Lissa Rivera exhibition Beautiful Boy at Clark Gallery

Clark Gallery is pleased to announce their upcoming provincetown pop gallery featuring a solo exhibition by alumni Lissa Rivera. Beautiful Boy follows her collaboration with her friend, muse, and romantic partner in an effort to create a private domain in which fantasy and real life collide. Based on a conversation in which her friend divulged his collegiate habit of donning women’s clothing, the pair constructs a series of glamorous and alluring portraits in which gender and our understanding of it becomes ambiguous and nuanced. Beautiful Boy is a testament both to the man before her lens and her abiding love for him.

The reception will take place on July 6th from 6-10pm. The exhibition will be on view June 27th through July 25th, 2018 at Clark Gallery (Provincetown Pop-Up) located at 444 Commercial Street, Provincetown, MA.

For more information, please click here.

 Image courtesy of the artist.

Image courtesy of the artist.

In related new, Rivera's work has also been acquired recently by Museum of Fine Arts Houston  and Newport Art Museum. On Saturday June 30th, her latest curatorial effort Our Souls to Keep will debut at Field Projects, NYC. The works were selected from an open call of over 1,100 entries. Representing both a keen awareness of repression and a sense of personal awakening, the artists in 'Our Souls To Keep' employ vernacular languages and outmoded processes to express the historical absurdities of American mythology, investigating the undercurrents of social control from the perspective of their own lived experiences.

 image courtesy of Field Projects. 

image courtesy of Field Projects. 

Pacifico Silano, After Silence at Stellar Projects

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On June 28th, Stellar Projects will be debuting a solo exhibition of works by alumni Pacifico Silano. After Silence, Silano's latest series of photographs explores the physical and emotional voids felt as a result of the AIDS crisis.

The exhibition will run from June 28th to July 27th; with the opening reception occurring on June 28th from 6-8pm. For more information, please click here.

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A graduate of the program, Pacifico Silano is a lens-based artist whose work is an exploration of print culture, the circulation of imagery and LGBTQ identity. Born in Brooklyn, his work has been exhibited in group shows, including at the Bronx Museum; Tacoma Art Museum; Oude Kerk, Amsterdam; and ClampArt, New York City. He has had solo shows at ClampArt, New York City and Baxter ST@CCNY. Reviews of his work have appeared in The New Yorker, Artforum, Washington Post and The New York Times. He is a winner of the Individual Photographer’s Fellowship from the Aaron Siskind Foundation and a Finalist for the Aperture Foundation Portfolio Prize. He was chosen as an Artist in Residence at Light Work in Syracuse, NY, granted a Workspace Residency at Baxter Street CCNY and was a Key Holder Resident at the Lower East Side Printshop. He is a 2016 fellow in Photography with the New York Foundation for the Arts.

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Kevin Cooley's "Smoke & Mirrors" at Laney Contemporary

Laney Contemporary introduces Smoke & Mirrors an immersive video installation by Los Angeles based artist and MFA Photo/ Video faculty Kevin Cooley. The piece will be on view through June 9th, 2018. For more information, please click here.

A time-based multimedia installation, Smoke & Mirrors physically manifests a frequent, and recurring, political dialogue taking place on Twitter. Each time a tweet containing the term ‘smoke and mirrors’ is posted online, billowing clouds of fog immediately stream through the gallery’s darkened and mirrored environment, obscuring one’s ability to see across the room. Appearing as white projected letters, the text of these tweets float nebulously through the air onto the mist while also reflecting onto the surrounding mirrors. Lingering for a moment until dissipating into obscurity, this action repeats dozens of times an hour on average, mimicking the short-lived relevance of any singular tweet among the 350 million that are posted every day.

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The hashtag #smokeandmirrors is most often used as an expression of horror, dissatisfaction, and skepticism of the current state of American political affairs, and the work’s implicit connection to the political realm is further elevated by the room’s alleged political history. Built by the original owner as a private entertaining space, this unique mirrored room was reportedly used by Jesse Jackson’s campaign during his presidential bids.

As the tweets build up over the day, highlighting Twitter’s collective, yet largely invisible presence, the room becomes increasingly murky and mysterious. The piece provides a visualization of social media’s power to connect us, while also underlining the increasing difficulty in distinguishing truth and relevance in the online world.

In addition to Cooley’s installation, Laney Contemporary will exhibit six related photographs. These images of caves, explosion craters, and smoke columns highlight dark undertones in the current state of our environmental and political affairs.

