The Anderson Center’s Winter Retreat program is a short-term residency during the organization’s off-season for artists and writers seeking concentrated creative time for reflection and the advancement of their personal artistic goals. A Winter Retreat at the Anderson Center is a fee-based opportunity for up to four artists at a time to live in community and fellowship while working on their own projects in the inspiring setting of the historic Tower View Estate.

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Forthcoming: Winter Retreat, The Anderson Center at Town View, Artists-in-Residence, January 8-14, 2025, Red Wing, MN.

SECAC 2024 - Atlanta, GA

Celebrating the 80th Conference Year of SECAC!

Conference Dates: October 23 - 26, 2024

Venue: Atlanta Marriott Buckhead Hotel & Conference Center, Atlanta, GA

Academic Conference Director Tracy Stonestreet: SECACdirector@umw.edu

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Call Information

Under the guiding theme of Wayfinding, SECAC 2024 will be designed by artists, designers, scholars, and educators from across the Atlanta region. Wayfinding, a term originally coined in the realms of environmental design and navigation, has evolved into a generative concept that extends far beyond physical spaces. Our conference seeks to unravel the intricacies of wayfinding across intersections of technology, cognition, culture, and design. Through presentations, discussions, exhibitions, and more, we will consider the nuanced ways in which we navigate intellectual and creative landscapes.

Sessions may take various forms, including but not limited to the following: a collection of presenters selected from the call for papers; a panel of pre-selected speakers curated by the chair; a round table discussion between invited speakers and the audience. Other creative approaches to the session format are also welcome. Each prospective chair or co-chair may submit only one proposal; each conference participant may chair one session and may present one paper. Undergraduate students are not permitted to serve as session chairs. If you plan to present at the same session for which you are serving as chair, you must submit an abstract during the call for papers open period, scheduled for March 4 – May 1, 2024.

Sessions will be scheduled between 8:00 am and 5:00 pm on Thursday 10/24, Friday 10/25, and Saturday 10/26.

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Session

Studio and Art History > Power of the Performative Lecture

Power of the Performative Lecture

Chairs: Emily Bivens, University of Tennessee; and Heather Coker Hawkins, University of Tennessee

This session will invite artists, designers, and scholars to push the boundaries of how we understand a conference lecture. By considering the expanding field of research-based practice, this session aims to align the conference experience with expanded notions of information transmission by pairing it with the transformative experience of live art. Selected presentations are invited to use the conference lecture as a platform to combine, conflate, and expand research-based practice with a performative or exploratory format. Research lectures might include performance, sound, poetry, video, physical theater, stand-up comedy, or dance, among others. Proposals that capitalize on audience engagement or participation are encouraged.

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Maurice Moore, PhD

Title: Lecturing While Black: Rendering Visual Poems Byway of Performance-Drawings

Abstract:

In this lecture participants are invited to engage through practice, the embod odi odi odi odi odi odi iment derived from sensorial mark making. For instance, my visual poem “Da Blacker de Nonbinary Da Sweeter De Juice (Feat. Euphoria & Are You One of Those THEY/THEMS?)” was rendered by incorporating elements from performance-drawing, gesture drawing, and some automatism practices; to create immersive environments and engaging experiences relating to race, gender identity, and gender expression coupled with black hxstories and cultural diasporic traditions in Amerikkkca. Usage of various forms of documentation help capture such renderings and explores how people of the African Diaspora have created bout fifty-'leven times n’ then sum, means of survival and thriving (Yeah We Been Outchea!); through visual and performance art, creating various modes and/or genres stepped in resistance. Moreover, challenging conventional creative practices & scores by infusing dem wit quare aesthetics i.e. call and response, reading, throwing shade, and African American Vernacular/Gestural English (AAVE) etc. By engaging with these modes/genres thru Practice as Research is carried out by the remixing and sampling gleaned from creative arts research, Africana Studies by a wannabe novice musicologist (Proto Punk here I come!); continues to broaden mark-making in my research.

Key Words: Practice as Research, Performance Art, Durational Performance, Documentation, Performance Studies, Studio Art, Performance-Drawing

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Link

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"Lecturing While Black: Rendering Visual Poems Byway of Performance-Drawings", Power of the Performative Lecture Power of the Performative Lecture Panel, panelist, Southeastern College Art Conference (SECAC), Atlanta, GA, Oct 23-26, 2024.

FlowILM 2024

art ~ science ~ education ~ community

www.flowilm.com

Saturday October 19th, 2024 – 3:30 to 9pm Rain date: Sunday October 20th, 2024
The grounds of the Cameron Art Museum Wilmington, NC

Wilmington, NC – FlowILM is a free community art event focused through an art & technology lens on the relationships between human and non-human organisms and their ecosystems. This event features the living systems of the Cape Fear coastal region and the people that care about them. Collaborative, multi-media art, sound, film and performance can be experienced inside and outside the museum walls into the surrounding landscapes, where visitors are encouraged to meander and explore biologically and ecologically inspired work.

The fourth annual FlowILM event at the Cameron Art Museum will feature an array of artists, filmmakers, musicians, performers, writers, scientists, local non-profits and UNCW faculty & students with an interest in local / global water issues.
On Saturday, October 19th 2024, inside the Cameron Art Museum, starting at 3:30pm and extending throughout the event a series of environmentally focused short films will be screened in parallel with a new experimental music performance space on the cafe patio. From 4:30 to 6:30pm, the courtyard of the Pancoe arts center will feature the missions and research of participating non-profits and University labs / departments in parallel with educational and family-oriented activities. For the second half of the event from 6:30 to 9pm there will be live performance, dance, sculpture, installation, light and sound work on display throughout the grounds of the museum.

This event is produced by the Coaction Lab at The University of North Carolina Wilmington and the Cameron Art Museum and sponsored by the UNCW Office for Applied Learning & High Impact Practices.

Flow 2024 Artists / UNCW Instructors / UNCW Labs / Local Non-Profits :

Lead Artists:

Nicole Dextras - https://nicoledextras.com/

Gene A. Felice II - https://genefelice.com/

Janice Lancaster - https://www.janicelancaster.com/

Karola Luttringhaus - https://www.karolaluettringhaus.com/

Kima Moore - https://www.kimathimoore.com/

Maurice Moore - https://maurice-moore-mkx7.squarespace.com/

Jeremiah Roberts

Film Series:

Dislocated / Dislocada - Ana Rankin / various artists

https://www.instagram.com/muestradislocada/

UNCW Film Studies Environmental Filmmaking class series - André Silva
UNCW Time Based Media Course - Water themed Animations - Gene A. Felice II UNCW Water themed student documentary films - Laura Dunn - https://twobirdsfilm.com/about
Teflon Body Rot - Kate Henshaw - https://www.katehinshaw.com/
The Last Plant - Janice Lancaster
Jesse Bradley - Cape Fear River Watch Films

UNCW Faculty led Student Teams:

Madison Creech - Studio / Digital Art (Water Text projections on CAM building) Shannon Bourne - Studio Art / Printmaking
Sayantani Dagupta - Creative Writing - Writing Letters to Water w/ Karola Luttringhaus Chelsea Loew - Music - Experimental Music space

Gene A. Felice II - Studio / Digital Art - Video Projection Mapping class projects

Research Displays from UNCW Labs / Departments:

Environmental Science dept.
Christian Briseño-Avena - Plankton Ecology Lab Phil Bresnahan / Coast Lab
Jake Warner / Warner Lab
Algal Resource Collection
Marine Quest

Research Displays from local non-profits:

Lower Cape Fear Wildlife Cape Fear River Watch Going Green
Plastic Ocean Project Longleaf Alliance Surfrider Foundation Coastal Land Trust

Fire in the Pines
Wilmington School of the Arts

Young Scientist Academy

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2024 FlowILM, Performance, Cameron Art Museum, Oct 19-20, 2024, Wilmington, NC.

Grant Description

The Current Art Fund granting program is organized and administered by Tri-Star Arts as a partner in the Regional Regranting Program of The Andy Warhol Foundation for the Visual Arts. 

The Current Art Fund seeks to support visual artists and artist collectives in creating independent, non-traditional, public-facing projects that contribute to the rich dialogue within contemporary visual art scenes across the state of Tennessee.

The fund annually disburses grants totaling $60,000 to Tennessee-based artists 21 years of age and older in support of project expenses.

Grantees will be selected by a 4 person jury panel composed of internationally recognized artists, collectors, curators, administrators, gallerists, educators, and arts professionals. 

The Current Art Fund program tangibly illustrates the Tri-Star Arts mission of cultivating and spotlighting contemporary visual art in Tennessee, championing innovation within our local art communities, and supporting artists across the state. BIPOC and AAPI applicants are strongly encouraged to apply.

2024 Project-Based Grants

The 2024 granting cycle will award project-based grants to fund artists’ innovative contributions to the visual arts conversation in Tennessee. 

The Current Art Fund will distribute grants of $7,500 each to 8 Tennessee-based contemporary visual artists and artist collectives, selected by a 4 person jury panel, to use towards the realization of a dynamic and accessible project. 

Awarding grants to artists living throughout the breadth of Tennessee will be a high priority in the jurors’ selection process. Applicants may submit projects featuring 2-D, 3-D, and 4-D work (or a combination).

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Link

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Recipient, Project Grants for Tennessee Artists 2024, Tri-Star Arts as a partner in the Regional Regranting Program of The Andy Warhol Foundation for the Visual Arts.

The University of Calgary Artistic Research Award celebrates outstanding contributions of artist-researchers to the annual conference of Performance Studies international (PSi). The prize of $500.00 USD is awarded to a conference program contribution that exemplifies the huge potential for artistic research to not only create new knowledge but also to expand epistemological horizons—specifically within conference programming and, more generally, within broader academic and professional contexts and discourses.

Given the broad and fluid parameters of artistic research practices, the assessment criteria for this award are elastic and inclusive. Eligible conference contributions include papers, media-based presentations, workshops, and performances. This is an incomplete and open-ended list of possibilities, and the award adjudication will strive to expand and adapt as alternative formats emerge within any given conference environment.

To facilitate this assessment flexibility while providing applicants with a baseline of relevant criteria, the selection committee will maintain focus on several, broadly accepted characteristics of artistic research.

Enactive: artistic research is primarily practice-based and conducted through action and experience.

Process/product: artistic research is often process-oriented, in which artistic processes are understood as legitimate project outcomes, and in which artistic practice is a primary mode of investigation, analysis, documentation, and dissemination.

Situated: artistic research is often a directly reflective expression of a specific context, set of participants, and environmental conditions. (This does not, of course, exclude the transmission of the project’s discoveries and benefits; but it does resist attempts towards repeatability and/or direct transplantation to altered contexts.)

Emergent: both the knowledge created and the means by which this occurs emerge out of the research practice, requiring of both the researcher and the project design a heightened responsiveness and adaptability.

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Recipient, The University of Calgary Artistic Research Award (2023) - Psi #28, Performance Studies international (PSi).

PSi #29 - Assemble! Is the twenty-ninth iteration of PSi’s annual conference in 2024. The conference is hosted by The Royal Central School of Speech and Drama in collaboration with LIFT (London International Theatre Festival) and other partners and collaborators between 20-23 June.

This hybrid conference focuses on the main theme of Assemble. To assemble has multiple meanings: to gather in one place for a common purpose or to put together the parts of something. Resonant with infrastructures, politics and processes of assemblage, the conference invites and foregrounds practice research, creative critical interventions, processes of making and their antithesis, un-making. In response to the COVID-19 pandemic, the climate crisis and global struggles for justice and recognition, we have to reconsider how to assemble, how to come together, to build, to imagine, to co-create in hostile conditions, and, conversely, what we need to disassemble, to take apart, to dismantle, to decenter, to unlearn.

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What is PSi? What does PSi do?

PSi is a professional association founded in 1997 to promote communication and exchange among artists, thinkers, activists and academics working in the field of performance.

Over the past decades, performance has developed as an umbrella term for scholarly as well as artistic research engaged with a wide variety of topics. The research conducted under this umbrella term is interdisciplinary and is strongly rooted in the interaction between theory and practice.

It is a dynamic field of encounters rather than a discipline grounded in one particular methodology or tradition. 

PSi represents this field and stimulates its development by initiating conferences and other events, by means of awards and bursaries, by facilitating the circulation of information and knowledge, through working groups dedicated to important issues in the field of performance research, by means of an archive and oral history project, and with a network and a lexicon aimed towards the further development of performance research and education in a global context.

PSi’s ambition to be international is given in the very name of our organization, while at the same time the small ‘i’ used in the spelling of ‘international’ expresses awareness of the complexity of what it means to be international. Awareness that is, that internationalization is not only a matter of the cultural phenomena that are the subject of study, nor of the world-wide expansion of one particular research paradigm, but rather of diversification. Being international involves an understanding of Performance Studies as a multiplicity of approaches that can be traced back to different practices in different sites of research.

As Jon McKenzie, Heike Roms and C.J.W.-L. Wee observe (in Contesting Performance—global sites of research) ‘While performance has for some time been recognized as both a contested concept and a practice of potential contestation, the sites and stakes of those contests have both multiplied and entered into new configurations’.

A crucial question therefore is how to engage with this multiplication of perspectives and multiple sites of contestation, and how to make this situation productive for the further development of the field.

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1). PSi ScreenRecordedSample Video

2). Maurice x Rubens Collaborations Video

3). (DIS)ASSEMBLE Video

4). PSi#29: 24-Hr Assemble Durational Performance Presentation

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Link

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"24hr Assemble Durational Performance", 24hr Assemble Durational Performance panel, panelist, Performance Studies International (PSi), London, United Kingdom, June 20, 2024.

2024 East Tennessee Art Education Association

Saturday May 4, 2024, 9am-12pm

UTK Art and Architecture Building

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The mission of the Tennessee Art Education Association is to advance quality visual arts educations and to promote a cohesive professional community through advocacy, leadership, and professional development.

TAEA is a not-for-profit professional art education organization and does not discriminate on the basis of race, religion, age, sex, color, disability, sexual orientation, or national or ethnic origin in administering policies, membership, events, meetings, or activities.

A range of workshops will be offered from several studio areas including Printmaking, Painting & Drawing, Ceramics & Sculpture, Photography and Time-Based Arts.

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Title: Performance-Drawing

Description of Class: Maurice Moore, PhD will facilitate a variety of practices and scores relating to Performance-Drawing. We will explore mark making and our senses by engaging with creative prompts, warmups, improvisational work, collaboration, and call & response.

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Link

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Workshop, 2024 East Tennessee Art Education Association, This Knox County Schools, Saturday May 4, 2024, 9am-12pm, University of Tennessee, Knoxville, Knoxville, TN.

Arts & Sciences Undergraduate Research Symposium (ASUReS)

he inaugural Arts & Science Undergraduate Research Symposium (ASUReS), held concurrently with EUReCA 2024. This event marks the first of its kind— an annual celebration of research and creative endeavors by currently enrolled undergraduate students in the College of Arts and Sciences, University of Tennessee, Knoxville.

About the Symposium

ASUReS provides a platform for undergraduate students across all disciplines in the College of Arts and Sciences to showcase their research and creative achievements. Whether engaged in individual or group projects, or contributing to class capstone projects, students have the opportunity to share their work with the university community.

Notably, ASUReS aligns with standard oral presentations as well as other formats, e.g., multimedia, exhibitions, etc., seen at professional conferences/symposiums. This distinctive feature aims to offer students an invaluable chance to practice and prepare for the dynamics of professional meetings.

As a judge for the ASUReS (Arts & Sciences Undergraduate Research Symposium) on April 23, 2024. A judges role is critical in evaluating student presentations and providing valuable feedback to help them grow in their academic and research pursuits.

