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DTSTART;TZID=America/New_York:20240416T120000
DTEND;TZID=America/New_York:20240512T180000
DTSTAMP:20260416T230849
CREATED:20240410T023532Z
LAST-MODIFIED:20240410T185158Z
UID:8503-1713268800-1715536800@emersoncontemporary.org
SUMMARY:SURROUNDING: Anny Dai\, Yue Hua\, and Tomás Orrego
DESCRIPTION:Composite image from left to right: Anny Dai\, Yue Hua and Tomás Orrego\n\n\n\n\n\n\n\n\nSURROUNDING\, an MFA in Film and Media Arts thesis exhibition explores sound\, visuality\, and touch through compelling multi-channel video and sculptural installations by visual artists and filmmakers Anny Dai ‘24\, Yue Hua ‘24\, and Tomás Orrego ’24. \n\n\n\nSURROUNDING serves as a sensory testament to the lived experiences and reflections of three emerging artists. Dai’s Reveries Echo of Touch is an immersive\, multi-sensory installation that challenges viewers to awaken their tactile sense while interacting with the piece. This interactive artwork combines sculptural objects\, video projections\, live video feed\, and soundscapes created by the audience’s participation. Hua’s 16mm film installation Cine-labyrinth works to understand a sense of self through landscape projections and poetry. Mirroring the physical journey through the labyrinth\, the entwining 16mm images induce a dream-like trance. In Tolerances of the human face Orrego explores absurdism through a single channel video installation of his film Fever. Entirely shot on a soundstage\, the piece utilizes practical effects and a hyper stylized aesthetic that embraces artificiality. \n\n\n\nArtist talks will take place during the Emerson’s Visual Media Art Department “Open House” on Tuesday\, April 30 at 6 p.m.\, which is open to the public.  \n\n\n\nPlease note: after May 2\, 2024 gallery will be open by appointment and for special events. Artist talks will take place during the Emerson Visual Media Art Open House on Tuesday\, April 30 from 6 – 7 p.m.
URL:https://emersoncontemporary.org/event/surrounding/
CATEGORIES:Exhibition,Student Projects
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/04/Anny_Dai_Still005.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240412T160000
DTEND;TZID=America/New_York:20240416T200000
DTSTAMP:20260416T230849
CREATED:20240409T180235Z
LAST-MODIFIED:20240409T180237Z
UID:8479-1712937600-1713297600@emersoncontemporary.org
SUMMARY:Water Memories
DESCRIPTION:Water Memories \n\n\n\nApril 12-16\, 2024 \n\n\n\nZhiyao Ding\, Mila Jafarnejad\, Alexander Nezam\, Nikita Potnis\, Marcus Santos\, Yangyanyun Tang\, Siqi Xiong\, Yishu Yu \n\n\n\nAlthough we don’t remember it\, every newborn human being develops in the amniotic fluid of their mother. Our first interaction with the external world is to leave the water and breathe land’s air. One of the criteria for exploring a planet’s habitability is evidence of water\, because without it life cannot live. Water exists in many forms: oceans\, rivers\, clouds\, snowflakes and even inside our bodies. \n\n\n\nJapanese scientist Masaru Emoto studied the molecular structure of water and discovered that when water was exposed to different human emotions the molecular structure of water changed. He realized that the water we drink\, use and interact with every day has memory. Water remembers. \n\n\n\nThis exhibition explores many modes of interacting with water including memories of water\, the biological and cultural significance of water. How would it feel to submerge yourself in water again? Fear? death? cleansing? or a warm embrace? After all\, every drop of water once belonged to the sea\, and all life will eventually meet again as one.  \n\n\n\nThe works presented are the culminating projects from the Film and Media Arts graduate installation art course “Space\, Place\, Image\, Sound.”  \n\n\n\n———— \n\n\n\nHuret and Spector Gallery\, Tufte Building\, 7th Floor. \n\n\n\nPublic Hours: Friday\, April 12\, 4-8pm\, Saturday\, April 13\, 4-8pm\, Sunday\, April 14\, 4-8pm\, Monday\, closed (holiday)\, Tuesday April 16\, 12-8pm. Reception 5-7pm \n\n\n\nLocation: Huret and Spector Gallery\, Tufte Building\, 10 Boylston place. Please enter on the 7th Floor. RSVP required for non-Emerson guests.
URL:https://emersoncontemporary.org/event/water-memories/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/04/Screenshot-2024-04-09-at-2.01.49-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240227T163000
DTEND;TZID=America/New_York:20240227T180000
DTSTAMP:20260416T230849
CREATED:20240118T005954Z
LAST-MODIFIED:20240223T173713Z
UID:8381-1709051400-1709056800@emersoncontemporary.org
SUMMARY:Kameelah J. Rasheed's Book Launch (NEW DATE)
DESCRIPTION:Attend the artist’s Scratch Disk Full launch event. THIS EVENT HAS BEEN RESCHEDULED DUE TO ARTIST ILLNESS to TUESDAY\, FEB. 27.. \n\n\n\n\n\nJoin our artist in residence Kameelah J. Rasheed for the launch of her book\, Scratch Disk FullAttendees will receive a complimentary copy of the publication. \n\n\n\n \n\n\n\nScratch Disks Full asks\, in the spirit of Sankofa: What did you leave behind? What would happen if you went back and got it? Scratch Disks Full is a publishing project for those with leaky sensory gating\, sprawling interests\, kinetic brains\, and “too many ideas.” We publish the excess\, the dirty data\, the spillage\, the noise\, the leftover\, and the unfulfilled.  \n\n\n\nA scratch disk is a hard disk used as a workspace to store data temporarily. In applications like Adobe Photoshop\, the scratch disk is used to hold the data being edited. When an error reads “… the scratch disks are full.” it means there is not enough space on the drive to perform the upcoming task. The users need to find space elsewhere or end the process; they are left holding the excess energy of an unfulfilled action.  \n\n\n\nScratch Disks Full is a publishing project producing readers\, workbooks\, and lo-fi playthings exploring the excess of an exhibition\, piece of writing\, lecture\, performance\, or even other publication. By excess\, we do not mean process work leading up to a final work; we literally mean the embodied experiences you could not give yourself over to due to spiritual unreadiness\, the sentences you had to blunt because there was not enough time for further editing; the feral idea that blossomed during a performance and began to shape you as much as you shaped it.  \n\n\n\nThis offering will explore the excess of the current exhibition — notes\, diagrams\, excerpts of writing\, and other leftovers. \n\n\n\nChristopher Gregory for The New York Times\n\n\n\nA learner\, Kameelah Janan Rasheed explores writing practices across all species\,states of living\, states of consciousness\, and substrates. Curious about the poetics and possibilities of loss\, ruin\, and failure in the reading and writing process\, Rasheedexplores Black knowledge production and fugitivity. She creates sprawling\,“architecturally-scaled” installations; public installations; publications; prints;performances; performance scores; poems; video; and other forms yet to bedetermined. Most recently\, she is a recipient of a 2023 Working Artist Fellowship; a2022 Schering Stiftung Award for Artistic Research; a 2022 Creative Capital Award; a2022 Artists + Machine Intelligence Grants – Experiments with Google; and a 2021Guggenheim Fellowship in Fine Arts.Her recent solo exhibitions include KW Institute of Contemporary Art (2023)\, Art Institute of Chicago (2023)\, and Kunstverein Hannover (2022). In 2024\, she will have a solo exhibition at REDCAT (Los Angeles\, CA). Rasheed is the author of five artists’ books:in the coherence\, we weep (KW Institute\, 2023); i am not done yet (Mousse Publishing\,2022); An Alphabetical Accumulation of Approximate Observations (Endless Editions\,2019); No New Theories (Printed Matter\, 2019); and the digital publication Scoring theStacks (Brooklyn Public Library\, 2021). She is an adjunct instructor at the Cooper Unionand Barnard College\, a Critic at Yale School of Art\, Sculpture\, and an instructor at theSchool for Poetic Computation. Rasheed founded Orange Tangent Study\, a consultingbusiness that provides artist microgrants and supports individuals and institutions indesigning expansive and liberatory learning experiences. \n\n\n\nRasheed is represented by NOME Gallery in Berlin\, Germany.
URL:https://emersoncontemporary.org/event/kameelah-j-rasheeds-book-launch/
LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111
CATEGORIES:Artist Talk,Gallery Talk,Public Program,Reception
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/LucidDream_.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240226T140000
DTEND;TZID=America/New_York:20240226T160000
DTSTAMP:20260416T230849
CREATED:20240118T004624Z
LAST-MODIFIED:20240223T175458Z
UID:8373-1708956000-1708963200@emersoncontemporary.org
SUMMARY:Writing With Word Games (**NEW DATE)
DESCRIPTION:Learn from visual artist Kameelah J. Rasheed. NEW DATE: MONDAY\, 26\, 2-4pm\, FEBRUARY. \n\n\n\n\n\nJoin our artist in residence Kameelah J. Rasheed in a Writing With Word Games workshop. \n\n\n\nRegister for this workshop over here. \n\n\n\nWriting With Word Games\, a text score workshop\, Friday\, February 26\, 2-4pm. Registration required: Eventbrite  \n\n\n\nLocation: Media Art Gallery\, 25 Avery Street\, Boston\, MA. \n\n\n\nGet out of your way and learn to write with games\, constraints\, and algorithms. The workshop’s purpose is not to create a perfect piece of writing; rather\, it is an invitation to get a bit feral and messy as we pull language into our orbit. Each participant will leave with a writing prompt created by another attendee. \n\n\n\ni am not done yet\, 2022. Solo at Kunstverein Hannover (Hannover\, DE) Archival Inkjet Prints\, Vellum\, Xerox Paper\, Acetate\, Plexiglass\, Acrylic\, Watercolor\, India Ink and Oil Stick Painting\, Video \n\n\n\nThe multimedia site-specific installation combines new video drafts and existing video works from the last three years. All created using some form of a writing and video editing constraint\, these works live alongside several 2D works also created using constraints to explore the agility and limitations of language. With an investment in Black experimental poetics\, non-linear cosmologies\, and fugivity\, Rasheed asks\, “What can be captured through writing? What is lost? And how can this inevitable loss be an invitation to consider other modes of communication?”