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Also on view across the country in Portland, the PDX Art Program is presenting a selection of ten large scale photographs fromCooley’s series titled Nachtfluge (German for night flight) which depicts long exposure photography of the light trails made by commercial aircraft in the dark skies of nighttime. Cooley’s exhibition will be on view through November 4th of 2018 and is located at pre-security in the International Arrivals area of North Baggage Claim

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Kevin Cooley (b. 1975 Los Angeles) is a multi-disciplinary artist using photography, video, and installation, he creates frameworks through which to observe experimental and performative gestures to decipher our complex, evolving relationships to nature, to technology, and ultimately to each other. His photographic series Nachtfluge is currently on view at Portland International Airport, and At Light’s Edge is prominently featured in the most recent issue of Aesthetica Magazine. His work is in the permanent collections of The Guggenheim Museum, The Los Angeles County Museum of Art, The Museum of Fine Arts Houston, 21c Museum, The Nelson-Atkins Museum and The Museum of Photographic Arts.

Credit: Press Release Laney Contemporary; PDX Art Port of Portland

Shimon Attie exhibition at The School by Jack Shainman Gallery

Faculty member Shimon Attie is featured in the the fourth anniversary of Jack Shainman's The School. Attie's work will be showcased along with a concurrent series of solo exhibitions by Nina Chanel Abney, Math Bass, Valérie Blass, Vibha Galhotra, Brad Kahlhamer, Margaret Kilgallen, Lyne Lapointe, Gordon Parks, and Leslie Wayne. The exhibitions will run through October 6th, 2018 at The School located at 25 Broad Street in Kinderhook, NY.

For more information on the featured artists and works, please click here.

The artwork, Lost in Space (After Huck), combines cast resin sculpture w/a multi-channel video and sound environment to create an immersive Installation. For Lost in Space, I drew inspiration from the St. Louis Art Museum’s proximity both to the Mississippi River and to Ferguson, MO. The artwork conflates Mark Twain’s Huckleberry Finn – in part an allegory on 19th century American race relations- with present-day first responder/community relations. A sculpture of a hybrid raft/police vehicle appears to float in “celestial space”. Yet the surrounding video is actually animated still images of American cities shot at nighttime by NASA satellites above. Rather then looking up at the nighttime sky, we are actually looking down at American cities where many of these issues remain alive.

 installation shot courtesy of Shimon Attie

installation shot courtesy of Shimon Attie

Steel Stillman in exhibition 'Defamiliarization' at Studio 10

Opening May 18th, 2018, 'Defamiliarization' at Studio 10 will feature the works of Gary Stephan, Susan Wides and faculty member and artist Steel Stillman.

For more information and hours, please click here.

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Steel Stillman was born in New York City in 1955. Recent New York group exhibitions include Foundation Barbin Presents Sort Of at Kai Matsumiya Gallery, and Cuts Noon Light at Brian Morris Gallery. In 2014, he had solo exhibitions at Galerie van Gelder, Amsterdam, and Show Room, Brooklyn. He is also a writer and a contributing editor at Art in America.

 image courtesy of Studio 10

image courtesy of Studio 10

Laura Parnes' Tour Without End screening at the Kitchen

The Kitchen, is proud to present a screening of Laura Parnes’ multiplatform project/film, Tour Without End (Twenty-One Portraits and a Protest). Directed and produced by Laura Parnes, and written in collaboration with the film’s participants, Tour Without End casts real-life musicians and artists as fictional bands on tour that evolves into a cross generational commentary on culture, identity and politics in the Trump era. The work revels in the sometimes hilarious— but always complex —band dynamics the characters endure in touring, collaborating, and aging in a youth-driven music industry. As the players move in and out of fictionalized characters and real life, the film moves in and out of non-linear narrative and historical document.

   Top: pictured from left to right; Jim Fletcher, Matthew Asti, Lizzi Bougatsos, Kate Valk. Bottom: Shannon Funchess, Gary Indiana, Alexandra Drewchin, Neon Music, and Alessandra Genovese.

Top: pictured from left to right; Jim Fletcher, Matthew Asti, Lizzi Bougatsos, Kate Valk.
Bottom: Shannon Funchess, Gary Indiana, Alexandra Drewchin, Neon Music, and Alessandra Genovese.

The piece will be shown on June 11 at 8pm with live musicians including BB TAY VEE, Macy Rodman, and JD Samson with Michael O'Neill, Roddy Bottum, Caitlin Frame and Lee Free will accompany this screening.

For more information and to purchase tickets, please click here.

 Pictured left to right: Kate Valk, Jim Fletcher

Pictured left to right: Kate Valk, Jim Fletcher

Shot in real environments and situations over the course of 4 years between 2014-2018, at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule made more apparent by the shuttering of many of the film’s locations due to NYC’s rapid gentrification. The film’s multitude of characters are legendary performers in the downtown NYC arts scene including Wooster Group founder Kate Valk, Jim Fletcher (The NYC Players), musicians Lizzi Bougatsos, (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler, (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake).

