The (NotSo) Short Fest
Dec
7
to Feb 21

The (NotSo) Short Fest

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The Transart (notso) Short Fest

Conceived, compiled, and curated by Jean Marie Casbarian | Produced by Jean Marie Casbarian and Taylore C. Wilson

December 7, 2020 – February 21, 2021

The (notso) Short Fest is a 5-hour collection of video shorts created by Transart Institute’s MFA students, faculty and advisors from around the globe. Conceived, compiled, and curated by Jean Marie Casbarian (faculty + advisor), the festival celebrates the creative minds of these international artists over the span of 16 years since the inception of this unique, international low-residency MFA and PHD program.

Five hours of 77 video shorts by 72 artists make up the series of hourly chapters that will screen cumulatively over 11 weeks. 


CHAPTERS AND ARTISTS

Chapter 1 | 0:14

Jair Tapia | Ciudad Juarez Chihuahua, Mexico
Espacios en Vigilia, 2019

Aurora Del Rio / SpiegelimSpiegel Kollektiv | Italy/Germany
Offerta / Opera Vana, 2019
The concept originates from two iconological images described by Cesare Ripa in his book Nova Iconologia: “Offerta” (offer) and "Opera Vana” (useless endeavor).  The traditional string-game is envisioned as a generator of symbolic figures, pointing at the ambivalence of human relationship to nature. On the one hand the Offer, the symbolic approach, suggest the return to the idea of nature as a powerful and dangerous entity, to be respected and towards which an offer is required. On the other end the useless endeavor is what mankind accomplishes through an endless process of exploiting nature until the extremes consequences. Offerta/Opera Vana is ultimately a ritual which aims at contemplating the impossibility of the ambivalence we inhabit.

Sabri Idrus | Subang Jaya, Malaysia
Unknotting, 2016

Freya Olafson | Winnipeg, Canada
Disembodied Beings, 2019
Disembodied Beings considers how virtual reality technology destabilizes meaning(s) of the corporeal body. The work engages with content from the Internet: open source motion capture libraries, ready-made 3D models of humans, and at home tests of motion capture software and models. These visuals conflate with found Youtube monologues that recount out of body and astral projection experiences. Disembodied People is part of Olafson a new series called MÆ-Motion Aftereffect which is a series of works concerned with the impact of emerging consumer technologies associated with AR-Augmented Reality, VR-Virtual Reality, MR-Mixed Reality, XR-Extended Reality and 360° video.

Bill Ratner | Los Angeles, USA
Quarantine Ride, 2020

Louis Laberge-Côté | Toronto, Canada
Porous Body, 2017

Sarah Bennett | UK
Safe-keeping (custodia), 2014
Emerging from a residency at the Museo Laboratorio della Mente, Rome, this four-channel video (Breathing; Stifling; Scratching; Over and Over) investigates the affective potential of abandoned fagotti (parcels) containing the possessions belonging to former patients of a closed psychiatric hospital. Oscillating between non-representational and representational modes of ‘knowing’, and produced through embodied enactments, the work aims to provide a credible critique of the now discredited Italian psychiatric system. I am showing the four videos sequentially for the Ely Center screening, but they are usually looped and screened on monitors simultaneously in a large darkened space.

Nicolás Dumit Estévez Raful Espejo, Anna Recasens, and Laia Solé  | United States/Spain
On Art and Friendship, 2020 (ETI Archive version - Idensitat)

Malvina Sammarone | Sao Paolo, Brazil
The Hole, 2020

Mary Sherman | Boston, USA
Delay, 2014
Delay (a multi-sensory collaboration with acoustic artist Florian Grond) poses and answers the question, “What if you could hear a painting?”

Zoran Poposki | Skopje, Macedonia/Hong Kong
Crisis, 2020

Quintín Rivera Toro | Providence, USA/Puerto Rico
Demolición, 2018

Cheryl Hirshman | Massachusetts, USA
What Was Then, What Is Now, What Will Be, 2010

Jay Sullivan | Red Bank, New Jersey, USA
A Place to Rest My Head, 2020

Simon Donovan | Tucson, USA
Oedipus Realized / Under Pressure, 2008

Linda Duvall | Saskatoon, SK
Field Notes for the Spring Ponds, 2020

JoMichelle Piper | Sydney, Australia
Shadow Dancers, 2020

Hans Tammen | New York, USA
Proprioception (Body Awareness), 2017
An assemblage of historic imagery, 70’s experimental video practices, and modern-day chaotic audio procedures. John Heartfield was a pioneer using collage and photomontage as a means to fight militarism and fascism in Europe. The work juxtaposes two camera streams pointing to Heartfield’s imagery and to crosshairs from an analog videoscope, using video processing equipment built in the 1970’s—a technology that was made to facilitate alternative, experimental and open practices. The processing in turn is controlled by audio from a modern-day synthesizer using chaotic procedures. Special thanks to Signal Culture for access to their equipment.

Zeerak Ahmed | Pakistan/USA
ALOUD, 2020
In this work I map out sonic spaces that reside within the body. Channeling notes from the base, chest, throat, nose and head, I draw out my selves.