Below are the instructions for scoring and providing comments to student presenters at each session:

Scoring Criteria:

Content Knowledge: Evaluate the depth of understanding and expertise demonstrated by the presenter on the research topic. Score on a 1-5 point scale, where:

1: Limited understanding or inaccurate information

2: Basic understanding with some inaccuracies

3: Adequate understanding with minor gaps

4: Proficient understanding with few gaps

5: Comprehensive understanding and expertise demonstrated

Clarity of Presentation: Assess the clarity and coherence of the presentation, including organization, flow, and effectiveness of communication. Score on a 1-5 point scale, where:

1: Presentation lacks structure and coherence; difficult to follow

2: Some organizational issues; clarity is inconsistent

3: Generally clear and organized, but could be improved in some areas

4: Clear and well-organized; communication is effective

5: Exceptionally clear, coherent, and engaging

Originality and Innovation: Consider the originality and innovative aspects of the research, including novel approaches, methodologies, or insights. Score on a 1-5 point scale, where:

1: Lack of originality or innovation; research is derivative

2: Limited originality; research offers minor contributions

3: Some originality demonstrated; research introduces novel elements

4: Original and innovative aspects present; research offers significant contributions

5: Highly original and innovative; research breaks new ground

Engagement and Delivery: Evaluate the presenter's engagement with the audience, delivery style, enthusiasm, and ability to maintain interest. Score on a 1-5 point scale, where:

1: Presenter appears disengaged; delivery is monotone or unenthusiastic

2: Limited engagement with audience; delivery lacks energy

3: Presenter engages moderately with the audience; delivery is somewhat engaging

4: Presenter is engaging and interacts well with the audience; delivery is dynamic

5: Presenter captivates the audience; delivery is compelling and highly engaging

Overall Impact: Consider the overall impact of the presentation, including relevance, significance, and potential contributions to the field of study. Score on a 1-5 point scale, where:

1: Presentation lacks relevance or significance; contributions are minimal

2: Limited relevance or significance; contributions are marginal

3: Some relevance and significance; contributions have moderate impact

4: Presentation is relevant and significant; contributions are impactful

5: Highly relevant and significant; contributions have substantial impact

Comments to Student Presenters at the end of a session (suggestive only):

Commend the presenter on strengths observed during the presentation, such as in-depth knowledge, clear communication, or innovative approaches.

Provide constructive feedback on areas for improvement, such as enhancing clarity, refining presentation style, or deepening analysis.

Offer specific suggestions for further development or research directions based on the strengths and weaknesses identified.

Encourage the presenter to continue their academic and research endeavors, highlighting the importance of their contributions to the field.

Thank the presenter for their participation and commend their efforts in sharing their research with the academic community.

Scoring sheets will be prepared by the planning committee and ready for collection in the judges' room (AYRES 308J).

Judges' comments and scores on the evaluation sheets will be tallied and shared with student presenters and their faculty mentors later as a learning experience to help students better prepare for future conferences. Furthermore, judges' scores will be used to determine the top presenter(s) of each session for award purposes, e.g., medallion.

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Link

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Judge for the Arts & Sciences Undergraduate Research Symposium (ASUReS) 2024, held concurrently with EUReCA 2024, College of Arts & Sciences (CAS), University of Tennessee, Knoxville, Knoxville, TN.

Group Exhibition, Pienkow Art Gallery

Mission

The Marek Maria Pienkowski Foundation regards artistic and scientific endeavors as integral to human culture and recognizes that the development of young aspiring artists and scientists is critical to the future of both disciplines. These fundamental concepts guide the organization’s aim to support the development of talented youth through programs affording them opportunities to create visual art in all forms and research scientific concepts outside the pressures of life’s daily demands. A critical element in all the Foundation’s programming is the cross-cultural environment it creates for participants from both disciplines. This atmosphere enables them to challenge their own views as well as those of others to form global perspectives and sensitivities that help shape their work.

The Marek Maria Pienkowski Foundation is a Tennessee charitable non-profit corporation established by Marek Maria Pienkowski, M.D., Ph.D. on August 21, 2006.

In 2008, the Foundation was established in Poland as a Polish charitable organization. The two Foundations work jointly to promote their shared goals.

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UTK Painting & Drawing Faculty Exhibition, Group Exhibition, Pienkow Art Gallery, Knoxville, TN.

WORKSHOP

Saturday,

April 20, 2024 - 11-12:30

Pancoe

Sketches in Motion: Drawing, Feeling, Tracing

Guests of all ages are invited to participate in an interactive Performance Drawing Lab focusing on various Drawing WARMUPS around gesture drawing. Workshop participants are invited to keep what they create or to contribute their drawings to the performance lab and the “Non-Binaries in Nature: Gestures of Water” project.

PERFORMANCE LAB

April 20, 2024 – 2-4pm

Receptional Hall and Pancoe

Audiences of all ages are invited to witness the creative process for Maurice Moore and Karola Luettringhaus’s new interdisciplinary project entitled “Non-Binaries In Nature: Gestures of Water”.

Audiences are invited to interact with the artists and/or assemble letters to water which will become a central component of future performances shaping the space and the content of the work.

For more information about the artists visit:

https://maurice-moore-mkx7.squarespace.com

https://www.karolaluettringhaus.com/

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MAURICE MOORE & KAROLA LUETTRINGHAUS

As part of the FLOW ILM event series

Interactive movement and PERFORMANCE DRAWING

"ASSEMBLE"

>>> CAM events page

>>> more about "ASSEMBLE" (link coming soon)

>>> more about FLOW ILM

>>> more about the workshop (link coming soon)

​>>> more about MAURICE MOORE & KAROLA LUETTRINGHAUS (Link Coming Soon)

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Workshop

Link

Performance Lab

Link

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Workshop, Sketches in Motion: Drawing, Feeling, Tracing, Cameron Art Museum, April 20, Wilmington, NC.

Performance Lab, Performance, Cameron Art Museum, April 20, Wilmington, NC.

The Research Development Academy (RDA)

The Office of the Provost, Division of Access and Engagement, and the Office of Research, Innovation, and Economic Development at the University of Tennessee, Knoxville

The Research Development Academy (RDA) is designed to support tenure-track faculty (TTF) from a variety of backgrounds and disciplines. Open to all TTF, the RDA places an emphasis on researchers from minoritized and underrepresented racial, ethnic, and gender groups, as well as faculty that identify as LGBTQ+, who have the potential to contribute to the University of Tennessee’s discovery mission and advance UT’s values of inclusion and access.

The Research Development Academy focuses on empowering diverse tenure-track faculty to advance their own scholarly agenda in research, scholarship, and/or creative activities in a collegial environment with supportive guidance.

The Research Development Academy provides a positive environment for faculty to network with each other, and resources they need to move their research agenda forward in a focused way. RDA is a collaboration between the Office of the Provost, Division of Access and Engagement, and the Office of Research, Innovation, and Economic Development.

RDA Fellows come from across the university and have a wide range of interests and goals.

Eligibility Tenure-track faculty at the University of Tennessee, Knoxville; must be pre-tenured and must not have yet submitted a tenure dossier; At time of participation in the Research Development Academy, at least one full year of tenure-track service at UT or another institute of higher education; Conduct research or scholarly work that aligns with the goals of the program, or self-identify as a member of an underrepresented group within your discipline; Commitment to participate fully in the program and a willingness to regularly report progress and updates to the Division of Access and Engagement until they are promoted and tenured.

Program Components The Research Development Academy is designed to engage participants in a variety of personal and professional development opportunities including but not limited to coaching sessions; a research project; mentoring; community building; access to senior level administrators; professional development; and a research presentation.

The major program components are as follows: Monthly group sessions that take place face-to-face on-campus and typically last for about 2.5-3 hours. A variety of topics are discussed in these sessions and sessions typically include a panel of speakers from across the university who serve in different roles and who are at different stages of their careers. These sessions are also designed to provide an opportunities for fellowship, networking, and community building. Participation in the National Center for Faculty Development and Diversity’s Faculty Success Program, which is an intense, 12-week, online-based program where participants learn strategies to increase their research productivity, gain control of their time, and live a full and healthy life beyond campus.

The program is designed to transform the personal and professional life of participants. RDA fellows can choose to complete the FSP in the summer prior to starting RDA or during the fall semester. Participants should anticipate spending 1.5 – 2 hours each week watching the weekly training videos and completing the homework assignments. Additionally, FSP participants will meet with their small group and coach for a 75-minute call every week at a recurring time. One-on-one discussion and coaching with representatives from the Office of the Provost and Division of Access and Engagement. A stipend of $4,000 to support participants’ research, scholarship, and/or creative activities. A final session in August following participation in the program to present progress made on research, scholarship, and/or creative activities, and next steps.

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Link

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Research Development Academy Scholars Recipient, UTK Research Development Academy (RDA) cohort 2024-2025, The Office of the Provost, Division of Access and Engagement, and the Office of Research, Innovation, and Economic Development, University of Tennessee, Knoxville.

2024 LGBT Plus College Conference

Mission Statement

Our mission is to:

Speak to issues of diversity and inclusion of importance to academia, the workplace, marketplace, and community

Provide the leadership expected of higher education to investigate issues from a research, knowledge, and thought perspective and provide answers to the community’s critical questions

Produce a well-planned and executed event

Link

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2:30pm - 4:00pm Plenary Panel Discussion - Bringing Your Whole Self to Work

Thursday, April 4, Student Union Building Ballroom ABC

A foundational element of the conference’s initial conception, this panel explores the “bottom line value” that organizations place on their capacity to create a culture in which differences are respected and inclusion is strategically leveraged as an organizational strength. Students preparing to enter the employment pipeline will have an opportunity to gain insights on how potential employers' policies and practices address various dimensions of diversity, including gender identity or expression and sexual orientation. D & I professionals and other leaders in attendance will benefit from open and honest dialogue in building their knowledge and exploring new thought leadership for the benefit of the work unit and organization.

Video Link

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"Plenary Panel Discussion," Bringing Your Whole Self to Work panel, panelist, LGBT Plus College Conference, Murfreesboro, TN, April 4-6, 2024.

2024 LGBT Plus College Conference Advisory Board, LGBT Plus College Conference at Middle Tennessee State University, Middle Tennessee State University Lambda Association and the College of Behavioral and Health Sciences, Murfreesboro, TN.

(Em)Body/Environment - Southern Humanities Conference - Southern Humanities Council

The Southern Humanities Conference is a robust interdisciplinary community of scholars, artists, graduate students, and professionals.

While the Southern Humanities Conference only meets once a year it is the hope of the board that the invigorating and enlivening conversations from the conference will continue throughout the year. Use this space to share ideas about both the past conference and the upcoming meeting.

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We live in a crucial moment when the health of our planet, and of our own bodies are endangered. Climate change is an increasingly dangerous and unsurmountable problem; erratic weather patterns, flooding, drought, failed agriculture, unstable wildlife habitat, hurricanes and snowstorms, heat surges, and wildfires destroy millions acres of land, devastate crops, kill, injure, and force millions of people from their homes each year, leading to record climate migration. Simultaneously, a global pandemic has reduced the life expectancy in the US and globally.

We also live in and embody various social, spatial, and physical environments within our shared global home. Our research can trace the contours and push the boundaries of these environments, and discuss the ways in which they shape, transform, and limit our bodies and our embodiment. And yet, advanced technology allows us—in fact encourages us—to work, shop, entertain ourselves, wage war, and interact with each other “remotely,” distancing ourselves from our own bodies, each other, and the environments we live in. Academia itself is often critiqued for its tendency to disembody those within it, for its disregard of the body over the mind, and for creating artificial or exclusive environments removed from the material world. How can we engage in critical thinking while remaining embodied? How can we best discuss issues of environmental sustainability and human interconnectivity? How do our disciplines and daily activities affect our bodies as well as the planet we live in? As humanities scholars, what can we offer to discussions of bodies, embodiment, and environment?

The Southern Humanities Conference invites proposals for papers on any aspect of the theme "(Em)Body/Environment,” broadly conceived. Our conference themes are meant to be inspiring and prompt reflection, not limiting. The topic is interdisciplinary and invites proposals from all areas of study, as well as creative pieces including but not limited to performance, music, art, and literature. Customary paper and full panel proposals are invited, as are ones for creative presentation formats like roundtables, workshops, and demonstrations. Moreover, the Southern Humanities Conference welcomes proposals from teachers and professionals outside the academy, as well as from scholars in the early stages of their academic careers including graduate students. Please note that the name of our organization simply reflects its having been founded in the U.S. South; no presenter is expected to present anything “southern” or be from the South, though southern topics are also welcomed. Conference attendees come from all over the United States, Canada, as well as overseas.

Possible topics may include but are not limited to any aspect or combination of Myths and Mythmaking and . . .

Witnessing, Remembering and Forgetting

Community and Community-building

Hospitality and “Withness”

Literature and Literary Analysis

Poetry and Creative Writing

Art and Art History

Sociology and Anthropology

History and the Historical

Memory and Forgetting

Gender

Race/Ethnicity

Social Class

Sex and Sexuality

Religion and Spirituality

Geography and Geographies

Philosophy and Social Ethics

Psychology, Community, and the Sense of Self

New Media and Digital Humanities

The Visible/Invisible

Dis/Ability

Theatre/Drama (theory and live performance)

Dance (theory and live performance)

Music (theory and live performance)

Education and the Educative

Cinema and Culture

Cultural Difference

Humanities and the Human

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Title: Drawing While Black Aka Drawing Wit Dat Nonbinary Rizz!

Abstract:

Part experimental films & Part Visual Poetry; De Nonbinaries In Nature hybrid pieces came about because of the need for dis creatives hunger involving navigating black blackty Blk nonbinary mark making in the arts. These visuals were created by incorporating elements of performance-drawing and performance writing; to create immersive environments and engaging experiences relating to race, gender expressions, and gender identity coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As the work evolved, I continued to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! The marks in this series of works were created by engaging wit Beautiful Black Blackty Blk Bodies ody ody ody ody ody ody ody ies of all shapes and sizes in the Black and Queer diaspora. Next, I decided to put my foot in it, and infuse da werk with African American Vernacular/Gesture English (AAVE) Image/Visual/Gestural descriptions thereby further expanding queer mark making. Moreover, I am drawing with vocabularies, sources, bibliographies, scripts, image descriptions, remixing past drawings, collaging visuals/texts, and incorporating queer Black theory to create these new experimental marks. In otha words! Catch A Glimpse Into De Latest Top Bottom Side Switch Vers Secret Projects From One Of De Worlds Mos Queertorious Femme Makers! 

Description of Work (media, technique, etc):

Short experimental films. Plus, African American Vernacular/Gesture English (AAVE) infused Image/Visual/Gestural descriptions.

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"Drawing While Black Aka Drawing Wit Dat Nonbinary Rizz!", Session VII panel, panelist, Southern Humanities Conference, Savannah, GA, Feb 1-4, 2024.

GA2023, the 26th Generative Art Conference

GENERATIVE ART

Art - Music - Architecture - Industrial Design - Web Art - Poetry - Visual Grammar - Design Approach - Teaching Theory - Mathematics - Virtual Environment - Literature - Artificial Life - Artificial Intelligence - Cellular Automata - Performances - Artificial Behaviors - Communication - Generative Robots - Mechatronic - NanoArt

Generative Art is the idea realized as a genetic code of artificial events, as the construction of dynamic complex systems able to generate endless variations.

Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music, images, or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist/designer/musician/architect/mathematician. The generative Idea / human-creative-act makes an unpredictable, amazing, and endless expansion of human creativity. We can create species of events with a recognizable identity, following our vision. Computers are simply tools for storage in memory and execution.

This approach opens a new era in Art, Design, and Composition: the challenge is a new naturalness of the artificial event as a mirror of Nature. Variations, like in Bach music, are the best strong communication of the Idea. Once more man emulates Nature, as in the act of making art.

This approach suddenly opened the possibility to rediscover possible fields of human creativity that would be unthinkable without computer tools. If these tools, at the beginning of the computer era, seemed to extinguish human creativity, today, with the generative approach, directly operates on codes of Harmony and codes of Identity. They become tools that open new fields and enhance our understanding of creativity as an indissoluble synthesis between art and science.

