ARAM BARTHOLL: YOUR SHOPPING CART IS EMPTY
Exhibition Dates: August 30 through November 17, 2018
The Emmanuel Art Gallery is pleased to host internationally acclaimed artist Aram Bartholl
Aram Bartholl’s work creates an interplay between internet, culture and reality. How do our taken-for-granted communication channels influence us? Bartholl asks not just what humans are doing with media, but what media is doing with humans. Tensions between public and private, online and offline, techno-lust and everyday life are at the core of his work and his public interventions and installations, often entailing surprisingly physical manifestations of the digital world, challenge our concepts of reality and incorporeality. Bartholl has exhibited at MoMA Museum of Modern Art NY, Skulptur Projekte Münster, Palais de Toyko Paris, Hamburger Bahnhof Berlin, Media City Biennale Seoul and Thailand Biennale as well as conducting countless workshops, talks and performances internationally. Bartholl lives and works in Berlin.
MADE IN COLORADO
Jurors | Cameron Gainer and Olga Viso
Exhibition | June 7 through August 10, 2018
LOCATION | Emmanuel Art Gallery & 808 Project
The Emmanuel Gallery has a storied history in Denver’s downtown. Occupying the first religious structure built by US and European settlers in the State, the gallery’s landmark 1876 building was an Episcopal chapel before it became a Jewish synagogue in the early 1900s. Hebrew inscriptions are still visible carved into the face of the distinctive stone façade also pierced by Gothic-style, pointed-arch windows. The hybrid architecture registers one of the many transformations the area has witnessed over the last century-and-a-half, as different Immigrant communities settled here on what was once native land. In 1973 the Emmanuel became an art gallery situated at the nexus of three college and university campuses, which today serve a diverse student body, including many first generation residents from Asia, Latin America, Africa and the Middle East. Since then hundreds of artists have exhibited here in solo and group exhibitions, including the ever-popular annual showcase of Denver artists Zip 802. It has been nearly 20 years since the Emmanuel hosted this important local spotlight, a tradition that the gallery’s new director Jeffrey Lambson was intent to restore. Re-launched in 2018 with a new name, Made in Colorado is now open to all artists working across the state. This was an important value for us as outside jurors. We are pleased to receive nearly 1000 submissions to this year’s open call. Artists working in 64 cities across the Colorado responded, with applications from communities outside Denver, including Grand Junction, Pueblo, Durango, Lamar, Boulder, Monument and Trinidad. In the end 50 art works by 40 artists were selected. Together they reveal the multiplicity of artistic practices and concerns of makers across the state, as well as the burgeoning cultural and ethnic diversity of Colorado’s population and the Auraria campus. Made in Colorado is presented in two downtown locations this year: in the upper and lower galleries of the Emmanuel and at Gallery 808 in the Santa Fe Street gallery district. At the Emmanuel, artists explore portraiture through aspects of cultural and personal identity. Landscape is another important subject as artists here examine humanity’s relationship to the natural world and also consider our impact on the environment. Gallery 808 gathers artists of varying sensibilities who experiment with abstraction and the tactile and formal qualities of materials, including latex, paper, fiber, and human hair. There are video works at each location, as well as two site-specific projects in which artists were invited to respond to spaces in the gallery. For the Emmanuel, George Perez will install a wall of re-worked and re-contextualized found photographs. For Gallery 808, Marsha Mack will create one of her texturally-rich, wall-mounted installations at the gallery entrance. It has been a privilege to survey a range of artistic production in Colorado today, which we celebrate in this exhibition. We invite you to explore the 2018 presentations of Made in Colorado.
Cameron Gainer and Olga Viso, June 2018
This exhibition is generously sponsored by
The College of Arts and Media at CU Denver with support from Audi of Denver.
