• The Fate of Landscape Painting

     

    Landscape painting has always been tied to the question of fate. The pastoral landscape was comforting, conquered and subdued, signaling that the fate of humanity was in a position superior to that of nature, or ultimately, that is was closer to being in a pictorial dialogue that reflected the benign hand of a benevolent godhead. In contrast with this explicitly religious outlook, the experience of standing atop sublime vistas or facing nature's most extreme forces eschewed perspectives that threatened the safety of the human subject, and were often depicted using pictorial motifs associated with trans versing unimaginable distances. It is no coincidence that this interpretation of the landscape rose to prominence at the birth of the Enlighten, when humankind traded the picture of creation with a caretaker for so many images of paradise lost. Of course, these were strictly pre-modern notions of our fated condition of confronting the landscape, largely because it was taken for granted that there was no other means of natural habitation, save that of struggle. In fact, there was no way around the landscape as a fated relationship of tumult and toil until the invention of trains, planes and automobiles. As a consequence of these modes of transportation, along with widespread industrialization, the genre of landscape painting lost its perceived relevance as our relationship to the environment became one that was defined by greater and greater degrees of distantiation over the course of the last century. 

    After being exiled from relevance for more than a few generations, landscape painting has made a rather triumphant comeback by embracing the themes of earth-art, land-art and eco-art, but transmuting the central concerns of these genres into pictorial dispositifs. Once again, we are trying to picture the landscape, but not as caretakers or conquers. Instead we are confronted by the landscape in its aggregate and interconnected effects. Which is to say, that what was assumed to be inert matter has now become increasingly active and what was thought of as a bounded material has become a dynamic form of earthen animism. In short, it seems that since we've displaced enough of modernism's by-products into the atmosphere and the ground below, planetary life has now entered into a reactionary phase, or even a classic reaction-formation, with regard to the irrevocable inheritance of the modern era.

     

     

    Or, to go one step further, one might even say that we now live in the period of Gaia-in-revolt or even planetary anti-modernity if you will. Indeed, we might only be experiencing the first rumblings of the consequences that have come about by way of ignoring our interventions and accelerating investments into the literal and figurative idea of the landscape. Modernism was, afterall, defined by thinking about the concrete reality of materials put in service of a set of increasingly abstract pictorial conventions, which is to say, it abandoned the means to think about the x an y axis of representation with any degree of genuine complexity. Flatness and anti-illusionism became the call of the day, and postmodernism was only just beginning to recover the depth of field we once had, or a farsightedness which, when abandoned, also represented the loss of depth associated with our cultural concerns about the landscape. And so, in the early 21st century, we still find ourselves waking up from a kind of cultural slumber with regard to the problematic of creative-destruction and cognitive dissonance that defined the modern era tout court.

    But the artists in The Fate of Landscape Painting bring a renewed look at the landscape without any sense of productive or painterly indifference. The work of Travis Ivey plays with the dichotomy of romantic naturalism and constructed aerial views by assembling pictures from discarded commercial goods as well as traditional materials. Camila Galfore gives us a picture of the landscape painted in ghosted contours, combining the orthographic feel of eastern landscape painting with the techno-vibrancy of our contaminated life-world. Devon Tsuno provides the punctum of picturing the landscape by passing it through saturated chromatic scales cast against so many iconic motifs. Abbey Messmer paints with a method that is part dreamscape, part improvised reconstruction --- where the place of the human subject is put in question --- especially with regard to the feeling of a well-defined Cartesian space. Cam Decassin's paintings are perhaps even more telling in this regard, as they often hint at a post-Hopperesque world, one where what's left of the nuclear family is otherwise occupied indoors, or wondering amongst the constructed naturalism of suburban sprawl. Sarah Hathaway's more expressionistic approach gives us pause to reflect on the last vestiges of a world without us, where affect and effect make up the boundless play of beautiful and conflictual forces. Both Virginia Katz and Jonathan Marquis's works explicitly confront the themes of climate change by marshaling the ability of art materials to highlight how environmental conquest is circumscribed by both entropic and accelerationist tendencies. Emily Ritter's installation points to how the problems of accumulation, degradation and debris can be made into a literary corpus, or a exquisite encyclopedia of the ruins of the day based on using rhetorical devices of display.

     

     

    Together, these artists address The Fate of Landscape Painting in a different manner than their premodern or modern predecessors. They come not to bury the dead presuppositions of modernism but to exhume its exhausted remains, and possibly, to retrieve the potential of a genre cast aside for almost an entire epoch. They come to resuscitate its lost potential, and to make its fate into something more than what the logic of post-industrial capitalism and planned obsolescence might allow. In fact, in their able hands The Fate of Landscape Painting has a brighter future for foregoing the retrogressive tropes of démodé romanticism and instead, facing up to the demands of the day, or what many now call encountering the catastrophic condition that is comprised of living in the age of the anthroposcene. This term, which denotes an era forever marked by human impact on the carbon record gives us the contours of a new turn in the logic of the epoch, where the appreciation of creation and the abandonment of "mankind" have been replaced by examining the consequences of our collective impact today. Thus, the work in The Fate of Landscape Painting is a harbinger of things to come, and questions the viewer to think deeply again, and not just about the value of an image, or a genre, but the values of western culture in total. And because of this, The Fate of Landscape Painting still has a bright future today, tomorrow, and for many many years to come. It seems, that for this generation, it is even fated to be so. 

