Candor Arts 2019 Reading Residency Winners by Candor Arts

We are very excited to announce the winners of our third annual Reading Residency: 

Jen Delos Reyes

Reading Residency — Chicago, IL

Jen Delos Reyes ,  2019 Chicago Reading Residency Winner,  Photo credit: Marta Sasinowska

Jen Delos Reyes, 2019 Chicago Reading Residency Winner, Photo credit: Marta Sasinowska

Jen Delos Reyes is a creative laborer, educator, writer, and radical community arts organizer. Her practice is as much about working with institutions as it is about creating and supporting sustainable artist-led culture. Delos Reyes worked within Portland State University from 2008-2014 to create the first flexible residency Art and Social Practice MFA program in the United States and devised the curriculum that focused on place, engagement, and dialogue.  During that time she also worked with the Portland Art Museum from on a series of programs and integrated systems that allowed artists to rethink what can happen in a museum, and reinvigorate the idea of the museum as a public space.

She is the director and founder of Open Engagement, an artist-led initiative, publishing arm, and conference committed to expanding the dialogue around and serving as a site of care for the field of socially engaged art. 

Delos Reyes is the author of I’m Going to Live the Life I Sing About in My Song: How Artists Make and Live Lives of Meaning, a book exploring the artist impetus toward art and everyday life. Her next book, Everything You Always Wanted to Know About Public Engagement* *But Were Afraid to Ask, will be released in fall 2019.

Delos Reyes currently lives and works in Chicago, IL where she is the Associate Director of the School of Art and Art History at the University of Illinois Chicago.

on working toward social progress, Jen writes:

Since 2006 I have been the unpaid Director of Open Engagement (OE). OE is an artist-led initiative committed to expanding the dialogue around and serving as a site of care for the field of socially engaged art. We highlight the work of transdisciplinary artists, activists, students, scholars, community members, and organizations working within the complex social issues and struggles of our time. OE has presented ten conferences in two countries and six cities, hosting over 1,800 presenters and over 7,000 attendees. In addition, OE managed a publishing arm, and assembled a national consortium of institutions, colleges, and funders all dedicated to supporting artists engaged in this necessary and critical work.

OE was the basis of my education, and has been a major foundation of my work as an educator, and artist for the past thirteen years.

Since 2012 I have been tracking how many emails I send related to OE. On average I send 4000 emails a year on this subject alone. In 2014 I sent and archived 4553 emails connected to OE. If I spent an average of 4 minutes per email that would equal 302 hours, which is eight weeks of full-time labor just on emails. And this doesn’t even factor in the emails I write for my full-time job as an administrator.

In all the years I’ve worked on OE there was only one time someone insisted that I be paid for my labor. It was 2014 and I was in a meeting with Tom Finkelpearl representing the Queens Museum and a few others from organizations we were working with that year. Tom said, right now your are the only person at this table not being paid for your work and that is not OK. The budget was amended and I was paid an honorarium through the museum. Imagine how different things would look if there were more people in positions of power at institutions insisting that all the people they work with are paid and valued for their labor?

In 2019 OE is embarking on a research year to re-assess and evaluate the needs of the field. We also just need a fucking break. I used to be proud of the labor of love I poured into OE, and now I’m not. I don't want to uphold and romanticize a lot of the kind of work myself and many others did in order to make a necessary site of care for the field of socially engaged art possible. 

I commend our resourcefulness, and our work ethic, but we modeled an unsustainable system of artist led culture. I don't want artist run to be synonymous with low pay or no pay, and I don't want the cost of finding our community to be at a personal loss. I know that there are better pathways forward forward for artist led culture, and supporting artists and cultural producers working at the intersection of art and activism. It is now a matter of finding those ways forward.

jendelosreyes.com

openengagement.info

 

Jose Luis Benavides

Reading Residency — Valencia, Spain (The Liminal)

Jose Luis Benavides ,  2019 Valencia Reading Residency Winner,   Photo credit: Maria Efting

Jose Luis Benavides, 2019 Valencia Reading Residency Winner,

Photo credit: Maria Efting

Jose Luis Benavides (b. 1986 Chicago, US) is a queer Latinx artist, filmmaker and educator. He recently held his first solo show at Terremoto - La Postal, Mexico City, MX (2018) featuring portions of the experimental documentary project Lulú en el Jardín. His video art has screened at the Museum of Contemporary Art Alfredo Zalce, Morelia, MX; the Bernardo Quintana Art Center, MX; and the Museum of Art of Tlaxcala, MX as part of the international festival of video and performance, Homography | Homography (2018). He has also exhibited video work at Dual Gallery, Budapest, HU (2019), Michigan State University’s Union Gallery, Lansing, US (2019); Screen Share Video Gallery - Logan Center for the Arts, Chicago, US (2019); and Qalandiya International, Ramallah, PS (2018), The Nightingale (2017); Links Hall (2016). His work has also screened at festivals including CinHomo - Muestra Internacional de Cine y Diversidad Sexual, Valladolid, ES (2019), Cadence Video Poetry Festival, Seattle, US (2019), Collected Voices, Chicago, US (2018); 2nd Floor Rear Festival, Chicago, US (2017); and S2F2: Scored Silent Film Festival, Chicago, US (2013). His videos have also featured on various digital media such as Queer Moving Image Review, US (2018), Video Video Zine, US (2015), and Gothic Angle, UK (2016). Benavides also programs a video-art series called Sin Cinta Previa: Latinx & Queer Archive Video Series which he was awarded a POWER Project grant from the Art Leaders of Color Network (2018). He received an MFA from University of Illinois at Chicago in 2017.

on working toward social progress, Jose writes:

I'm currently the organizer of Sin Cinta Previa, a Latin(a)x and Queer Archive Video Series which ran for 7 days at Comfort Station, Chicago (June 2019) and 2 days at filmfront, Chicago (October 2018). I'm preparing for my next series of screenings across the city, bridging artists from Mexico City and Chicago. This work of place holding and providing platforms for other queer and Latinx artists to dialogue and share their work with wider audience is crucial to my vision of a more just and understanding world. I make art, write and teach in a similar fashion. I offer up my passion for art as a conduit for change and make art which I hope may serve as a catalyst for community building.

My documentary Lulu en el Jardín (about the institutionalization of my lesbian, immigrant, Latina mother in the mid-1970's) is making its European debut at CinHomo festival in Valladolid. I'm thrilled to spend the week in Spain, but this trip cuts right into my time as an adjunct professor at Wilbur Wright College. I'm currently teaching an intro to photography course as well as working at the Back of the Yards public library as a teen services librarian. Both of these jobs are demanding and require that I prepare lessons, program and interact with diverse youth across the city every day. Needless to say, working two jobs doesn't provide a lot of time for my personal reading and research. This residency would be a breath of fresh air and a moment to prepare myself for future syllabus I'm developing, a seminar on Latinx video art history which will tie in a recent research trip I took to Mexico City and my thesis work from my MFA at UIC (2017).


2019 Reading residents: 

The Reading Residents received the highest number of votes from the respective city juries. They will each receive an accommodating residency on a weekend of their choosing, a $150 stipend for reading material + food, and a STILL LEARNING tote including Candor Arts publications.  

Honorable Mentions:

These applicants tied for second place and will receive a gifted book of their choosing.

Bea Cordelia

BEA CORDELIA is an award-winning, Chicago-bred, LA-based, internationally slandered writer, filmmaker, performer, actor, director, producer, educator, and activist whose work uplifts and reimagines the narratives of transgender people. Last year she released her web series the T with co-creator Daniel Kyri, which won a Streamy Award for Best Indie Series, and for which they were named Chicago’s 2018 Filmmakers-in-Residence. Her “life-changing” solo show Chasing Blue has been featured in the iconic Steppenwolf Theatre, as well as seen regional productions in Brooklyn and Minneapolis. In previous years she developed her multimedia installation The Cosmic Body in a residency at the University of Chicago, was made a Luminarts Creative Writing Fellow in poetry, and sued the City of Chicago over an outdated ordinance forbidding the exposure of "the female breast at or below the areola thereof" in establishments with liquor licenses. She is currently penning her first full-length book, a memoir about her life as a trans woman during the Trump years, and just reissued her acclaimed chapbook of poetry, 28.06 // Dear Sylvia, which recounts the history and impact of the Stonewall riots, 50 years ago this June. She is represented by Circle of Confusion and Paonessa Talent Agency. 

See more of her work at www.beacordelia.com, and follow her on Facebook, Twitter, and Instagram @beacordelia.

