Shanti Grumbine

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Artist Statement

In the 70’s, Felix Gonzalez Torres advocated, “As cultural producers we should be very aware of what the culture is doing. We must read the newspaper…” and that the New York Times was his “greatest source of inspiration”. While the New York Times served as a daily touchstone for me, a struggle with neurological Lyme Disease left me grappling with focus, word recall and short-term memory making it very difficult to stay engaged and informed. Since I strive to make work that is authentic and honest, I decided that if I could no longer take information in, I would remove it. That initial intimate performance of redaction with an X-ACTO knife on a newspaper page intrinsically moves beyond the personal and gestures toward themes of censorship, marginalization, bias and subjectivity and has galvanized my projects for the past 5 years. This act serves as a source for my collages, prints, textiles and wall relief.

In Looking Awry, I scan, enlarge, reprint and rupture front-page images from the New York Times newspaper creating labor intensive wall reliefs mounted on 3-D hand-made wooden “pixels”. I am referencing the aesthetic of corrupted digital files, a riff on political corruption. Interspersing mirrors, I implicate the viewer.

In Zeroing and Genizah, I engage cultural systems that manufacture belief, from advertising to the Bible. To “zero” is to recalibrate value. The Hebrew word “Genizah” is a repository for damaged sacred text. Through the delicate removal and reinsertion of text and image with an X-ACTO knife, I maintain enough of the physical structure to suggest its original narrative function while building a new visual vocabulary of gridded gaps, natural forms and web-like constellations of words. By pinning the work away from the wall, shadows become an integral part the piece, referencing Plato’s Allegory of the Cave and the layers of mediation between truth and what is perceived. And by overlapping pages, I show how each sensational story replaces and mutes what came before.

In Redacted, I use cut newspaper pages as stencils for screen prints. The pages act as sliding doors that reveal and obscure appropriated images from international and environmental crises. Small redacted and inverted advertisements hover like ghosts in their respective slots; I am reclaiming these luxury items, imbuing them with significations of legacy and value. Zeroed is comprised of nine prints bearing faceless and inverted black and white watch ads, images of objects that will remain after we die and another reference to the recalibration of value.

My newest project, The Last Color: A Reliquary is a multi-disciplinary act of redaction and reification of meaning; removing the newspaper completely, I leave behind its fragile blue casing. I have imagined a post-apocalyptic collapse of language and rediscovery of communion through a transformative engagement with the plastic sleeves that once protected daily news articles and opinions from the elements. The first iteration of The Last Color: A Reliquary was comprised of fused plastic textiles called Asemic Prayers made from New York Times delivery wrapping, gouache and ink studies that act as “keys” for the fold patterns in the textiles, excised ink transfers of fold patterns and graffiti on broken slabs of hydrocal and newspaper cuts. The show culminated in a performance that combines the haptic experience of repetitive making and the cognitive act of finding meaning. I am exploring truth and beauty as sensations that can be felt and decoded through a somatic engagement.

In all of my work, the formal conventions of mass media collide with the more metaphysical aspects of knowing and believing: hands-on craft, repetition, beauty and ritual.








MFA, Penn Design, University of Pennsylvania, Philadelphia, PA
BFA, School of the Art Institute of Chicago, Chicago, IL
AA in Liberal Arts, Simon’s Rock College of Bard, Great Barrington, MA

The Last Color: A Reliquary, 14th Street Y, New York, NY
Undone: Recent Work, Women’s Studio Workshop, Rosendale, NY
Trace Narratives, The Shed, Brooklyn, NY
Unheard, Two-person exhibition with Hannah Smith-Allen, Pratt MWP School of Art Gallery, Utica, NY
The Glittering Point, A.I.R. Gallery, Brooklyn, NY
Kenosis, Muroff Kotler Gallery, SUNY Ulster, Stone Ridge, NY
Score, Mariboe Gallery, Swig Arts Center, Hightstown, NJ

