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DTSTART;TZID=America/Indiana/Indianapolis:20190201T180000
DTEND;TZID=America/Indiana/Indianapolis:20190420T150000
DTSTAMP:20260406T185240
CREATED:20181221T190240Z
LAST-MODIFIED:20190311T220337Z
UID:7416-1549044000-1555772400@www.bigcar.org
SUMMARY:David Schalliol-Three Communities
DESCRIPTION:We shape our surroundings at the same time our surroundings shape us. Communities and their environments are inseparable. Yet as we go about occupying\, utilizing\, and altering our natural and built worlds\, how much do we think about the connections we share with the others who inhabit the place we call home? \nFor his exhibition at Tube Factory Art Space\, David Schalliol addresses the interdependence of people and place through photographs and video interviews with residents of three geographically and culturally unique places. \nFirst\, he explores the very neighborhood in which this exhibition takes place\, Bean Creek\, a hamlet of homes and businesses on the Southeast Side of Indianapolis. The waterway for which the neighborhood is named has undergone a peculiar evolution as homes\, churches\, and businesses have grown around it. In some places\, Bean Creek flows undisturbed\, a trickling rill winding through thickets of gently bending trees. In other places\, the creek has been covered by roads and other obstructions\, only to remerge more than 100 yards away. The odd evolution of landscape and municipal planning has caused some houses to face the creek—today’s residents enter through the back door\, as the front faces nature. \nNext\, Schalliol takes us to the South Side of Chicago\, where since 2011 a tight-knit group of neighbors has watched their community disappear as the owners of a nearby freight yard buy up houses in order to expand their facilities. The few remaining homeowners have banded together to try to preserve whatever is left of this place and its unique culture. The economic powers that are being exerted\, however\, will likely prove too powerful to bear. \nFinally\,Schalliol visits former coal mining communities in the north of France. Following decades of economic contraction\, the French government ceased all coal mining in the country in the early 2000s. Towns like the one in these photographs must completely re-imagine their future economic and cultural identities. Meanwhile\, the visual and social fabric of the region is affected in every conceivable way by its historic attachment to coal. For example\, the “spoil tip” hills interspersed throughout the town\, created by waste rocks from the mines\, now serve as artificial mountains being re-purposed for motorsports and ecological tourism. \nThough located worlds apart from each other\, the three communities share threads of kinship that hint at possible human universalities. \nDavid Schalliol is a visual sociologist. He is an assistant professor of sociology at St. Olaf College and a principal of Scrappers Film Group. His work has appeared in numerous publications\, including The New York Times\, and been exhibited extensively. Recent exhibitions include the 2017 Chicago Architectural Biennial\, the Belfast Photo Festival\, and the Museum of Contemporary Photography’s Midwest Photographers Project. He is the author of Isolated Building Studies. His directorial film debut\, The Area\, premiered at the Full Frame Documentary Film Festival in April 2018. He earned his BA from Kenyon College\, and his MA and PhD in the Department of Sociology at The University of Chicago.
URL:https://www.bigcar.org/event/david-schalliol/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2018/12/04schsmall.jpg
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DTSTART;TZID=America/Indiana/Indianapolis:20190301T180000
DTEND;TZID=America/Indiana/Indianapolis:20190323T180000
DTSTAMP:20260406T185240
CREATED:20190206T210807Z
LAST-MODIFIED:20190206T210807Z
UID:7652-1551463200-1553364000@www.bigcar.org
SUMMARY:Osamu James Nakagawa and Conner Green: Fences/Imperia
DESCRIPTION:Artists Osamu James Nakagawa and Conner Green will present new works that explore outmoded forms of conquest\, power\, and control—both real and imagined. Nakagawa’s work will consist of an installation of cyanotype prints created while in Okinawa. Green’s new work extends his exploration of monumentality and power through the language of architectural blueprints. The two seemingly disparate bodies of work present the question: How do the forces of power and control manifest themselves in real\, immediate ways and in our collective conscious? \nFENCES \nIn James Nakagawa’s work\, the landscape often functions as a witness to history and suffering\, as well as a platform to examine conflicts political and personal in nature. Raised in Tokyo\, Japan\, his family moved to Houston\, Texas when he was fifteen. As an artist he mines the complicated pasts of both countries\, touching on issues related to nationalism\, family\, pop-culture\, tensions between eastern