Danielle McCoy

Danielle McCoy is an artist, mother, educator, writer, and one half of WORK/PLAY. McCoy is a self-taught conceptual artist that intertwines printmaking techniques with sewing, and hand-dyed textiles into her interdisciplinary art practice. Through small run publications and arts programming, she serves to build safe spaces of belonging by incorporating spirituality and intentionality.  As a storyteller, her art books explore gender and identity by addressing issues rooted in race and inequality in America. Each book is designed and created in-house with WORK/PLAY and sold exclusively at Art Book Fairs around the country. 

https://www.w-o-r-k-p-l-a-y.com/

Leila Weefur

Leila Weefur is an artist, writer, and curator who lives and works in Oakland, CA. She received her MFA from Mills College. She tackles the complexities of phenomenological Blackness through video, installation, printmaking, and lecture-performances. Using materials and visual gestures to access the tactile memory, she explores the abject, the sensual and the nuances found in the social interactions and language with which our bodies have to negotiate space.

She is a recipient of the Hung Liu award, the Murphy & Cadogan award, and the Walter & Elise Haas Creative Work Fund. Weefur has worked with local and national institutions including SFMOMA, Southern Exposure, The Wattis, and Minnesota Street Project in San Francisco, Berkeley Art Museum and Pacific Film Archive, and Smack Mellon in Brooklyn, New York. She is the Audio/Video, Editor In Chief at Art Practical.

Janna Añonuevo Langholz

Janna Añonuevo Langholz is an interdisciplinary artist born and based in St. Louis, MO. She is the founder of Filipino American Artist Directory, an independent initiative to connect and make visible the broad community of visual artists of Filipino American artists living and working in the United States. It aims to increase the recognition of Filipino American artists through an online resource and series of publications, as well as group events and exhibitions, commissioned works, and collaborations with other artists and organizations.

jannalangholz.com / @jannanonymous

filamartistdirectory.com / @filamartistdirectory


We would like to offer our sincerest thanks

to our dear collaborators at The Liminal in Valencia,

and to this year's thoughtful and generous Panel of Jurors:

 

CHICAGO

ANNIE ZEAN DUNBAR

(Chicago, IL) — Researcher and Writer

VIVIAN SMING

(San Francisco, CA) — Artist, Writer, Editor in Chief of Art Practical, Founding Editor of Nonsensical, Founder & Publisher of Sming Sming Books

LA KEISHA LEEK

(Chicago, IL) — Exhibition Organizer; Co-Founder, The Petty Biennial; Arts worker at Project&;  creator of How to Make A Hood (Candor Arts, August 2015)

E.J. HILL

(Los Angeles, CA) — Artist

S.Y LIM 

(Chicago, IL) — Artist, Singer, Executive Director at 062 Gallery

DEVYN LORELEI MAÑIBO

(Chicago, IL) — Artist, Educator, Organizer

FELICIA HOLMAN

(Chicago, IL) — interdisciplinary artist/curator & arts administrator

ELANA SCHLENKER

(Pittsburgh, PA / Brooklyn, NY) — Designer, art director, principal of Studio Elana Schlenker and Out of Office, and publisher of Gratuitous Type

DAVID BELL

(Los Angeles, CA) — Space Operator of Visitor Welcome Center, author of Bye Bye Broadway (Candor Arts, August 2016)

SARA J. WINSTON

(Peekskill, NY) — Artist, author of A Lick and a Promise (Candor Arts, September 2017)

ARIEL GENTALEN

(Chicago, IL) — "Curator," organizer, and skater, Residency & Public Programs Manager @ Hyde Park Art Center

CHRISTOPHER KARDAMBIKIS

(Fairfax, VA) — Artist and Assistant Professor at George Mason University

TARA PIXLEY

(Los Angeles, CA) — Professor, Visual Journalist

PAULA WILSON

(Carrizozo, NM) — Artist and Co-Founder of Carrizozo Artist in Residence and MoMAZoZo

KATIE CHUNG

(Chicago, IL) — Artist

H.M. BATSEL

(Chicago, IL) — Artist

SPAIN

CARMEN ROYUELA

(Valencia, Spain) — Translator

ALEJANDRO GRANERO FERRER

(Valencia, Spain) — Artist and PhD Candidate

CARME MARISCAL

(Valencia, Spain) — Art Historian and Communication Manager

SEBASTIÁN BARRANTE

(Santiago de Chile) —Artist and Editor at Naranja Publicaciones

SEBASTIÁN ARANCIBIA

(Santiago de Chile) — Artist, Architect and Editor at Naranja Publicaciones

PABLO VINDEL

(Valencia, Spain) — Artist, Writer and Co-founder at The Liminal

MARÍA ESPÍ

(Valencia, Spain) — Illustrator, Visual Communicator and Co-founder at The Liminal


Announcing: 'deviant proposals: AN ANTI-BINARY JOURNAL' compiled by Matthew Anderson by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of deviant proposals: AN ANTI-BINARY JOURNAL, a book compiled by artist and filmmaker Matthew Anderson.

This book will be released in conjunction with the LA Art Book Fair at The Geffen Contemporary at MOCA from April 11-14. You can find it at the Candor Arts table: L10.

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ABOUT THE BOOK:

Matthew Anderson’s deviant proposals: AN ANTI-BINARY JOURNAL is a collection of works by queer artists from around the globe. The project was born out of Anderson’s struggle to feel fully connected to the queer community in Los Angeles. By turning to his international peers, this journal came into existence. The project began when Anderson compiled “ruminations and provocations by queer persons with a deep need to act / think / feel in opposition to strict binary systems according to (but not limited by) sexuality, gender, performance or identity.” The numerous contributing artists were given the freedom to submit work in any written format focusing on pondering the many questions that may have crossed their paths in relation to anti-binary modes of life, and its inherent provocation of the existing mainstream narratives and discourse. Anderson’s artist book creates a physical space where different voices of queerness converse, coexist and thrive.

ABOUT THE ARTIST:

Matthew Anderson is an artist and filmmaker currently living and working in Los Angeles. His work centers around multiplicity of perspectives and queer experience. He is the creator of ‘deviant proposals’ and writer and director of the feature film Baja Come Down. His film work also includes short, experimental and documentary projects which have shown internationally across Europe, Australia, North and South America. He is co-creator of Shadow Kitchen, a Los Angeles filmmaker collaborative, and co-creator of the LA Cinema Calendar. He holds a BFA from Chapman University.

Image © Matthew Anderson

Image © Matthew Anderson


About the contributors:

AMBROSE DUPREE (THE ARTIST FORMERLY KNOWN AS AMBER DUPREE)

At this moment in time, Ambrose DuPree is a tiny but mighty Black queer

and genderqueer individual who is from and currently works in Columbus,

OH. They are also fortunate to consider (and want to thank) the many

friends, family, art and community spaces they’ve encountered around

the globe that they call home. They are a filmmaker by trade and an

operations wizard by practice.

ERIN PIKE

Erin Pike is a queer performance artist and writer with a flair for the

feminist, political, and absurd. She is a Simon Rockower Award winner.

HOLLY M. CRAWFORD

Holly M. Crawford is an artist, educator, and lycanthrope living and

working in Los Angeles. Holly works predominantly in collage and uses

found imagery and paper to explore play, magic, and identity. Holly has

exhibited at leiminspace in Los Angeles, the Los Angeles Municipal Art

Gallery, The Main Museum, The Nomadic Werewolf Museum, and the

Maryland Institute College of Art.

JUDIT KIS

Judit Kis is a an emerging artist based in Budapest and Berlin. She

received her MA Intermedia Art degree in 2015 at the Hungarian

University of Fine Arts, where she also graduated from Fine Art Theory

and Curating. She also attended Chelsea College of Art and Design and

participated in short residencies and workshops internationally.

In 2016 she had a solo show ‘I Have Never Happened’ at Topic in

Geneva and her works have exhibited in art galleries and institutions

in London, Berlin, Stuttgart, Aarhus and Tallinn. Her works explore

the possibilities of integrating her continuously constructed identity

into society and documenting the stretching of her boundaries when

presented with existential problems or emotionally difficult situations.

Her videos are illustrations of her writings, thoughts and personal

improvement. Her practice is not only a self-healing process, but it

also allows the audience to discover familiar patterns within their own

life experiences concerning human relations and love affairs.

PETER KALISCH

Peter Kalisch is a visual/performance artist based in Los Angeles,

CA. His work attempts to point light to the postmodern condition of

disconnection from shared values, lived intimacy, human connection,

and our physical bodies. His relationship to performance as a medium

comes from the cathartic nature of reconnecting with his physical

vulnerability after a lifetime of upbringing in a first-world capitalist

environment. His work is an attempt at self-awareness and criticality,

an encouragement to others to remove themselves from the pattern

of self-victimization which is so apparent in our society. He promotes

authenticity, vulnerability, honesty and freedom, with an often political

and philosophical edge.

