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DTSTART;TZID=America/New_York:20240801T000000
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SUMMARY:off the pedestal
DESCRIPTION:off the pedestal is a group exhibition in the Media Art Gallery\, comprising contemporary artists whose work addresses the national conversation around monuments featuring visual artists Laura Anderson Barbata\, New Red Order\, and Paula J. Wilson.  \n\n\n\nView exhibition documentation. \n\n\n\nThis exhibition is on view in the Media Art Gallery at 25 Avery Street from August 1 – October 5\, 2024. The exhibition is free and open to the public Tuesday – Saturday\, 12-6 pm. This exhibition is part of Emerson Contemporary’s Regarding Monuments: Visualizing Hidden Histories\, a multi-year initiative that includes exhibitions centered on monuments\, several public art installations\, and a technology incubator.  \n\n\n\nCurated by Distinguished Curator-in-Residence Leonie Bradbury and Curator of Special Projects Shana Dumont Garr\, off the pedestal speaks directly to the national phenomenon of the removal of Confederate and other racist monuments in the wake of the police murder of George Floyd. Although monuments are generally presented as permanent\, timeless\, and expressive of universal values\, this exhibition proposes that public memory could be more effectively addressed and activated through ephemeral expressions.  \n\n\n\noff the pedestal is supported by the City of Boston Mayor’s Office of Arts & Culture (MOAC) program “Un-monument | Re-monument | De-monument: Transforming Boston.” It is a city-wide initiative that aims to transform the nation’s commemorative landscape to ensure collective histories are more completely and accurately represented.   \n\n\n\noff the pedestal is further supported by The Andy Warhol Foundation for the Visual Arts  \n\n\n\nLaura Anderson Barbata’s multidisciplinary performance work Indigo is a call to action in response to the violence and murder of Black persons at the hands of the police. A group of sixteen resplendent characters clad in hand-dyed fabrics\, woven details\, and ornate stitching\, many standing at the height of stilts\, powerfully demonstrate the textile art aspect of Barbata’s vision.  \n\n\n\nNew Red Order’s large-scale video installation Culture Capture: Crimes Against Reality examines the contradictions inherent in a society built on both the longing for indigeneity and the violent erasure of Indigenous peoples. They base their critique on historical events\, and the pacing of the digitized imagery\, accompanied by skillful sound design\, transports viewers into their speculative reveries.  \n\n\n\nPaula J. Wilson’s performative video Living Monument and 2D wall work Thyself monumentalize Black female bodies through dramatic scale and bold gestures. Her work elevates embodied histories and reminds us that joy and celebration are crucial parts of resistance. \n\n\n\nWorks featured in this exhibition include: \n\n\n\nNew Red Order\, Culture Capture: Crimes Against Reality\, HD video (video still)\, 2020\n\n\n\nA two-channel video Culture Capture: Crimes Against Reality by New Red Order (NRO)\, a public secret society that works with networks of informants and accomplices to create grounds for Indigenous futures. Crimes Against Reality focuses on two public sculptures by James Earle Fraser — End of the Trail (1894)\, a statue originally intended to be installed on the California coast at the scale of the Statue of Liberty\, and the statue of Theodore Roosevelt (1939) that was removed from outside the American Museum of Natural History\, in New York\, in 2022 — both of which commemorate the origin myth of America. \n\n\n\nLittle Jaguar (Laura Anderson Barbata) and Diablos (Jarana Beat). Intervention: Indigo\, Bushwick\, 2015. Photo: Rene Cervantes\n\n\n\n\n\nLaura Anderson Barbata Intervention: Indigo presents a call to action to serve and protect in response to police violence. The point of departure is the color Indigo\, a dye used around the globe that has been associated with protection\, wisdom and royalty.  Created in in collaboration with the Brooklyn Jumbies\, Chris Walker and Jarana Beat\, Indigo was performed first in Brooklyn and again in Mexico City in 2020 in collaboration with muca Roma\, Chris Walker\, Los Diablos de la Costa de Guerrero Los Rebeldes de El Capricho\, Elizabeth Ross\, Danza UNAM and Pro-Alterne Teatro. The work is a call to action to serve and protect\, and of protest in response to the violence and murder at the hands of the police of Black people living in the United States and all over the world.  \n\n\n\n\n\n\n\nPaula J. Wilson fuses wide-ranging techniques and media with her observations of the natural world\, where it is a matter of survival to make space for oneself to live\, love\, and make art. Recurring themes of feminine power\, natural life systems\, and art-making itself converge under the umbrella of regeneration and change. Narrative artworks that place feminine subjects in positions of power. Her expansive practice forcefully proclaims her place in the (art) histories she engages.
