On Line: Drawing Through the Twentieth Century
November 21, 2010 - February 7, 2011
Museum of Modern Art, New York
The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor
Left: Night Drawing 1, 2009, black & white photograph, 20 X 30 in.
Right: Night Drawing 2, 2009, black & white photograph, 20 X 30 in.
On Line explores the radical transformation of the medium of drawing throughout the twentieth century, a period when numerous artists subjected the traditional concepts of drawing to a critical examination and expanded the medium’s definition in relation to gesture and form. In a revolutionary departure from the institutional definition of drawing, and from the reliance on paper as the fundamental support material, artists instead pushed line across the plane into real space, thus questioning the relation between the object of art and the world. On Line includes approximately three hundred works that connect drawing with selections of painting, sculpture, photography, film, and dance (represented by film and documentation). In this way, the exhibition makes the case for a discursive history of mark making, while mapping an alternative project of drawing in the twentieth century. The exhibition includes works by a wide range of artists, both familiar and relatively unknown, from different eras of the past century and from many nations, including Alexander Calder, Mimi Gellman, Monika Grzymala, Mona Hatoum, Eva Hesse, Anna Maria Maiolino, Karel Malich, Aleksandr Rodchenko, and Richard Tuttle.
Traveler: new works
October 1 - 25, 2009
In between Terra Firma and Terra Incognita there is
another place, a place in which we actually dwell. This place has
no name and is part of the geography of the imagination.
This exhibition explores the notion that mapping is a relational, contextual endeavor largely based on one’s personal geography. In considering the many navigational tools and means of orienting oneself, I am charged with a perplexing question. How do we ever know where we really are?
In October of 2008, I had the opportunity to take a seventeen-day excursion across Germany. During that time I was thinking about my identity as a Jewish/Ojibway woman crossing Europe, I kept thinking about the way in which we identify one another, in my case as a woman of a certain age, gender, social class, and indeterminate ethnic origin. With the Traveler series, I wanted to explore what would happen if my visual identity was withheld. I wanted to see if could I affect my sense of exile and also my sense of belonging through assuming the role of a cipher, an embodied being with few identifiable attributes.
In the second series “dreamwalk”, the fluid lines trace the paths of metaphysical walks taken within my imagination on a series of topographical maps. The trails that are left in the wake of the traveler mark a circuitous journey mapped out over time. The locations of the “dreamwalks” can only be hinted at, situated as they are deep within the psyche of the traveler. They resist explanation and point to a paradoxical collision of the real and the imagined.
In the third series “nightdrawing” I continue my exploration of walking, drawing and mapping through the performative action of walking my imaginary “dreamwalks”. A number of my original “dreamwalk” drawings were input into a GPS handheld tracker as a “map” and given GPS coordinates, which were then attributed to a specific field near my home. These photos exemplify the marriage of psychogeography and the physical re-tracing of the walk, with their powerful impact resonating from the disorienting orientation of their location and position in space.
PHOTOGRAPHY: take three
April 30 - May 31, 2009
Memory and Métissage: recent photography & sculpture
September 6 - 30, 2007
This mixed media exhibition of photographs and sculptures, in an installation format, explores issues of memory and the intersection of cultures, Jewish and Ojibway-Métis. Métissage refers to a melding of cultures, to the in-between place where an emergent new hybrid of the two orginals is manifested.
photo: Peripheral Vision, model of installation.
Left: Blood Ties, 2007
Right: Spectral Evidence, 2007 (12 elements)Memory & Métissage installation, September 6 - 30, 2007,
Left: Spectral Evidence, 2007 (12 elements)
Right Upper: Vessel 1 & Vessel 2, 2007
Right Lower: Conduit 2, 2007Blood Ties, 2007
leather, stones, woodBlood Ties, 2007 (detail)
leather, stones, woodSpectral Evidence installation, 2007, digital photograph, Overall size: 46.75 X 87 in., Each framed: 13.5 X 19.5 in.#1. Spectral Evidence, Common Murre, 2007
digital photograph, Framed: 13.5 X 19.5 in.#2. Spectral Evidence, Marmot, 2007
digital photograph, Framed: 13.5 X 19.5 in.#3. Spectral Evidence, Red Fox 2, 2007
digital photograph, Framed: 13.5 X 19.5 in.#4. Spectral Evidence, Cormorant, 2007
digital photograph, Framed: 13.5 X 19.5 in.#5. Spectral Evidence, Sea Otter 1, 2007
digital photograph, Framed: 13.5 X 19.5 in.#6. Spectral Evidence, Red Fox 1, 2007
digital photograph, Framed: 13.5 X 19.5 in.#7. Spectral Evidence, Crow, 2007
digital photograph, Framed: 13.5 X 19.5 in.#8. Spectral Evidence, Beaver 1, 2007
digital photograph, Framed: 13.5 X 19.5 in.#9. Spectral Evidence, Marmot 2, 2007
digital photograph, Framed: 13.5 X 19.5 in.#10. Spectral Evidence, Beaver 2, 2007
digital photograph, Framed: 13.5 X 19.5 in.#11. Spectral Evidence, Sea Otter 2, 2007
digital photograph, Framed: 13.5 X 19.5 in.#12. Spectral Evidence, Blue Heron, 2007
digital photograph, Framed: 13.5 X 19.5 in.Conduit 2, 2007
blown glass, plaited natural fibre, leather, wood, Base: 36 X 60.5 in.Peripheral Vision, 2007
Jelutong wood, wood, leather, glassPeripheral Vision (detail), 2007
Jelutong wood, wood, leather, glass
photography, in editions of nine