Exhibitions

Nocturnal Suns

Nocturnal Suns is an exhibition of four faculty members from the UT School of Art.

UT Downtown Gallery

106 S. Gay Street
Knoxville, TN 37902

December 1, 2017 – January 6, 2018

The Warp Whistle Project is humbled to be in such good company!

Emily Ward Bivens is an Associate Professor of 4D arts and Time-Based Art at the University of Tennessee, Knoxville. She received her MFA from The University of Colorado, Boulder in 2004. Bivens uses found and made objects to forge narratives, provoke or encourage interaction, and reveal fictional and non-fictional mysteries. These objects shift from prop to subject to evidence when used in performance, video, and installation. Characters or identities are created to act as subjects, authors, inventors, and curators of the work.

John C. Kelley is an Assistant Professor of 4D and Time-Based Arts at the University of Tennessee Knoxville. His video work has screened domestically at venues such as The Mid-America Arts Alliance (Kansas City, MO), the Crystal Bridges Museum of American Art (Bentonville, AR) the Arizona International Film Festival (Tucson, AZ), The Front (New Orleans, LA), the Index Art Center (Newark, NJ), Living Arts (Tulsa, OK), internationally in cities such as London, Moscow, Berlin, Sao Paolo, Mexico City, Edinburgh, Vienna, Prague, Amsterdam and others. Kelley has written original music for award winning feature length narrative and documentary films through Gray Picture in St. Louis, MO, released music as a solo artist through King Electric Records in Austin, TX, and has appeared on more than 25 recordings and albums

John Douglas Powers studied art history at Vanderbilt University and earned his MFA in sculpture, with distinction, at The University of Georgia. His work has been featured in The New York Times, World Sculpture News, Sculpture Magazine, Art Forum, The Huffington Post, Art in America, The Boston Globe and on CBS News Sunday Morning. He is the recipient of the 2013 Virginia A. Groot Foundation Award, a Joan Mitchell Foundation MFA Grant as well as a Southeastern College Art Conference Individual Artist Fellowship, an Alabama State Council on the Arts Fellowship, and the Margaret Stonewall Wooldridge Hamblet Award. Powers currently lives and works in Knoxville, Tennessee and is Assistant Professor of Sculpture at The University of Tennessee.

The Navigator

The Warp Whistle Project is working hard on a cross-disciplinary performance piece that will debut on January 21st at the Caplan Center for the Performing Arts in Philadelphia. Commissioned by the Network for New MusicThe Navigator will feature performers from the Philadelphia Symphony Orchestra. 

Special thanks to the University of the Arts School of Music and School of Theater for aiding in the facilitation of set design/construction, lighting, sound design, interactive electronics, documentation, and promotion. 

 From Asa Smith's  Illustrated Astronomy , 1848

From Asa Smith's Illustrated Astronomy, 1848

About the work

The Navigator is a hybrid work of art: a staged collision of sonic and visual information.  The visual components are inspired by Asa Smith’s 19th century astronomical illustrations: outdated planetary charts that served a didactic purpose for his readers. Additional source materials include 1950s science fiction stage sets, clock parts, and mythological scientific instruments. Tensions between the hand-made and the mechanical, illusion and artifice, and function and futility, positions The Navigator as an amalgamation of past representations of ideological futures. Similar to make-believe, the viewer is consumed by an experience on the verge of rupture.  

As The Navigator performs its various functions, its true purpose remains enigmatic.  While every journey has a destination, The Navigator’s priority is the voyage.  In “Wind Up”, the music is energetic and intricate, influenced by strains of minimalism, yet the question of mechanical malfunction begins early on as kinks enter into the clockwork precision.  “Unlock” is an hypnotic journey through nocturnal spaces - pointillistic starbursts of sound map a course out of the darkness and into the light.  In the final leg, once a tenuous signal is established, The Navigator is ready to “Transmit” to its final destination.

In context

In day to day life, we put the material world to use: cars, coffee makers, and cell phones, to name a few.  These objects are typically defined by the unique purpose they serve: cars take us places, coffee makers fuel the morning routine, and cellphones . . . do most of the rest.  However, philosophers have argued that we never truly see these objects for what they actually are until they break. A broken cellphone no longer able to serve any of its myriad purposes, can be seen for what it truly is: a chocolate-bar-sized piece of glass and aluminum housing an intricate array of precious metals and circuit boards.  Without a purpose, the object’s techne is revealed.  