URL:https://emersoncontemporary.org/event/writing-with-word-games/
LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111
CATEGORIES:Gallery Talk,Performance,Public Program,Workshop
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/LucidDream_.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240226T120000
DTEND;TZID=America/New_York:20240229T210000
DTSTAMP:20260416T230849
CREATED:20240222T190132Z
LAST-MODIFIED:20240222T190134Z
UID:8435-1708948800-1709240400@emersoncontemporary.org
SUMMARY:Rhythm & Art: A Polyvocal Song of Blackness and Being
DESCRIPTION:In this exhibition\, Rhythm & Art: A Polyvocal Song of Blackness and Being\, local Black artists bring to the fore a wide range of topics: sisterhood\, coming of age\, nature as a family member\, being of a diaspora\, and more. Much like Blackness\, this exhibition resists the boundaries that labels and language often attempt to enforce. Viewers are encouraged to question what “Black art” is and contemplate how the Black experience may contour and highlight the creative practice. \n\n\n\nRECEPTION: THURSDAY\, FEBRUARY 29\, 7-9PM \n\n\n\n We hope that this multimedia exhibit pushes at the walls of this space and reaches far beyond them — much like the minds of the brilliant artists who created the work on display. Each artist dutifully crafted lyrical works\, commenting on the human condition. On their own\, each piece stands powerfully but woven together here the art becomes a Sunday choir singing a polyvocal song.
URL:https://emersoncontemporary.org/event/rhythm-art-a-polyvocal-song-of-blackness-and-being/
LOCATION:Huret and Spector Gallery\, 10 Boylston Place\, 6th Floor\, Boston\, Massachusetts\, 02116
CATEGORIES:Exhibition,Student Projects
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240123T170000
DTEND;TZID=America/New_York:20240123T190000
DTSTAMP:20260416T230849
CREATED:20240117T170730Z
LAST-MODIFIED:20240117T173001Z
UID:8333-1706029200-1706036400@emersoncontemporary.org
SUMMARY:Artist Reception Kameelah Janan Rasheed
DESCRIPTION:Join us to celebrate the brand new exhibition of “Kameelah Janan Rasheed: all velvet sentences as manifesto\, Like a lesson against smooth language or an invitation to be feral hypertext\,” a multimedia solo exhibition featuring visual artist Kameelah Janan Rasheed (American\, born 1985) on view in the Media Art Gallery at 25 Avery Street from January 23 – March 23\, 2024.  \n\n\n\nRasheed thinks conceptually about text\, type\, and printed matter and uses publishing as a platform to engage and enlarge conversations with others. Her work invites important questions about the materiality of text\, such as\, “What is the shape of a failed sentence?” or even to quote Fred Moten speaking to the work of Renee Gladman\, “Is there an underground railroad in the sentence?” These questions are central to the artist’s practice. \n\n\n\nKameelah Janan Rasheed\, Lucid Dream\, still\, 2024\n\n\n\nA learner\, Kameelah Janan Rasheed explores writing practices across all species\, states of living\, states of consciousness\, and substrates. Curious about the poetics and possibilities of loss\, ruin\, and failure in the reading and writing process\, Rasheed explores Black knowledge production and fugitivity. She creates sprawling\, “architecturally-scaled” installations; public installations; publications; prints; performances; performance scores; poems; video; and other forms yet to be determined. Most recently\, she is a recipient of a 2023 Working Artist Fellowship; a 2022 Schering Stiftung Award for Artistic Research; a 2022 Creative Capital Award; a 2022 Artists + Machine Intelligence Grants – Experiments with Google; and a 2021 Guggenheim Fellowship in Fine Arts. \n\n\n\nExhibition hours are Tuesday – Saturday\, 12-6pm. 
URL:https://emersoncontemporary.org/event/artist-reception-kameelah-janan-rasheed/
CATEGORIES:Artist Talk,Public Program,Reception
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2024/01/LucidDream_.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240123T120000
DTEND;TZID=America/New_York:20240323T180000
DTSTAMP:20260416T230849
CREATED:20231121T170555Z
LAST-MODIFIED:20240118T003055Z
UID:8235-1706011200-1711216800@emersoncontemporary.org
SUMMARY:Kameelah Janan Rasheed: all velvet sentences as manifesto\, Like a lesson against smooth language or an invitation to be feral hypertext.
DESCRIPTION:Kameelah Janan Rasheed\, keeping count\, Annotated\, animation still\, 2021-2023\n\n\n\n\n\nThe multimedia site-specific installation combines new video drafts and existing video works from the last three years. All created using some form of a writing and video editing constraint\, these works live alongside several 2D works also created using constraints to explore the agility and limitations of language. With an investment in Black experimental poetics\, non-linear cosmologies\, and fugivity\, Rasheed asks\, “What can be captured through writing? What is lost? And how can this inevitable loss be an invitation to consider other modes of communication? Rasheed incorporates abstract shapes\, gestures\, and markings that border visual glossolalia and asemics. She presents these work alongside diagrammatic compositions of letters (Latin and Arabic) diacritics\, and fragments of annotation.  \n\n\n\nIn this temporary gathering of objects and ideas\, Rasheed engages in intervals of self-study to explore her relationship to the widely respected poet Lucille Clifton’s legacy of spirit writing and other “wayward” methods of writing. With particular attention to Clifton’s poem “i was born with twelve fingers\,” this exhibition considers the “powerful memories of ghosts” that emerge during these less traditional writing practices. Overall\, the project explores writing constraints to generate more feral and intuitive writing. Rasheed writes\, “Lucille Clifton’s spirit writing and self-description as a ‘two-headed woman’ piqued my interest in writing as a sacred\, trickster\, and fugitive ritual.” \n\n\n\nRasheed thinks conceptually about text\, type\, and printed matter and uses publishing as a platform to engage and enlarge conversations with others. Her work invites important questions about the materiality of text\, such as\, “What is the shape of a failed sentence?” or even to quote Fred Moten speaking to the work of Renee Gladman\, “Is there an underground railroad in the sentence?” These questions are central to the artist’s practice. This exhibition is accompanied by a lecture performance and a reader created under Rasheed’s publishing project Scratch Disks Full. \n\n\n\nExhibition Events: \n\n\n\n\nSatellite workshop\, John Hopkins University – If\, Then: Technology and Poetics\, Friday\, January 19\, 2024 [zoom] 1:30- 3:30pm. Location: Zoom\n\n\n\nArtist Reception\,Tuesday\, January 23\, 2024\, 5-7pm. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA.\n\n\n\nWriting With Word Games\, a text score workshop\, Friday\, February 24\, 2-4pm. Registration required. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA.\n\n\n\nLecture/Performance with Kameelah Janan Rasheed\, Tuesday\, February 27\, 2024 at 6-7:30pm. Registration required. Location: Walker Building\, Room 202. 120 Boylston Street\, Boston\, MA.\n\n\n\nBook Launch\, Tuesday\, February 27\, 8pm. Attendees will receive a complimentary copy of the Scratch Disk Full publication. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA. \n\n\n\nCurator Talk by Dr. Leonie Bradbury\, Saturday\, March 23\, 2024\, 2-3pm. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA.