After two hundred years of the old industrial era of necessarily cloned objects, music, architectures, communications the one-of-a-kind object becomes an essential answer to emergent contemporary aesthetical needs.

Celestino Soddu

Enrica Colabella

Chairs of Generative Art Conferences

Info:

GA2023, the 26th Generative Art Conference, Exhibition, Live Performances

The location, as last year, is in Rome, in the ancient center near Piazza Navona. The dates are the 11th, 12th, and 13th of December 2023.

Our pleasure is to relate the most advanced creative approach like Generative Art and AI with ancient artworks and architecture. This is the reason why the 26th Generative Art Conference will run in the wonderful Borrominian Hall of Biblioteca Vallicelliana, one of the Baroque masterpieces designed by Francesco Borromini (http://www.vallicelliana.it).

In this Hall, whose walls are full of ancient books, we will present the papers, artworks, and some performances.

Art&Science - Generative AI - Image&Space - Music&Poetry - Visionary Scenarios - Infinity&Identity

Location in Rome, Italy, at the Borrominian Hall of the Biblioteca Vallicelliana

This year's last news is about Generative Artificial Intelligence, with new chats that try to substitute the research engines. After 25 years of GA conferences, the generative and AI approaches are finally running in our everyday lives. So I will be happy if we will discuss this.

This year the conference will run not only in presence and we will try to plan also an exhibition in presence of your artworks.

XXVI GA Conference is organized by ARGENIA Association.

If you would like to share your scientific and creative work and your generative art and design experiences with us, please send us an abstract for a proposal of paper, artwork, installation, poster, and/or live performances (the template is on the website www.generativeart.com).

Topics:

TOPICS of GENERATIVE ART INCLUDE (but are not limited to): Art, Science & Technology, Generative Art, Generative Design, Generative AI, Generative Singularity and AI Identity, Digital Design & AI Production, Generative Architecture, Generative Geometry, Generative Music, Live Coding Music, Procedural Sounds, Generative Robotics, Cities Identity & Town Design, Mathematics, Poetic Logic, Poetry, Singularity and Generative approach, Biomimetics, Psychology and Medicine Generative models, Culture of Algorithms, Complex non-linear systems, Chaotic Dynamic Structures, Digital Culture, Visionary Art, Visionary Design, Visionary Paradigm, Generated 3D models for 3D printers, Topology, Algorithmic Art, Encoding Art & Sciences, Web Art, Nanoart, Evolutionary Design, Philosophy & Technology, Visionary Scenarios & Virtual Environment, Artificial Intelligence, Artificial Life, Artificial Behaviors, Futuring Past, Teaching Theory and Methodology, Creative Advanced Teaching

Started in 1998, the annual Generative Art conferences are the international leading meetings involving researchers, Ph.D. and creative people performing generative advanced approaches. As in the 25 previous annual conferences, our choice is to have ONLY ONE MAIN SESSION (3 days) with around 40 paper presentations (in presence and, only if necessary, online); an exhibition with posters and artworks; some installations and generative live-performances, whose movies will be also published in the website of the conference. This is because we like to increase the possibilities of knowing each other, exchanging experiences, and crossing opinions. We don't like parallel sessions and all accepted people will be like KEYNOTE SPEAKERS, scheduled in ONLY ONE MAIN SESSION. More than 1000 papers, artworks, and live performances presented at previous conferences are on the GA website: http://www.generativeart.com for a free consultation.

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Prof. Maurice Moore, PhD School of Art, University of Tennessee, Knoxville https://maurice-moore-mkx7.squarespace.com e-mail: MauriceMoore@live.com

Title: Drawing While Black Aka Drawing Wit Nonbinary Light

Abstract:

These performance drawings and performance writings centers Practice as Research. Meaning, not only engaging with finished work(s) like Visual Poems i.e. text-based works and/or visuals, or the criticism about these pieces, but I argue with this work similarly when I create 2D, 3D, 4D, and text-based pieces that it is equally important to practice making Black Visual Poems due to there being a scholarly and/or artistic knowing/knowledge, that is derived from the very act of practicing itself. By not considering drawing practices be they 2D, 3D, 4D, or text-based as research at the same level as finished works and/or the criticism in this field; what are we missing out on as creatives and/or scholars by privileging one form of research over the other? In otha words. For these new series of performance drawings and performance writings in this hybrid text, are part experimental films and Visual Poetry hybrid pieces came about because of the need for dis creatives navigating experimental mark makin exploring euphoria and dysphoria marks as a trans-nonbinary person navigating de art world. These visuals were created by incorporating elements of performance-drawing, performance writing, and binary code translators; to create immersive environments and engaging experiences relating to race, gender expressions, and gender identity coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As the work evolved, I continued to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! The marks in this series of works were created by engaging wit Beautiful Black Blackty Blk Bodies ody ody ody ody ody ody ody ies of all shapes and sizes in the Black and Queer diaspora. Next, I decided to put my foot in it, and infuse da werk with African American Vernacular/Gesture English (AAVE) Image/Visual/Gestural descriptions thereby further expanding queer mark making. Moreover, I am drawing with vocabularies, sources, bibliographies, scripts, image descriptions, remixing past drawings, collaging visuals/texts, and incorporating queer Black theory to create these new experimental marks. In otha words! Catch A Glimpse Into De Latest Top Bottom Side Switch Vers Secret Projects From One Of De Worlds Mos Queertorious Femme Makers!

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Link

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"Drawing While Black Aka Drawing Wit Nonbinary Light", Day 2 12 DECEMBER 2023 panel, panelist, XXVI GENERATIVE ART International Conference, Roma, Rome, Italy, Dec 11-13, 2023.

December 2 - 17, 2023

24th Annual 5 By 7 Show

The Woodstock Byrdcliffe Guild’s 24th Annual 5 by 7 Show at the Kleinert/James Center for the Arts at 36 Tinker Street is one of Woodstock’s premier events, showcasing artists from the Hudson Valley and beyond. Artworks measuring 5 x 7 inches (or 7 x 5 inches), generously donated by the artist, are exhibited anonymously with the artist’s name revealed once the artwork is sold.

Friday, December 1 | 5 – 7 pm

5 BY 7 PREVIEW PARTY

The 5 by 7 Preview Party is an opportunity celebrate the generosity of our artist community and for buyers to get a first look at the artworks in person before the works go on sale the next day – Saturday, December 2nd at 11 AM.

Event fee: $10, includes prosecco, wine, sparkling water, and light bites. (Contributing artists are complementary.)

Saturday, December 2 |11 am

5 by 7 Show & Sale Goes LIVE

This is a major fundraising event for Byrdcliffe. By purchasing a small work, you help to support community programming in the arts including exhibitions, artist talks, readings, curatorial discussions, performances, and more. All works are sold online for $150.

Starting Friday, December 16th, unsold works will be discounted to $75. Starting Sunday, December 18th, purchased works will be available for pick up.

Questions, contact: 5by7@woodstockguild.org

On behalf of the staff, Board, and dedicated volunteers, thank you in advance for your patronage. And a special thank you to all the artists who generously donated works to this year’s event.

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Link

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24th Annual 5 by 7 Show, Group Exhibition, The Kleinert/James Center, Woodstock Byrdcliffe Guild, December 2 - 17, Woodstock, NY.

Book Launch Dinner Party - 2023

Time & Location

Nov 30, 6:30 PM – 9:00 PM

The Bottom, 2340 E Magnolia Ave, Knoxville, TN 37917, USA

Plus de After Party bar hip hopping goin down in the Happy Holler Historic District!

About the Event

Straight from the mouth of Dr. Maurice Moore:

"And de Category is!!!!!!!!! Book Launch! People of de world especially Knoxville TN, You're invited to Dr. Maurice Moore’s Drawing While Black Vol 1 Mixtape aka a Book Launch Listening Dinner Party! Now if dat ain’t doin de mos! Snap! An evening dat promises: Sweets fo de sweet! Savory fa de Savory! Wit jus enough flava! Ta raise de ancestors! And a special After Party"

Amongst many things, Dr. Moore is an Assistant Professor of Drawing and Painting at the University of Tennessee, Knoxville. Their newest book, Drawing While Black Mixtape Vol 1, is a text composed of visual poems that explore various types of queer mark-making. Published by Versal Journal, and winner of their 2022 Amsterdam Open Book Prize, Maurice Moore’s Drawing While Black Mixtape Vol 1 is a text composed of visual poems that explore various types of queer mark-making.

Mark-making dat allows Blk nonbinary people such as Moore the space and freedom to push further and engage wit balancing and negotiating the joys & pains Black performers experience both inside and outside African and African American Diasporas as creatives. De tracks were created by incorporating elements of performance-drawing to create immersive environments and engaging experiences relating to race, gender identity, and gender expression, coupled with black hxstories and cultural diasporic traditions in Amerikkka.

As the work evolved, Moore continued to consider what digital, analog, and ephemeral marks do if we let them be themselves. The many, many, many marks in these works were created by engaging wit Beautiful Black Blackty Blk figures of all shapes and sizes in the Black and Queer diaspora. Next, Moore decided to put their foot in it, and infuse the work with African American Vernacular/Gesture English (AAVE) and image/visual/gestural descriptions, thereby further expanding queer mark-making. They are drawing with vocabularies, sources, bibliographies, scripts, and image descriptions; remixing past drawings; collaging visuals and texts; and incorporating queer Black theory to create these new experimental marks.

DRAWING WHILE BLACK MIXTAPE VOL 1

Abstract

Moore presents a text composed of visual poems that explore various types of quare mark making. Mark making dat allows Blk nonbinary people such as Moore, the space and freedom to push further and engage wit balancing and negotiating the joys & pains Black performers experience both inside and outside African and African American Diasporas as creatives. De tracks were created by incorporating elements of performance-drawing; to create immersive environments and engaging experiences relating to race, gender identity, gender expression coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As the work evolved, Moore continued to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! The many, many, many marks in these works were created by engaging wit Beautiful Black Blackty Blk figures of all shapes and sizes in the Black and Queer diaspora! Next, Moore decided to put their foot in it, and infuse the work with African American Vernacular/Gesture English (AAVE) Image/Visual/Gestural descriptions thereby further expanding queer mark making. Moreover, they are drawing with vocabularies, sources, bibliographies, scripts, image descriptions, remixing past drawings, collaging visuals/texts, and incorporating queer Black theory to create these new experimental marks.

Versal Editions

For nearly twenty years, Versal has been a nucleus of literary arts and experimentation in Amsterdam, the Netherlands, in print and on stage. Our community-centered publishing and curation continue against a backdrop of global injustice, and in fact are the very tools we use to fight the burning world. Versal Editions is the small press imprint of Versal, founded in the spirit of Amsterdam’s misfit ethos.

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“In the period of Beyoncé's Renaissance, the cutthrough couture of Pose in the cultural divinity of NYC ball, and the delicious audacity of black queerness across texts, music, film, art, and more, Drawing While Black emerges. We are invited into a distinctive lexicon of black, queer resistance in visual art and poetry. That page is pulsing with music, from the table of contents to defiant insistence on making one's own light. Moore balances their ink on paper highly gestural inserts as a full and "thicc thicc thicc" celebration of blackness against the field of white. The poems, fierce and fearless, intermingle pop culture, philosophy, and body positivity with revelatory moments of invitation into the artistic process in shaping meaning and the world. This collection is tongue pops, linguistically playful, beautifully irreverent to structural preservations of white heteronormativity and yet deeply reverent of the body and the figure. If you put this book down, really, what are you doing with your life?” -Raina Léon, poet and judge of the Amsterdam Open Book Prize 2022

“The vacillation between text and image in Maurice Moore's work draws a landscape that is both lyrical and percussive. Gestures, marks, bodies, and exclamations harmonize expanding the definition of what drawing is. They choreograph fragments from black history, queer identity, African American Vernacular, and personal experience. Moore’s visual poetry is a fierce celebration of drawing while black.” - Mary Laube 

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Link

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Event: Book Launch Dinner Party - 2023, Time & Location, Nov 30, 6:30 PM – 9:00 PM, The Bottom, 2340 E Magnolia Ave, Knoxville, TN 37917, USA.

Event: After Party to take place in the Happy Holler Historic District.

Book Manuscript - Drawing While Black Mixtape Vol 1, Versal Community-Centered Publishing & Curation Live From Amsterdam, Versal Editions, www.versaljournal.org, 2023.

26th Generative Art Conference 2023 Art Exhibition, Group Exhibition, Metaverse Exhibition,XXVI GENERATIVE ART International Conference, GA2023, Generative Art & Design Lab, ARGENIA Association, http:// www.generativeart.com, Rome, Italy

Transparency Representation & Reality Exhibition 2023 at the African American Atelier

JTR Presents is collaborating with the Center for Visual Artists and the African-American Atelier in an exhibition focused on advocating for the Transgender community. JTR Presents "Transparency", a collaborative project using art to elevate the voices, stories, and works of Transgender and Gender-Expansive artists and people. This exhibition displays artworks from the local community and beyond to raise awareness of Trans issues and to center the conversation about representation and it translates to affecting people's realities.

The Transparency Project started in 2017 after JTR Presents finished a previous project, "_______hood", which explored identity in different scales. During this time, there were several "red flags" that occurred including the 45th president's executive order to dismiss Trans soldiers from duty and to ban trans civilians from enrollment. To the curator of this project, this seemed to be another case of how the representation of a people can affect their reality through the actions of people in power who perceive them based on what they are represented as.

In this idea of representation and how it affects one's reality, Jordan T. Robinson and Lara Americo explored ways the Arts can be used as a platform for the community to be empowered by tell

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Project overview

In reflection of the ongoing political tension for transgender rights, such as the House Bill 2 controversy in North Carolina, and the President's Executive Order to no longer accept transgender recruits into the U.S. Military, the interest for a production in support of the Transgender community has been expressed to the founder of JTR Presents. Therefore, JTR Presents a collaboration between the trans and creative communities to address this issue. JTR Presents is producing an exhibition, currently titled "The Transparency Project", to empower transgender communities by using the Arts as a platform for them to tell their individual, and collective, stories and regain their own agency. The hope for this is to grant the community the power and platform to tell their own story in their own way using the Arts.

Project Description

The Transparency Project is an exhibition elevating the voices and stories of the Transgender community. The art in this exhibition is a collaborative effort between artists and the participants of that community. The Project will start January 1st and will conclude December 3rd. There will be at least two workshops leading to the month-long exhibition in November. The exhibition will take place in North Carolina, with Asheville, and Charlotte as ideal locations. The workshop locations will be held in Charlotte, Asheville, Winston-Salem, Wilmington, Greenville, Greensboro, and Durham.

Project Goals

• Use Art as a platform for the Transgender community to tell their story in their own light.

• Provide a forum other communities can interact with the artists and the Transgender community.

• Raise awareness of Transgender issues to the public.\

• Inform the public about the effects of representation.

• Offer resources and materials for communities to mobilize and support the Transgender community.

• Engage the North Carolinians in advocating for the Trans community through this platform.

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Artist Statement

Dees pieces involves mark making dat allows a trans nonbinary person such as myself, de space and freedom tah push further and engage wit balancing and negotiating the euphoria & dysphoria Black Queer performers experience both inside and outside African and African American Diasporas as creatives. These visuals were created by incorporating elements of performance-drawing; to create immersive environments and engaging experiences relating to race, gender identity, gender expression coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As the work evolves, I continue to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! The visual poems much like the films were created by engaging wit Beautiful Black Blackty Blk bodies ody, ody, ody, ody, ody, ody, ody, ody, odyies of all shapes and sizes in the Black and Queer diaspora.

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Transparency Representation & Reality Exhibition 2023, Group Exhibition, Physical Exhibition at the African American Atelier, Greensboro, NC.