Chapter 2 | 1:02:43

Angelika Rinnhofer | New Mexico, USA/Germany
Times Square, 2012

Anne Sophie Lorange | Norway
To Remain Alone, 2020

Sean Carl Rees | USA/Canada
Rubbish Lingers, 2020

Chris Danowksi | USA/UK
Heathering, 2020

Ruth Novaczek | UK
The New World, 2014

Rodolfo Cossovich | Argentina/Shanghai
The Perfect Robot, 2020

CILLA VEE (Claire Elizabeth Barratt) | USA/UK
Vigil: Prayers for the Living and the Dead (Day 22 - Red), 2020
Day 22 of a 30-day residency at Chashama – Brooklyn Bridge Park, in response to global sickness, violence and death. Sponsored by an “Enliven NYC” grant award from the NYSCA and the NEA.
Video by Fred Hatt

Michael Bowdidge | UK
doglitch #1 (elegy), 2020

Christian Gerstheimer | Michigan, USA
Thursday’s Performance, March 29, 2018
El Paso Community College (EPCC), El Paso, TX. This three-hour performance about the difficulties of migration began at EPCC’s Valle Verde campus and ended three miles away at the reception for EPCC’s annual Faculty Biennial.

Mariana Rocha | Belo Horizonte, Brazil
Requiem 1:55, 2011-2013

Valerie Walkerdine | UK
The Maternal Line-01,01,15, 2015

Gabriela Gusmão and Carlos Pontual | Rio de Janeiro–São Paulo, Brazil
bagatelas 2, 2020
bagatelas 2 is a non-presencial collaborative work developed during the pandemic momentum between the visual artist Gabriela Gusmão and the musician Carlos Pontual. The short video pieces , fruit of intuitive symbiosis by the use of surrealistic free-association technicque, reach a peculiar organic flow.

Louis Laberge-Côté | Toronto, Canada
Searching for Yellow, 2016

David Chalmers Alesworth | UK/Pakistan/UK
Joank (leech/slug), Lahore, 2008

Geoff Cox | UK
It, 1993


Chapter 3 | 2:02:57

Konjit Seyoum | Addis Ababa, Ethiopia
The Coffee Tree and I, 2020
Covid is here since March.
In April, a state of emergency was declared to curb it.
In June, I went out and bought this coffee tree seedling and planted it in my garden.
I am not watering it because right now we are in the middle of the rainy season.
In fact, we are also in the middle of everything. 
We are planting, placing, displacing, holding, interring, charging, discharging...
We, them and us together. Disjointedly.
The Coffee Tree and I is a piece inspired by John Newling’s The Lemon Tree and Me. It is a work in progress. I will continue watching it grow and all that grows in it, with it, from it and around it.

Jeanne Criscola | Connecticut, USA
Reading Color: Study 1, 2019
Bruce Nauman typography

Ana MacArthur | Santa Fe, New Mexico, USA
RE(a)SONANCE; it’s not what you think, 2016
In deliberate intensions immersing myself into the outback terrain of the Pipevine swallowtail butterfly, I slowly became its world. Boundaries of self disappeared….my eyes looked back at me through this animal’s grasses and trees. In these Sonoran Desert wanderings and long meditations on the fluttering creature…. this iridescent butterfly spoke its perpetual oscillation, via eyes and ears, and pointing like x-ray vision to wounds in my own physiology aching for the respect to release further circulation. 

Daniel Marchwinski | Detroit, USA
I’ll Tell You Tomorrow, 2016

Jeanne Criscola | Connecticut, USA
rock n roller, 2007

Khaled Hafez | Egypt
Egypt Tomb Sonata in 3 Military Movements Goddess, 2010
From the installation for the Egyptian Pavillon, Venice Biennale

Margaret Hart | Massachusetts, USA
Poly-morphosis, 2020

Daniel Hyatt | Pakistan
escape from the cage (and dance), 2020

Stephanie Reid | Austin, Texas, USA
Catching Fireflies, May 2020 
Catching Fireflies speaks to the human desire to collaborate with the natural world in a harmonious and creative way. During the editing process I realized how satisfying it was to play with the fireflies’ flashing rhythm by slowing down the speed and adding repetition. This allows the viewer to really see these elusive creatures instead of barely catching a glimpse from our peripheral vision. The keyboard generated “song” is what I imagined we would hear them sound like if we had ultrasonic auditory abilities. Introducing electronic sounds and movements seems fitting for insects designed with the almost futuristic phenomenon of bioluminescence. Scientists have discovered how to harness it into dim light sources. Once they get it bright enough for humans to use, it could be one of our steps away from reliance on fossil fuel generated electricity.

Rori Knudtson | USA/Denmark
Seeds, 2018
Developed with Daniel Marchwinski, ME provides an accessible, engaging, and useful tool within the infinite Seed ecosystem to educate users about transformational technology that serve the individual and global good.