    Artists in the show: Laura Spalding Best, Cam DeCaussin, Camila Galofre, Sarah Hathaway, Travis Ivey, Megan Johnson, Virginia Katz, Jonathan Marquis, Abbey Messmer, Emily Ritter, and Devon Tsuno.


  • Emily Ritter: Habitual Consumption

     

    Emily Ritter's work is performative, accumulative, and subversive for engaging in a politics of anesthetization around what many people would consider to be an act or actions that are habitually associated with the greatest degree of disinterested feelings, i.e., the regime of disposable objects. And yet, the idea of the "disinterested gaze" is exactly what the 18th century philosopher Immanuel Kant considered to be most germane to the act of aesthetic contemplation. It is here that we find Ritter's work performing something quite unexpected with regard to what Jacques Ranciere has termed 'the aesthetic unconscious', or even Jameson's notion of the 'political unconscious', especially if we take them to represent the place where praxis and dissensus meet. Splitting the difference between Jameson's and Ranciere's terminology involves looking at the place where unconscious actions break with our encultured consensus trace in order to produce a new kind of critical import, one which becomes operative at the very moment that we are overloaded by cultural by-products that are perpetually produced "on-demand".

    Indeed, it is here, where Ritter's earlier series, like "Wildly Captive", act in a transversal manner that crosses figurative cartoons with a kind of literal carbon footprint, or rather, a creative carbon-handprint, in the form of a culturally legible art practice that is also a means of socio-political praxis. Thus, "Wildly Captive" enacts a type of cultural commentary about anthropocentric positions in the palatable form of cartoon-like imagery, where consensus emerges from the ease of consumption associated with comic book iconography while what is depicted evokes a general feeling of disensus with regard to how we see the world around us. Ritter's next series goes a step further in adopting serial imagery for "Consumption and Cycles" that points to the many ways in which we are pressed to contemplate the repressed, not only in the form of imagining the recyclability of the self in a culture awash in product-branding, but also in the fact that it is getting harder not to see the face of our species as the poster child for a terminal mode of economic production. In this series, it could be said that humanity holds the general space of product placement and above all, we are the warning label for the environment.

    In contrast to these earlier projects Ritter's more recent work places the theater of her own waste on display, allowing the series entitled "Habitual Consumption" to break the disinterested spell of consumer driven dilettantism by way of Brechtian means. In this instance the routines of daily life become the fourth wall that we all must break-through in order to change our relationship not only to the environment, but also to consider the possibility of life becoming art, or of a new arts of living... or at the very least, of how to enact the very real art of conservation and attending considerations. To put it another way, aesthetics here is a measure of our "interested" contemplation rather than our "disinterested" behaviors; it is a matter of thoughtful acts rather than careless actions, and it depends as much on the categories of aesthetic contemplation as it does consumer motivations. And all of these concerns are held out before us in a series of objects of irreconcilability, which, when taken together, are something like Ritter's collected editions of memento mori, with each new volume being about not just about the idea of death, but of the death-drive associated with living life as-if we inhabit a disable life-world. 

    In this way, the artist's own books of consumptive accord, or rather, the gathering together of these pages of (un)natural discord, hold our attention at the edge of what we could comfortable call the commercial gaze. As documents they have a structure that is not wholly unlike that of flip-book style animations, but what they animate is an active consideration and condensation of the very pace of consummation that goes hand-in-hand with living in the era of "all-too-late" capitalism. And yet, what they seek to address is how the consequences of capitalism getting to any "later" stage in our economy of overproduction, without coming to terms with addressing the realties of externalities may come back to haunt us on a global scale. Whether or not we can reverse what many consider to be one of the unfortunate outcomes of ends-means rationality, of endlessly fulfilling supply-and-demand, or even of continuing to encourage permanent growth as a "naturalized" dialectic of capitalist revolutions is something that will be fought over in the coming years on the terrain of both aesthetics and politics.

    What might be missed in such debates however, is that the philosophy of disinterested aesthetic pleasure was birthed alongside Adam Smith's idea of the "invisible hand of the market", and that the major inward turning metaphor of both Kant and Smith is one of blindness to our acts and actions. Kant, afterall, produced a transcendental philosophy related to a blindly thinking about pictorial means-without-ends while Smith produced a blinded thinking about thinking of means-as-an-end-in-themselves, where the (un)natural by-product of self-interest is staged as the hero in a story about socio-economic development that stretches from living in the state-of-nature all the way to our present capitalist system. Of course, both of these outlooks now appear to be something like unconscious defense mechanisms against having to consider the real world outcomes of capitalist competition. Creative-destruction is not a blind man’s game, but thinking about it along the Kantian-Smithian axis has certainly proved to be a blind man’s bluff, or much more simply, it is the kind of double-blind contradiction that Ritter's work actively seeks to expose.