Arts & Humanities Book Party

Hodges Library, Jack E. Reese Galleria

University of Tennessee, Knoxville Wednesday

November 8, 2023 4:00 – 6:00pm

Introduction

“The codex, be it a monograph, or edited collection, is a time-honored form of scholarship in most fields in the arts and humanities. While such publications may vary from the biographical to a broader consideration of a period, genre, or a discipline, this Book Party is intended as a celebration of these forms of scholarship by faculty from the UT College of Arts and Sciences. This event and the accompanying program provide a showcase for twenty-four books by our colleagues that were published in 2022 and 2023. Moving forward, we plan to hold this event each November to acknowledge future publications by faculty from our college.

The books presented here also represents milestones in the careers of our colleagues, with all of the departments in the division of arts and humanities represented, as well as the Department of Sociology. Most of these publications embody years of research, travel, reflection, and review. Some were created in the seclusion of libraries and book lined offices, while others were also incubated through conference papers and symposium presentations, often tested and developed by a community of collaborators (including editors) and peers. All scholarship in the arts and humanities marks a moment in time, reflecting the commitments of an author, co-authors, or a group of authors that seek to advance meaning and understanding of the past, the present, and our humanity.

Having colleagues who are committed to research, scholarship and creative activity enrich the world, advance our discovery mission, while also giving our students opportunities to study with faculty who are making meaningful contributions to their disciplines. Please join me in celebrating this remarkable work.” - Beauvais Lyons Divisional Dean for Arts & Humanities College of Arts and Sciences

Solo Exhibition 2023, The Bottom, Nov 7 - Nov 30, Knoxville, TN

Artist Statement

Drawin Wit Multidimensional Lines!...And Gettin Rhythmless While doin’ it! Snap! Creates spaces for Black Blackty Blk nonbinary persons such as myself, to further convey the balancing and negotiating wit de many hues Black Queer performers experience both inside and outside African and African American Diasporas as creatives. Many of these werks were created by incorporating elements of performance-drawing; to create immersive environments and engaging experiences relating to race, gender identity, gender expression coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As de werq evolves, I continue to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! Many of my works were created by engaging wit Beautiful Black Blackty Blk body ody ody ody ody ody ody ody ody ody ody ody ody ody ody odies of all shapes and sizes in the Black and Queer diaspora. I decided to put my foot in it, and infuse the werk wit African American Vernacular/Gesture English (AAVE) Image/Visual/Gestural descriptions thereby further expanding queer mark making. Moreover, I am drawing wit vocabularies, visual poems, sources, bibliographies, scripts, remixing past drawings, collaging visuals/texts, and incorporating queer Black theory to create these new experimental marks dat intersect multiple dimensions of makin on my terms.

The Bottom

The Bottom stands as a multi-use place to foster change and togetherness. As a nonprofit community center and Black-affirming bookshop, The Bottom is building community, celebrating culture, and engaging the creativity of Black people in Knoxville.

​865-444-5915

TheBottomKnox@gmail.com

2340 East Magnolia Ave

Knoxville, TN 37917

Link

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Solo Exhibition 2023, The Bottom, Nov 7 - Nov 30, Knoxville, TN.

Transparency Representation & Reality Exhibition 2023 at Center for Visual Artists (CVA)

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JTR Presents is collaborating with the Center for Visual Artists and the African-American Atelier in an exhibition focused on advocating for the Transgender community. JTR Presents "Transparency", a collaborative project using art to elevate the voices, stories, and works of Transgender and Gender-Expansive artists and people. This exhibition displays artworks from the local community and beyond to raise awareness of Trans issues and to center the conversation about representation and it translates to affecting people's realities.

The Transparency Project started in 2017 after JTR Presents finished a previous project, "_______hood", which explored identity in different scales. During this time, there were several "red flags" that occurred including the 45th president's executive order to dismiss Trans soldiers from duty and to ban trans civilians from enrollment. To the curator of this project, this seemed to be another case of how the representation of a people can affect their reality through the actions of people in power who perceive them based on what they are represented as.

In this idea of representation and how it affects one's reality, Jordan T. Robinson and Lara Americo explored ways the Arts can be used as a platform for the community to be empowered by tell

——-

Project overview

In reflection of the ongoing political tension for transgender rights, such as the House Bill 2 controversy in North Carolina, and the President's Executive Order to no longer accept transgender recruits into the U.S. Military, the interest for a production in support of the Transgender community has been expressed to the founder of JTR Presents. Therefore, JTR Presents a collaboration between the trans and creative communities to address this issue. JTR Presents is producing an exhibition, currently titled "The Transparency Project", to empower transgender communities by using the Arts as a platform for them to tell their individual, and collective, stories and regain their own agency. The hope for this is to grant the community the power and platform to tell their own story in their own way using the Arts.

Project Description

The Transparency Project is an exhibition elevating the voices and stories of the Transgender community. The art in this exhibition is a collaborative effort between artists and the participants of that community. The Project will start January 1st and will conclude December 3rd. There will be at least two workshops leading to the month-long exhibition in November. The exhibition will take place in North Carolina, with Asheville, and Charlotte as ideal locations. The workshop locations will be held in Charlotte, Asheville, Winston-Salem, Wilmington, Greenville, Greensboro, and Durham.

Project Goals

• Use Art as a platform for the Transgender community to tell their story in their own light.

• Provide a forum other communities can interact with the artists and the Transgender community.

• Raise awareness of Transgender issues to the public.

• Inform the public about the effects of representation.

• Offer resources and materials for communities to mobilize and support the Transgender community.

• Engage the North Carolinians in advocating for the Trans community through this platform.

———

Artist Statement

Dees pieces involves mark making dat allows a trans nonbinary person such as myself, de space and freedom tah push further and engage wit balancing and negotiating the euphoria & dysphoria Black Queer performers experience both inside and outside African and African American Diasporas as creatives. These visuals were created by incorporating elements of performance-drawing; to create immersive environments and engaging experiences relating to race, gender identity, gender expression coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As the work evolves, I continue to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! The visual poems much like the films were created by engaging wit Beautiful Black Blackty Blk bodies ody, ody, ody, ody, ody, ody, ody, ody, odyies of all shapes and sizes in the Black and Queer diaspora.

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Link

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Transparency Representation & Reality Exhibition 2023, Group Exhibition, Virtual Exhibition, Physical Exhibition at Center for Visual Artists (CVA), Greensboro, NC.

The Holy Art Gallery - ART ON LOOP MILAN 2023 - Digital Exhibition in Milan, Italy from the 1st to the 3rd of September 2023

ART ON LOOP MILAN, invites artists from all countries to exhibit their works. This exhibition is open to all mediums, including but not limited to painting, photography, printmaking, video art, installation, films, sculpting, mixed media, poems, illustration, and more. The theme for the exhibition is OPEN, giving you the freedom to submit any work that aligns with your artistic vision.

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The Holy Art Gallery is proud to present the first pop up digital show in Milan!

The Holy Art curatorial team has prepared a unique group exhibition, utilizing the latest technology, to offer the audience an unprecedented viewing experience! Artworks of every medium will be displayed on high-definition screens with complimentary lighting and amazing beats! Canvases, sculptures, digital artworks, NFTs and so much more will be exhibited in the most influential art destination of the world!

If you are looking for an artistic and curatorial challenge that redefines the boundaries between art and technology, then this exhibition is for you!

Are you in Milan? Then, don’t miss your chance to enjoy a spectacular immersive experience!

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Artist Statement

At the end of Ruby Rich’s 2013 text “New Queer Cinema: The Director’s Cut,” the critic posed a question about where New Queer Cinema is heading toward the future. These series of short experimental films are an answer to Rich’s question that expands both cinema and drawing. In the same vein as John Cage’s work(s); I consider what moving and/or still marks do if we let them be themselves. The pieces in this series are short experimental films, that incorporate the Cheryl Dunye Effect (CDE), which is made through the creation of Fictional, Nonfictional Citations, and applying queer film theory; thereby further expanding queer mark making using digital, analog, and ephemeral materials. Moreover, I am drawing with vocabularies, sources, bibliographies, scripts, image descriptions, staged photos, remixing past drawings, collaging visuals/texts, and incorporating past films to create these new experimental marks.

These visuals were created by incorporating elements of performance-drawing and performance writing; to create immersive environments and engaging experiences relating to race, gender expressions, and gender identity coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As the work evolved, I continued to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! The marks in this series of works were created by engaging wit Beautiful Black Blackty Blk Bodies ody ody ody ody ody ody ody ies of all shapes and sizes in the Black and Queer diaspora. Next, I decided to put my foot in it, and infuse da werk with African American Vernacular/Gesture English (AAVE) Image/Visual/Gestural descriptions thereby further expanding queer mark making. Moreover, I am drawing with vocabularies, sources, bibliographies, scripts, image descriptions, remixing past drawings, collaging visuals/texts, and incorporating queer Black theory to create these new experimental marks. In otha words! Catch A Glimpse Into De Latest Top Bottom Side Switch Vers Secret Projects From One Of De Worlds Mos Queertorious Femme Makers!

Description of Work (media, technique, etc):

Short experimental films. Plus, African American Vernacular/Gesture English (AAVE) infused Image/Visual/Gestural descriptions.

Statement specific to entry:

These visuals were created by incorporating elements of performance-drawing; to create immersive environments and engaging experiences relating to race, gender expressions, and gender identity coupled with black hxstories and cultural diasporic traditions in Amerikkkca. The marks in this series of works were created by engaging wit Beautiful Black Blackty Blk Bodies ody ody ody ody ies of all shapes and sizes in the Black and Queer diaspora.

Film:

Clapping While Black (feat. Pan-African flag), Directed by Maurice Moore, 05:02min, 2022.

Visual/Video/Audio Description

"Film pops-off wit a Blackty Pan-African flag Hunty! Jumpin n’ glitching cross dat lovely silver screen! Silver like Labelle brought tah de table. Chu know Dat Gitchie, ya-ya Coco-la-da feel. What chu know bout dat? Ha Ha! Dis beez where de coolworld-ish animation com into dis work. Slow motion fo meh, Slow Slow motion fo meh! Move yo hips churen! Beautiful non-binary figures moving throughout dis film. Slow-motion stops! De film moves at queer speed. My bad, I always forgettah talk bout de goodt vibrations/sound/noise. Lewk at de ableism! Want-dat-Vibrations-Tea? Put-on-a-Bop! Tah experience de-sting n’ euphoria of Clapping While Blk."

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Link

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ART ON LOOP MILAN 2023, The Holy Art Gallery, Group Exhibition, September 1st-3rd, Milano MI, Italy.

PSi #28 Conference, Johannesburg, South Africa

Uhambo Luyazilawula: Embodied Wandering Practices

2 – 5 August 2023

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Performance Studies international (PSi) is a professional association founded in 1997 to promote communication and exchange among artists, thinkers, activists and academics working in the field of performance.

Over the past decades, performance has developed as an umbrella term for scholarly as well as artistic research engaged with a wide variety of topics. The research conducted under this umbrella term is interdisciplinary and is strongly rooted in the interaction between theory and practice.

It is a dynamic field of encounters rather than a discipline grounded in one particular methodology or tradition. PSi represents this field and stimulates its development by initiating conferences and other events, by means of awards and bursaries, by facilitating the circulation of information and knowledge, through working groups dedicated to important issues in the field of performance research, by means of an archive and oral history project, and with a network and a lexicon aimed towards the further development of performance research and education in a global context.

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Performance Studies international (PSi), in collaboration with the Theatre and Performance and Drama for Life Departments at Wits School of Arts in Johannesburg, South Africa, invites responses to the call for proposals for the PSi #28 conference in 2023.

This blended conference focuses on embodied wandering practices as Performance Studies modalities internationally, with specific reference to the African context. Uhambo is an IsiZulu word that translates to ‘a journey’. The phrase uhambo luyazilawula loosely translates to ‘a journey controls itself’. That is to say that while destinations may be planned, the act or process of journeying and the outcomes of that journey can never truly be controlled. To surrender to the journey connects us to ways of understanding and critiquing how we came to be through praxis and reflection. Performance Studies as a creative art and a research paradigm is a useful lens through which to contemplate and unpack the significance of journeying as embodied practices of movement, nomadism, migration, immigration and cultural exchanges, amongst its many other dimensions.

Grounding the conference theme in the concept of ‘uhambo’ and ‘uhambo oluzilawuyalo’ centres African performance praxis and pedagogies as dynamic and unpredictable provocations which challenge conventional creative and scholarly research modes. These provocations have the potential to develop and transform performance practices and pedagogies in the field of Performance Studies, in Africa and around the world.

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Internationally acclaimed arts and research association, Performance Studies international (PSi), in partnership with the Wits Theatre and Performance and Drama for Life departments, are hosting the first Performance Studies Conference in Africa in August 2023.

The conference is grounded through Uhambo, an IsiZulu word that translates to ‘a journey’. As such, the conference theme follows the phrase uhambo luyazilawula, which loosely translates to ‘a journey controls itself.’ Thus, through a recognition of mobility, journeying, movement and migration, the conference positions itself as the springboard from which contemporary creative research and scholarship about Performance Studies can be produced about Africans and by Africans.

The conference, which will host traditional presentations of academic papers and panel discussions, also seeks to prioritise creative research and arts-based practices as legitimate means of knowledge production on Performance Studies methodologies in Africa, centering Wits School of Arts and Johannesburg as the creative hub of embodied epistemologies in this interdisciplinary field.

The conference, in both its theme and structure, intends to apply the embodied practice of traveling, of moving, and of journeying - between spaces, places, and locations. The wandering nature of the conference thus manifests the practice of ‘ukuhamba’ through collaborative partnerships with other creative and cultural venues in Johannesburg, both onsite and online. The aim of positioning the conference as a moving, blended conference is to embrace the practice of mapping people, spaces and cultures that are located in the various places and venues. This opens the conference up to an embodied practice of wandering that does not confine and lock cultural, creative and pedagogical exchanges to one space.

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Link

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"The nature of identity/identities in the context of Mobility, Wandering, and Fluidity", Session 2, panel, panelist, Performance Studies International (PSi), Johannesburg, South Africa, Aug 2-5, 2023.

Thursday, June 8 - June 25

Manetti Shrem Museum

UC Davis graduate students in the Arts and Humanities present their work at the Manetti Shrem Museum. Experience new ways of seeing and understanding the past, present and future in this multidisciplinary exhibition. The opening celebration features performances by master’s and doctoral students, as well as the presentation of the LeShelle and Gary May Art Purchase Prize, Keister & Allen Art Purchase Prize and the Savageau Award in the Department of Design.

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Opening Celebration

Thursday, June 8, 6–9 PM

Remarks begin at 7 PM

Manetti Shrem Museum

Experience new ways of seeing and understanding the past, present and future when this multidisciplinary virtual exhibition opens to the public. Work from 30 UC Davis graduate students in Art History, Art Studio, Creative Writing, Design, English, History, and Performance Studies is represented. Visit the exhibition June 8-25 at the Manetti Shrem Museum.

Featuring work by:

Hafsa Akter • Valeria Araiza • Jordan Benton • Justine Di Fiore • Allison Fulton • Simone Gage • Cristina Gomez • Alberto Hamonet • Grace Hayes • Zehra Ilhan • Hunter Kiley • Xuying Liu • Nilou Maleki • Justin Marsh • Will Maxen • Avital Meshi • Maurice Moore • Sam Rathbun • Jake Rose • Quinessa Stibbins • Alejandra Ruiz Suárez • Eric Taggart • Hannah Thompson • Srđan Tunić • Pachia Lucy Vang • Luka Vergoz • Ofelia Viloche • Marcy Wacker • Sienna Weldon • Rova Cigdem Yilmaz

Including the winners of the LeShelle & Gary May Art Purchase Prize, the Keister & Allen Art Purchase Prize in Art Studio and The Savageau Award in the Department of Design.

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Film Description

"Film pops-off wit a Blackty Pan-African flag Hunty! Jumpin n’ glitching cross dat lovely silver screen! Silver like Labelle brought tah de table. Chu know Dat Gitchie, ya-ya Coco-la-da feel. What chu know bout dat? Ha Ha! Dis beez where de coolworld-ish animation com into dis work. Slow motion fo meh, Slow Slow motion fo meh! Move yo hips churen! Beautiful non-binary figures moving throughout dis film. Slow-motion stops! De film moves at queer speed. My bad, I always forgettah talk bout de goodt vibrations/sound/noise. Lewk at de ableism! Want-dat-Vibrations-Tea? Put-on-a-Bop! Tah experience de-sting n’ euphoria of Clapping While Blk."

