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The DART Board: 02.22.2023

By Peggy Roalf   Wednesday February 22, 2023

Thursday, February 23, 5:30-7:00pm: Genevieve DeLeon | To Order the Days at Hartford

During her tenure as the 2022-23 Koopman Chair in the Painting Department of the Hartford Art School, Genevieve de Leon has produced solo and collaborative artwork focused on the knowledge–intellectual and embodied–that she has received as part of her study of the Maya calendrical cycles. Maya cosmology, mathematics, and mythology are at the center of an ancient Indigenous knowledge system that is vast and geared to help us locate our place in the cosmos. DART subscriber De Leon’s practice is the outgrowth of her study of this ever-evolving knowledge and her desire to place it in conversation with other systems of knowledge, and is presented in this exhibition To Order the Days / Para Ordenar Los Días. 

The exhibition  features the artist’s newly completed, large-scale paintings of constellations in the Maya Zodiac, alongside her multimedia collaborations with students at the Hartford Art School; Indigenous artists in the Native Youth Arts Collective; and the University of Connecticut’s Milky Way Laboratory. Save the date: Friday. February 24, 5:00pm, Gina KanBalam Miranda (Mayan), Genevieve de Leon’s teacher who has worked as a Mayan day keeper, or Aj-kin, for the last 30 years, will share her knowledge and insight about the stars in order to reconnect us with the sky. Info

Donald and Linda Silpe Gallery, University of Hartford, 200 Bloomfield Avenue, Hartford, CT Info Directions

  

 

Thursday, February 23, 6:30-9:00 pm, Film screening: Desire Paths | RaMell Ross & Andrea Douglas at Pace

The screening of Ross’s film will be followed by a conversation between RaMell Ross and Dr. Andrea Douglas, Executive-Director of the Jefferson School African American Heritage Center and former Curator of Collections and Exhibitions Curator of Contemporary Art at the University of Virginia Art Museum. The program complements the ongoing exhibition of work by Ross—an interdisciplinary artist, photographer, and Academy Award-nominated filmmaker—and the late photographer, painter, and sculptor William Christenberry, currently on view at Pace Gallery.

Reflecting distinct artistic visions and historical contexts, the works of Christenberry and Ross employ radically different modes of engagement to create a portrait of a common place: Hale County, Alabama. Ross’s photographs (above right) serve as lush, tender portraits of Black life in the American South, while Christenberry’s images (top and above left)  present intimate meditations on place, memory, and time.

Ross began his photography practice while employed as a social worker in Hale County. His work has been deeply influenced by that of Christenberry, whose childhood in Hale County and encounters with the Ku Klux Klan had a profound impact on his practice. Exhibited in dialogue with one another, the artists’ works grapple with the beauty of everyday life over and against the legacy of white supremacist terrorism that has shaped the history of both Hale County and the United States itself. Photos courtesy of Pace Gallery.

Pace Gallery, 510 West 25th Street, New York, NY Info Doors open at 6:00pm Info

  

 

Thursday, February 23, 7:00-8:30 pm, film screening: Gabrila Salazar | Low Relief for High Water

The Climate Museum is sponsoring Black Girl Environmentalist, an intergenerational coalition dedicated to empowering Black girls, women, and non-binary people across environmental disciplines; and Black Girls in Art Spaces, a movement cultivating connections within spaces championing Black artistry and Black stories. Together, they will host an event for Black women and non-binary people to experience 

Together they are hosting events at the Climate Museum Pop-Up space, to reflect on the role art plays in climate activism, and honor the contributions Black women have made to the fight against climate change. This event is free and open to all who are interested in learning from these two remarkable organizations.

