to function and still remain an avant-garde practitioner.
My methods of conceptualizing and producing new work are constantly shifting. I do not have a signature style or a linear path in which to reference. I am always interested in how materials and concepts reinforce each other. And while I have a personal history of working with 'New Media' I am equally driven by my exploration of feminism and autonomy. An Existentialist approach that tests the borders of freedom and containment. I can look at my entire oeuvre to date and see how I move through and utilize media and processes that change or mutate into new forms of art-making and still the conceptual foci remains the linking thread rather than the use of a particular media; even when I'm commenting on that media.
This is not to deny the physical or material process as a fundamental component of my practice, because at this moment as I begin to consider my art as manifestations of The Nervous System then it becomes more easily understood how one's physiological responses can open up into new ways of responding to a variety of materials with which to make art. As a cross-media practitioner, I work with multiplicities. I am constantly challenging or even working against myself with nearly every new body of work. The event of coming into sight is always a challenge when building up a new idea into it's material reality.
The sculptural Assemblage works shown are examples from a larger body of work where I combined belt buckles with tile and soundproofing samples discarded by Architectural Firms. The buckle is used as a means to express the act of being constrained. The process of fusing earrings with soundproof materials points toward a psychological state of mind which may sense a perception in the absence of a stimulus. I extended this series titled "Side Effects" by including Prescription Drugs to explore the relationship between Illness, Treatment and the creative impulse. I work with psychoactive drugs with in a range of visual forms to explore their impact on consciousness.
The “Tips” series extend these ideas further by using samples of wood paneling along with segments of wallpaper which is meant to recall the short story written by Charlotte Perkins Gilman titled, “The Yellow Wallpaper.” All of these works incorporate the tip of the belt buckle, again as a reference to various states of confinement, so that each “Tip” can be perceived as a whisper from an ancestor that is intended to serve as a reminder of past struggles and indignities to current or future ambiguous generations.
The Works on Paper presented here, interweave personal reflections on Signs and Symptoms of illness along with suspect methods of Treatment and anxieties about Recovery. In both series “Torn” and “Wounds” I saw the paper that I was working with as a metaphor for both the body and the psyche. The paper became a site that allowed me to express my internal emotional state.
The series “Torn” takes a more clinical approach-- examining the language used by medical practitioners to determine patient diagnosis. The physical process of ripping the paper became cathartic and symbolic at the same time.
The series “Wounds” took on a psychoanalytic approach loosely referencing then recombining, for my own process of understanding, text from Julia Kristeva’s classic publication, The Black Sun. In this sense, I would tear holes at various locations of the paper and write freely around the edges of tears. Again, like the series “Torn” the physicality of both the paper and my interaction with it became an embodiment of my own internal anguish.
The “Spirals” series results in an almost cinematic script for future videography-- though during the moments of self analysis the outcome was far from apparent. The text in these pieces refer to symptoms that occur in the nocturnal life of an artist with severe bouts of insomnia and night terror. The visual form of the spiral itself plays a role in symbolism and appears in ancient art. However, in my case, it’s formal use can be viewed along the lines of hypnotism, dizziness or falling into a continuous zone of accelerating repetition and fear.
The “Time Out” series consists of Oil Pastels on Magazine Stock Paper from the New York magazine Time Out. This emotionally charged series of text overlaid onto the Art listings section of the weekly publication is a direct reply from the artist externalizing concerns as a multi-faceted response to loss and absence.
In the series of Ink on Book Paper Stock titled “Ishihara Tests,” I have torn pages out of the book Ishihara’s Tests for Colour Deficiency. The series of Plates were designed as a test for red-green color vision defects to be utilized in a clinical setting. In this series rather than recite back what I see, rather, I inscribe my immediate thoughts and feelings directly onto each Plate.
Jewelry making is a facet of personal adornment, in the series titled “Wearing My ...” I use this form of creative expression to transform feelings into wearable words. These pieces are intended to remodel my inner reality as a subjective struggle that gives form to a set of complex and often disturbing array of emotions.
After finding a book called My Healing Companion I decided to make a Visual Journal overlaying magazine images and texts with a glue stick and child-proof scissors inside the already bound edition. The result is titled “My Healing Journal” in which I made use of found materials within a Journal format to break free from Self-Repression in order to access and express deeper parts of myself by unhooking from the logic of a more traditional word-based journal.
Artists I like
Meret Oppenheim's fur-lined teacup, 'Object', 1936. (The Museum of Modern Art's Permanent Collection.)
Vincent Van Gogh, 'Self Portrait with Bandaged Ear', 1889. (The National Gallery Trafalgar Square London's Collection.)
Marina Abramovic, 'Ladder', 1995.
Pablo Picasso, 'Weeping Woman,' 1937 (Tate Gallery, London.)