URL:https://emersoncontemporary.org/event/in-no-case-can-i-obey-this-sentence-kameelah-janan-rasheed/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/11/Screenshot-2023-11-21-at-11.56.43-AM-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231215T080000
DTEND;TZID=America/New_York:20231216T170000
DTSTAMP:20260416T230849
CREATED:20240214T150326Z
LAST-MODIFIED:20240214T151004Z
UID:8322-1702627200-1702746000@emersoncontemporary.org
SUMMARY:Musician Julian Saporiti approaches refugee storytelling with compassion
DESCRIPTION:By Maddie Browning \n\n\n\nBerklee alum Julian Saporiti releases music inspired by his fieldwork and research on Asian American history under the pseudonym No-No Boy – a reference to John Okada’s novel of the same name.  \n\n\n\nA selection of his songs and music videos are a part of Emerson Contemporary’s “One Day We’ll Go Home” exhibition on display through December 16.  \n\n\n\nEmerson Contemporary chatted with Saporiti on Zoom about his favorite musical artists\, collaborating on artistic projects with his wife\, and checking his privilege with the monks at Blue Cliff Monastery. \n\n\n\nEC: What artists are you inspired by? \n\n\n\nSaporiti: There’s a painting in the MFA in Boston called “Slave Ship” by [Joseph Mallord William] Turner\, and when I was in school at Berklee\, I would go see that painting a lot. It’s a really horrible subject matter\, it’s this wrecked slave ship\, so it’s all these bodies in the ocean but it’s full of [these] beautiful sunset or sunrise colors – oranges and pinks – mixed with the turbulence of the ocean. So that was always super striking\, and very similar to a lot of the work that I do\, which is dealing with stories of people crossing oceans under not so good circumstances. But that painting\, I was always entranced by that when I lived in Boston\, and I would go see that all the time.  \n\n\n\nEC: What are some of your favorite musicians? \n\n\n\nSaporiti: When I was in Boston\, as a [college student]\, I used to go to the symphony every week and the BSO because they had a student card\, so you go every Thursday for like 25 bucks a semester. I remember I saw this piece\, Hector Berlioz is the composer\, and he wrote a piece called “The Damnation of Faust\,” which is this overwhelming three choruses based on the Faust mythology\, and that’s one of my favorite pieces of music of all time. And then I also love the rock and roll or hard rock I grew up with like Rage Against the Machine and Weezer and Nirvana and all that grunge stuff. And then my dad’s record collection\, The Beatles\, Beach Boys\, Joni Mitchell\, Neil Young\, Bob Dylan.  \n\n\n\nI like all that very entrenched\, canonized stuff\, but my favorite experiences are just hearing someone in front of me play an instrument. It doesn’t even have to be a particular piece of music. It’s just like\, if there’s a clarinet player in an Italian restaurant\, I’m always drifting out of whatever conversation I’m in to hear just the sound of their instrument. I’m really appreciative of live music because there’s just something so captivating and infinite in that very small experience that you can’t get with recorded music.  \n\n\n\nEC: Your music is rooted in storytelling. How do you use different sounds to tell those stories? \n\n\n\nSaporiti: A lot of different ways. Sometimes it’s just textures of different instruments [that] might fit a lyric\, you know\, the difference between a plucked guitar with your fingers to a nice ethereal keyboard pad or something. I use a lot of samples\, and I tell a lot of stories that are based on my historic research as an academic – these histories of Asian American folks and refugees and immigrants mostly. I sample from my field research sites\, so if I go to an old refugee camp or something\, I’ll knock on the barbed wire or the wood\, and then I’ll turn that into a drum kit. So that’s what you hear on my recorded music to try to use the textures and real audible sounds of history inside the records themselves.  \n\n\n\nEmpire Electric by No-No Boy\, album cover. \n\n\n\nEC: What has your experience been like collaborating with your wife\, Emilia\, who directs and does lettering for your music videos featured in “One Day We’ll Go Home”? \n\n\n\nSaporiti: Awesome because we want to be around each other as much as possible. That’s why we got married. I have found someone who I just love sharing my life with\, and my life is so artistically driven\, it would kind of be impossible for me to be in a full time relationship with someone if they didn’t share in that and vice versa. Like right now you’ve caught me in the middle of her law school exam final week\, so I’m basically chauffeur and making all the meals and helping her study with flashcards and making sure the sleep schedule is good. So we look at everything we do as a team. And she’s a wonderful artist in her own right – a visual artist. She helps me produce the songs that I make as well. She sings when we perform live. She also has sewn this incredible stage jacket I wear in one of the videos which has hand embroidered little stories from my Vietnamese American childhood on it. \n\n\n\nEC: Tell me a little bit more about the songs you included in “One Day We’ll Go Home” and what stories you are telling. \n\n\n\nSaporiti: “Boat People” is in there and that is very central to the Vietnamese American story because I think most refugees or a good deal of us can trace their families where they directly came over as boat people. These folks who had to escape South Vietnam on these rickety little fishing boats. That song is taken directly from an archival interview of this guy who was a boat person who went to Canada. The lyrics basically tell this really cinematic story of this guy\, Dr. Tran\, who eventually made it to Montreal but he had to escape Vietnam\, got into this little fishing\, boat pirates attacked them\, eventually made it to Pulau Bidong – this refugee camp off the coast of Malaysia. It’s harrowing\, and I think that it’s really important to tell one story at a time as a teacher and also as a songwriter because it’s really hard for students or for listeners to take in a million people. You can’t understand that number\, so boiling it down to telling these personal stories detail by detail\, and then setting it to music\, I think that’s a very emotional way to speak to this larger humanity issue of refugees and immigrants and movements of people – things that are happening right now in the Middle East\, right now in Asia and Central America. This is just one person\, but if you can empathize with that one person\, then maybe you can empathize more deeply with the global issue of refugees and displacement. \n\n\n\nEC: In conducting your field work\, how do you go about talking to refugees when you’re working on new music? \n\n\n\nSaporiti: I never talk to anyone with a goal of anything. I just explore and hang out and talk to people like people\, and then if it comes up that they have an interesting story\, and they share that with me\, I might ask questions I’d ask anyone. If we’re having a drink at a bar\, I would talk to everyone the same way\, you know\, just be a good hang. That’s something they should lead off with [in] anthropology classes\, just be a good hang\, don’t needle people to relive their trauma. It’ll come out if it comes out. And if it doesn’t\, it doesn’t\, and that’s all right. That’s something I had to learn when I first started interviewing people for my No-No Boy project. I was talking to a lot of people who used to live in a Japanese internment camp in Wyoming during World War II\, and I would kind of right off the bat be like\, “Tell me about the worst three years of your life\,” which is a [expletive] up thing. Because\, as someone who comes from some really harsh family history\, you don’t want to define people by the worst parts of their life.  \n\n\n\nI’ve gone down and hung out in the Mexican camps across the border just to\, especially as a son of a refugee\, see what’s happening now and speak against it\, tell people what I’ve seen\, help out if I can. And it’s kind of up to [the refugees] what they want to share and just try to go in with a sense of reciprocity\, giving something first before you take something away from them\, which is their story.  \n\n\n\nI always bring down those Instax Polaroid cameras and just take pictures for people who have lost everything and having a picture of their kid means a lot to carry with them and then giving them the camera and a ton of film so they can take pictures of their friends. That little stuff\, that can mean a lot\, and then maybe you get some cool conversations and maybe that turns into art or songs\, but that’s really secondary.  \n\n\n\nEC: Your song “Little Monk” on [your third album] Empire Electric is inspired by your experience at Blue Cliff [Monastery]. How does that experience influence your music going forward? \n\n\n\nSaporiti: Pretty completely. My wife and I weren’t married at the time but we had started dating at Brown University. She had graduated with a sociology degree\, and I could leave campus because I was a PhD student\, and I had all my coursework done. And we just wanted to get out of there. When you’re 18 to 22\, you’re never more aware. You don’t have mortgages to pay yet or kids to worry about\, so that’s when the world really is spitting in your face the most\, and you notice it\, and you still have energy. Brown is a particularly liberal\, progressive\, activisty place\, and it was so scary to be there at that point in time\, because there were a lot of people just yelling about everything constantly and not really necessarily being informed about what they were yelling about. They were protesting everything but how rich those kids were\, never protests about economic class but everything else\, but with no substance behind it. I wanted calm in my life. I wanted the world to change. That’s why I went down to the Mexican border during a spring break to see these refugee camps for myself\, instead of just yelling about what people were yelling about on Facebook. I wanted to actually go see for myself and see if I could actually help out. \n\n\n\nThe monks will sort you out because they just don’t buy into that because there’s greater truths for them. That’s not to say they don’t acknowledge there’s pain and suffering in the world. That’s what Buddhism is about. It’s acknowledging suffering and trying to overcome it in your life. I felt like I was just angry and I felt a poison in me from all the politics in the world\, and all the suffering and [the monks] gave me tools to deal with that whether that was meditation or mindfulness stuff\, just walking around. And yeah\, that has sort of dictated my path. I don’t really use social media anymore. I’ll read the newspaper once a week instead of doom scroll constantly to see all the hell that’s happening because it’s not going to change in a week’s time. If I read one good article about the war over in the Middle East that’s going to be pretty thorough\, and I’ll catch up on what’s happened that week.  \n\n\n\nI think what I learned is to tend to your own garden. I don’t want to yell about what’s happening at a southern border if I’m being an [expletive] to my friend that week. That’s something I can help. I can help being present and helping someone else that I know and love instead of abstractly spinning out because the world is on fire. And also checking my own privilege\, right? I’m someone who has a PhD\, and makes a living doing art. I have a beautiful wife\, I have a roof over my head\, which has not always been the case in my life and\, talking about refugees\, is not the case for a lot of people now. The monks really helped me check my privilege and get out of that elite campus protester culture. They let me empty out and see that life is still wonderful for some people. For some people it’s not\, but for me\, it is\, and let me acknowledge that first and take solace and strength in that and then see how I can help the people in my community or if I do go somewhere where I can help. \n\n\n\nThis interview has been edited and condensed for clarity. 
URL:https://emersoncontemporary.org/event/musician-julian-saporiti-approaches-refugee-storytelling-with-compassion/
CATEGORIES:Artist Spotlight,Artist Talk,Gallery Talk,News
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231211T120000
DTEND;TZID=America/New_York:20231215T180000
DTSTAMP:20260416T230849
CREATED:20231209T143312Z
LAST-MODIFIED:20231211T032121Z
UID:8295-1702296000-1702663200@emersoncontemporary.org
SUMMARY:PURPOSEFULLY LOST
DESCRIPTION:Presenting the Fall 2023 Photography Practicum: Purposefully Lost\, a varied collection of reflections and expressions by Emerson artists in the BFA program.  \n\n\n\nFeaturing exhibits by the following resident artists:Aquaholic by Kyra Badger \n\n\n\nUrban Eden by Molly Berard \n\n\n\nShit Show by Maya Bergman \n\n\n\nStarring… by Charlene Cheung \n\n\n\nCardboard Reality by Jose Benito Guevera \n\n\n\nConcurrent by Yangyang Huang \n\n\n\nSecond Spine by Yiyi Lu \n\n\n\nDouble Take by Xiaoke Ma \n\n\n\nempathic fluorescence by Mia Moore \n\n\n\nDeinstitutionalised by Julia Tweedie  \n\n\n\nTraces Echo by Yuchun (Emily) Zhou
URL:https://emersoncontemporary.org/event/purposefully-lost-photos/
LOCATION:Huret & Spector Gallery; Tufte Building
CATEGORIES:Exhibition,Student Projects
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231204T080000
DTEND;TZID=America/New_York:20231206T180000
DTSTAMP:20260416T230849
CREATED:20231207T172143Z
LAST-MODIFIED:20231207T172630Z
UID:8277-1701676800-1701885600@emersoncontemporary.org
SUMMARY:BECAUSE I COME FROM YOU
DESCRIPTION:Maya Seri’s BFA thesis project BECAUSE I COME FROM YOU features photographs\, video projection and sculptural installation\, a project about home\, identity and belonging. Seri’s perception of identity has changed through the making of this work. As she embarks in this period of transition as a 21-year-old\, she realizes that she is no longer a girl. Feeling the departure from childhood\, the artist can’t help but wonder\, “Where is home?” She feels connected to Ohio\, where the artist grew up\, where she’s from. When in Boston\, she feels a loss of identity and have to find herself over and over again. She asks: “Who am I? What am I? I am made of everything. I am made of the experiences I have had\, the people I have met\, and the places I have been.” \n\n\n\nThis project began as a journal entry to the artist’s younger self: “I just want to give you a hug. I want to see you smile and laugh. But that’s what I see in the mirror\, isn’t it? I just don’t recognize it. You are me? I am you. I’m different\, of course. I’m older. ‘Soiled’ by the world\, as some would say. But I have you in me. I can be who I want to be because I come from you.” \n\n\n\nAbout the ArtistMaya Seri’23 is a senior at Emerson College\, is a passionate storyteller who uses the camera as a tool to connect with others and to understand herself and the world around her more thoroughly. Her work portrays themes of identity\, girlhood\, nostalgia\, home\, and connection.