The artist draws wit many Queer-Black lines to create new experimental marks. Dat intersect dimensions of makin on dey terms.

Clapping While Black (feat. Pan-African flag), Directed by Maurice Moore, 05:02min, 2022.

Artist Statement

Drawin Wit Multidimensional Lines!...And Gettin Rhythmless While doin’ it! Snap! Creates spaces for Black Blackty Blk nonbinary persons such as myself, to further convey the balancing and negotiating wit de many hues Black Queer performers experience both inside and outside African and African American Diasporas as creatives. Many of these werks were created by incorporating elements of performance-drawing; to create immersive environments and engaging experiences relating to race, gender identity, gender expression coupled with black hxstories and cultural diasporic traditions in Amerikkkca. As de werq evolves, I continue to consider what digital, analog, and ephemeral marks do if we let them be themselves. Shout out John Cage! Many of my works were created by engaging wit Beautiful Black Blackty Blk body ody ody ody ody ody ody ody ody ody ody ody ody ody ody odies of all shapes and sizes in the Black and Queer diaspora. I decided to put my foot in it, and infuse the werk wit African American Vernacular/Gesture English (AAVE) Image/Visual/Gestural descriptions thereby further expanding queer mark making. Moreover, I am drawing wit vocabularies, visual poems, sources, bibliographies, scripts, remixing past drawings, collaging visuals/texts, and incorporating queer Black theory to create these new experimental marks dat intersect multiple dimensions of makin on my terms.

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Link

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Arts & Humanities 2023 Graduate Exhibition, Jan Shrem and Maria Manetti Shrem Museum of Art, Group Exhibition, June 8-25, Davis, California.

Woodstock Byrdcliffe Guild’s Artists-in-Residence Exhibition: Byrdcliffe Reflection 2023

On View April 29 – June 11, 2023

Artist-in-Residence Show

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(Woodstock, N.Y.) - The Woodstock Byrdcliffe Guild is pleased to present the Annual Artist-in-Residence Exhibition on view April 29-June 11, 2023 with a reception for the artists on Saturday, April 29, 4:00 - 6:00 pm at the Kleinert/James Center for the Arts 36 Tinker Street in Woodstock, NY.

Every year, the Byrdcliffe Artists-in-Residence program provides over 60 visual artists, writers, architects, and composers of exceptional talent uninterrupted creative time within the serene natural setting of the Byrdcliffe Arts Colony located in Woodstock, NY. This annual program offers artists individual studio space and living accommodations in shared residential buildings that provide artists with uninterrupted time, studio space, and creative community. Thirty-six artists from the 2022 Residency season have returned to Woodstock to exhibit artwork that was created or inspired by their time at the Byrdcliffe Arts Colony and includes writers, performers, filmmakers, visual, and multimedia artists.

Exhibiting Artists: Malin Abrahamsson, Tyler Allen, Kerri Ammirata, Austen Camille, Jesse Capozzi, Ari Chaves, Sarah Crofts, Melissa Foss, Peter Fulop, Skye Gilkerson, David Greenwood, Tristan Higginbotham, Sarah House, Karen Hudes, Nancy Y.Kim, Morgan King, Raghubir Kintisch, Ariana Kolins, Veronica Lawlor, Cecilia Lu, Weihui Lu, Danny Lulu, Julia Maisel-Berick, Colin McEachran, Eliza McKenna, Amalya Mergerman, Maurice Moore, Jesse Moy, Simona Prives, Zack Rafuls, Fionn Reilly, Allison Roberts, Omar E. Saad, Katharine Spilker, Noah S.Thompson, Ana Weider-Blank, Rochelle Voyles and Alex Younger

About Byrdcliffe’s Artists-in-Residency Program:

Since its founding in 1902, Byrdcliffe has welcomed artists—Bob Dylan, Philip Guston, Eva Hesse, and hundreds more—to live and work surrounded by 250 acres of the Catskill Mountains’ serene natural beauty. Byrdcliffe offers several types of residencies, ranging from four weeks to five months to year-round, for artists in multiple disciplines. The main criterion for acceptance to Byrdcliffe’s AiR program is artistic excellence and a demonstrated commitment to one’s field of endeavor. Byrdcliffe seeks to pull together artists from varying perspectives, ages, and demographics to engage with a broad range of artistic practices. Creatives and craftspeople in all media including weavers, writers, musicians, composers, architects, filmmakers, playwrights, performance and visual artists, and artists in other disciplines are welcomed.

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Works inspired by or created during the residency at Byrdcliffe will be shown at the AiR exhibition at the Kleinert/James Center for the Arts at 36 Tinker Street, Woodstock, NY.

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Link

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Woodstock Byrdcliffe Guild’s Artists-in-Residence Exhibition: Byrdcliffe Reflections, on view April 29 – June 11, 2023, Group Exhibition, Kleinert/James Center for the Arts. Woodstock, New York.

[Not]knowing Symposium

April 28th - April 29th 2023

Hybrid Symposium presented by UC Davis Performance Studies Graduate Group

Not]knowing is a familiar concept to many of us. We do [not]know where the day will take us. We do [not]know the full manifestations and scopes of our practices. However, there is often a sociocultural and Western academic pressure to always know – to 'consume' text and work of others until it is somehow integrated into our own knowing in an oppressive and supremacist loop. We wish to break these cycles and challenge demands for knowability with the inclination that this breakage will create space for [not]knowing that inspires more ethical ways of cultivating our practices while collaborating alongside others. We center [not]knowing as a practice and an ongoing state of being, of holding and identifying incomplete information, dwelling with the unseeable, and creating relationships and building communities with others who also do not know. This [not]knowing symposium is an opportunity to explore the meaning and potential of [not]knowing while becoming a generative, transdisciplinary space for more discovery and inquiry to unfold what it means to [not]know.

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INQUIRY

These are some questions that we were thinking about while considering [not]knowing that may inspire you as well

- How have methodologies of not knowing like opacity and abstraction been used by communities as survival strategies to cultivate community safety?

- How can not knowing and dwelling with the unknowable break through the limits of knowing?

- In what ways does not knowing encourage collaboration, community building, and transdisciplinary efforts in performance studies?

- What kinds of knowing and not knowing are opened up by technologies?

- How do our embodied practices expand traditional ways of knowing?

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SUBMISSIONS

We welcome submissions for practices and research around [not]knowing in the form of presentations of conference-like papers and artworks, performances and worship, workshops, works-in-progress, and more that are conducted either singularly or alongside others. Although our graduate group is situated under a performance studies umbrella, we are a transdisciplinary assemblage that welcomes projects both under and outside of this grouping. Submissions for presentations should follow along a conference-like format of 10-15 minutes (additional time for Q+A will be conducted outside of this constraint). For submissions of performances and workshops, please indicate how long you would like allotted. Recommended performance duration is 15 minutes. We expect to receive a wide range of presentations with a variety of durations, so we will do our best to accommodate your request.

In-Person Location: Della Davidson Performance Studio at Nelson Hall, University of California Davis.

We also accept online presentations.

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“Drawing Wit Dat Non-Binary Light - Visual Poetry”, Not]knowing Symposium, April 28th - April 29th 2023, Hybrid Symposium, UC Davis Performance Studies Graduate Group, University of California-Davis, Davis, California.

Verge's Biennale EXHIBITION 2023 - April 8 - May 20

Verge Center for the Arts

In conjunction with the ten year anniversary of Verge’s groundbreaking at 625 S Street in 2013, we are very excited to present, The First 10yrs, the inaugural biennial exhibition of works produced during the first ten years of Verge’s Resident Artist Studio Program (RASP).

Verge moved into its current location in the spring of 2010 with the dream of a permanent home for contemporary art and ideas in Sacramento. Built in the late 60s the S Street location was originally designed to serve as a furniture and drapery warehouse with a small showroom up front. For the first three years in this location RASP was the only program Verge could safely produce as there were no official public assembly areas in the building. Verge was able to successfully purchase the building and closed escrow in 2013. Purchasing the building not afforded Verge ownership, it also enabled the organization to undertake the necessary improvements to safely welcome the public into the building for exhibitions and public programs beginning in 2014.

Since 2013 Verge has served close to 100 career and emerging artists through RASP, providing low or no cost work space to those in need. This exhibition features just under half of those artists in a variety of disciplines and mediums. Verge has supported a wealth of creative visions in the Sacramento region from painting and sculpture to earth works, performance, and video. This exhibition will be the first in what will become an ongoing series of biennials designed to showcase the artists that utilize the resources Verge provides. Please, join us to celebrate this important milestone and the artists who brought us here!

Featuring: Ren Allathkani, Cheselyn Amato, Justin Amrhein, Jamie Angello, Doug Biggert, Tavarus Blackmon, Caiti Chan, Melissa Chandon, Jodi Connelly, Amanda Cook, Elizabeth Cord, Nate Cordero, Kerry Cottle, John Criscitello, Roma Devanbu, Jose Di Gregorio, Jesse and Glenda Drew, Mark Emerson, Manuel Fernando Rios, Gioia Fonda, John Forrest, Ianna Frisby, Laurelin Gilmore, Natalie Head, Interval Press, Veronica Jackson, Diana Jahns, Sunroop Kaur, Marya Krogstad, Dixie Laws, Muzi Li Rowe, Lisa Marasso, Patrick Marasso, Esther Marie Hall, Yelena Martynovskaya, The Mayor, Liv Moe, Maurice Moore, Cherilyn Naughton, Lisa Oxley, Vincent Pacheco, Mariam Pakbaz, Michael Pribich, Yoshie Sakai, Nick Shepard, Susan Silvester, Youngsuk Suh, Katie Thomas, Omar Thor Arason, Brittany Watkins, Bekah Wilson, Eric Wood, Carrie Ziser

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Link

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Verge's Biennale EXHIBITION 2023, Group Exhibition, April 8 - May 20, Verge Gallery, Verge Center for the Arts, Sacramento, California.

Evening Botanist - SPACE Gallery - Group Exhibition 2023

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EVENING BOTANIST

INFO

Apr 7, 2023 – May 13, 2023

Bri Bowman, Brian Smith, Charles E. Roberts III, Dylan Hausthor, Eli Nixon, Heather Flor Cron, John Brooks, Maurice Moore, Owen McCarter, Oscar Chacon, Rachel Alexandrou, Travis Moorehead

Evening Botanist promotes conversation between the works of twelve artists whose practices and projects are grounded in ecological principles, relationships, and/or fantasies. Through the many lenses and unique media these artists explore, they are united by strong underlying currents of Queer ecology, Ecofeminism, intersectional environmentalism, and naturalist education. The selected artists create works, in context of the shifting climate, conjuring connection, adaptation, place-making, direct collaboration, and fictional inquiry. This exhibition seeks to make space for new interpretations and perspectives of the natural world around us.

Evening Botanist is co-curated by Brian Smith and Kelsey Halliday Johnson.

Join us for a reception for the artists on First Friday, April 7th from 5 to 8pm.

Eli Nixon and SPACE invite you to celebrate Bloodtide, the artist’s new holiday to celebrate the horse shoe crab on Sunday, April 2nd at 7pm.

About the artists

Bri Bowman navigates longing, loss, ecology, and deep time in their multimedia practice; combining performance, sound, and sculpture to explore landscape as an internal experience and external phenomenon.

Brian Smith’s work uses sculptural form, inspired by plants and animals, to highlight the facet of queer eco theory that focuses on humans’ relationship to nature, with a yearning to reconnect and identify with the non-human world.

Charles E. Roberts III uses charcoal, ink, watercolor, colored pencils, and other drafting materials to metaphorically revisit the forests of their rural childhood through the language of folklore.

Dylan Hausthor makes photographs, videos, prints, writing, and books that think about mythmaking, disinformation, storytelling, and ecologies.

Eli Nixon builds portals and gives guided tours to places that don’t yet exist through cardboard constructionism, playwriting, choreography, and bookmaking.

Heather Flor Cron is a queer Peruvian-American farmer, performer & transdisciplinary artist who works with intuitive movement, dirt, installation, printmaking, fiber, and food.

John Brooks‘ work is an exploration of Queerness, community, connection, and existence, through distilled personal histories, pleasure, loss, and desire on a scale that is deeply immersive.

Maurice Moore’s drawing practice in expanded media interface with Black theory to create immersive environments and engaging experiences relating to race and gender identity coupled with black hxstories and cultural diasporic traditions in Amerikkkca.

Oscar Chacon’s collage and draftsman-based practice centers an exploration of identity—particularly his experience as a queer/Latino person— to understand and express himself and connect with the world around him.

Owen McCarter is a documentary and performance based artist living and working in Western Massachusetts, who is exploring, as Emerson wrote, “the suggestion of an occult relation between man and the vegetable.”

Rachel Alexandrou is a plant propagandist who works in the mediums of foraged food, printmaking, watercolor, prints and installation.

Travis Morehead is an interdisciplinary artist thinking about intimacy, ecology and loss through poetics and gift giving.

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Link

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SPACE is a nonprofit organization that supports contemporary arts projects, champions artists, and encourages an open exchange of ideas.

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Evening Botanist 2023, SPACE Gallery, Group Exhibition, April 7th - May 13th, Portland, Maine.

UCLA Center for Performance Studies Grad Conference, In Cahoots: Disciplinary Crossings and a Future for Performance Studies - February 15-17 2023.

Like performance studies, ‘in cahoots’ is a phrase with “murky origins”1 – etymologies have been traced without a clear beginning, perhaps from cohort or cahute (adjacent to cabin or hut). Meaning partnership, colluding, or working together, often in secret, the term itself is in cahoots: cahoots is rarely if ever used as a stand alone word. Similarly, performance studies is never stand alone, but in constant relations with a constellation of fields, from linguistics and anthropology, to queer and critical race theory. This type of conceptual entanglement drives UCLA’s Center for Performance Studies Graduate Student Conference: “In Cahoots: Disciplinary Crossings and a Future for Performance Studies.” Following our 2021 conference theme of ‘Contact,’ we invite graduate students to reflect on the promises and challenges of being “In Cahoots” with multiple discourses, fields, and methods.

New research trends have seen many scholars bringing together odd bedfellows that raise new challenges: How might a keyword track across fields? Is it possible to reconcile the goals of humanities and science? Where is the department “home” for this new brand of research? Performance studies has already positioned itself as a tempestuous and unruly younger sibling amongst longer standing fields. Interdisciplinary by nature, it is an elastic framework that can pierce holes in academic silos. This conference aims to build alliances for interdisciplinary performance scholars working between and across fields. Though our research projects may vary dramatically (and we hope they do) we still grapple with many of the same murky obstacles. This is a unique and intimate conference that will give a platform to these discussions for exciting new scholars working on the bleeding-edge of interdisciplinary research. We will be in cahoots.

We will use our research papers as a starting point for conversations around working between fields. Some of our interests include: the challenges and opportunities of interdisciplinary research in performance studies, whether that is practice-as-research, working across multiple departments, or even across methods. Additionally we hope this brings together discussion of potential futures for performance studies from graduate student perspectives, including applying to jobs in outside departments or working with scholars in other fields. (Note: the paper does not have to be about working interdisciplinarily, but rather your experience as the author will fuel such discussions).

1 Zimmer, Ben. n.d. “‘Cahoots’: A Term For Hidden Scheming Has Murky Origins.” WSJ. Accessed September 2, 2022. https://www.wsj.com/articles/cahoots-a-term-for-hidden-scheming-has-murky-origins-11579885683.

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UCLA CPS Conference 2023: Practice & Research Working Group

Practice & Research Working Group on February 16th, 2-3:15pm, on Zoom

Questions from/for the working Group

What is gained by these projects combining research and practice? 

