Join us on Monday, November 6th from 7-8:30 pm EST for a virtual panel with the artists featured in our current exhibition hosted at MAPSpace, 𝘼 𝙋𝙤𝙩 𝙉𝙪𝙙𝙜𝙚𝙙 𝙄𝙣𝙩𝙤 𝙊𝙗𝙡𝙞𝙫𝙞𝙤𝙣. Register at: https://us06web.zoom.us/meeting/register/tZ0ldu2rpj4uHN25keV-e3i9xamVVNZXlHw8
The artists will discuss their individual practices and the mingled themes of protection, preservation, fear, and cautionary beacons in their work.
In this exhibition, eight artists handle modes of fear and fragility while either upholding or peeling away facades of fortitude. Mechanisms of warning are scratched, punched, scrawled, and lovingly arranged. Knee-jerk reactions and masterful plans share the room, mocking one another’s attempts. To fear loss is to document, sear into memory, to reincarnate. Certain terrors set familiar triggers into action — a cycle ensues. It gets into the bloodline, passing from one young buck to the next. What if inside this cycle exists a fractal pattern of ferociously-protective enfolding around those slightly more scared? Hundred-year-old tree rings huddled to one another, curve after curve. To name an amorphous fear sets its edges apart from all else, making it small against the world. There are some rules of engagement: you may lay like settled snow if at the feet of a brown bear, but a black bear will require your most monstrous form. More info about the exhibition here.
𝘼 𝙋𝙤𝙩 𝙉𝙪𝙙𝙜𝙚𝙙 𝙄𝙣𝙩𝙤 𝙊𝙗𝙡𝙞𝙫𝙞𝙤𝙣 features work by Annika Earley, Shabnam Jannesari, Elena Kalkova, Zahra Pars, Meriel Pitarka, Cynthia Reynolds, Hannah Rothbard, and Jen Schoonmaker, curated by Jenn Cacciola.
Annika Earley makes intimate graphite and gouache drawings about transformation, in-between states, and the experience of being a woman. Her work considers the gendered gaze, the demands and joys of motherhood, sensuality, and the measures women take to protect themselves in a patriarchal world. European folk tales act as recognizable reference points within all of Earley’s projects. She examines how women are represented in these tales and how their narratives reflect contemporary feminist issues of bodily integrity.
Shabnam Jannesari an accomplished Iranian artist, holds an MFA with distinction from the University of Massachusetts Dartmouth. Her artworks have been exhibited internationally and, in the US, including notable solo shows like “The Each String is a thread, Each Color is Chord” and “The Carpet Grew like a Garden” Engaging in various group exhibitions, such as “Social Memory: Sites of Remembrance” and “Crossing Cultures,” her talent has been recognized by prestigious institutions and collectors like Fidelity and the University of Massachusetts School of Law. Jannesari, an assistant professor at Hastings College, portrays the struggles and strength of Iranian women through her art, challenging societal norms and highlighting the suppressed female identity.
Elena Kalkova (b. 1991 Tver, Russia, lives and works in New York) is a conceptual artist and researcher of Post-Soviet Art History. In her practice, she explores memory and memorilessness, state propaganda, systems of oppression and violence, and complex relationships with home, especially, when the home is a dictatorship. Kalkova’s research lies primarily in the field of Post-Soviet feminist and queer art and the art of resistance and translation. She holds an MA in Global Arts and Cultures from RISD and is currently working on her MFA at the School of Visual Arts (SVA).
Zahra Pars is an Iranian American artist, who lives and works in New York City. Her paintings, explore contrasts: restraint versus excess, femininity versus masculinity, and handmade versus machine made. The horizontal lines in her paintings serve as a metaphor for language, and allude to how meaning can be both conveyed and concealed. Her work has been exhibited at the Staten Island Museum, Smack Mellon, Treat Gallery, 440 Gallery, Richard Meir’s 1 GAP Gallery, and the Tandon Digital Media Center at New York University. She has a Bachelor of Arts in Art Practice and Art History from the University of California, Berkeley.
Meriel Pitarka (b.1999) is a multi-media sculptor from Long Island, NY currently pursuing a BFA at SUNY Purchase School of Art and Design. Their practice is largely informed by experiences with undiagnosed neurodivergence and transmasculinity. Pitarka’s work is an exploration of the strained expression of identity in the context of systems that innately deny self-agency. Their upbringing in Albanian culture and the intergenerational aspects it entails exposed them to the complex interplay between identity, hierarchies, and the outward appearances that mask oppressive social systems. Neurodivergence, the masculine condition in trans bodies, and the neglected emotional terrain of both are vehicles used in their practice to critically question familiar forms that conceal struggles of the individual. They opt for industrial materials while altering sterilized forms in conjunction with the body to allude to the vague institutional structure that represses these conditions.
Cynthia Reynolds is a Kentucky-born, New York-based sculptor and installation artist. She explores spatial anxieties of body and mind, using discarded packaging she collects from the streets of the city. The scavenged packing materials carry a history as protectors of objects someone wanted. By creating or filling voids, they provided cushion, but also exerted pressure. Reynolds translates these sensations to the metaphorical packaging of the built environment and the fragile bodies it contains. She holds an MFA (Ceramics) from the University of Washington in Seattle, a BFA (Ceramics) from Kansas City Art Institute, and a BA (English/Art) from Centre College in Kentucky.
Hannah Eve Rothbard is a multimedia artist, curator, and arts administrator based in New York. She works primarily in mixed media painting, exploring the capacity and limits of built space as a container— for beauty, growth, culture, and comfort. She holds a BFA from New York University. Rothbard has exhibited at venues including 80 Washington Square East Gallery (NY), Local Project (NY), Soft Times Gallery (San Francisco, CA) and the New York City Poetry Festival (NY), and has held residency at the Materia Prima Foundation (Tuscany, Italy).
Jen Schoonmaker received her BFA from SUNY New Paltz and her MFA from Rochester Institute of Technology. She is interested in the construction of nature and time standing as a symbol, bridging the chasm between person and environment. These objects and landscapes often teeter on the edge of individuality, seamlessly blending with their owners or, at times, melting into the tapestry of our perception, intentionally hidden from view. In our relentless pursuit of control, we coax the elements of nature to perform like magicians, commanding them to disappear and reappear at our will. Within this power lies a certain cruelty—a capacity to erase the natural world on our command.
Event Location and Ticket Information
Date: Monday, November 6, 2023
Times: 7:00 pm - 8:30 pm
Get tickets now
Presenter: Ice Cream Social
Presenter Website: https://www.mirandaartsprojectspace.com/events/a-pot-nudged-into-oblivion-artist-panel-nov-6