January 17 – March 31, 2013
At the core of Cash Crop by creator Stephen Hayes are 15 life-size sculptures of shackled people placed in boat- or coffin-like structures, with diagrams of captive, warehoused humans in Trans-Atlantic slave ships carved in wood on the back. The sculptures represent, Hayes says, “the 15 million human beings kidnapped and transported by sea during the Trans-Atlantic slave trade.” Through these works and others in the exhibition, Durham, N.C., native Hayes invites the viewer into an emotional, physical and psychological space to confront past, present and future.
“During a printmaking class, I came across an image of a slave ship diagram,” says Hayes, who in 2010 received an MFA from Savannah College of Art (SCAD) in Atlanta. “The slave ship images resemble a sweat shop. Sweat shops in Third World countries are today’s modern slave ships. The exhibition draws parallels between the slave trade and the Third World sweatshops of today. It’s about supply and demand, supply and demand. The exhibition asks: what is the next cash crop?”
The 15 figure sculptures in exhibition are 4.5 – 8 feet tall. They are made of cement, fabric, steel and fire-treated wood. In addition to the figure sculptures, the exhibition includes hand-made steel chains connecting the sculptures; prints and drawings; a large, wall-mounted sculpture of a ship; and scores of wooden, fire treated boxes, 11 x 21 inches in size, containing cement casts of ship shapes, that will be installed as a wall.
“This is a powerful exhibition,” board chair Roefs said. “It’s physically and emotionally an imposing installation of objects and two-dimensional work. The rawness with which the sculptural pieces are executed adds to the gut-wrenching impact of the exhibition. This work is obviously not meant to relate comfort but suffering and abuse.”
Cash Crop, which originated in Hayes’ MFA thesis exhibition at SCAD, has traveled to the Harvey B. Gantt Center for African-American Art + Culture in Charlotte, N.C., North Carolina Central University in Durham, Guilford College in Greensboro, N.C., and Mason Murer Fine Art Gallery in Atlanta, one of that city’s largest art galleries.
The exhibition is sponsored in part by Columbia, S.C., architectural firms Catalyst Architects, Garvin Design Group, J. Timothy Hance, Architect, P.A., Jumper Carter Sease Architects, Quackenbush Architects + Planners and The LPA Group. Alternate Universe: The M-Bora Project – 701 CCA Artist in Residence, David Cianni (March 29 – June 3, 2012)
David Cianni, who lives in Aiken, S.C., and was born in Guatemala, has been creating life-size, robotic, cyborg-like sculptures from post-consumer, recycled materials for two decades. The sculptures, which include light features, have never been exhibited and will have their world premier during Cianni’s March – May exhibition at 701 CCA. The sculptures also feature in a story written by Cianni that the artist eventually envisions as a comic book. During his January – March residency, Cianni will produce additional sculptures and build an elaborate cave system with light and sound features that together will create a gallery-wide environment for his exhibition. During his residency, Cianni, who owns a metal construction company, will conduct workshops for children about creating sculptures from recycled materials.
Exhibition: Faster Forward
Curator: Frank McCauley
Period: January 19 – March 4, 2012
Opening Reception: Thursday, January 19, 2012, 7 9 pm.
This exhibition highlights the work of nine artists from Israel to Canada and from Italy to New York whose new media, experimental film, and video works explore contemporary visual culture mediated through popular technologies.
The development of cinema throughout history has been inextricably linked with developments in a range of film production technologies. The recent transition from mechanical, chemical and analogue processes to those that are electronically and digitally based has provided artists with an extraordinary range of creative opportunities. As digital data, the fundamental elements that constitute the cinematic experience, space, time, light, sound and motion, are now infinitely malleable and endlessly reconfigurable. The artworks in Faster Forward demonstrate the artists’, and their collaborators’, unmitigated command of film, video, and new media technologies. Many of the works also provoke questions about the broader, often disquieting, implications of our ever-accelerating technological evolution.
This diverse group of artists represents a broad spectrum of cultural backgrounds, geographies and perspectives, each of which has taken distinctly different educational and professional paths to arrive where they are today. The works in this exhibition resonate with diversity both aesthetically and technically. They are at once experiential, interactive, dynamic, reflective, and multivalent.
Yoni Goldstein and Meredith Zielke: The Jettisoned
Rendered from footage shot in Chicago, Warsaw, and Mexico City this 3-channel video activates a sensorial experience that sends the viewer into an opulent darkness where history is performed through living bodies, both stilled and silenced. Each of the three projections gives the illusion of a single instant. This illusion fades, however, as the viewer notices the winking of an eye, a woman’s fluttering skirt, or the glistening of water as it streams from an elaborate network of forensic tubes. Many of the symbolic elements found throughout the videos are informed directly by art history—from the tradition of tableau vivant to Northern European still life painting. Curious revelations draw the viewer into a stratified realm where reality and constructed environments are merged into three living portraits of trauma offering a rich cartography of identity at its most nebulous form.