    And it is from this perspective that her projects place us on the flipside of capitalist accumulation in the form of producing "flippant" texts of environmental expropriation. But they are not at all flippant in the sense of being a joking gesture or a coy refrain. Instead, they are objects of contemplation in as much as they try to introduce us to a wholly new sense of object relations who's antecedents of interpretation resonant more with the philosophies of Klien and Kristeva - or of the effects of the partial-object and the affects of melancholia - rather than any overarching sense of release into the realm of "purely disinterested" pleasures. Or, one could go a step further and say that Ritter's objects are a perfect rejoinder to all of the Object-Oriented philosopher's who have had a tremendous influence in the humanities in the last decade with regard to rethinking our relationship to the environment and nature writ large, alla Timothy Morton, Levi R. Bryant, Graham Harmon, et. al. 

    And it is from rethinking the relationship between these these contemporary perspectives on art making that Ritter's Object-Oriented books could be said to disorient our well-regulated cartographies of consumption. They do this by placing a new categorical imperative on us of the kind that Kant could not have imagined, because it is imperative to read and retrace the impetus behind our ecological impact as the outcome of so many "interested" parties. In this way, we can say that Ritter's work is an artistic practice that gives us object that functions as a type of picturing - a picture that is equal parts diary and display - and which allows the "unthought" to emerge into the field of so-called "disinterested pleasures". This is not only how Ritter's work picks up where Kant's third critique never thought to go; or how she has taken the remains of the day and turned it into a serial measure of object relations that address the leading concerns of our time; or even how Ritter has done all this through the lens of self reflexive-critique split between questioning the agency of one's own actions and the act of aesthetics becoming an agent-for-change. Rather, her project operates across all of these valences and more.

    This is because the real twist in her oeuvre is that her works are a documentary trace of "casual" consumption rather than "motivated" buying; or they focus on "disposable" interests rather than consumer "pleasures". As such, Ritter’s works underscore what remains truly "unthought" in the consummation of consumption given over to us as both what allows us to buy and carry products home, as well as what lives on as the by-product of our everyday culture of convenience. In this way, her art practice acts an anthropological record of our consumer civilization, and most especially of the kind of waste that is generated at point-of-purchase sales, transit kiosks, or even just packaging in general.

    As a consequence, Ritter's record of debris-via-domesticity begs its viewers not to become docile consumers of "disinterested" measure. In fact, one could say that with each new project Ritter manages not only to measure the losses and gains of Western Civilization, but to take a more interested approach to thinking about the so-called "civilizing impulse" as it applies to the cultish status attributed to impulse-buying. After all, capitalism was set up alongside the ideology of secular materialism, where being up on the latest trends or participating in the most recent "fad" is its own kind of cultural communion. Only nobody counted on how the near religious acceptance of what goes with the Eucharist of sales has yet to find any transubstantive equivalent in the modern world, save maybe, recycling. And so, the possibility of this very division between fallen base materials and redeemable, recyclable, and reusable matter might one day qualify what is considered to be defining difference between cultural by-product and culture-as-such, ultimately inverting the Kantian paradigm from what has no use value to what created endless surplus value.

    Cast in this light, one could even say that Ritter's most recent series, "Infertile Obsolescence" represents the event-scene of our generation with an even greater emphasis placed on the weight of our everyday actions. Afterall, Ritter's critique is undoubtedly at its most poignant when she intertwines the idea of both planted and planned obscene, or of planned obsolescence as an idea which is perpetually implanted in us, by conflating the two in the form of a collaged aesthetic that challenges the disinterested gaze of profit and exchange absent any concern for environmental accords. Indeed, Ritter's true radicality lies in this: that her work is the kind of artistic practice that we hope to see taken up by a new generation of artists with the same seriousness and level of commitment, where rethinking everyday praxis involves picturing our acts and actions on the "world-stage", and that this might becomes a central concern not only in art, but in all forms of cultural production. If this is indeed the chasm we have to cross today, then Ritter's work is certainly showing us a way to turn the tide against the 18th century version of art as the disinterested play of the faculties, and what a greater concern might look like for what comes out of our factories. Thus, Ritter's interventionist approach has profound implications for how we think about the unconscious drives of western "development", where art can has a significant role to play in consciousness-raising about the entire chain of production beyond the product itself. Hers is a project that sketches a genuine way forward in reclaiming our collective planetary futures, a contribution to art that is itself, of no small measure. 


  • Jonathan Marquis: Earth Eaters

     

    The works of Jonathan Marquis stand out as having a rather singular quality about them in the arena of contemporary art today. Whether drawing is mobilized as a documentary form, or abstraction is utilized as a type of process-based realism, or even if the dynamics of installation art appear to be motivated by the naturalism of the world outside the wide cube, one could still say that the diversity of methods associated with Marquis's art practice demonstrate a kind of virtuosity that is rare in the field of cultural production. But more importantly however, is the fact that when one walks into a gallery space composed by Marquis's works, one not only gets the feeling of being in a total work of art but even of becoming part of the composition itself. And, it is usually the composition of a living work of art, often made of porous materials that serve as a composite picture, or even a type of "picturing" of analogous operations at play in the world all around us. 

