Curated by Rachel Seligman, Tang Museum at Skidmore College
and Nadine Wasserman, Independent Curator
Update July 30, 2014:
Review in the Chicago Tribune by Lori Waxman
“LifeLoggers” was first exhibited at the Perlman Teaching Museum, Carleton College, Northfield, MN / January 10 – March 16, 2014
“Beyond Anatomy: Arworks Examine Meaning of the Body” by Amy Griffin, Albany Times-Union, April 17, 2014
“Christie’s characters are more otherworldly than dreamy. In what looks like a future inhabited only by females or female-like creatures, technology and bodies are becoming one. In “We Have Never Not Been Inhuman,” her drawings are rendered in vinyl for a site-specific installation on the windows over the security area. The plastic medium is a good fit for Christie’s pliant figures, and the site is interesting, too. As passengers are herded into their pat-downs and X-ray machines, they can gaze up on these women floating among futuristic machinery.”
(pic above: by K. Kanarek)
Albany International Airport Gallery
April 5- September 7, 2014
Public Reception: Friday, April 11, 2014, 5:30-7:30 PM
Showing new drawings on paper, and a wall-sized site-specific vinyl graphic drawing on glass
Without saying a word, we speak to one another through gesture, gaze and composure. Interpreting the nuances of this language requires intuition and a certain degree of empathy for those around us. perhaps more than any other subject matter in art, the body invites associations with our own sense of self, as well as our notions of other. In this exhibition, the human form becomes a source of allegory, personal narrative, cultural sensibiltiy and transformation.
In contrast to the tradition of aiming for at faithful likeness, the artists assembled here present subjects that are not at once who they seem. Features are intentionally distorted or hybridized; environments and events are laced with incongruities and inversions. We are prompted to consider – as these figures do – how our individual story, with its reflections on the past and aspirations for the future, fits within a collective human identity.
Artists: Darcie Abbatiello, Melanie Baker, Leona Christie, Brian Cirmo, Sean Hovendick, Sergei Isupov, Paul Miyamoto, Robert & Shana Parke Harrison, Amy Podmore, Lin Price
“‘So to Speak’ examines artistic power of language” by Amy Griffin, Albany Times-Union, Feb 6, 2013
“In her book, Leona Christie notes that Gavin read (and reread) the biography of Scarry who, as a child, made lists in the form of drawings. What Gavin does is an inversion of this — processing images into words and, by presenting them on a large scale, his sister-collaborator effectively makes images of his words.”
Gavin Christie still remembers the exact day, August 23, 1981, when he first saw the second edition of the Richard Scarry’s Best Word Book Ever (BWBE). He was at a bookstore in suburban Detroit, and ever since then, Gavin has been regularly recording all the changes and differences between the first edition (1963), which he memorized as a small child in the early 1970’s, and the second (current) edition (1980). Gavin types or hand-writes these changes every few weeks, even though the changes never change.
His practice of noticing and re-noticing is like a form of meditation. In “BWBE: Changes,” I’m presenting a series of large-scale trompe l’oeil facsimiles of Gavin Christie’s recent “Richard Scarry projects,” in which he observes subtle differences, such as: “the female bear construction / worker that drives a roller / now has a bow ribbon on her head.”
from the press release:
So to Speak, curated by Emily Berçir Zimmerman, will include the work of artists Leona Christie, Hollis Frampton, Melinda McDaniel, Fernando Orellana, Paula Gaetano Adi and Klub Zwei.
The Arts Center of the Capital Region, 265 River Street, Troy, NY
January 25 – March 29, 2013
Reception: Friday, January 25, 5-9 PM at TNO
Lecture with Johannes Goebel: March 21, 7:00 pm
An exhibition devoted to the reiteration of images in words, in which friction emerges in the process of translation, through a jarring of verbal and visual accounts. So to Speak calls into question the pervasiveness of the still and moving photographic image within our culture’s visual regime, and the dominance of visual media within today’s cultural production. In this exhibition, words will act as a prosthetic extension for the image, saying those things that the image cannot say — emily berçir zimmerman