and western ideals\, and war. Since 2006\, James has produced several series reflecting on the legacy of World War II and Japan-U.S. relations on Okinawa. \nNakagawa started FENCES several years ago\, as he was visiting the island to complete MAPS\, a series using a frottage technique to create rubbings of words from war memorials. During this time\, he had received permission to photograph inside a U.S. base looking through the fence at Okinawa. Nakagawa’s clearance was revoked before he could begin the project following a disagreement with the colonel assigned to him as a PR liaison. The conversation concerned the benefits of the U.S. military station to the island population. In reaction to this change of circumstance and the protests over the Henoko relocation\, Nakagawa used leftover paper and cyanotype chemistry to make photograms of the outside of the base’s fence. \nThe planned installation of the work is key to counteracting the associated clichés. When James made the photograms\, he did not align the sheets of paper in the same orientation against the fence. Presented in grids on four sides of a wall\, the images are forceful and oppressive. Viewed edge to edge they crackle with energy and immediacy. The experience is disorienting; the barrier feels like it is both advancing and receding. Without an accompanying statement\, this project would provoke more questions than answers—on which side is the photographer? Is the viewer looking up or standing squarely in front of it; are they floating? Like his prior work\, he taps into feelings of claustrophobia\, visualizing the latent histories that continue to linger in the Okinawan landscape. \nIMPERIA | THE BENEFACTOR \nConner Green seeks to investigate the social ramifications of monumental architecture through collages of found materials\, drawings\, and photographs. “I understand ‘architecture’ to refer to more than just the design and decoration of buildings\, but also to how thought or action can make order and meaning out of random space\,” Green says. “My work\, in part\, attempts to excavate those embedded meanings.” To create his work\, Green digitally assembles his materials into sketchy\, black inkjet prints that resemble schematic drawings or computer renderings\, producing a sense of disorder in the otherwise highly organized and rigid\, even scientific\, discourse of architecture. The rendered forms do not refer to any extant structures\, rather they attempt to portray a kind of typological composite of different built forms throughout history. \nOsamu James Nakagawa was born in New York City in 1962 and raised in Tokyo. He returned to the United States\, moving to Houston\, Texas\, at the age of 15. He received a Bachelor of Arts from the University of St. Thomas\, Houston in 1986 and a Master of Fine Arts from the University of Houston in 1993. Currently\, Mr. Nakagawa is the Ruth N. Halls Distinguished Professor of Photography at Indiana University\, where he directs the Center for Integrative Photographic Studies. He lives and works in Bloomington\, Indiana. \nNakagawa is a recipient of the 2009 Guggenheim Fellowship\, the 2010 Higashikawa New Photographer of the Year\, and 2015 Sagamihara Photographer of the Year in Japan. Nakagawa’s work has been exhibited internationally\, solo exhibitions include: Eclipse\, PGI\, Tokyo (2018); Kai\, sepia EYE\, New York (2018); OKINAWA TRILOGY: Osamu James Nakagawa\, Kyoto University of Art and Design (2013);GAMA Caves\, PGI\, Tokyo; Banta: Stained Memory\, Sakima Art Museum\, Okinawa\, Japan (2009); Kai: Osamu James Nakagawa\, SEPIA International Inc.\, New York (2003). \nHis work is included in numerous public collections\, including the Metropolitan Museum of Art; George Eastman Museum; Tokyo Metropolitan Museum of Photography; Museum of Fine Arts\, Houston; Sakima Art Museum\, Okinawa; The Museum of Contemporary Photography Chicago\, Nelson-Atkins Museum of Art\, Indianapolis Museum of Art\, Grand Rapid Museum of Art and others. Nakagawa’s monograph GAMA Cavesis available from Akaaka Art Publisher in Tokyo\, Japan. \nConner Green (born 1984) is an artist from Indianapolis\, IN. He studied art and literature at Indiana University and received his MFA from the University of Wisconsin\, Madison. His work has been exhibited both nationally and internationally. Much of his work combines disciplines\, incorporating found sculptural and print-based elements. His work explores concepts of institutional critique\, myth\, desire\, and master narratives. He finds all of these concepts rife for excavation in the consumer-based material world and the built environment. His process allows for a certain degree of chance or disorder to come into play\, which he believes enables the phenomenal world to speak for itself.
URL:https://www.bigcar.org/event/osamu-james-nakagawa-and-conner-green-fences-imperia/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/02/IMPERIA.jpg
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