    All of these considerations are often held in a state of tension that can be attributed to colliding a series of historical notions about how art functions in the expanded field of praxis and meaning production. There is first, the idea that in Marquis's work, we encounter something like the image of the journeyman, which is to say, evidence of a skilled craftsman in many different mediums. In this regard his work is the very best of what working in the "post-studio condition" represents today, i.e., that of being an artist who not only uses form in service of content, but who's selection of materials becomes content, rather than merely remaining part of an art practice that is defined by genre specific limits. The second sense in which Marquis is a journeyman is that the word itself carries a heavy set of connotations by being linked with terms that are as diverse as manufacture, technical know-how, and even specialization. You will see this kind of interplay exercised between mediums amongst Marquis's most challenging exhibitions, where every piece acts in service of creating deeper connections, always without any one piece stealing the show. And the third sense in which the figure of the journeyman might be said to apply to Marquis's selected motifs is in how his aesthetic inclinations place us within worlds of meaning and making that rehearse art historical themes from the last few centuries without being reducible to their original referents.

     

     

    By drawing new associations out of familiar structures through so many time-based operations, Marquis's works aim to take us on a journey past the world of abstruse reifaction and toward a confrontation with the real contradictions of our contemporary life-world. That is most in evidence in Marquis's oeuvre where art often functions as record of acts and actions; of time spent and journeys made; of trace elements and material enclaves --- all of which are coordinated in a way that helps us to rethink the gallery space as a place where the conditions of history are circumscribed by varied and even conflicting notions of aesthetic experience. Touching on different times and places, Marquis's work engages with the period of the Enlightenment as he negotiates his way through working with the vistas of the sublime; from abstraction Marquis samples the best strategies for making from both the monumental and the provisional; and from video art it could be said that Marquis's working program underscores an attenuated sense of suspended passage that is defined by the split between the slowness of natural time and speed of cinematic temporality. 

    Beyond these particular instances of genre specificity there is the way that Marquis's use of medium specificity upends the confines that are regularly attributed to both object and producer. This is most decidedly on view in Marquis's work when he engages with the rather Kleinian desire to have an audience ingest the elements of art production, only he moves beyond the horizon of formal interactions established by Yves Klein's patented blue, which was used as an object to drink, to get dunked in, to manufacture and finally, to polemicize. Instead, Marquis's critique of consumerism hinges on the creation of a "Glacier Icecream" that carries the enfolded meaning of creating a shared space between subject and object as well as its obverse, which would be a kind of subjective utterance, or a provocation for the "i" to scream about being asked to ingest the remains of one of our most valuable natural resources.

     

     

    Or, we might look to how Fontana's focus on the incisive power of the cut in the canvas --- a cut into the real and against representative measures --- appears equally inverted in Marquis's work. Whether by wounding the imagistic real in the form of discrete snippets, or floor to ceiling slashes in digital prints, or even the aggregate effects of wounded and scratched surfaces atop a material substrate, Marquis wants us to closely examine the various substratum that organize our all to often closed and seemingly complete conception of what is going on in the world today. In other words, he wants us to scratch, tear and puncture our way to the real... by any means possible. And, of course, to overlook the presence of Flavin's iconic mode of illumination, which often sits adjacent Marquis's leaned, balanced and otherwise sliding material bodies in the gallery space, would be to miss both their dynamic interplay with, and across, other bodies in the space of the exhibition as well as the intertextual play of allusions to the atmospheric changes going on outside.

    And yet, what seems most essential to the way that Marquis work operates is in understanding how the discourses which once traded representational means for medium specificity in the twentieth century can be reclaimed in the twenty-first without having to abandon the varied histories associated with aesthetic achievement. That is to say, while the twentieth century saw the greatest proliferation of personal forms of expression, maybe ever, during the modern age, they were in large part a kind of collective acting-out over and against the brutal process of sublimation associated with industrial labor.  Juxtaposed against this background, the twenty-first century appears to be something like a period of ablation, or an era where the melting away of our illusions about the expropriation of body, the self and the environment has finally thawed, along with the pursuit of the "the new" in art. If anything, this is our cultural sea-change and Marquis is one of the most interesting expeditionary artists trying to cover this once hidden territory as the very moment that it emerges as a new ground level paradigm. 

     

     

    As such, his inversion of the visual tropes of modernism and even postmodernism for that matter, both of which still hold to authorial intent or its subversions as the status quo of criticality in art production, are here put in question vis-a-vis Marquis's working program of viewing the senses as a form of extraction that is co-extensive with the very act of perception itself. Thus, we can say that to depict perceptions, or to transpose our deepest intimations about a subject is always already a shared act in Marquis's work, just as his oeuvre can be considered part of a new generation of artists that have taken up the charge of rethinking the consequences of phenomenology beyond Husserl and Ponty's deductions. This post-anthropocentric view is one that places the object's we encounter in strange exchange without perceptive privilege, or what many now call a more object-oriented approach to understanding the flat ontology of roles we all share in an interconnected world. We are all now, for lack of a better word, active-agents in a world of shared consequences.