Historically, art objects have served the purpose of glorifying the spiritual, entertaining the masses, and representing ideals of truth, beauty, and power. . In the early years of the 20th century, with the wheels of modernity in full swing, the purpose, appearance, and function of western art was set on a new course. No longer fixated on mimesis, artists began working in opposition to the dominant trend that art should copy nature. As The Navigator charts its own 21st century voyage, its destination remains a question and, in doing so, imparts something else about its true nature.

From the Network for New Music:

You won’t want to miss this unique, cross-disciplinary performance, where you will hear and see "The Navigator", a new multi-media work by composer Paul Schuette and visual artist Mary Laube, side-by-side in U. of Arts state-of-the-art black box theater. The Network Ensemble will also respond to iconic graphic scores by William Kraft and Gyorgy Ligeti/Rainer Wehinger.

Advance ticket sales: $20 Regular/15 senior/10 student (at the door; $25/20/10)
University of the Arts students and faculty FREE ADMISSION

 

Teasers:

Great Lakes Drawing Biennial

I have three drawings from the Mythos series included in the 2017 Great Lakes Drawing Biennial at Eastern Michigan University. My work was also selected for the 2nd prize award. 

This exhibition of artists nationwide highlights current artistic activity in contemporary drawing. Juried by Claire Gilman, Senior Curator at the Drawing Center, New York. 

Off Kilter/In Time

The Fuel And Lumber Company Presents: Off Kilter / In Time 

works by April Bachtel and Mary Laube
Opening reception, July 2nd, 6-9pm
COOP Gallery, 507 Hagan Street Nashville, TN 37203
Hours: Sat 11am-3pm and by appointment

The Fuel And Lumber Company presents Off Kilter / In Time, a two-person exhibition with works by April Bachtel and Mary Laube. April Bachtel’s sculptures are made from second-hand artifacts that she dismantles and reassembles with both a violent and tender hand. In contrast to Bachtel’s rough-hewn objects, Mary Laube’s austere paintings of imagined, flattened worlds are at once familiar but removed from a reality directly perceived. Bachtel’s assembly of fragmented parts and Laube’s sharply cropped scenes distort our perspective and alter our sense of body and space. --The Fuel and Lumber Company 

The Fuel and Lumber Company was cofounded in 2013 by Amy Pleasant and Pete Schulte

Czong Institute of Contemporary Art

The Warp Whistle Project has a piece in the Yellow Book International Exhibition at the Czong Institute of Art in Gimpo, South Korea. 

CICA Museum’s art book project “Art Yellow Book” provides a unique art space for artists. Unlike gallery spaces, art books are portable and ubiquitous. Unlike online media, books are tactile and “real.” Art Yellow Book aims to create a space where individual artists can freely express themselves and become media themselves.

Art Yellow Book features artists from around the world. Each artist freely organize two facing pages in the book, using these pages as an exhibition form and an advertisement for themselves and their work. There are no rules or restrictions regarding the layout, design, or content. If you would like to know more about the artists, visit their websites by scanning their QR codes, or contact them directly by email.

The Art Yellow Book International Exhibition Summer 2016 features 32 international artists who participated in Art Yellow Book #2. The exhibition will be held from July 1st to 17th, 2016, featuring Photography, Video Art, and Digital Art. --CICA 

Flowers

SIGNALING TO ^ THE CIPHER ^ TOWARDS A SEGWAY

CURATED BY JESSE DAVID PENRIDGE

Dates: May 5th - June 11th, 2016

526 W 26th st  #807 New York, NY

 

Opening: May 5th, 6-8pm

Field Projects is pleased to present Signaling to ^ the Cipher ^ towards a Segway, curated by Jesse David Penridge, featuring the work of Austin Ballard, Rory Baron, Sarah E. Brook, Pat Byrne, Abigail Collins, Sean Dustan-Halliday, Carla Edwards, MaDora Frey, Tricia Keightley, Myeongsoo Kim, Alison Kudlow, Mary NaRee Laube, and Jessie Rose Vala. 

Somewhere along the line I had a teacher that convinced me that, at their core, science and religion were ultimately the same things. They are systems for making sense of the human condition. They function as narratives; bedtime stories that ease the mind to sleep. They provide framework that give us purpose and keep us confident that we aren’t just hapless passengers, stuck on a rock hurtling through space, that truly, something bigger is at work.

On an individual level, we all write our own smaller narratives. It’s what we choose to wear and how we present ourselves socially to the world. They are where we come from and where we choose to go, how we interpret history, politics and evolution as they relate to us personally. Whether the stories are fact fiction or some blurred reality, they keep us sane and give us a place.