Featuring artwork by:
Margaret Pettee Olsen
Sophie Lynn Morris
Belleza Mexicana: Art from the Abarca Family Collection
Belleza Mexicana (Mexican Beauty) is an exhibition exploring the representation of femininism and power in Mexican art and culture. These important works from the Abarca Family Collection reveal aspects of Mexican women’s lives, from early childhood into the afterlife. Within the narrative are intertwined themes of power, sensuality, nature, tradition, religion, spirituality, and identity. These notions are investigated through the visual mix of indigenous, Mexican, and Mexican-American imagery. Potent ideas combine and contrast with nature revealing an important story of power through tradition and ritual. This story is particularly important on the Auraria campus, a historically Mexican-American neighborhood.
The works from the exhibition are generously on loan from the Abarca Family Collection, one of the most significant collections of Mexican and Mexican-American art in the Rocky Mountain Region. This exhibition was co-curated by student staff at the Emmanuel Art Gallery and Adrianna Abarca, founder of the Latino Cultural Arts Center.
This exhibition is supported by the CU Denver College of Arts & Media and the Office of Diversity and Inclusion. It is also supported by contributions from the Denver Art Museum.
The exhibition will be on display at the Emmanuel Art Gallery until March 2, 2018.
Jann Haworth: Never The Less
Jann Haworth: Never The Less tells a vital story about women. Beginning with the artist’s grandmother, the “Old Lady,” six decades of artworks ask pointed and sometimes uncomfortable questions. Her art bares strained dilemmas about women’s rights and social identity using an artistic language of comic satire, theatrical staging, and popular culture, all sewn together with thread, fabric, and irony.
Jann Haworth’s art is poignant and telling, sly and humorous. A pioneer of “soft sculptures” in the early 1960s, Haworth is perhaps best-known as the co-creator of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover, which Rolling Stonemagazine named the most important album cover of all time. As a revolutionary in the Pop Art movement, Haworth was one of the few practicing and recognized women artists in 1960s London. Pushing boundaries and assumptions, she purposely created her art from materials with domestic associations such as fabric, thread, and buttons, to address and question preconceived notions about women in art and more broadly women’s roles in society.
Jann’s art is as relevant today as it was during the unrest of the ‘60s. Both autobiographical and an examination of the world we live in, Haworth’s art urges us not to ignore the magnitude of the issues at hand. Never The Less is a call to action, declaring that women are not less than.
Jann Haworth’s (b. 1942) art has been collected and exhibited at significant museums around the world, including the Smithsonian, Royal Academy, Walker Art Center, Tate, and many others. Haworth grew up in Hollywood as the daughter of two artist parents and later attended UCLA, the Courtauld Institute in London, and the Slade School of Fine Art. Inspired by the landscape of the West, she now divides her time between Salt Lake City and Sundance, Utah.
MOXIE: Community College of Denver Student Exhibition
JUNE 11 - JULY 23, 2016
CU Denver BFA Thesis Exhibition
Ethnographic Terminalia Presents: Aeolian Politics
November 17-22, 2015
Opening Reception: Friday 20 November 4-6pm
Ethnographic Terminalia is an on-going critical art initiative that places modes of exhibiting anthropology (the study of human beings) in conversation with contemporary art practices. From November 17-22, 2015 our curatorial collective presents its eighth international exhibition, Aeolian Politics — Denver, 2015. Held in tandem with the annual meeting of the American Anthropological Association (AAA), this immersive show features a sensory installation based on ethnographic fieldwork that explores the power and politics of wind and place. In the midst of a boom of writing and thinking about ecological crises brought on by human caused climate catastrophes, the Ethnographic Terminalia collective has enthusiastically collaborated with anthropologists Cymene Howe and Dominic Boyer from Rice University to translate their ethnographic work from Mexico’s Isthmus of Tehuantepec into a sensory art exhibition, Aeolian Politics. Through this collaboration we have created an immersive exhibition for the Emmanuel Gallery on the Auraria Campus in Denver, CO that will be installed from 17-22 November 2015.