Salazar’s documentary film, Low Relief for High Water, captures the production and installation of her public art collaboration with the Climate Museum of the same name. This screening will be followed by a discussion with Gabriela and Senior Exhibitions Associate Anais Reyes, who will explore the work’s themes of home, loss, resilience, and care, and how its meaning has evolved for Gabriela over the period of its development and in the time since. A reception follows.
The Climate Museum Pop-Up, 120 Wooster Street, New York, NY Register Live on Instagram: @climatemuseum

 

 

Friday, February 24, 6:00-8:00pm:  Hew Locke | Listening to the Land at P·P·O·W 

Known for exploring the languages of colonial and post-colonial power, and the symbols through which different cultures assume and assert identity, Locke further engages with contemporary and historical inequities while reflecting on the landscape and history of the Caribbean in this exhibition. Drawing its title from a poem by Guyanese political activist and poet Martin Carter, which situates itself between two opposing forces of the landscape – sea and forest, Locke’s current show features new sculptures and wall works with recurring motifs of stilt-houses, boats, memento mori, to explore tensions between the land, the sea, and economic power. Reflecting on these links Locke notes, “The land was created to generate money for colonial power, now the sea wants it back.”

 

Based on an abandoned plantation house, Locke’s newest sculpture Jumbie House 2 (above) features layered images that unveil the spirits that haunt this colonial vestige; presented alongside are a series of painted photographs of dilapidated vernacular architecture across Georgetown and rural Guyana. Constantly under threat of being washed away by storms or rising sea levels, these crumbling structures echo anxieties surrounding climate change and historical erasure. Taken together, the sculpture and mixed media works in Locke’s Listening to the Land connect exploration and exploitation of African land to current conversations surrounding the repatriation of artifacts, echoing William Faulker’s adage “The past is never dead. It's not even past.”

P·P·O·W, 392 Broadway, New York, NY Info

 

Closing Saturday, February 25: Felix Gonzalez-Torres at Zwirner Chelsea

Spanning the gallery’s three Chelsea spaces, the exhibition will feature four major installations—two of which have never been realized in the manner envisioned by Gonzalez-Torres before his untimely death in 1996 from complications related to AIDS.

Through this special and intentional selection of works and the distinctive format in which they will be presented, the press release reads, this exhibition will afford new and reconceived approaches to understanding and experiencing Gonzalez-Torres’s art. In particular, the two large-scale works that have never previously been seen as they were originally intended by the artist will shed light on the evolution of key motifs and conceptual throughlines that animated Gonzalez-Torres’s practice; altogether, the exhibition underscores the constantly shifting methodologies Gonzalez-Torres utilized in order to inspire an engagement with the ways that change and questioning foster meaning.

For those following the current reach and expansion of A.I. capabilities, it would be informative to feed the artist’s written instructions for the presentation of his highly conceptual works into some of the generative AI platforms currently available and view the results alongside this exhibition, which is co-presented with Andrea Rosen, the art dealer who represented Gonzales-Torres at the time of his death. 

As this exhibition delves into the nature of the portrait works, David Zwirner will also present a new edition of its celebrated Program video series, hosted by Helen Molesworth, in which the three individuals who authored the distinct versions of “Untitled” (Portrait of the Magoons) will be interviewed. Info

David Zwirner Gallery, 519, 525, and 533 West 19th Street, New York, NY Info

 

 

The Brooklyn Museum’s Fourth Annual UOVO Prize 

The Brooklyn Museum has awarded multidisciplinary artist Suneil Sanzgiri the fourth annual UOVO Prize, which recognizes the work of emerging Brooklyn-based artists. Sanzgiri will receive a solo exhibition at the Brooklyn Museum; a commission for a fifty-by-fifty-foot public art installation on the facade of UOVO’s Brooklyn facility, located in Bushwick; and a $25,000 unrestricted cash grant. Both the exhibition and public installation will debut later this year. Info

Sanzgiri is an artist, researcher, and filmmaker whose work contends with questions of identity, heritage, culture, and diaspora in relation to structural violence and anticolonial struggles across the Global South—in particular Goa, India, where his family originates. Sanzgiri combines 3D renderings, drone videography, photogrammetry and lidar scanning, 16 mm film and animation tropes, recasting images to invite viewers to trace the effects of the diaspora through haunting fragments of the past.

Previous UOVO Prize winners are John Edmonds, Baseera Khan, and Oscar yi Hou. Oscar yi Hou: East of sun, west of moon is on view in the Brooklyn Museum’s Ingrassia Gallery of Contemporary Art through September 17, 2023, and yi Hou’s work Flock together, aka: a mural family portrait (2022) is on view at UOVO’s Bushwick facility until July 2023. UOVO is a leader in storage and logistics for art, fashion, archives, and collectibles. Info

 


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