    And of course, Marquis is fully aware of these consequences in relation to living in one of the least sustainable climates in the continental U.S., where our growing cities have become "heat-islands" and our mountain preserves might not just be a national reserves of sorts but, ultimately, what preserves our nation in the end. Thus, we can say that Marquis's work addresses both the peaks and valleys of art history as well as what it means to live life in the afterglow of peak oil, with so many growing valleys left dry by erosion and rapid climate change stretching out before us. Visualizing this new notion of "the catastrophic sublime" that imagines living in a world without us is one of the monumental task of our times, and Marquis's work does not shy away from the need to rethink such relations, whether they revolve around the dialectics of earth and self, consumption and subsumption, organism and cosmos. We are afterall, now living within the horizon of a global village this is just as much about being in dialogue with the fellow villagers as it is the globe we live on. This is becoming the dominant paradigm by which we are all fed, nourished and kept alive on the small blue planet that we inhabit together somewhere in the backwaters of the Milky Way, as so many Earth Eaters.


  • Abstract Miniatures

     

    In the past few decades there has been a lot of discussion in abstraction about the unmonumental, the provision and the ‘new casualism’ of ZoFo (Zombie Formalism). By contrast, the works included in Abstract Miniatures ask us to question how abstraction in a minor key can be more opulent, dynamic and complex than the iconic forms of high modernism. Like looking through a microscope at, Abstract Miniatures aims to see how can the smallest gestures open onto a larger set of theoretical and conceptual concerns, such that a reduction in scale is not conflated with a reduction in meaning production. 

     

     

    As a survey of the very best abstraction here in Arizona and California, Abstract Miniatures also acts as a snapshot of a generation of critical formalists with a diversity of interests beyond simply being invested in abstraction for the sake of abstraction. References to the history of art and culture are at play as much in the works in Abstract Miniatures as narrative devices, process based systems, re-appropriative acts and conceptual programs. 

     

     

    Thus while the works in Abstract Miniatures are certainly smaller in scale it does not mean that they are necessarily equated with the fragment, the piece-meal or the unfinished but rather, that a smaller painting can open onto a larger world of concerns by implication and intimations. As such, this survey is an entre into thinking about scale not as a restriction but as a way of reframing the discourse of abstraction by being hyper-attentive to the valances of preparation, perception and the intentions of artistic production. 

     


  • NASTY, NOISY, KNITTING, NAKED WOMEN

    Press Release: NASTY WOMEN / NOISY WOMEN / KNITTING WOMEN / NAKED WOMEN 

    Opening: Friday, January 20th, 6:00-10:00pm. 

    Show runs: Friday January 11th to February 11th.

    Join us at Fine Art Complex 1101 for our contribution to the Nasty Women exhibitions happening across the nation when we host Nasty, Noisy, Knitting, Naked Women on inauguration day, January 20th from 6-10pm. This all women line-up of experimental sound artists goes well beyond industrial, aggrotech, EBM, power noize, rhythmic noize, punk, metal and goth to create soundscapes that are unlike anything you’ve heard before. The mix of video artists included in the show are among the most challenging and provocative artists working in the Valley today. The selection of photographic works from the founding members of the arts magazine Femme Fotale are showing pieces that are inspired by their newest issue about the nude, entitled Leafless. All of the groups are supported by the performative knitting action of members from the Fiber Arts Network which has come together to collaborate on the women's initative to knit pussy hats for the inauguration protests as well as our happens here at Fine Art Complex 1101. 

    Running counter to the all-too-predictable noise of Republican rhetoric, this sister show to exhibitions being held across the nation seeks to make the unheard heard, to upend all conservative expectations, and stand out against the background of silence that has accompanied many of the egregious statements made about women this past election cycle. While experimental sound art is known for being a bit of boys club, the sound artists in this show embrace an open politic to the shared interaction of sound, space and the affective capacities of the body. By contrast, the video works included in the show examine the cultural biases, expectations, and the implications of what it means to be a "women" in the early twenty-first century. The photographic exhibition in the main gallery provides another point of access for thinking about issues related to the female body, beauty, nature, strength and vulnerabilty. Between the two sound stages there will be a listenting lounge where kniting and works from an open call by PHX SUX will be on view. 

    In the spirit of equality all the artists in the show will be given equal time and space to perform, and all donations for the evening will go to Planned Parenthood to help support the fight for women’s reproductive and health rights across the nation.

     

    Artists in the show: (Nasty Women) Ashley Czajkowski, A. J. McClenon, Kristen Schneider, Hannah Irene Walsh, Malena Barnhart, Regan Henley, Sammie Aasen, TBA, (Noisy Women) Aesthetically Sound, Althea Pergakis, Chelsea Claire, DJ [Sin]Aptik, Jessica Dzielinski, Elizabeth Parsons, Erika Lynne, Gabbie Washinton, Lana del Rabies,  (Knitting Women) Audra Carlisle, Chelsea Lyles, Emily Longbrake, Molly Koehn, Shannon Ludington, Stacey Kampe, Shannon Ludington, and Chelsea Lyles, (Naked Women) Briana Noonan, Charissa Lucille, Kit Abate and Sirrena Griego, 

     

    PERFORMANCES OPENING NIGHT BY: 

    Aesthetically Sound

    From opening for blockhead to after parties for producers like eastghost, to playing Beat shows all over Arizona at venues like last exit live, Tempe tavern, thirdspace etc, Aesthetically Sound is a DJ, producer, and artist on the come up and has been doing it for only about a year. Ranging from original ambient tracks to twerk, to moombah, to deep house, the range of sounds and feels is broad enough to vibe out for awhile.