Faculty member and artist, Laura Parnes’ critically acclaimed films and installations address counter-cultural and youth-culture references where the music is integral to the work. For over twenty years these large-scale cinematic installations have engaged numerous notable individuals in her complex and ambitious collaborations. She has screened and exhibited her work widely in the US and internationally, including: Whitney Museum of American Art, NY; MoMA PS1, NY; Miami Museum of Contemporary Art, FL; Brooklyn Museum; Deste Foundation for Contemporary Art, Athens; The International Film Festival Rotterdam, Rotterdam, Netherlands; and Museo Nacional Centro De Arte Reina Sofia, Madrid; and NY and on PBS and Spanish Television. She recently had solo exhibitions at LA><, data-preserve-html-node="true" LA, Participant Inc., Fitzroy Gallery, and solo screenings at the Museum of Modern Art and The Kitchen, New York City. Parnes is a 2013 John Simon Guggenheim Memorial Fellow, a 2014 NYFA recipient, and a 2016 Creative Capital Awardee. Video Data Bank published a box set of her work, and Participant Press published a book of her scripts titled ‘Blood and Guts in Hollywood: Two Screenplays’ by Laura Parnes with an introduction by Chris Kraus. She has also directed music videos for The Julie Ruin and Le Tigre.

Thenjiwe Niki Nkosi featured in Departures Magazine

Class of 2008 alum, Thenjiwe Niki Nkosi was recently featured in Departures magazine in the article Women of African Art by Percy Mabandu. The piece look at female artists who in creating powerful work are taking their place on the international stage.

"Last year, the Fondation Louis Vuitton in Paris presented a series of 16 oil portraits by the Johannesburg-based painter Thenjiwe iki Nkosi. All of them were 20 inches square, showing their subjects from the shoulders up, in the manner of photo IDs. The faces, subtly rendered in warm tones against flat backgrounds, belonged to family, friends, and political figures, all of them heroic to Nkosi in one way or another. When Nkosi had shown these canvases in South Africa, audiences recognized many of these people even though they were identified only by first name."

"But in Paris, where museum goers might not have readily identified the subjects, curators chose to display full names and short bios for each figure. Nkosi felt ambivalent about the decision. "I had questions," she says. "I wondered, Will the work lose something?" But in the end, the moment was triumphant. "When I saw these faces hanging in this place of power, there was power that I felt," she says. "It was kind of subversive." Nkosi's artistic approach is partly political, aiming to reclaim spaces through painting. "We are going through a historic moment in the African world, especially in the global diaspora," Nkosi says. "There's a focus on putting images of black people on the walls of key institutions!'"

To purchase a copy of the magazine and read the full article, please click here.

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Thenjiwe Niki Nkosi was born in New York to a South African father in exile and a Greek-American mother. In 1992, two years before South Africa’s first democratic elections, she moved with her family to Johannesburg. She is an artist who divides her time between studio work and navigating the field of art as social practice. Her work investigates power and its structures – political, social, architectural. Implicit in her examination of these structures is an interrogation of the invisible forces that create them, and an imagining of alternatives.

Her paintings and films have been shown at the Standard Bank Gallery in Johannesburg, the ifa Gallery in Berlin, the South London Gallery and Tate Modern in London, the Museum of Contemporary Art in Rio de Janeiro and most recently at the Fondation Louis Vuitton in Paris. Nkosi obtained her BA from Harvard University and her MFA from the School of Visual Arts Photo, Video & Related Media in New York in 2008. She currently lives and works in Johannesburg. 

Alum, Angeliki Tsotsoni's debut album featuring photography from Charles H. Traub

 Cover photo -&nbsp;Rome, 1981 from the project Dolce Via: Italy in the 1980s by Charles H.&nbsp;Traub

Cover photo - Rome, 1981 from the project Dolce Via: Italy in the 1980s by Charles H. Traub

The Greek brother-sister duo , Ocean Hope aka Serafim and class of 2009 alumni Angeliki Tsotsonis share "Devotion", the first lush taste of their debut album Rolling Days. The LP will be released on vinyl, CD, and digitally via Hush Hush Records on May 25th, 2018.

Rolling Days serves as the proper follow-up to their breakthrough 2015 debut release Chamber Dreams, a 4-track EP that introduced Ocean Hope’s romantic dream-pop sound in mysterious, shadowy, intimate fashion. For the past few years, the duo have stayed busy tinkering away in their home studios, recording ideas at Angeliki’s home in the small seaside town of Nerantza on the Corinthian Gulf, as well as at Serafim’s studio in the metropolitan of Athens. Steadily evolving and crafting their own unique style of dream-pop, Rolling Days proudly embraces a confident shift away from the hushed aesthetic of their debut in favor of a more direct, bold, and magnetic sound.

