Curated by Suzy Spence
Closing reception September 9, 2017
The Gallery at 1GAP
Richard Meier on Prospect Park
This grant from the Provost's Office at The New School supported research travel in Yunnan and Sichuan, China for an in-process project “A Botanical Imaginary” re-envisioning the plants native to the historical region of Kham.
Museum of World Culture archives, Gothenburg
Co-organized by Alyssa Grossman, Selena Kimball, and Adriana Muñoz
May 26, 2017
“Seeing Through Objects” is part of a pilot study for a collaborative research project on the colonial archives of Gothenburg’s Museum of World Culture. While this museum has been open for just over a decade, its holdings come from the city’s now defunct Ethnographic Museum, with artifacts from around the world that were collected, categorized, and interpreted by Europeans through several centuries of colonial activity. This workshop, situated on-site at the museum’s archives, brings together a diverse group of researchers to actively “see” certain pieces of this collection through multiple disciplinary lenses. Our aim is to compile these perspectives into a composite reflection, which may be blurry, fragmented, even contradictory, but ideally will lead to new and critical insights into everyday practices of attention, observation, and the complex production of visual regimes of knowledge.
View of Firth studio at MacDowell with in-progress collage "Plotlines"
Generously funded by Centre for Critical Heritage Studies, Embracing the Archives Research Cluster. Travel funding for second round of research in collaboration with visual anthropologist Alyssa Grossman in Gothenburg’s Museum of World Culture archives
Symposium: Observational Practices and the Everyday
Talking About Seeing: A cross-disciplinary panel Discussion with science journalist AATISH BHATIA, artist MARTHA ROSLER, filmmaker and ethnographer PACHO VELEZ, filmmaker and educator MEGHAN O’HARA, and the writer and curator JAMES MERLE THOMAS, moderated by LATIF NASSER, director of research at WNYC’s Radiolab.
This symposium was organized by Selena Kimball & Pascal Glissmann: The OBSERVATIONAL PRACTICES LAB at Parsons, The New School, in collaboration with Karina Nimmerfall: The LABORATORY FOR ART AND RESEARCH, Institute for Art and Art Theory at the University of Cologne.
Material Matters: Water, Pigment, and Light
Material Matters: Water, Pigment, and Light, features works from 8 artists from across the US: Nancy Baker, Matthew Brandt, Chris Duncan, Selena Kimball, Lavar Munroe, Liz Nielsen, and Shoshanna Weinberger in the Van Every Gallery, and William Córdova in the Smith Gallery. August 29th through October 7, 2016
Photo credit: David Ramsey
Rotlintstrasse 98, Frankfurt
June 25th though September 3rd, 2016
Alyssa Grossman and I are beginning a new long-term collaborative project working with (and re-working) the collections at the Museum of World Culture in Gothenburg, Sweden.
INVITATIONAL SOLO PROJECT ART FAIR FOR CONTEMPORARY ART
Wolfstaedter Gallery, Booth F05
Pier 90, West 50th Street at 12th Avenue, NYC
55 West 28th St. NYC 10001
Richard Dupont, Carol Bove, Enoc Perez, Greg Foley, Will Cotton, Nathan Fox, Jamisen Ogg, Ryan Fenchel, Caleb Lyons,Victoria Haven, Dawn Cerny, Daft Kuntz, Ian Cooper, Libby Rothfeld, Paula Rondon, NahoTaruishi,Tatiana Istomina, Arturs Virtmanis, Robert Medvedz,Teresa Lui, Adam Raymont, Martha Lewis, Melissa Marks, Eva Mantell, ChuckWebster, James Siena, B.Wurtz, Alex Dodge, Glen Baldridge, Louise Sheldon, Martin Mazorra, Jenny Schmid, Damara Kaminecki, Ellen Driscoll, Selena Kimball, Stephanie Snider, Katherine Bradford, John Mitchell, CarolineWells Chandler, SuttonBeresCuller
Selena Kimball/ Night Vision
535 W 22nd Street NYC 10011
Thanks to the Jerome Foundation
Florilegium Opening: March 13
"The first piece of yours I ever encountered, in 2011, was an enormous, irregular, mostly white field of glued-together scraps of glossy paper, in the middle of which fragments of black-and-white photographs formed a kind of scribble. It knocked me out with its scale, its sheen, its tactility, its calligraphic qualities, and most of all, its mysteriousness--what was it?"
link to article here