Gordon Matta-Clark, 'Splitting,' 1974 (The Museum of Modern Art Collection.)
Lewis Carroll, 'Xie as a violinist, 1876' (Public Domain.)
Yayoi Kusama, 'Solitude on Earth,' 1994.
Cy Twombly, 'Summer Madness,' 1990.
Pipilotti Rist, 'Ever is Overall,' 1997. (Youtube.com)
Making Art and spending time in my studio.
Listening to music: Peaches, L7, Sexpod, Patti Smith, Joan Osborne, Madonna, Hole, Cat Power, Lykke Li, Polly Jean Harvey, The Kills, M.I.A, Bat for Lashes
Watching Movies like: Mouchette; Vagabond; Camille Claudel; The Hours; Kill Bill vol. I and vol. II; Girl, Interrupted; Frances; Samurai Chicks: Girls for Independence; Sylvia; Fur; Frida; An Angel at my Table; Valley of the Dolls; Iron Jawed Angels; Vincent and Theo, A Beautiful Mind.
Reading Charlotte Perkins Gilman; Mary Wollstonecraft; Virginia Woolf; Kate Chopin; Edna St. Vincent Millay; Julia Kristeva; Anne Sexton; Hélène Cixous; Luce Irigaray; Sylvia Plath; ...
Outside of the art context: I love to go to the beach and swim in the ocean.
What exhibitions are good at the moment?
The exhibition titled 'Retrospective' at Gagosian in Chelsea, New York. This all-male lineup of artists will benefit greatly due to this smartly conceptualized show.
"Beautiful Inside My Head Forever," Damien Hirst, Sotheby's, London, Jay Jopling, The Pre-sale Showings, The Media, The Press Coverage, The Hype, All of it: Pure Shakespeare.
Falling on the right side of Capitalism this week is "Art Basel Miami Beach;" the Fair at the Convention Center overwhelms the eye. While there is much to experience, an overemphasis on surface disappoints-- Hot media still dominates these days whereas cool media offers refreshing moments of contemplation and reflection. Though it's always a pleasure to see old friends and make new acquaintances.
Niki de Saint Phalle at TATE Liverpool, 2008. I would have loved to see her early assemblages, The Shooting Paintings, "Daddy" as well as "Hon" or "She" in English.
The Museum of Art Fort Lauderdale is showing three concurrent exhibitions from private art collections. While, "With You I Want to Live," feels a bit too much like walking through The Armory Show in New York-- the inclusion of South Florida and Latin American artists gives these collections an edge. However, the gem of these exhibits comes from The Lipschultz Collection- an inspiring tightly focused show of multi-dimensional abstract works made during the Modern Era.
Walking in My Mind at the Hayward Gallery explores the inner working of the artist's imagination through dramatic, large-scale installation art. Looks interesting!
From: White Columns
Date: January 30, 2009 8:12:27 AM EST
To: White Columns Artist
Subject: Your Gallery at White Columns
Thank you for your interest in White Columns. We sincerely apologize for the delay in response. We receive over 6000 submissions per year, significantly increasing the time needed to consider each artist\'s portfolio properly. We would also like to thank you for your continued patience.
Although I appreciated the opportunity to review your materials, I regret to inform you that they will not be incorporated into our Curated Artist Registry. I realize that this is a potential disappointment to you, but I hope that you can understand that this process is extremely competitive, and that only a very small percentage of submissions are accepted.
Unfortunately due to the overwhelming volume of submissions White Columns receives each week, which I personally review, it is impossible for me to give individual feedback to each artist who submits their work for consideration.
I encourage you to look into other spaces with review programs in New York, such as Art in General, Artists Space, the Drawing Center, Exit Art, P.S. 1, and the Sculpture Center.
Thank you for allowing me to review your materials.
Director & Chief Curator
320 West 13th Street New York, NY 10014
Gallery Hours: Tuesday - Saturday, noon to 6:00 pm
I hope this finds you well! We would like to invite you to this year’s art exhibition, Boricua en la Luna, part of BORIMIX: Puerto Rico Fest 2008 on Friday, November 14th at 6pm. Curator, Miguel Trelles, and Guest Curator, Anabelle Rodriguez, have created a one of a kind group exhibition by inviting a group of visual artists to riff on Juan Antonio Corretjer’s well known poem, Boricua en la luna . This conceptual framework has led the selected visual artists to elaborate their own visual affirmation/negation/open ended response/reaction to Corretjer’s literary masterpiece.
This night will also serve as the opening reception and awards ceremony of BORIMIX: Puerto Rico Fest 2008.
The event will take place at the following address:
Gary Indiana writes an insightful piece about the art and life of Unica Zurn appearing in Art in America this month. He carefully weaves the essence of her being against the reality of her art-making within a post-lacanian framework.