October 1-November 7, 2015:
Curated by Melissa Feldman
FREE PLAY brings together an international array of artists who produce works modeled on games and play. Whether derived from the playground, the video arcade, the casino, or the rec room, each artist in the exhibition reinvents a playable "game" that reveals social, philosophical, and cultural issues. From re-enacting territorial disputes to the use of mathematical strategy, the artists in FREE PLAY create experiences for visitors that raise political awareness.
Featuring work by Cory Arcangel, Patrick Bernier & Olive Martin, Ruth Catlow, Mary Flanagan, Futurefarmers, Ryan Gander, Jeanne van Heeswijk & Rolf Engelen, Allan McCollum & Matt Mullican, Paul Noble, Pedro Reyes, Jason Rohrer, David Shrigley, Erik Svedäng, and Yoko Ono.
Free Play is an exhibition curated by Melissa E. Feldman and organized and produced by Independent Curators International (ICI), New York. Free Play was made possible, in part, by grants from the Elizabeth Firestone Graham Foundation and the Robert Sterling Clark Foundation, and with the generous support from ICI’s International Forum and Board of Trustees.
November 12-December 13:
MAKE DO: stitch/dye/weave/form
Curated by Mara Baldwin and Vin Manta ('17)
MAKE DO is an exhibition presenting work by artists whose contemporary studio practices engage in traditional techniques, negotiating the separation of work vs. home, value vs. labor, aesthetics vs. function, and art vs. craft. Whether it be through the manipulation of clay, wood, plant pigment, or fiber, the artists in this exhibition choose to work using traditional handmade techniques as a way to self-define their relationships with value, labor, and time.
In contemporary markets, the distinction between art and craft is severe—the former belonging to distinction as ‘high art’ through association with galleries and museums, while craft tends to be labeled as ‘low art’, relegated to commercial and domestic spaces. This socialized binary of form vs. function reflects our own understandings of valuing labor according to capitalist systems—an object that rests on the laurels of its aesthetics rather than its function is thought of as more valuable than an object which is made to be touched and used. Of course, this dichotomy builds a false hierarchy—can art’s function be elevated beyond aesthetics because it provides opportunities for discourse? Can’t crafted functional objects be aesthetically pleasing and pedagogically sound?
Featuring work by Julie Crosby, Sarah Gotowka, Aram Han Sifuentes, and Jonathan Kline.