Margaret Boozer
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Space of Change


District of Columbia Art Center

Exhibition Dates: September 8- October 8, 2006

Opening Reception: Friday, September 8, 7-9pm
artists' and curators' talk, 7pm

Featuring the work of:

Martin Brief
Amy Kaplan
Justin Rabideau
Wendy Weiss & Jay Kreimer


Space of Change is an exhibition about "liminal spaces"...that pocket of time during which things/people transform from what they were into what they are going to become.  

The exhibition, curated by Claire Huschle and Margaret Boozer with help from Anne Surak, will introduce the work of five artists: Amy Kaplan, Martin Brief, Justin Rabideau, and the collaborative team of Wendy Weiss and Jay Kreimer.  

Kaplan explores issues of trust, faith and illusion with her mummified stuffed animals, Brief takes a literal look at reading between the lines, Rabideau uses his native Georgia clay to explore the physical extensions of his thoughts and actions, while Weiss and Kreimer create a motion-triggered sound and fiber installation with social and political underpinnings.

In very distinct and disparate ways, each artist addresses the theme of liminality, creating an exhibition rich in the poetry of their connections and contrasts.  A brief talk with artists and curators will accompany the opening reception.

 

 

People or societies in a liminal phase are a "kind of institutional capsule
or pocket which contains the germ of future social developments, of
societal change" (Turner, 1982:45).
- Victor Turner
 
In a state of liminality, suggests Turner, communitas or the "liberation of
human capacities of cognition, affect, volition , creativity, etc. form the
normative constraints incumbent upon occupying a sequence of social
statuses" may occur. People from all levels of society and walks of life
may form strong bonds, free of the structures that normally separate them.


Not only can a state of liminality free one from the confines of one's
designated role, it can contain the seeds of the future. According to
Turner, liminal people or groups are a "kind of institutional capsule or
pocket which contains the germ of future social developments, or social
change."

 

This exhibition is part of the curatorial initiative funded by
the Andy Warhol Foundation.

DC Arts Center
2438 18th Street, NW
Washington, DC 20009
202.462.7833
www.dcartscenter.org
Wed to Sun 2pm-7pm

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Martin Brief

www.martinbrief.com

 

I will include  work from The Dictionary Series and The Newspaper Series in the Spaces of Change exhibition. Both of these projects were begun this year and are ongoing, long-term projects. The Dictionary Series will ultimately be made up of drawings from every page of the dictionary. The Newspaper Series is a series of drawings made from the front page of randomly selected New York Times spanning the  period from my birth in 1966 to the date in which the drawing is made. Although different in many respects, both projects address the human desire to know coupled with the human struggle to exist in the liminal spaces of uncertainty, confusion and interpretation. The visual simplicity of both projects belies their conceptual complexity. Both projects are simple, abstract ink drawings that are created through individual systems that are based on the original texts. The Dictionary Series drawings are made by tracing the blocks of text on each page of the dictionary. The resulting line drawings simultaneously define both the text and the surrounding negative space. Similarly drawings in The Newspaper Series define the space of the front page of the New York Times through a process of filling in all of the “O’s’” in the articles. The results are ethereal drawings, scattered with dots. In both cases the creation of the drawings rely on systems that are designed to produce specific results within tight parameters.Both the dictionary and the newspaper offer the possibilities of communication, clarification and acquisition of new knowledge. But in both The Dictionary Series and The Newspaper Series, concrete factual information is eschewed in favor of the allusion of meaning. The original source from which the drawings are made lends them an underlying structure that is very familiar—text on a page. Despite this familiarity, the original meanings are inaccessible and obscured, even though the accompanying titles refer directly to the original source. The liminal space between meaning and interpretation, between intent and reception is visually shown in the endless pattern of inked letter “O’s” and the architectural columns of the residual space in the dictionary when the words are removed. The newspaper  is presented as a source of truth and of facts but is a highly mediated form of communication. The dictionary is a rigid structure that tells us what each word means but language is nuanced and often personal, a virus that mutates and adapts. Is communication forever condemned to a liminal space?

 

 

November 30, 2005

 

November 30, 2005 (detail)

 

acne rosacea, acquired immunity

 

Martin Brief was born Chicago, Illinois.  Brief has a BFA from Northern Illinois University, and an MFA from Southern Illinois University.  Currently, Brief is an Assistant Professor at Longwood University in Virginia.  Brief has just returned from a residency at Cité Internationale des Arts in Paris, France, which culminated in the solo exhibition  A-Acneform.   Recent exhibitions include a two-person show The Western Oregon University Invitational.  Upcoming exhibitions include Martin Brief and Anna Cox:  New Work at Flat File Galleries in Chicago in November, and Simple, Dumb Objects at School 33 in Baltimore in 2007.

 

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Amy Kaplan

 

statement for "Space of Change"

Muffled and mummified, small white figures kneel in prayer.  Wrapped in their wool cocoons, they are transformed from the agile and peaceful stuffed animal and reborn into the half state, not really here or there. I am interested in the nostalgic pathos of “growing up” and the ongoing state of disillusionment. Like the time that I realized my parents were not god. Through the collection and manipulation of these second-hand stuffed animals, I am recording an anonymous history of blind faith and hope in the face of uncertainty.