History of the Present, Osilas Gallery, Concordia College, Curated by Sarah Rowe and Rachel Sydlowski
Disarming Geometries, Dorsky Gallery, LIC, NY. Curated by Gabriel de Guzman
LABA LIVE, Final Show for 2016 LABA Fellowship, 14th Street Y, New York, NY
Maker Marks, Penn State School of Visual Arts, travelling show Curated by Alex Gingrow and Michael Scoggins
The Flat Files: Year Three, TSA NY, Brooklyn, NY
Show #28 Impossible Geometries, Field Projects, New York, NY. Curated by Lauren Haynes
Maker Marks, Temporary Storage @ Brooklyn Fire Proof, Brooklyn, NY. Curated by Alex Gingrow and Michael Scoggins
Bronx Calling: The Third AIM Biennial, Bronx Museum, Bronx, NY
Only 2.5 Hours From GWB, Orphic Gallery, Roxbury, NY. Curated by Pia Dehne
Art Show Today, Planthouse Gallery, New York, NY
Mot Juste, Mandeville Gallery, Union College, Schenectady, NY
No More Place, 93 Market Street, Newark, NJ
2014 OAIR Exhibition, Paros Gallery, Ota Ward, Tokyo, Japan
States of Security, 3-person exhibition, KMOCA, Kingston, NY
All The News That’s Fit to Print, Center For Contemporary Art, Sante Fe, NM. Organized by Donna Ruff
How You Gonna Get Back to Jersey? First Annual Print Show, Planthouse Gallery, NY, NY. Curated by Brad Ewing
Screen Play, Dorsky Museum, SUNY New Paltz, New Paltz, NY. Curated by Daniel Belasco
NYFA MARK Exhibition, Islip Art Museum, East Islip, NY. Curated by Beth Giacummo
Art & Politics: See It Now!, Hewitt Gallery, Marymount Manhattan College, NY, NY. Curated by Hallie Cohen
36 Cats and one stripe pussy, A.I.R. Gallery’s 10th Biennial Exhibition, A.I.R. Gallery, Brooklyn, NY. Curated by Ingrid Schaffer
Read Between The Lines, LES Printshop, New York, NY. Curated by Micaela Giovonotti
What Can’t Be Cured Must Be Endured, Paul Robeson Gallery, Rutgers     University, Newark, NJ. Curated by Anonda Bell
Tabula Rasa, Curious Matter, Jersey City, NJ. Curated by Aimee Burg
Everything Is Not All There Is, 3-person show with Naomi Reis and Julian Weliscz, LES Printshop, New York, NY. Curated by Nicole Caruth
New Prints 2012/Summer, IPCNY, New York, NY. Juried by Shahzia Sikander
re/spond/re/peat, Soapbox Gallery, Brooklyn, NY. Curated by Audra Wolowiec
Divergence, LES Printshop, New York, NY. Curated by Rachel Gladfelter
Made In New York 2012, The Schweinfurth Art Center, Auburn, NY.
NYFA MARK 11 Showcase, Kleinert/James Art Center, Woodstock, NY
Eraser, MagnanMetz Gallery, New York, NY. Curated by Rachel Furnari
You Are Standing Into Danger, Space 414, Brooklyn, NY. Curated by Walker Waugh
Fantasy World, Brooklyn Artists Gym, Brooklyn, NY. Curated by Aimee burg

The Last Color: A Reliquary, performative reading, 14th Street Y as part of LABAlive, Beauty: Boundaries, New York, NY
I Insist, 1 Image 1 Minute, Bemis Center For Contemporary Art, Omaha, NE
Between Breaths, Video Screening, Opossum House, Eugene, OR. Curated by Julia Oldham
Singer in the choir for Circling The Center, a performance by Nene Humphrey, Dixon Place Theatre, NY, NY.
Kenotic Score #1: Koran Burning, NATO Blunder, Soapbox Gallery, Brooklyn, NY
Performer in Human Carriage: a commissioned piece by Ann Hamilton,Third Mind, Guggenheim Museum, New York, NY
The Uncanny: collaborative dance/theater studio performance, Dance Theater Workshop, New York, NY. Directed by Ani Weinstein

Hot Picks, Smack Mellon, Brooklyn, NY

Individual Artist Grant, Santo Foundation, St. Louis, MO
NYFA Strategic Opportunity Stipends Program Grant Recipient
2003 CAAP Grant Recipient, Chicago, IL

RAIR Fellowship, Roswell, NM
Saltonstall Foundation, Artist Residency, Ithaca, NY
2015 Print Editions Program, Wassaic Project, Wassaic, NY
Ora Schneider Residency, Women’s Studio Workshop, Rosendale, NY
Opossum House Residency, Eugene, OR
Vermont Studio Center, Marshall Frankel Full Fellowship, Johnson, VT
Ota Artist in Residence, Ota Ward, Tokyo, Japan
Yaddo, Saratoga Springs, NY
Winter Workspace Program, Wave Hill, Bronx, NY
Bemis Center for Contemporary Art, Artist in Residence, Omaha, NE
Ucross Foundation Residency, Clearmont, WY
Millay Colony Residency, Milton & Sally Avery Arts Foundation Fellow, Austerlitz, NY
Lower East Side Printshop Keyholder Residency, New York, NY
Vermont Studio Center, Johnson, VT