URL:https://emersoncontemporary.org/event/because-i-come-from-you/
CATEGORIES:Exhibition,Student Projects
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231101T120000
DTEND;TZID=America/New_York:20231216T180000
DTSTAMP:20260416T230849
CREATED:20230815T194251Z
LAST-MODIFIED:20250328T154808Z
UID:7482-1698840000-1702749600@emersoncontemporary.org
SUMMARY:One Day We’ll Go Home featuring Tiffany Chung\, Brandon Tho Harris\, Tuan Andrew Nguyen\, Patricia Nguyen and Julian Saporiti.
DESCRIPTION:Tuan Andrew Nguyen (Vietnamese\, b. 1976)\, The Boat People\, 2020\, Single-channel video\, 4k\, Super 16mm transferred to digital\, color\, 5.1 surround sound\, 20 mins\, Edition of 5 plus 2 artist’s proofs\, (JCG11340)\, © Tuan Andrew Nguyen 2021. Image courtesy the artist and James Cohan\, New York\n\n\n\nEmerson Contemporary\, Emerson College’s platform for visual art\, proudly presents One Day We’ll Go Home\, a group exhibition featuring recent work by five Vietnamese American artists Tiffany Chung\, Brandon Tho Harris\, Tuấn Andrew Nguyễn\, Patricia Nguyễn\, and Julian Saporiti who each critique the established historical narratives of the wars in Vietnam\, colonialism\, dislocation\, and their long-lasting aftermath.  \n\n\n\nOn view in the Media Art Gallery at 25 Avery Street\, November 1 – December 16\, 2023. Free and open to the public\, Tuesday – Saturday from 12-6pm. Opening Reception\, Friday\, November 3\, 5-7:30PM. \n\n\n\nThe end of the Vietnam War and the sudden U.S. military evacuations in 1975 marked the beginning of large-scale exodus of citizens of Vietnam. The U.S. government evacuated approximately 125\,000 Vietnamese that year\, most of whom were likely to be persecuted by the new Socialist Republic of Vietnam government. Through video\, archival footage\, performance\, song\, and innovative storytelling\, these five artists examine and expand recent histories\, both personal and collective\, as they address multigenerational trauma and loss. The exhibition highlights the complexities surrounding the concept of homeland for Vietnamese refugees and their children and the familiar feeling of liminality that many refugees experience across the globe.  \n\n\n\nView exhibition documentation. \n\n\n\n“It is my hope that through the stories these artists tell\, we gain a deeper understanding of what happened in Vietnam and how these events continue to impact millions of people to this day\,” said Dr. Leonie Bradbury\, Emerson College’s Distinguished Curator-in-Residence. “Although this exhibition is focused on the Vietnamese diaspora and the impact of the historic events of 1975 and beyond\, sadly this topic has renewed relevance today as many refugee crises are happening concurrently across the globe.” The exhibition is curated by Dr. Leonie Bradbury\, Distinguished Curator-in-Residence\, with accompanying exhibition wall texts by Dr. Catherine H. Nguyen\, Assistant Professor of Asian Diasporic Literatures. This exhibition and related programming is supported by the Department of Writing\, Literature & Publishing\, Emerson College School of the Arts\, and the Harvard University Asia Center. \n\n\n\nPUBLIC PROGRAMMING \n\n\n\nWHAT: Music Video workshop with Julian Saporiti WHEN: Friday\, November 3\, 2023. 10:00-12:30PM WHERE: Emerson College\, Ansin Building\, Room 605\, 180 Tremont Street\, Boston\, MA Free\, but registration is required. RSVP here. \n\n\n\nArtist Talk with Tuan Andrew Nguyen\, Friday\, November 3\, 2023. doors open at 3:30PM\, 4-5:00PM.  Emerson College\, Walker Building\, Room 202\, 120 Boylston Street\, Boston\, MA. Free\, but registration is required. RSVP here. This program is supported in part by the Harvard University Asia Center \n\n\n\nOpening Reception\, One Day We’ll Go Home WHEN: Friday\, November 3\, 2023\, 5-7:30PM WHERE: Media Art Gallery\, 25 Avery Street\, Boston\, MA. \n\n\n\nLive Concert with Julian Saporiti. Experience a multimedia musical performance from No-No Boy (singer Julian Saporiti) as part of the tour for his latest album Empire Electric. This newest release brings Asian American history to life through a uniquely inventive approach to storytelling. WHEN: Saturday\, November 4\, 2023\, 6:00-7:30PM. WHERE: Pao Arts Center\, 99 Albany Street\, Boston\, MA\, 02111.This program is organized by the PAO Art Center and supported by Emerson Contemporary. \n\n\n\nLive Performance\, Passage (2023) by Patricia Nguyễn and Fiona. A work of experimental sound and movement\, Passage explores how beauty and creativity emerge in the aftermath of war. The artists meditate upon the various thresholds and movements that happen for displaced peoples across the time and space of memory\, everyday encounters of state violence\, forced migration\, and queer worldmaking.  Tuesday\, November 14\, 2023\, 5-6:30PM\, Media Art Gallery \n\n\n\nVietnam and Diasporic Aesthetics: Two Meditations. A conversation with Dr. Howie J. Tam & Dr. Catherine H. Nguyen. The first event in the Writing\, Literature & Publishing Scholar Series\, this program is presented in conjunction with One Day We’ll Go Home and supported in part by the Harvard University Asia Center. Taking as a point of departure some works of Vietnamese American artistic production both in the gallery space and beyond\, this two-part talk with Catherine H. Nguyen (Emerson College) and Howie Tam (Brandeis University) explores different approaches of receiving and encountering artworks and engages diasporic aesthetics that grapples with the legacy of the Vietnam War and its enduring questions about creation and memory. Wednesday\, December 6\, 2023\, 5-6:30PM. Media Art Gallery\, 25 Avery St. Boston\, MAThis program is supported by Department of Writing\, Literature & Publishing\, Scholar Series\, Southeast Asia Programs\, Harvard University Asia Center and Emerson Contemporary \n\n\n\n.
URL:https://emersoncontemporary.org/event/one-day-well-go-home/
LOCATION:Media Art Gallery
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230907T120000
DTEND;TZID=America/New_York:20231014T180000
DTSTAMP:20260416T230849
CREATED:20230815T194251Z
LAST-MODIFIED:20230911T195348Z
UID:7481-1694088000-1697306400@emersoncontemporary.org
SUMMARY:Rachel Rossin: works from THE MAW OF. September 7 - October 14\, 2023
DESCRIPTION:Rachel Rossin\, THE MAW OF\, Single channel video installation with sound\, detail (2022- ongoing). The Maw Of is co-commissioned by the Whitney Museum of American Art and KW Institute for Contemporary Art\, Berlin. ©Rachel Rossin. Courtesy on the artist and Magenta Plains\, New York. \n\n\nRachel Rossin: works from THE MAW OF\, September 7 – October 14\, 2023 \nEmerson Contemporary\, Emerson College’s platform for visual art\, proudly presents Rachel Rossin: works from THE MAW OF\, a solo exhibition featuring recent works initially commissioned by KW Institute of Art and the Whitney Museum of American Art by the New York-based painter and digital artist Rachel Rossin. On view in the Media Art Gallery at 25 Avery Street\, September 7 – October 15\, 2023. Free and open to the public\, Tuesday – Saturday from 12-6pm.   \nWorks from The Maw Of explores the coming together of flesh\, machine\, cognition\, and code sparked by current research into brain-computer interfaces. Rossin’s work blends painting\, sculpture\, new media\, and more to create digital landscapes\, which she uses to address aspects of disorder\, embodiment\, the all-presence of technology\, and its effect on human psychology. \nThe exhibition features a site-specific immersive installation\, innovative new video works and recent paintings. Conceived as mixed-reality theater\, Rossin’s ongoing project addresses the expanded limits of technology and the human body. The artist offers a new poetics and visual language for the next epoch in technology\, offering a critical response on what painting is for and its enduring significance in our tech-dependent society. \nFloating LED ‘portals’ continue Rossin’s investigation into human autonomy and brain-machine integration research. Originally presented at the KW Institute of Contemporary Art in Berlin and the Whitney Museum of American Art in New York\, The Maw Of situates the innate human desire to continually “remake” ourselves as central to the cultural inflection point represented by the advent of artificial intelligence.   \nRossin’s small Scry Glass video sculptures incorporate animation central to The Maw Of\, and activate the characters and texture of the paintings. The Scry Glasses evoke two modes of looking: a form of divination and fortune-telling\, as well as\, a form of reflection using a Claude glass\, a revolutionary tool used by 18th century landscape painters. For the artist however\, these “black mirrors” are not for predicting end times\, but instead leave clues for the viewer\, allowing us to remain tethered to the present.  \nThe artist’s recent paintings offer a visual counterpoint to the digital world proposed by The Maw Of. These images draw from the artist’s childhood drawings of biblical figures associated with the apocalypse\, representing Rossin’s conception of “the end times.” For Rossin painting represents a marking of time on the canvas\, a recording of the movement of the artist’s body. They continue to emphasize the relevance of painting as a practice and are a reminder of what endures the “annihilation of analog” represented by our increasingly tech-dependent culture.  \n\n\nRachel Rossin\, THE MAW OF\, Single channel video installation with sound\, detail (2022- ongoing).\nThe Maw Of is co-commissioned by the Whitney Museum of American Art and KW Institute for Contemporary Art\, Berlin.\n©Rachel Rossin. Courtesy on the artist and Magenta Plains\, New York
URL:https://emersoncontemporary.org/event/rachel-rossin-the-maw-of/
LOCATION:Media Art Gallery
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230818T170000
DTEND;TZID=America/New_York:20230818T190000
DTSTAMP:20260416T230849
CREATED:20230815T185434Z
LAST-MODIFIED:20230818T140225Z
UID:7336-1692378000-1692385200@emersoncontemporary.org
SUMMARY:Artist Reception\, GBFA\, Friday August 12\, 5-7pm.
