Shellyne Rodriguez selected to create a billboard for 14×48

14x48

VCS alumna Shellyne Rodriguez has just been selected to create a billboard for the public art project 14×48. Here’s some information about the project from the 14×48 website:

14×48 repurposes vacant billboards as public art space in order to create more opportunities in public art for emerging artists, to challenge emerging artists to engage more with public art, and to enliven the vibrancy of our urban environment.

14X48 is a sponsored project of Fractured Atlas, a non-profit 501(c)(3) arts service organization. The organization was formerly known as Artists for Public Service Announcements.

Shellyne's website
A screenshot of Shellyne’s website (click to visit)

The following additional details are quoted from a recent announcement of 14×48′s next three billboards (you can read the full announcement here):

We held our first Open Call for billboard proposals this spring and received an excellent group of submissions! The proposals were reviewed by a seven-member selection committee comprised of artists, educators, designers, and editors who generously volunteered their expertise to 14×48. We’re thrilled to announce and congratulate the three artists selected by the committee, whose billboards will be posted this fall:

Margeaux Walter, Shellyne Rodriguez, and Desiree Leary. For more information on each of their proposals, see the descriptions below.

Through grants and private donations, we’ve already raised 50% of the funds needed to post these three billboards, and you can help us reach 100%! Any size donation will help—even $10. So show us your support and donate! All donations are 100% tax-deductible.

Shellyne Rodriguez re-imagines images of sagging, a fashion statement prominent in hip hop culture, as the ubiquitous and racy advertising of Abercrombie & Fitch, highlighting the contradictory responses to displays of the black male body. To accompany the billboard, Rodriguez will be producing an altered advertising catalogue to be sold and surreptitiously placed in locations across New York. She will also be leading a workshop with students to explore issues of representing the body.

You can see some of Shellyne’s work at her website, and learn more about 14×48 at their Facebook and Instagram pages. If you’re interested in supporting 14×48, visit this page.

I will post updates on Shellyne’s billboard as the project progresses. There’s also information about another project that Shellyne was involved with earlier this year at this post:

VCS alumna Shellyne Rodriguez writes about the UPNEXT Program on the MoMA INSIDE/OUT blog

Berny Tan at Asymptote Literary Journal (Summer Issue Out Today)

Asymptote

VCS class of 2014 alumna Berny Tan just wrote to me about her new job at the online literary journal Asymptote. Here’s what she had to say:

Since early May, I’ve been working for Asymptote, an online international journal dedicated to literary translation. We have just released our Summer issue—the first issue that I’ve seen through from start to finish as Chief Executive Assistant. In addition to uploading almost every article and other administrative responsibilities, I’ve been liaising with the issue’s guest artist, Robert Zhao Renhui (http://criticalzoologists.org/). A talented, up-and-coming artist that I met a few years ago in Singapore, Robert uses his images to build surreal, mysterious narratives around the relationship between man and nature. I also successfully pitched Hiba Schahbaz, a Pakistani contemporary miniature painter, for the issue’s Visual Section after seeing her work at the Bushwick Open Studios.

 

Here’s a lot more about the journal from the Asymptote website’s About page:

Asymptote is an exciting new international journal dedicated to literary translation and bringing together in one place the best in contemporary writing. We are interested in encounters between languages and the consequences of these encounters. Though a translation may never fully replicate the original in effect (thus our name, “asymptote”: the dotted line on a graph that a mathematical function may tend towards but never reach), it is in itself an act of creation.

asymptotes

George Bernard Shaw famously said, “If you have an apple and I have an apple and we exchange apples then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange those ideas, then each of us will have two ideas.” Similarly, incorporeal works of art (poems, short stories, etc.) have the potential to affect millions, since unlike apples, they are unencumbered by the problem of scarcity (Lewis Hyde). The value of translation is that it unleashes from latency ideas and emotions to a vast sea of others who do not have access to the language in which these ideas and emotions reside.

x2

Beyond the eclectic platter of languages presented in each issue, Asymptote seeks to persuade the reader of their sensual pleasures. Not only do we display work in its original language after the English translation, we sometimes offer the sounds of that language as well, via a “Press PLAY” audio option whenever such an MP3 recording is available. Other than the usual categories of fiction, nonfiction, poetry, drama and interviews, we also feature a section for visual art that relates to Asymptote‘s concerns of language and translation.

