COOLEY GALLERY NEWS /
The Cooley is proud to be partnering with home school for a series of talks as part of the (self) exhibition.
Assistant Curator of Net Art & Digital Culture, Rhizome - DEAN JOINS US REMOTELY
FRIDAY, SEPTEMBER 8, 2017, 5pm, PSYCHOLOGY 105
NAT TURNER PROJECT, Providing curatorial and creative space for artists of color
FRIDAY, SEPTEMBER 15, 2017, ELIOT 314, 6:30 PM
Part of the Portland Institute for Contemporary Art's 2017 Time-Based Art Festival
August 29 – October 1, 2017
OPENING RECEPTION: September 13, 3–7pm
Visiting artist Nona Faustine will be in attendance for an informal walk-through of the exhibition with fellow artists and the curators.
Nothing without the sound / won’t show me things / I need to hear you talking. —Fred Moten
(self). The word on the wind disperses, while the body becomes the ground. There are times when words just lift us, and self becomes something else entirely. This process-based exhibition engages a group of artists and collectives to address “one’s own person,” sheltering yet provoking it into the arms of parentheses as a symbol of awareness and repose. There snared—unpredictably paused—responses take shape in real time and are enclosed as image, as departure, as moments that turn us inside out. Erasmus called the rounded parentheses lunulae, a reference to their waning edges and cyclicality. Parentheses are leaky passages for meaning: true to experience, truer than a full stop.
All windows are open for what this exhibition will become as curators Stephanie Snyder and Samiya Bashir collaborate with the artists and an evolving exhibition context to provide a space that amplifies the works’ poetics of self-reflection, and supports the artists as they share their visions, doubts, and ideas about self.
Artists include: Paige Powell and Jean-Michel Basquiat; Nona Faustine; Nat Turner Project; home school; R.I.S.E.; Winter Count; David Kennedy Cutler; Saya Woolfalk; Dave McKenzie; and Victory Garden (Louise Eastman, Jess Frost, Tara Geer, Katie Michel, Wendy Small, and Janis Stemmermann).
At the center of the exhibition are two individual bodies of work by Paige Powell and Nona Faustine. Both artists are drawn to multiplicity as a means for making visible the social and familial energies that persistently shape our sense of self. Serial images capture these nuances in the motions of the body, the courses of a meal, or the evolution of an artwork.
In the photographic project Mitochondria, Faustine brings her camera close to the bodies of her mother and daughter alongside her own. Faustine offers us multiple images of matrilineal embodiment that express the self over time and in relation to history. Faustine positions the female body as a bravely self-aware force.
In Paige Powell’s installation of photographs and ephemera we witness the self as a lens for the study and absorption of others. This selection of material from Powell’s vast archive of 1980's New York offers a vision of the ways her photography captures and reflects community like a mirror. We see Powell in every photograph though she is rarely depicted, yet she often annotates her photographs with observations in colored pencil and crayon. Powell’s encyclopedic, declassifying history of Andy Warhol’s social and artistic milieu in particular—from the beginning of the AIDS crisis into the Culture Wars—exudes a social immediacy calcified in the self-conscious gestures of the selfie and the cell-phone photo. Many of the images depict Powell’s life with her partner, painter Jean-Michel Basquiat. The exhibition includes a series of postcards that Basquiat painted in Italy and mailed to Powell in the mid-1980s.
For the artists and collectives in the exhibition such as the Nat Turner Project, home school, and R.I.S.E., self is never separate from a conversation about the self in-relation, and this is where education and activism become a measure of the self as a mindful contributor to a future honest about the living injustices of the past.
Exhibition curators: Stephanie Snyder, John and Anne Hauberg Curator and Director, Douglas F. Cooley Memorial Art Gallery, and poet Samiya Bashir Assistant Professor of Creative Writing, Reed College. Bashir's book Field Theories was recently published by Nightboat Books.
Image: Nona Faustine, color photograph from the Mitochondria series. Quotation: Fred Moten, “Differences without Oppositions,” from The Service Porch (Tucson: Letter Machine Editions, 2016), p.17.
The exhibition and all related events are free and open to the public.
THE DOUGLAS F. COOLEY MEMORIAL
ART GALLERY, REED COLLEGE
3203 SE WOODSTOCK BLVD.
PORTLAND, OREGON 97202-8199
HOURS: NOON TO 5 P.M., TUESDAY – SUNDAY, FREE
LOCATED ON THE MAIN FLOOR OF THE REED LIBRARY
The mission of the Douglas F. Cooley Memorial Art Gallery is to enhance the academic offerings of Reed College with a diverse range of scholarly exhibitions, lectures, and colloquia in its role as a teaching gallery.
The gallery was established by a generous 1988 gift from Sue and Edward Cooley and John and Betty Gray "in support of the teaching of art history at Reed College, as part of an interdisciplinary educational experience that strengthens the art history component of Reed's distinctive humanities program." Exhibitions are coordinated in collaboration with Reed faculty members and courses, with attention to the needs and interests of the larger Portland and Northwest arts communities. A schedule of three to four exhibitions during the academic year brings to Reed and the Portland community work that would not otherwise be seen in the region.
John and Anne Hauberg Curator and Director
Registrar and Program Coordinator
Education Outreach Coordinator
Calligraphy Initiative Coordinator
Please email Registrar Colleen Gotze to be added to the Cooley Gallery announcement list and for general gallery questions.