Angeliki Avgitidou | Greece
Recipe for Utopia, 2018

Susie Quillinan | Peru/Australia
Process, 2012

Gabrielle Senza | Berkshires, Massachusetts/USA
Sin Paredes / Storia #1, 2017

Anna Binta Diallo | Canada
Negotians II, 2013

Raphael Raphael | Athens, Greece/Hawaii
Hidden Treasure of the Sweet Absolute (proof of concept), 2017

Dafna Naphtali | Brooklyn, New York
AWOL_socket Revision, 2016/2020
AWOL Socket was created during my residency at Signal Culture in 2016. I experimented with video synthesis that was controlled and mediated by a chain of multiple control sources, each one removing me one step further from my original materials. I used a modular audio synthesizer (Serge) which was in turn controlled by a Max patch, which was in turn controlled my facial expressions via MIDI. I also incorporated video feedback from several cameras in much the same way as my usual work with audio feedback and sound manipulation does, also using the mighty Wobbulator (a recreation of the original Nam June Paik device). While recording the original materials in the studio, in spite of all this mediation, I still felt it to be a totally embodied, physical even synaesthetic experience. Looking back now I see how this process of distance and mediation giving rise to stubborn embodiment is emblematic of more recent experiences I have as a performer and educator under our current circumstances and pandemic.

George Angelovski | Australia/Singapore/Australia
To make a collection of Butterflies and Beetles Is a cruel humid house, 2020

Jean Marie Casbarian | New York, USA
Memory as Practice (an on-going project in trying to remember)
Silent Listening (First Chapter),
2020

Deborah Caruthers | Canada
slippages, 2018
A synthesis of material from researchers at the University of British Columbia as well as my own research at the Peter Wall Institute for Advanced Studies in 2017–2018 regarding the physical, anthropological, and philosophical properties of glaciers. The October 5, 2018 world premiere was performed by the University of British Columbia Symphony Orchestra under the direction of Maestro Jonathan Girard at the Chan Centre for the Performing Arts in Vancouver, British Columbia, Canada. The sound and performance in the video are excerpts from the performance. The performance audio is synced with my graphic score and interspersed with my still photographs from the Athabasca Glacier. Just over 5min; the original video is approximately 12min, depending on the version.


Chapter 4 | 3:04:40

Khaled Hafez | Cairo, Egypt
11.02 - 2011 the video diaries, 2011

José Drummond | Portugal/Shanghai : Macau
I’m still here hoping that someday you’ll need me, 2015/2020

Derek Owens | New York, New York
Aerograms From The By & By, 2017

Ira Hoffecker-Sattler | Victoria, Canada
What is Memory?, 2017
I am a participant in the constitution of the German past. My German past and childhood memory are bound within the German collective memory.

Stephan Takkides | Germany/Cyprus
Autobahn, 2017

Stewart Parker | New York, USA/Scotland
Time / 10 Seconds, 2008

Sean Stoops | Philadelphia, USA
Vector Equilibria (Part 3 of 3: Future), 2013
Sean Stoops: Director/Curator; Animation: Chris Landau; Composer: Gene Coleman
Vector Equilibria was originally a temporary, site-specific video projection onto a building at the University Science Center in Philadelphia, PA. As part of Animated Architecture, curated by Sean Stoops, and with generous support from the Knight Foundation, the piece was unique in many ways. The full video, animated by Chris Landau, includes three parts: Past, Present, and Future. Along with composer Gene Coleman and his musical ensemble, the participants explored the legacy of scientist and inventor, Buckminster Fuller and his idea of “Spaceship Earth.”

Lilliam Nieves Rivera | Bayamon, Puerto Rico
CONFINAMIENTO / CONFINEMENT, 2020

Josephine Turalba | Manila, Phillipines
Undercurrent, July 2020 edition
Undercurrent is a montage of news footage intercut with political analysts lectures, superimposed 3D animated humanoids, terracotta soldiers, gambling and military icons that attempts to connect the complex dots between China’s occupation of the Philippines-owned Spratly Islands and the global Belt and Road Initiative, China’s master plan for infrastructural investments in building railroads, bridges, ports, pipelines, IT and communications sectors, industrial parks, Special Economic Zones, tourism, and new cities, focusing on its social and economic impacts.

Nicki Stager | Philadelphia, Pennsylvania, USA
meditations, 2020

Damon Ayers | Portland, Oregon/Hong Kong
Intermodal Blues, 2017

Kayoko Nakajima | Japan/New York
New York wind and water, 2020

Sheila Lynch | Chicago, USA
Walking Sketches, seed grass water, 2020


Chapter 5 | 4:07:08

Leah Decter | Winnepeg, Canada
Listen, 2020

Mikkel Niemann | Denmark
G60, 2020

Jeanne Criscola | Connecticut, USA
tech-no-logica, 2008
The nomenclature of control in computing

Daniel Arnaldo Roman Rodriguez | Bayamon, Puerto Rico
Failure to Compromise our Embarrassment (The Impossibility of Moral Behavior), 2013

Daniel Hyatt | Pakistan
Raw Boaty Chronicles, 2020

Lindey Anderson | Denver, Colorado
Stealing Footsteps, Berlin 2016

Judy Mazzucco | Clarksburg, USA
Yesterday Used to be Tomorrow, 2014

Alejandro Michelangelo Fargosonini | Santa Cruz, California, USA
The Final Critique, 2015
Feature length coming 2021

