#Angela Conant

[svaartpractice]

Angela Conant at SARDINE

FreeHand, curated by AP alum Angela Conant opens this weekend at SARDINE in Brooklyn. It features work by Juan Pablo Baene, Angela Conant (AP ‘13), Beka Goedde, Bradford Kessler (AP ‘13).

[momateens]

This is NOT a Drawing Class: Week 5!

Guest artist Angela Conant joined us to share her work and join us in a rubbings drawing project! Thanks Angela!

[dodoughert]

Abraham Herschel, God’s Search for a Man: Brandeis University—An Irishman

By Dr Patrick ODougherty

Brandeis University is the leading Jewish University in America. Angela Davis attended this university and then went on to Marxist leadership in Europe. People could not believe what happened to Patrick A ODougherty when he visited Brandeis University during welcome week!

Brandeis University

Waltham, Massachusetts

415 South Street, Waltham, Massachusetts

02453

Average annual cost before aid is

$73,335

Undergraduate enrollment is 3,624.

Welcome Week at Brandeis!

I lined up with the incoming students during welcome week at Brandeis. I had just attended an Austrian Studies aprogram where the issues of animality were featured by a Benedictine Scholar friend. Brother Gregory Conant, OSB

attended the event at Waltham. The initiation was such a shattering blow to idealism I, Patrick ODougherty, called for a faculty librarian conference center in the library and shared the truths Patrick ODougherty is definitely NOT Jewish. I told the staff I, Patrick ODougherty, would like to see some or many of the students at Brandeis succeed. The Holocaust in Europe just happened, History repeats. I personally do not want to walk out the door in Waltham, Mass and walk over to a local pharmacy and rate the pharmacy ahead of a Brandeis University. Brandeis University failed to come up to the level of the Walgreens in a Waltham. The local Irish politician running for office in a Waltham had the Brandeis faculty best cold. What would you make of a public reflection like this in Brandeis campus?

Abraham Heschel wrote “God’s Search for a Man.” Voila, Brandeis came into Dr Patrick ODougherty, an Irishman.

[tvbusinessnews]

Kelly Can’t Stop Giggling While Making Italian Food With Jenna Fischer, Angela Kinsey & Scott Conant – Latest Television News

If you love to know the latest news about your favorite tv shows or brand new television series, you’ll enjoy watching this video: Kelly Can’t Stop Giggling While Making Italian Food With Jenna Fischer, Angela Kinsey & Scott Conant by The Kelly Clarkson Show.

via The Kelly Clarkson Show on YouTube

[worklabournewsresearch]

National Geographic Magazine: Women: A Century of Change

Special Issue: National Geographic Magazine, November 2019: Women: A Century of Change

The Essays:

“Why the future should be female, by Michele Norris: “So how do you change a system that is designed to dole out less to women in terms of personal safety, respect, earnings, stature, or accolades? How do you refuse to give your consent when the system slots you into a lower shelf that says ‘inferior’?...People invested in the status quo will always be looking for people who can be made to feel inferior. It’s the wobbly floor they stand on. But in this moment, where there’s so much promise and so much at stake, let’s make sure that it’s no longer easy to find women and girls who can be made to feel inferior. Let’s make sure they know their power and their place—as equals.”

The best and worst countries to be a woman, by Eve Conant: “No country has it all when it comes to gender equality, but some places are better than others to be a woman. The Women, Peace and Security Index seeks to understand these global differences by measuring women’s inclusion in society, sense of security, and exposure to discrimination—key indicators of how women are faring. The latest data show that some of the worst countries for women have achieved gains, even as some of the best are lagging in crucial areas.”

Around the world, women are taking charge of their future, by Rania Abouzeid: “In recent years women from France to India and from Namibia to Japan have felt more empowered to call out men’s wrongdoing, leading to a global conversation about sexism, misogyny, and the power dynamics that women are subjected to in the home and beyond.In many ways it’s still a man’s world, but from politics to the arts, women are working to change that in their communities. It’s a mission playing out in several arenas: in government institutions, inside the workplace and home, through activism on the streets, and in the ability to tell their own stories and shape their societies.”