Sean Hovendick: Be A Man / Sugar and Spice
Hovendicks’ interactive computer-art work is a critical assessment of the omnipresence of media and its power to influence our society. In particular, it explores gender-role behaviors learned from mediated reality. He is interested in the way in which mass media is used for entertainment, information and social connectedness, and the unconscious issues that arise with such dependence.
Jillian Mcdonald: Screen Kiss
The crush is a familiar experience. In “Screen Kiss” Mcdonald explores the idea of fantasy and misplaced intimacy as a symptom of our heavily mediated culture. Featuring several popular actors including Daniel Day Lewis, Vincent Gallo, Johnny Depp, and one actress, Billy Bob Thornton’s former wife Angelina Jolie. In each case the artist inserts herself into existing film scenes as a stand-in for the actresses or actor kissing these stars. She makes eye contact with the camera, which functions as voyeur and Billy Bob’s, presumably jealous eye.
Sarah Boothroyd: All In Time
The clock ticks; the moon waxes; the autumn leaves turn crimson. Time is as ubiquitous as it is elusive. Guided by science and science fiction, this stereophonic work traverses the timeless mystery of time itself. Boothroyd studied visual art and costume design on her way to a bachelor’s degree in philosophy and a master’s degree in broadcast journalism. This eclectic background informs her diverse approach to audio work, as she combines a plurality of sources, drawing on the devices and techniques of film, music, literary arts, and theatre.
Blake Carrington: Haeinsa Palimpsest
Field recordings made in and around a 1,200-year-old Haeinsa Temple isolated in the mountains of South Korea were used as raw material to merge with and manipulate existing architectural and topographic diagrams of the temple complex. These recordings are processed and tuned to a specific scale, then performed live using custom software. The video image emerges in real-time from the custom software, blending together the oscillating visual waveform of each sound sample with topographic and architectural renderings of the temple grounds.
Brooke White: Slices of Clarity
“Slices of Clarity” investigates the ways that Alzheimer’s disease alters one’s connection to memory and place. By using x-rays of skulls combined with photographs and 8mm archival film footage from the artists’ personal history, these images describe the artists’ personal interpretations of the disease.
Simon Aeppli: Secondhand Daylight
“Secondhand Daylight”, the first in a series of videos that use the artists’ scrapbooks as a starting point for a moving image work, is an experimental narrative that explores place, memory and obsession. The video itself becomes a type of scrapbook as Aeppli interweaves video footage he has collected over the past ten years with images from books, photographs, photocopied and found images, written fragments, quotes, letters, lists and the artists’ own fictitious notations
Bill Domonkos: Nocturne
Innocence, wonderment, and the allure of the moon. “Nocturne” is a captivating dreamscape inspired by the music of Tchaikovsky and the poetry of Shelley. Michael Hardy of The Boston Globe states: “Spooky. Hypnotic. Lush. Witty. Sublime. The extraordinary films of San Francisco-based artist Bill Domonkos call up a descriptive vocabulary that never seems to capture the fluidity, the aesthetic metamorphoses, of the director’s vision.” His short films have been broadcast and shown internationally in cinemas, film festivals, galleries and museums including the MoMA in NYC. They have won numerous awards including Best Experimental Film – New Orleans International Film Festival (2004), Best Film Short – Victory Media Network (2007) and Best Experimental/Avant Garde Short – Trenton Film Festival (2004).
Pascual Sisto: Push/Pull
Visual cycles of urban and natural systems appear in the video work of Los Angeles-based Pascual Sisto (b. 1975, Ferrol, Spain). Sisto digitally intervenes with otherwise mundane imagery and crafts mesmerizing, impossible realities. Spatial compositions challenging the logic of everyday events such as driving a car or witnessing the passage of birds flying overhead- are activated by the artist’s replication and patterning of form. Sisto’s two-channel installation Push / Pull (my luck is your misfortune) rearranges seemingly endless lanes of evening traffic into opposing kaleidoscopic video planes. Approaching white lights from oncoming traffic pass in a tunnel-like flow, receding as red tail lights. The two squarely framed video spaces take on a cosmic scale, reflecting physical logic of the Doppler effect, in which red shift occurs in sources of light moving away from an observer. The viewers sit in a suspended state, neither coming nor going, in the space in between.