Christine Shannon | Seattle, USA
Jerusalem, 2007

Laia Solé and Nicolás Dumit Estévez Raful | Spain/USA
e-, 2016
Excerpt of video installation part of e-. 
Video: Jorge Ochoa / Editing: Laia Solé 

Jaye Alison Moscariello | Redwood Valley, California, USA
Jaye Losing Her Mind (Bill Taylor on Piano), 2020

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Dec
7
to Feb 21

Solos 2020

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Melanie Carr
Leslie Fandrich
Dan Gries
Brigid Kennedy
Henry Klimowicz
Tony Saunders

ECOCA’s Solos 2020 series highlights featured artists selected from our 2020 Open Call. These concurrent solos are presented in tandem with The (NotSo) Short Fest.


Public Opening
Monday, December 7

Zoom Virtual Reception
Sunday, December 13, 3 pm


Press Release
Exhibition List

KATHY CZEPIEL : DAILY NUTMEG
Solo Six | January 7, 2021

BRIAN SLATTERY : NEW HAVEN INDEPENDENT
Ely Center Goes Solo | December 22, 2020


Melanie Carr

"My work is an investigation of life. In my studio practice, I am concerned and consumed with touch, geometry, interactivity, and human experience, yet driven by intuition. As an avid observer in the way angles intersect, in all things, human and inanimate, I find that the collision of forms and materials cause pause for meaning. I pay attention to the way the body, my favorite object, moves, and love the mash-up of gestural and geometrical which is where my interests lay, in the joints, how we move, touch, see, breath – and experience. I study the world around me and represent it through abstract forms, shapes and colors that allow for a broad interpretation - one that takes thought, and imagination, on the part of the viewer. I make artwork that invites the mind to wander, and for the viewer to complete ones own meaning, especially if we keep our minds open and consider that looking is not seeing."


Leslie Fandrich

"My feminist, interdisciplinary art practice considers the interplay between subject and object and the liminal nature of our bodies. I create objects and spaces that may allow the viewer to re-experience and recall moments of transformation from childhood. I am interested in the boundaries of our bodies and how we are in relationship to our domestic spaces and to each other. I often use materials found in the home: blankets, pillows, clothing, furniture as well as books, paper ephemera and fabric patterns. I break these materials down and rebuild them into surreal and uncanny arrangements that are both familiar and strange. I think about the pregnant/nursing/mothering body and how it holds and cares for other bodies and how our bodies change, age and need repair."


Dan Gries

"I craft algorithms with computer code to produce high resolution archival prints, 3D printed objects, animations, and physical installations, and my background in mathematics often informs my work. I am particularly fascinated by imperfection and irregularity in shape, texture, color, and flow, and the human connection to this type of imperfection. My most recent work has focused on creating this kind of imperfection in simple line and circle shapes. In all of my work I employ random parameters so I can leave certain aspects of the images up to chance, and I can be surprised by the results. Variations in shape and color are turned over to the computer, and I become the curator of the results."


Brigid Kennedy

“I strive to carry the spirit of playfulness and exploration I had as a child into my work. I want the viewing of my work to raise more questions than it answers. I want my work to inform and delight. There is mystery in creation and there is technique. I endeavor to ensure that the technical does not overshadow the sense of mystery and surprise that lives in the work. I try to stay open to possibility, open to multiple solutions to a problem, open to solutions as they present themselves to me in the moment, during the creative process. I like to be surprised and I want the viewer to be surprised as well. My sculpture is a compact view, an intimate presentation of a large gesture. I deliberately choose to work with simple, everyday materials and transform them into revelation."


Henry Klimowicz

“We live in a world enveloped in thoughts of value. My use of cardboard, a valueless material, releases me from the heart of this cultural confine. My interest in nature envelops my work over the last 12 years. Each piece is built by growing out of itself. Much like a wasp builds its nest, I build each sculpture. The work often feels like the work of insects. The pieces build upon themselves. They show the nature of their construction or accumulation. My hand, eye or brain is secondary to their―the work’s― own natural sense of itself. Each piece grows out of the last. Each piece works individually but each is also part of a flow of possible visual outcomes. I am a strong believer in not knowing what the  outcome will be. Looking back at the wasp as it begins the process of building its nest, I suspect  that it is without a finished idea in its head. What it does have is a method for proceeding. I share this process with the wasp.”


Tony Saunders

"Painting presents a visual stimulus from which the viewer tries to “make sense,” looking for significance in patterns and trying to find a story even in the most abstract, or seemingly random, elements. My work is in the tradition of landscape painting, Japanese woodblock prints, 20-century abstraction, and street art, and aims to elicit the viewer’s tendency to derive narrative from painterly elements. Meaning is suggested but never explicit: The story takes place inside the viewer’s imagination, constructed when the materials at hand trigger the creative act of memory."

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USPS Art Project
Sep
24
to Nov 15

USPS Art Project

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ECOCA is extremely excited to host the USPS Art Project on-site! The USPS Art Project was started by artist Christina Massey as a call to action for her fellow artists to support the United States Postal Service amidst the COVID-19 crisis. The concept is simple — artists each began artworks for their collaboration partners to finish, sending them to each other by mail; the project was designed to help artists feel connected while practicing social distancing, and in doing so, supporting the financially struggling USPS at the same time.

