Walker Tate Return to Artist Work Procedural, 2017 printed booklet, black and white 16 pages, 8.5 x 11” Channel, 2016 printed booklet, color and black and white 24 pages, 8.5 x 11” Waiting Room, 2015 printed booklet, black and white 16 pages, 8.5 x 11” Extract, 2015 printed booklet, color and black and white 20 pages, 8.5 x 11” page from “Chattering”, 2017 ink on paper 8.5 x 11” page from “Chattering”, 2017 ink and mylar on paper 8.5 x 11” page from “Chattering”, 2017 ink and mylar on paper 8.5 x 11” page from “Channel”, 2016 ink on paper 8.5 x 11” spread from “Channel”, 2016 ink on paper 11 x 17” spread from “Channel”, 2016 ink on paper 11 x 17” spread from “Extract”, 2015 ink on paper 11 x 17” spread from “Extract”, 2015 ink on paper 11 x 17” page from “Waiting Room”, 2015 ink on paper 8.5 x 11” page from “Waiting Room”, 2015 ink on paper 8.5 x 11” page from “Procedural”, 2017 ink on paper 8.5 x 11” detail from “Channel”,...
Kelman Duran Return to Artist Artist Statement Artist Statement My primary research goals are at the intersection of architecture and social control specific to populations on borders, specifically Pine Ridge Indian Reservation in South Dakota. I use text, media, and objects/ephemera to create domains related to the concept of states of emergencies. I have been creating work at Pine Ridge since 2012 and this is an ongoing, long-term project. My interest in border towns is in their capacity to give us insight into resistant aesthetic practices. My practice negotiates the way in which one documents people in states of emergencies and how to create an archive of this specific place knowing that translation ultimately destroys the “native information.” In what way can we create archives around subjects whose mode of archiving is oral? How do we navigate the terrain of documenting that is not ethnographic and historicist? To The North is a series and takes many different forms depending on the context. Some iterations are video installations, some are talks, other iterations include a printed book. The video archive uses film and video to document the not so ordinary instances of what it means to live in a state of emergency, a reservation. Subjects range from uranium fracking on the reservation, to the weather, to documenting architecture as social control, to history and myths told through first person narratives. Another resource is the Library of Congress in Washington D.C. and its collection of photographs in South Dakota dealing with Lakota life from the 1880’s until the mid 1890’s, many of which have still not been digitized. The video archive...
Kang Seung Lee Return to Artist WorksArtist StatementCV 1. Untitled ((la revolución es la solución!), 2017 2. Installation view - untitled ((la revolución es la solución!), 2017 3. Untitled (Aftermath), 2017 4. Untitled (Revolucion will come in a form we cannot yet imagine), 2017 5. Untitled (A rioter throwing stones), 2017 6. Untitled (A man flees from a looted sporting goods store at Vermont Ave and 1st St), 2017 7. Installation view – Leave of Absence, 2017 8. Installation view – Leave of Absence, 2017 9. Untitled (la revolución es la solución!), 2017 10. Untitled (Protesters after the verdict), 2017 11. Untitled (A looter wheels a shopping cart full of diapers), 2017 12. Untitled (Leonard Fink_Pier 48 Interior_1980), 2016-2017 13. Untitled (Martin Wong by Peter Bellamy_1985), 2016 14. Untitled (David Wojnarowicz by Peter Hujar_1983), 2016 15. Untitled (Peter Hujar_blanket on a chair_1983), 2016 16. Untitled (Kohei Yoshiyuki_The Park_1970s), 2016 17. Untitled (William Yang_The Morning After_1976), 2016 18. Installation view – COVERS, 2015-2016 19. Installation view – COVERS, 2015-2016 20. COVERS, 2015-2016 ARTIST STATEMENT The primary focus of my artwork is the concept of liberating the archive through the exploration of the creation of critical/cross-cultural histories. By researching, excavating, and appropriating images/text from public and private archives (art/artifact collections, publications, libraries, etc.) I allow for alternative historical and personal voices, counter-narratives and strategies to emerge. My work places emphasis on marginalized individual experiences and personal histories that disturb the established structures and orders of the traditional archive, and challenges singular mainstream knowledge/history. I was born in South Korea and thereafter lived in various countries in Asia, the Middle East and...
