Using photography as a point of departure, Christine Nguyen cuts, layers, draws, sprays and crystallizes, making both objects and works on paper that revel in a sense of discovery.
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Terrestrial Transmissions
Tuning to the role of the feminine in science fictions, Lydia Moyer curated Terrestrial Transmissions, an exhibition featuring video work by six artists, all women, broadcasting here.
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Who has a mask & a heart? What is more distracting than clouds? Liz Rodda, Jim Mattei, Christine Nguyen, Patrick Moser, Allan Peterson, Emily Hunt, Cyriaco Lopes and Terri Witek create urgent answers to urgent questions posed by ten contemporary poems.
Leaving the Image
In search of something other than an image, Lily Kuonen shakes up the painting, discovering a new space for play in the shake-up.
A Festival to Plead for Skills
On July 7, members of Impractical Labor in Service of the Speculative Arts practice a skill using obsolete technology: a Festival to Plead for Skills. From flattening pennies to binding books made of cast-off envelopes, discover an internet-based organization founded by artists and printmakers Bridget Elmer and Emily Larned that prizes process over product.
Ice Notes
“Glaciers! Looking at them my eye never knows where to rest,” writes visual artist Oona Stern in her journal from the Arctic Circle. Stern and composer Cheryl Leonard offer a window into their work-in-process, a series of installations employing sounds, maps, images and words recorded at the foot of calving glaciers.
Counting Down
What if there were a short film for each year of your life? Julie Lequin takes up the possibility in Top 30, an ongoing video project—part storyboard, part songbook—now showing here.
Holyoke Fences
“The moment still life painting shifted to accommodate pouring wine, a spun coin, candle flame, the entire snowy field at dusk. Do you have the time?” Why yes, Zach Savich, we do. Read this excerpt from his new lyric memoir, Events Film Cannot Withstand.
Art in the Airport
Tyler Meier and Joyelle McSweeney open up the terminals, concourses, and gates of two American airports, where Lichtenstein and Smithson loom large.
Splendid Derelicts
Poet Anna Journey follows “a kind of Elysian Ur-tricycle” through Catedral vegetal, Mexican Surrealist Remedios Varo’s sepiascape, finding the place where canopies establish, fracture, and slip for the willing traveler.