Lorie Marsh & Christina Massey, Tillandsia



Featured Artists

(As of 9/12/20)

Yasmeen Abdallah
Eduardo Adam-Rabel
Yura Adam
Meera Agarwal
Olga Alexander
Spiro Alexandratos
Ellen Alt
Audrey Anastasi
Nancy Andell
Cecília André
Rosaire Appel
Chris Arabadjis
Shirley Arceo
Leona Atkinson
Nancy Baker
Elisa Balabram
Sarah Balcombe
Julie Balzer
Beth Barry
Bascove
Fran Beallor
Susan Beallor-Snyder
Lori Beitler
Juliette Belmonte
Allison Belolan
Lois Bender
Kathleen Benton
Matthew Best
Emily Berger
Hema Bharadwaj
Joy Bird
Peter Bonner
Marsha Borden
Agathe Bouton
Carol Bouyoucos
Samantha Bradley
Marcia Miele Branca
Paul Brandwein
Alexandra Brock
Walter Brown
Karin Bruckner
Heather Bruglia
Troy Bungart
Joy Bush
Jenn Cacciola
Susan Goethel Campbell
Karen Caporale
Pamela Casper
Lorie Caval
Dan Charbonnet
Bonnie Chen
Emily Cheng
Nandini Chirimar
Nan Chisholm
Sophia Chizuco
Cheryl Chudyk
Jeanne Ciravolo
Mary Citarella
Lynn Cole
Courtney Colgan
Sue Collier
Bonnie Collura
Anne Marie Colwell
Elisabeth Condon
Rosemary Cotnoir
Heather Cox
Virginia Creighton
Jaynie Crimmins
Karen Cunningham
Peggy Cyphers
Carole d'Inverno
Patricia Dahlman
Stephanie Damoff
Sue Danielson
Rosemary Darigo
Beth Dary
Michael Davis
Azalea Daw
Leila Daw
Elizabeth de Bethune
Laurence de Valmy
Marianne DeAngelis
Elisa Decker
Cathy DeMeo
Carol Diamond
Cathy Diamond
Nicole Diaz-Radlauer
Carl Dimitri
Joy Dixon

Nancy Doniger
Debra Drexler
Katharine Dufault
Loren Eiferman
Patty Eljaiek
Robyn Ellenbogen
Nancy Elsamanoudi
Taylor Emory
Diane Englander
Tamara Enz
Bonnie Epstein
Patricia Espinosa
Patricia Fabricant
Ellen Hackl Fagan
Kate Fauvell
Krista Feld
Debra Felman
Eileen Ferara
Elan Cadiz Ferguson
Lori Field
Anne Finkelstein
Alexa Finley
Melanie Fischer
John Fisher
Jeffrey Forsythe
Danielle Forte
Katherine Freygang
Wendi Furman
Paula Gabriel
Tricia Gabriel
Susan Gast
Michal Gavish
Nancy Gesimondo
Anne Gilman
Cora Jane Glasser
Elsie Glassman
Robin Glassman
Janet Goldner
Karl Goulet
Norma Greenwood
Ciaran Groarke
Barbara Grose
Julie Gross
Tessa Grundon
Laura Gurton
Carolyn Enz Hack
Teri Hackett
Theresa Hackett
Bob Hagan
Stephanie Han
Virginia Harkoum
Fukuko Harris
Alice Harrison
Adam Hayes
Ciara Heatherman
Tayo Heuser
Christine Hippeli
Sarra Hochberg
Eileen Hoffman
Abby Houston
Hannah Hughes
Hawley Hussey
Tic Ikram
Sandra Indig
Stanislava Ivanova
Blinn Jacobs
Elisa Jensen
Christopher Johnson
Laura Karetzky
Andrea Keefe
Elizabeth Keithline
Lisa Kellner
Leslie Kerby
Anki King
Polly King
Lou Kirchner
Catherine Kirkpatrick
Richard Klin
Peggy Klineman
Alyse Knorr
Minika Ko
Sueim Koo
Judith Kruger
Parvathi Kumar
Carole Kunstadt
Diana Kurz
Jacqueline Laba
Kathy Lebron
Deanna Lee