     

    Althea Pergakis

    Althea Pergakis and Jennifer Anderson both hold BAs in a made-up subject from a local university. They like making weird shit, preferably in exchange for money.

     

    Chelsea Claire

    Chelsea Claire is an Arizona-based Actor, Model, Punk Singer and Noise Musician. She is currently a part of two music projects, Kill Follins and Fugly Chuds, and she enjoys collaborating with artists in as many mediums as possible, as well as supporting the art community.

     

    DJ [Sin]aptik

    DJ [Sin]aptik spins for fetish, industrial, aggrotech, EBM, power noize, rhythmic noize, punk, metal and goth events for night clubs, radio stations and online stations since 1997, and is the promoter behind Dark Ceremony Entertainment.

     

    E Alo

    E Alo composes melodic, rhythmic, instrumental, stories from scratch. Music has always had a deep emotional effect on her, and she hopes to inspire positive feelings in those who take in her sonic expression. She wants to warm hearts, touch souls, and move feets!

     

    Elizabeth Parsons

     

    Erika Lynne

     

    Gabbie Washington

     

    Jessica Dzielinski

    Jessica Dzielinski is a Phoenix based art and music maker who draws inspiration from colors, patterns, textures, and found oddities, both natural and human-derived.

     

    Lana del Rabies 

    Lana del Rabies is the solo electronic project of media artist Sam An. She creates rhythmic chaos from digital and analog sources. She has work on Deathbomb Arc records and Records Ad Nauseam.

    ___________________________________________________________________________________________________________________________________________________

    NAKED WOMEN

    Opening: Friday, January 20th, 6:00-10:00pm. 

    Show runs: Friday January 11th to February 11th.

     

    Artists in the show: 

    Kit Abate

    Kit Abate was born into the fog of the northern California Bay Area. Shortly thereafter she moved to the radiant Valley of the Sun. In accordance with her passionate pursuit of the visual arts Kit received her Bachelors of Fine Arts in Photography from Arizona State University. Kit is a Founder and contributor to Femme Fotale, which showcases the talents of women photographers. She is interested in the division between the public persona and the private self. Kit currently lives, works, and sits on her roof in Tempe Arizona.

    thekitabate.com

    Sirrena Griego

    Sirrena Griego is a visual artist residing in Mesa, Arizona. She received her B.F.A in Photography at Arizona State University in the year 2013. Her interest lie in her personal relationships, both intimate and platonic. Sirrena is one of four co-founders of Femme Fotale;​ a photographic​ book/zine​ ​made to represent women​​ photographers.​

    www.sirrenamgriego.com

    Briana Noonan 

    Briana Noonan is located in Tempe, AZ and graduated with a BFA in Photography from ASU in May 2013. Her work is primarily based within her relationship ties and her own personal self reflection. This includes exploring her own depression, anxiety, and sexuality.  Briana is one of the four co-founders of Femme Fotale, a photographic book/zine to empower women and push them to the forefront of the photographic world.

    www.briananoonan.com

    Charissa Lucille 

    Charissa Lucille is a Phoenix, Arizona based photographer. She graduated from Arizona State University in 2014 with her Bachelor in Fine Arts. Charissa is primarily interested in photographing to critique the world around us and inspire change. She is one of the four co-founders and contributors to Femme Fotale. A photographic book/magazine promoting women in the arts from local to international communities.

    http://www.charissalucille.com/

    Femme Fotale Mission Statement and Upcoming Projects:

    Femme Fotale is a photographic project by women and for everyone. Responding to a lack of representation for women in the photographic community we countered by making our own spaces. Through the publication of photo books and presenting photographic shows we provide artistic platforms for women regardless of class, education or gender identity. Femme Fotale’s mission is to uplift women and drive their work to the forefront of the arts. Leafless, Volume IV, of Femme Fotale will be released on February 25th at local bar, Taste of Tops. Please visit our website in the upcoming month for further details.

    www.femmefotale.com

    ___________________________________________________________________________________________________________________________________________________

     

    ___________________________________________________________________________________________________________________________________________________

    Knitting Women

    Opening: Friday, January 20th, 6:00-10:00pm. 

     

    Artists in the show: Audra Carlisle, Chelsea Lyles, Emily Longbrake, Molly Koehn, Shannon Ludington, Stacey Kampe, and Chelsea Lyles.

     

     

    Audra Carlisle 

    Audra Carlisleis studying Digital Culture with an emphasis in Art at Arizona State University as part of the Art, Media, & Engineering department of the Herberger Institute of Design & The Arts. Her work is focused on the inclusion of technology as part of fibers work and interactive design, as well as incorporating illustration and visual work into the digital sphere.