Why is Practice as a Methodology necessary to our field? 

Is Practice inherently 'In Cahoots' with other people and with other disciplines?

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Link

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“FINDIN DAT VERVE OF DE LINE: Come Get Rhythmless Wit Me!”, In Cahoots: Disciplinary Crossings and a Future for Performance Studies Conference presented by UCLA Center for Performance Studies Grad, February 15-17 2023, University of California, Los Angeles, Los Angeles, California.

Monson Arts is a new artists’ residency and arts center in Monson, Maine. Programs include residencies for artists and writers, intensive shorter workshops, and educational partnerships with area secondary schools.

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Link

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Monson Arts, Monson Arts Residency Award, Artists-in-Residence, Nov 7 - Dec 1st session, Monson, Maine, 2022.

Recovering the Vampire - Conference 2022

Date: 4-5 November 2022; Format: Online

How can vampires help us heal? In the 125th anniversary year of Bram Stoker’s Dracula, this interdisciplinary project examines the continuing history of the vampire from the 19th century to the present, exploring how the vampire can function as a cultural figure of recovery, community, and regeneration. Where scholarship on the Gothic has historically construed the vampire as an embodiment of cultural anxieties, whether social, sexual, national, or medical, this conference brings together academics, heritage, creative industries, and fan communities to explore the possibilities the vampire affords for creating shared identities, collaboration, and economic growth.

Speakers

Professor Catherine Spooner (Lancaster University)

Dr Xavier Aldana Reyes (Manchester Metropolitan University)

and featuring a Q&A and dramatic reading by Dacre Stoker

How can vampires help us heal?

In the 125th anniversary year of Bram Stoker’s Dracula, this interdisciplinary project examines the continuing history of the vampire from the 19th century to the present and explores how the vampire can function as a cultural figure of recovery, community, and regeneration.

The cultural history of the vampire has been conventionally one of degeneration, illness, contagion, and variously embodied metaphors of anxiety. This event moves critical discourse from degeneration to regeneration, asking how the vampire functions as a metaphor for recovery (whether physical, emotional, or economic), community (fandoms, gamers, ‘goth culture’), identification and self-expression (racial identities, spirituality and religion, neurodivergence/-diversity, disability, gender and sexuality).

We welcome proposals for 15-20-minute papers, and panels. We also welcome practical or industry approaches to reinterpreting the vampire through collaborative, creative, or playful research, as well as contributions to a creative industries panel by publishers, authors, artists, heritage professionals and film-makers who work on the figure of the vampire. Topics can include but are not limited to:

Healing, trauma, recovery

Gothic tourism / regeneration / international relations / economic growth

Vampires and the creative economy

Vampires and community: gaming, goth culture, fashion

Medical humanities and the vampire

Addiction recovery, nutrition, attitudes to feeding

Reclaiming the vampire and neurodivergence/-diversity

Selfhood, belonging, and ‘the outsider’

Spiritual growth and religious experience

Race and inclusivity / representation

Child vampires / vampires for children

Pedagogy and the vampire

Laughter, comedy and Catherine Spooner’s ‘Happy Gothic’

Adaptation, receptions and legacies of 19th/20thC vampires

Speakers

Dacre Stoker is the great-grand-nephew of Bram Stoker and holds archival material on Bram’s life and writing. He leads heritage tours to Transylvania and other historical sites related to Dracula, and film rights to his latest novel, Dracul (2018) co-authored with JD Barker have recently been purchased by Paramount. He is collaborating with EHU in the 125th anniversary year on an official Dracula tabletop game being produced by Edge Hill researchers and students.

The conference will culminate in a Q&A talk ‘An Evening with Dacre Stoker’, which will also be open to the public. Dacre will speak on Dracula in the archives and reflect from his personal experience on the ongoing relationships between Dracula and tourism, fiction, and film.

Professor Catherine Spooner (Lancaster University) is the author of the award-winning Post- Millennial Gothic (2017). Her work has been central to rethinking the post-millennial vampire as a figure of community via Goth culture, and of happiness and laughter through children’s media and shows like What We Do in the Shadows. Her keynote will start the conference by theorizing the shift from degeneration to regeneration.

Dr Xavier Aldana Reyes (Manchester Metropolitan University) is Reader in English Literature and Film and a founder member of the Manchester Centre for Gothic Studies at Manchester Met. He will deliver a plenary talk on ‘Dracula’s Grand Tour: The Industrial and Cultural Coordinates of Vampire Cinema in Continental Europe, 1959-1982’, setting the vampire in wider European contexts of social change, national identities and creative industries.

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Link

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15-20-minute paper presentation

Maurice Moore

Title: The Argenti Beast

Abstract:

“The Argenti Beast,” a short story that came about through the use of Expanded Field Theory i.e., the Discipline is (Drawing), through the lens of another, and in this case (Black Speculative Fiction) and Practice as Research. Although fictional, “The Argenti Beast,” is a tale of one family’s journey to locate their ancestors while being part of the African and African American Diaspora. This proves to be as difficult and dangerous a task for them to complete as it is in the real world for several of us in diasporic communities. However, what aided me in creating this piece and processing the complexities of a diasporic identity was drawing upon a multiplicity of lenses and/or processes such as Expanded Field Theory, Black Speculative Fiction, Practice as Research (PAR), African American Vernacular English (AAVE), and Visual Arts. For example, The saying “Black Don’t Crack!,” is part of African American Vernacular English (AAVE), which was used to create and/or draw from some of the existing Black folklore and/or Black aesthetics surrounding dark skinned people in order to create the monster in this text. Understand, this work is not about simply looking back and/or forward to connect with our ancestors, moreover, just as I am responding to the complicated calls from the past with my drawings by weaving nonlinear lines; I am also creating lines with my text-based work(s) that intersect as well to create new visual pathways for the maker and the viewer that brings about clarity. Kima’s tale serves as a way of being and becoming with the many women of color, Femmes, Butch Queens, and Non-Binary Black Blackty Blk folks who make up our family trees and also drew from Black Queer Aesthetics to not only survive, but to thrive as well.

Keywords: Expanded Field Theory, Black Speculative Fiction, Practice as Research, African American Vernacular English (AAVE), Visual Arts

Knowledge Focus: Practice

Discussion Question:

How does folklore surrounding vampirism and other thangz dat go bump in de night contribute anti-blackness and misogynoir as it relates to Black Queerness?

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"The Argenti Beast", Creative panel, panelist, Recovering the Vampire Conference, Ormskirk, England, Nov 4-5, 2022.

Drawing Wit Light- SOLO EXHIBITION, THE MERCY GALLERY AND VISITING ARTIST 2022

The Sue and Eugene Mercy Jr. Gallery, dedicated in honor of former Loomis Trustee Eugene Mercy Jr. ’55 and his wife, Sue, is located in the Richmond Art Center — the campus hub for the visual arts program. Throughout the year, the Mercy Gallery exhibits the work of a variety of artists in a diversity of media, artistic endeavor, cultural influence, and geographic representation. The work of visiting artists is often displayed in the Mercy Gallery to coincide with their residency on the Island, encouraging direct interaction between artists and students.

Gallery Hours

Monday through Friday: 11 a.m. - 4 p.m.

Sunday: 1 - 4 p.m.

Tuesday and Thursday evenings: 7:45 - 9 p.m.

(hours subject to school schedule)

Visiting Artist Program

Throughout the school year, the visual arts faculty invite artists from a range of backgrounds and with a variety of styles to take up short-term residency in the creative environment provided by the Richmond Art Center. The Visiting Artist Program offers Loomis students an experiential learning opportunity — observing and participating in the process of an artist creating his or her work. In doing so, the professional artists can explain their inspirations, share techniques, and provide mentoring for students.

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Richmond Art Center Welcomes Visiting Artist

September 14, 2022

Maurice Moore, a visual artist, writer, and performer, is working with and alongside Loomis Chaffee students and faculty for the next 10 days in the Richmond Art Center. 

The visiting artist’s time on campus coincides with “Drawing Wit Light,” an exhibition of their work, in the Sue and Eugene Mercy Jr. Gallery September 20–October 25.  

Moore is a doctoral performance studies candidate at the University of California-Davis, and their work has appeared in the publications Communication and Critical/ Cultural Studies, Decoded Pride, Confluence, and Mollyhouse. In addition, they have exhibited at the Centre for Recent Drawing (C4RD) in London; Verge Center for the Arts in Sacramento, Calif.; and the Calabar Gallery in New York City, among other venues.  

Moore will meet with an audience of students in an extended artist talk where they will speak about their art and answer questions on Monday, September 19, at 7:30 p.m. in Gilchrist Auditorium. The presentation is sponsored by the Center for Diversity, Equity & Inclusion and the Norton Family Center for the Common Good.  

Two exhibitions of work by school community members will run concurrently with “Drawing Wit Light.” The Emerging Artists Exhibit, presenting students’ summer work, and the Community Art Show, exhibiting work by faculty and staff, will be on display in the Barnes and Wilde galleries. 

An opening reception for all three exhibits will take place on Tuesday, September 20, from 7 to 9 p.m. in the Richmond Art Center. 

The Mercy Gallery is open Monday through Friday from 10 a.m. to 5 p.m. and Sunday from 1 to 5 p.m. Please remember that gallery hours are subject to the school schedule. The public is welcome at the gallery but must follow Loomis Chaffee’s visitor rules posted on the COVID-19 page of the school’s website.

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Video: Mercy Gallery Opening Featuring Maurice Moore

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Drawing Wit Light, Solo Exhibition, The Sue and Eugene Mercy Jr. Gallery, Richmond Art Center, The Loomis Chaffee School, Windsor, Connecticut, 2022.

Visiting Artist 2022, The Loomis Chaffee School, Richmond Art Center, The Mercy Gallery, Windsor, Connecticut.

Art Talk at Loomis Chaffee - 2022

Moore will meet with an audience of students in an extended artist talk where they will speak about their art and answer questions on Monday, September 19, at 7:30 p.m. in Gilchrist Auditorium. The presentation is sponsored by the Center for Diversity, Equity & Inclusion and the Norton Family Center for the Common Good.

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Drawing Wit Light, Solo Exhibition, The Sue and Eugene Mercy Jr. Gallery, Richmond Art Center, The Loomis Chaffee School, Windsor, Connecticut, 2022.

Visiting Artist 2022, The Loomis Chaffee School, Richmond Art Center, The Mercy Gallery, Windsor, Connecticut.

Drawing Conversations: Engaging with Sites of History and Narrative, Drawing Conversations 4 Conference 2022

Conveners: Professor Jill Journeaux and Dr Simon Woolham. Conference Timekeeper and Q&A Host: Katy Suggitt

This one-day symposium examines the interrelationships of drawing and engaging with sites of history and narrative. At the heart of this will be drawing as an embodied act, drawing in the expanded field, variable in definition, and as both individual and collective processes. Exploring expanded drawing methodology through connecting and curating of sites’ narrative and histories might involve capturing textures, vistas, traces, movement of history and narrative. How does drawing engage with histories and narratives of sites? What does processes of methods of drawing reveal from a particular site or place? What is the relationship of the final work to a site’s history or narrative? How is history and narrative defined?

The event has 3 keynote presentations by Anita Taylor, practicing artist, Dean, Duncan of Jordanstone College of Art & Design at University of Dundee, founder and director of Jerwood Drawing (now Trinity Buoy Wharf Drawing Prize) and founder director of Drawing Projects UK, Deanna Petherbridge (CBE), a practicing artist, curator and writer of The Primacy of Drawing: Histories and Theories of Practice, published June 2010, Layla Curtis, a practicing artist and founder of Edgework, an artist-led, online store and multidisciplinary journal with a focus on place and 16 papers from practitioners, art historians and theoreticians. These will be accompanied by a selected set of poster presentations. For further information contact: Simon Woolham or Jill Journeaux at drawingconversations4@hud.ac.uk

The event is free and will be held online via Teams.

Friday 2nd September 2022

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Link: Recordings of the Sessions

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"Drawing: Findin Dat Verve of De Line", Session 4: VISCERAL panel, panelist, Drawing Conversations 4 Conference, Huddersfield, England, Sep 2, 2022.

Sundress Academy for the ARts Presents August Reading Series

The Sundress Academy for the Arts is pleased to announce the guests for the August installment of our reading series. This event will take place on August 28, 2022 from 1-3PM at Pretentious Beer Co.

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Link

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SUNDRESS ACADEMY for the ARTS, Reading Series, August 28, 2022 at Pretentious Beer Co, Knoxville, Tennessee.

MAURICE MOORE WINS THE 2022 AMSTERDAM OPEN BOOK PRIZE!

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The first of its kind in the Netherlands, the biennial Amsterdam Open Book Prize celebrates writers and artists in and beyond our far and wide community. The winning manuscript will join the catalogue of Versal Editions, Amsterdam’s community-centered small press, evolved out of nearly 20 years of the famed international literary and arts journal Versal.

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It is with great excitement that we announce Maurice Moore as the winner of this year’s Amsterdam Open Book Prize for their manuscript, Drawing While Black Mixtape Vol 1.

An evocative hybrid text-art work, Drawing While Black Mixtape Vol 1 was chosen by contest judge Raina León. León remarks, “In Drawing While Black, we are invited into a distinctive lexicon of black, queer resistance in visual art and poetry. Ink on paper as technique inserts a full celebration of blackness against the field of white. The poems, fierce and fearless, intermingle pop culture with philosophy with body positivity with revelatory moments of invitation into the artistic process in shaping meaning and the world.” Publication of the winning manuscript is slated for 2023.

Drawing While Black Mixtape Vol 1 will be Versal Editions’ second title. After the summer, the team at Versal will begin work with Maurice to publish their collection in early 2023. We are also looking closely at how to support Amsterdam’s literary community and its gathering spaces – like VERSO / – in ways that are abundant, trustworthy, health-mindful, and inspiring.

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Link

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2022 Amsterdam Open Book Prize Recipient, Versal Community-Centered Publishing & Curation Live From Amsterdam, Versal Editions, www.versaljournal.org, Amsterdam, Netherlands.

SUNDRESS ACADEMY FOR THE ARTS ARTISTS-IN-RESIDENCE 2022

Sundress Academy For The Arts Artists-in-Residence 2022

The Sundress Academy for the Arts (SAFTA), a 501(c)(3) non-profit organization, is writers retreat on a 45-acre farm in Knoxville, Tennessee that offers short-term residencies to writers in all genres including poetry, fiction, nonfiction, journalism, screenwriting, academic writing, and more. With two residency rooms and a dry cabin on site, we offer a rotating space for nationally recognized and emerging artists in all literary arts.

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Link

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Sundress Academy For The Arts Artists-in-Residence, Fellowship for Black and/or Indigenous Identifying Writers at the Sundress Academy for the Arts, August 22nd 2022 - September 4th 2022, Knoxville, Tennessee.

Byrdcliffe Artist Residency: Session 2 2022

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ARTIST RESIDENCY PROGRAMS

Since its founding in 1902, Byrdcliffe has welcomed artists—Bob Dylan, Philip Guston, Eva Hesse, and hundreds more—to and live and work surrounded by 250 acres of the Catskill Mountains’ serene natural beauty. Byrdcliffe offers several types of residency ranging from four weeks to five months to year-round for artists in multiple disciplines. The main criterion for acceptance to Byrdcliffe’s AiR program is artistic excellence and a demonstrated commitment to one’s field of endeavor. Byrdcliffe seeks to pull together artists from varying perspectives, ages, and demographics, and engage with a broad range of artistic practices. Creatives and craftspeople in all media including weavers, writers, musicians, composers, architects, filmmakers, playwrights, performance and visual artists, and artists in other disciplines are invited to apply. Emerging as well as established artists are invited to apply.

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ABOUT BYRDCLIFFE

MISSION STATEMENT

The Woodstock Byrdcliffe Guild provides a vibrant center for arts and crafts in the beautiful and unique rural community of Woodstock, New York, while preserving the historic and natural environment of one of the earliest utopian arts colonies in America. It offers a unique and inspiring combination of residency, educational, exhibition, and performance programs that encourage creative collaboration among a diverse array of artists, students, arts professionals, and the public.