To listen to the album and purchase your copy, please click here.

In his book Dolce Via: Italy in the 1980s, photographer and Department Chair Charles H. Traub (born 1945) turns his emphatically American gaze upon the streets and byways of Italy, from Milan to Marsala. Traub’s brilliant blues, reds and yellows accent the baroque posturing and gestures of strangers and ordinary people. Traub’s friend and guide, the late photographer Luigi Ghirri, said of the imagery, "you see our foibles, strip us bare, make love through the camera and then venerate us." Dolce Via is the first comprehensive collection of these vivid color photographs, which were made in Italy during the early 1980s. This publication includes contributions from American art critic, photographer and founding editor of Artforum, Max Kozloff, and the Italian poet, Luigi Ballerini.

To see more from the series, please click here.

 Venice, 1981 from the project Dolce Via: Italy in the 1980s by Charles H. Traub

Venice, 1981 from the project Dolce Via: Italy in the 1980s by Charles H. Traub

Alum Qingshan Wang featured in upcoming exhibition at 7s Labo

Class of 2017 alum Qingshan Wang and artist Junnan Lyu will be featured in a joint exhibition, Displacement, on view at 7s Labo from May 4 to May 11, 2018. This exhibition will highlight the recent photographic projects by these two artists with a special focus on their unique approaches to staged photography. For more details on the show, please click here.

Qingshan Wang’s photography series Fabricated Nature shows how nature in urban environments is nurtured to conform to human demands. Wang’s approaches to staged photography also respond to the displacement of nature in urban ecosystems. Some of his works were reconstructed in the studio with paper sculptures; Others were digitally manipulated by compositing several elements into one image. His elaborated staging process aims to reveal the controversies behind these displacements, suggesting how the plant species in the urban space is constantly interfered by continual urban construction and redesign. His works - the Christmas tree lying in a fallen trash bin, the bare tree twigs attached to an arch, and the tree covered with string lights during festival times - then represent an uncanny character beyond the seemingly “beautiful” photographic surfaces.

 &nbsp;Festive Tree, 2017

 Festive Tree, 2017

 Roadside, 2017

Roadside, 2017

Qingshan Wang, (b.1991, Beijing, China) Graduated from Photography, Video and Related Media department at School of Visual Arts, New York (M.F.A.), Wang now lives and works in New York. Focusing on transcending the fragments of everydayness, Wang’s photography works explore the interactions between nature and human beings in urban ecosystems. His recent shows include: Through the Looking-Glass, Sotheby's Institute of Art, New York (2018); Art and New Urban Culture, Metropolitan Pavillion, New York (2017); Forest of Imagination, Go East Project x UNDEF/NE 3rd Year Exhibition, M50 Art District, Shanghai (2017). He also received the Young Photographer of the Year award at ICC Photographic Award for COP21, Paris in 2015. Artist website: http://www.qingshanwang.me/

 Melancholy , 2017

Melancholy , 2017

In other news, Qingshan Wang was also recently featured in an exhibition at Sotheby's Institute of Art at the end of March. The exhibition, Through the Looking Glass was curated by You Hyun Jang and Mary Harrison. 

 &nbsp;Qingshan Wang in conversation with curator Mary Harrison

 Qingshan Wang in conversation with curator Mary Harrison

Steel Stillman featured in exhibition at Marquee Projects

MARQUEE PROJECTS is pleased to announce By the Sea, an exhibition of photography organized by Mikael Levin who presents his work alongside that of Vera Lutter, James Welling and faculty member Steel Stillman. The show will run April 28 through May 20, 2018; with an opening reception on Friday April 28th from 5-7 pm.

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The works all have the seaside in common but each in the artist’s own way treats photography’s relation to memory and time. Encompassing a variety of approaches – analog and digital, black & white and color, and still and moving images – the selection addresses the ever-evolving nature of the photographic method, as well as of our understanding of how it is used and interpreted.

For more information on gallery hours and to plan your visit, please click here.

 images from Enlargements I (2016) courtesy of Steel Stillman

images from Enlargements I (2016) courtesy of Steel Stillman

Steel Stillman’s Enlargements series are blow-ups of photographs which the artist has been taking since the 1970s, using pocket-sized cameras to address scenes of intimate, everyday life. They are scanned from original drugstore prints for the most part, then cropped, enlarged, and printed over the last two years. Stillman’s Enlargements manifest a coherence that time and distance have only enhanced. The pictures in By the Sea are all digital pigment prints taken at, or close to, the ocean’s edge.