This show is a patchwork of strategies- works the artists are using to look both at the world and their self. They are analyzing systems, mythologies and environments that were presented to us as fact and comparing them to those that we craft ourselves everyday. These tools not only identify the artists’ points of departure from the world around them, but create new realities, new mythologies, new belief systems. --Jesse David Penridge

 

  

Solo Exhibition @ Whitdel Arts in Detroit

Located in Southwest Detroit, Whitdel Arts is a members’ based contemporary art gallery run by a volunteer group of artists and creative individuals, serving the community through contemporary art exhibitions, arts-based activities, and professional development.  Their main home is in Southwest Detroit’s historic Whitdel building on the corner of Hubbard and Porter. 

Whitdel Arts serves artists and the community through its exhibitions and events, professional resources, and educational programs.  The purpose of Whitdel Arts is to provide an environment centered around the creative process of the contemporary arts and the interaction and dialogue derived from it.  Whitdel Arts is a center where the public can view and learn about the contemporary arts by local and national artists, while providing working artists with the resources needed for their artistic careers and studio practice.

Interview with Kate Singleton: New Drawings featured on Art Hound and BSDA

My drawing series "Props" is currently being exhibited on Buy Some Damn Art. Kate Singleton's sister blog Art Hound features a new interview. Check it out!

ART HOUND: INTERVIEW

BUY SOME DAMN ART

 

 

 

 

 

Your paintings play off of architecture and the interior. Why these themes? 

My personal living space has always been a site for creativity. Since I was a child, I have been a collector - of rocks, shells, keys, coins, and other trinkets. Over time I developed a ritual of rearranging various objects around my home into piles, stacks, and lines, based on formal relationships rather than symbolic narratives. In doing so, I inadvertently spend a lot of time studying the architectural forms of my surroundings. In many ways, the continual augmentation of my own personal space-- whether that is my home or studio-- has become my primary drawing practice. I have never been one of those artists who can fill page after page in my sketchbook when I am not in the studio.

After my mother passed away in 2008, I became obsessed with my memory of her and the changing perceptions of my childhood home. The work I started making at the time referenced specific interiors from my childhood. The images were conceived of through a mix of memory, observation, and invention. I wanted both the process and outcome of painting to represent the imprecisions that result from trying to pin down the past. Embedded within the larger expanses of flat color are smaller regions of specificity, intended to slowly draw one’s attention, similar to the way our brain seems to fixate on specific details and completely abandon others. I was using the domestic interior to represent the ideologies we create when confronted with loss.

Some believe that spaces (i.e. house, room, church) have certain impregnable moods or energy. Others would say this is purely a result of memory and association. What do you think?

I think domestic and sacred spaces have the ability to conjure emotion through memory and association, not due to an inherent soul that they possess. However, I don't think this makes these places any less meaningful. This relationship between environments and inhabitants is what I am most interested in addressing in my work. The associations, relationships, and memories of places affect how we construct our surroundings and in return, our surroundings can generate very powerful emotional currents in our daily lives.

Earlier this year I completed a project, Roses and Rue, which was an opportunity for me to install a show in an historic landmark, the Old Brick Church in Iowa City. It is one of the few surviving pre-Civil War structures in the city, built in 1856. I made a series of 6 altar-shaped paintings that lined the walls of the interior of the church. I first became interested in sacred spaces after learning about architectural designs of ancient Egyptian tombs that use the dramatic contrast between sunlight and complete darkness to trigger spiritual experiences. Western examples of churches or cathedrals have vaulted ceilings that produce an atmosphere with specific sound qualities, akin to Japanese meditation rooms. These spaces are manipulated and constructed by humans to elicit very specific sensations. However, this does not make any moods or energies that flow through these spaces any less real.

Does the name of this series, "Props" allude to the stage? 

Yes, the title refers to my interest in the act of staging, which has roots in the history of painting. I think a lot about paint as both a physical substance and a material employed to represent something other than itself. The facade of painting, similar to the facade of stage sets, museum backdrops, and dollhouses have varying degrees of believability. Museums and theater productions are platforms for sharing knowledge. Museums never just present raw data; they are curated and composed to tell a story just as a play is a self-contained narrative. I am specifically interested in the visible awkwardness and even crudeness that is evident in the attempt to represent history, to share scientific knowledge about the physical world, or to recreate events that have either already taken place or were completely invented in the first place. In the series, “Props,” I wanted to reference miniature stage sets that echo the appearance of folding and flatness associated with small-scale constructions.

Some of your paintings are quite large. Does size enhance the illusion that the paintings are real interiors?