Before I was presented with the idea of Liminal Spaces in this exhibition, I had no idea that my work sits literally and metaphorically in the liminality of several spaces. From the most obvious polaritiesof Art and Craft, to the conceptual ideas concerning all facets ofmetamorphosis.The piece I am contributing to the Space of Change exhibition dealswith the concept of becoming. Something turning itself into somethingelse. A stuffed bear bought at a thrift store re contextualized andreconfigured into a work of art. Through religion human beings are constantly seeking to be in thatliminal space between us and god. Not knowing for sure if this being exists, people still seek to be in the "presence of god." This is true to the point where as a society, we create fetishist objects to aid in the process. In this case, it is the praying bear.



Praying

 

Praying, detail


 

Odie Eating Odie

 

Amy Kaplan was born and raised in the DC Metropolitan area.  She received her BFA from The University of the Arts in Philadelphia, PA and went on to receive her MFA in Fiber from Cranbrook Academy of Art in Bloomfield Hills, MI.  After the completion of a residency at the Oregon College of Art and Craft in the winter of 2005, Amy has returned to Washington, DC to live and work. She is a Visual Sales Manager for the retail company, Free People in McLean, VA and is currently participating in the Capitol Fringe Festival, in Washington, DC.  Amy is looking forward to The Artist-in-Residence annual exhibition at the Hoffman Gallery in Portland, Oregon this fall.  Artistically, she is fueled by her spontaneous impulses and playful approach to art making. "Hunting" for her materials in local second-hand stores, she is attracted to the humor and remorse of the stuffed animals she finds.

 

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Justin Rabideau

MFA Sculpture UGA

http://art.uga.edu/sculpt/html/index.php?contentValue=41&cat=4#

 

Artist Statement

My work focuses on exploring the veil between the exterior action of an individual and the interior thought process of the individual’s mind.  I explore this concept through the development of wearable structures, vessels, and objects that are used to capture, carry, or preserve.  I view these sculptures as extensions of the body, external documentation of interior thoughts and life experiences.  Just as the individual reveals thoughts through actions, such as body language, my sculptures extend the interior into an exterior form. 

The wearable objects are intended to raise the awareness of both the participant and the observer as to how our possessions and actions reveal our internal life.  My sculptural objects and drawings encourage questions related to the specificity of an individual’s surroundings, and how these environments effect both mind and body. 

These pieces have strong personal relationships. At the same time, I feel my work has a humanistic quality in which others can relate to the materials, forms, and concepts of the artwork.  This concept is rooted in the idea that the human mind is an expansive vessel, which in turn, dictates our actions through our experiences and the thoughts that we carry.          

 

Proposed work for "Space of Change"

My work deals with issues of place and space.  I create objects, environments, performances, and drawings based on a concept that states, “I am the space where I am”.  I explore these issues by drawing links between the actual environment (i.e. dirt, sand, earth, seeds, etc.) and the environment of the mind, which is uncovered by the body and it’s actions.  In “A Sense of Place” these issues are brought out through the exhibition of the tools and photographic documentation of a performance.  In “A Place to Gather” the concept is based around the act of gathering both in the sense of collecting and in the sense community.  The object refer to basketry as well as the human form, while the glass acts as vessel, preserving the Georgia clay.

 

 

 

 

A Sense of Place
archival digital prints, wood, steel, leather2005
13’ x 5’x 7’

 

 


A Sense of Place

 



A Sense of Place, detail

 

"The Flower is Always in the Almond (After Bachelard)"

 

 

 

Justin Adam Rabideau was born in West Chazy, New York in 1980.  He has a BFA from The State University of New York at Plattsburgh.  He received his MFA from the University of Georgia in 2006.  In 2002, Justin was an artist in residence at the Sea Side Sculpture Park in Bridgeport, Connecticut and in 2003 was an artist intern at Franconia Sculpture Park in Shafer, Minnesota.  Recent exhibitions include Fresh Assortment, juried by Michael Lucero, Containers/Contained, a group exhibition at the Target Gallery in Alexandria, Virginia, and Introductions 05’ at the Fay Gold Gallery in Atlanta, Georgia.  Most recently, Justin participated in The First Annual Artist Symposium in Navidad, Chile, as well as, completing a commissioned sculpture now located in Athens, Greece. Future exhibitions include, Next Hot Art Stars 06’ at the Fay Gold Gallery.

 

 

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Wendy Weiss & Jay Kreimer

http://fiberscene.com/galleries/g_images23/weisskreimer10.html

 

Statement for Space of Change

Wendy:  The pull of handwoven fabric, constructed thread by thread, holds endless fascination for me. The primal appeal of the material, and the structural challenges to create precise interlacements motivate me to find textile solutions to creative problems.