The concept of this show is derived from the idea that we all share a primary perceptual relationship as living beings in the weather-world. We are always in the wind and air and it is always in us, filling our lungs and passing through our lips. The wind and air as a massive aerial force is also harvested and commodified according to feats of industrial engineering and resource management. This exhibition is in part about connecting the familiar and shared experiences of wind to its relationship with commerce, region, and nation. By drawing contemporary art and anthropology together in conversation, we welcome visitors to explore a windhouse built within the walls of the Emmanuel Gallery to watch curated ethnographic footage and listen to the spoken words of Indigenous Zapotec poet, Victor Terán from Oaxaca, México. This exhibition is designed to create a space for visitors to reflect on their own experience within the weather world through the contexts of art and anthropology.
Ethnographic Terminalia is an initiative that playfully asks what lies beyond and what lies within disciplinary territories. The terminus is the end, the boundary and the border; it is also a beginning, its own place, a site of experience and encounter. The collective has curated exhibitions of international artists and researchers working at the intersection of art and anthropology in Vancouver, Washington D.C, Chicago, New York, San Francisco, Montreal, New Orleans and Philadelphia. Ethnographic Terminalia Presents: Aeolian Politics — Denver, 2015 is organized with generous support from the American Anthropological Association, the Society for Visual Anthropology, Rice University, and the University of Texas at Austin.
Free Public Events:
Community Conversations: Forces of Power in the Anthropocene
Friday 20 November 2015, 1pm:
Come join in conversation with the curators and the ethnographers about how ethnography and contemporary art come together to create sensory experiences in our everyday lives. Confirmed Participants: Ethnographic Terminalia Collective, Dominic Boyer, Cymene Howe, and others TBA
Open Workshop: Poetry and Power in Place
Saturday 21 November 2015, 2pm:
Come join in an interactive poetry workshop with poets and anthropologists to reflect on the work Víctor Terán who will join via virtual participation from the Zapotec Isthmus of Oaxaca, México. This is an opportunity to explore the installation and consider how sensory experiences with the wind translate in our own lived experiences in the world. This workshop will feature both Spanish and English translation services.
Love Is Love
celebrating love between all genders and sexualities
On view: October 6 - November 7, 2015
Opening Reception: October 8th, 4-7 p.m.
The Love Party: October 23rd, 7-10 p.m.
Taylor Balkissoon, Michael Brohman, Esther Hernandez, Oree Holban, Jeff Page, Bruce Price, Dylan Scholinski, Devan Shimoyama, Sarah Wallace Scott, Joel Swanson, Rebecca Vaughan and Xi Zhang.
The Love Party, October 23rd, 7-10 p.m.
Featuring performances by three artists, see description below:
Denver artist, Esther Hernandez’s Blind Date will delight and interact with visitors with four blindfolded, costumed individuals circulating the gallery in search of their other… will they find a coupling?
Hernandez describes her work as such: Learning comes from playing and playing keeps us in touch with the beauty and mystery of life. Synchronistic, vivvid and bizarre moments, dreams, myth, ritual, surrealism, Kaprow's happenings and the idea of social sculpture are all inspirations that are evident in her creations. You will find Hernandez working with people in public spaces, orchestrating or making a living collage of people, events and actions. She studied at University of Colorado at Denver and has performed around the local music scene with her solo flute and drum project, Astral Glamour. To quote Rudolf Steiner, "We are fully human only while playing, and we play only when we are human in the truest sense of the word."
The remainder of the evening will help visitors get in the mood of love with a performance by Sur Ellz. A rising star in the Denver Hip Hop and R & B scene, Sur Ellz is a 23-year-old singer, songwriter and producer hailing. With a futuristic neo-soul appeal, he looks up to the ingenious minds of Pharrell, Timbaland, J Dilla, Maxwell, Prince, & Stevie Nicks. Telling relatable stories about modern struggle and human interaction through the different dimensions of audio soundscaping, Sur Ellz expresses raw emotion through the various realms of music and art.
For your listening pleasure please visit:
Photography from The Love Party by Amanda Adkisson