     

     

    Chelsea Lyles

    Chelsea Lyles is an artist native to Phoenix, Arizona. Lyles graduated from Arizona State University with a concentration in fine art and specializes in hand-crafted textile work. Her current series, From Whence She Came, focuses on growth and unity, as well as intention while creating the larger piece. The body of work utilizes embroidery and hand-cut fabrics. She currently works alongside other local artists at Lagomm Studios based out of Tempe, Arizona. 

     

    Emily Longbrake

    Emily Longbrakeis a born-and-raised Alaskan freelance artist who combines an omnivorous love of books and science with technology, ceramics, printmaking, and design. Her work often employs patterns and repetition mined from inner and outer landscapes.

     

    Molly Koehn 

    Molly Koehn in an environmental artist based in Arizona. Melding a practice of embroidery, weaving, and sculptural installation, Koehn’s work examines natural systems, particularly the prevalence of “domination” in our dealings with the world around us. Koehn is currently pursuing an MFA at Arizona State University, with an emphasis in fiber arts, and her current bodies of work carry on the delicate, expressive qualities of her background and BFA in drawing. 

     

    Stacey Kampe

    Stacey Kampe is a silk and fiber artist raised in Tempe, AZ, where she still resides with her husband and their 18-year-old son, the last of 6 children still living at home. In addition to recently receiving her BFA in Fibers/Textiles art at Arizona State, Kampe has created a line of clothing with a portion of the proceeds going to aid ocean conservation efforts. 

     

     

    Shannon Luddington

    Shannon Ludington is in her second year at ASU as an MFA candidate in fibers. She uses textiles to investigate the commonalities of women's experience across different cultures and times. Her current work uses the form of bedspreads to reflect on the longing for place and belonging that her cross cultural and peripatetic life have given her.

    ___________________________________________________________________________________________________________________________________________________

    Nasty Women

    Opening: Friday, January 20th, 7-10pm.

    Artists in the show: Ashley Czajkowski, A. J. McClenon, Kristen Schneider, Hannah Irene Walsh, Malena Barnhart, Regan Henley, Sammie Aasen and more TBA.

    Ashley Czajkowski

    Ashley Czajkowski is a photography-based artist working in a number of interdisciplinary methods including alternative process, video and installation. Driven by personal history, her research explores social constructions related to childhood, femininity, and the psychological manifestation of and the human-animal.

    Czajkowski achieved her Bachelor’s of Fine Art in 2009 from Emporia State University in Kansas, and earned her Master’s of Fine Art in photography in 2015 from Arizona State University. Czajkowski’s work has been exhibited across the United States and internationally. Most recently, her work was shown at the Phoenix Art Museum in Arizona, The Center for Fine Art Photography in Colorado, and CICA Museum in South Korea. She currently resides in Tempe, Arizona where she teaches photography courses, works as the sound technician and story editor for the Creative Push Project, and is a member and current President of Eye Lounge Gallery and artist collective in downtown Phoenix.

    See more of her work at www.ashleyczajkowski.com

     

    A. J. McClenon

    A.J. McClenon is a writer, performer and interdisciplinary visual artist based in Chicago. A.J. McClenon’s work sets personal narratives alongside empirical data, leveling hierarchies of truth.

    McClenon works across mediums incorporating aspects of sound, film, video, drawing, animation and collage throughout their work.

    McClenon holds a Masters in Fine Arts with an emphasis in writing from the School of the Art Institute of Chicago. McClenon received a Bachelor of Arts with a minor in creative writing from the University of Maryland College Park. McClenon has also studied at Eugene Lang College.

    A.J. McClenon is currently an educator at the Montessori Academy of Chicago and is co-organizer of Beauty Breaks, an intergenerational beauty and wellness workshop series for black people along the spectrum of femininity.

    A.J. McClenon has received numerous awards for their writing and art works. McClenon received the School of the Art Institute of Chicago’s (SAIC) MFA Writing Fellowship award in 2014 and SAIC’s MFAW small grant in 2012. McClenon also is also a recipient of the Paula Santan Scholarhip for Art and Stephanie E. Pogue Memorial Award. A.J. McClenon’s writing has been published widely, most recently their works have been published in the South Side Community Art Center Anniversary publication, 3rd Language and Stylus Literary Magazine.

     

    Dressler Parsons

    Dressler Parsons is an artist and writer based in Tempe, AZ. She grew up in the Sonoran desert, in an adobe house her father built. She believes wholeheartedly in the individual and collective powers of words, food, and collaborative making. She has newly-minted undergraduate degrees in Intermedia (BFA) and Marketing (BS) from Barrett, the Honors College at Arizona State University.