RACHEL ELIZABETH JONES

Rachel Elizabeth Jones is a writer and artist currently based in

Vermont. As a writer, she has contributed to publications including

Hyperallergic, The New Inquiry, and the Los Angeles Review of Books.

As an artist, she works to create experience and exchange through

objects, with an inclination towards practices of gleaning, physical and

spiritual reclamation, and concepts of apocalypse. She is also a co-organizer

with nomadic curatorial initiative Overnight Projects.

SAVIO DEBERNARDIS

Savio Debernardis is a multimedia artist and film director currently

living and working in Berlin. His work in essay, video-art, performance

and film, has been shown in institutions and festivals in Europe and

North America. He holds degrees in Art History and Archeology from

the University of Sorbonne Paris-IV, in Fine Art at the Ecole Nationale

Supérieure des Arts de Paris-Cergy (ENSAPC) and continues in studies

in film direction at the Konrad Wolf University of film in Babelsberg.

VALENTIN NOUJAÏM

Valentin Noujaïm is a young filmmaker/screenwriter living in Paris,

with Lebanese and Egyptian roots. His work mostly includes fiction &

documentary narratives on 8mm, DV or digital media. His movies often

concern misfits in dystopian and fantastic worlds, always linked with

sexuality & race.

2019 Reading Residency Jury Announced by Candor Arts

2019 reading residency

Panel of Jurors

DSCF0494001.jpg

CHICAGO

Annie Zean Dunbar

(Chicago, IL) — Researcher and Writer

VIVIAN SMING

(San Francisco, CA) — Artist, Writer, Editor in Chief of Art Practical, Founding Editor of Nonsensical, Founder & Publisher of Sming Sming Books

La Keisha Leek

(Chicago, IL) — Exhibition Organizer; Co-Founder, The Petty Biennial; Arts worker at Project&;  creator of How to Make A Hood (Candor Arts, August 2015)

E.J. Hill

(Los Angeles, CA) — Artist

S.Y Lim 

(Chicago, IL) — Artist, Singer, Executive Director at 062 Gallery

Devyn Lorelei Mañibo

(Chicago, IL) — Artist, Educator, Organizer

Felicia Holman

(Chicago, IL) — interdisciplinary artist/curator & arts administrator

Elana Schlenker

(Pittsburgh, PA / Brooklyn, NY) — Designer, art director, principal of Studio Elana Schlenker and Out of Office, and publisher of Gratuitous Type

David Bell

(Los Angeles, CA) — Space Operator of Visitor Welcome Center, author of Bye Bye Broadway (Candor Arts, August 2016)

SARA J. WINSTON

(Peekskill, NY) — Artist, author of A Lick and a Promise (Candor Arts, September 2017)

Ariel Gentalen

(Chicago, IL) — "Curator," organizer, and skater, Residency & Public Programs Manager @ Hyde Park Art Center

Christopher Kardambikis

(Fairfax, VA) — Artist and Assistant Professor at George Mason University

Tara Pixley

(Los Angeles, CA) — Professor, Visual Journalist

Paula Wilson

(Carrizozo, NM) — Artist and Co-Founder of Carrizozo Artist in Residence and MoMAZoZo

Katie Chung

(Chicago, IL) — Artist

H.M. Batsel

(Chicago, IL) — Artist

0141f05f-eb78-4482-b509-9e199c768572.JPG

SPAIN

CARMEN ROYUELA

(Valencia, Spain) — Translator

ALEJANDRO GRANERO FERRER

(Valencia, Spain) — Artist and PhD Candidate

CARME MARISCAL

(Valencia, Spain) — Art Historian and Communication Manager

SEBASTIÁN BARRANTE

(Santiago de Chile) —Artist and Editor at Naranja Publicaciones

SEBASTIÁN ARANCIBIA

(Santiago de Chile) — Artist, Architect and Editor at Naranja Publicaciones

PABLO VINDEL

(Valencia, Spain) — Artist, Writer and Co-founder at The Liminal

MARÍA ESPÍ

(Valencia, Spain) — Illustrator, Visual Communicator and Co-founder at The Liminal

Announcing: 'Tentativa de la Razón', in partnership with Naranja Librería y Editorial by Candor Arts

We are thrilled to be venturing on a new long-term co-publishing collaboration with Naranja Librería y Editorial, a Chilean publisher and bookstore dedicated to the creation, marketing and distribution of artist books, object books and experimental publications.

“We understand the book as a cultural medium where content and object are in communion with what the author wants to convey. Our catalog is composed of Chilean and foreign artists who explore the formal possibilities of the book. Naranja is composed by Sebastián Arancibia, architect, and Sebastián Barrante, photographer artist.”

naranja.jpg

The first edition produced under this partnership will be Tentativa de la Razón by Sebastián Barrante, debuting this weekend at Codex VII in Richmond, California. 

Tentativa de la Razón is an edition of 14 unique works on paper created by Sebastián Barrante, each encased in a tri-fold windowed portfolio and protective slipcase. Each piece comes with an inventory pamphlet contextualizing the individual work and the complete edition.

Words from the artist about Tentativa de la Razón:

I wrote phrases related to the narration my father told me once about the period he lived at jail, after being imprisoned and tortured by agents of the DINA (Direction of National Intelligence) during the Chilean dictatorial regime (1973-1989). Until the moment of his narration, I had scarce information of his experience, I never wanted to inquire into this period of his life, since I knew it was something painful to remember. Until, due to an investigation about a character which portrayed a political prisoner and that I had to personify while studying theatre, I decided to shyly ask him about how that experience had been. This narration stayed in my mind in phrases, and those phrases are the ones which I started to write, fifteen years later, as a mechanism of mental detachment from this painful experience.

The unknown image that randomly emerges, is what encouraged me to photograph periodically the sediments left by the coffees I drink while I work or think in ideas to carry out. When those residues accumulate in the bottom of the cup, random images are produced, having the virtue—as any other image—of being interpreted. I do not know how to read them, but the fact that they might eventually “tell me something” make them an interesting topic of investigation. This is how, from the digital registration of the sediments left in every cup I drink, I moved to an analogue registration by spreading this sediments in paper pages.

Image or representation of the perceived object that remains in the subconscious. Events that will never be erased from my mind.

Intuitively, I decided to spill the coffee sediment on the paper I was working on and realized that these two creative processes made much sense by being together. I believe that the sensation given by the images formed by the coffee sediment in the paper is related with the intrigue of knowing its meaning and also with my father’s narration which I would like to wipe out.

Thinking the word as the manifest of a subsystem.

Manifesting the phrase as means of thought interlocution.

Thinking the book as an objectual articulation of a mental state.

The book as a support of ideas.

The object as an idea of a book.

The page as body prosthesis.

Thinking the material as textual translation of the word.

Occupying the space as the page of a book.

The object as resignification of the residue.

The residue as reconsideration of support for art.

The residue as image of a reflection of the page.

The reflection(s) as residual text.

The image as residue of my reflection.

The object reconsiders the artistic support to convert it in thinking body.

The word as residue.

About the Artist:

Sebastián Barrante is an artist photographer graduated from the School of Arts of The University of Chile, with later specialization in editorial areas, artistic book binding and exhibition curatorship. These specialties have allowed his professional development in artistic creation with an emphasis on the image and the book; the management of cultural projects related to photography, documental archive and the creative editorial industry.

In the artistic field, his work has moved from his photographic specialization in the digital sphere to the investigation on image in artists’ books. Under this same area, he creates Naranja Bookstore & Editorial (www.naranjalibreria.com), a space of creation, commerce and dissemination of artists’ books, object books and experimental publications. His artists’ book are part of the Fundação Serralves (Porto, Portugal); Archive Artist Publications (Munich, Germany); Cerrillos Contemporary Art Centre (Santiago, Chile); and Bavarian State Library (Munich, Germany).

'Under the Knife' by Krista Franklin now available by Candor Arts

utk.jpg

Recently released in a handbound edition of 500 and a Special Edition of 25, Under the Knife by Krista Franklin is now available for purchase!

ON UNDER THE KNIFE:

Part memoir, part treatise, part collage and experiment, Krista Franklin’s Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist’s selves.

Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.

ABOUT THE AUTHOR:

Krista Franklin is a writer and visual artist whose work has appeared in PoetryThe OffingBlack CameraCopper NickelCallalooBOMB MagazineEncyclopediaVol. F-K and L-Z, and the anthologies The End of Chiraq: A Literary MixtapeThe BreakBeat Poets: New American Poetry in the Age of Hip-Hop and Gathering Ground. Her chapbook of poems, Study of Love & Black Body, was published by Willow Books in 2012.