DESCRIPTION:Image Caption: Joie Cousin\, Our Home: Book One\, multi-media video installation\, 2023 \nEmerson College’s BFA thesis exhibition featuring graduates from the Global Paris BFA in Film Program. Featured Artists are: Joie Cousin\, Miriam Yoboué\, and Mars Tomasetti\, \nGallery Hours 12-5pm\, August 16 – 19\, 2023 \nArtist Reception\, Friday August 12\, 5-7pm. Join us for refreshments and conversation.\n\nLocation: The Huret and Spector Gallery is located on the 6th Floor of the Tufte Building. Please enter through the doors at 10 Boylston Place.\n\nPlease note: ID required for visitors without Emerson Badge
URL:https://emersoncontemporary.org/event/artist-reception-gbfa-friday-august-12-5-7pm/
LOCATION:Huret and Spector Gallery
CATEGORIES:Reception
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230812T120000
DTEND;TZID=America/New_York:20230816T180000
DTSTAMP:20260416T230849
CREATED:20230815T194251Z
LAST-MODIFIED:20230822T183644Z
UID:7480-1691841600-1692208800@emersoncontemporary.org
SUMMARY:Global Paris BFA Thesis Projects
DESCRIPTION:Image caption: Mars Tomasetti\, 234A\, Three channel animation video\, acrylic\, Gamecube consoles and controllers (2001)\, stereo sound\, 2023 \nEmerson College’s second BFA thesis exhibition featuring graduates from the Global Paris BFA in Film Program. Featured Artists are: Joie Cousin\, Miriam Yoboué\, and Mars Tomasetti\, \nJoie Cousin’s Our Home: Book One “Our Home” is a film essay based on childhood nostalgia using therapeutic techniques involving segments of self-expression\, interviews\, and confessionals. These themes entangle together in order to express a grander story displaying the power of communication in all settings. Through aspects of video art\, puppets\, and animation\, Cousin bridges the gap between fiction and fact\, in order to display a wide range of what it means to know someone (/yourself). \nMiriam Yoboué’s 9- channel film installation Static Stands Still\, is a comprised of different sized CRTVS and flat-screen monitors that explores the different emotions\, feelings\, and experiences of a young black woman reeling from the traumatic event of a rape. The installation works as a semi-linear narrative that depicts the life of a fictional black woman who goes through the memories of her past and the moments of her present to try to contextualize this event.\nMars Tomasetti’s multimedia installation 234A\, features a three-channel animation video game\, although you can’t actually play the game\, the installation is designed to make the game and the surrounding room feel yours. Tomasetti wants to call attention to the disconnectedness and isolation many people experience at the hands of capitalism and the American ideal of “individualism\,” and they redirect them towards collectivism. \nGallery Hours 12-5pm\, August 16 – 19\, 2023 \nArtist Reception\, Friday August 12\, 5-7pm.\n\nLocation: The Huret and Spector Gallery is located on the 6th Floor of the Tufte Building. Please enter through the doors at 10 Boylston Place.\n\nPlease note: ID required for visitors without Emerson Badge\n\n 
URL:https://emersoncontemporary.org/event/global-paris-bfa-thesis-projects/
LOCATION:Huret and Spector Gallery
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230729T120000
DTEND;TZID=America/New_York:20230729T133000
DTSTAMP:20260416T230849
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152817Z
UID:7335-1690632000-1690637400@emersoncontemporary.org
SUMMARY:Truth Be Told: (Re)Considering Innovation\, Transformation\, and Genius through the Lens of Jazz\, Gender\, and Justice
DESCRIPTION:Grammy Award winning artist Terri Lyne Carrington recently conceived and curated the New Standards Exhibit\, celebrating the work of women composers and performers who have been either under-acknowledged or rendered invisible regarding the overall representation of the art form. This multidisciplinary exhibit imagines the sound of jazz through the lens of gender justice and is now open in Boston. \nModerated by Danny Rivera\, our panelists Terri Lyne Carrington\, Somi\, and Patricia Zarate Perez will lead a dynamic discussion considering the themes of gender\, race\, innovation\, and transformation featured throughout the New Standards Exhibit. \nEvent is free and open to the public\, please RSVP here. \n 
URL:https://emersoncontemporary.org/event/truth-be-told-reconsidering-innovation-transformation-and-genius-through-the-lens-of-jazz-gender-and-justice/
CATEGORIES:Gallery Talk,Public Program
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230712T080000
DTEND;TZID=America/New_York:20230805T170000
DTSTAMP:20260416T230849
CREATED:20230815T194251Z
LAST-MODIFIED:20231003T150404Z
UID:7479-1689148800-1691254800@emersoncontemporary.org
SUMMARY:New Standards
DESCRIPTION:The Berklee Institute of Jazz and Gender Justice (JGJ) has partnered with the Office of the Arts at Emerson College to bring the multidisciplinary installation\, New Standards\, to the Emerson Contemporary Media Art Gallery. The multimedia exhibition continues the theme set forth in the book New Standards: 101 Lead Sheets by Women Composers by Grammy Award-winning artist Terri Lyne Carrington\, and will be free and on display to the public beginning Wednesday\, July 12 to Friday\, August 4\, 2023\, with gallery hours from 12:00 p.m. to 6:00 p.m. (and by appointment)\, Wednesday through Saturday. \nNew Standards celebrates the work of women composers and performers who have been either under acknowledged or rendered invisible regarding the creation\, perpetuation and overall representation of the art form. The installation will feature visual arts\, film\, panel discussions\, music and information on classic and contemporary jazz composers\, and is part of the Jazz Without Patriarchy Project (JWP)\, an ongoing series of initiatives\, established by four-time Grammy Award-winning drummer\, producer\, and educator\, Carrington and the Berklee Institute of Jazz and Gender Justice\, which aims to lead a massive cultural shift toward gender equity in the field of jazz.  \n“The idea for the book New Standards came out of necessity when I realized there were not enough women represented in the canon of jazz standards\,” said Carrington\, a multi-Grammy-winning artist\, NEA Jazz Master\, and the founder and artistic director of the Berklee Institute of Jazz and Gender Justice. “It expanded to be an album project and also an exhibition at the Carr Center in Detroit. I am beyond happy to be able to share this multidimensional work at home\, and grateful to the Office of the Arts at Emerson College\, and New Commonwealth Fund for helping to make this dream come to fruition. The hope is that anyone who experiences the exhibition will walk away transformed and excited about different sonic possibilities\, imagining what the music will sound like when gender equity with its creators is accomplished.” \nCurated by Carrington\, New Standards will showcase works created by multidisciplinary jazz artists Cécile McClorin Salvant\, Carmen Lundy\, and Jazzmeia Horn – along with works by award-winning visual artists Monica Haslip\, Joe Diggs\, Yvette Rock\, and Ramsess – ranging from print and sculpture\, to collage\, textiles\, and multimedia. The exhibit will also feature a stunning portrait collection of 30 influential women instrumentalists by Sherry Rubel\, as well as a film installation by award-winning photographer and video-installation artist Carrie Mae Weems\, a film capturing the collaborative work between Carrington and visual artist Mikalene Thomas\, and a documentary on the book\, New Standards: 101 Lead Sheets by Women Composers (Berklee Press\, 2022).