     

     

    Charis Elliot

    Charis Elliott is a graduate student in Arts, Media + Engineering at Arizona State University, Research Coordinator and Research Assistant at Laboratory for Critical Technics,  Co-Director of Post-Human Network, and founder/designer for Mother of Gideon. Charis holds a dynamic set of experiences in design of the physical, conceptual and abstract resulting in the design and creation of businesses, nonprofit social enterprises and programs that create new formations in the ruble of modern specialization. Artifacts of this social design work can be found in objects including jewelry, clothing, audio, film, graphics, and sculpture. Charis’ current graduate studies are a continuation of exploration and experimentation in understanding complexities and connectedness from the self to the world while developing a lexicon of both word and creation to communicate and explore this abstract terrain.  Her ambition is to vision out and create new paths leading to understanding our shared world through both the alien of nonhuman and other, and the familiar abstracts of self and each other.

     

    Hannah Irene Walsh

    Hannah Irene Walsh was born and lives in Phoenix, Arizona, and is a multimedia artist and writer. Her visual narratives of invented mythologies interweave with representations of herself and other empowered female bodies and their animal alter-egos. Her drawings explore the shameless sensuality and primal aspect of womanhood, lavished with hand-carved frames, altar constructions, video installation, and sculptures made from natural and man-made items. Images and objects, imbued with the artist-magician's touch, come together in a ritual space that serves as a stage for her creative and meditative processes. She is currently a third-year Drawing/Painting MFA candidate at Arizona State University. Her graduate thesis exhibition, Altar Spaces/ Alter Egos, will be at the Harry Wood Gallery from April 3-7, 2017.

     

    Kristen Schneider

    Kristen Schneider is an Arizona based, Illinois displaced artist whose focus primarily lies in the themes of intimacy, vulnerability and dependency on human relationships. After struggling to sustain prolonged emotional connections with others, Kristen Schneider turned to using physical intimacy as an outlet for self-expression and communication. Her previous artworks include performances that are gritty, often dealing with sensitive subject matter, and leave her ripped open, with real emotions and experience exposed to her audience. While making use of her own body and femininity, her content looks into private and personal moments between partners, which are recorded through photographs, videos, performance and audio recordings. Occasionally these moments are recreated and represented through sculpture and multimedia.

    Currently Kristen Schneider is assembling a body of work for her Solo Exhibition at Arizona State University’s Harry Wood Gallery in Downtown Phoenix titles, Intimacy. She is investigating human connections through physical contact, and forces her audience to directly acknowledge intimate moments with the goal of pushing her audience out of their comfort zones.

     

    Malena Barnhart 

    Malena Barnhartis a photo-based artist living in Tempe, Arizona. Originally from Maryland, she holds an undergraduate degree in studio art from the University of Maryland and earned an MFA degree in photography from Arizona State University in 2013. Through repurposing mass-culture materials including YouTube videos, children’s stickers, sex toys and party decorations, her work examines the role enculturation plays in the marginalization of women. Her work has recently been exhibited at the Scottsdale Museum of Contemporary Art (Arizona,) the Israeli Cinema Museum, Morrison Gallery (University of Minnesota,) Salisbury University Gallery (Maryland,) the Hartman Center Gallery (Bradley University, Peoria,) Whitdel Arts (Detroit.) She was a recipient of the Student Award for the Society for Photographic Education, the Juror's merit award for Heat Wave: Desert Photography, and the Sadat Art for Peace award, among many other honors. Her work is in the personal collection of Madeleine Albright, the permanent collection of Northlight Gallery and the special collections at Columbia University. 

     

    Regan Henley

    Regan Henley is multimedia artist and undergraduate Intermedia student at Arizona State University. She is a founding collaborator of the snapchat-based performance art platform SNAP UP ART. She has shown work at the Shemer Art Center, the Icehouse in Phoenix and performed and collaborated with Sanford Biggers’ Moon Medicine at ASU Gammage. In 2016 she debuted her first solo show C@tharsis, exploring the use of digital technologies in the mourning and grieving process, which included several video installations as well as experimental web-based media.

    Samantha Lyn Aasen

    Samantha Lyn Aasen is an artist adapting to the southwest, as she holds on to her Midwestern mentalities.  As a child she had dreams of becoming a writer, as she was an avid read and creator of an active blog at the age of 12.  A car accident left her with a traumatic brain injury when she was fourteen.  This led her to take creative arts classes, which she found helped her communicate her ideas and thoughts in visual representations.   

    Her suburban upbringing has her questioning female relationships and societal standards.  Samantha identifies herself as a feminist artist.  She uses her art as an exploration of her ambivalence of pop culture and desire to protect young girls from facing negative attitudes about themselves or from others. 

    Often she uses lens based media to form her artwork.  Her ongoing body, titled Sparkle Baby, is constructed with photographs and video, using herself as the subject of the imagery she creates.  Samantha also works in embroidery, beading, performance, web processes, and found objects.  The idea or intent of the work drives the outcome of material. 

    Samantha Lyn Aasen has had exhibitions in Indiana, Arizona, Illinois, Nebraska, Maryland, and recently the UK.  She holds a Bachelor’s of Fine Art in Photography from Herron School of Art and Design at Indiana University and a Studio Art MFA with an emphasis in Intermedia from Arizona State University.  Currently she teaches at the Maricopa Community Colleges, and volunteers with Girls Rock! Phoenix. 

     

     



This website is created and hosted by Website.com's Site Builder.