LABA: A Laboratory for Jewish Culture, Fellowship, New York, NY
Vermont Studio Center, Marshall Frankel Full Fellowship, Johnson, VT
AIM, Artist in the Marketplace, Bronx Museum, Bronx, NY
2012 – 2013
A.I.R. Gallery Fellowship, A.I.R. Gallery, Brooklyn, NY
Millay Colony Residency, Milton & Sally Avery Arts Foundation Fellow, Austerlitz, NY
National Foundation for Advancement in the Arts (ARTS Fellowship), Miami, FL

The O’Grady Foundation
Union College, Schenectady, NY
AKArt Advisory, Brooklyn, NY

Presser, Ciara, “Featured Artist: Shanti Grumbine”, Pregame Magazine, July 1
Turley, Ryan, “Interview with Shanti Grumbine”, The Coastal Post, June 7
Nafziger, Christina, “Shanti Grumbine Manipulates Imagery from the New York Times in Waves of Textural Pixels”, Beautiful/Decay Magazine, May 13
Meyers, Ashley Stull, “Interview with Shanti Grumbine”, Daily Serving, March 9
Bjornland, Karen, “Artists Give Unusual Form to Our Use of Language in Exhibit”, The Daily Gazette, Albany, NY, January 22
Griffin, Amy, “Text Appeal”, Times Union, Albany, NY, January 15
Catalog, “Mot Juste”, Union College, Schenectady, NY, January 15
Woods, Lynn, Review of KMOCA’s “States of Security”, Kingston Times, Kingston, NY, April 11, pp. 14
Hosmer, Katie, “Hand Cut Newspapers Create Visually Striking Patterns”, My Modern Metropolis, NY, NY, November 13
Williams, David, “Open Studios, Open Minds”, Omaha Magazine, February 2, 2014
Walko, Sarah. “In Pursuit of The Glittering Point”, Hyperallergic, Brooklyn, NY, July 1
Deskins,Sally. Interview about “The Glittering Point”, Les Femmes Folles, July 17
Smart, Paul. Review of “Kenosis”, Ulster Almanac Weekly, February 7, pp.11
Carroll, Brendan S. “A Blank Slate and Some Curious Matter”, Hyperallergic, Brooklyn, NY, Sept. 4
Catalog. “What Can’t Be Cured Must Be Endured”, Paul Robeson Gallery, Rutgers, University, Sept. 12
Catalog. “Tabula Rasa”, Curious Matter, Jersey City, New Jersey, Aug. 18
Miller, Leigh Anne. “The Lookout: A Weekly Guide to Shows You Won’t Want to Miss”, Art In America Online, June 23

Children’s Collage Workshop, Children’s Museum of Manhattan, New York, NY
Artist Talk, Women’s Studio Workshop, Rosendale, NY
Artist Talk, Barnard Pre-College Guest Speaker, Barnard College, New York, NY
Artist Talk and Screening, Opossum House, Eugene, OR
Altered Books, Ota Visiting Artist Public School Workshop, Tokyo, Japan
Altered Books, Winter Workspace Workshop, Wave Hill, Bronx, NY
Artist Talk, Bemis Center for Contemporary Art, Omaha, NE
Artist Talk, in conjunction with Screen Play, Dorsky Museum, New Paltz, NY
Artist Talk, Delve Networking, CUE Art Foundation, New York, NY
Living Between the Lines: An Evening of Original Poetry and Prose by Female Veterans, creative writing workshop and performance in response to The Glittering Point at A.I.R. Gallery, Brooklyn, NY
Gallery Talk, Barnard Pre-College Guest Speaker, A.I.R. Gallery, Brooklyn, NY
Artist Talk, solo fellowship show The Glittering Point, A.I.R. Gallery, Brooklyn, NY
Artist Salon, mediated by curator Jeanne Brasile at Robert Miller Gallery, NY, NY
Visiting Artist Talk, solo show Score, Swig Arts Center, Hightstown, NJ