How women in India demanded—and are getting—safer streets, by Nilanjana Bhowmick: “For women in India, the safety statistics are grim. The National Crime Records Bureau in 2011 reported 228,650 crimes against women, including murder, rape, kidnapping, and sexual harassment. That year an international survey ranked India the world’s fourth most dangerous country for women, behind only Afghanistan, the Democratic Republic of the Congo, and Pakistan... Local and national agencies have poured money into new women’s safety initiatives. In 2013 the leadership then in power set aside $145 million, calling it the Nirbhaya Fund, for measures to boost women’s security. The current government has promised nearly three times that amount to start turning eight major cities, including Delhi, into safer, better lit, and possibly more compassionate places for women.”

Rwanda's legislature is majority female. Here’s how it happened. by Kennedy Elliott: “Women account for roughly half the world’s population yet they occupy less than a quarter of political seats. Rwanda is an outlier, with more women in power, proportionally, than any other country (followed by two other authoritarian-leaning nations, Cuba and Bolivia). But political parity—whether through appointments or elections—remains an elusive goal in many countries.”

How women are stepping up to remake Rwanda, by Rania Abouzeid: “Rwanda has moved from a nation that treated women like property, whose chief function was to have children, to one that constitutionally mandates that at least 30 percent of government positions are occupied by women. Since 2003 Rwanda has consistently had the highest female representation, proportionally, of parliamentarians in the world—currently 61 percent in the lower house. Four of the nation’s seven supreme court justices are women, including the deputy chief justice.”

Once, most famous scientists were men. But that’s changing. by Angela Saini: Even where the doors to the sciences have been pried open, life for women inside is often not easy. Sexism and misogyny linger in both overt and subtle ways. For example: A recent analysis of authorship of nearly 7,000 study reports in peer-reviewed science journals found that when the co-author overseeing the study was a woman, about 63 percent of co-authors were female, on average; when the overseeing co-author was a man, about 18 percent of co-authors were female.”

[glenlilygrounds-blog]

Our 2017 Line Up of Artists

Joseph Ayers

Jamie Chesser

Dave Choi

Vivien Abrams Collens

Angela Conant

Tom Costa

Andy Cross

Amy Feldman

Stacy Fisher

Daniel Giordano

Beka Goedde

Kate Harding

Gabriel Hurier

Will Hutnick

Julian Armand Jimarez-Howard

Elisa Lendvay

Charlie Malgat

MaryKate Maher

Matthew Mahler

Page Ogden

Antonia Perez

Trevor Reese

Kristen Rego & Nik Jacobs

Ryan Roa

Steve Rossi

Ryan Scails

Zach Seeger

Greg Slick

Elisa Soliven

Jean-Marc Superville Sovak

Karen Tepaz

Julia Whitney-Barnes

Andrew Woolbright

[postofficepostoffice]

DEUTERANOPE @ GALLERY CA/ICA BALTIMORE (ANGELA CONANT)

by joseph shaikewitz

In her recently closed show with ICA Baltimore at Gallery CA, Angela Conant investigates a curious relationship with color. As the exhibition title “Deuteranope” clinically asserts, the presentation of paintings, sculptures, video, and installation peruses the condition of colorblindness through visual and performative manifestations. In this theoretical starting point alone, the writing of Clement Greenberg, the grandfather of formalism, immediately swarms my mind: is this a formalist exploration of color’s relationship to human vision? I resist this notion and, at times, Conant does too; in fact, it is in these sparse moments of rebellion that the exhibition stands out with a vibrant and inspired potential.

“Deuteranope” is unabashedly ambitious in its thorough approach to the sensory reception of color. A large-scale video projection (Color Cast, 2015) offers an ongoing soundtrack of the exhibition’s thematic linchpin as four actors, including the artist herself, define the visual phenomenon of color and feebly attempt to explain various hues through spoken language. Seated as newscasters, the performers parody the feigned objectivity of the media when confronted with a complex and subjective headline such as color. While the work at times nears too literal an approach to the overarching subject at hand, its saving grace comes in the uncanny and dry delivery of dialogue, sporadically reminding viewers of the intricacies of visual perception as they explore neighboring works.