Franklin is a frequent collaborator with fellow artists, most notably contributing her writing to performances, prints, audio recordings and film voiceovers for the projects of Cauleen Smith; the text of Ayanah Moor’s hand-painted signs for the performance “Untitled (OFFERINGS)”; and poetry for Erin Christovale and Amir George’s catalog Black Radical Imagination (Dominica). Her work is often linked with the cultural movements Afrofuturism and AfroSurrealism, and she was mentioned in Chicago magazine’s “The Next Generation of Chicago Afrofuturism.”

Her work has exhibited at Rootwork Gallery, Produce Model, The Obama Foundation Summit, The Studio Museum in Harlem, Chicago Cultural Center, The Cornell Fine Arts Museum, The Columbia Museum of Art, National Museum of Mexican Art, and featured on 20th Century Fox’s Empire. She is a Cave Canem fellow who holds an MFA in Interdisciplinary Arts from Columbia College Chicago, and currently teaches Writing at the School of the Art Institute of Chicago.

Under the Knife
125.00

BY Krista Franklin

PUBLISHED BY CANDOR ARTS

Released: December 1, 2018.

[Please note that this book is entirely constructed by hand — during times of high order volume, your book’s ship date may be delayed.]

ISBN: 978-0-9968161-8-2

First Edition of 500.

8.5" x 11" x 2-1/8", 280 pages.

French-link handbound bookblocks coptic-stitched to clothbound hardcover colophon. Paper wrap cover foil stamped on front and spine. Printed on 5 different papers with Indigo 12000, RISO RZ 390U, and Letterpress.

Design by Matt Austin, April Sheridan, Aay Preston-Myint, and Hannah Batsel.

Letterpress by April Sheridan.

Handbinding, RISO printing, Foil stamping and casework by Candor Arts.

A Special Edition of this book comes in a custom clamshell box with an archival print of the artist’s work. Available here in an edition of 25.

Quantity:
Add To Cart
Under the Knife [Special Edition]
1,800.00
Quantity:
Add To Cart

Featured Project: Reap the Whirlwind by Hương Ngô by Candor Arts

 

Reap the Whirlwind

by Hương Ngô

 

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We recently got the opportunity to work with Hương Ngô on an edition of clamshell boxes encasing five volumes of books, each page printed and silkscreened, then handbound, and each cover blind debossed.

This edition of 8 was made in collaboration with Ty Deal of Delicious Design League, who silkscreened every page with thermochromic ink.


Reap the Whirlwind

This artist book serves as the anchor of the exhibition, Reap the Whirlwind, the solo exhibition of artist Hương Ngô just recently on view at Aspect/Ratio. The book is a collection of five handmade volumes with text excerpts from congaï novels that each narrate a different version of the logistical, ethical, and political aspects of the concubine system often practiced between Indochinese women and French men during the colonial period. Though appealing to a pulp fiction readership, each book offers a portrait of a character who is politicized against oppressive forces through her congaïship. Ngô has overprinted the collection with thermochromic ink, preventing the viewer from reading the text until it is touched and implicating them in this matrix of intimacies.

Hương Ngô

Hương Ngô is an interdisciplinary artist whose conceptual practice connects the personal and the political, giving material form to histories which have been rendered invisible and interrogating the ideological origins of their erasure. Having grown up as a refugee in the American South, Ngô creates work that reframes the hybrid, the imperfect, and the non-fluent as sites of survival and knowledge. She is a graduate of the University of North Carolina at Chapel Hill (BFA Fine Arts, 2001), School of the Art Institute of Chicago (MFA Art & Technology, 2004), and was a studio fellow at the Whitney Independent Study Program (2012). She was recently awarded the Fulbright U.S. Scholar Grant in Vietnam (2016) for her research, begun at the Archives Nationales d’Outre-Mer in France and recently presented at DePaul Art Museum (2017), that examines the colonial history of surveillance in Vietnam and the anti-colonial strategies of resistance vis-à-vis the activities of female organizers and liaisons.

Her work, which has been described as “deftly and defiantly decolonial” by New City and “what intersectional feminist art looks like” by the Chicago Tribune, has been exhibited at the MoMA (2018), MCA Chicago (2004, 2016, 2017), Para Site HK (2017), Nhà Sàn Collective (2016), the Queens Museum (2014), The Kitchen (2011, 2014), and the New Museum (2012) among others. She has been awarded the DCASE Individual Artist Program Grant (2017, 2018), the Illinois Arts Council (2018), Chicago Artists Coalition BOLT residency (2016-17), Rhizome Commission (2011), and has been in residency through the Camargo Foundation Core Program (2018), LATITUDE Chicago (2015), and SOMA Mexico (2014). She has taught at the MoMA, Pratt Institute, and Parsons The New School for Design and is currently Assistant Professor in Contemporary Practices at the School of the Art Institute of Chicago. 


Learn more about Hương Ngô: huongngo.com

Announcing: 'Cultura y Communidad' by Slow&Low: Chicago Lowrider Festival by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Cultura y Communidad, a book compiled by co-founders Lauren M. Pacheco and Peter Kepha with co-organizer Edward 'Magic' Calderon of Slow&Low: Chicago Lowrider Festival

This book has been rescheduled for a Spring 2019 release

It will be produced in a hardcover clothbound edition of 200 copies. 

Peter Kepha and Lauren Pacheco, co-founders of  Slow&Low: Chicago Lowrider Festival

Peter Kepha and Lauren Pacheco, co-founders of Slow&Low: Chicago Lowrider Festival

ON Cultura y Communidad:

This publication is concerned with documenting the existence of a Midwestern Lowrider culture, stories and histories.  In partnership with Candor Arts, a retrospective monograph as presented by the Pilsen-based Slow&Low: Chicago Lowrider Festival that celebrates both identity and objects through visual and physical representations in order to forward the argument that the expression of identity is the telos of Lowrider art and culture.

The festival's co-founders Peter Kepha and Lauren M. Pacheco, along with a team of collaborative creatives and academics—Edward ‘Magic’ Calderon, Max Herman, Matt Austin, Dr. Ben Chappell—were 2018 Propeller Fund recipients.  Propeller Fund is jointly administered by Gallery 400 and Threewalls and funded through the generosity of the Andy Warhol Foundation for the Visual Arts.

In 2018, Lauren M. Pacheco received a research grant awarded by the National Association of Latino Arts and Cultures (NALAC) in support of documenting and celebrating collective creative practices and the artistic expression evident in Lowrider community and culture.  

In partnership with BOOMBOX, Chicago's first shipping container pop-up shops developed, designed and built by a woman owned team, Slow&Low will curate a week-long pop-up showcasing art and vintage objects as well as other curiosities from August 20th - August 27th at 725 West Randolph Street (corner Randolph and Halsted). This site is presented by Related Midwest, EQUINOX and LatentDesign. 

Pre-orders for this book will be available at this year's festival. 

Photo © Nick Lipton, from  Cultura y Communidad

Photo © Nick Lipton, from Cultura y Communidad

ABOUT Slow&Low: Chicago Lowrider Festival:

Slow&Low is a curated one-day outdoor street-based festival celebrating Lowrider culture—master craftsmen, innovative mechanics, custom pinstripers, muralists and other enthusiasts who contribute to the overall visual aesthetics of a thriving Midwestern sub-culture. Not to be confused with an auto show, this community-cultural event presents and explores notions of car culture as an authentic form of folk art in the public sphere—a way of celebrating beauty, self-expression and worth.

In 2017, over 5,000 people, young and old, walked a street filled with vintage and stylized automobiles and bicycles, danced to local deejay talent spinning hip hop, house, rockabilly and soul, and watched as cars hopped and cruised and were entertained by mariachis, folkloric dancers and a marching band.

Slow&Low: Chicago Lowrider Festival is co-founded by siblings—Peter Kepha and Lauren M. Pacheco. Both are third-generation Mexican-Americans born and raised in Brighton Park, a community on Chicago’s southwest side and proud Chicago Public School graduates. Their history runs deep in Chicago's communities having parents hailing from Pilsen and LeClaire Courts public housing in Archer Heights. 

Photo © Nick Lipton, from  Cultura y Communidad

Photo © Nick Lipton, from Cultura y Communidad


Celebrating Two Years of Books and a New Studio! by Candor Arts

We are excited to share the work made over the past two years of collaborations and welcome you to spend time with them, us, and celebrate a little bit!

Candor Arts is indeed growing older and a little bigger, as we have recently moved into a new studio! We will continue to provide our same publishing and production services at our new storefront address: 3306 W North Avenue, Chicago, IL 60647. 

Additionally, we are now able to offer regular open hours for you to come hang out with all of our past projects (as well as our inspiration library) every first Saturday of the month between 12 PM and 4 PM.