Stephanie Lee
Gwyneth Leech
Bonny Leibowitz
Laurey Bennett Levy
Neha Limaye
Joan Linder
Tina Linville
Carla Lobmier
JoAnne Lobotsky
Carole Loeffler
Marisa Logue
Pam Longobardi
David Lonteen
Barbara Lubliner
Susan Luss
Sarah Lutz
Sandra Mack-Valencia
Despo Magoni
Janet Maher
Julie Manherz
Valerie Mankoff
Judy Mannarino
Jan Marchese
Donna Maria de Creeft
Donnelly Marks
Lorie Marsh
Marla Martin
Christina Massey
Mark Masyga
Sally Boon Matthews
Tiziana Mazziotto
Elizabeth McAlpin
Susan McCaslin
Janice McDonnell
Nina Meledandri
Joan Mellon
Katie Minyard
Laura Miracle
Sofia Monreal
Natalie Moore
Zoe Morelock Miller
Seren Morey
Janet Morgan
Wendy Moss
Jodan Moss
Sara Jane Munford
Anna Murfin
Beth Murphy
Ellie Murphy
May Nasiri
Katie Niewodowski
Nancy Egol Nikkal
Matt Nolen
Elaine Norman
Maggie Nowinski
Midori Okasako
Sono Osato
Jeanine Osborne
Dara Oshin
Rona Oshin
Laura Overton
Carol Paik
Mary Pargas
Jeffrey Wilcox Parliman
Mary Tooley Parker
Kelly Parr
Elizabeth Pasternack
Kay Sirikul Pattachote
Gelah Penn
Tracy Penn
Erica Perjatel
Francine Perlman
Missy Pierce
Wendy Pierce
Anthony Pinata
Mary Pinto
Ellen Pliskin
Dana Powers
Lily Prince
Natana Prudhomme
Sean Quirk
Dindy Reich
Alicia Renadette
Teresa Repair
Elizabeth Riley
Rebecca Riley
Will Robertson
Robin Roi

Linda Serrone Rolon
Viviane Rombaldi-Seppey
Maddy Rosenberg
Alyse Rosner
Alyssa Rosner
Lori Niland Rounds
Tammie Rubin
Alejandro Rubio
Arlene Rush
Andra Samelson
Selva Sanjines
Cathy Sarkowsky
Christopher Saucedo
Nicole Schenkman
Nikki Schiro
Judy Lyons Schneider
Diana Schmertz
Linda Schmidt
Beryl Salinger Schmitt
Sylvia Schwartz
Suzanna Scott
Madhukanta Sen
Denise Sfraga
Manju Shandler
Dee Shapiro
Julie Shapiro
Samantha Shepard
Gabriel J. Shuldiner
Suzan Shutan
Regina Silvers
Sasha Silverstein
Jill Slaymaker
Siana Smith
Martha Soriano
Mike Sorgatz
Maria Spector
Margot Spindelman
Priscilla Stadler
Andrew Leo Stansbury
Luna Starr
Elizabeth Steiner
Melissa Stern
Audrey Stone
Rebecca Strzelec
Suzy Sureck
Elissa Swanger
Liz Sweibel
Susan Tabachnick
Dan Tague
Rashmi Talpade
Priya Tambe
Soonae Tark
Jose Luis Ortiz Tellez
Sarah Thornington
Erlinda Tom
Constance Toplansky
Shira Toren
Anne Trauben
Jeanne Tremel
Pamela Turczyn
Kathleen Turner
Millen Umoh
Joanne Ungar
Soma Vajpayee
Teressa Valla
Kate Cahill Vansuch
Lyndie Vantine
Ellie Vass
Alyson Vega
Linda Vigdor
Dorothy Volo
Yoshimoto Ward
Ellen Warfield
Janet Warner
Deborah Wasserman
Cassie Weatherford
Michelle Weinberg
Patricia Wersinger
Gail Winbury
Paula Winchester
Katarina Wong
Siu Wong-Camac
Nina Wood
Etty Yaniv
Becky Yazdan
Susan Ziegler
Alice Zinnes

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NOW
Sep
24
to Nov 15

NOW

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Zoom Virtual Opening: Thursday, October 1 @ 6:30 pm
City-Wide Open Studios Weekend: October 17 & 18, 1-4 pm
Gallery Hours: Sundays & Mondays 1-4 pm, Thursdays 3-8 pm and by appointment

This year has been and continues to be a turbulent and uncertain one. Covid-19 has entered our lives and turned everything upside down. Isolation, illness and too much togetherness has strained families and relationships. Add to all this an inept leader and police violence against people of color. Marches and protests against racism have finally started to get a dialogue going on systemic racism in this country. The artists of NOW have all reacted to these conditions in their own way creating work inside and outside of the ECOCA.

Organizer & Curator: Margaret Roleke

Press Release



FEATURED ARTISTS

David Borawski
Robert Brush
Leigh Busby
Ruby Gonzalez Hernandez
Denese King-Ashley
Martha Willette Lewis
Laura Marsh
Susan McCaslin
Kelsey Miller
Duvian Montoya
Margaret Roleke
Yvonne Shortt
Cindy Tower
Christine Lee Tyler
Elizabeth White
Howard El Yasin
Anonymous at Center for Contemporary Printmaking


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Your Pet Here
Mar
22
to Dec 31

Your Pet Here

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Now more than ever, the support and love we are offered from our pets is essential to our well-being and overall morale. In times of crisis, we can look forward to the unconditional love we receive from our animal companions. ECOCA wants to see your furry, feathered, slithery, and slimy family members in celebration of the pure joy they offer us in times of difficulty.

KATHY CZEPIEL : DAILY NUTMEG NEW HAVEN
Works from Home | April 3, 2020

Press Release

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What Now?
Mar
22
to Dec 31

What Now?