URL:https://emersoncontemporary.org/event/off-the-pedestal-art-in-protest/
LOCATION:Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111
CATEGORIES:Artist Spotlight,Artist Talk,Exhibition,Performance,Public Program,Regarding Monuments: Visualizing Hidden Histories
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DTSTART;TZID=America/New_York:20240813T000000
DTEND;TZID=America/New_York:20240817T235959
DTSTAMP:20260407T194318
CREATED:20240806T160424Z
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SUMMARY:I Thought I Saw You Watching: Emerson's GBFA 2024 Artist's Showcase
DESCRIPTION:Emerson College is proud to present a series of installations\, crafted by the school’s Global BFA cohort of 2024. Installed in our Huret & Spector gallery space\, the show spans one week\, and features the following artists with their work: \n\n\n\nStill from A recorded conversation between electricity pylons\, translated for human understanding by Kelsey Cohn\n\n\n\nA recorded conversation between electricity pylons\, translated for human understanding \n\n\n\nby Kelsey Cohn Three-channel colour projection\, HD video\, sound\, 60 min loop.A recorded conversation between electricity pylons transcodes a conversation between two solitary pylon towers\, left standing together in a distant\, post-human future. Through their casual musings on life\, nature\, time\, and cosmology\, the audience is invited to reflect on existence from a structuralist vantage point. \n\n\n\nAcross three projections\, the pylons tower over an empty landscape. Here\, they seem more like monuments than infrastructure\, their ability to communicate reframing them as angelic messengers rather than utility structures. As the pylons pass the time reflecting on ecological curiosities and ancient discoveries\, their characterization and banter invites an empathetic humor. \n\n\n\nAt once spiritual\, scientific\, historical\, and whimsical\, the work invites a universal reflection on our origins and place in the ecological sphere. From their divine point of view above the landscape and history\, the pylons alone notice the wires that link our lives deeply to the world around us.  \n\n\n\nThe Normandy Tree Tape  \n\n\n\nby Roz Pederson Single channel display on CRT monitor\, 11minCombining documentary and fiction\, The Normandy Tree Tape exists in the oft forgotten space between story and history\, real and unreal. It challenges our preconceived notions of true and false and allows for a shift in perspective that is rarely considered. Indeed the tension between viewpoints provides the driving force of the piece. It bridges science and mythology\, knowable and unknowable.  \n\n\n\nWhile clearing land in an old growth forest in Normandy\, workers discovered a VHS tape stuck in the roots of a fell tree. When this tape was played back\, they discovered a unique alteration to it. The tape originally was a home recording of a TV documentary\, but through methods currently being studied by scientists\, some of the data on the tape was replaced with narration from the forest. After extensive restoration\, Roz Pederson and her team are excited to present the first public exhibition of The Normandy Tree Tape. \n\n\n\nThis is the myth The Normandy Tree Tape creates\, a story somewhere between folklore\, scientific discovery\, and tourist trap. The installation serves to convince you of this myth. This piece was born from the idea that it is human nature to assume all people to have a set of experiences more or less similar to ours. Through communication\, we learn ways in which this is and isn’t the case\, and approximate the innate human experience. There may be\, however\, sensations so human they become difficult or impossible to identify because the opposite has never been known.  \n\n\n\nThe work imagines what exists beyond the limits of modern communication\, what the sensory experience of the inhuman may be and stands against the truth and for the complete subjectivity of all things. \n\n\n\nInside the Screen by Lisa Siera\n\n\n\nInside the Screen \n\n\n\nby Lisa SieraLive video\, sculpture\, light\, sound\, 1:40Inside the Screen is a spatial interpretation of the world inside the phone screen. It compares the social design created in the digital world to the physical system of the panopticon jail. After years of experience in front of and behind the camera\, the artist examined the intertwined dynamics between cameras\, eyes\, bodies\, and screens. A panopticon originally devised by Jeremy Bentham is a circular prison with cells arranged around a central well\, from which prisoners could at all times be observed.  \n\n\n\nOne-Way Street by Sid Tian Shi\n\n\n\nOne-Way Street  \n\n\n\nby Sid Tian Shi Single channel color projection with videos and soundThis project is an interactive video installation where the audiences take a walk and play around the urban landscapes of Paris. During this journey\, every anecdote\, signs and spectacle of the streets are listed up and collected as an appendix to it.  \n\n\n\nIt consists of one main screen showing the landscapes\, and a supplement screen showing the commentary images and texts. Within the screening area\, the audience can interact with the pace of this journey by stepping into sections in the space\, which will be detected by the monitor camera installed to the ceiling. \n\n\n\nThe journey starts with a call between two friends living in Paris. A calls B\, saying that he is gonna take a walk from his home to B’s. After that call\, the audience is on a street with A\, traveling through the route from Italy 13 to Pére Lachaise. We have no way of knowing about A’s past or his present life. It’s just that we are viewing the city through his scope. He is curious\, loves to observe\, and always looking around\, instead of finishing this journey which leads us to the city fragments and comments we then see. \n\n\n\nThe panopticon allows a watchman to observe occupants without the occupants knowing whether or not they are being watched. The installation’s structure is inspired by the guard tower(the central well) and draws attention to how we are illusioned to hold power over our digital selves through our phones\, essentially becoming the prisoners while thinking we are the watchmen. \n\n\n\nArtist Reception\, Monday August 12th\, 5-7:30pm.  \n\n\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 Alleyway. Please note: visitor registration and ID required for visitors without Emerson Badge.  
URL:https://emersoncontemporary.org/event/global-paris-bfa-thesis-projects-2024/
LOCATION:Huret & Spector Gallery; Tufte Building
CATEGORIES:Exhibition,Reception,Student Projects
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