URL:https://emersoncontemporary.org/event/new-standards/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230419T120000
DTEND;TZID=America/New_York:20230514T190000
DTSTAMP:20260416T230849
CREATED:20230815T194251Z
LAST-MODIFIED:20230824T171619Z
UID:7477-1681905600-1684090800@emersoncontemporary.org
SUMMARY:Is This Too Much? Space\, Place\, Image\, Sound (VM637)
DESCRIPTION:Media Art Gallery\, April 19- May 14\, 2023. \nReception\, April 19\, 5-7pm \nIS THIS TOO MUCH?\n\nThe works in this exhibition were created by artists from the MFA Film and Media Arts and MA Media Design programs.\nThis exhibition explores the complex relationships that entwine us and shape us as humans – mind-body\, artificial and organic\, public and private\, how culture identity\, nostalgia and history operate on us… wait —   Is This Too Much? Featuring works by: Elise Cohen\, Abigail Hendrix\, Tomas Orrego\, Greyson Acquaviva\, Sean Blanchard\, Tati Chavitage\, Yuling Chen\, Anny Dai\, Nate Gardner\, Emerson Holloway\, Yue Hua\, Yaqi Liu\, Chunxiaoxue Lu\, Paula Ochoa Tovar\, Christina (Yijia) Ren\, Valeria Rodriguez
URL:https://emersoncontemporary.org/event/is-it-too-much-space-place-image-sound-vm637/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230419T120000
DTEND;TZID=America/New_York:20230514T190000
DTSTAMP:20260416T230849
CREATED:20230815T194251Z
LAST-MODIFIED:20230824T171602Z
UID:7475-1681905600-1684090800@emersoncontemporary.org
SUMMARY:MFA Thesis Projects
DESCRIPTION:Abigail Hendrix\, Nimueh\, 2023 (still\, 16 mm HD video\, color\, stereo\, 3-channel\, synchronous loop). \nMedia Art Gallery \nApril 19- May 14\, 2023. \nReception\, April 19\, 5-7pm \nA two person exhibition\, this year’s MFA thesis showcase features multi channel moving image works by Elise Cohen and Abigail Hendrix. \nElise Cohen\, Call Home\, 16 mm film\, 2023 \n  \n  \n  \n  \n  \n  \n  \n  \n  \nCohen’s 16mm film Call Home is a mixed-media installation work. The project features home movies filmed on 8mm by the artist’s grandfather from the 50’s through the late 70’s during their time in Morocco and when they moved to France. More recent recordings of conversations between the artists and her grandmother are also included. The project explores themes of transmission\, memories\, and alienation. \nHendrix’s three channel installation Nimueh is made using digitally scanned 16mm film and a multi-layered soundscape. It explores the local folklore and mythology surrounding the death of Hallie Latham Illingworth\, whose intact body was found floating in Washington state’s Lake Crescent in 1937 about four years after her death\, eerily preserved (saponified) by the frigid water. Nimueh (named for the Arthurian Lady of the Lake) uses local imagery\, voiceover\, and text to engage with the landscape of and around Lake Crescent and with Hallie’s transformation: from human body to soap\, from human being to myth. \n 
URL:https://emersoncontemporary.org/event/mfa-thesis-projects/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/04/Nimueh-Still-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230324T120000
DTEND;TZID=America/New_York:20230324T133000
DTSTAMP:20260416T230849
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152432Z
UID:7326-1679659200-1679664600@emersoncontemporary.org
SUMMARY:EL Putnam Artist Talk
DESCRIPTION:Friday\, March 24\, 2023 \nJoin us for a audio-visual presentation on EL Putnam’s artist practice. Putnam will discuss recent performance and video works. \nLocation: Media Art Gallery\, 25 Avery Street
URL:https://emersoncontemporary.org/event/el-putnam-artist-talk/
CATEGORIES:Artist Talk,Gallery Talk,Public Program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/01/IG_color_3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230125T180000
DTEND;TZID=America/New_York:20230125T203000
DTSTAMP:20260416T230849
CREATED:20230815T185434Z
LAST-MODIFIED:20231003T152327Z
UID:7324-1674669600-1674678600@emersoncontemporary.org
SUMMARY:EL Putnam: Artist Reception and Performance
DESCRIPTION:Join us for a celebration and unveiling of the new spring exhibition EL Putnam: PseudoRandom. Artist will perform a newly created piece “Ghost Work” live at 6PM. Mary Gray and Siddharth Suri define ghost work as the hidden human labor that powers our digital systems. In the performance of this title\, Putnam acts as the human mediator between two generative animation systems\, making visible the labor that responds to and produces data\, as her body acts as the database of lived experience. Please RSVP to be placed on the guest list. \nEL Putnam is an artist-philosopher working in performance art\, video\, sound\, and digital media. Her practice focuses on borders and entanglements\, particularly the interplay of the corporeal with the machinic. Through her artistic practice\, she is interested in exploring hidden histories and emotional experiences\, testing the limits of their un-representability as she takes the familiar and makes it strange. In particular\, she probes our gestural relationship to digital technology using wearable electronics in live performance\, through the creation of responsive multimedia installations\, and the crafting of short moving image and sound pieces. \nTreating art as inherently participatory\, her work opens intersubjective spaces that offer multiple conceptual and aesthetic points of entry for the audience through alchemical diffractions of experience\, cultivating new modes of embodiment. In addition to creating works that are rich in cultural and political meaning\, including the biopolitics of motherhood in Ireland\, she is interested in how aesthetic pleasure can be used as a critical strategy\, or as a means of captivating audiences in order to expose them to provocative ideas. \nEL actively presents artworks and performances in the United States\, Europe\, and beyond\, and has been a member of the Boston-based Mobius Artists Group since 2009. Originally from the United States\, she is Assistant Professor in Digital Media at Maynooth University\, Ireland and lives in Co. Westmeath\, Ireland. \n 
URL:https://emersoncontemporary.org/event/el-putnam-artist-reception-and-performance/
CATEGORIES:Performance,Reception
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2023/01/IG_profile_1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230125T120000
DTEND;TZID=America/New_York:20230326T180000
DTSTAMP:20260416T230849
CREATED:20230815T194251Z
LAST-MODIFIED:20231003T145356Z
UID:7474-1674648000-1679853600@emersoncontemporary.org
SUMMARY:EL Putnam: PseudoRandom
DESCRIPTION:Emerson Contemporary proudly presents EL Putnam: PseudoRandom\, a solo exhibition featuring recent works by the Ireland-based video and performance artist on view in the Media Art Gallery at 25 Avery Street\, January 25 – March 26\, 2022. Free and open to the public\, hours Wednesday – Sunday from 12-7pm.   \nThe exhibition explores aesthetic encounters through digital performance by implicating the artist\, technology\, and the viewer. On display will be performative videos\, a large scale projection\, digital landscape “paintings” and an exploratory series of generative digital animations. Putnam examines performance art beyond lens based media\, while questioning the ways time and space collapsed during the pandemic.  \nThe exhibition is anchored by a large-scale projection All Kinds of Disintegration (2020). Shot in the summer of 2020 using a smartphone\, the piece presents a layered collection of short vignettes captured during the first period of COVID-19 lockdown. The maternal is re-imagined in unfamiliar ways though a co-created transformative landscape using performed actions\, moving image\, and sound. A new video series Foundations (2022-23)\, is presented on three individual\, yet connected monitors to form a color saturated triptych. Putnam uses datamoshing\, a form of intentional image glitching\, to create the dramatic dreamy visual effects. She thinks of the series as a type of digital watercolor painting. \nTwo performative video works Context Collapse (2020) and Interlooping (2021) explore new virtual performance modalities as all in-person performance opportunities were canceled during the pandemic. Both performances were instead livestreamed for online audiences. Context Collapse was created in response to the many pandemic public health restrictions which caused the closure of schools\, workplaces\, and other public spaces as people were encouraged to “stay home.” This compression of one’s personal\, professional\, and family spheres introduced a new type of context collapse. By contrast\, Interlooping addresses the relationship of the performing human with technology\, the non-human\, and our collective being. EL Incorporates wool refuse accumulated during the disruption of the international wool trade in Ireland as a result of COVID-19. \nEmergent (2020-2022) is a new series of generative animations developed through Putnam’s daily digital sketching practice of creating generative animations through p5.js. Emergent is a portrait of the artist’s experience of the COVID-19 pandemic as it visualizes the data tracked through a fitbit. Instead of focusing on the intended use of the fitness tracker as an accurate record keeper of physical activity\, Putnam draws attention to the gaps in data collection\, the goals not met\, and the capacity of physical activity to exceed sensory quantification. \nAdditionally\, Putnam will create and perform two new\, live performance works Ghost Work  and Friction as part of the exhibition programming. Putnam uses wearable electronics as part of her performances to explore our gestural relationship to digital technologies. Mary Gray and Siddharth Suri define “ghost work” as the hidden human labor that powers our digital systems. In the performance of this title\, Putnam acts as the human mediator between two generative animation systems\, making visible the labor that responds to and produces data\, as her body acts as the database of lived experience. A collaborative performance\, Friction\, created and performed with German sound artist David Stalling will debut in March. \n  \nEVENTS \n\nArtist Reception: Wednesday\, January 25\, 5-7:30PM. RSVP required on Eventbrite.\nGhost Work\, Live Performance by EL Putnam\, Wednesday January 25\, 6PM. \n\nMedia Art Gallery \n\nGhost Work\, Live Performance EL Putnam: Friday\, January 27\, 12-1PM. \n\nMedia Art Gallery \n\nFriction\, Live Performance by EL Putnam and sound artist David Stalling\, Thursday\, March 23\, 6PM. \n\nMedia Art Gallery \n\nEl Putnam\, Artist Talk\, Friday\, March 24\, 12PM\n\n  \nABOUT THE ARTIST \nEL Putnam is an artist-philosopher working in performance art\, video\, sound\, and digital media. Her practice focuses on borders and entanglements\, particularly the interplay of the corporeal with the machinic. Through her artistic practice\, she is interested in exploring hidden histories and emotional experiences\, testing the limits of their un-representability as she takes the familiar and makes it strange. In particular\, she probes our gestural relationship to digital technology using wearable electronics in live performance\, through the creation of responsive multimedia installations\, and the crafting of short moving image and sound pieces. \nTreating art as inherently participatory\, her work opens intersubjective spaces that offer multiple conceptual and aesthetic points of entry for the audience through alchemical diffractions of experience\, cultivating new modes of embodiment. In addition to creating works that are rich in cultural and political meaning\, including the biopolitics of motherhood in Ireland\, she is interested in how aesthetic pleasure can be used as a critical strategy\, or as a means of captivating audiences in order to expose them to provocative ideas. \nEL actively presents artworks and performances in the United States\, Europe\, and beyond\, and has been a member of the Boston-based Mobius Artists Group since 2009. Originally from the United States\, she is Assistant Professor in Digital Media at Maynooth University\, Ireland and lives in Co. Westmeath\, Ireland.
URL:https://emersoncontemporary.org/event/el-putnam-pseudorandom/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/12/Putnam-AllKindsDisintegration-video-2020.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221014T120000
DTEND;TZID=America/New_York:20221014T133000
DTSTAMP:20260416T230849
CREATED:20230815T185432Z
LAST-MODIFIED:20231003T153716Z
UID:7317-1665748800-1665754200@emersoncontemporary.org
SUMMARY:Artist Performance + Talk GO BACK TO WHERE YOU CAME FROM!