JOIN US FOR OUR ANNIVERSARY AND HOUSEWARMING PARTY!

SUNDAY, JULY 29TH, 2018

2 PM TO 8 PM

RSVP on Facebook

There will be snacks, drinks, and books. 

Announcing: 'Under the Knife' by Krista Franklin by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Under the Knife, a book authored by Chicago-based poet and artist Krista Franklin.

Due to release in Fall of 2018, this book will be produced in an edition of 500 copies.

Krista Franklin   in Martinique , photo ©  Alexandria Eregbu

Krista Franklin in Martinique, photo © Alexandria Eregbu

ON Under the Knife:

Part memoir, part treatise, part collage and experiment, Krista Franklin’s Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist’s selves.

Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.

© Krista Franklin, from  Under the Knife

© Krista Franklin, from Under the Knife

ABOUT The Author:

Krista Franklin is a writer and visual artist whose work has appeared in Poetry, The Offing, Black Camera, Copper Nickel, Callaloo, BOMB Magazine, Encyclopedia, Vol. F-K and L-Z, and the anthologies The End of Chiraq: A Literary Mixtape, The BreakBeat Poets: New American Poetry in the Age of Hip-Hop and Gathering Ground. Her chapbook of poems, Study of Love & Black Body, was published by Willow Books in 2012.

Franklin is a frequent collaborator with fellow artists, most notably contributing her writing to performances, prints, audio recordings and film voiceovers for the projects of Cauleen Smith; the text of Ayanah Moor’s hand-painted signs for the performance “Untitled (OFFERINGS)”; and poetry for Erin Christovale and Amir George’s catalog Black Radical Imagination (Dominica). Her work is often linked with the cultural movements Afrofuturism and AfroSurrealism, and she was mentioned in Chicago magazine’s “The Next Generation of Chicago Afrofuturism.”

Her work has exhibited at Rootwork Gallery, Produce Model, The Obama Foundation Summit, The Studio Museum in Harlem, Chicago Cultural Center, The Cornell Fine Arts Museum, The Columbia Museum of Art, National Museum of Mexican Art, and featured on 20th Century Fox’s Empire. She is a Cave Canem fellow who holds an MFA in Interdisciplinary Arts from Columbia College Chicago, and currently teaches Writing at the School of the Art Institute of Chicago.

© Krista Franklin, from Under the Knife


Recently in the studio: Barbara Jones-Hogu: RESIST, RELATE, UNITE with the DePaul Art Museum by Candor Arts

We recently had the privileged opportunity to work with Julie Rodrigues-Widholm and Mia Lopez of the DePaul Art Museum on the institution's most recent monograph Barbara Jones-Hogu: RESIST, RELATE, UNITE

Barbara Jones-Hogu was a central figure of the Black Arts Movement and a founding member of the African Commune of Bad Relevant Artists (AfriCOBRA). Throughout her career she worked in painting, printmaking, film, education, and has contributed to major projects including Chicago’s Wall of Respect mural. This was her first solo museum exhibition featuring works on paper including woodcuts, etchings, lithographs, and screenprints.

On the occasion of the exhibition Barbara Jones-Hogu: Resist, Relate, Unite, the museum published the first monograph on the artist’s work. The publication features texts by art historian Rebecca Zorach, Tate Modern Curator of International Art Zoe Whitley, and artist Faheem Majeed.

This book was published in an edition of 500. 

We designed and produced this publication with a heavy focus on honoring Barbara Jones-Hogu's skillful work and dedication to the medium of screenprinting.

In collaboration with Delicious Design League, the cover fabric was silkscreened with two colors, foil stamped once, and wrapped by hand in our studio. Lowitz and Sons printed the interior of the book and smythe-sewed the book blocks. All foil stamping and casebinding were done by hand in our studio. 

We recently co-published a small special edition with the DePaul Art Museum of 10 copies available in a blind-debossed custom clamshell box. It is now available in our shop. 

It is now available for purchase through our online shop:

Announcing: 'T by Trace' by Teens Re-Imagining Art, Community & Environment by Candor Arts

Candor Arts is thrilled to announce the release of T by TRACE, an art/cookbook authored collaboratively by participants in the TRACE (Teens Re-Imagining Art, Community & Environment) program at Hamilton Park in Chicago’s Englewood community. 

This book has been rescheduled for a Spring 2019 release

It will be produced in a handmade edition of 75 copies designed by the teens of the TRACE program, produced by Candor Arts.

Image:  TRACE Teens working on book design at Candor Arts.

Image: TRACE Teens working on book design at Candor Arts.

ABOUT T By TRACE:

Exploring the culinary and agrarian traditions embedded in Chicago’s southside, T by TRACE combines the family narratives of southside youth with profiles of Englewood gardeners, growers and environmental activists as a form of creative ethnography disrupting contemporary narratives of Chicago’s Black communities as inherently violent, disconnected and unresourced.

Notes on the above images: Graphic design image created by Dartony "Tiny" Wright in collaboration with artist Leah Gipson, a visiting artist for TRACE. The context of the design (according to Tiny) represents community bonding and ideas around food sustainability. 

The photo collages were made using the teens' family photographs to enforce the importance of family histories/narratives and shared identities. 

ABOUT TRACE: 

TRACE (Teens Re-Imagining Art, Community & Environment) is a civic leadership and community curatorial job training program of the Chicago Park District headquartered at Hamilton Park Cultural Center in the Englewood community.  Using the practice of Creative Activism, TRACE shows teens how to leverage the arts to engage, inspire and persist for positive change within ourselves and our communities.

During the spring of 2018, ten TRACE interns worked with teaching artists Concitta Cavin and Zakkiyyah Najeebah to conceptualize, research, produce and design what they envision as a celebration of the ways food and our relationship with the land has been and can be a balm for we descendants of The Great Migration searching for resiliency within the urban landscape.

As an extension of the teens exploration of environmental activism and food, TRACE also invited guest artist Leah Gipson to guide a textile workshop in which teens were encouraged to use designs and patterns as a means to communicate ideas that enforce their definitions of imagination, community, and shared identities. Exercising the importance of shared narratives and family, several of our teens submitted family photographs to activate questions regarding the Black family photo archive, informal archiving practices, and the overall concept of “family”.

 
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Follow TRACE on Instagram: @teensreimaginin

 

Recently In the Studio: Green Zones with Jenny Kendler by Candor Arts

Recently, we've had the pleasure of working in collaboration with artist Jenny Kendler and The Natural Resources Defense Council (NRDC) on GREEN ZONES, a multi-faceted community project headed by Jenny Kendler aimed to share and protect the unique tropical dry forests found in Nosara, Costa Rica. The NRDC is an organization that works to safeguard the earth - its people, its plants and animals, and the natural systems on which all life depends.

Jenny Kendler on GREEN ZONES

As Artist in Residence with non-profit NRDC, I was asked to create a project inspired by this unique ecosystem. Generously supported by the Pacific Foundation, two research trips in the rainy season of 2015 and dry season of 2016 immersed me in this region’s globally rare tropical dry forests. Unlike the vanished jungles of nearby towns, these forests which are known colloquially as the Zonas Verdes or Green Zones, had been spared through lucky circumstance. Without the federal protection provided to the nearby Ostional Wildlife Reserve, a diligent community group called the Nosara Civic Association, has managed to defend these lands—and the old-growth trees and multitude of species they contain—from the pressures of development for 40 years.
To encourage more people to intimately experience these special forests, as a way to create understanding and care, myself and my collaborators organized a series of free walks led by mindfulness professionals and conservation biologists. During these walks, community members were asked to make a photograph—using their camera to re-sensitize rather than dull their vision. Alongside a poem written for the book by Dave Snyder, the community’s photographs were compiled into this handmade artist book, entitled GREEN ZONES: Moments of Wonder in the Forests of Nosara, co-designed and published by Matt Austin of Candor Arts.
Created in accordance with the underlying ethos of the project, these bilingual books were printed with an eco-friendly inking process on 100% post-consumer recycled paper, include hand debossed, foil-stamped and letterpressed elements—and were handbound in the Candor Arts studio in Chicago.

The book exists in 3 editions: a softcover, hardcover and clamshell collector's edition. 

Profits from the book support the Nosara Civic Association’s work to protect the Green Zones into the future for humans and non-humans alike.

The first edition of this book was produced in a paperback edition of 250 copies that were delivered to the Nosara Civic Association, the sales of which went entirely to supporting their efforts. 

4 x 7.25 x .5 in. - 160 pages


We also produced in hardcover edition of 50 copies that include letterpressed bookmarks printed by April Sheridan and translucent holographic foil stamped covers. This edition is available in our shop, half of the proceeds help support the Nosara Civic Association. 


