1/4

“Have these differences been blurred in our era of globalization or do they still exist? To what extent does one only perceive a difference because knowledge of an artist’s name and location results in cultural stereotyping?”

 

Twelve artists from the United States and twelve from Europe each made a piece of work with a concept of their choosing in mind. All artists then, via lottery, swapped concepts and made a second piece in response to what they received.

 

The exhibition, Site Effects, was curated by Katja Toporski (USA) and Anja Eichler (Germany) and was on view at the Bayerischer Kunstgewerbeverein, BKV from January 17th - February 29th 2020. Future venues for this exhibition include the Art Alliance and Baltimore Jewelry Center the following Summer and Fall.

1/1

“Full Disclosure aligns with Alpesh Kantilal Patel’s case for an exposure of personal history in his book Productive Failure: Writing Queer Transnational South Asian Art Histories. Patel argues that he cannot write histories outside of his own biases and identity, disclosing personal information about himself at the onset in order to render his text as a subjective entity that exists within a context. In his introduction, Patel acknowledges that the art history he writes will be limited; that it is actually impossible for it to be the only art history and totally comprehensive. Thus, his endeavor is a type of productive failure.    

 

Curators Shelly McMahon and Katrina Wu find that full disclosure is a viable strategy within art-making to oppose current political authority seeking to uphold a singular, patriarchal narrative by falsifying and distorting information. This attempt to spin journalist coverage to align with a singular agenda excludes a majority of experience and results in dysfunction leading the community to stagnate. McMahon and Wu aim to present artists and their works under the context of Full Disclosure: as non-fixed entities that exist within a multiplicity of experience.“

 

Full Disclosure was on view during Schmuck 2019 in Munich.

1/1

Form.Print explores the processes within digital fabrication. The challenge for participating artists was to create work that maximizes the unedited potential of additive and subtractive digital tools. Files were submitted by artists and fabricated on site by TU faculty and students.”

 

This exhibition was curated by Joshua DeMonte and was on view from February 1st - April 20th at the Center for the Arts Gallery at Towson University, MD.