Janiva Ellis Return to Artist Works CV 1. Envoy Bomb-like , 2017 2. Duck Duck Deuce, 2017 3. Fire Walk With Me 2, 2017 4. The Okiest Doke , 2017 5 Hi-ho The Derry-o, 2017 6. Memorializing My Industry In Sculpture , 2017 7. Open Pour Reality , 2017 8. Scambient Pet, 2017 9. Co-Panic.ing, 2017 10. Something Anxiety , 2017 11. Lick Shot installation view #1 12. Lick Shot installation view #2 CV Born 1987, Oakland, CA Lives and works in Los Angeles, CA Education 2012 California College of the Arts, B.F.A. Solo Exhibitions 2017 Lick Shot, 47 Canal, New York Group Exhibitions 2018 2018 Triennial : Songs for Sabotage, New Museum, New York (forthcoming) 2017 Prick Up Your Ears, Karma International, Los Angeles, California Cabin Pressure, BBQLA, Los Angeles, California You Catch More Flies With Arsenic Than Honey, Club Pro, Los Angeles,...
Beacons, 2016, a solo exhibition at Art Center/South Florida, Miami, April- June 2016
GloCube, 2016, GloFish® Tetras in Electric Green® and Sunburst Orange® in fish tank under black light
Object-Oriented Internet of Things (1-3), 2016, South Florida limestone, Bluetooth sensor tag, silicone band, monitor, data visualization graph
Object-Oriented Internet of Things (1), 2016, South Florida limestone, Bluetooth sensor tag, silicone band, monitor, data visualization graph
Beacons, Nearables, and False Positives, 2016, iPad Mini, 3 Estimote Bluetooth Beacons, 10 Estimote Bluetooth Nearables under plexiglass top
Beacons, Nearables, and False Positives, 2016, iPad Mini, 3 Estimote Bluetooth Beacons, 10 Estimote Bluetooth Nearables
Institute for Southern Contemporary Art (ISCA), 2016, HD video, 16 minutes
Voice Over: Celia Quillian and David Birkin, Miami Drone Camera: Experience Above, Atlanta Downtown Camera: Sky Drone Cinema, Art Studios Camera: Micah Stansell, Musical Composition: Joe Hadden, Graphic Design: Bryan Perry, Animation: Micah Hesse, Architectural Modeling: Leslie Dougrou, Art Advisor graphic provided by Hugo Liu, Additional Research Assistance: John Wright and Chera Baugh (Atlanta Central Public Library), Aaron Putt, Michael White, and Cynthia Farnell (Georgia State University), Written, directed, and edited by João Enxuto and Erica Love
ISCA Module, 2016, 2 Wassily Chairs, 8 fluorescent bulbs, plywood and drywall, 12 x 12 x 8 feet
Institute for Southern Contemporary Art (ISCA) Server, Collector’s Edition, aluminum plate, mesh, operating server, wood, 2016, 60 x 27 x 17 inches
Atlanta Central Public Library (Interiors 1-4), 2015, archival inkjet print, 16 x 24 inches
Waiting for the Internet, 2015, HD video, 40 minutes
Art Project 2023, 2013, HD video, 14 minutes
Shared Spaces Symposium at the Whitney Museum, 2014, Co-organizers and Participants. left to right: Program for event with Anonymous Painting 3D #V2 GE_W202_03_01, 2012, inkjet on cotton, 40 x 52 inches, performing Art Project 2023 next to 3D printed model of Marcel Breuer designed Whitney Museum of American Art, gypsum powder, 6.75 x 6.25 x 7.5 inches
Art Project 2023, 2013, 3D printed model of Marcel Breuer designed Whitney Museum of American Art, gypsum powder, 6.75 x 6.25 x 7.5 inches
Anonymous Painting 3D #V2 GE_N204_01, 2013, inkjet on cotton, 40 x 36 inches
Anonymous Painting 3D #V1FR_01_EA_01, 2012, inkjet on cotton, 40 x 58 inches and Anonymous Painting 3D #V2FR_01_EA_01, 2012, inkjet on cotton, 40x62 inches
The same Anonymous Painting derived from Google Art Project’s version 1 and 2, The Skin We’re In, Yossi Milo Gallery, New York, NY, 2012
Anaglyphs, 2013, HD video, 8 minutes
A Tamayo Burial, 2013, Epoxy resin reproduction of pre-Hispanic artifact made by Eduardo Abaroa and buried by João Enxuto and Erica Love for There are Other Routes Than Ours at the Museo Tamayo, Mexico City.
Out of Frame, 2011, intervention, 5 minutes
Genetic Drift: Artsy and the Future of Art, essay and photographs, X-TRA Magazine, Winter 2015, Vol. 17, No. 2, 12 pages.