Every quarter, we showcase two Special Features: the first a Writers on Writers Feature, in which overlooked non-English writers are concisely introduced and the second a wildcard Feature that varies from issue to issue. For our call for submissions in the Special Feature category in our next issues, and for detailed guidelines for submissions in other sections, please check out our Submit page.

Beyond the eclectic platter of languages presented in each issue, Asymptote seeks to persuade the reader of their sensual pleasures. Not only do we display work in its original language after the English translation, we sometimes offer the sounds of that language as well, via a “Press PLAY” audio option whenever such an MP3 recording is available. Other than the usual categories of fiction, nonfiction, poetry, drama and interviews, we also feature a section for visual art that relates to Asymptote‘s concerns of language and translation.
Every quarter, we showcase two Special Features: the first a Writers on Writers Feature, in which overlooked non-English writers are concisely introduced and the second a wildcard Feature that varies from issue to issue. For our call for submissions in the Special Feature category in our next issues, and for detailed guidelines for submissions in other sections, please check out our Submit page.

- See more at: http://www.asymptotejournal.com/about.php#sthash.yRxaYUvd.dpuf

 

You can find the new issue of Asymptote at this link. I’ll be back with more updates about Berny’s work there later this summer.

Thesis work from the VCS class of 2014

Today’s post presents a selection of thesis work from this year’s graduating class. As you’ll see, the images below reflect a wide range of mediums, subjects, and approaches to artmaking.

You can find over 200 more images of works from the 2014 senior class in this photoset on the VCS Flickr page, including details of some of the works shown here.

 

Olivia Yeatman
Olivia Yeatman

 

Justine Wong 1
Justine Wong

 

Justine Wong 2
Justine Wong

 

Erin Ward
Erin Ward

 

Berny Tan
Berny Tan

 

Berny Tan (detail of the piece above)
Berny Tan (detail)

 

Amanda Spinosa 2
Amanda Spinosa

 

Amanda Spinosa 1
Amanda Spinosa

 

Issa Hassan
Issa Hassan

 

George Rue 2
George Rue

 

George Rue 1
George Rue

 

Alekha Ranjitsinh 2
Alekha Ranjitsinh

 

Alekha Ranjitsinh 1
Alekha Ranjitsinh

 

Oona Tempest
Oona Tempest

 

Rivers Plasketes
Rivers Plasketes

 

Mike Morelli 2
Mike Morelli

 

Mike Morelli 1
Mike Morelli

 

Alexandra Manikas
Alexandra Manikas

 

Alexandra LoRe
Alexandra LoRe

 

Lily Lewis
Lily Lewis

 

Anastasia Graff
Anastasia Graff

 

Kylie Lefkowitz 2
Kylie Lefkowitz

 

Minhae Kim
Minhae Kim

 

Minhae Kim 2
Minhae Kim

 

Owen Karrel 1
Owen Karrel

 

Owen Karrel 3
Owen Karrel

 

Julia Garcia
Julia Garcia

 

Andrea Garcia
Andrea Garcia

 

Bobbie Jean Fisher
Bobbie Jean Fisher

 

Kait Erdy
Kait Erdy

 

Maria Dzhambulova
Maria Dzhambulova

 

Gabrielle DiBattista 2
Gabrielle DiBattista

 

Gabrielle DiBattista 1
Gabrielle DiBattista

 

Seemoriah 2
Seemoriah

 

Seemoriah 1
Seemoriah

 

Lynn Choi
Lynn Choi

 

Aaron Carner 3
Aaron Carner

 

Aaron Carner
Aaron Carner

 

Alex Appel
Alex Appel

Images from the 2014 VCS Open Studios

VCS Open Studios Poster Final

Today’s post presents images from the 2014 VCS open studios, which took place at the end of the 2013-2014 academic year. You can also see a few more at the Visual & Critical Studies Flickr page.

This year’s event showcased a wide range of works from the graduating seniors and many of the 1st through 3rd-year students. Virtually the entire 4th floor of 133 West 21st Street was used as exhibition space, including the studios, hallways, classrooms, library, and even the women’s restroom.

I’ll post a follow-up with more views of the senior thesis work in a few days.