A couple of years ago I went on a road trip and came across the House on the Rock, a quasi-museum/ tourist attraction located in southwest Wisconsin.  I decided to work on a much larger scale after visiting an exhibition within the museum, called, The Streets of Yesterday, a close-to-human-scale construction of an outdoor street block. It is lined with window displays that are slightly smaller than an ordinary storefront, yet the objects displayed within the windows are of a normal size. This subtle miniaturization produces a very uncanny sensation for the visitor. Working large gives me more room to experiment with this kind of abstraction. 

Over the past several years I have experimented with dramatically shifting the size of my painting supports. While my current work is rather large, I am looking at dollhouses for source material (specifically the Thorne Miniature Rooms at the Art Institute of Chicago). While visiting these constructions in person has been a key part of my research, I am more interested in the photography of miniatures. They are framed as if the viewer is actually standing within one of the doorways. At first glance, the rooms appear to be human-sized spaces. As time passes they slowly unhinge, and the believability of the room dissolves. It isn’t necessarily a sense of “realness” that I am trying to achieve in the work, but a tension between flatness and illusory effect. The large scale of the work has the ability to envelop the viewer, producing that uncanny sensation that I experience when moving through a manipulated space.

You move back and forth between work that is more architectural at times and at other more abstract. Do you think you can achieve the same goals in your art working in abstraction?

Abstraction occurs on a million different levels. In my work I find it more useful to consider abstraction a process or formation of relationships, rather than the state of being. With that said, I think all of my work is deeply invested in abstraction, even though various projects employ different levels of objectivity. I have recently returned to making work that is more representational because many of the ideas I am gravitating towards are founded in specific research goals that call for this kind of imagery. However, in smaller studies, such as "Props" I can isolate moments that exist in the larger works to satisfy my itch to focus entirely on formal relationships.

Could you tell us a bit about your painting "For Eponine"?  

This painting served a similar function as the "Props" series. By building a generic form, rather than depicting a specific place, it allowed me to experiment more freely with the physical characteristics of painting and the inherent flatness of the surface. At this point in time I was also questioning the way I was handling paint. I wanted to see how I could make paint perform as both substance and meaning. The smearing of the paint makes visible its physical properties but also produces the illusion of a wood grain surface. In this painting I wanted to tiptoe along the line between 'paint as substance' and 'paint as image' to make visible the artificiality of the pictorial space. This can be read as a nod to the modernists’ obsession with flatness. However, I am most interested in finding moments when substance and image can be read simultaneously, rather than one lagging too far behind the other.

 

Reverb: Recent Abstraction in Painting: Part II

Reverb: Recent Abstraction in Painting is a traveling group exhibition curated by Kenneth Hall, Assistant Professor at the University of Northern Iowa. In 2013 I had the honor of exhibiting my work alongside Scott Anderson, Jimmy Baker, Christie Blizard,  Angelina Gualdoni, Dana Saulnier, and Deborah Zlotsky. This exhibition also included paintings by the late Megan Dirks (1985-2010) whom I had the great pleasure of getting to know in graduate school over many studio dates and cups of coffee.  

Megan Dirks: 

The following are images from the exhibition held at Bowling Green State University in September 2014:

And finally, here are images of my installation process from the first exhibition at the University of Northern Iowa in 2013. 


THE GALLERY TALLY POSTER PROJECT

Project by Micol Hebron:
Opening event for an exhibition of Micol Hebron’s collaborative poster project at ForYourArt at 6020 Wilshire Blvd, on view March 29­–April 25 2014

"Timed to open during Women’s History Month, the exhibition features over 250 posters, each created by a different artist, representing the gender ratios at Los Angeles and New York art galleries. (en)Gendered (in)Equity or “Gallery Tally” is a crowd-sourced, social engagement art project in which over 500 artists from around the world have joined the effort to collect and visualize statistical data regarding ratios of male and female artists in contemporary art galleries. Artists were invited to make one poster for each gallery, in whatever style or medium they chose. All posters are 24” x 36”. While it is a common assumption that there is a male-biased imbalance in gender representation in the art world, the data for galleries–the actual numbers of artists–have not been visualized and publicized since the Guerrilla Girls’ efforts in the 1980s. The Gallery Tally follows a strategically collaborative working model that has been common among feminists and activists for decades. Having started in Los Angeles, the project is now in its second phase, focusing on galleries in New York. Subsequent visualizations will include Berlin, London, Chicago, Santa Fe, Portland, Pittsburg, and other cities."

 Poster contributed by artist Mary Laube and political scientist Jonathan Ring

Poster contributed by artist Mary Laube and political scientist Jonathan Ring