Lastly, we produced a special collector's edition of 5 custom clamshell boxes that fit the hardcover artist book, a letterpressed card printed by April Sheridan, and a unique sculptural eyeglass piece by Jenny Kendler. This special edition is available in our shop, and half of the proceeds help support the Nosara Civic Association. 


Pre-Order: falling is the one thing i by Korde Arrington Tuttle by Candor Arts

falling is the one thing i by Korde Arrington Tuttle is now available for pre-order!

Please join us for the NYC private release event on the evening of May 31. 

To receive event details, please RSVP your party to info@candorarts.com

 

ON FALLING IS THE ONE THING I:

Placing haiku and photography in conversation with one another, falling is the one thing i is a cumulative, seventeen-syllable exercise in surrender; an active practice of yielding to physical, emotional, and psychological environments. Spanning 2015-2017, it is comprised of poems and images, ranging in subject from the follies of institutional oppression to love in the afterlife, through a black, queer intersectional lens. This collection is an intimate inquiry into the body, dreamscapes, and the aesthetic force of sidewalk stains.

ABOUT THE AUTHOR:

Korde Arrington Tuttle is a multi-disciplinary artist hailing from Charlotte, NC. With a primary focus in theatre and performance, his work has been developed and seen at the Obie Award-winning The Fire This Time Festival, The 24-Hour Plays: Nationals, the Obie Award-winning Harlem 9’s 48 Hours… in Harlem at The National Black Theatre, HomeBase Theatre Collective, The Movement Theater Company, Active Culture at JACK, The Each-Other Project, OnQ Productions, The New School’s 2015 AfroFuturism Conference, and The Tenth Magazine, in collaboration with the Leslie-Lohman Museum of Gay and Lesbian Art. Korde is a proud recipient of the Steinberg Playwriting Fellowship, and was selected a finalist for both the 2017 Alliance/Kendeda National Graduate Playwriting Contest and City Theatre National Award for Short Playwriting Contest. In 2016, his play clarity won the 41st Annual Samuel French Off-Off Broadway Festival, and will appear in Samuel French’s successive anthology. Korde’s plays + poetry have also been published by Harlem 9’s 48 Hours… in Harlem, The Fire This Time Festival, and The Tenth Magazine. Korde is a Middle Voice Theatre Company member at Rattlestick Playwright’s Theater and received his MFA in Playwriting at The New School.

LEARN MORE ABOUT KORDE AT HTTP://HEYKORDE.TUMBLR.COM/ 

FOLLOW HIS WORK ON INSTAGRAM VIA @HEYKORDE.


Announcing 'narrow distances' by Ka-Man Tse by Candor Arts

Candor Arts is thrilled to announce the release of narrow distances, a book of photographs by Brooklyn-based visual artist Ka-Man Tse. This monograph is due to release in July of 2018. 

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On Narrow Distances

My image-making begins from that tension between longing and belonging, place and placelessness. In narrow distances I am asking questions of home, identity, community, and subject-hood. What does it mean to look, who has the right to look, what does it mean to be seen? My photographs address a desire to negotiate multiple and diasporic identities and are made within the intersection of Asian and Pacific Islander (API) and LGBTQ communities, and made through a queer lens.

The photographs aim to establish a sense of possibility in the context of a contingent, post-colonial, pre-2047 Hong Kong in constant flux and transition. The book opens with images from the decommissioned airport, Kai Tak, and from those pictures, emerge the portraits.  Possibilities start with small gestures, clear or coded. The project places the protagonists within and against the landscape. The portraits center those who are often marginalized and invisibilized, taking care of Hong Kong, each other and their own communities they have built, occupying and queering space, time, and gesture. In the contested and contingent spaces in the home, in the public realm, occupying a space and a conversation is an act. My images take place in this potentiality of the in-between and the everyday. They are made out of a need to occupy the landscape, space, and frame; to establish a sense of personal space and agency where it is often contested and eroded, even within the spaces of the in-between, and of contingency, subtraction and redevelopment, a city is in transition; a body and one’s identity is in transition. Who can claim ownership, who can love or belong; who retains a memory, what does a future look like and who does it include?  Is an interregnum possible?

My process involves re-imagining, revisiting, collaboration and long-engagement. The portraits are made through conversations and interviews around personal histories, identity and place, visibility and community. Using mostly a view camera (with two sides per film holder), my photographs propose B-sides: queer narratives and obsessions. The images are built. In a culture and economic system where speed and efficiency are valued above all else, I deploy a 4x5 camera so we can be deliberate, breathe together, slow time together. I recast this world to see it re-imagined, with my protagonists, and kinfolk: both inherited and created.

Image © Ka-Man Tse from  narrow distances

Image © Ka-Man Tse from narrow distances

About Ka-Man Tse

Ka-Man Tse (b. Kowloon, Hong Kong) is a photographer, video artist and educator. She received an MFA from Yale University, and a BA from Bard College.  She has exhibited her work at the Lianzhou Foto Festival in Guangdong, China; Para Site in Hong Kong, the 2016 Hong Kong Contemporary Film Festival, and Videotage's Both Sides Now III – Final Frontiers in Hong Kong, Taipei, Shanghai, and the United Kingdom. U.S. shows include the Museum of Chinese in America in New York, NY, the Bronx Museum of the Arts; the Palm Springs Art Museum, Cornell University, Capricious Gallery, the Philadelphia Photo Arts Center, and the Eighth Veil in Los Angeles. She has mounted solo shows at Lumenvisum in Hong Kong, the Silver Eye Center for Photography in Pittsburgh, PA and the New York Public Library, Mulberry Street Branch. She was a SPARC Artist-in-Residence through the New York City Department of Cultural Affairs, and completed the Artist in the Marketplace Program through the Bronx Museum of Arts. She is the recipient of the 2014-2015 Robert Giard Fellowship, and a 2017-2018 Research Award from Yale University Fund for Lesbian and Gay Studies. Her photographs have appeared in Monocole, Papersafe Magazine, Newspaper, GR-09022017 published by Skreid in Oslo, Norway, The New York Times, The New Yorker, Capricious Magazine, O Magazine, Performa 07: Everywhere and All at Once, Salon, Huffington Post, Slate, Hyphen Magazine, Time Out New York, Time Out Hong Kong, and Ming Pao. Her work is currently on view in the group exhibition Queering Space at Alfred University. This spring her work be included in the forthcoming WMA Masters Exhibition, Transition, in Hong Kong. She is co-curating Daybreak: New Affirmations in Queer Photography at the Leslie-Lohman Museum with Matt Jensen, opening in June 2018. She currently teaches at Yale University and at Parsons School of Design.


Learn more about Ka-Man Tse

April 13 — Chicago reception for 'Anthology 2014-2016' by Tony Lewis by Candor Arts

Candor Arts is thrilled to announce the release of Anthology 2014-2016, a publication of poetry by Tony Lewis.

Please join us for a cocktail reception to celebrate the release of this publication:

April 13, 7-11 pm — 3217 S Archer Ave, Chicago, IL 60608

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On Anthology 2014-2016

Anthology 2014-2016 is a collection of thirty-four poems written by Tony Lewis between 2014 and 2016, and was produced on the occasion of an exhibition Anthology 2014-2016, a corresponding group of thirty-four collages at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. in the Spring of 2018. It also marks the conceptual completion of the collages that are themselves a collection of smaller text drawings culled from the pages of Calvin and Hobbes, a comic strip by Bill Watterson. Each collage was part of the writing process, and represents a tangible commitment to the words that make each poem. The publication is the liberation of original writing, and a personal commitment to understanding the relationship between drawing, collage, and writing.

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Anthology 2014-2016 is a 7"x9" softcover book of 40 pages staple-bound with risograph white ink covers. The edition of 500 comes in three color combinations. 

15.00
Color:
Quantity:
Add To Cart

About Tony Lewis

Tony Lewis (1986, L.A.), currently lives and works in Chicago. Solo exhibitions of his work have been recently held at the Shane Campbell Gallery, Chicago; Massimo de Carlo, London; Blum and Poe, Los Angeles; Museo Marino Marini, Florence; and Museum of Contemporary Art Cleveland. He has participated in recent group exhibitions at Boston University Art Galleries; Aspen Art Museum; HOME Manchester, UK; LAXART, Los Angeles; Studio Museum Harlem, New York, and Bowdoin College Museum of Art in Maine. He is the recipient of the 2017-2018 Ruth Ann and Nathan Perlmutter Artist-in-Residence Award at the Rose Art Museum at Brandeis University, where his work is on view in a site-specific project through June 2018, and his work is currently on view in the solo exhibition Anthology 2014-2016 at the Hirshhorn Museum and Sculpture Garden, Washington, DC.