DESCRIPTION:GO BACK TO WHERE YOU CAME FROM!\n\n \nArtist Performance + Talk by Emilio Rojas\n\n \nMedia Art Gallery\nOctober 14\, 2022\n12:00 p.m. to 1:00 p.m.\n\n  \nGO BACK TO WHERE YOU CAME FROM! is a lecture/performance by artist Emilio Rojas. It moves away from this xenophobic phrase and investigates the history of colonialism and border trauma. This lecture considers his practice in relation to decolonization\, de-linking\, archives\, queerness\, and contaminations into public space. It is not an attempt to re-write history but rather to view it from a different lens\, in a non-linear way which opens spaces of transition and possibility\, remembrance and healing. It urges us to ask ourselves: How are we complicit with the past we inherited? How are we accomplices of the history being created in the present?
URL:https://emersoncontemporary.org/event/artist-performance-talk-go-back-to-where-you-came-from/
CATEGORIES:Gallery Talk,Performance
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/09/Screen-Shot-2022-09-12-at-12.42.37-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220921T080000
DTEND;TZID=America/New_York:20221106T170000
DTSTAMP:20260416T230849
CREATED:20220921T194200Z
LAST-MODIFIED:20231003T145526Z
UID:7460-1663747200-1667754000@emersoncontemporary.org
SUMMARY:Emilio Rojas: tracing a wound through my body
DESCRIPTION:Image above: Emilio Rojas\, Heridas Abiertas\, 2013–ongoing. Performance\, dimensions variable. Courtesy of the artist. \n  \nThe U.S-Mexican border es una herida abierta where the Third World grates against the first and bleeds.\n—Gloria E. Anzaldúa\, Borderlands/La Frontera: The New Mestiza\, 1987\ntracing a wound through my body is the first traveling survey of the contemporary and multidisciplinary practice of artist Emilio Rojas (b. 1985 Mexico City)\, on view September 21–November 6\, 2022 at Emerson Contemporary. The exhibition brings together works spanning the past decade including live performances and interventions\, documents of performance sustained in video and ephemera\, photography\, sculpture\, installation\, and poetry. Recognizing the act of tracing dualistically\, tracing a wound through my body both reexamines the artist’s corpus and reckons with the legacies of colonial and border traumas. For Rojas\, such reckoning renders palpable visible and invisible wounds through the radically political instrumentalization of his body. \nThe included works relate to Rojas’ migratory experience and his rigorous research-based practice. Drawing upon queer and decolonized methodologies\, his performative works interrogate extant structures of colonialism and border politics. The exhibition takes place in a moment in which nativist rhetoric and xenophobic immigration legislation in the United States and beyond deepens wounds already open. Rojas’ works not only confront the historical precedents for such trauma\, but also speculate upon Chicana cultural theorist Gloria E. Anzaldúa’s proposition of the wound transforming into a pathway for healing. \ntracing a wound through my body will be on display at the Media Art Gallery with works installed throughout Emerson College’s campus\, including the Huret and Spector galleries\, Tufte Stairwell\, 2 Boylston Place\, Little Building Lobby\, and The Iwasaki Library. \nThe exhibition is accompanied by a public programming series and an exhibition catalog featuring new scholarship from Ethan Madarieta\, Laurel V. McLaughlin\, Mechtild Widrich with Andrei Pop\, and Rebecca Schneider; an interview with Ernesto Pujol; a creative writing contribution from Valeria Luiselli; and new poetry from Pamela Sneed and Emilio Rojas. Emilio Rojas: tracing a wound through my body is curated by Laurel V. McLaughlin and organized by Lafayette College Art Galleries\, Easton\, PA with travel administered by Artspace New Haven. \nEmilio Rojas is a multidisciplinary artist working primarily with the body in performance\, using video\, photography\, installation\, public interventions\, and sculpture. He holds an MFA in Performance from The School of the Art Institute of Chicago and a BFA in Film from Emily Carr University in Vancouver\, Canada. \nAs a queer Latinx immigrant with indigenous heritage\, it is essential to his practice to engage in the postcolonial ethical imperative to uncover\, investigate\, and make visible and audible undervalued or disparaged sites of knowledge\, narratives\, and individuals. He utilizes his body in a political and critical way\, as an instrument to unearth removed traumas\, embodied forms of decolonization\, migration\, and poetics of space. \nHis research-based practice is heavily influenced by queer and feminist archives\, border politics\, botanical colonialism\, and defaced monuments. Besides his artistic practice\, he is also a translator\, community activist\, yoga teacher\, and anti-oppression facilitator with queer\, migrant\, and refugee youth. \n  \nPublic Programming \nThursday\, September 22\, 5–7:30 PM. Artist Reception. Location: Media Art Gallery\, 25 Avery St. Boston\, Ma 02111 \nFriday\, September 23\, 2-4 PM.  Performance of A Vague and Undetermined Place (a Gloria)\, 2019. Location: Boylston Place Alley. 10 Boylston Place\, Boston\, MA 02116 \nSaturday\, September 24\, 2-4 PM. Performance\, A Vague and Undetermined Place (a Gloria)\, 2019. Location: Boylston Place Alley. 10 Boylston Place\, Boston\, MA 02116 \nFriday\, October 14\, 12–1 PM. “Go Back To Where You Came From” A Performance-lecture by Emilio Rojas. Location: Media Art Gallery\, 25 Avery Street\, Boston\, MA 02111  \nFriday\, October 14\, 4-8 PM. One-on-one performance\, A Manual to Be (to Kill) or To Forgive My Own Father\, 2015–ongoing. Location: The Iwasaki Library\, 3rd floor\, Walker Building\, 120 Boylston Street\, Boston\, MA \nSaturday\, October 15\, 12-4 PM. One-on-one performance\, A Manual to Be (to Kill) or To Forgive My Own Father\, 2015–ongoing. Location: The Iwasaki Library\, 3rd floor\, Walker Building\, 120 Boylston Street\, Boston\, MA \nSunday\, October 16\, 12-4 PM. One-on-one performance\, A Manual to Be (to Kill) or To Forgive My Own Father\, 2015–ongoing. Location: The Iwasaki Library\, 3rd floor\, Walker Building\, 120 Boylston Street\, Boston\, MA
URL:https://emersoncontemporary.org/event/emilio-rojas-tracing-a-wound-through-my-body/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://emersoncontemporary.org/wp-content/uploads/sites/51/2022/09/Screen-Shot-2022-09-07-at-9.56.43-AM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220325T120000
DTEND;TZID=America/New_York:20220325T143000
DTSTAMP:20260416T230849
CREATED:20230815T185432Z
LAST-MODIFIED:20231003T145603Z
UID:7308-1648209600-1648218600@emersoncontemporary.org
SUMMARY:Will Pappenheimer: Artist Talk and Demo
DESCRIPTION:Will Pappenheimer (webinar) \nFriday\, March 25\, 1:30-3pm \nWill Pappenheimer is a Brooklyn based artist working in new media\, performance and installation with an interest in spatial intervention and the altered experiences of the artwork as site. His current work explores the collage of the virtual and physical worlds in the recent medium of “mixed reality.” \nHe is a pioneer of augmented reality (AR) art and a founding member of the AR collective\, Manifest.AR formed in 2011 \nThis event is co-presented by Boston CyberArts \nFREE AND OPEN TO THE PUBLIC
URL:https://emersoncontemporary.org/event/will-pappenheimer-artist-talk-and-demo/
CATEGORIES:Gallery Talk,Public Program,Virtual program
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220307T080000
DTEND;TZID=America/New_York:20220506T170000
DTSTAMP:20260416T230849
CREATED:20230815T194248Z
LAST-MODIFIED:20231003T151702Z
UID:7445-1646640000-1651856400@emersoncontemporary.org
SUMMARY:GlitchKraft v.2 Allison Tanenhaus and Friends
DESCRIPTION:  \nGlitchKraft v.2. Allison Tanenhaus + Friends Alex Kittle\, Ben K. Foley\, Property Materials\, Lauren Klotzman\, and stickipictures \nOn view at Southern New Hampshire University’s McIninch Gallery\, March 7- April 30\, 2022. \nGlitchKraft is a multimedia exhibition of glitch art\, the creative practice of interfering with or intentionally altering digital image files for aesthetic purposes. The exhibition showcased glitch art by Allison Tanenhaus and others with the art taking many forms\, digitally projected onto the gallery walls\, windows\, and displayed on monitors. \n“GlitchKraft is a celebratory display of digital errors\, an ode to the interrupted image. Images that are usually limited to be viewed on a screen – mobile or otherwise – here are projected larger than life onto every surface of the gallery to create a technicolor ‘glitch-world’ that will surround visitors and allow them to be fully immersed in light and sound.” -Dr. Leonie Bradbury\, Curator \nFor the GlitchKraft exhibit\, Allison Tanenhaus collaborated with color-bending\, mind-scrambling\, new-media friends and local artist collaborators\, including Alex Kittle\, Ben K. Foley\, Property Materials\, Lauren Klotzman\, and stickipictures. Together\, they embrace electronic error\, circumvent computational constraint and transcend technological overstimulation — culminating in an immersive\, ephemeral glitchscape made to overload the senses. \nReviews: \nBoston Globe \n 
URL:https://emersoncontemporary.org/event/glitchkraft-v-2-allison-tanenhaus-and-friends/
CATEGORIES:Exhibition,Public Program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/10/kittle.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220126T080000
DTEND;TZID=America/New_York:20220327T170000
DTSTAMP:20260416T230849
CREATED:20230815T194248Z
LAST-MODIFIED:20231003T200517Z
UID:7437-1643184000-1648400400@emersoncontemporary.org
SUMMARY:Kerry Tribe: Onomatopoeia