  • Ely Center of Contemporary Art (map)
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Amid the current health crisis, we are all left looking not only at our present, but ahead to our future - what do we do now? How is the current health crisis affecting you, and what does the future look like?    Novels such as Brave New World, Handmaid's Tale, Fahrenheit 451 and 1984 describe surreal and dystopian futures that now seem eerily all too real—so what is the new normal? What Now?

Humankind is resilient and mandated isolation results in creative adaptation and novel ways to connect. We want to amplify as many voices as possible during this time of solidarity and community.

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Press Release

BRIAN SLATTERY : NEW HAVEN INDEPENDENT
Ely Center Leaps Into Virtual Space | May 6, 2020

LUCY GELLMAN : ARTS PAPER
Ely Center Asks: What Now? | May 4, 2020

SUSAN DUNNE : HARTFORD COURANT
Artists around Connecticut are turning their emotions about the coronavirus pandemic into new works | April 12, 2020

KATHY CZEPIEL : DAILY NUTMEG NEW HAVEN
Works from Home | April 3, 2020


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Witchy
Mar
1
to Apr 19

Witchy

  • 51 Trumbull Street New Haven, CT, 06510 (map)
  • Google Calendar ICS
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An unjuried exhibition about magic, power, spirituality and feminism

March 1 – April 19, 2019

Opening Reception: Sunday, March 1, 1 - 3 pm

Witchy is an exhibition with work that addresses issues of ritual, magic, power, and how these concepts inform ideas about equity, health, spirituality, identity, and community. Throughout historic time periods, including our own, there has been a correlation between the rise of self-identified witches and fascism. Can magic, then, be understood as a different type of power, a way to combat political power that threatens many of our communities?


Witchy Virtual Tour

Witchy virtual tour is now available after being closed early due to Covid-19 in March.

Take a stroll through our Open Call Witchy.

Source:: https://my.matterport.com/show/?m=39CNwgoi7MG&ts=0


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Mar
1
to Apr 19

Extra Human

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As part of our mission to foment creative contemporary collisions, we planned two interconnected spring shows challenging questions of modernity, technology, ritual, and human agency. What power does an individual hold in a society? How can human agency form and disrupt societal collectives? How do rituals and traditions gain new meanings against contemporary environments? This two-part exhibition face these questions. Extra Human will be on the theme of witches, witchcraft, witch-hunts, and all the socio-political connections these entail. Extra Human is a platform for artists to respond to a multitude of creative, intellectual, and political themes, including, but not limited to, the demonization of powerful women, and the contemporary resurgence of magic as a tool to combat oppressive structures. Through multiple time periods, including our own, there has been a correlation between the rise of self-identified witches and fascism. Can magic, then, be understood as a different type of power, a way to combat political power that threatens many of our communities? This show fills our annual In Grace We Trust slot, an exhibition pays tribute to Grace Taylor Ely, whose home and vision created the basis for the Ely Center itself. This celebration of Grace as a forward-thinking philanthropist allows us to explore the feminist interpretations inherent in the witch theme.  How do women respond to oppression and persecution through the supernatural? What types of gendered double standards exist when we think about power? How are powerful women deemed witches in the cultural imagination, and for what reasons are witches both revered and reviled? What does it mean to believe in ritual, even at the expense of reason? What is the interaction between the witch and nature, particularly in the arenas of herbology and potions? How does what is “human” interact with the supernatural to create a bodily experience that is not-quite-either? 

Featured Artists: Austin Furtak-Cole, Molly Gambardella, Jacquelyn Gleisner, Allison Hornak, Scott Lawrence, Martha Lewis, Annie Sailer, Suzanna Scott, Briana Williams


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The Daily
Jan
12
to Feb 16

The Daily

Smiling left, right, and all over, Eric Anthony Berdis

Featured works

Rick Albee
Eric Anthony Berdis
Matthew Best
Daniel Bohman
Shelby Charlesworth
Douglas Degges
Amy Faris
EK Lee
Cynthia Mason
Elizabeth Mead
Robert Oehl
Anne Russinof
Joseph Salerno
Jean Scott
Rita Valley
Claire Watson

Press Release

BRIAN SLATTERY : NEW HAVEN INDEPENDENT
Artists Work Out The Daily Grind | January 30, 2020

SHARON BUTLER : TWO COATS OF PAINT
The Daily | January 12, 2020


Curator’s Statement

The work selected for this exhibition is rooted in materiality, ritual, and the structure of daily life.

Some artists have built enduring practices one day at a time (as Bill W. would say). One is Joseph Salerno, who makes a small plein air landscape painting each day in the Vermont woods. Other artists represented here, such as Jean Scott and EK Lee, have suggested that maintaining the daily ritual of making art has a healing effect in the face of loss and tragedy. In Salerno’s artist’s statement, he quotes Dante from The Divine Comedy: “In the middle years of our life I found myself in a dark wood.”

Incremental approaches, of course, need not suppress humanity. Claire Watson collects leather clothes at thrift shops, takes them apart at the seams, and sews the pieces together to create abstract canvases. Although they have a Modernist sensibility, Watson says it’s impossible to disassociate the fragments from the living, breathing animals from whence the skins originated.