Learn more about Tony Lewis

Featured Project: Pliant History by Barbara Ciurej and Lindsay Lochman by Candor Arts

 

Pliant History

by Barbara Ciurej and Lindsay Lochman

 

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We recently got the opportunity to work with Barbara Ciurej and Lindsay Lochman on a small handmade book edition of their work Pliant History, and wanted to talk more with them about this beautiful project.  

This edition of 10 includes interwoven vellum inkjet-printed sheets laid atop Piezo-printed portraits. The covers and spines are blind-debossed into an eggplant silk fabric. 

What was the origin or initial vision of the work?

Our culture is awash in the glorification of youth, but lacking in a visual vocabulary to express the power and inevitability of transformation over a lifetime. This became abundantly clear to us as we entered the invisible world of middle age.

In our practice, we reference art history, reanimating mythology and imagery to interpret the present. From 2001-08, during artist residencies at Ragdale Foundation, we began photographing older women, drawing from the art historical canon. We explored strategies which would infused authority and divinity back into depictions of aging. We focused on seismic shifts in art history — from early fertility figures, to ancient Greece and Rome, into the Renaissance — pivotal times when beliefs systems clashed and conjoined producing new ideas. We mined these moments to produce an extended body of work called All Things Are Always Changing.

What became the book Pliant History, was a segment of that work initially titled Dialogues with Michelangelo. We considered how power is structured by pairing images of Michelangelo’s sibyls and prophets from the Sistine Chapel ceiling with contemporary portraits of women “assuming the pose.” In contrast to these seers and storytellers who served to justify authority in the Renaissance, our figures present embodied knowledge without the signifiers of books and beards, robes and thrones. Juxtaposing contemporary and historic representation as a means to access the past, we evoke the fluid and dynamic nature of power.

Describe a little about your practice and how this piece fits into your work overall.

We have been collaborating on projects for over three decades using photography to address the confluence of history, myth and popular culture. We share the conceptual and the practical aspects of creating work. Projects are often long-term, revisiting the initial work, then creating new iterations.

Working on projects through time is like attending the same opera over a span of many years. You identify with the characters differently, seeing nuances and connections initially missed, finding deeper meaning.

Can you talk a bit about the design and how you came to deciding how this piece should exist?

We originally exhibited prints side by side, but the layering of histories, one upon the next, suggested contingent relationships rather than oppositional ones. The idea of printing Michelangelo’s images on fragile, semi-transparent vellums and overlaying them onto our images literally allowed the viewer to look through history. The concept of turning a page on history was metaphorically rich, making clear a book was the most appropriate form for this idea. The interplay of vellum image and underlying image was thrilling, suggesting temporality, hybridity, transformation, and evolution.  

We made a quick mockup with prints and vellum overlays and thus began a journey that took 4 more years and many meanderings.

Numerous dummy books with variations on binding a book with vellum interleaves were constructed. We researched and consulted with printers, bookmakers and publishers. After extensive testing, we chose paper, print method, text, design and layout to suggest the collision of Renaissance-era books with the present. Page size was determined by the ratios underpinning early illuminated manuscripts. Prints were made with carbon piezography inks on cotton rag paper to evoke the opulent materiality of Renaissance books and the sumptuous renderings Michelangelo’s paintings. Digitally simulated marbled endpapers line the cloth cover. An excerpt from Ovid’s Metamorphoses describing the certainty of change was added; a visual poem interspersed to alter page rhythm. The effect we wanted was a contemporary manuscript of change.

Finally, we landed at Candor Arts where every obstacle hindering completion was met with thoughtful suggestions, patience, and skill, making the book a thing of beauty.

We envision the 10 copies of the book in special collections as inter-history dialogue with emancipatory potential.

What is your next project?

An inadvertent swipe with the eraser tool in Photoshop led to a surprising iteration of this work. Now we are digitally collaging our images into Michelangelo’s figures, as we imagine a musical accompaniment.

Then we’ll be moving on to a cookbook, a critique of capitalism and the design of a fragrance.


Learn more about Barbara and Lindsay's work at:

http://www.ciurejlochmanphoto.com/

Candor Trust: Issue One | Victor Yañez-Lazcano by Candor Arts

We are thrilled to announce our first issue of the Candor Trust Editions:

today I thought of you (a songbook)

by Victor Yañez-Lazcano

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We invited Victor to have some fun and create anything he wanted in an afternoon of creative thinking/art-making, with the understanding that we could then translate his concepts into an editioned work that would be sent out to six long-time supporters of Candor Arts.

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Intended to be listened to over the course of 16 days, he put together a gift for these six people: a songbook of 16 videos, beginning with this one introducing the project below:

In an included letter written to the recipient, Victor writes:

This first gift idea, today I thought of you (a songbook), came to mind shortly after my Fall quarter studies ended at Stanford, where I am currently pursuing my MFA in studio arts. Over the last year and a half a good majority of my artwork has taken up sound as an integral component of my practice. As such, for this piece I thought it would be wonderful to create a sound book that asked you, the listener, to shift the way in which actively and intentionally engage with a book. Furthermore, given the its length in “pages,” I thought I would push against the desire to rush through and encourage to you pace yourself in your “reading” of this book. As you navigate through this seemingly silent book, I’d like to invite you to simply “read” along once per day at whatever time of day you’d like. But just one card per day, until the book has come to an end. Of course, whatever pace you decide to choose is totally fine with me. I’ll never really know and I’m okay with that. 

The piece is a small clamshell box, foil stamped on the cover with today I thought of you written in Victor's handwriting. Inside are two matching trays that hold a sewn booklet containing Victor's letter to the recipient and 16 cards with video links on them (a songbook), both of which are designed with a traditional loteria pattern. The blues were chosen to stay consistent with Victor's ongoing work: The Sky is Falling.

There are six in existence, available only through the Candor Trust Editions program. 

Candor Trust Editions is a unique special edition subscription program created to:

1. Express gratitude for those supporting our work with generous financial contributions.
2. Strengthen our internal efforts by dedicating this project's funds to supporting our staff.

Each Candor Trust contributor receives surprise shipments of unique special editions

several times throughout the year, at a frequency based on their subscription choice.


Learn More about Victor Yañez-Lazcano

Learn more about Candor Trust Editions

Subscribe to the Candor Trust Editions program

'In the Company of Black' Pre-order Sale Ending Soon by Candor Arts

Second Edition proof of  In the Company of Black  by Cecil McDonald, Jr. 

Second Edition proof of In the Company of Black by Cecil McDonald, Jr. 

The second edition of In the Company of Black by Cecil McDonald Jr. will debut at the end of this month. We want to announce that this is the last week that we will be offering our discounted pre-order price for this book. After February 14, the book will be $75. 

Here are some photographs that help capture the process of how we produce editions like this one:

Photographs and text are printed on a HP Indigo press (soy-based ink prints) and then smythe-sewn and glued by in Rockford, IL. 

Photographs and text are printed on a HP Indigo press (soy-based ink prints) and then smythe-sewn and glued by in Rockford, IL. 

Paper is very important to us, and these stocks are appropriately warm and gorgeous, well-fitting for Cecil McDonald, Jr.'s photographs, avery r. young's poems, and Tempestt Hazel's essay Adorning the Lost & Found

We work with Ty Deal at Delicious Design Co. to silkscreen the covers and match the ink color exactly to the interior yellow pages. 

We work with Ty Deal at Delicious Design Co. to silkscreen the covers and match the ink color exactly to the interior yellow pages. 

After the covers are inked, all casework and foil stamping is done in-house at Candor Arts. 

In the Company of Black [Second Edition]
75.00

BY CECIL MCDONALD, JR. 

Foreword by Tempestt Hazel

Poems by avery r. young

PUBLISHED BY CANDOR ARTS

ISBN 978-0-9968161-2-0

Released in February 2018.

9" x 11.75" x .625", 144 pages, photographs and text printed on a HP Indigo press (digital offset oil-based ink prints).*

Fabric covers, silkscreened by Delicious Design League, foil stamped spine. 

Printed and smythe sewn in Rockford, IL. 

Cased and foil stamped at Candor Arts.

 

A small amount of copies remain in the handmade artist book first edition. Purchase here

Quantity:
Add To Cart

Black History Month Reading Recommendations by Candor Arts

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In the spirit of Black History Month we want to share some books we found in our reading residency applications that celebrate African American culture. We hope you put one or a few of these titles that explore important histories and ideas on blackness on your reading list. 

 

Nobody Knows My Name by James Baldwin

Told with Baldwin's characteristically unflinching honesty, this collection of illuminating, deeply felt essays examines topics ranging from race relations in the United States to the role of the writer in society.