A scattered series of paintings chiefly paired in diptychs (Human Gesture Paintings 1-5, 2015) is alive with formal interest but, when taken at face value, remains conceptually underwhelming. Each work treats a simple, gestural mark with careful dabs of pigment and consequently reads as sculptural and tactile rather than a hackneyed expressionist swath of oil paint. Conant conceives of the works in sets: one in bright pinks and purples over a field of flat green, the other in muted earth tones over a deep black ground. Through the latter, the artist intends to replicate the range of colors perceptible by those with red-green colorblindness. While I appreciate that Conant appears to ‘get to the point’ through these images, once again I remain unconvinced by the namesake premise of the exhibition. In other words, why are we supposed to be thinking about colorblindness now?

This is not to say that the exhibition completely misses the mark. Where Conant stands out and ultimately excels is in her conception of a transmedia practice that situates painting and sculpture in a refreshingly dynamic relationship; emblematic traits of painting inform the creation of the sculptures, and vice versa. The image of each Human Gesture Painting, for instance, finds a three-dimensional, wall-mounted analog rendered in a coarse mass of plaster and sand (Human Gesture Series, 2015). Three sweeping forms appear tucked away beneath an imposingly low window while others fully occupy a dark gallery-within-the-gallery and receive intoxicating washes of red and green light. The simple starting point of the gestural brushstroke not only motivates the shape of each sculpture, but is itself disrupted as the paintings resolutely and attentively render the contours of a carefree flick of the wrist.  The sheer muddling of the processes behind each artistic format revives what might otherwise be a conceptually wanting show and leaves me yearning for more of this rich transmedia experimentation.

The current state of medium or—to re-insert Greenberg—medium specificity is a tricky one. Mixed-media approaches have assumed an established and respected place in the history of art, most notably with the Neo-Dada craze of the 1950s championing a persistent and ever-present crossover between traditionally separate media. On the other hand, following painting’s rise from its illusory ‘grave’ over the past two decades, a recent glorification of the specific capacities of the isolated medium has renewed and energized how we think about pigment on a flat surface. Conant’s transmedia approach feels markedly different and critically needed—the development of a medium unspecific practice. As she translates not only forms but characteristic elements between the acts of painting and sculpture—simultaneously adhering to and augmenting the specific attributes of the two—Conant proposes a vision of medium that complicates its prevailing treatments. What might a variety of different artistic media look like in a detached yet nevertheless mutually reflexive relationship? While this question may not fully emerge through the thematic fog of Conant’s exhibition, its budding suggestion promises a captivating viewpoint from the artist to come.

[svaartpractice]

Angela Conant and Sarah G. Sharp at the ICA Baltimore

Angela Conant (AP ‘13) and Sarah G. Sharp (AP Faculty) are showing work in the 2019 Flat Files Exhibition at the ICA Baltimore.

[svaartpractice]

Angela Conant at AGENCY

Angela Conant (AP '13) presented the "Second Annual Opposite Day" at AGENCY in Dumbo, Brooklyn tonight, December 18 at 7pm.

[svaartpractice]

The AP Questionnaire: Angela Conant

What was the last thing you made?

I made three works on paper by taking rubbings of my recent marble sculpture. I made a sculpture of a face with the eyes, mouth and nose raised and flat expressly for the purpose of making rubbings. I am working on a series of three of these marble faces, so that I can make rubbings that will be portraits made of a mixture of all the various combinations of facial features from all three sculptures. I am going to show the three marble works up in Newburgh, New York at an annual outdoor sculpture show organized by Lacey Fekishazy, director of SARDINE Gallery. I will accompany the marble pieces with a large sheet of paper and wax crayons so that people who attend the show can add rubbings to what will become a large collaborative, participatory drawing.

What was the last thing you read?

I'm not making this up, but it seems unbelievable since it is a piece of writing that is influential to me and my work: Joan Jonas: Cult of Lateral Thinking by Judith Rodenbeck (published in Modern Painters February 2007). I re-read it yesterday because I assigned it to my Pratt sophomore students this week. Rodenbeck adeptly connects Jonas to artists who influenced her, like Joseph Beuys, as well as those she has influenced, like Pipilotti Rist. I am especially interested in Jonas' use of physical distance, femininity, technological media and literary references, all of which the article concisely and properly describes. 