Jay:   To see charged parts coalesce into a coherent whole grabs me. I make musical instruments and play improvised music. Someone sounds a move, the texture shifts, and an adequate response comes from paying attention to the forming but uncharted whole. The shaping of our work for the Space of Change moves in similar fashion.Collaboration, if approached in a relatively undefended way, opens a new zone of possibility, the Third Mind in the title of Burroughs’ and Gysin’s book.  They took the title from a book called Think and Grow Rich.

Gysin:  It says that when you put two minds together…           

Burroughs:  there is always a third mind…           

Gysin:  a third and superior mind…           

Burroughs:  as an unseen collaborator… 

(from The Third Mind, William Burroughs and Brion Gysin, 1978).

 

So collaboration itself can work as a device to open liminal space, a vital and unfinished presence between the collaborators. We have to pay attention. We ask our prototypes and sketches for the further possibilities they suggest.

 

 

 



Jay, drawing

 

Jay, hive and hand

 

Wendy, weaving

 

 

 

Wendy, weaving shuttle

 

Jay Kreimer is a sculptor, musician, composer and educator. He has a BA from the University of Nebraska and an MA from San Francisco State University.  Kreimer is an adjunct professor of writing, creative problem solving and leadership at Doane College-Lincoln.  He is an alchemist of hardware stores, surplus catalogs, and discarded objects, who seems to be in a constant creative flow with words, music, pictures and any kind of found or invented object.  He takes these in and rearranges them to present as new sounds, new writings, and new devices.  Kreimer has spent a lifetime assembling numinous realms of reality out of little scraps of possibility. Whether as businessman, teacher, musician, or in conversation, Kreimer finds what is worthwhile, and works it into a larger context.

Wendy Weiss is a Professor at the University of Nebraska in the Textiles, Clothing and Design Department and Director of the Robert Hillestad Textiles Gallery. She has received numerous awards for her work including the Winterthur Museum and Library Residential Fellowship and the Nebraska Arts Council Artist Fellowship.  She has a wide range of interests on political, environmental, societal, and creative issues that have informed and manifested themselves in her work about the natural world intertwined with the intricacies of human awareness.

Recent Weiss-Kreimer collaborative exhibitions include Innovations/Installations at the San Francisco Museum of Craft & Design, Traveler’s Field, a textile and sound environment that was that traveled from the Design Gallery at the University of Wisconsin, to the Folsum Gallery at University Place Art Center in Lincoln, NE, and the Triangle Gallery at Sinclair Community College in Dayton, OH, and RSVP/MONA: Contemporary Art Invitational Exhibition at the Museum of Nebraska Art.

 

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some information on the curators:

This is the second exhibition for the curatorial collaborative of Huschle and Boozer. The first was "Existing to Remain" in March of 2005, also at DCAC.


Claire Huschle is the Executive Director of the Arlington Arts Center, a visual arts venue with galleries, working studios, and an art education program. Huschle has served on review panels for the Alexandria Commission for the Arts, the Virginia Commission for the Arts, the Virginia Museum of Fine Arts Fellowship program, and others.  She has juried and curated exhibitions at venues throughout the region, including the DCAC, the Capitol Hill Arts Workshop, and the Maryland Federation of Art. Prior to her work at the AAC, she served as Director of Target Gallery, the national exhibition space in the Torpedo Factory Art Center in Alexandria, VA. Simultaneously, she worked as the Community Liaison for the 30 year-old center, coordinating a national conference on starting community art centers, developing cross-disciplinary programs with arts groups, and liaising with arts advocacy organizations.  She received her MA in Art History from the University of Texas at Austin and her BA from the University of Michigan.    

Margaret Boozer is a sculptor living and working in the Washington, DC metro area. She received a BFA in sculpture from Auburn University and an MFA in ceramics from New York State College of Ceramics at Alfred University. Boozer is the founder and director of Red Dirt Studio, a multi-media art seminar in Mt. Rainier, MD. Her work is included in the collection of the Renwick Gallery of the Smithsonian American Art Museum, the Wilson Building Public Art Collection and in many private collections. She is on the board of the Washington Sculptors Group and the Renwick Alliance. Recent exhibitions include “Sculpture Unbound” at Edison Place Gallery, “Clay” at Cross Mackenzie Gallery, both in DC and “Margaret Boozer: Reinvented Landscape” at Alysia Duckler Gallery in Portland, OR. She is currently developing a series of dirt drawings and dirt prints, using raw and fired local clays. Upcoming exhibitions include Mid-Atlantic Pulse:  Works from the Hillyer Committee at Hillyer Art Space in Washington, DC and Disintegration, an invitational exhbition at Arlington Art Center in Arlington, Virginia.

Anne Surak is Director of Project 4 gallery in Washington DC.  Formerly manager of Zenith Gallery, Ms. Surak has been an active participant in the Washington art community for four years and has been involved with various art promoting organizations including Very Special Arts.  She is currently part of the DCAC visual arts initiative program and is an independent curator in the Washington area focusing on promoting emerging artists in the region.  She received her BFA from the University of Wisconsin - Madison.  

 

 

comic by Jay Kreimer