Belonging: A Culture of Place by Bell Hooks

What does it mean to call a place home? Who is allowed to become a member of a community? When can we say that we truly belong? These are some of the questions of place and belonging that renowned cultural critic bell hooks examines. Traversing past and present, Belonging charts a cyclical journey in which Hooks moves from place to place, from country to city and back again, only to end where she began--her old Kentucky home.

In the Wake: On Blackness and Being by Christina Sharpe

Christina Sharpe interrogates literary, visual, cinematic, and quotidian representations of Black life that comprise what she calls the "orthography of the wake." Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

Speculative Blackness: The Future of Race in Science Fiction by André M. Carrington

André M. Carrington analyzes the highly racialized genre of speculative fiction—including science fiction, fantasy, and utopian works, along with their fan cultures—to illustrate the relationship between genre conventions in media and the meanings ascribed to blackness in the popular imagination.

Freedom in Congo Square by Carole Boston Weatherford

This poetic, nonfiction story about a little-known piece of African American history captures a human’s capacity to find hope and joy in difficult circumstances and demonstrates how New Orleans' Congo Square was truly freedom’s heart.

Three Days Before the Shooting by Ralph Ellison

Set in the frame of a deathbed vigil, the story is a gripping saga centered on the assassination of a controversial, race-baiting U.S. senator who’s being tended to by an elderly black jazz musician turned preacher. Presented in their unexpurgated, provisional state, the narrative sequences brim with humor and tension, composed in Ellison’s magical jazz-inspired prose style. 

Private Lives, Proper Relations: Regulating Black Intimacy by Candice M. JenkinS

This book begins with the question of why contemporary African American literature, particularly that produced by black women, is continually concerned with issues of respectability and propriety. Jenkins argues that this preoccupation has its origins in recurrent ideologies about African American sexuality, and that it expresses a fundamental aspect of the racial self—an often unarticulated link between the intimate and the political in black culture.

Black Sexual Politics by Patricia Hill Collins

Drawing on vivid images of hypersexual blacks and the sociological theses of strong black women and weak black men, Collins explores an astonishing range of ideas and images through history, sociology, and popular culture. Rather than debate the dominance of race versus sex in the history of social injustice to black men and women, Collins offers a theory of "intersectionality," viewing race, gender, and sexuality together.

Dark Matter: A Century of Speculative Fiction from the African Diaspora edited by Sheree Thomas

This volume introduces black science fiction, fantasy, and speculative fiction writers to the generations of readers who have not had the chance to explore the scope and diversity among African-American writers.

Featured Project: Anthropoembryos by Patricia Rose by Candor Arts

 

Anthropoembryos

by Patricia Rose
 

(Lauren Beck, Hannah Givler, Laura Robbins Maidens,

Danielle Rosen, Casey Smallwood, Danny Volk)

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We recently got the opportunity to work with Danielle Rosen of Patricia Rose on a specialty clamshell box for their work ANTHROPOEMBRYOS, and wanted to talk more with her about this beautiful project.  

This piece for ANTHROPOEMBRYOS is a 14x18x2" clamshell box with a reflective blue-metallic Japanese fabric, and a blind-debossed title on the front. The two fitted trays hold five mounted archival pigment prints and a letterpress booklet produced by April Sheridan. 

What was the origin or initial vision of the work?

The project started as a conversation with Danny Volk about Lee Edelman’s book No Future: Queer Theory and the Death Drive.  Danny asked several cis-gendered female friends to respond to the question: Why would an artist want to have a baby today?  Danny invited each of us to collaborate on a show called The Baby Gap at the Outhaus in Urbana. Using the retail environment of The Baby Gap as a context, we explored our varied personal views on human procreation.  Hannah made a cash wrap, Laura made a playlist,  Casey made banners, I made a scent, and Danny was the model.  Lauren was later invited to contribute to the text because I felt that we needed the perspective of an artist friend who does have a baby.  All of the collaborators produced a piece of writing in response to the project prompt to be woven into a Baby Gap lookbook for the seasonal collection: ANTHROPOEMBRYOS.

In early discussions of the show, Danny brought up his collection of old underwear stained with pre-cum.  Somehow, Danny wanted to incorporate these into The Baby Gap exhibition.  After several discussions, Danny’s underwear became the ANTHROPOEMBRYOS collection.  It seemed important that the underwear were represented as conceptual images rather than as physical products in The Baby Gap exhibition.  So the lookbook format really arose out of a conversation around fashion, waste, absence, reproduction, desire, and queerness inspired by Danny’s soiled underwear.  

Fashion designers like Yohji Yamamoto often include inspirational notes within their lookbooks, so we introduced several references for the collection into the text.  We referenced the movie Alien and other sci-fi films to think through surrogacy and attachment.  Plastic surgery, labiaplasty, fruits, and the yummy mummy operated as molting figures within the text.  And the title came about when thinking about the inherent anthropocentrism of concerns over the propagation of the human-animal. Through the ANTHROPOEMBRYOS lookbook our personal experiences were interpolated with theoretical and cultural references to reproduction, sexuality, domestication, and agency.

After the show was over, I felt that the lookbook needed a more permanent and formal structure. So, I approached Matt at Candor Arts to help pull everything together.  And here we are!  

Describe a little about your practice and how this piece fits into your work overall.

In my practice, I’ve always obsessed over the question of the animal—what animals are, how human-animals relate to each other and other species, and how animality is represented in various cultural contexts.  Reproduction as a metaphor for breeding and art processes like casting or photography has been an interest of mine over the past several years.  Many animals spend an enormous amount of energy trying desperately to reproduce.  With that in mind, problematizing what it means for a human-animal to resist a biological imperative like reproduction is very relevant to the concerns of my practice.  The fashion system as a site for gendered expressions, mating displays, and molting processes are also concepts that I’ve been exploring in my work for a while.  So when Danny started talking about this project, I was very engaged with the lines of inquiry.  Danny is a great collaborator who is always driving conversations forward and that also made it a fun project to take on.

Patricia Rose is a performative platform that I’ve used within my practice since 2011.  Over the years, Rose has become a site for collaborative authorship where various human-animals intersect and are invited to perform as one polyvocal entity.  With this project, I like to think of Rose as a non-binary Mother, not unlike a SCOBY.  With ANTHROPOEMBRYOS, Rose is the fictional designer who is pulling various entities into relation to a produce a new being: a conceptual queer  fashion collection.

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Can you talk a bit about the design and how you came to deciding how this piece should exist?

When working on the design for ANTHROPOEMBRYOS, I felt that photos of the collection should be separate from the text.  The photos function as conceptual product shots and the text walks viewers through Rose’s poetic framework for the collection.  That is why they are placed in separate compartments within the book box.  

Having a letterpress book was important me to because it seemed vital to have physical impressions on the page to add sensuality to the reading of the work. Creating a book that viewers will physically touch is an act of intimacy.  Through the process of touch, viewers may further soil the work unless they wear protective gloves.  I make no stipulations about how the work should be handled.

It is not typical to make just one letterpress book.  This was intentional for this project—the object is an individual.  Of course, all of this is wrapped up in fetishism.  And if this book finds a home in a library, anyone who wants to see it will have to go to that specific context.  Like when I want to see Francis Bacon’s Figure with Meat, I have to go to the Art Institute of Chicago to see it.  So the library that the book belongs to should have a collection that relates to the content of the work.  This would allow opportunities for intertextual reading and research.  Finding a library for ANTHROPOEMBRYOS is the next step in its actualization.

What is your next project?

A long term Patrica Rose project called HELIANTHEAE, SCALESIA. is in the works.  We are using sunflowers as both poetic figures and political metaphors to meditate on the life of autotrophs.  For the final text we are specifically looking at Scalesia, endemic to the Galapagos Islands. This project is exciting to think about in contrast to the form of ANTHROPOEMBRYOS because I plan to make editions that function like an ecology; each book will live in a different habitat or site but still play with thematics of polvocality, multiplicity, and singularity.  HELIANTHEAE, SCALESIA. is a long term collaboration with a very thoughtful group of artists: Carris Adams, Autumn Elizabeth Clark, Maggie Crowley, Hale Ekinci, Catherine Feliz, Ingrid Lee, Natasha Mijares, Luan Sherman, Jen Smoose, and Falak Vasa.  It is really exciting to be in the process of pulling the writing together and I look forward to building the edition soon!


Many thanks to all of the incredible artists who helped to produce ANTHROPOEMBRYOS including Matt Austin, April Sheridan, Lauren Beck, Hannah Givler, Laura Robbins Maidens, Casey Smallwood, and of course, Danny Volk!  

Learn more about Danielle's work at:

https://www.danielle-rosen.com/