WHO WE ARE

The Woodstock Byrdcliffe Guild is a regional center for the arts located in Woodstock, New York. From its 250-acre mountainside campus and its arts and performance center in the village of Woodstock, Byrdcliffe offers an integrated program of exhibitions, performance, classes, workshops, symposia, and artists’ residencies. Byrdcliffe embraces all disciplines of artistic endeavor in a collaborative spirit, and seeks creative partnership with other not for profit and educational entities in order to leverage its unique resources for the benefit of the cultural life of the Hudson Valley region. Byrdcliffe was founded in 1902 and has operated as a nonprofit organization since 1938.

As is common for not-for-profit service organizations, Byrdcliffe is funded by a combination of contributed income and earned income. Sources of contributed income include individual memberships, bequests, foundation grants, government agency grants, income from our endowment, and corporate and individual contributions. Byrdcliffe receives earned income from rentals, tuitions, sales, and tickets. Byrdcliffe is a member of the Woodstock Arts Consortium and the Woodstock Chamber of Commerce.

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Links:

1). 8 Shwat Films

2). Open Studios 8 Shwat Films

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Byrdcliffe Artists-in-Residence Program: Session 2 Saturday, June 25 – Wednesday, July 20, 2022, Woodstock Byrdcliffe Guild, Woodstock, New York.

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PSi#27: Hunger 2022 is the annual conference of Performance Studies international for 2022, to be conducted online for the very first time to enable wide participation from across the world despite our shared limitations on travel and mobility caused by the pandemic.

Performance Studies international (PSi) is a premier professional association of academics, artists, and activists working in the field of performance, a dynamic field of encounters where scholarly and artistic research are engaged with a wide variety of topics and strongly rooted in the interaction between theory and practice. Since its foundation in 1997 and its first conference in 1995, PSi has been an avenue for interdisiciplinary exchange, communication, and collaboration in the field of Performance Studies. PSi represents this field and stimulates its development by initiating conferences and other events, by means of awards and bursaries, by facilitating the circulation of information and knowledge, through working groups dedicated to important issues in the field of performance research, by means of an archive and oral history project, and with a network and a lexicon aimed towards the further development of performance research and education in a global context.

The 2022 conference theme is “Hunger”, which is the embodied and lived consequence of deeply entrenched structural inequalities in the world today, exacerbated by the coronavirus pandemic but existing prior to the current global health crisis. How can the conference as production of discourse galvanize action and thought as a form of ethical response to the current situation that has already killed millions of human lives?

The conference will feature Response Panels and Hunger Action Sessions as well as Keynote Sessions with eminent speakers. It will also have a giving component whereby a percentage of the conference fee paid will be set aside for a Hunger Action Fund.

PSi #27: Hunger in 2022 is being organized directly by the PSi Board of Directors through a Conference Steering Committee and an Advisory Board that includes scholars and advocates outside the Board and outside the field of performance.

For inquiries: psi27hunger@gmail.com.

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The Performance Studies international (PSi) Artistic Research Working Group welcomes proposals for its gathering at PSi #27: Hunger. The annual conference takes place 6-9 July 2022, and the Artistic Research Working Group (ARWG) will convene over two days, 6-7 July 2022.

The primary focus of PSi #27 is corporeal hunger—the literal deprivation of food and nourishment. However, the conference theme also recognizes a range of emotional and psychological manifestations of hunger, and the ARWG is particularly aware of the desire for physical contact and embodied sharing experienced over two years of a global pandemic. In response, we have been exploring the potential for meaningful interconnection in virtual exchange. In 2022, our experimentation with possible forms and rhythms of online collaboration will take the following form.

We invite proposals related to a current, recent or envisioned artistic research project, to be submitted by 1 April 2022. Selected participants will be invited to submit a more detailed project description accompanied by links to online support materials (video, audio, photos, text, etc.), and to make a brief presentation on this work during the first day of our gathering.

Each participant will also be paired with one other working group member to create a collaborative response to one of the projects presented on day one. These ‘response conversations,’ which will occur on day two of our meeting, can take many forms. They may be either fully prepared and rehearsed or informal and impromptu, depending on the collaborators’ interest and capacity. In this manner, we hope to both showcase our community’s activities and foster generous, spontaneous and animated exchange in a format that can be modified to fit all participants’ circumstances.

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Artistic Research Working Group

PSi Working Groups bring together individual researchers to exchange ideas about shared topics of interest. Working groups meet during the yearly conferences, and sometimes also organize additional conferences or other events in between the conferences.

A primary concern of the Artistic Research Working Group (ARWG) is to encourage and expand artist participation on the ground in PSi and to expand and integrate a spectrum of discourse strategies into the PSi environment. During several years now ARWG has hosted a space and situation called the Porous Studio during the annual conference in order to invite, include, and engage artists from the neighboring region in addition to members of the Working Group to share their artistic research processes.

In this conference, the Artistic Research Working Group will be meeting on 6-7 July across 5 time zones (California [PDT], Calgary, London, Hamburg, and Helsinki). Presenters will offer collaborative presentations. The sessions are OPEN; conference participants may join as Observers -- click 'Add to my Agenda'.

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250 words, describing the specific artistic research project that you will briefly present on the first day of the meeting.

Abstract: I Would Like A ________ meal.

Foodways is defined as a study of what, how, and why we eat with an emphasis on various food events and the food itself. My “I Would Like A ________ meal.” performance is concerned with eating the performance. This performance allows me to push further and engage with relational aesthetics, call and response, improvisation, and functionality within those in the African and African American Diasporas. Meaning, I set up calls or scores where I and the audience are encouraged to come up with responses on the spot hence the improve, but also the functionality part comes in when we realize how often microaggressions are part of all of our daily lives therefore always on the table. These requests prompt people to rethink these social issues revolving around microaggressions in different ways. Providing some solidity to these issues. Changing the way, we experience the isms. Imagine experiencing racism by taste. What does racism taste like? And if racism is so bad, why do we continue to cook it up?

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Video Links:

1). Artistic Research Working Group 1

2). Artistic Research Working Group 2

3). Artists Forum

4). Nonbinaries In Nature Series Marked Bodies Video 1, 2, 3, 4 Directed By Maurice Moore 2022

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"I Would Like A ________ meal.", Artist Research Working Group panel, panelist, Performance Studies International (PSi), Manila, Philippines, July 6-9, 2022.   

2022 Amsterdam Open Book Prize shortlist - Versal Journal

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“The first of its kind in the Netherlands, the biennial Amsterdam Open Book Prize celebrates writers and artists in and beyond our far and wide community. The winning manuscript will join the catalogue of Versal Editions, Amsterdam’s community-centered small press, evolved out of nearly 20 years of the famed international literary and arts journal Versal.

We accept chapbook-length to full book manuscripts between 25 and 80 pages. We are open to different genres and forms, including poetry, fiction and nonfiction prose, and especially experimental, hybrid and collaborative pieces. Inventive works that disassemble meaning, rethink artistic and narrative spaces, and create new landscapes visually, sonically or cognitively excite us. Writing that resists and rebels. Manuscripts that are inquisitive, urgent and evocative. Work that is humanizing and radical and necessary in the world. Collections that cohere or fragment; language that takes risks, surprises, entertains and delights us; literary expressions that push boundaries and scatter the universe. Linguistic gatherings, reckonings and cross-pollinations.

All submissions will be reviewed and judged in a collaborative process with Versal Edition's editors, readers and contest judge. A shortlist of finalists chosen by the Versal Editions team will be announced in spring 2022, followed by an announcement of the winner and runner-up as selected by the contest judge, Raina León. The winning manuscript will be published within one year of acceptance.

The winner of the inaugural Amsterdam Open Book Prize receives 10 copies of the limited-edition title and the option to order more at a reduced price. The runner-up receives a copy of the winning book. We will announce the finalists, runner-up, and winner with the explicit aim to celebrate their excellent work.

Prize shortlist! An absolutely stunning group of writers and works

These 12 shortlisted manuscripts each manifest our urgent, involved and unexpected ethos. We are floored by the quality of the work we received from beginning to end, and want to thank everyone who trusted us with their manuscripts.

Over the coming weeks, while we wait for judge Raina León’s decision on the winner and runner-up, we will feature each of these finalists on our Instagram and Twitter feeds. We hope you’ll join us in virtual applause.

And now, without further ado, the 2022 Amsterdam Open Book Prize shortlist: -

Sepideh Behrouzian, Zero/...

Matt Broaddus, Temporal Anomalies

Kristen Case, Daphne

Cavar, Minor Seasons

Kim Hannah, Meanings or Words

Jennifer Jabaily-Blackburn, Girl in a Bear Suit

Dan Kraines, Makhtesh Ramon

Maurice Moore, Drawing While Black Mixtape Vol 1

Rusty Morrison, Risk

Angela Spring, Mother & Wound: Poems

Marlo Starr, True Love King: A Cold War Lyric

etaïnn zwer, ice cream and broken dreams

Congratulations, everyone!”

- Versal Journal

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Link

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Drawing While Black Mixtape Vol 1, 2022 Amsterdam Open Book Prize Shortlist, Versal Community-Centered Publishing & Curation Live From Amsterdam, Versal Editions, www.versaljournal.org, Amsterdam, Netherlands.

PLEASE ALSO JOIN US

FOR THESE EVENTS

Co-hosted by PFS and the

Department of English at UC Davis

VOORHIES HALL, ROOM 126

Thursday, April 21

NOON-1:30 PM

Dr. Kuppers moderated discussion

for graduate students.

Friday, April 22

3:10-4 PM

SATURDAY, APRIL 23, ART ANNEX, ROOM 107 This is a FREE, in-person event, with Zoom access: https://ucdavis.zoom.us/j/97157018880?pwd=TExsSXp0K2I5WGQ3UlViUUlYeGc3QT09

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Lecture and discussion with

Dr. Kuppers on Eco Soma

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10-11:30 A.M.

Participatory workshop with special guest, Petra Kuppers

Co-hosted by the Department of English at UC Davis.

“Embodied Practice: Sensory Entanglements”

Petra Kuppers (she/her) is a disability culture activist, a writer, and a community performance artist, and the Anita Gonzalez Collegiate Professor in Performance Studies and Disability Culture at the University of Michigan. She uses ecosomatics, performance, and speculative writing to engage audiences toward more socially just and enjoyable futures. Her most recent study, Eco Soma: Pain and Joy in Speculative Performance Encounters (UoMinnesota Press, 2022, open access), explores disability culture perspectives on moving in diverse worlds (https://www.upress.umn.edu/book-division/books/eco-soma).

11:30-12:30 P.M. LUNCH provided

12:30-3:10 P.M. PFS Student Panel Presentations

PANEL I Erika Tsimbrovsky, “Asemic #2”

Gino Robair Forlin, “Gamifying the Choreography of Letterpress Printing”

PANEL 2 Avital Meshi, “The New Vitruvian”

Maurice Moore, “New Queer Cinema Aka Dat Nu Nu Quare Cinema!” 3 Snaps!

PANEL 3

Isa Leal, “Crystal Balling” (via Zoom)

Karola Lüttringhaus, “Tracing Gesture”

PANEL 4

Sarah Ashford Hart, “Moving-with Anastasis Corporal”

Aramo Olaya, “The Queer Touch”

3:30 P.M. Closing presentation with special guests, Beth Stephens and Annie Sprinkle

“Assuming the Ecosexual Position”

Beth Stephens and Annie Sprinkle have been creating multi-media art projects about love, sex, and queerness together for 20 years. Annie was a sex worker from 1973 to 1995, and morphed into a feminist performance artist and sex educator. Beth was a sculptor and installation artist and became a University art professor. She’s taught at University of California Santa Cruz for 27 years. These days the duo make environmental films through an ecosexual gaze, they produce symposiums, do theater and performance artivism. Their Ecosex Manifesto launched the Ecosex Movement. They are making a new film about fire for which they got a Guggenheim Fellowship in 2021. A new book, Assuming the Ecosexual Position—the Earth as Lover (University of Minnesota Press) chronicles their epic love story and art/life adventures.

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Link: Symposium 2022 Video

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“New Queer Cinema Aka Dat Nu Nu Quare Cinema!” 3 Snaps!”, UC DAVIS PERFORMANCE STUDIES GRADUATE GROUP SYMPOSIUM 2022, Symposium 2021-22 PFS Forum and Symposium Series, University of California-Davis, Davis, California.

2020 An Exhibit Reflecting Back

The undeniable power of artists lies in their ability to translate the everyday experiences of our personal lives into something tangible that speaks to larger social and political forces at work. The 366 days that constituted the year 2020 were filled with huge historic changes in America and throughout the world. Faced with nearly a year of sheltering in place, regional artists used their art making to process and expand upon critical events such as the Covid-19 pandemic, widespread fires throughout the West Coast, the Presidential election, and the Black Lives Matter movement. This exhibit includes work by artists such as Lynn Beldner, Andres Alvarez, Jamie Angelo, Maurice Moore, Orin Carpenter, Sally Smith, Deziree Dizon, Gayle BonDurant, Healing Arts Project, Judy Neal, Thomas Arie Donich, Pam Dixon, and Jennifer Nachmanoff, as well as a large ‘community’ wall of art submitted by scores of artists.

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The Pence Gallery is a free, nonprofit art gallery, dedicated to providing exhibits of art by local and regional artists, and is located in downtown Davis.

The Pence Gallery is a cultural venue in downtown Davis that displays 12 exhibits of art in all media, by visual artists living and working in the Sacramento Valley and greater Bay Area. Education programs such as KidsCreate, ArtSmart, and lectures are all part of our mission to connect the community with fascinating artists and in-depth information about art.

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2020 An Exhibit Reflecting Back, Group Exhibition, Pence Gallery, January 14th - March 1st, Davis, California.

Verge Center for the Arts presents:

Personal Histories; Work by 2021 AYP AIR Artists

December 11, 2021 - February 20, 2022

Opening Reception: Saturday, December 11, 6pm-9pm

Lecture: TBA

Where: Verge Center for the Arts, 625 S St., Sacramento 95811

Gallery Hours:

Thurs - Sat, 11am - 5pm; Sun, 12pm - 5pm

Contact: Liv Moe | liv@vergeart.com | c:916.448.2985

Caption: Veronica Jackson, Portrait of the Artist with Frame, 2021, documented performance. Photograph by Maurice Moore. Courtesy the artist.

Sacramento: Personal Histories; Work by 2021

AYP AIR Artists marks the culmination of Verge’s

three year collaboration with the Ali Youssefi

Project, an organization founded to honor the late

developer and community leader, Ali Youssefi. This will be the third exhibition produced by Verge on behalf of AYP, representing the work of local and national artists. This year’s artists in residence developed work exploring personal narratives relating to race, domestic labor, social injustice, the importance of grandmothers, cultural archetypes, and the temporality of human existence. The disciplines, methods, and approach each artist takes in examining these concepts runs the gamut from traditional media like painting and ceramic sculpture to spoken word and fountain construction.

Veronica Jackson is an artist, architect, and designer whose work explores visual culture. Her work “A Constellation of Blackness: Rendering Invisibility, Hypervisibility, Devaluation, and Triumph,” articulates her experience as a black woman in America. Maurice Moore continued to evolve his process during his residency, incorporating performance, writing, and gesture drawing to create immersive environments engaging his own personal experiences relating race and gender identity with black histories and cultural traditions in America.

625 S St Sacramento CA 95811 | 916.448.2985 | vergeart.com | info@vergeart.com

Yoshie Sakai and Ramona Ledesma both created work focused on familial ties relating to matriarchal roles. Sakai focused her examinations specifically on Grandmothers recording oral histories featuring individuals from Sacramento’s historic Japanese community. In addition to the interviews Sakai also engaged with local craftspeople as much as possible in the development of her work. As a Mexican immigrant who came to America in her early teens, Ledesma’s work depicts familial scenes and folkloric archetypes. Utilizing materials like papier mache and gouache, Ledesma’s seeks to recreate the comfort of home through dioramas, dolls, and domestic scenes.