What was the last exhibition you saw?

Most recently: the exhibition/print sale I co-curated at The International Print Center of New York, which opened this past Friday night. But also, last weekend I went up to the Studio Museum in Harlem and saw the artists in residence exhibition, We Go As They, including the first in a series of performances by Autumn Knight called Sanity TV, a talk-show-formatted piece wherein Knight invited audience members to sit on her lap and eased them into improvisational performances. Two "guests" adopted impromptu characters, one of a crack-smoking dog and another of a zoo gorilla who became famous for taking a selfie. 

What motivates your practice?

I believe in art. I have a strong belief that art is a way, in itself, to articulate life, the world and existence as well as to propel or expand thought. I am motivated by the very moment of the expansion of thought, when an idea occurs as a result of context, the previous idea, the previous work, or another's work. These are only a few examples of the instances when an idea can occur. I am motivated when I see work made by fellow artists in any medium, because I am reminded that we each have a valuable perspective and that individual voices together comprise the shape of our time. It is likewise encouraging to know that others are reciprocally motivated by my ideas. I also like learning how to make things and experimenting with various media; I am driven to see my ideas realized in various forms, because until an idea is manifested, it is impotent.

How has your practice changed?

My practice changes frequently because my attention is not held by one medium or idea for very long. Working with unfamiliar materials helps me think of things to make, so I purposefully change my practice to encourage my thinking process. I studied painting in undergraduate school, so I was mostly working in paint and making works on paper, and then began working in sculpture and video after school. In grad school I learned how to apply research, thought and ideas to my work in a more long-form way. I also appreciate cohesiveness, so I combine my work in all these various forms into individual works. I use my own sculptures as painting references, and in my videos, objects I've made become props or characters.

Who do you most admire?

I most admire people who know what they want, and people who put their lives or livelihoods on the line for what they know is right for the greater good. Examples are Chelsea Manning, or Billie Jean King, the tennis player who made a spectacle of herself in the 1970's to raise awareness for women's and gay rights. This was within sports, but it was also very performative and constructed a lot like an artwork in that sense. 

Your favorite artwork made before your lifetime?

Ana Mendieta's Silueta Series.

Your favorite artwork made during your lifetime?

A Becoming Resemblance by Heather Dewey-Hagborg in collaboration with Chelsea Manning, wherein Manning sent cell samples to Dewey-Hagborg from prison, and the artist had them digitally analyzed to construct images and ultimately 3D printed faces based on Manning's DNA.

[svaartpractice]

Angela Conant and Kate Harding at IPNCY

Angela Conant (AP '13) co-curates and Kate Harding (AP '14) shows work in "Published by the Artist," opening tonight at IPCNY.

[svaartpractice]

Angela Conant at Agency

Angela Conant (AP '13) is showing work in "How to Draw the Human Figure" opening tomorrow at Agency in DUMBO.

[svaartpractice]

Angela Conant in the Nasty Women Exhibition

Angela Conant (AP '13) will participate in "Nasty Women Exhibition" at the Knockdown Center this Thursday, January 12th, 7pm to January 15th, 11pm. 

[svaartpractice]

Work by KATE HARDING and ANGELA CONANT featured in GlenLily Grounds 2016

MFA AP Alumni Kate Harding ('14) and Angela Conant ('15) are participating in GlenLily Grounds 2016, an outdoor exhibition of site-specific art in Newburgh, New York. The show is open this weekend, September 24-25.

[svaartpractice]

Angela Conant (MFA AP13) and Kate Harding (MFA AP14) are exhibiting in MAKE DO, a two person show at SARDINE gallery in Brooklyn. In the words of the artists “To MAKE suggests the manifestation of form. To DO is to carry out an action. To MAKE DO is to work with what is around.” The show opens with a reception from 6 to 9pm on Saturday, April 16 and runs through Sunday, May 1, 2016. SARDINE is located on the ground floor of 286 Stanhope Street, Brooklyn. 

[svaartpractice]

It is important to recognize the creative process in non-art contexts. If the culture of rural areas contained an integrated view of art, creative decisions that are necessary every day would be more valuable.

Angela Conant (MFA AP13)