DESCRIPTION:Emerson Contemporary proudly presents Kerry Tribe: Onomatopoeia\, a solo exhibition by the Los Angeles-based artist and filmmaker\, on view in the Media Art Gallery at 25 Avery Street\, from January 26 – March 27\, 2022. Free and open to the public\, the gallery is open Wednesday – Sunday from 12-7pm.  \n \nCreated between 2010 and 2021\, the works selected for Onomatopoeia reflect the artist’s longstanding interest in consciousness\, memory and the limits of linguistic communication. Rigorous and thoughtful\, Tribe’s practice synthesizes cinematic\, journalistic and conceptual approaches in probing and affective works of art that privilege the viewer’s embodied experience in the gallery.  \nThe exhibition is anchored by two quasi-documentary videos. The Last Soviet (2010)\, revolves around a storied Russian cosmonaut stranded in orbit as the Soviet Union collapsed beneath him. Speaking in English and Russian\, with subtitles in both languages\, the work’s two narrators offer divergent perspectives on the fate and feelings of the lost cosmonaut and those awaiting his return. The narrative gains new resonance as Americans grapple with the toxic effects of state-sponsored disinformation. The second\, Afasia (2017)\, in subtitled English and Spanish\, pairs the musings of a photographer whose ability to communicate was radically altered after a left-hemisphere stroke with Tribe’s own faltering description of her efforts to re-learn a foreign language. The effect is one of empathic understanding and mutual curiosity about life at the limits of language.  \nA selection of Tribe’s lesser-known works on paper extend the inquiry in two dimensions. Silkscreens based on a cognitive test used to assess one’s ability to inhibit cognitive interference\, along with two new “scratch drawings” that reproduce philosophers’ attempts to diagram our perception of time\, encourage viewers to reflect on the unfolding of their own conscious experience. Two photographic prints from 2017\, Black Tourmaline (front) and Black Tourmaline (back)\, will be shown in the U.S. for the first time. \nIn Forest for the Trees (2015)\, a monitor nestled among potted plants and apple boxes silently flashes one word after another in a string of aphorisms suggesting a subject in search of agency and understanding. In contrast\, Fantastic Voyage (2020) has no set place in the gallery and provides no visuals; visitors are invited to listen to the recording on their personal devices as they take a walk in the gallery\, the neighborhood or their home. \nBorn and raised in the Boston area\, Onomatopoeia is Tribe’s first major exhibition in her hometown\, and viewers’ first opportunity to experience these particular works together. In tandem with the exhibition\, the artist will present a lecture and screening of her early autobiographical videos in March\, 2022. \nAbout the Artist \n \n \nKerry Tribe is an artist and filmmaker based in Los Angeles. Her work has been the subject of solo presentations at SFMOMA; The High Line and Anthology Film Archives\, New York; The Power Plant\, Toronto; Modern Art Oxford and Camden Arts Centre\, London. Tribe was the recipient of the Presidential Residency at Stanford University\, the Herb Alpert Award\, the Creative Capital Award\, the USA Artists Award\, and she was the Guna S. Mundheim Fellow at the American Academy in Berlin. \nTribe’s work is in the public collections of MoMA\, SFMOMA\, the Whitney\, the Hammer Museum\, Yuz Museum in Shanghai\, LACMA\, SMAK Ghent and the Generali Foundation\, among other institutions. She has served as a visiting faculty member at Stanford University\, UCLA\, CalArts\, Harvard University\, and ArtCenter in Pasadena. Tribe received her MFA from UCLA\, attended the Whitney Independent Study Program\, and received a BA\, magna cum laude\, from Brown University.
URL:https://emersoncontemporary.org/event/kerry-tribe/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/09/Forest3-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211008T120000
DTEND;TZID=America/New_York:20211008T133000
DTSTAMP:20260416T230849
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T145755Z
UID:7280-1633694400-1633699800@emersoncontemporary.org
SUMMARY:Sky Hopinka Artist Talk (Emerson Only)
DESCRIPTION:Join us for a unique opportunity to meet Sky Hopinka and hear more about his art and career. \n 
URL:https://emersoncontemporary.org/event/sky-hopinka-artist-talk-emerson-only/
CATEGORIES:Gallery Talk
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/09/SkyHopinka.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210922T080000
DTEND;TZID=America/New_York:20211107T170000
DTSTAMP:20260416T230849
CREATED:20230815T194248Z
LAST-MODIFIED:20231003T202219Z
UID:7434-1632297600-1636304400@emersoncontemporary.org
SUMMARY:Sky Hopinka: Present Joys
DESCRIPTION:Image Credit: Sky Hopinka\,  \n  \nAn enrolled member of the Ho-Chunk Nation of Wisconsin and a descendent of the Pechanga Band of Luiseño Indians\, Hopinka uses personal and collective memories to destabilize traditional colonial narratives and critique cultural systems\, such as ethnography\, museology and anthropology\, that continue to depict indigenous cultures in limited and static ways. \n  \nHopinka combines the power of visual storytelling with an interest in semiotics to illuminate the role image and language – in the form of poetry\, songs and historic texts – play in shaping cultural identity. Textural fragments are juxtaposed with symbolic and abstract imagery in video\, photography and 16mm film to explore personal and historical understandings of different native homelands\, the stories they hold\, and their interconnectedness. \nCollectively\, the works included in “Present Joys\,” present an ecology of self. They collapse a linear sense of time as historical events are acknowledged as actively informing and coexisting with the present while they shift back and forth. Other in-between potentialities\, such as the ways in which landscapes evoke history\, language holds culture\, and music elicits memories\, are thoughtfully layered within each individual piece to add further complexity and nuance. \nThis exhibition received generous project support from the Mass Cultural Council
URL:https://emersoncontemporary.org/event/sky-hopinka-present-joys/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/09/here-you-are-before-the-trees-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210916T080000
DTEND;TZID=America/New_York:20211029T170000
DTSTAMP:20260416T230849
CREATED:20230815T194248Z
LAST-MODIFIED:20231003T150804Z
UID:7435-1631779200-1635526800@emersoncontemporary.org
SUMMARY:A Shared Vision: The Lillian Farber Collection
DESCRIPTION:  \n“It hasn’t mattered who the photographer was\, living or dead\, acclaimed or unknown. Neither has the pedigree of the print; vintage\, self-produced\, staff-produced or mass-produced. All I had to do was love it.” \nLillian Farber \n  \nA closeup of an artichoke\, a gritty urban subway scene\, a portrait of a smiling little boy – every collection of images reveals something about its owner. Lillian Farber (1920 – 2007) was captivated with photography\, its historic and contemporary processes\, equipment\, tools and techniques. Farber’s collection celebrates the varied ways that photographers choose to depict the world around them. She was not particularly interested in recreating a specific history of photography\, but rather collected intuitively based on her personal and intellectual interests in either the artist\, the time period\, or the aesthetic qualities of the work. One of her greatest joys was sharing her collection with others. \nThis exhibition presents a selection of works from what once was a much larger collection as Farber generously gave away a number of pieces in the last few years of her life – and frankly –not all the remaining works fit on these gallery walls. Though now housed at Emerson College\, and on view in a gallery setting\, these works will ultimately be installed in common spaces across the Emerson campus to honor Farber’s original intent that these works be displayed as an easily accessible “teaching collection” in the places where students learn and congregate. \n— \nAs part of the Emerson-Marlboro Alliance the college has received 200 photographs known as the Lillian Farber Photography Collection. Lillian Farber served for many years as the chairwoman of the Marlboro Board of Trustees’ finance committee. A New Yorker by birth\, Mrs. Farber moved to Newfane\, Vermont in the mid-1970s\, where she became the vice president of Zone VI Studio\, a small\, vibrant photography equipment company. She had an artist’s eye for photography\, and over the course of a lifetime built a distinguished collection that includes works by Ansel Adams\, Walker Evans\, Dorothea Lange\, Aaron Siskind\, Edward Weston\, Garry Winogrand\, Eugene Atget and Lewis Hine\, among others.  \nIn 2006\, she donated the collection to Marlboro College for teaching purposes. Now\, the collection will be stewarded by Emerson College. This exhibition was organized by Dr. Leonie Bradbury\, Distinguished Curator-in-Residence in collaboration with Photo Historian and Affiliated Faculty Susan Doheny. After the exhibition is complete\, the works will be installed throughout Emerson’s campus.
URL:https://emersoncontemporary.org/event/a-shared-vision-the-lillian-farber-collection/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/09/IMG_3901.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210317T180000
DTEND;TZID=America/New_York:20210317T200000
DTSTAMP:20260416T230849
CREATED:20230815T185431Z
LAST-MODIFIED:20231003T145947Z
UID:7297-1616004000-1616011200@emersoncontemporary.org
SUMMARY:Public Encounters: Using New Media Technologies to Build Community Violeta Ayala
DESCRIPTION:Join artist\, writer\, and film director Violeta Ayala as she discusses the making of “Prison X: The Devil and The Sun\,” an immersive ‘play’ staged in VR created using the 3-D painting technology Tilt Brush. Set in Bolivia’s San Sebastian prison\, “Prison X: The Devil and The Sun” immerses participants into the social dynamics of the prison while simultaneously placing them in a world of Incan and Quechan mythology. \nVioleta Ayala is an award-winning filmmaker\, writer\, artist and technologist. She is the first Quechua member of the Academy of Motion Picture Arts and Sciences. Violeta’s credits include the VR animation Prison X (2021) and the award-winning documentaries Cocaine Prison (2017)\, The Fight (2017)\, The Bolivian Case (2015) and Stolen (2009). Her films have premiered at A-List film festivals including Sundance and Toronto\, distributed in cinemas\, broadcasted on PBS\, Channel 8\, Señal Colombia\, Ibermedia\, World and online platforms such as Amazon Prime and The Guardian. She has won over 50 awards including a Walkley (Australia’s Pulitzer) and nominations for the IDA (Los Angeles)\, Rory Peck (London)\, Platino (Panama) and Fenix (Mexico). Artist website: www.violetaayala.com.
URL:https://emersoncontemporary.org/event/public-encounters-using-new-media-technologies-to-build-community-violeta-ayala/
CATEGORIES:Gallery Talk,Virtual program
ATTACH;FMTTYPE=image/jpeg:https://emersoncontemporary.org/wp-content/uploads/sites/51/2021/10/2-Vioelta-Ayala.jpg
END:VEVENT
END:VCALENDAR