 

Another view of the Senior Workshop.
A view of the senior workshop, one of two large studio spaces in the VCS department.

 

VCS alumnus George Mott (class of 2013) in the Senior Workshop, one of the two large student studio rooms in the VCS department.
VCS alumnus George Mott (class of 2013) in the drawing and painting studio.

 

A view of a large fiber arts installation by senior Andrea Garcia in the Senior Workshop.
A view of a large fiber arts installation by senior Andrea Garcia.

 

2014 OS5
An installation of works by senior Kylie Lefkowitz.

 

An installation of works and a video screening in one of the VCS classrooms.
A display of student works and a video screening in one of the VCS classrooms.

 

VCS senior Andrea Garcia (right) looks at works by Seemoriah in the main hallway.
VCS senior Andrea Garcia (right) looks at works by Seemoriah in the main hallway.

 

A piece by senior Minhae Kim in the women's bathroom. This was installed with a pulley system so that it would move when the door was opened.
A piece by senior Minhae Kim in the women’s restroom. This was designed so that it would move up and forward when the door was opened.

 

Conner Calhoun and Berny Tan in the hallway outside the VCS offices.
Third-year student  Conner Calhoun and senior Berny Tan in the hallway outside the VCS offices.

 

VCS faculty member Isabel Taube and senior George Rue discuss a piece by Issa Hassan.
VCS faculty member Isabel Taube and senior George Rue discuss a painting by Issa Hassan.

 

Paintings and a blackboard installation in one of the conference rooms by Lauren Orscheln.
Paintings and a blackboard installation in one of the conference rooms by Lauren Orscheln.

 

More artworks in the conference room.
More artworks in the conference room.

Lucia Hinojosa and Jenna Lee in Historical Access Memory, opening this Saturday at Fowler Arts Collective

Historical Access Memory

VCS alumnae Lucia Hinojosa (class of 2013) and Jenna Lee (class of 2012) will both have works in the group exhibition Historical Access Memory, opening this Saturday at Fowler Arts Collective in Greenpoint. Here’s some information about the show, quoted from the Collective’s website:

Fowler Project Space is pleased to present Historical Access Memory, a four-person exhibition which highlights each artist’s way of dealing with ideas of history and memory. Art, in one of its many functions, is a visual record—a record of an event, a feeling, a considered idea, an environmental snapshot, or the cross section of a process. The act of making art turns the present into the past, frozen in time. Each artist in this exhibition looks to the past in different ways. Some look inward to reveal a memory and interpret it, capturing and preserving it in an illustrative amber. Others record the past in a visual language to be decoded by the viewer.

Four artists, Lucía Hinojosa, Jsun Laliberté, Jenna Lee, and James Vanderberg, have unique approaches to the phenomenon of history and time. A thread is seen in the process of each artist, creating a narrative that dissembles and reassembles the power of memory and history. Even though their technique and approach to object making is different, these artists share a common drive: the reformulation of time and memory through mark making. Vanderberg’s abstract paintings begin with lines in the form of a nautical knot or an unsolvable tangle—triggered by the memory of his days spent on his father’s sailboat. Laliberté investigates a similar tension; through his colorful palette, he aims at creating mental spaces for the viewer, disclosing the process of his own making.

While the works of Laliberté and Vanderberg are concerned with an enclosed, personal adaptation of reality and time, Hinojosa and Lee are interested in the mind’s collective consciousness through the entirety of experience. Hinojosa and Lee both employ symbolic elements that allude to ideology and culture, emphasizing the subject’s interdependence to the world.

Historical Access Memory ultimately seeks to question the differences and similarities between the objective narrative of history and the subjective abstractions of memory, showing how they overlap in the human mind. The poetic dialogue created by the works of these four artists suggests that art—an incessant time-based process—tracks down the intricacies of time’s perception in the human mind.

Historical Access Memory will run from June 28th through July 26th, 2014, with an opening reception on Saturday the 26th from 7 to 9 pm. The Fowler Arts Collective is located at 67 West Street, # 216 in Greenpoint, Brooklyn; the exhibition can be seen during the gallery’s open hours Saturdays from 12 to 5 pm, or by appointment. For more information, contact Lia Post by e-mail at fowlerartsbrooklyn@gmail.com.