Jordan Seaberry’s practice bridges the painting studio with community organizing and advocacy. During his residency he explored the troubled history of Sacramento’s west end community that was razed to make way for Capital Mall, displacing an entire community of Japanese immigrants. Nancy Sayavong, a recent transplant to Sacramento, used the belongings left behind in her Roseville home as the raw material for a series of sculptures and structural interventions.

About AYP: The purpose of the Ali Youssefi Project is to give creative innovators access to opportunities that elevate Sacramento. We invest in people, cultivate ideas, and connect communities. The Ali Youssefi Project was created by his family in 2019 to honor Ali Youssefi after his death. Ali was a proud Sacramentan and dedicated his work to harnessing the power of community and to uplift the city that he loved. It is with Ali’s impactful legacy in mind that AYP started. It’s our way to celebrate his life’s work and continue to build meaningful projects in his name.

625 S St Sacramento CA 95811 | 916.448.2985 | vergeart.com | info@vergeart.com

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#mauricemoore #aliyoussefiproject #vergeart

Maurice Moore : AYP Artist-in-Residence 2021 Interview

Davis-based performance studies artist Maurice Moore was an Ali Youssefi Project Artist-in-Residence in the spring of 2021. He talks about his art and his residency experience during the opening reception of the AYP Personal Stories exhibit at Verge Center for the Arts in Sacramento, CA on Dec. 11, 2021.

By Chris Lango

Link

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Personal Histories; Work by 2021 AYP AIR Artists, Group Exhibition, Verge gallery, Verge Center for the Arts, Sacramento, California.

Bringing Leading Global Universities Together

Shared excellence. Shared knowledge. Shared experiences.

Universitas 21 (U21) is a unique global network that brings together 27 world-leading, research-intensive universities who share a common belief in the value of collaboration and internationalisation. From Belgium to Chile, South Korea to South Africa, our member-led initiatives and programmes are designed to benefit staff, students and member institutions, through sharing resources, learning together and co-designing solutions to our common challenges. Our dynamic approach has helped nurture a global network of over 1 million students and 200,000 staff, inspiring institutional innovation for over 20 years.

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The Images of Hope competition was developed by U21’s outgoing Provost Professor Bairbre Redmond to bring the network together and share positivity across the globe. Given four headings - ‘resilience’, ‘community’, ‘creativity’ and ‘solidarity’, entrants were asked to collect and share images of the affirmation, kindness and optimism that they have seen or experienced during the Covid-19 pandemic.

We received over 200 exceptional entries to the competition, and an experienced panel of judges considered the originality of composition, the visual impact of the image, the connection of the image to the competition theme and its narrative, and the creative delivery and innovative approach of the entry. Congratulations to our winners!

Link

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"Los Afro-Mexicanos Luchan por la Visibilidad y el Reconocimiento", 19in x 26in, Ink on Paper, 2021 .

Rendering while black is an exploration of sensorial feel/felt lines both in text and performative drawings involving 2D, 3D, 4D, and Speculative fiction(s) art practices. Moreover, the work explores how Black, Indigenous, Queer, and People of Color (BIQPOC)'s have created a means of survival through visual/performance art, creating a mode(s) of active radical resistance. These mode(s) draw upon performative traditions including call and response, improvisation, reading, throwing shade, and African- American Vernacular English (AAVE). My pieces extrapolate theories both from queer of color critique and Black foodways, synthesizing different dialects of an innovative visual/text languages.

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U21 Images of Hope 2021, UNIVERSITAS 21, University of Birmingham, https://universitas21.com, West Midlands, United Kingdom.

Performance Drawing Event - C4RD- Art Talk

Adelaide Damoah, Maurice Moore and Ram Samocha in conversation with Foá, Hosea and McCall.

Tues 5th Oct 7pm BST.

Book on EventBrite: https://pd2021- conversation1.eventbrite.co.uk

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Tomorrow (Tues) evening 7pm U.K. time, an interview with Adelaide Damoah, Maurice Moore and Ram Samocha

British-Ghanaian artist A. Damoah is a London based multidisciplinary artist, using investigative practices currently spanning painting, performance, collage, image transfer & photographic processes. Since her debut exhibition in 2006, Damoah has exhibited in myriad group shows including ‘No Room for Fear’ with SMO Contemporary & Smithsonian & ‘Under the Skin’ (Royal College of Physicians Museum, London).

M. Moore is currently a doctoral Performance Studies Candidate at the University of California-Davis. His critical essays, fictions, and visual works has appeared in Existere Journal, New World Theatre, bozalta Collective, Harbor Review, Rigorous, Wicked Gay Ways, Storm Cellar Journal, Loud and Queer Zine, Strukturriss Quarterly Journal, HIVES Buzz-Zine, EX/POST MAGAZINE, Unlikely Stories Mark V. Moore has taken part in numerous American and international conferences, and exhibited his work throughout the US.

R. Samocha is an Israeli-born artist, curator and educator, presently resides in Brighton, UK. Samocha’s work focuses on the issues of personal and global transformation – he is the founder and artistic director of Draw to Perform, an international community for drawing performance practice. Since 2013 Draw to Perform organizing international symposiums and festivals, work with and support emerging and established artists, collaborations with art institutions, and run educational residencies and workshops.

Damoah, Moore and Samocha’s works are included in Performance Drawing 2021 online exhibition;

curated by @birgittahosea @caralimccall and @r.andf.mo #birgittahosea #caralimccall #randfmo

hosted by C4rd (@c4rdrawing formerly

@centre_for_recent_drawing; to celebrating the first anniversary of the publication of Performance Drawing: New Practices since 1945 (Bloomsbury 2020) #bloomsbury @bloomsburypublishing

Link

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Performance Drawing, Centre for Recent Drawing (C4RD) - Adelaide Damoah, Maurice Moore and Ram Samocha in conversation with Foá, Hosea and McCall. Tues 5th Oct 7pm BST, https://www.youtube.com/channel/UCpjTLObsHqi246splqxWEwQ.

mnEMOsphere

mnEMOsphere is a research through design project about memory, emotion, colour, atmospheres and spaces, born in Politecnico di Milano

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In the research two different approaches were used to structure the atlases: atmosphere-based and memory- based, stressing two conceptual approaches that analyse the topic of “mnemosphere" from parallel perspectives but drawing from the same sources.

"Abstract-Dimension" atlas is one of the Memory-based Atlases built by images constructed using different artistic techniques, characterized by vivid and saturated colours aimed at emphasizing the emotional impact of external places through internal emotional tones only.

mnemosphere.project The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres of spaces and atlas of emotions, among others. Then, the project analysis devices for activating the memory in exhibition spaces, through data collection and defines parameters for the design of future spaces related to memory and emotions.

Mnemosphere project, through an interdisciplinary approach, investigates the ways in which the memory of places is designed and communicated through experiential spaces capable of stimulating emotions.

The Mnemosphere Atlas wants to be a memory activator, a tool, an apparatus to navigate in the context of atmosphere, memory and emotions.

The "Abstract-Dimension" atlas shown here, is one of the memory-based atlases.

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Due diversi approcci sono stati utilizzati per strutturare gli atlanti: uno basato sulle atmosfere e l’altro sulla memoria. Due strategie concettuali che analizzano il tema della "mnemosfera" da prospettive parallele ma attingendo alle stesse fonti.

L'atlante "Abstract-Dimension" qui rappresentato, è uno degli atlanti basati sulla memoria. E’ costituito da immagini di diverse tecniche artistiche, caratterizzate da colori vividi e saturi, che mirano a sottolineare l'impatto emotivo dei luoghi esterni mediante i soli toni emotivi interni.

La ricerca considera prima l'articolazione di un lessico comune riguardante la memoria dei luoghi, le atmosfere degli spazi e l'atlante delle emozioni. Inoltre, il progetto analizza i dispositivi per attivare la memoria negli spazi espositivi, attraverso la raccolta di dati e definisce i parametri per la progettazione di futuri spazi legati alla memoria e alle emozioni.

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Link

#atlas #mnemosphere #polimi #design #images #analogies #emotions #memory #colors #space #atmosphere #exhibition #datacollection #devices #commonlexicon #Politecnico di Milano (Italy) #Italy

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Moore, Maurice. "Call and Response", 19in x 24in, Ink on Paper, 2021

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Mnemosphere Project: Atmospheres of Space Memory of Places, Atlas of Emotions, Group Exhibition, Design Department of Politecnico di Milano, https://www.mnemosphere.polimi.it, Milan, Italy, 2021.

Performance Drawing 2021 Online Exhibition

The Centre for Recent Drawing is a non-commercial curatorial space in London, for the exhibition of recent drawing and providing access and discussion for current drawing practice, and to foster the audience for drawing within the general public.

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To mark the first anniversary of the publication, Performance Drawing: New Practices since 1945 (Bloomsbury 2020), the Centre for Recent Drawing presents an online show and an in-person residency with curated events that extend the initial exploration of works in the book and considers the future of practice at the intersection of drawing and performance. Featured artists’ works were made since the date of writing and develop the book’s themes in new directions: Adelaide Damoah, Birgitta Hosea, Carali McCall, Maryclare Foá, Maurice Moore, Piyali Gosh, Ram Samocha, sophie bartholomew.

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Exhibition and Residency @C4rd Centre for Recent Drawing. (Artwork by Maurice Moore. Love Like You Ending Credits. Chalk on Blackboard. 72” x 48”, 2019). An exhibition by international artists whose practice stretches, pulls, pushes and steps across disciplines relating to drawing and performance. 14th September - 14th October 2021.

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In his practice, Maurice Moore uses bodily performance to draw upon traditions of defiance and resistance that are actioned through mark making. He is currently a doctoral Performance Studies candidate at the University of California-Davis. From 2011 to 2021, he has exhibited work and performed at galleries including the Medford Arts Center, New Jersey; Memorial Union Gallery, Fargo North Dakota; The Center for Visual Artists, Greensboro North Carolina; Christina Ray Gallery, Soho New York. He has been awarded residencies at the Penland School of Crafts, Ox-Bow; the Rios/Miralda Garbage Celebration Residency; the Verge Center for the Arts, Sacramento California and the Zoeglossia Fellowship 2020-21, New Mexico State University. Moore’s critical essays, fictions, and visual works have appeared in a number of journals and conferences including New World Theatre, bozalta Collective, Harbor Review, Loud and Queer Zine, Strukturriss Quarterly Journal, Queer Quarterly Magazine, TRACEY Drawing Research Network Conference at Loughborough University and the WTF Performance Studies?-Mini Conference at the University of California-Davis in Davis California.

Link

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LINK - PERFORMANCE VIDEO - Maurice Moore: Drawing While Black, aka Black Boy Joy (Performance Drawing, 2020)

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Performance Drawing 2021, Online exhibition (Adelaide Damoah, Maurice Moore, Piyali Ghosh, Ram Samocha, sophia bartholomew) – 14 Sept – 14th Oct, Centre for Recent Drawing (C4RD), www.c4rd.org.uk, London, United Kingdom.

BLACK IMAGERY AND IDENTITY - (Virtual) Talk -Monday August 9, 7pm

Tomorrow AT 7pm EST

JOIN US...

We will be in New York talking to artists in North Carolina, Dallas, Ghana and New York.

ART TALK: DIALOGUES

A Series by Calabar Gallery, New York

BLACK IMAGERY AND IDENTITY

Featuring Exhibition Artists:

Pamella Allen, Kwesi Nyarkoh, Maurice Moore and Inyang Essien

A Talk With Curator Atim Annette Oton @AtimAnnetteOton

DATE: Monday, August 9, 7pm EST

TIME: 12AM GMT,

11PM UTC, 1AM CAT

WHERE: FACEBOOK LIVE

AT CALABAR GALLERY

Facebook.com/calabargallery

A reminder about the exhibition:

BLACK ARTISTS IN THEIR OWN REALM: IDEAS, MATERIALS AND TECHNIQUES

curated by Atim Annette Oton

Inquire at info@calabargallery.com

Opening July 29, the exhibition explores what ways Black Artists globally are working ideas from concept to processing, using materials and techniques to evolve artwork. It will showcase a group of African, Caribbean and African American Artists whose work dig deep into ideas, materials and technique innovatively and philosophically.

Artists in the gallery:

Naomi Momoh, Winfred Nana Amoah, P. Wamaitha Ng’ang’a, Burns Effiom, Tunde Odunlade, Devynity Wray, Inyang Essien, Mecca Alim, B. Musah Swallah, Hassan Kalenga (Art of Kalenga), Aklilu Temesgen, Doba Afolabi, Alexandre Kyungu, Carl E. Hazlewood, Kwesi Nyarkoh, Pamella Allen, Manon Casimor-Sainton, (Sleepyfoot?), Xavier Kelley, Faustin Adenarin, Maurice Moore, Johnson Mugabe, Kikesa Kimbwala DeRobles, and Vera Tineo

Artists online:

Dayani Munoz Regular and Joseph Idowu

Eventbrite:

https://www.eventbrite.com/e/black-artists-in-their-own-realm-ideas-materials-and-techniques-tickets-164850429071?aff=ebdsoporgprofile

#calabargallery #nyc #newyork #artexhibition #artbusiness #curatedevites #africanamericanartist #portraitpainting #artoftheday #contemporaryart #blackcurators #atimannetteoton #pain#ink #drawings #africanamericanart #artgallery #thebusinessofart #art #artist #drawing #artwork #instagood

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https://www.facebook.com/watch/live/?v=617442069241630&ref=notif&notif_id=1628549899445114&notif_t=live_video

Link

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BLACK IMAGERY AND IDENTITY - ART TALK: DIALOGUES (Virtual Talk), Monday August 9, 7pm, Calabar Gallery, New York, 2021.

Voodoonauts is a grassroots Afrofuturist collective for Black SFF writers. Founded by two MFA students, Yvette Lisa Ndlovu and Shingai Njeri Kagunda, and the cocoa-founders, Hugh “H.D.” Hunter and LP Kindred, in response to the under-representation and isolation of Black speculative fiction writers in the SFF landscape.

They are a community space and generative writing workshop committed to cultivating the artistic and professional growth of Black SFF writers. Our founding principle is increasing accessibility.

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Workshop Recordings

Link

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Voodoonauts Summer Workshop, 2021 Cohort, Online (Zoom), Aug 1st - 3rd.

Black Artist in their Own Realm: Ideas, Materials, and Techniques

Group exhibition at the @calabargallery in NY opening July 29th 2021 - September 5th 2021

BLACK ARTISTS IN THEIR OWN REALM: IDEAS, MATERIALS AND TECHNIQUES curated by Atim Annette Oton

Inquire: info@calabargallery.com

Opening July 29, the exhibition explores what ways Black Artists globally are working ideas from concept to processing, using materials and techniques to evolve artwork. It will showcase a group of African, Caribbean and African American Artists whose work dig deep into ideas, materials and technique innovatively and philosophically.

Artists in the gallery: Naomi Momoh, Winfred Nana Amoah, P. Wamaitha Ng’ang’a, Burns Effiom, Tunde Odunlade, Devynity Wray, Inyang Essien, Mecca Alim, B. Musah Swallah, Hassan Kalenga (Art of Kalenga), Aklilu Temesgen, Doba Afolabi, Alexandre Kyungu, Carl E. Hazlewood, Kwesi Nyarkoh, Pamella Allen, Manon Casimor-Sainton, (Sleepyfoot?), Xavier Kelley, Faustin Adenarin, Maurice Moore, Johnson Mugabe, Kikesa Kimbwala DeRobles, and Vera Tineo

Artists online: Dayani Munoz Regular and Joseph Idowu

Eventbrite: https://www.eventbrite.com/e/black-artists-in-their-own-realm-ideas-materials-and-techniques-tickets-164850429071?aff=ebdsoporgprofile