Matthew Best uses the painting process as a way to cope with the sheer uncertainty of life, his improvisational abstract works recording mental shifts and personal growth, move by move. Anne Russinof’s paintings are themselves single acts: she makes them in one go, wet on wet, like the ancient Chinese landscape painters. Her floating calligraphic gestures seem as if they could fly off the canvas and enter the space around us.

Daniel Bohman, Shelby Charlesworth, and Amy Faris are keen observers of the domestic world. Charlesworth’s installations incorporate what she calls the repulsive traces of existence – hair intertwined in the teeth of a brush, a toothbrush long overused, a toenail stuck in a set of clippers. Faris’s drawings and installations examine monotony, utilizing the same repetitive processes she associates with tedious household tasks. Daniel Bohman paints images of interior domestic spaces which convey meaning about those who inhabit them.

Three artists in the exhibition use materials in especially surprising ways. Cynthia Mason’s soft sculptures, based on household objects like shelves and ladders, droop and bend over time. Her interest lies in powerlessness and everyday failure. Rick Albee’s humble goal for his small-scale ceramic objects is simply to make something unexpected, and, by combining familiar forms in unforeseen ways, he succeeds. Elizabeth Mead makes delicate tabletop objects out of white paper and string, then photographs them in natural light, rendering them illusions of shadow and light in a post-literal space. 

Douglas Degges and Robert Oehl, both overwhelmed by the speed of digital technology in our lives, are intent on slowing down the existential procession. Oehl uses pinhole cameras and traditional darkroom processes to fashion grainy, nude self-portraits that seem elegiac, suggestions that an era may be ending. Degges craftslumpy plaster slabs on which he makes abstract paintings, like personal frescos for itinerant times.

Rita Valley and Eric Anthony Berdis have proudly political missions. Using absurd pageantry and purposeful repetition, Berdis explores the challenge and romance of being gay in a hetero-normative society. Valley, in despair over our ongoing political strife, hand-sews text-based fabric pieces with buzz phrases and hate words like “libtard” and “complicit.”

“The Daily” is broadly about paying attention, living in the present, and counting time – which of course marches on. Sixty seconds in a minute, sixty minutes in an hour, twenty-four hours in a day. Before you know it, a brave new decade unfolds.

—Sharon Butler


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Jan
12
to Feb 16

Hong Kong in Poor Images

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Curated by ZENG Hong
Yale-China Arts Fellow 2020

Stella Ying-chi TANGPeople in the Streets of Hong Kong (2012)
TANG Kowk-hinDon’t Blame the Blossom (2018-)
Linda Chiu-han LAI: Voices Seen, Images Heard (2009)
Jamsen Sum-po LAWWalking the Walk (2015)
Kalen Wing Ki LEEHong Kong Year Book, 1997, Separation, Glitch (2019)
Bryan Wai-ching CHUNGMovement in Time, Part 2 (2019)

From the Curator

“The poor image is a copy in motion,” wrote Hito Steyerl*, to defend the low quality images that result from the digitalization in today’s visual culture. Image production, which used to be state-owned, is becoming increasingly privatized. Steyerl argues that this privatization gestures towards a democracy of image production, circulation, and appropriation. Moreover, the poor image is liberated from the hierarchy of image quality and instead the visual idea becomes the primary focus. 

The spirit of the poor image is in line with the characteristics of Hong Kong contemporary art. Booming from the 1980s, leading Hong Kong artists have attempted to visualize the vernacular culture and identity of the region, rather than focusing on “aesthetics” or craftsmanship. The prevalence of digital media further helps them to explore the intensity, hybridity, and fluidity of Hong Kong everyday life via low resolution pictures, cell phone videos, non-conformist visual matter, or alternative archives. 

The exhibition Hong Kong in Poor Images presents painting, photograph, film, video, glitch and algorithmic artwork that make use of poor digital image and digitalized archives to capture the people, cityscape, history and ordinary life of Hong Kong. Stella TANG uses a digital camera to snapshot people in the streets and transformed them into the figures on canvas. Also documenting the city space by a portable camera, TANG Kwok-hin’s photographs shows the in-betweenness of professional “punctum” provider and amateurish practitioner. Linda LAI digs into archived footage to uncover the history of her city. Jamsen LAW’s cell phone records people’s presentation of their bodies in the streets for self expression. Kalen LEE’s glitch art manipulates the digital data of an image that symbolizes the official history. By employing the technique “optical flow” in computer vision, Bryan CHUNG’s algorithmic art piece tracks the flow of pixels across consecutive picture frames in time, to represent the propensity of martial art shown in Hong Kong movies. 

—ZENG Hong, PhD
Yale-China Arts Fellow 2020

* Steyerl, Hito. “In Defense of the Poor Image.” e-flux journal 10, no. 11 (2009).

There will be a celebration of Yale-China Association’s Lunarfest at the Ely Center
Saturday, February 8, 12 – 4 pm

Opening Reception: Sunday, January 12, 1 - 3 pm
Closing Reception: Sunday February 16, 1 - 3 pm

Press Release

BRIAN SLATTERY : NEW HAVEN INDEPENDENT
Artists Reveal Hong Kong Behind The Headlines | January 28, 2020


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