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MADE IN WOODSTOCK VI
featuring work by CPW's artists-in-residence from 2010 & 2011
LOURDES CORREA-CARLO, NIKITA GALE, GERARD GASKIN, EYAKEM GULILAT, TOMMY KHA, GRACE KIM, DEANA LAWSON, PIXY LIAO, REBECCA MARTINEZ, YAMINI NAYAR, GINA OSTERLOH, JEANNETTE RODRIGUEZ-PINEDA, JACOLBY SATTERWHITE, PAUL MPAGI SEPUYA & SOFIA SILVA
On view: October 27 - December 30, 2012
Opening reception: Saturday, November 10, from 4-6 pm
Gallery hours: Wednesday - Sunday, 12-5pm and by appointment. Free and open to the public.
The Center for Photography at Woodstock’s (CPW) is pleased to present Made in Woodstock VI the sixth installment of our series of
bi-annual exhibitions featuring work created by recent participants of WOODSTOCK A-I-R, CPW’s residency program for artists of color working in the photographic arts.
Established in 1999, WOODSTOCK A-I-R is a workspace residency program which provides participants with time, facilities, space, and the critical & technical support necessary to move forward. The program encourages the pursuit of creative risk-taking in an inspiring and supportive environment where, working without distraction, photographic artists can focus intensely on their own work, continue works in progress, layout their goals for the future and break new creative ground. Each resident spent 3-6 weeks working and living in a home less than 1/2 mile from CPW in Woodstock, a historic artists’ colony. With quiet and solitude, yet enlivened by a community of fellow artists, WOODSTOCK A-I-R participants work in the idyllic environment of Woodstock - a gathering place renowned for its vibrant cultural history.
Representing the broad range of photographic practices and interests that WOODSTOCK A-I-R helps realize, the 15 artists featured in Made in Woodstock VI engage in an inspired and deeply self-aware dialogue on history, politics, identity, representational concerns, and more. As no two residencies are the same, the exhibition reveals the intensely diverse, dynamic interests of the artists as a group, and addresses each image-maker’s own particular story and voice.
The weighty, photo-based sculptures of Lourdes Correa-Carlo (Houston, TX) evoke the containment and constraint of buildings ranging from lean-tos to skyscrapers. Her unyielding work probes the social and industrial effects of urban planning and industrial landscape.
Nikita Gale‘s (Atlanta, GA) project and artist book “1961” juxtaposes historical document, found family slides, and mug shots from the Civil Rights era to revist and recontextualize a volatile past.
Deana Lawson (Brooklyn, NY) examines the body's ability to channel personal and social histories as well as the camrea's formal capacity for archival use. Her work speaks to the tension implicit in family versus community, intimacy versus awkwardness, and private versus public.
PIMO Dictionary is Pixy Liao‘s (Brooklyn, NY) investigation of the exchange of power between men and women in socio-cultural contexts. In navigating the relationship with her younger partner, Moro (who is Japanese) Liao (who is Chinese) has invented a visual & textual manual for their own coded language and mannerisms that is at once playful and mischevious.
For years, Rebecca Martinez (San Francisco, CA) has photographed hyper-realistic prenatal dolls and the intense emotions they provoke. In her images of a subcultlure of women who love and care for these dolls, Martinez explores aspects of the artificial and the process of creating illusory situations to fulfill emotional or psychological needs.
Combining sculpture and photography, Yamini Nayar’s (Brooklyn, NY) constructs imagined spaces on tabletops, documents them, and discards the materials so that the photograph becomes a metaphor for the construction of its meaning.
Photography and installation artist Gina Osterloh (Los Angeles, CA) constructed environments wherin light shone through pinholes pierced through paper walls. which she then drew on. The resulting images resemble an illuminated canvas which wavers between image and object, flatness and dimensionality.
Jeannette Rodriguez-Pineda (Queens, NY) incorporates assemblage techniques with photography to create multimedia pieces which distill moments, impressions, and symbols of both the human and natural world into tactile and sensory works.
Jacolby Satterwhite’s (Brooklyn, NY) uses photography, performance, 3D animation, and drawing to juxtapose sketches by his mother with a fantasy realm in which the artist uses costume and ritualized dance to act out scenes of lust, love, and heroism.
Paul Mpagi Sepuya’s (Brooklyn, NY) studio practice involves constant printing, editing, re-appropriation and recreation. His portraits communicate the desire to see and be seen, as well as his interest in using images to collect and memorialize meaning from people, places, and objects around him.
Sofia Silva’s (Baltimore, MD) work takes a subversive look at advertising language and mass consumerism. Her closely cropped scans of magazine photographs abstracts bodies and features to cartoonish, hyper-sensualized proportions.
Gerard Gaskin (Queens, NY) photographs the House and Ballroom scene in NYC - pageants in which queer, working class African-American and Latino/a come together to celebrate what it means to be gendered and sexed. Gesture, fashion, and stage personas emerge in this colorful and competetive arena as well as the close-knit community that supports it.
Originally from Ethiopa, Eyakem Gulilat‘s (Norman, OK) work deals with questions of identity and home, inviting his American subjects to be his collaborators in a representational trade-off, as he photographs them wearing traditional Ethopian clothing and they, in turn, photograph him.
Through the integration of still photography and video that manipulates time, meditation, and perception, Grace Kim (Brooklyn, NY and Berlin, Germany) gives form to intagible, visually striking experiences.
Tommy Kha’s (Memphis, TN) ongoing series examines “Yellowface” - the practice of casting Caucasian actors to play Asians - and uses self-portraiture to reclaim this “mask” while also soliciting questions about his own role in Western culture.
Collectively, CPW’s artists-in-residence build upon existing genres while injecting their own personal inquiries and perspectives. MIW VI champions these 15 talented artists of color and provides a forum for a visual engagement with a wide yet interconnected range of photographic methods, interests, and subject matter. Together, they celebrate and enrich Woodstock’s historic role as a home, community, and source of inspiration for generations of artists – past, present, and future.
To learn more about WOODSTOCK A-I-R, please click here!
CPW invites groups and individuals to schedule tours and gallery talks of the exhibition and facility.
This exhibition and its related programs have been made possible in part with funds from the New York State Council on the Arts, a state agency, with support from Governor Andrew Cuomo and the New York State Legislature.