Visions of Liberty, Rooms With Views. Squaring The Circle: Harriet Hale Woolley, Past & Present
Art Exhibition at the Fondation des États-Unis, (June 6 - July 31, 2018)
Transatlantica, 2018
This article is a critical response to an exhibition held at the Fondation des États-Unis (Cité internationale Universitaire) from June 6th to July 31st 2018 entitled “Squaring The Circle: Harriet Hale Woolley, Past & Present”, which gathered together fourteen past recipients of the Harriet Hale Woolley scholarships in the visual arts. The exhibition focused on the history of the grant and its importance to American artists studying in Paris, as well as what it means to be an American artist living abroad in France. This article takes the pulse of a particular community of artists who are reunited through their work in the exhibition and reflects on their common experience and the dialogue that emerges from their work, and joins them together.
Image : Lucy Kirkman, The Process of Painting (2010)
This article is a critical response to an exhibition held at the Fondation des États-Unis (Cité internationale Universitaire) from June 6th to July 31st 2018 entitled “Squaring The Circle: Harriet Hale Woolley, Past & Present”, which gathered together fourteen past recipients of the Harriet Hale Woolley scholarships in the visual arts. The exhibition focused on the history of the grant and its importance to American artists studying in Paris, as well as what it means to be an American artist living abroad in France. This article takes the pulse of a particular community of artists who are reunited through their work in the exhibition and reflects on their common experience and the dialogue that emerges from their work, and joins them together.
Image : Lucy Kirkman, The Process of Painting (2010)
"For A.F." (part i) chez Parentheses
summer 2018
"The magnetism of my unheralded hometown, Cleveland"
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News-Decoder, February 2018
"All anyone can ever seem to remember about the U.S. city of Cleveland is that our river caught on fire. Several times..." |
"Egyptian phantoms", ESSAY
love, -j., March 2016
"As a boy, I wandered galleries lined with elaborate unearthed coffins -- dollhouse versions of chattel (human and material) to haul with you to the afterlife, the rows of stiff humorless shirtless martinets mid-stride, bedecked in serpentine headdress. I did not radiate the fascination of some of my schoolfellows.
Picking my way through the Cleveland Museum of Art’s new exhibition, Pharaoh: King of Ancient Egypt, I felt like one of the cats on display: stony, indifferent, curious. Yet as I slinked through the galleries I surprised myself in wonder..."
"As a boy, I wandered galleries lined with elaborate unearthed coffins -- dollhouse versions of chattel (human and material) to haul with you to the afterlife, the rows of stiff humorless shirtless martinets mid-stride, bedecked in serpentine headdress. I did not radiate the fascination of some of my schoolfellows.
Picking my way through the Cleveland Museum of Art’s new exhibition, Pharaoh: King of Ancient Egypt, I felt like one of the cats on display: stony, indifferent, curious. Yet as I slinked through the galleries I surprised myself in wonder..."
"Still Movement", Essay
love, -j., March 2016
"I’m almost hesitant to label UNFIXED: The fugitive image as a photography exhibition. The show, currently on exhibition until April 3 at the Transformer Station (the Cleveland Museum of Art’s West Side annex), resists traditional assumptions about photos as pictures. Instead, it asks us to approach photography, and video, as a process that does not immortalize, but like all things inevitably dies. That death is written into the works encourages us to treat them as living objects, to find beauty in their movement, meaning in their brief passage, as in our own..."
"I’m almost hesitant to label UNFIXED: The fugitive image as a photography exhibition. The show, currently on exhibition until April 3 at the Transformer Station (the Cleveland Museum of Art’s West Side annex), resists traditional assumptions about photos as pictures. Instead, it asks us to approach photography, and video, as a process that does not immortalize, but like all things inevitably dies. That death is written into the works encourages us to treat them as living objects, to find beauty in their movement, meaning in their brief passage, as in our own..."
"It being summer, "All this about the weather, or the light in the morning", and "P.S." FORTH Magazine, November 2015
"Here With The Boys, The Concepción Sessions"
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News-Decoder, November 2015
"Paulo, Pablo, Pablo, Paolo and Marcelo. A night a while back I turned to introduce Pablo and before I could stumble, forget and mispronounce his name, he cut me off. “Not Paulo, not Paolo and not pololo.” Pololo — boyfriend — is a sure way to know someone’s from Chile..." |
"Chile and Pinochet’s lingering legacy"
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News-Decoder, September 2015
The country was littered with flags this past weekend. You couldn’t walk down a street without seeing them flying in yards and from apartment windows. |
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& "Nights of Sleeping" in Nº 35.
Le JOurnal De CHARLES SWANN
